writer Gervase Markham, which Patrick had sought to put into practice in Wales.[10] There seems little doubt, however, that Warburg’s choice was preferable (several stories in the collection are markedly discontented, being positively gloomy and even macabre), and The Last Pool (the title of the first story in the book) is what the title became. Curtis Brown stood firm in Patrick’s interest, insisting inter alia that he retain US rights for the book. Warburg gave way graciously on the issue, and the contract was signed on 27 September 1949. In it Patrick further committed himself ‘to write a book on Southern France and to proceed to France within the next two months in order to collect material for such a book’. For this ‘the publisher undertakes to pay to the Author forthwith the sum of £75 (seventy-five pounds) towards the expenses of the Author’s visit to France’. In fact, Patrick had by this time already crossed the Channel.
In addition the publisher obtained an option on Patrick’s next book, and when the two of them had lunched together on 24 August of that year Warburg learned that it was to be ‘a full length novel with a Welsh background’. Next day Warburg wrote to Spencer Curtis Brown, thanking him ‘for putting this most unusual book [The Last Pool] our way and very much hope it will have the success it deserves’. At the same time he (surely wisely) rejected Patrick’s tentative suggestion for the alternative title Dark Speech upon the Harp.
Patrick appears to have persuaded Secker that the prime motive of their journey was to gather material for the ‘book on Southern France’. Either way, the money came in extremely handy towards meeting the expense of their move. In the event, they arrived at Collioure shortly before the contract was completed. The removal cost £9.10/-, and since the rent of the flat in the rue Arago amounted to some £10 a year (which their genial landlord, M. Germa, seems to have collected erratically), for a while at least they should have been quite comfortably off. However, by next February they were alarmed by a statement from their bank in London, explaining that no more money could be forwarded, as they had attained the limit of £250 which it was at that time permitted to take abroad. Towards the end of May Patrick was still struggling to liberate Warburg’s £75 advance from an impassive bureaucracy. He noted grimly: ‘Wrote to C.J. Foreign Div. & Parry – The last two letters Mrs O’Brian wrote to you are still unanswered. This sort of treatment is really intolerable, and I must insist upon an immediate final.’
Unfortunately, it turned out that they did not qualify for remission of the advance.
At Warburg’s invitation, Patrick forwarded from my grandparents’ house in Chelsea (whose lease they had taken over from him at his departure in 1945) ‘some biographical scraps’ for inclusion on the dustjacket. Although Warburg thanked him for ‘the biographical material, which is excellent’, nearly eight months later he oddly repeated the request for ‘your biographical details, i.e. date and place of birth, education, appointments held and any other relevant information … speed is of the essence’. Since it was Patrick’s persistent habit to preserve copies of such material, it is hard to conceive of any reason why he should have failed to comply with the second request after being so prompt in fulfilling the first. It seems likely therefore that in the event Warburg decided against inclusion of a potted biography. As the sizeable dustjacket blurb implies that the tales arose out of the author’s own communing with the countryside which provides their setting, this may have appeared to suffice for a personal description.
The Last Pool was published on 17 August 1950. Its best stories contain some of Patrick’s finest writing, while all are entertaining. A Latin dedication ‘To Mary, my wife and Dearest Friend’ acknowledged her indispensable support and help. The book’s atmospheric green dustjacket design by Edward Bradbury, depicting three fine trout in the foreground, and shadowy images reflecting country sports circling dimly through refracted water, make it a handsome volume, now much sought by bibliophiles.
Reviews in the press were largely favourable: in some cases, enthusiastic. The novelist L.A.G. Strong perceptively described him as ‘A real new writer, with a voice of his own. He shows a real power to describe physical sensations.’ Patrick’s response to all this was guarded. In a letter to his editor Roger Senhouse written in the following February, he provided an assessment of critics which came from the heart: ‘I do grow passionate about criticism from fools, from people who have not really read what they criticise and from those whose aim is to show off; but I am really grateful for genuine criticism.’[fn12]
He welcomed Senhouse’s comments on his next book, but clearly had coverage of The Last Pool in mind, for he continued with some sharp reflections on ‘the damned silly review Dunsany produced in the Observer. Did you see any worthwhile reviews of The Last Pool? I only saw a long and offensively fulsome one in the Irish Times, and a short and stupid one in the Spectator, apart from the Observer.’
At first glance, Patrick’s testy dismissal of the Observer review appears perverse. Lord Dunsany, a well-connected Irish peer, literary figure and keen rider to hounds, was surely ideally placed to review such a book. What seems particularly to have riled Patrick was a well-intentioned laudatory comment, much canvassed since: ‘This charming book by an Irish sportsman is a genuine collection of tales of the Irish countryside.’ For a start, it might suggest that Dunsany had done little more than glance through the text. Although five of the thirteen tales have Irish settings, a careful reader would have noted that the three located in Wales evince a much more fundamental grounding in local toponymy, landscape and speech.
Still more upsetting appears to have been Dunsany’s gratuitous allusion to the author as ‘an Irish sportsman’. This was presumably inferred by Dunsany from Patrick’s surname,[fn13] together with the Irish setting of several of the stories. That an influential Irish writer publicly hailed him as a compatriot placed Patrick in an embarrassing quandary. As was explained in the first volume of this biography, his change of name was selected in order to banish an unbearable past – not to invent a new one. An obsessively private individual, the last thing he wanted was to find his personal life paraded before an inquisitive public. After all, Dunsany’s erroneous assumption could lead to his being derided as an imposter. What could he do? A correction (in the unlikely event of the newspaper’s publishing it) must inevitably invite enquiry into his actual background.
While this might be criticized as an absurdly paranoid reaction, it was to become unexpectedly justified when belated revelation of his change of name half a century later aroused bitter diatribes in the media beyond anything Patrick at his most vulnerable might have anticipated. He instinctively believed a substantial body of the literati to be an innately envious and consequently malevolent crew. Sadly, he lived to find this jaundiced view not altogether mistaken. It may surely be enquired, were he as concerned to lay claim to Irish ancestry as ill-natured critics have proclaimed, why he did not seize the opportunity to do so in The Last Pool, nor seek to profit from Lord Dunsany’s flattering allusion.[fn14]
When Patrick came under pressure by publishers on other occasions to provide autobiographical notices, he either evaded doing so altogether, or submitted some patently humorous fantasy. The dustjacket of his early novel Hussein (1938), for example, informed its readers:
Patrick Russ has seen much of life in his 26 years. When he was stoking a Portuguese tramp steamer, he came to Rabat and made the acquaintance of two professional story-tellers with whom he wandered up and down French Morocco for a couple of months. It was from them, conversing in mixtures of French and Berber Arabic that he got much of the material widely current throughout the Mohammedan world, which goes to form the story of Hussein.
It is presumably the rarity of this dustjacket which has thus far protected Patrick from being accused by humourless critics of intending these imaginative exploits to be taken au pied de la lettre.[11]
Although beautifully written, the stories in The Last Pool proved to be no more than a swansong to the otherwise alarmingly arid period from which he was at last emerging. I have described in the first volume of this biography how they were