Magic Casements

London: P.E.N. Books/ George Allen & Unwin Ltd, 1941. Near Fine. FIRST EDITION, INSCRIBED BY AUTHOR. Slim 8vo, pp. 48. Eggshell blue and yellow patterned paper boards, lettered in black, label to spine. A little soiled and darkened, bruising and light wear to extremities. Inscribed, movingly, by Farjeon in blue ink to half-title: "For Denys � who has/ added another magic casement to my mansion �/ from Eleanor in/ remembrance of this/ week: July 19�26/ 1950" and below, in a different hand: "Bertha Rose./ given to me by Ren�e / in memory of Denys./ March 15th 1971." With Farjeon's marginal corrections and clarifications to pp. 12 & 13. Else, clean and tight. A gorgeous and significant association copy, inscribed to Blakelock in the first year of friendship. Near fine. With Farjeon's own marginal corrections and clarifications regarding misquotations from Cymbeline: '�Should be "lads" of course. This is a slip', but not so for the (mis)citations from Twelfth Night: whose "spinners" and "sitters in the sun" is "how I've always misremembered this lovely line". Inscribed to "Denys" in 1950, the first year of Blakelock and Farjeon's friendship, and subsequently re-gifted to another friend Bertha Rose (n�e Hagart) by Blakelock's sister-in-law Ren�e: "in memory of Denys/ March 15th 1971". Denys Blakelock (1901-1970), actor, RADA teacher and childhood friend and lover of Laurence Olivier, became one of the closest friends of Farjeon's later life. The couple met when Blakelock was cast as King Nollekins of Norfolk in the first run of Farjeon's play The Silver Curlew at The Arts Theatre in 1949/1950 (an event celebrated in her inscription to our copy of Love Affair (ref. 2214), as well as in our inscribed copy of the The Fair Venetian (ref. 2213) the following festive season, when the play was revived at Fortune Theatre, London: "Dearest Denys � Nollekins �/ from Eleanor � Nellikins �/ to mark The Silver Curlew's / second London year./ Dec. 22nd 1950". Indeed, 1950 proved a hinge year for Farjeon, who had lost her long-time companion, George Earle (Pod) in November 1949 and was grieving deeply; it also saw the beginnings of her conversion to Catholicism. By their meeting, Blakelock "was an established victim of dark moods of depression and anxiety," which were taking a toll both personally and professionally. The friendship offered a new start for them both and very rapidly they became each other's emotional succour. They even dubbed their first trip away together in June 1951 their "honeymoon" holiday, which they commemorated over the 15 years of their friendship. As Blakelock reflects in the closing pages of Eleanor: "Eleanor Farjeon's life was so closely bound up with mine for that last long phase, if I were to paint a true picture of her it seemed to become increasingly impracticable to keep myself to any real extent in the background". (Blakelock, 1966). Less is known about Farjeon's friend, Bertha Hagart/ Rose: it seems likely she is the Royal Academy of Music (RAM)-trained, South African pianist, who was active professionally both in South Africa and Britain in the 1950s. If this is the case, it also seems probable that the two women met through Farjeon's elder brother Harry, who taught at RAM for 45 years. Whatever the case, Hagart was close enough to them both to be presented with Blakelock's cherished copies of Farjeon's books; a posthumous intertwining of their three lives, which would surely have pleased Farjeon, given her own practice of re-gifting books (see our other inscribed Farjeon copies). Denys Blakelock (1966) Eleanor: Portrait of a Farjeon. London: Gollancz Ltd.