Correspondence
and
MISCELLENOUS ITems


CURTIS BROWN
LIMITED
1 Craven Hill London W2 3EP
Telephone 01-262 1011
MS/sjh
4th January 1980
Maurice Rowden Esq.
Casa Campardi
53037 San Giamignana
Sienna
Italy
Dear Maurice,
I understand that Sue Freathy has spoken to you about your plays
and very sadly feels she can't act for you. Under these circumstances
I am sure it would be wrong to use Curtis Brown and let your work
split between a number of agents.
I will keep the typescripts here until you let me know where you
would like them sent. If you want me to send them to another agent
of your choice then I will happily do So. I am sorry about this.
Yours,
Michael Shaw
A MEMBER OFT THE CURTIS BROWN GROUPLTD LONDON SYDNEY NEW YORK
Directors Graham Watson (Chairman) Peter Grose (Managing) Diana Baring Andrew Best Felicity Bryan
Kathleen Nathan Richard Odgers Michael Shaw George Webster
Telex 261536 Cables Browncurt, London W2 Registered Office address as above Registered in London 1030815


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Tositat Ces
huovico ARIOSTO
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pounn
i unogt d
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fiece
vealor
x/za
FIRENTINE, TuPance
ISTORIE


BARDESAR. CASTI ( GhIONE
Dicol
ides dracrit,
TLe Cateyons in Conslai
ralts
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PIETRO ARETINO
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dell Catay
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h le ladia
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gitu
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oved
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gret
RAGION AMENTL
BENVENUTO CELLINI
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epecitin lord J
the
7 La,
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belicl rte cullae
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pol
ilt tha spgitaid
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trut,
Rero.
Anoud
ts drelie
sagp, e
lave Joue?
toe we
Llr
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cfiic
Ac calvaordleny
mlsy 2 t pask


Colee
atta
Hre
teclmi
(pile ushicl
Tm d +
mfn
finve 7 G tny tine
cosno d ast.
hura Gatle.
A ale
faratin
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- 2 tte
Ctue
luu 2lhtoin
pme
Hu lettor ke h
douinlel
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FRANCESCO GUICCIARDINI
Died
hived
A believed
tu Mocchisvdli,
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scla, ali
seuewal 9 Ha Ilzlea
redesmer. Guciund
tai falt 1 C praircis
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belieie U eua hofer.
unilo-: h 4e0,
ho lage
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dare
hidere d V arila
khe ifeekd,
mespeuce - Lwr
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evals.
k ue, diveny,
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t puid
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ad aerfieler
dree,
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paici Gm C- pontes
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tto prinly
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teodring? tte
Memsin (RICORD)
BUONA RRO T(
MICHELANGELO
Diedl
Poels (Gammni della Coss, Gopom Stampa,
hove an A
Pictos Berof, lrabelle di MORRA)
uskn ase.
te rnghuer 2 Ls, ton aneobes


locliuiy
d penimim
sen 2 dirrinie
vatzrie volue


ho Annat ou raday dramal clany, LUF > O
L a
L enan
GORCIO VASARI
Ron
Did
ad Arclitect
huier S - the Paintes, deulplan
cleas adl diel
May pujudis
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Tiv hiseg
he nanged Ke
ced preresptei
I the crpastes.
BRUNO
GORDANO
Dasl
Bon
he sul 9 ttre unliiict crsuiss,
peofle maureello
umo
ouhicestnes,
Itze
Labe
Y tan Y, Le pevaded 5
Loul.
lahiel beless tre
vitzl fre,
+ ta coutae
idals
Ze laneuors
lire
+ lynel
luae slit
Iinuil
mteleae
laryw, nferduley
aoelwv,
Saccis de la Bertra Trisflaas
Cena de le Ceueri


MAÉ
TORQUATO TASSO
Son
Dicol
uel kisag
The the
lius, , W
Ledidi
porisite Arelt ( uee lalacs.
docau
te Jereul conder.
2ta vaus
Cented
fawuy E
du ppc CAAIBEATA
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Spl
FERRARA C L & Loue.
gaulea.
Riie, Dialagei
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Mondo Crealra, tettoe etz
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viaeg
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lwmol herur L
tryfe
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cnrol 7 te coutu-
ed Ite dlenel
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Spain,
rla Locis
Honsland
laua + extamed Splesbrr
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dr nucig
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poely
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Alenadro


TOMMASO
CAMPANELLA le 8 - Japel 7 /te (17%
raprenio, - ilal
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ita Lese, de.
tari uole plag?
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M-Tnfiniale
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PAOLO
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paecaisal
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aymin Phiil geebce 2
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fouk 1 all diziue ad hioseder ke
caly
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hui
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t THA sentre rxpaince. lsdan weco
aal
uez tte tint
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ateples:
requne
demifte
solcd + cas pella
topi Sloun suerltie dwellii


lurbre lmtee leo
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igiils 2 the pena - u
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Vico


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end
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f vatnilin in
fealiy
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popot
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ve (l 1 h ali JQ Ls
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we Loshel ( urare H
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all elfe


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lla)
Digimans Letleran-
B1B410 GRAPH Y
BOMANI
unaaragn
OD,ZIONARIO STORICO
delle
heltralun
Halians.
-VITTORIO
TURRI (ouvolum)
Gue al Exauple .
SORRENTA 1
TORQUATO TASSO
Born tn
lare,
Maecit
1544, wert k Naples 6ycn his Soter
Rossl,
+ Li holke P=e ZIA
ad stalis -
Benardoy
ud trithu
Senario Antun
CORNELIA
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ayem + ta
21 samsevcane Kum
FEZRAUTÉ
hin
panis
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loy seenci
Rome. Et t
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&e died a
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e M
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he new
reulng,
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lisie are tal
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has
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Madiois
aol shanth
tro
Aehcl
peleluin,
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col ttro URBINS
hL K Bergauo, lask ak PESARO
A de


Torpst Taiss
Toypate 4IE)
GUDa BALDO
tie
puid
sene
lreneete
MARIA
FRANCEICO
della Rouere (1559 *
hi à
IZk
Togmet L cruse rfinsd
Ja Hhe pice
Venice
Sese
dirumi),
al /
tive t
(nerthalie
al unh
Hhe
wa belares
- hecsus
fil luin
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unr kue pesitel
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cuslas - -
pryie
funelr, fansel
ere
Sonheli
cdecel
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perice
suar preu
lels 1
uns
Lugi
a Padua
l Cerdil
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BENDIDIO,
tt modi
+ AVCRSsIR tom. A stady
1 love
URBINO
is6o
7 jatsserc
a I
shotfrang - idguit
Dule?
2 5os yeudi
IC L
aclolesnh
he Lad
u Linis,
i penm
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sult
elcl
jyane
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ff mki
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yelc.
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qus
GONZAGA,
A TEREI
SCIP IONE
1 itre
love +
lhe Aca dens
Ale
Recemit Lk
gnaut
ikm
MANTVA
V. spore
mex ac
Ya ita
PEPELAKA
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LAURA
geuin ce ed L-


Torust
e ls Cordiislduig d'sale ct FERRAKA
kapat Tdillin
falk dusl - 1569
( aa wei d El
k Roue 9 -
ardinel
Lol -fr a mil kifp
Le tumud
Helege
1 Duke) Ilslrins,
guer
Slay LV Pesaro
Aru Duke Aefondo (ly
Keran - Mas
hin
teleua
lah 2u
leiiel 42:)
Wauer 2 seueg
hucl tai STuby,
lefe 2e
ljem
diitanel L
Pialines
iies
ye Lan
Ne en cempau
Lo wnr
- thore rear
Lerse
htoel
Verice 8
ku L
Hnhatel
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FaLy
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aouil reu 7
hin zen
RralE
apltel,
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haduen
henney Edirori 2 poca.
lu s
oraid 7
FUCCI
ulabl
mae ERCOLE
L Lr
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ln 1 eus
se-pped
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k Aqualee
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tu MEDICI
ANCO di FERRARA. ar, ihL 7
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pan
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hantid li hulles ls micen ducregin r leuifed ltii Yn
Newal w- he Apectal 7 lyy 5 L l Gacesco
tont uouk 1 2 Jau
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clu Li,
n l kid al le
ai Feme
were I5 Areih
ho l sefel - disprine /
Dely
ha Toqul
Afr teent tl
Thn
( hit Comelin mudi
Said Jho ho a
k Fensa
diarfle
retanel
D_le
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the tla
Iue
Loue
K Apple Frr K lng -
icly
Lilaba
ttu
BOYE
Ilnna
d'bskt
k Femia,
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k te
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clav
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d creta
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olf
elu
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t vigoms tarene un
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C ze alelal the suchian 2
wal /
hv uftida fo
kous
rualn
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ast
gusun
lar Li
kounel S -
visiu
Olivet morly
2 UY6.
Aulralit lay dyjon
tha
tsn
+ Gmgagr
Rour VU
Nee
suphnicds
ttre
pednls
ferdinaubs
Srereg 74
Graal Duke
Flarace
Maslars
L Rou.
woutt.
AUT
yudi L
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ALD.GEASNL
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tin
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mesilaue
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d'bME


L nliale
ae a
He ul, Jostad
itcl
L ttee entotumul


THE APE OF
SORROWS
BOOK LAUNCH
23 February 2010
Daunt Books
158-164 Fulham Rd London
rowdoxy@aol.com
annabelhuxley@google.com
From Stranger to Destroyer:
The Inside Story ofHumans
MAURICE ROWDON
www.theapeofsorrows.com


THE APE
AUTHOR
OF SORROWS
From Stranger to Destroyer : The Inside Story of Humans
Maurice Rowdon
An examination oft the human as he is, not as he thinks he is.
"The only measure we have to judge of any animal's intelligence is whether
it leaves its habitat enhanced or depleted, and by this measure the human is
the least intelligent of all the creatures."
THE FALL OF VENICE
ITALIAN SKETCHES
= ...enthralling essays... "
"Artistically exhilarating. Often piercingly accurate . "
Cyril Connolly, Sunday Times
The Guardian
contact: rowdoxy@aol.com
www.theapeofsorrows.com


With Compliments
Suurl
COLLINS PUBLISHERS
14 ST JAMES'S PLACE
LONDON S.W.I
Easr Angliai paily ue
guris 21, 196g
Achievement
of province
COMPANION GUIDE TO UM-
TRLCON Maurice Rowden (Collins),
THIS province achieves what seems
almost impossible in the narrow
of Italy-it has no coast. line.
Remendal it has
aspeots to
appeal to tourists 07aX tastes, as
well as patent to af readers of this.
fascinating guide. Ancient
are
many, the scenery beautiful Lyand the
people very pleasant. The province is
steeped in
and includes Assisi.
the birthplace Shesoy St. Francis, and a
good dealof space in devoted to him.
Of local historical interest is that
in the library Perugia are details
of the soldier oft fortune John Hawks-
wood who was born at Steeple Bump-
stead in Essex.
Every sometnnworthy page of this :ong to guide beread- con-
The tains fllustrations arë excellent, as are
the appendtces contminygmanyTtems
- of valuetothe potertial "traveller.


From
WILLI CAP COLLINS (AFRICA) (PTY) LID
Johannesburg
Review from: "Photography and Travel"
Johannesburg
Date: June 1969
COMPANION GUIDE TO UMBRIA,
by Maurice Rowdon, published by
Williams Collins (Africa) (Pty)
Limited and available at leading
bookshops at R4.50.
Companion Guides are not slim,
pocket-size books which you'd carry in
pocket or handbag but contain around
350 pages of maps, photographs and
comprehensive information on cities,
countries and defined areas. Not pocket-
size, maybc, but certainly worth putting
in your suitcase so that of an evening
you can browse through its pages and
plan how best to see and enjoy to the
full your next day's activities.
Umbria is the central area of Italy
which contains, among others, such his-
torical places as Perugia, Assisi, Gubbio,
Orvieto, Narni and Otricoli (The Gate-
way to Rome), Lake Trasimeme and
many, many more. Let's turn to
Perugia, for example, finding in this
section a street plan of the city, and
then a most comprehensive story of.
what there is to see, what makes each
place so interesting, the history of the
city and its highlights, and then fascinat-
ing information on the various facets
of the place. An hour's reading each
night before will make your stay in
Perugia enormously more worthwhile.
The photographs throughout
"Umbria" reveal some of the mood, his-
torical interest, and intimate details of
some of its riches.
"Umbria" is just the latest of a series
of superb Companion Guides published
by Collins, others being Paris (Vincent
Cronin), The South of France (Archi-
bald Lyall), The Greek Islands (Ernle
Bradford), London (David Piper), Rome
(Georgina Masson), Venice (Hugh
Honour), Florence (Eve Borsook),
Yugo-
slavia (J. A. Cuddon), Trscany (Archi-
bald Lyall), and The West Highlands of
Scotland (W. H. Murray). Others in
preparation are Greece, Southern Italy,
South-West France, East Anglia, South-
ern Spain and Turkey.
This very fine book closes with infor-
mation on where to eat and what it
costs in the area, and also tells you
something of the food and wines that
are worth trying.
The Companion Guide to Umbria is
available through all leading bookshops
in South Africa and is highly recom- !
mended to those who want more. than.
just a brief peep_at this_ aréa_ of Italy.
which holds so much for the intelligent
tourist,


Northburgh a T
Street
*T London-ECIV.OJLE
SOUTHWALESARGUS
FADEC a
NEWPORT
ISSUE
MONMOUTHSHIREN;
DATED:
Pr #
Dogs: . (by
he,gTalking
Maurice Rowdon (Mac-
millan; £5.95): br
Élke à isa poodle.Belamsa
saluki." They can communicate
JH iy.
with humans: ,1
The i
'yauthor has painstak-
ingly documented! an i experi-
ament in'which the dogs'from,
Souitheir/Cermainy,arele taught
"to paw-tapy complete, sen-
tences, 4 spëll and solve: difficult
mathematical problems: u1t,
At first glance thet facts"
"seem: too: far-fetched to ibe t
believed,"but. as the Freader.
"gets'to know moreabout the
animals: the more sympathetic
- beçomes.
the.tale,e
- Cressidr Foden.


HAROLD OBER ASSOCIATES
INCORPORATED
-age
Telephone
Cable CAddress
PLAZA 9-8600
LITOBER, NEW YORK
OFFICES: 40 EAST 49TH STREET, NEW YORK 17, N. Y.
August 9, 1963
Mr. Maurice Rowden
Via Giulia 102
Rome Italy
Dear Maurice,
Even though a rejection I thought you might
like to see this letter from Holt, Rinehart & Winston.
Just to bring you up to date ITALIAN SKETCHES has
now been declined by John Day, Doubleday, Farrar Straus,
Harcourt Brace, Holt, Houghton Mifflin, Knopf, Macmillan,
Random House, Scribner's, Viking, Pantheon, Atheneum.
It is going to Little Brown next.
I get an impression from a letter I had from
David Bolt that you have a new book on Italy ready.
If you have an extra manuscript copy, I'd love to see it.
I had two brief stops, one going and one
coming, at the Rome airport on my way to Greece a few
weeks ago, and had a strong impulse to go into Rome
and leave the plane behind. But Greece was quite sensa-
tional, I thought, so I don't really regret any of the
trip.
Best to you and Annette.
Yours,
Creu
IVA:pbp
Encl.
DOROTHY OLDING
IVAN VON AUW, JR.


Holt, Rimehars and Winston, Inc. . PUBLISMEERS
AADISON AVENUE. N e W YORK 17, N. Y.
HOWARD CADY
CZ:CAAL MANAGER AMD EDITOR IN CHIEF
OBER ASSOCIATES
1BION
HARJLD
GENERAL DOOK DIVI
INCOKPORAIED
August 1, 1953
AUG-2 1963
MS. REC'D.
Mr. Ivan von Auw, Jr.
FILE
Harold Ober Associates
40 East 49th Street
Now York 17, N. Y.
Doar Ivan:
Ho aro onchanted with Maurice Rowdon's ITALIAN SKETCHES.
Tho goneral tone of the book is quiet, knowledgeable,
wryly humorous and loving. The author never secas to get
in tho way of his naterial, but by the end of the book
there is tho feoling that WO know him in terms of his
roaction to Italy.
Unfortunatoly, thero is a certain anount of saneness to
tho material. We are not at all sure we could do a good
job with it, and we have finally, and most reluctantly,
docided it would be unfair to take it on because of this
uncertai inty.
The manuscript is going back to you herewith. I am suro
you will coll it, and I an sorry we cannot be the ones to
daoit over here.
Sincerely yours,
Naend
Howard Cady
KC:om


DAVID HIGHAM ASSOCIATES, Ltd.
Teleplone: GERRARD 7888.
DIRECTORS:
Telegrams: HIGHLIT, WESDO.
Authors'Agents.
DAVID HIGHAM Managing
LONDON,
MONICA JEAN LEROY PRESTON
76, DEAN STREET, SOHO,
DAVID BOLT
Cahles: HIGHLIT, LONDON
SHEILA WATSON
LONDON, W.1.
14th August, 1963.
Maurice Rowdon, Esq.,
Podere La Colombaia,
San Gimignano,
Siena.
Dear Maurice:
Many thanks for yours of Augus t 6th. I'm enclosing now the
agreement for A ROMAN STREET signed by Gollancz for your files,
together with a carbon counterpart for your approval, initials,
signature and return to us for the publisher. You never actually
answered my query about the advance, I think (my letter of the
18th July) - the point being that Gollancz want to revert to their
"usual arrangement" of paying the advance all on publication. I
haven't held up the agreement for this, because between ourselves, I
know we can get something on account from Gollancz if you really want
it or need it ahead of schedule.
A ROMAN STREET - a carbon copy of the typescript has turned up in
the office and I'm passing this for the moment on to Jean LeRoy to con-
sider for possible serial. But if you want it sent across to Ivan, let
me know. Otherwise I'll send Ivan a proof when they're ready from
Gollancz.
WAITING FOR MELLI/ CONFESSIONS OF A ROMAN - James MacGibbon has
now returned this and from your letter it doesn't look as if the revision
is extensive enough to warrant having a third shot at Gollancz. This
puts me in rather a tricky position since the book is now, I gather,
definitely non-fiction, and we can't give another publisher the usual
option on the next non-fiction work (which Gollancz of course have).
However, it might be possible to give an option on your novels instead.
Anyway, I'll go ahead to see what can be done when the script arrives.
You'll let me know about the tax situation?
Yours,
Aravid.
DLB/PBD
Although every reasonable care is taken of MSS. while in our possession we can accept no responswilie - - or any lost or damage thereto.


DAVID HIGHAM ASSOCIATES, Ltd.
Telepibome: GERRARD 7888.
DIRECTORS:
Telegrams: HIGHLIT, WESDO.
Authors'Agents.
DAVID HIGHAM Munaging
LONDON,
MONICA JEAN LEROY PRESTON
76, DEAN STREET, SOHO,
DAVID BOLT
Cahles: HIGHLIT, LONDON.
SHEILA WATSON
LONDON, W.1.
2lst August, 1963.
Maurice Rowdon, Esq.,
Podere La Colombaia,
San Gimignano,
Siena.
Dear Maurice:
Yours of August 17th - certainly, if you're revising
WAITING FOR MELLI/ROMAN CONFESSIONS as much as that, then indeed
it's worth a third shot at Gollancz. I'm inclined to say that
we ought to keep NIGHT OF THE ECLIPSE to one side, partly, yes,
in the hope of persuading V.G. to take it on later (no doubt
after a good deal of cutting) and partly because it's already
been to fourteen publishers, and I don't think there's much to
be gained by carryon at the moment. Do you agree?
I'm telling Ivan that you won't be sending a manuscript
of A ROMAN STREET, but that we'll let him have a proof as soon as
they are ready.
Yours,
Darid
DLB/PBD
Although every reasonable care is taken of MSS. while in our possession we can accept no responsibility for any loss or damage thereto.


DAVID HIGHAM ASSOCIATES, Ltd.
Telephone: GERRARD 7888.
Authors'.
DIRECTORS
Telegrams: HIGHLIT, WESDO,
Agents.
David
LONDON.
Higham Managing
Cables: HIGHLIT, LONDON.
76, DEAN STREET, SOHO,
Jean Leroy
LONDON, W.1.
Monica Preston
David Bolt
Sheila Watson
22nd August, 1963.
Maurice Rowdon Esq.,
Podere 'La Colombaia',
San Gimignano,
SIENA,
Italy.
Dear Mr. Roaldon,
Good, I'll noNgo ahead with the offer of
MIRIAM AND THE ROAD TO AREZZO and I hope
we succeed in selling it.
I have justbeen talking to Miss Stevenson
of Argosy who tells me that she will be writing
to you about the three short stories which you
sent her. I asked her to let me see them ao
that I can see if there are any other possibilities
for them.
She also asked to Bee the manuscript of
A ROMAN STREET and I have been fairly non-committal
about this as I would like to read it first in
case there 'is a better market for it.
I'll let
you know how we get on.
Yours sincerely,
Ran
LR/KK
Although every reasonable care is taken of MSS. while in our possession we can accept no
responsibility for any loss or damage thereto.


MARGERY VOSPER LTD.
(Authors' Representatives)
53A, SHAFTESBURY AVENUE, LONDON W.I.
Telegrams :
Telephone : GER. 5106
Cables :
Margevos, Lesquare, London
Margevos, London
Directors : MARGERY VOSPER
ELYNE POLLARD
VERA HANDFORD
(Secretary)
1st October, 1963.
Maurice Rowdon, Esq.,
Podere 'La Colombaia',
San Gimignano,
(SIENA), Italy.
Dear Maurice Rowdon,
I have had a note from Keith Johnstone at
the Royal Court about THE MECHANICAL SAW as
follows:-
"Thank you for letting me see this play. He
is certainly a talented writer. We would be very
interested to see any other work of his, but I am
afraid we are unable to present this one."
At the end of July you told me you would let
me have the revised version of ESKIMO TRANCE. Have
you had any news from the Ashcroft? If they can't
make up their minds it could be an idea to follow
up Keith Johnstone's letter with that script.
Your S sincerely,
PS.MARGERY VOSPER L7I
oemobri
lauçery
IMPORTANT--Athough every care is taken the company cannot hold itself responsible for the
loss of MSS. by fire or any other cause during the ordinary course of business.


MARGERY VOSPER LTD.
(Authors' Representatives)
53A, SHAFTESBURY AVENUE, LONDON W.I.
Telegrams :
Telephone : GER. 5106
Cables :
Margevos, Lesquare, London
Margevos, London
Directors : MARGERY VOSPER
ELYNE POLLARD
VERA HANDFORD
22nd November, 1963.
(Secretary)
Maurice Rowdon, Esq.,
Via Giulia 102,
Rome,
ITALY.
Dear Mr. Rowdon,
Thanks so much for your letter of 16th
November. I had realised that ESKIMO TRANCE
was at Croydon but, until they finally make
up their minds, there is no harm in showing
it elsewhere. The Royal Court are likely to
take just as long to make a decision and, if
we get a definite offer from one or the other
of them, we can cope when the time comes. So
long as we keep in close touch, we are not
likely to,arrange for two productions simul-
taneously:
Yours sincerely,
MARSERY
vuseoh LTD
laugery lisper
a. r
DIRECTOR 7
dita a:
IMPORTANT-Although every care is taken the company cannot hold itself responsible for the
loss of MSS. by fire or any other cause during the ordinary course of business.


MARGERY VOSPER LTD.
(Authors' Representatives)
53A, SHAFTESBURY AVENUE, LONDON W.I.
Telegrams :
Telephone : GER. 5106
Cables :
Margevos, Lesquare, London
Margevos, London
Directors : MARGERY VOSPER
ELYNE POLLARD
VERA HANDFORD
14th
(Secretary)
November, 1963.
Maurice Rowdon, Esq.,
Podere 'La Colombaia',
San Gimignano,
Siena,
ITALY.
Dear Maurice Rowdon,
I remain in a fog about ESKIMO TRANCE. It
is terribly interesting psychology but whether*it
is a stimulating evening in the theatre, I honestly
don't know. I am sending it to The Royal Court
as it would be a great pity not to follow up
their interest in your work.
To be completely honest with you I suppose
I rather fancy myself on judging a conventional
"well made play" but, W hen the drama gets either
too "with it" or too "way out", my old fashionedness
begins to show! I don't really understand ESKIMO
TRANCE and I am frightened of turning it down.
Mpucausingeseaejn
IMFORTANT-Although
care taken the
Mageglmpen
every is
company cannot hold itself responsible for the
loss of MSS. by fire or any other cause during the ordinary course of business.


FROM THE ASSOCIATE EDITOR
AR GOSY
FLEETWAY HOUSE 4
LONDON, E.C.4
Telephone Central 8080
27th August 1963
Dear Mr. Rowdon,
Miss Sutherland, our Director and Editor, has asked me to thank
you for your letter. We are always pleased to see new material from
you, and shall look forward to a sight of your new book A Roman Street
which Gollancz is publishing.
You have kindly shown us The Mark, The Imposture and
The City of El J-, and all three have now been given careful con-
sideration by our Advisory Readers' Panel. Unfortunately, none of
these stories is quite in focus for Argosy, and Miss LeRoy has asked me
to send you a brief note about them.
Argosy is a shat story magazine with a wide and varied public all
over the world, and our fiction has, on the whole, a rather strong build-
up of action and character since our public expects story-value from
Argosy and is not accustomed to the slight, episodic theme or incident
which, of course, has its place in magazines of a different kind.
The Mark, although very readable, is too slender in theme and too
evanescent to be our material. The City of El € J-, in spite of its
evocative character study of the Prince is too diffuse and rambling to
make an Argosy story. It moves at the leisurely tempo of a chapter
from a novel.
The Imposture is the most effective of these three stories. Its
cumulative tragedy has the impact of a first-hand authentic account,
the message is implicit, but the story-value is outweighed by one's re-
actions of sympathy, pity, and disgust. This is nearer the type of
story-article used by The New Statesman, and I hope perhaps you will be
successful with it elsewhere as it is outside Argosy's range.
These stories have also been considered from the Woman's Journal
angle, but we regret that they are not their material.
I am sorry to send a disappointing reply: Our needs are perhaps
somewhat specialised and we tend to require a more traditional type of
story, with fuller treatment of action and character.
With all good wishes,
Yours singerely,
SORAS
Rassssss
Joan Stevenson
Encs.
Associate Editor
Maurice Rowdon Esq.,
Podere 'La Colombaia'
lbat
San
Gimignano, (SIENA), P.S. Mise Le
has
reguested
Royg
Italy
we shaed
(Lase (Cree
typescxiple
pass
to Lex.


DAVID HIGHAM
Telephone: GERRARD 7888.
ASSOCIATES, Ltd.
DIR CTORS:
Télegrams: HIGHLIT, WESDO.
Authors'Agents.
DAVID HIGHAN Munaging
LONDON,
JEAN LEROY
76, DEAN STREET, SOHO,
MONICA PRESTON
Cahles: HIGHLIT, LONDON
SHEILA DAVID WATSON BOLT
LONDON, W.1.
31st December, 1963.
Maurice Rowdon, Esq.,
Via Giulia 102,
Rome,
Italy.
Dear Maurice:
LETTER FROM SIENNA
I finished this over the Christmas break, and am sending the
typescript off to Gollancz today. I'll let you know the moment I
hear from V.G., of course.
Let me say straight away that it gives me a very great deal of
pleasure personally to settle down'to such a fine piece of reflective
writing. I don't know Italy well énough to comment on your descriptions,
beyond saying that they have a remarkable atmosphere and depth - the
houses as much as the people - which make a lasting impression. You
have this almost perfect balance of sharp perception and compassion that
brings everything into exact focus. But for me, I would say the passages
of personal reflection, and especially on theology, are among the best
things in the book. (I'm afraid I've already been working on the con-
trast of wisdom and knowledge - don't accuse me of plagiarism later!)
I loved your 'aside' on education: quite impossible, absolutely right.
There is one passage of scripture, John 8:41, which might or might not
refer to Christ's legitimacy, as you may know. I'd love to take up some
of these biblical questions with you one day. Your mention (P.205) of the
Fall is a bit sweeping, for instance, though I thought the point well
taken. As I say, this is very much "my" kind of book; and I shall be
disappointed if Gollancz aren't enthisiastic. But it is also, from a
commercial point of view, a difficult book - as you well know I and what
I'd like to hear more of, is your plans for the future. Are you going to
tackle a 'straight' novel again soon? It seems a not very great step,
and perhaps an obvious one.
Incidentally, I'm enclosing a Biographical Sheet; would you fill this
in and let me have it back? I have a lot of the informa tion already, of
course, but it's useful to have it set out in this way for quick reference.
All thebest for 1964.
Yours,
Aldonl-D/PPRasmablec care is taken of MSS. while in our possession we can accept no
any
damage thereto.
Savia


DAVID HIGHAM
Trlepione: GERRARD 7888.
ASSOCIATES, Ltd.
DIRECTORS:
Telegrams: HIGHLIT, WESDO.
Authors'Agents.
DAVID HIGHAM Managing
LONDON,
JEAN LEROY
76, DEAN STREET,
MONICA. PRESTON
Cahles: HIGHLIT, LONDON
SOHO,
DAVID BOLT
SHEILA WATSON
LONDON, W.1.
9th January, 1964.
Maurice Rowdon, Esq.,
Via Giulia 102,
Rome,
Itlay.
Dear Maurice:
LETTER FROM SIENA
We've had a note from Victor Gollancz saying:
"Can't this be put on the shelf for the
time being? As you know, we are not
publishing A ROMAN STREET until the
end of next month, and don't think we
want to consider LETTER FROM SIENA
until a little time after that."
This is perfectly understandable from Victor's
point of view, but tiresome from ours. I would suggest
we go along with him, but if you want me to I'll force the
issue.
Yours,
savid
DLB/PBD


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ia. Giulia. 102.
Italy..
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DAVID HIGHAM ASSOCIATES,
GERRARD
Ltd.
Telephone:
DIRECTORS:
Telegrams: HIGHLIT, WESDO.
Authors'Agents.
DAV HIGHAM Munaging
LONDON,
MONICA JEAN LEROY PRESTON
76, DEAN STREET, SOHO,
BOLT
Cahles: HIGHLIT, LONDON
SHEILA DAVID WATSON
LONDON, W. 1.
29th January, 1964.
Maurice Rowdon, Esq.,
Via Giulia 102,
Rome.
Dear Maurice:
I'll read TALES AND TRAVELS as soon as I have a moment.
I'm delighted to see it, of course, although you won't be surprised
I'm sure if I say that I'm not for the moment quite sure what we're
going to do with it. It seems at first glance to fit roughly into
the Gollancz books, and there isn't anything to be gained by showing
it to Victor at this moment.
Meanwhile, I'll see if I, can take the Batsford idea a step
further.
George Weidenfeld thanks for telling me, I'll make a firm
note of that. But in fact I sent George Weidenfeld a copy of ITALIAN
SKETCHES last year suggesting that you might do a book in one of his
series, and he wrote to me on the 20th June saying that ITALIAN SKETCHES
"made most enjoyable reading, and the reviews have borne out my very
favourable impression. I will think very seriously of him as a possible
author for a commissioned book". I've heard nothing more, but there's
no harm in linking up again, and that's what I'll do. George pays a
lot more than Batsford, but he's a lot more difficult to pin down.
And I'm delighted you agree about the novel. That's something
I very much want to see.
Yours,
Daw d
DLB/PBD
Although every reasonable care is taken of MSS. while in our possession we can accept no responsibility for any loss Or damage thereto'


RUSSELL & VOLKENING, Inc.
Literary Agents
50 WEST 29TH STREET
NEW YORK, N.Y. 10001
DIARMUID RUSSELL
HENRY, VOLKENING
24 January 1985
Maurice Rowdon
Creative Process Consultants
3618 Sacramento Street
San Francisco, CA 94118
Dear Mr. Rowdon:
My apologies for taking so long to respond to your submission.
The manuscripts arrived shortly before I went on vacationtand
as a result I am somewhat behind in my reading.
There is good material in the novel and at times. I found it
quite funny but it seeined to me that the narrative line was
not strong enough toarry the joke. The proposal on
breathing is intersting but I am not sufficiently acquainted
with the subject to judge its strength. You are clearly a
writer with a wide rahge of interests and you should, of course,
get other opinions. If you do not make other arrangements,
I would be glad to read your work in the future..
Best wishes.
Sincèraly,
Gina Maccoby
enc.


JED MATTES INC.
LITERARY AGENCY
175 West 73 Street #8H
New York, NY 10023-2906
December 6, 1989
Mr. Maurice Rowdon
125 Crescent Road
San Anselmo
California 94960
Dear Mr. Rowdon:
My pals at ICM forwarded your letter to me here, my roost
since fleeing the Big Nest last February. It's very hard
work, but I like my boss!
You're wise to have expressed your concerns this early on;
it's conceivable my manner of operation may not be suited to
your needs.
I work with Elaine Greene Ltd., London, on a virtually
exclusive basis. That is, almost all my clients are
represented in England by Elaine. However, I do in one
instance work with another agency in London, because the
client had a good relationship with that London agency when
she came to me and I saw no reason to disrupt it.
So the issue of your being represented by me here and by
someone other than Elaine is England is not terribly
troublesome to me. However, whenever I am primary agent for
a writer I participate in commission on his or her work
worldwide. I gather you'd like me to simply represent U.S.
rights and have nothing to do with your other rights, and
that's not workable for me. I involve myself in all
transactions of my clients, and participate in same.
My commission rate is 15% domestic and 20% foreign.
(When I am not the primary agent, but instead work on behalf
of an affiliate such as Elaine Greene, I represent only U.S.
publication and film rights. However, that would only be if
in conjunction with another agent (who would participate in
my commission).)
Since you're about to move to England, perhaps you'll want to
establish a relationship with an agency there, and rely on
that agent's recommendations for an agent in the States.
That said, if you think this might be workable for you, I'd
be very happy to consider representing you and I hope you'll
send along the first few chapters of your new novel. In any
case, I wish you every success.
Sincerely,
TD/5
funalor


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Maurice Rowdon
40 Glenluce Road Blackheath London SE3 7SB
Rochelle Stevens
2 Terrett's Place
Upper St
London N1 1QZ
Dear Rochelle Stevens:
Michael Codron suggested last year that I would do well to write and
ask you to represent me. He said he would like to see my next play and I'm
touching up the final draft of one now, called GURU GURU. It is this I
would like to send you if you're agreeable.
You will of course want to know something about my background.
My book agents are Lucas Alexander Whitley. They have no play or film
representation. My publishers have SO far been Chatto and Windus,
Heinemann, Constable, Gollancz, Weidenfeld, Macmillan, Harper Collins
in the UK and St Martin's Press, Putnam and Praeger in the States. This is
rarely a good recommendation for the ability to write plays but I've always
been in close assocation with the theatre. The previous playscripts of mine
which Michael Codron has seen have been backstage pieces and he has,
possibly with some wisdom, abjured backstage plays. Let me enclose
something the Really Useful Theatre Company wrote me about one of these
backstage plays it was a bid of mine to arouse a financial interest. GURU
GURU has no backstage reference. Thank you for your attention.
Yours sincerely


DAVID HIGHAM ASSOCIATES, Ltd.
DIRECTORS:
Telephone: GERRARD 7888
DAVID HIGHAM Managing
Telegrams: HIGHLIT, WESDO,
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JEAN LEROY
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SHEILA DAVID WATSON BOLT
Cables: HIGHLITYLONDON-WI
LONDON, W.1.
AJ.CROUCH
Acountont6Sewwheg
18th January, 1968
Maurice Rowdon, Esq.,
Casa Campardi,
53037 San Gimignano,
Siena,
Italy.
Dear Mr. Rowdon,
Thank you for your letter of the 13th.
cane a little bit too late for me to do a split
on the Weidenfeld £500. Your 90% of this was
sent to your Swiss Bank early this week.
I have not yet received the second half of
the BBC payment, but have made a note to send it
to Barclays when it does come in.
Regards,
secretary
AJC/1w
Although every reasonable care is taken of MSS. while in our possession we can accept no
responsibility for any loss or damage thereto * -


DAVID HIGHAM ASSOCIATES, Ltd.
DIRECTORS:
Teleplone: GERRARD 7888.
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Télegrams: HIGHLIT, WESDO.
Authors'Agents.
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76, DEAN STREET, SOHO,
A. J. CROUCH
Cahles: HIGHLIT, LONDON-WI
Accountant E. Sccretary
LONDON, W.1.
18th January, 1968
Maurice Rondon, Esq.,
Casa Campardi,
53037 San Gimignano,
Italy.
Dear Maurice,
You obviously don't trust us! I see that when you wrote to me on
the 13th about the Weidenfeld £500 you wrote to Tony Crouch at the same
time. You jolly nearly got two letters back. Briefly, yes the money is
in and has gone to your bank.
CONFESSIONS OF A EUROPEAN. Splendid. I can't now remember one
word of WAITING FOR MELLI but no doubt once I've glanced throught the new
script it will all come back to me the way these things do.
UMBRIA. I'm passing that very charming dedication outo Elizabeth.
Yours,
DLB/SB


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Bolt
Watson LTD AUTHORS' AGENTS
8 Storey's Gate London SWI
Tel: 01-930 5378/9 Cables: Bandwag London S W I
Directors: David Bolt Sheila Watson
Maurice Rowdon Esq.,
7th May 1975
5 Tamworth Street,
London SW6 1LB.
Dear Maurice,
The enclosed letter is too much travelled for a
simple re-direction again, and while we are investing in
a stamp I thought I'd just remind you that I do need to
hear from you both on DIAGHILEV and the MONASTICISM book
with which we are still very much involved.
I very much dislike abdicating in a situation
like this as the agent, and if you are dealing direct or
in some other way do please let me know.
Youts,
P.S. We have a tentative film interest in LORENZO.
Any objection to our pursuing this?
DLB/BSH: encl.
Reg. No. 1002046 London Registered Office 9 Margaret Street London WIN 7LF
Although every care is taken of MSS while in our possession we can accept no responsibility for loss or damage thereto


AUTHOR AID ASSOCIATES
LITERARY REPRESENTATIVES
340 EAST 52nd STREET
NEW YORK, NEW YORK 10022
Cable: MAXBIRD, NEW YORK
14 September 1994
To: Maurice
The complete revised version has been seen SO far
by only Basic Books, which is still considering it
(I'm asking for a decision) .These houses weren't
interested in seeing either sample chapters or the
complete ms: Crown, Oxford university Press, Bantam,
Penguin-Viking, Harcourt, Faber & Faber, MIT Press,
Free Press ("an interesting proposal but"), Harvard
University Press, Scribner, Chronicle Books, Bern-
stein/Wylie. This doesn't include the dozen or
more publishers that declined the complete original
version.
I haven't sent the first chapter because publishers
generally only want to see queries with outlines and
bios. I don't remember saying that your bio was the
only reason we weren't getting interest; only that
the bio didn't have the scientific or institutional
credentials publishers seem to want for this kind
of book. (Remember how Marc Jaffe at Houghton wanted
you to.Aave had a series on PBS). As for the "spirit-
ual" books at the top of the best-seller lists,
these are hardly "serious---past lives and meeting
God face to face---and completely different from
MAD APE in subject and intent and quality. Why Oxford
and Harvard weren't interested I haven't a clue;
they don't give reasons.
Aside from including what I remember is a longish
chapter one, not inexpensive to xerox, with the
query I don't see how we can proceed. on a better
basis with other houses like Freeman, Blackwell, -
Yale Press, Chicago Press, Continium (this by no
means exhaussts the list but it does mean we've al-
ready covered a lot of major houses. I'm also


AUTHOR AID ASSOCIATES
LITERARY REPRESENTATIVES
340 EAST 52nd STREET
NEW YORK, NEW YORK 10022
Cable: MAXBIRD, NEW YORK
keeping my eye out for major editors who are
leaving one major house for another and may need
complete books quickly---these are interestingly
mostly women and involve musical chairs at Harper
Collins, Simon & Schuster, etc.
Let me have your thoughts. If you want to assume
the expense of sending the first chapter, I'll
do so with xeroxes in future queries.
All best, and sorry about the delay, due to Labor
Day and a case of measles.
Arthur
A0:CC
P.S. Xeroxing here is 7 cents a page. Would it
make sense for you to send 6 copies of chapter
one instead of our xeroxing here?


Somes to Maunici -
Granuile gondn
Red df
lubel


72 Cornwall Gardens,
London, S.W.7.
20th July, 1959.
Dear Mo,
I have now finished PUBLIC ISLANDS. I don't feel able
to give you what I usually like to think of myself as capable
of - a judicious opinion on its merits as a novel. I don't
want to publish it for personal reasons as well as for legal
ones, but I'll tell you about the legal ones first, sine they
are the most important for you. After all, you wrote the book
to get it published, not to please me or anybody else.
If you want the book published under the name of Maurice
Rowdon, radical alterations will have to be made before any
publisher could risk taking it. The crux of libel is the
bu'siness of identification. Would people who had known the
characters in your novel - and there must be about 100 such in
S.W.3. - reasonably be able to identify them with their counter-
parts in real life? The answer is yes. At least 100 people
knew a chap called Maurice Rowdon married to a girl called Joan,
living off the Fulham road, with a couple as lodgers, called
James and Daphne, Daphne dark and a dancer in a West Indian
troupe. From this alone, not to mention several other points
of identification, they would be able to deduce the identity
of several other characters - such as Val Schur, Princess Shari,
Francis Wyndham, Gloria Rhodes, Fitzroy Maclean and wife, and
so on. Some of these might bring a. libel action to the effect
that their characters had been damaged, and as long as they
could get some Chelsea witnesses to say in court (quite truth-
fully) that they had réad the book and immediately jumped to
the conclusion that X in the book was Y in real life, the case
would be likely to go against you. Princess Shari and Gloria
would have particularly strong grounds, being professional
people and thereby depending on their reputations for their
livelihood. I should say that my parents, Daphne and myself
are also clearly libelled. You make the dangers of libel
infinitely greater by making your physical descriptions of the
characters exactly fit théir originals in life.
Damages for libel are jolly severe, and once an author has
involved a publisher in intenti onal rather than accidental' (I
mean coincidental) libel, he is a marked man. Your best plan
is to consult a lawyer who specialises in libel. Explain to
him in detail all the points of similarity between the events,


persons, locations, etc as they were in real life and as they
are in the novel, and he will be able to give you detailed
advice as to how to make the book legally safe. It would be
better to do this before sending it to another publisher, but
it is essential that you should tell your publisher about the
problem anyway: see any contrat-
As for what I feel about the book myself: I know it is a
novel, and therefore an atefact and not a transcript from
history; all the same, I get the overwhelming impression that
the story and characters in the book are meant to be a likeness
of what happened to you at the end of the Radcliffe Garden days.
If that is so, I feel an appalling sadness. Is that really
how you saw the people surrounding you? Worse still, is that
really how you see yourself? Were you ever such a humourless,
egocentric, class-bitten turd as you make out Granville to be?
As one who thought he knew something of you, I should like to
say no; but perhaps I am wrong; perhaps your book proves what
we are all too terrified to admit - that solipsism is victorious,
that there are no objective facts about people but only reflec-
tions in other people's eyes, that two people (such as yourself
and myself) can be friends and yet misunderstand each other so
thoroughly as to be total strangers. In none of your novels
have you ever created a live person (it is not necessary to do
so in order to write a good novel), and I believe that this is
because you never actually look at people, never allow people
to be.themselves, but always search for some thing you want in
them, some abstract quality to prove a point of your own. PUBIC
ISLANDS is monstrously abstract. Only one person is given any
pity or love or permitted three dimensions, and that is Granville -
and maybe his parents. Every yone else is a cardboard set of
characteristics. Above all Pinkie should be real, but you won't
let her be: she is jus t some one whom Granville loves (in a
rather peculiar way, as shown in the book) and who makes him
miserable: But for God's sake what is Pinkie like? Why does
she make him miserable? Why does she go off with paunchy Grove,
whom you make the shadow of a shadow despite his paunch? The
reader looks up and is not fed.
Abstract too is your dislike of the middle classes, which
you appear to lump together like Jews as an 'out' category.
The real core of the book, the warm core, is the Battersea stuff.
Yet as soon as you describe other milieus, your people become
abstract: the probf of this is that you get the cadenees of
their voices all wrong - you never listened to them. There is
no loveof human beings in the book at all - I don't mean you
should love the people in real life whom you describe in the
book, but that as an author you should love the characters you
create, for thir own sakes, villains equally, as Iago or
Stavrogin or Julien Sorel are loved.
Sad also was the fact that you got certain things wrong


historically, which you never saw at the time and which no one
will ever tell you now. The primary emotion of the book is a
colossal sense of personal betrayal. I'm not surprised, but
after all these years you don't seem to have got beyond the
simple reaction. Who, after all, did betray you? And if any-
one did, who was it? And why was it? But all this is old hat,
a squashed pork pie on the 31 bus route.
Lastly, the libel that concerns me and mine. I have one
request - can I say for friendship's sake, or, if not, on human-
itarian grounds? Would you remove any passage which might give
offence to my parents? Both my parents have read books of yours
and might read another. My dad has had two strokes already and
must not be excited. If he read the book, it could well do for
him.
Daphne's read the book and is hopping mad about various
things but that's not my pigeon.
"In tragic life, God wot,
No villain need be
We are betrayed by what is false within". (Modern Love)
Jot it down, soldier, jot it down,
So long,
- ares
P.S. The second copy will follow with our lawyer's report on
the book, which will be of help to you.
P.P.S. What's all this about me shoving the book around? Odd
phone messages came through which made.no sense.


THE FALL OF VENICE
(Weidenfeld, Praeger USA)
LORENZO THE MAGNIFICENT
(Weidenfeld, ? USA)
THE SPANISH TERROR
(Constable, St. Martin's
Press USA)
LEONARDO DA VINCI
(Weidenfeld)
THE TALKING DOGS
(Macmillan and Putnam
USA)
Theatre
ESKIMO TRANCE Victoria theatre Stoke on Trent.
ESKIMO TRANCE Mercury Theatre London under my own
direction.
MAHLER* Arts Theatre London, my own production.
MAHLER Studio Theatre Munich, my direction.
*This inspired Ken Russell's film of that name .
Television
BBC 55 min. Omnibus: THE FALL OF VENICE, which I
scripted from my book The Fall of Venice; I was part
of the pre-production team in Venice as fixer,
casting the lead Italian players and supers etc.
Roeh
Traul
Sophin
DRaly
lant
Mella
Tho
Wadyfn
Suuna
Tuo Endahuonan haulgst
C One
- Howbo Shor DyT
Jant
husht fevers
ny wye Einly
Econaroeslee
mpt eedps


AUTHRS GulO URBBITE
BIOGRAPHY
was born in A London werking-class-fmmrly and took two degrees at Oxford, the
first in Modern History (a 'war degree') and the other in Modern Greats
(Philosophy, Politics, Economics), specializing in Kant's Critique of Pure Reason
(three years), Day first year having been curtailed by the outbreak of World War
hir
Two. At the age of 21 I was a Forward Observation Officer in the Italian
campaign. After the war, when I had taken my second degree, I taught English
Literature at Baghdad University and there wrote my first book.
Afterwards, on my way back to England, I stopped in Italy and decided to
live there if and when I had a sufficient income from my writing. This came from
Harper's Magazine, to which I sold a story, and it provided me with a generous
year's upkeep. I began publishing books on Italy. These received such enthusiastic
notices that from this time my books were commissioned in advance. By this
meansi became a specialist in Italian civilisation, SO that I could settle in that
country while keeping a home in London.
At that time it didn't do to have any awareness ofwhat would one day
happen to our planet, even though there were drastic and lasting weather changes
immediately after World War Two. In an otherwise gratifying review of my first
book on Italy the Times Literary Supplementerlie added that even forgave me LUC -
Whi
ny the 'crankiness' ofmy suggestion that political parties would one day come into
being with the ticket of what we today call green' issues.
At the age of39 I was told by a Dutch friend that unless I practiced yoga I
would have to face. the normal destiny of old age. I began practicing Hatha Yoga'
and daily pranayama (breath-discipline) under an Indian guru in Switzerland. This
was my daily habit for twelve years or more, and only then did I begin to develop
a breath technique which would be thoroughly safe. For this purpose I induced
panic states of hyperventilation in myself SO that these could never happen to those
in my charge. I taught this system under the title of Oxygenesis at Berkeley and
San Francisco Cal. over a period of eight years.
There I continued my writing and began to feel that there was no distinction
between my fiction and non-fiction books---fiction being a document in which I
created the plot while a non-fiction plot was created by history. Thus it was that I
wrote my novels in a style suitable for an historical document and my history-
books in a highly personal style suitable for a novel. My SPANISH TERROR was
written in that personal mode, being the story ofhow money began to take
precedence over the human, solely to. finance war.
Now any animal that consistently, in every one ofits so-called civilizations,
has regarded war, namely.the planned decimation ofits own species, not simply as
a glorious pursuit in its own right but the very basis of survival, is surely suffering
from dementia---a dementia which is exactly replicated in the present doomed
state of our planet.
Through this growing awareness I became interested in the way a hitherto
dignified and ruthlessly self-confident civilization might suddenly fall into


degradation and become no more than its stones and frescoes and bridges---this
produced THE SILVER AGE OF VENICE. I found I was increasingly studying
not what the human said about himself, or flattered himself to be (history), but the
far more exciting story ofhis mutations and adaptations, namely his brave,
prolonged and repeated efforts to find again the fixed habitat he had once enjoyed
as an animal.
In his frantic search he occupied every known habitat on the earth. Human'
could thus be defined as 'the animal that belongs nowhere' . Of all atrocities this
monkey, accustomed to roots and fruits, became a carnivore.
More and more I was convinced that only by seeing ourselves as the
animals we are can we reach the truth about ourselves and our deathly history.
This was why I was ready to examine the intelligence oftwo dogs in my ELKE
AND BELAM. For in the end we can only judge an animal's S intelligence by the
state in which it leaves its habitat--whether enriched or degraded, ruined or
flourishing. And by this criterion the human has the smallest intelligence of all the
animals.
This is perhaps dawning on more and more of us. Hundreds of us are
engaged in rehabilitating 'dead' land by the simple introduction of animals which
need not be indigenous to that land. Horses have been introduced into 'dead' land
both in France and Britain, and that land has at once sprung to life again with flora
and fauna. And perhaps millions are seeing their pets not simply as adornments to
the household but their equals and indeed their peers.
WORK
1) THE SPANISH TERROR
2) (non-fiction)
3) 'In this vivid account he captures the times when dagger, poisoned phial
and strangler's S gut... ,
4) He explodes the idea that the Renaissance was simply a flowering ofthe
human spirit, and shows another aspect---that scholars and artists were at
the mercy ofthe financial power-houses and did their work against a
background of war, revolution and factional fighting in the streets'.
5) The sixteenth century was for Europe an epoch of fervent business,
persecution and war. In that time the modern world as we recognise it came
into being. Things changed faster than ever before and perhaps ever since.
Even the industrial nineteenth century was less original in its changes; the
basis of the work had been done three centuries before. For some people
'the sixteenth century' means the beginning of Christian civilisation proper.
They see the Middle Ages as a kind of passive incubation period,
dominated and repressed by the Church, before the great liberating forces
(called the Renaissance) which brought about renewed trade, voyages of
discovery, new techniques of manufacture and the chastening of Rome.
But there is little evidence that a civilisation was created, though a


quite new society was. Compared with the Middle Ages the sixteenth
century had nothing tranquil and nothing wholesome about it. Small
pockets of civilization had arisen---Florence, Antwerp, Venice---but were
swallowed up in military occupation or affluence. They were piecemeal,
brief and interrupted attempts at a civilization for which Christendom as a
whole did not seem ready.
The question arises, was a sustained Christian civilization ever
achieved, comparable to the great (and certainly sustained) civilizations of
the Orient or the Mediterranean; where the smallest details of life seemed to
refer to a divine illumination?
Certainly mediaeval life was sustained; one generation saw much the
same world as the one before it. But then Europe was still nursing its
wounds after the chaotic dismemberment ofthe Roman Empire by
barbarian tribes. There was something too guarded, too numbed about
mediaeval life to call it civilized. Compared with the ancient civilizations
the mediaeval world was starved of light; it never translated---it did not
dare to translate---its deep sense of the divine into the outwardly
marvellous. It knew little about ancient Greece.
But at the time ofthe Renaissance, in the fourteenth and fifteenth
centuries, Europe did begin to look back---and to compare itself
unfavourably with the ancient past. That was what produced the pockets of
civilization--notably Florence under the Medici. But they were soon
engulfed in war and persecution. The result was a disturbed society which
still today fails to solve its problems or even to offer agreed definitions as
to what these problems are.
The problems certainly came into being in the sixteenth century.
They were insoluble then, by their nature. And since they remain the basis
ofthe world we live in now, there seems no more hope than there ever was
of resolving them, except by the disintegration of the whole system oflife
adopted at that time and consolidated, with growing chaos, ever since.
Violence became basic to life in the sixteenth century. It even
seemed an essential condition of Christian survival. Yet thirty years before
that century opened violence was neither expected nor thought necessary.
When in 1479 Federico ofUrbino shattered some of the roofs of Colle Val
d'Elsa near Siena with his cannons, in the war between Florence and the
pope, the local population made a great cry about it being 'unfair'. Of
course pillaging had gone on, but it had usually been the work of an
eccentric.when not an accident. Niccold Vitelli ofCittà di Castello, who
devastated much of the Romagna during the same war, was known for his
brutality, and everyone prophesied a sticky end for him.
Less than half a century later there were new standards ofviolence
which were more reminiscent ofthe barbarian period than anything else.
Men became strangers to each other over trifling definitions ofwords---


men in the same camp, the same court, the same Church. The divisions
were SO great that only one factor held sixteenth-century life together at all
and that was the threat of a Turkish invasion. Without this Europe might
very well have reverted to its tribal condition of a millennium before. Yet
by this time the Middle Ages were something to laugh at, presumably for
having achieved a common and basically peaceful life throughout Europe.
Present-day society--whether we are talking about medical science or the
printing of vast numbers ofbooks in vernacular languages or
communications or the banking system or exploration or racial and
religious persecution or the arts and literature or state debts or techniques of
war or espionage or the 'whitewashing' of human minds---was developed
at that time.
One factor underlay all these activities, a new factor for Christendom:
money. Of course money had always been used. But now it had an
unprecedented role. The fact that it went far beyond a mere symbol of
exchange to become the sine qua non of power had a great deal to do with
the violence. Great sums of money were borrowed by states at fantastic
rates ofinterest, sometimes 50 percent. This was for the financing of war,
though it was still largely the polite war oft mercenaries who hesitated to
engage the enemy for fear ofwinning their battles and ending their
contracts too soon. Now the armies had to do something highly impolite,
and increasingly by fair means or foul; and that was to win sufficient
territory and markets to pay back the loans plus the interest, in an escalating
activity that created one empire after another.
These empires began with aggression and ended in inflation. The first
great empire of this kind (quite different from the empires ofGreece and
Rome) was the Spanish. And it arose more clearly from the borrowing
prinçiple than from any factor of simple self-aggrandisement. The gold and
silver bullion that poured into Spain from the newly won Americas
: financed Spain's hold on Europe, and through inflation it also reduced
# Spain to a secondary power in less than a century after its heyday. This new
type of empire clearly rose and fell with remarkable speed.
Since then other empires have gone through the same process with
varying degrees of speed. And they continue to do so. In this process the
mother-country becomes overburdened with its far-flung responsibilities
and in the end cannot compete with the power it has necessarily created
(under viceroys and puppet rulers and in satellite states) in every part ofthe
globe'.
WORK
1. THE SILVER AGE OF VENICE
2. Nonfiction


3. Penetrates the most intimate corners ofVenetian life. His books have won
wide critical acclaim.'
4. With his great knowledge of eighteenth-century Venetian life he lays bare
a civilization premised, as none other, on a tyranny of manners. But now
the aristocrats gambled day and night, infecting the common people with
their obsessive self-indulgence, in this last jewel ofthe ancient regime. 2
5. 'Being a woman in Venice was a profession. She had to set the Serenissima
off, be its prise and consolation; a woman changed according to the state of
the Republic and the male tastes that happened to prevail. Whether these
corresponded to her own choice, much less her own happiness, had no
importance, It was a wonder that a clever woman could survive in Venice;
but there were a few, especially in the eighteenth century when she was a
pleasure-symbol and no longer the remote doll she had been a century
before, strutting along on stilts, the bearer of family prestige and talking to
no one. She was beguiling now, with occhio lascivo in ziro e seducente,
sedizioso el parlar, sia brute O bele'--"a roaming, lascivious, seductive
eye, seditious in speech, whether plain or beautiful'. But then she was freer
than ever before. Venice now required her freedom. She too was free to
fall.
The liberation of patrician women from a strait and secluded home-
life began during the nineteenth century with the coming of opulent
standards. Young patrician girls had once been forbidden the licence of
going to church on Sundays, ever since 1482 when a young man whisked
off a girl called Giovanna di Riviera on her way to church and married her
outside Venetian territory; after that Mass was celebrated at home, in the
private chapel. A wife had once lived little more than a harem existence,
under the same roof with Circassian and Giorgian women, slaves with
whom she shared her husband and who often meant more to him than she
did. She went out rarely, and when she did was under heavy chaperonage;
in the period of luxury her high clogs secured the same effect, though she
did go out more. Even her children were taken from her early, the boys to
serve their seniors in the Great Council, running messages, bringing coffee
and carrying the ballot boxes with their golden and silver balls, the girls to
close their minds to all but daily trivialities in a convent. In the earlier
epochs social life had not been open to women; the only time they had
expected to appear in public was on rare state occasions, as part ofthe
patrician parade, and even then they had been closely hemmed with family.
In other parts of Italy women led nowhere near such an Eastern life, a fact
which makes the rapid abandonment of discipline in the last two centuries
of the Republic even more remarkable. By the end of that time what Italians
call 'the equilateral triangle' (wife, husband and lover) was, if not
established, not something to be surprised at. But then foreign influences
had intruded. No one was surprised in London that the fifth Duke of


Mad Ape The animal that said it wasn 't (forthcoming)
(a book drawn not from the human's stories about himself, least of all his
histories, but from his far more spectacular, far more ardent and painstaking
mutations and adaptations).
ITALIAN LIFE
Italian Sketches (Victor Gollancz)
A Roman Street (Victor Gollancz)
Collins Companion Guide to Umbria (Collins)
The Fall ofVenice (Weidenfeld and Nicolson)
Lorenzo the Magnificent (Weidenfeld and Nicolson/Praeger)
Leonardo da Vinci (Weidenfeld and Nicolson)
WAR
Of Sins and Winter (Chatto and Windus)
Forward to the Death (forthcoming)
BREATH GUIDANCE/OLD AGE
Breathtaking Moments forthcoming)
Rowdon introduced his breathing system in California in 1981/2, calling it
Oxygenesis. This system began from strictly physiological principles. While
a great deal is known today about the metabolism of oxygen little has been
done either by the medical industry or oriental breath teachers to analyse the
key role of the thoracic and abdominal muscles in the determination of
breath. Breath-taking begins with the examination of the interplay between
the intercostal and abdominal muscles. Only after flexibility of response has
been obtained can the breath be activated' from its usually passive role.'
Proper breathing means the right breath in the right place at the right
moment. It is probable that the bulk of mankind have the wrong breath, i.e.
the least efficient one for the requirements of the nervous system at any given
time.
The phantasm of old age, that is the breakdown of the human body many
decades before man's s cellular or biological capacity of 120 years, is a specific
result of ineffective breathing---in air already much depleted in oxygen
content compared with that available a thousand years ago, as found in
amber-tests. It was not many decades ago that the so-called Pulmonary


Association was teaching that breath comes naturally. That human breathing
was more tranquil a thousand years ago is possible but not at all probable.'
PHILOSOPHY---what good is it?
Philosophy begins and ends with doubts about what is real. It finds
that reality is simply a conviction, not what we can prove or
demonstrate. Other animals have no difficulties of this kind---the
movement of their wings and fins and legs and amphibious abilities
require no forethought, being inherited.
'Only one philosopher has squarely faced human dementia and that
was Socrates. Indeed all the later philosophy, from Aristotle to Kant
and Nietzche, was a doomed effort to fairy-tale the dementia away.
That fairy tale is best personified by the meaning of the word
philosophy itself---'the love of wisdom', 9 in an animal which has
consistently, through no fault ofl his own (indeed, he always
demonstrated the greatest ardour) shown less ofi it than any other'.


HITLER'S
SHOWBIZ
DIARIES
(1968-1978) IK kept a diary of the endless daily media transactions I was involved in, and in
which, strangely, Hitler seemed to play a part as the moving spirit of destruction
behind our very thoughts. The film footage on him seemed endless. Our projects
started in talk---what else could they start with? And the talk might end in a play or
television project or film but mostly it didn't. You invariably ended up with what you
didn't start with and what you didn'tintend or foresee in any way, and sometimes
you ended up by watching somebody else walk off with the fruits of all the
discussions you had had. In other words it wasn't necessarily you who executed what
your words had started. Likewise you often found yourself executing what somebody
else's words ('script', "breakdown', 9 synopsis') had started. A producer once asked
me and a director to make certain changes in a script he described the script as 'a cwt.
of shit in a 5 lb. bag' and then after looking at our version shot the 5 lb bag of shit and
it was a success.
EXCERPTS FROM THE BOOKS:
AFTERWARDS:
Excerpt 1.
Tdj just like to say this, Glen', he murmured, suddenly moving close to me with
energy, 'Iwrote this book Afterwards to save humanity in the event of a nuclear war,
and that went all over the world as my advocating nuclear war. Now I wouldn't mind
if people knew what I meant by the Afterwards but they don't. They think I mean
after the bomb falls---in the future. But I don't! I mean now. Remember what
Macbeth said after his first murder-- "From this instant there's nothing serious in
mortality"? And then he says, "All is but toys, grace and renown is dead" (they
weren't too hot on their grammar in those days), "the wine of life if drawn". Think
of that, Glen! It's happened to us too! Our murder was Hiroshima. We ate the apple
ofknowledge! We murdered respect for men and women! We're living in the
Afterwards ofthat! Hitler started breaking this respect down, with his extermination
camps, but that was only a beginning. Now we're right there. We're his children OK!
And we've still got to go on and on, like Macbeth. The murders can't stop. I'm only
facing facts, trying to see some chance of survival in all this, and even some hope!
Old Macbeth had to murder his friends, we've got to do the same---we may say we-
don'tv want to but we'll have to, for the same reasons! Macbeth had to create a secret
service that spanned all of Scotland, which was the universe as far as he was
concerned. And that's hell! He created hell. And that's what we're living in now--
hell! And people don't know it. Leastways they have a hunch about it but very
privately. They prefer acting! They try and think they're still in the Before, and
everything's nice and cosy and being looked after like it used to be. Now my book,'
he said, out of breath now, 'tries to make 'em face up to hell, rationally. That's what I
mean by the rationalisation ofl hell. But people won't listen. They'd rather call me a
nuclear nut. Since 1945 the human' s being's been dead. That' S my message, Glen.
Printthat, ifyou like.
Excerpt 2.
'But what's the point of getting to the moon?" I asked him.


The moon?" he said. I ought to charge you tuition fees! What you don't
know is wonderful! Listen, when you put all those smears in the paper about
me and mine, do you believe them? Of course you don't! Do I? Ofcourse I don't!
Yet you believe any crap they. put out to keep you dazed about heroes getting to the
moon and dancing about in space and wondering ifante was right and there are
white souls up there, whiter than the white of the moon!' He laughed. 'Yes, I should
think not! Oh, you could send someone there. A station maybe, in time. But damned
expensive. A radio telescope can tell you more or less all you need to know. At least,
SO I should guess. No, Glen, the real thing is a laboratory with a panel of men inside
who can see every aspect of the earth from a military point of view, who can prevent
nuclear explosions wherèver somebody's mad enough to try, and produce one too, if
it's a case of do-or-die! That' 's the security I was talking about! That's your "moon"!
Moonshine, more like it! You've got to moonshine for the millions of crumbs all over
the earth sitting on their lazy fat. arses watching television. Apparently, they need
moon stories!'
You mean those flying laboratories are going to have nuclear bombs in
them, too?'
'What else would I mean?'
'But what s that got to do with being on the stars talking philosophy and
things like that?" fasked him.
'A hell of a lot,. Glen---why don'tyou tackle that cake there?---it's the same
thing! Like you hàve drugs and splines and transfusions and sterilised air to keep the
body going, so you've got a system of surveillance in the skies, to keep the earth
going!


After Oxford he took up a post at Baghdad university teaching English literature. There he
wrote his first novel, Hellebore the Clown. Later he returned to Europe by boat from Beirut
to Naples, drawn back to Italy by his memory of the Italians during battle--honest, open,
humane to both sides without exciting resentment on either. He resolved to live there but first
returned to London where he wrote three books Of Sins and Winter, an account of a stay in
Austria still haunted by the war, Perimeter West about the Berlin ruins, familiar to him from
his post-war stay in that city, and Afterwards about an American publicity-agent who sees
Hiroshima as dividing history into the Before-The-Bomb and the. Afterwards, and dreams of
the exploitation of space, thus foretelling fifty years ofspace-experiment by the USA and
Britain.
Rowdon returned to Italy and began living in Rome, where he wrote his first two books on
Italian life, Italian Sketches and A Roman Street. These gave him a serious literary
following. The Times Literary Supplement gave him a warm and generous review, adding
that the author's prediction that there would one day be a (green) party devoted solely to the
state oft the earth was his only sign of crankiness. He and his wife, a sculptress (Annette
Rowdon) bought, on a loan, a 21-hectare farm in the Sienese Hills where, helped by Brussels
subsidies, Rowdon planted 400 olive trees, constructed new vineyards and learned every
aspect of honest wine-making. His new status as writer opened the way to many commissions
such as The Companion Guide to Umbria, The Fall of Venice, The Spanish Terror,
Leonardo da Vinci and Lorenzo the Magnificent. In the Seventies he kept a diary of the
media events he was daily involved in---Hitler's Showbiz Diary (forthcoming).
His wife being American, they often visited the USA, and he also got to know New York
well---this led to his novel Night Fevers, Two Englishwomen in New York (forthcoming).
He also wrote his first animal-intelligence book The Talking Dogs, which was published
simultaneously in London and New York. [click to 'animal intelligence'].
Back at the Italian farm he came across some fascinating books published in Berkeley, Ca.,
more especially a book called Kundalini or Psychosis' by the opthamologist Lee
Sanella and The Dancing Wu Li Masters by the physicist Gary Zukav. By this time Rowdon
had been doing daily pranayama or yoga breathing over a period of at least seventeen years,
which made a session in Earl's Court London with Janabai, a close associate ofl Leonard Orr
the Rebirther (whom he came to know and greatly admire), a remarkable experience. But he
was aware that Leonard's system was a hyperventilatory technique, and thus a shock to a
nervous system not already protected, as Rowdon's had been, by long training in hatha yoga
postures, where the breath was aj posture or asana, not a separate activity. This special
weaning oft the breathing system can be only be done under Indian tutelage because in that
case alone it is passed down through many generations, in an understanding of prana or the
divine element within oxygen which Western ideas and training cannot reach or purvey. It
prompted him to develop a breathing system which began from the breathing muscles, not
from the breath itself, SO that tetanus and hyperventilation, with their panic-stricken, indeed
sometimes terrifying, effects, were avoided. He induced hyperventilation in himself
repeatedly in order to discover how and when it came into being---i.e. by means of what
wrong moves. Since he and his wife had decided to divorce amicably he resolved to take this
breathing system to Berkeley Ca.. With a letter ofi introduction to Professor Nanos Valaritis of
San Francisco university, already a well-known poet, he flew there, meaning to stay in
California for a few weeks---he remained for nearly nine years. He and Nanos hit it off at
once and found they had common friends all over Europe. Nanos set him up with a group of
mostly university people who were prepared to study the breath, and Rowdon established a
practice which in the end brought him hundreds of clients and eventually offices in San
Francisco. This led to his writing Breathtaking Moments (forthcoming). Study of the breath
also made him realise why most people experience old age, which he now saw as medical
indoctrination that cuts decades off the human's cellular or biological span of 120 years.


luenci
lnpil
chice
After Oxford he took up a post at Baghdad university teaching English literature. There he
Wrofe his first novel, Hellebore the Clown. Luterhe returned to Europe by boat from Beirut
to-Naples, Hrawrbaekete-Htal-by-his-memoryofthc-itatians-during.battle, -honest,open,
humane-ta both sides withoutlexciting.reiting.resentment.on.cither, He resolved to live there but first
returned to London wherehe wrote three books Of Sins and Winter, an/ account of a stay in
Austria still haunted by the war, Perimeter West about the Berlin ruins/ familiar to him from
bis-post-war stay in that city, and Afterwards about an American publicity-agent who sees it uucie
Hiroshima as dividing history into the Before-The-Bomb and the Afterwards, and dreams of
Iml
the exploitation of space, thus foretelling fifty years ofspace-experiment by the USA and
Britain.
tone
Rowdon returmed-te-Haly-and began living in Rome, where he wrote hisfirst two books on
Italian life, Italian Sketches and A Roman Street. These gave him Aserionstiterary
following. The Times Literary Supplement gave him a warm and generous review, adding
that the author's prediction that there would one day be a (green) party devoted solely to the
state of the earth was his only sign of crankiness. He and his wife, a sculptress (Annette
Rowdon) bought, on a loan, a 21-hectare farm in the Sienese Hills where, helped by Brussels
subsidies, Rowdon planted 400 olive trees, constructed new vineyards and learned every
aspect of honest wine-making. His new status as writer opened the way to many commissions
such as The Companion Guide to Umbria, The Fall of Venice, The Spanish Terror,
Leonardo da Vinci and Lorenzo the Magnificent. In the Seventies he kept a diary of the
media events he was daily involved in---Hitler's Showbiz Diary (forthcoming).
His wife being American, they often visited the USA, and he also got to know New York
well---this led to his novel Night Fevers, Two Englishwomen in New York (forthcoming).
He also wrote his first animal-intelligence book The Talking Dogs; which was published
simultaneously in London and New York. [click to 'animal intelligence'].
Back at the Italian farm he came across some fascinating books published in Berkeley, Ca.,
more especially a book called Kundalini or Psychosis' by the opthamologist Lee
Sanella and The Dancing Wu Li Masters by the physicist Gary Zukav. By this time Rowdon
had been doing daily pranayama or yoga breathing over. a period of at least seventeen years,
which made a session in Earl's Court London with Janabai, a close associate of Leonard Orr
the Rebirther (whom he came to know and greatly admire), a remarkable experience. But he
was aware that Leonard's system was a hyperventilatory technique, and thus a shock to a
nervous system not already protected, as Rowdon' s had been, by long training in hatha yoga
postures, where the breath was a posture or asana, not a separate activity. This special
weaning of the breathing system can be only be done under Indian tutelage because in that
case alone it is passed down through many generations, in an understanding of prana or the
divine element within oxygen which Western ideas and training cannot reach or purvey. It
prompted him to develop a breathing system which began from the breathing muscles, not
from the breath itself, SO that tetanus and hyperventilation, with their panic-stricken, indeed
sometimes terrifying, effects, were avoided. He induced hyperventilation in himself
repeatedly in order to discover how and when it came into being---i.e. by means of what
wrong moves. Since he and his wife had decided to divorce amicably he resolved to take this
breathing system to Berkeley Ca.. With a letter of introduction to Professor Nanos Valaritis of
San Francisco university, already a well-known poet, he flew there, meaning to stay in
California for a few weeks---he remained for nearly nine years. He and Nanos hit it off at
once and found they had common friends all over Europe. Nanos set him up with a group of
mostly university people who were prepared to study the breath, and Rowdon established a
practice which in the end brought him hundreds of clients and eventually offices in San
Francisco. This led to his writing Breathtaking Moments (forthcoming). Study ofthe breath
also made him realise why most people experience old age, which he now saw as medical
indoctrination that cuts decades off the human' s cellular or biological span of 120 years.


I confess that one afternoon, resting from the hearty ex-history don' s ponies, I happened to
look out of my window and see what must surely be another Kantian victim--bedraggled and
stooped, he walked a few steps, gazed long at the sidewalk, walked a bit more, stopped and
thought again, moved a yard, stopped utterly still for a whole age. It was a living enactment of
myself.
I confess that when my philosophy tutor Donald Mackinnon, who wrote a book called The
Borderlines of Theology, murmured the word Kant' to himself after reading my very first
paper for him I thought he meant the female organ and was justifiably insulting my powers as
a thinker, whereas he was preparing to make me specialise in Kant's S Critique of Pure Reason.
I confess that all our philosophy' in the West has been the child of Aristotle's thought, whose
texts could satisfactorily be thrown down the drain of idle chatter and replaced with one
sentence, any sentence, of Spinoza's.
I confess that nevertheless Aristotle has possession of my mind, that he and he alone has
provided not only the form of my mind but its content. This is how his influence happened
historically: he was close to being a god for mediaeval thinkers---as close as their devotion to
Christ would allow. He became the arbiter of all thought in mediaeval times. His word alone
could settle disputes. So untouchable was he as a guide that various popes tried to discourage
his hypnotic sway---his power, yes, to alter the very shape and form of Christianity. But it
was useless. Those popes lost the battle.
I confess that Spinoza said all you humans do is sit and think about yourselves and praise and
mourn your experience but never do you ask who provided your thoughts, their form and
sequence? How could I possibly understand the meaning of sight and sounds, the thoughts
and tastes and touches terrible or nice that words describe for me---who is the unrecognised
moment-by-moment, provider?
I confess that once I had learned truly to think I saw at last that history' was a tale told by an
idiot but a most fascinating one, showing how deeply the human can see himself living in
what is not taking place. We must always remember that the first and only historian for us
Christians was the Greek Herodotus and he wrote nothing that wasn 't about war. And anyone
who writes a chronicle of war as 'winning' or 'losing' or, most preposterous as 'glory' is
making it all up---QED.
The things they have.said about my books
It is a real pleasure to come across a quite original book entitled Italian Sketches. Mr.Rowdon
is astonishingly acute in recognising in the Italians a quality which impels them to spare
foreigners embarrassment or mortification. ..It is a relief to read this factual book about
Italy. I derived much pleasure from this book and recommend it warmly. {Sir, Harold
Nicolson, Observer).
Recalls Lawrence's Twilight in Italy almost uncannily. The perfect antidote to the effusive
outsider's travel book. The results are superficially glum, but in retrospect, and artistically,
exhilarating, because SO often piercingly accurate and SO far under the skin of everyday
appearances that it is really a new reappraisal almost ofa new country. Extreme spiritual
delicacy as well as physical sensibility. (Isabel Quigly, Guardian).


Ifit were possible to explain why Mr.Rowdon' S ideas are SO acceptable, it would be possible
to explain Italy---and if this were possible, nobody would write books about Italy any more.
All books about Italy are frantic attempts to try and understand the nature of the fascination,
and ifl Mr.Rowdon's book is one of the best attempts that has been made for many years, this
is because he tries SO deeply to understand. (Nigel Dennis, Daily Telegraph).
'A new writer of importance. Within a couple of pages he has established a strong literary
personality' (R.G.G.Price, Punch).
Hellebore the Clown, Of Sins and Winter, Afterwards, Perimeter West, A Roman Street,
Companion Guide to Umbria, The Fall ofVenice, Lorenzo de' Medici, The Spanish Terror,
Leonardo da Vinci were some of the books I wrote.
Ofthese, Perimeter West was consistently sneered at in Britain and lavishly noticed in
Germany because it gave recognition to the Germans as human and a people (Perimeter West
was published early after the war).
While I was doing all this writing I was represented by one of the fancy top agencies of the
time and every generous commission that came my way seemed to prove that I was alive and
thriving, which was not the case when I looked within. The soldier within peeped out and
would have none ofit.
I wrote like mad, my commissions during the day and my original work in the evening, and I
was as heàlthy as a sapling. And it was all a fakery, and I knew it. I don't mean that I wasn't
sincere, I wàs unsparingly SO in all I wrote. But the fact that I was writing books, and
publishing those books, was an act ofhostalgia for something gone by, and I think we all
knew it underneath. It had become damned silly to write 'novels' ofall things, and I never
tried to do so, as I understand now: they were accounts of my time, eye-witness accounts.
We were creating something dead before it started because we were telling (quite innocently)
a falsehood-that the world was a place for books and thought and frescoes and basilicas and
play-productions and films and television projects, and it wasn't true, and it didn't feel true, it
felt as ife everything we did was an act ofnostalgiaj for a world that had long since gone.
That is, time had passed us by. We had no evidence that this was the case but uncannily,
unconsciously, we knew it had. I owned together with my wife a farm in Italy and one day
one of my neighbours, a labourer or contadino, said, The world should stày exactly as it IS--
we all make enough money, we've got enough machinery and things should stay that way, but
ifthe money gets bigger and bigger, and the machinery, everything will go wrong. 9
Yes; all life would be poisoned, all breathing and moving life, all the still life of trees and
grasses, and the turbulent seas, would be poisoned.
We must have known that the wrecked world we have today had already started. To some
degree we could foresee things as they are now but it was a very small degree.
I said in one book of mine in the 1960s that green' parties would come into being one day,
namely political parties based entirely on the state of the habitat--and the Times Literary
Supplement, in an otherwise warm and generous review, singled this out as the only trace in
my work of'crank' thinking.


hebate unfo
their teacher, Dorothy Meyers, only less suddenly than hers. After all, she'd
started from scratch, with only printed records of previous "tapping" animals from
fifty or so years before to go on. For weeks she'd worked in the dark, doubting her
capacities as an animal teacher and all the less prepared for the shock of discovery
when it came. Like me, she's been ready enough to accept animal intelligence as
an idea, but not to accept the reality of animals as equal beings. The discovery that
animals have in many respects a moral integrity, truthfulness and compassion
superior to our own was an even greater shock.
Contact E-mail: Mrowdon@aol.com
Online bookstores Amazon, Abebooks,


BIOGRAPHY
I was born in a London working-class family and took two degrees at Oxford, the
first in Modern History (a 'war degree') and the other in Modern Greats
(Philosophy, Politics, Economics) specializing in Kant's Critique of Pure Reason
(three years), my first year having been curtailed by the outbreak of World War
Two. At the age of21 I was a Forward Observation Officer in the Italian
campaign. After the war, when I had taken my second degree, I taught English
Literature at Baghdad University and there wrote my first book. Afterwards, on
my way back to England I stopped in Italy and decided to live there if and when I
had a sufficient income from my writing. This came from Harper's Magazine, to
which I sold a story, and it provided me with a generous year's income. I began
publishing books on Italy. These received such enthusiastic notices that from this
time all my books were commissioned in advance. By this means I became a
specialist in Italian civilisation, so that I could settle in that country while keeping
a home in London. At that time it didn't do to have any awareness of what would
one day happen to our planet, even though there were drastic and lasting weather
changes immediately after World War Two. In an otherwise enthusiastic review of
my first book on Italy in the Times Literary Supplement the critic added that he
even forgave me the 'crankiness' ofmy suggestion that political parties would one
day come into being with the ticket of what we today call 'green' issues.
Dissatisfied with Occidental thought I now turned to the Orient and began
practicing Hatha Yoga and daily pranayama or breath-discipline under an Indian
guru in Switzerland. My daily practice of this for twelve years or more led me to
develop a breath technique which would be thoroughly safe. For this purpose I
induced panic states ofhyperventilation in myself so that this could never occur in
any session of mine. I taught this system under the title of Oxygenesis at Berkeley
and San Francisco Cal. over a period of eight years. There I continued my writing
and began to feel that there was no distinction between my fiction and non-fiction
books-fiction being a document in which I created the plot while a non-fiction
plot was created by history. Thus it was that I wrote my novels in a style suitable
for an historical document and my history books in a highly personal style suitable
for a novel. My SPANISH TERROR was written in that mode, being the story of
how money began to take precedence over the human, solely to finance war. Now
any animal that consistently, in every one ofits communities or civilizations, has
regarded war, namely the planned decimation of its own species, as a glorious
pursuit and indeed the basis of survival, is surely suffering from dementia, a
dementia which is exactly replicated in the present doomed state of our planet.
Through this growing aware I became interested in the way a hitherto dignified
and ruthlessly self-confident civilization might suddenly fall into degradation and
become no more than its stones and frescoes and bridges---this produced THE
SILVER AGE OF VENICE. 1 increasingly studied not what the human said about
himself, or flattered himselfto be (history), but the far more exciting story ofhis


mutations and adaptations, namely his brave prolonged and repeated efforts to
find again the fixed habitat he had once enjoyed as an animal. In his frantic search
he occupied every known habitat on the earth. Human' could thus be defined as
'the animal that belongs nowhere' . I became convinced that only by seeing
ourselves as animals could we reach the truth about ourselves, which is why I was
ready to examine the intelligence oftwo dogs in my ELKE AND BELAM. For in
the end we can only judge an animal's intelligence by the state in which it leaves
its habitat--whether enriched or degraded, ruined or flourishing. By this criterion
the human has the smallest intelligence of all the animals. This is perhaps dawning
on more and more of us. Hundreds are engaged in rehabilitating dead' land by the
simple introduction of animals which need not be indigenous to that land. Horses
have been introduced into dead' land both in France and Britain, and that land has
at once sprung to life again with flora and fauna.
WORK
1) THE SPANISH TERROR
2) (non-fiction)
3) 'In this vivid account he captures the times when dagger, poisoned phial
and strangler's gut.. ,
4) 'He explodes the idea that the Renaissance was simply a flowering of the
human spirit, and shows another aspect---that scholars and artists were at
the mercy of the financial power-houses and did their work against a
background of war, revolution and factional fighting in the streets'. -
5) Spain and the rise ofmoney. The sixteenth century was for Europe an
epoch of fervent business, persecution and war. In that time the modern
world as we recognise it càme into being. Things changed faster than ever
before and perhaps ever since. Even the industrial nineteenth century was
less original in its changes; the basis ofthe work had been done three
centuries before. For some people 'the sixteenth century' means the
beginning of Christian civilisation proper. They see the Middle Ages as a
kind of passive incubation period., dominated and repressed by the Church,
before the great liberating forces (called the Renaissance') which brought
about renewed trade, voyages of discovery, new techniques of manufacture
and the chastening of Rome.
But there is little evidence that a civilisation was created, thought a quite
new society was. Compared with the Middle Ages the sixteenth century had
nothing tranquil and nothing wholesome about it. Small pockets of
civilization had arisen---Florence, Antwerp, Venice---but were swallowed
up in military occupation or affluence. They were piecemeal, briefand
interrupted attempts at a civilization for which Christendom as a whole did
not seem ready.
The question arises, was a sustained Christian civilization ever
achieved, comparable to the great ( and certainly sustained civilizations of


the Orient or the Mediterranean, where the smallest details of life seemed to
refer to a divine illumination? Certainly mediaeval life was sustained; one
generation saw much the same world as the one before it. But then Europe
was still nursing its wounds after the chaotic dismemberment of the Roman
Empire by barbarian tribes. There was something too guarded, too numbed
about mediaeval life to call it civilized. Compared with the ancient
civilizations the mediaeval world was starved of light; it never translated---
it did not dare to translate---its deep sense ofthe divine into the outwardly
marvellous. It knew little about ancient Greece. But in thwe time of the
Renaissance, in the fourteenth and fifteenth centuries, Europe did begin to
look back, and to compare itself unfavourably with the ancient past. That
was what produced the pockets of civilization--notably Florence under the
Medici. But they were soon engulfed in war and persecution.
The result was a disturbed society which still today fails to solve its
problems or even to offer agreed definitions as to what these problems are.
The problems certainly came into being in the sixteenth century. They were
insoluble then, by their nature. And since they remain the basis ofthe world
we live in now, there seems no more hope than there ever was ofresolving
them, except by the disintegration of the whole system oflife adopted at
that time and consolidated, with growing chaos, ever since.
Violence became basic to life in the sixteenth century. It even
seemed an essential condition of Christian survival. Yet thirty years before
the century opened violence was neither expected nor thought necessary.
When in 1479 Federico ofUrbino shattered some of the roofs of Colle Val
d'Elsa near Siena with his cannons, in the war between Florence and the
pope, the local population made a great cry about it being unfair'. Of
course pillaging had gone on, but it had usually been the work of an
eccentric.when not an accident. Niccolo Vitelli of Città di Castello, who
devastated much of the Romagna during the same war, was known for his
brutality, and everyone prophesied a sticky end for him. Less than halfa
century later there were new standards ofviolence which were reminiscent
oft the barbarian period than anything else. Men became strangers to each
other over trifling definitions of words---men in the same camp, the same
court, the same Church. The divisions were SO great that only one factor
held sixteenth-century life together at all and that was the threat of a
Turkish invasion. Without this Europe might very well have reverted to its
tribal condition of a millennium before. Yet by this time the Middle Ages
were something to laugh at, presumably for achieved a common and
basically peaceful life throughout Europe.
Present-day society---whether we are talking about medical science or
the printing of vast numbers ofbooks in vernacular languages or
communications or the banking system or exploration or racial and
religious persecution or the arts and literature or state debts or techniques of


but there were a few, especially in the eighteenth century when she was a
pleasure-symbol and no longer the remote doll she had been a century
before, strutting along on stilts, the bearer of family prestige and talking to
no one. She was beguiling now, with 'occhio lascivo in ziro e seducente,
sedizioso el parlar, sia brute O bele ---'a roaming, lascivious, seductive
eye, seditious in speech, whether plain or beautiful'. But then she was freer
than ever before. Venice now required her freedom. She too was free to
fall.
The liberation of patrician women from a strait and secluded home-
life began during the nineteenth century with the coming of opulent
standards. Young patrician girls had one been forbidden the licence of
going to church on Sundays, ever since 1482 when a young man whisked
off a girl called Giovanna di Riviera on her way to church and married her
outside Venetian territory; after that Mass was celebrated at home, in the
private chapel. A wife had once lived little more than a harem existence,
under the same roof with Circassian and Giorgian women, slaves with
whom she shared her husband and who often meant more to him than she
did. She went out rarely, and when she did was under heavy chaperonage;
in the period of luxury her high clogs secured the same effect, thought she
did go out more. Even her children were taken from her early, the boys to
serve their seniors in the Great Council, running messages, bringing coffee
and carrying the ballot boxes with their golden and silver balls, the girls to
close their minds to all but daily trivialities in a convent. In the earlier
epochs social life had not been open to women, the only time they had
expected to appear in public was on rare state occasions, as part of the
patrician parade, and even then they had been closely hemmed with family.
In other parts of Italy women led nowhere near such an Eastern life, a fact
which makes the rapid abandonment of discipline in the last two centuries
ofthe Republic even more remarkable. By the end of that time what Italians
call 'the equilateral triangle' (wife, husband and lover) was, if not
established, not something to be surprised at. But then foreign influences
had intruded. No one was surprised in London that the fifth Duke of
Devonshire lived in a smooth triangle with his wife Georgiana and her
friend Lady Elizabeth Foster. By that time the patricians everywhere in
Europe common habits: Georgiana, like many Venetian women, was if
anything more interested in the card-table than love.
The height and costliness of the clog was a measure of sexual
morality. In the sixteenth century it had reached its highest and most
expensive; the Sumptuary Laws imposed a fine of twenty-five lire for clogs
beyond the allowed measurements or oftoo deliberate design. Fine pearls
were forbidden as a form of decoration, and even the permitted embroidery
could not be too rich. These shoes lasted as a form of patrician display,
thought there was nothing in the rest of Europe like them, until the end of


the seventeenth century. And then---with the disappearance ofl heroes and
Mediterranean hegemony---they went out SO thoroughly that women
seemed to have no shoes at all.
ELKE AND BELAM
Nonfiction
Highly entertaining and provocative, this is the incredible, true-life
account oftwo astonishing dogs.
Belam, a sleek racing saluki, and Elke, an adorable poodle, hold important
positions in the continuing study of animal intelligence. Based on months of close
observation and extensive talks with the dogs and their trainer, this book explains
the teaching process in fascinating detail.'
When I met Elke 2, the Standard poodle bitch, and Belam, the saluki male,
on a hot September afternoon in 1975 at Salzburg airport they were sitting leashed
at the entrance with their teacher, too shy at first to offer me their paws in greeting.
Elke's white fur was dazzling in the remarkably clear, mountain-reflected sunlight,
her eyes round and black and vivaciously attentive as she sat waiting for my
arrival rather stiffly. At her side Belam, taller and bonier, seemed the shyer of the
two with his long sensitive nose and gazelle eyes and deliciously straggling fur.
He simply gazed away when I bent down to take Elke's paw. But at the word from
his teacher he took shook hands.
They'd heard a lot about me. I was to write a book about them and help
make their intelligence known to the world, but for the moment all that was
forgotten. It was a hot, exhilarating day, and we were about to drive across the
Austrian border to one of the most pleasant of Bavaria's medieval resort towns,
Berchtesgaden, well-known to skiers in the winter and to those taking the saline
waters to Bad Reichenhall in the summer.
Iknew Berchtesgaden well but had little thought on my previous visits that
I would one day be returning to witness two dogs "talking". All that summer I'd
been studying the notes made by the dog's teacher on her daily lessons with them,
and was already convinced that Elke and Belam could add and subtract and tap out
in German not only answers to spoken questions but messages oftheir own. But it
was still a mental conviction, not very deep.
I certainly felt awe of them on our way from the airport, as ifthey deserved
more formal behaviour from me than I would give to other animals. I'd always
had a dog of my own but here were Elke and Belam gazing at me with a special
penetrating force. Or was that my imagination? How did they see me? Would they
like me? I found this the uppermost question in my mind.
Later that evening, when I'd seen them "talk", I realised that this awe of
mine had nothing to do with a real recognition of animal intelligence. And what I
witnessed in the next few days was to change my life as it had changed the life of


the Orient or the Mediterranean, where the smallest details of life seemed to
refer to a divine illumination? Certainly mediaeval life was sustained; one
generation saw much the same world as the one before it. But then Europe
was still nursing its wounds after the chaotic dismemberment of the Roman
Empire by barbarian tribes. There was something too guarded, too numbed
about mediaeval life to call it civilized. Compared with the ancient
civilizations the mediaeval world was starved of light; it never translated--
it did not dare to translate---its deep sense of the divine into the outwardly
marvellous. It knew little about ancient Greece. But in thwe time ofthe
Renaissance, in the fourteenth and fifteenth centuries, Europe did begin to
look back, and to compare itself unfavourably with the ancient past. That
was what produced the pockets of civilization--notably Florence under the
Medici. But they were soon engulfed in war and persecution.
The result was a disturbed society which still today fails to solve its
problems or even to offer agreed definitions as to what these problems are.
The problems certainly came into being in the sixteenth century. They were
insoluble then, by their nature. And since they remain the basis of the world
we live in now, there seems no more hope than there ever was of resolving
them, except by the disintegration of the whole system oflife adopted at
that time and consolidated, with growing chaos, ever since.
Violence became basic to life in the sixteenth century. It even
seemed an essential condition ofChristian survival. Yet thirty years before
the century opened violence was neither expected nor thought necessary.
When in 1479 Federico ofUrbino shattered some ofthe roofs of Colle Val
d'Elsa near Siena with his cannons, in the war between Florence and the
pope, the local population made a great cry about it being 'unfair'. Of
course pillaging had gone on, but it had usually been the work of an
eccentric.when not an accident. Niccolo Vitelli of Città di Castello, who
devastated much of the Romagna during the same war, was known for his
brutality, and everyone prophesied a sticky end for him. Less than half a
century later there were new standards of violence which were reminiscent
of the barbarian period than anything else. Men became strangers to each
other over trifling definitions ofwords--men in the same camp, the same
court, the same Church. The divisions wereso great that only one factor
held sixteenth-century life together at all and that was the threat ofa
Turkish invasion. Without this Europe might very well have reverted to its
tribal condition of a millennium before. Yet by this time the Middle Ages
were something to laugh at, presumably for achieved a common and
basically peaceful life throughout Europe.
Present-day society-whether we are talking about medical science or
the printing of vast numbers ofbooks in vernacular languages or
communications or the banking system or exploration or racial and
religious persecution or the arts and literature or state debts or techniques of


war or espionage or the "whitewashing' ofhuman minds---was developed
at that time. One factor underlay all these activities, a new factor for
Christendom: money. Of course money had always been used. But now it
had an unprecedented role. The fact that it went far beyond a mere symbol
ofexchange to become the sine qua non of power had a great deal to do
with the violence. Great sums of money were borrowed by states at
fantastic rates ofinterest, sometimes 50 percent. This was for the financing
of war, though it was still largely the polite war of mercenaries who
hesitated to engage the enemy for fear of winning their battles and ending
their contracts too soon. Now the armies had to do something highly
impolite, and increasingly by fair means or foul; and that was to win
sufficient territory and markets to pay back the loans plus the interest, in an
escalating activity that created one empire after another.
These empires began with aggression and ended in inflation. The first
great empire of this kind (quite different from the empires of Greece and
Rome) was the Spanish. And it arose more clearly from the borrowing
principle than from any factor of simple self-aggrandisement. The gold and
silver bullion that poured into Spain from the newly won Americas
financed Spain' S hold on Europe, and through inflation it also reduced
Spain to a secondary power in less than a century after its heyday. This new
type of empire clearly rose and fell with remarkable speed.
Since then other empires have gone through the same process with
varying degrees of speed. And they continue to do so. In this process the
mother-country becomes overburdened with its far-flung responsibilities
and in the end cannot compete with the power it has necessarily created
(under viceroys and puppet rulers and in satellite states) in every part ofthe
globe.
WORK
1. THE SILVER AGE OF VENICE
2. Nonfiction
3. Penetrates the most intimate corners ofVenetian life. His books have won
wide critical acclaim.' >
4. With his great knowledge of eighteenth-century Venetian life he lays bare
a civilization premised, as none other, on a tyranny of manners. But now
the aristocrats gambled day and night, infecting the common people with
their obsessive self-indulgence, in this last jewel ofthe ancient regime. ,
5. Being a woman in Venice was a profession. She had to set the Serenissima
off, be its prise and consolation; a woman changed according to the state of
the Republic and the male tastes that happened to prevail. Whether these
corresponded to her own choice, much less her own happiness, had no
importance, It was a wonder that a vlever woman could survive in Venice;


BIOGRAPHY
I was born in a London working-class family and took two degrees at Oxford, the
first in Modern History (a 'war degree') and the other in Modern Greats
(Philosophy, Politics, Economics) specializing in Kant's Critique ofPure Reason
(three years), my first year having been curtailed by the outbreak of World War
Two. At the age of21 I was a Forward Observation Officer in the Italian
campaign. After the war, when I had taken my second degree, I taught English NP
Literature at Baghdad University and there wrote my first book Afterwards, on
my way back to England I stopped in Italy aud-decided to live there if and when I
had a sufficient income from my writing. This"came from Harper's Magazine, to
which I sold a story, and it provided me with a generous year's income. I began
publishing books on Italy. These received such enthusiastic notices that from this
time all my books were commissioned in advance. By this means I became a
specialist in Italian civilisation, so that I could settle in that country while keeping
al home in London/At that time it didn't do to have any awareness of what would AP X
one day happen to our planet, even though there were drastic and lasting weather
changes immediately after World War Two. In an otherwise enthusiastic review of
my first book on Italy in the Times Literary Supplement the critic added that he
even forgave me the 'crankiness' of my suggestion that political parties would one
day come into being with the ticket of what we today call 'green' issues.
Dissatisfied with Occidental thought I now turned to the Orient and began
NP X
practicing Hatha Yoga and daily pranayama or breath-discipline under an Indian
guru in Switzerland. My daily practice of this for tweive years or-more-led me to
develop a breath technique which would be thoroughly safe. For this purpose I
induced panic states ofl hyperventilation in myself so that this could never occur in
any session of mine. I taught this system under the title of Oxygenesis at Berkeley
and San Francisco Cal. over a period of eight years There I continued my writing NP
and began to feel that there was no distinction between my fiction and non-fiction
books---fiction being a document in which I created the plot while a non-fiction
plot was created by history. Thus it was that I wrote my novels in a style suitable
for an historical document and my history books in a highly personal style suitable
for a novel. My SPANISH TERROR was written in that mode, being the story of
how money began to take precedence over the human, solely to finance war. Now
any animal that consistently, in every one ofits communities or civilizations, has
regarded war, namely the planned decimation of its own species, as a glorious
pursuit and indeed the basis of survival, is surely suffering from dementia, a
dementia which is exactly replicated in the present doomed state of our planet.
Through this growing aware"became interested in the way a hitherto dignified
and ruthlessly self-confident civilization might suddenly fall into degradation and
become no more than its stones and frescoes and bridges---this produced THE
SILVER AGE OF VENICE. L increasingly studied not what the human said about
himself, or flattered himselfto be (history), but the far more exciting story ofhis


war or espionage or the whitewashing' ofl human minds---was developed
at that time. One factor underlay all these activities, a new factor for
Christendom: money. Of course money had always been used. But nowit
had an unprecedented role. The fact that it went far beyond a mere symbol
ofe exchange to become the sine qua non of power had a great dealto do
with the violence. Great sums of money were borrowed by states,at
fantastic rates ofinterest, sometimes 50 percent. This was for thé financing
ofwar, though it was still largely the polite war of mercenaries who
hesitated to engage the enemy for fear of winning their battles and ending
their contracts too soon. Now the armies had to do something highly
impolite, and increasingly by fair means or foul; and that/was to win
sufficient territory and markèts to pay back the loans plus the interest, in an
escalating activity that created, one empire after anothér.
These empires began with aggression and endedi in inflation. The first
great empire of this kind (quite different from the/empires of Greece and
Rome) was the Spanish. And it arose more clearly from the borrowing
principle than from any factor of simple self-aégrandisement. The gold and
silver bullion that poured into Spain from the newly won Americas
financed Spain's hold on Europe, and Ithrough inflation it also reduced
Spain to a secondary power in less thana century after its heyday. This new
type of empire clearly rose and fell withremarkable speed.
Since then other empires have gone'through the same process with
varying degrees of speed. And they continue to do so. In this process the
mother-country becomes overburdened with its far-flung responsibilities
and in the end cannot compete with' the power it has necessarily created
(under viceroys and puppet rulers' and in satellitè states) in every part ofthe
globe.
WORK
1. THE SILVER AGE OF VENICE
2. Nonfiction
3. Penetrates the most intimate corners ofVenetian life. His books have won
wide critical acclaim.'
4. With his great knowledge of eighteenth-century Venetian life he lays bare
a civilization premised, as none other, on a tyranny of manners. But now
the aristocrats gambled day and night, infecting the common people with
their obsessive,self-indulgence, in this last jewel ofthe ancient tregime. 9
5. Being a woman in Venice was a profession. She had to set the Serenissima
off, be its prise and consolation; a woman changed according to the state of
the Republic and the male tastes that happened to prevail. Whethet these
corresponded to her own choice, much less her own happiness, had'no
importance, It was a wonder that a clever woman could survive in Venice;


ofhis mutations and adaptations, namely what we quite wrongly call "pre-
history." >9 These are nothing but his tragic efforts to find again the fixed habitat he
had once enjoyed as an animal and seemed to have lost forever.
WORK
1) THE SPANISH TERROR
2) (non-fiction)
3) 'In this vivid account he captures the times when dagger, poisoned phial
and strangler's gut.. 2
4) 'He explodes the idea that the Renaissance was simply a flowering ofthe
human spirit, and shows another aspect---that scholars and artists were at
the mercy of the financial power-houses and did their work against a
background of war, revolution and factional fighting in the streets'.
5) The sixteenth century was for Europe an epoch of fervent business,
persecution and war, In that time the modern world as we recognise it came
into being. Things changed faster than ever before and perhaps ever since.
Even the industrial nineteenth century was less original in its changes; the
basis of the work had been done three centuries before. For some people
'the sixteenth century' means the beginning of Christian civilisation proper.
They see the Middle Ages as a kind of passive incubation period,
dominated and repressed by the Church, before the great liberating forces
(called the Renaissance?) which brought about renewed trade, voyages of
discovery, new techniques of manufacture and the chastening of Rome.
But there is little evidence that a civilisation was created, though a
quite new society was. Compared with the Middle Ages the sixteenth
century had nothing tranquil and nothing wholesome about it. Small
pockets of civilizationhad arisen--Florence, Antwerp, Venice---but were arvie
swallowed up in military occupation or affluence. They were piecemeal,
brief and interrupted attempts at a civilization for which Christendom as a
whole did not seem ready.
The question arises, was a sustained Christian civilization ever
achieved, comparable to the great (and certainly sustained) civilizations of
the Orient or the Mediterranean, where the smallest details of life seemed to
refer to a divine illumination?
Certainly: mediaeval life was sustained; one generation saw much the lere
same world as the one before it. But then Europe was still nursing its
wounds after the chaotic dismemberment of the Roman Empire by
barbarian tribes. There was something too guarded, too numbed about
mediaeval life to call it civilized. Compared with the ancient civilizations
the mediaeval world was starved oflight; it never translated---it did not
dare to translate---its deep sense of the divine into the outwardly
marvellous. It knew little about ancient Greece.


But at the time of the Renaissance, in the fourteenth and fifteenth
centuries, Europe did begin to look back---and to compare itself
unfavourably withfthe ancient past. That was what produced the pockets of
civilization--notably Florence under the Medici. But they were soon
engulfed in war and persecution. The result was a disturbed society which
still today fails to solve its problems or even to offer agreed definitions as
to what these problems are.
The problems certainly came into being in the sixteenth century.
They were insoluble then, by their nature. And since they remain the basis
ofthe world we live in now, there seems no more hope than there ever was
ofresolving them, except by the disintegration ofthe whole system of life
adopted at that time and consolidated, with growing chaos, ever since.
Violence became basic to life in the sixteenth century. It even
seemed an essential condition of Christian survival. Yet thirty years before
that century started violence was neither expected nor thought necessary.
When in 1479 Federico ofUrbino shattered some ofthe roofs of Colle Val
d'Elsa near Siena with his cannons, in the war between Florence and the
pope, the local population made a great cry about it being 'unfair'. Of
course pillaging had gone on, but it had usually been the work of an
eccentric, (when not an accident) Niccolo Vitelli ofCittà di Castello, who Jnl)
devastated much of the Romagna during the same war, was known for his
brutality, and everyone prophesied a sticky end for him.
Less than half a century later there were new standards of violence
which were more reminiscent ofthe barbarian period than anything else.
Men became strangers to each other over trifling definitions of words--
men in the same camp, the same court, the same Church. The divisions
were SO great that only one factor held sixteenth-century life togetherat all X
and that was the threat ofa Turkish invasion. Without this Europe might
very well have reverted to its tribal condition of a millennium before. Yet
by this time the Middle Ages were something to laugh at, presumably for
having achieved a common and basicatly peaceful life throughout Europe. essanlryy
Present-day society---whether we are talking about medical science or the
printing of vast numbers ofbooks in vernacular languages or
communications or the banking system or exploration or racial and
religipus persecution or the arts and literature or state debts or techniques of
war or espionage or the whitewashing' of human minds---was developed
at that time.
One factor underlay all these activities, a new factor for
Christendom: money. Of course money had always been used. But now it
had an unprecedented role. The fact that it went far beyond a mere symbol
of exchange to become the sine qua non of power had a great deal to do
with the violence. Great sums of money were borrowed by states at
fantastic rates ofi interest, sometimes 50 percent. This was for the financing
Vast


Bemcunyh Aose
ofwar, though it was still largely the polite war of mercenaries who
hesitated to engage the enemy for fear ofwinning their battles and ending
their contracts too soon. Now thé armies had to do something highly
impolite, and inereasingly.by fair means or foul; and that was to win
sufficient territory and markets to pay back the loans plus the interest, in an
escalating activity that created one empire after another.
These empires began with aggression and ended in inflation. The first
great empire ofthis kind (quite different from the empires of Greece and
Rome) was the Spanish. And it arose more clearly from the borrowing
principle than from any factor of simple self-aggrandisement. The gold and
silver bullion that poured into Spain from the newly won Americas
financed Spain's hold on Europe, and through inflation it also reduced
Spain to a secondary power in less than a century after its heyday. This new
type of empire clearly rose and fell with remarkable speed.
Since then other empires have gone through the same process with
varying degrees of speed. And they continue to do SO. In this process the
mother-country becomes overburdened with its far-flung responsibilities
and in the end cannot compete with the power it has necessarily created
(under viceroys and puppet rulers and in satellite states) in every part of the
globe'.
WORK
1. THE SILVER AGE OF VENICE
2. Nonfiction
3. Penetrates the most intimate corners of Venetian life. His books have won
wide critical acclaim. ,
4. With his great knowledge of eighteenth-century Venetian life he lays bare
a civilization premised, as none other, on a tyranny of manners. But now
the aristocrats gambled day and night, infecting the common people with
their obsessive self-indulgence, in this last jewel ofthe ancient regime. 9
5. Being a woman in Venice was a profession. She had to set the Serenissima
off, be its pride and consolation; a woman changed according to the state of
the Republic and not least according to the male tastes that happened to
prevail-whether: these corresponded with her own choice, much less with
her happiness, had no importance. It was a wonder that a clever woman
could survive in Venice; but there were a few, especially in the eighteenth
century when she was a pleasure-symbol, no longer the remote doll she had
been a century before, strutting along on stilts, the bearer of family prestige
and talking to no one. She was beguiling now, with 'occhio lascivo in ziro e
seducente, sedizioso el parlar, sia brute O bele 'a roaming, lascivious,
seductive eye, seditious in speech, whether plain or beautiful'. But then she


was freer than ever before. Venice now required her freedom. She too was
free to fall.
The liberation of patrician women from a strait and secluded home-
life began during the nineteenth century with the coming of opulent
standards. Young patrician girls had once been forbidden the licence of
going to church on Sundays, ever since 1482 when a young man whisked
off a girl called Giovanna di Riviera on her way to church and married her
outside Venetian territory; after that Mass was celebrated at home, in the
private chapel. A wife had once lived little more than a harem existence,
under the same roof with Circassian and Giorgian women, slaves with
whom she shared her husband and who often meant more to him than she
did. She went out rarely, and when she did was under heavy chaperonage;
in the period of luxury her high clogs secured the same effect, though she
did go out more. Even her children were taken from her early, the boys to
serve their seniors in the Great Council, running messages, bringing coffee
and carrying the ballot boxes with their golden and silver balls, the girls to
close their minds to all but daily trivialities in a convent. In the earlier
epochs social life had not been open to women; the only time they had
expected to appear in public was on rare state occasions, as part ofthe
patrician parade, and even then they had been closely hemmed round with
family.
In other parts ofItaly women led nowhere near such an Oriental
life, a fact which makes the rapid abandonment of discipline in the last two
centuries of the Republic even more remarkable. By the end oft that time
what Italians call 'the equilateral triangle' (wife, husband and lover) was, if
not established, not something to be surprised at. But then foreign
influences had intruded. No one was surprised in London that the fifth
Duke ofDevonshire lived in a smooth triangle with his wife Georgiana and
her friend Lady Elizabeth Foster. By that time the patricians everywhere in
Europe had common habits.
The height and costliness ofthe lady's clog had always been a
measure of sexual morality. In the sixteenth century the clog had reached its
highest and most expensive; the Sumptuary Laws had imposed a fine of
twenty-five lire for clogs beyond the allowed measurements or oftoo
deliberate design. Fine pearls were forbidden as a form of decoration, and
even the permitted embroidery could not be too rich. These clogs lasted as a
form of patrician display until the end of the seventeenth century, though
there was nothing in the rest of Europe like them. And then---with the
disappearance ofVenetian heroes and Venetian hegemony over the
Mediterrancan--clogs went out SO thoroughly that women seemed to have
no shoes at all.'


ELKE AND BELAM
Nonfiction
'Highly entertaining and provocative, this is the incredible, true-life
account of two astonishing dogs.
Belam, a sleek racing saluki, and Elke, an adorable poodle, hold important
positions in the continuing study of animal intelligence. Based on months of close
observation and extensive talks with the dogs and their trainer, this book explains
the teaching process in fascinating detail.
When I met Elke 2, the Standard poodle bitch, and Belam, the saluki male,
on a hot September afternoon in 1975 at Salzburg airport they were sitting leashed
at the entrance with their teacher, too shy at first to offer me their paws in greeting.
Elke's white fur was dazzling in the remarkably clear, mountain-reflected sunlight,
her eyes round and black and vivaciously attentive as she sat waiting for my
arrival rather stiffly. At her side Belam, taller and bonier, seemed the shyer ofthe
two with his long sensitive nose and gazelle eyes and deliciously straggling fur.
He simply gazed away when I bent down to take Elke's paw. But at a word from
his teacher he took shook hands.
They'd heard a lot about me. I was to write a book about them and help
make their intelligence known to the world, but for the moment all that was
forgotten. It was a hot, exhilarating day, and we were about to drive across the
Austrian border to one ofthe most pleasant of Bavaria's medieval resort towns,
Berchtesgaden, well-known to skiers in the winter and to those taking the saline
waters at Bad Reichenhall in the summer.
Iknew Berchtesgaden well but had little thought on my previous visits that
I might one day be returning to witness two dogs "talking". All that summer I'd
been studying the notes made by the dog's teacher on her daily lessons with them,
and was already convinced that Elke and Belam could add and subtract and tap out
in German not only answers to spoken questions but messages of their own. But it
was still a mental conviction, not very deep.
I certainly felt awe of them on our way from the airport, as ifthey deserved
more formal behaviour from me than I would give to other animals. I'd always
had a dog of my own but here were Elke and Belam gazing at me with a special mlima ala
penetrating force. Or was that my imagination? How did they see me? Would they
like me? I found this the uppermost question in my mind.
Later that evening, when I'd seen them "talk", I realised that this awe of
mine had nothing to do with a real recognition of animal intelligence. And what I
witnessed in the next few days was to change my life as it had changed the life of
their teacher, Dorothy Meyers, only less suddenly than hers. After all, she'd
started from scratch, with only printed records of previous "tapping" animals from
fifty or SO years before to go on. For weeks she'd worked in the dark, doubting her
capacities as an animal teacher and all the less prepared for the shock of discovery
when it came. Like me, she'd been ready enough to accept animal intelligence as


an idea, but not to accept the reality of animals as equal beings. The discovery that
animals have a moral integrity, truthfulness and compassion that may be superior
to our own was an even greater shock.
Contact E-mail: mauricerowdon.com
Online bookstores: Amazon.com, Abebooks.com, Borders Online, Blackwell's
Online, barnesandnoble.com, booksense.com.


Maurice Rowdon was born in London and took two degrees at Oxford, the
first in Modern History and the other in Philosophy, Politics and Economics,
specializing for three years in Immanuel Kant's Critique of Pure Reason. His first
year at Oxford was curtailed by the outbreak of World War Two. After his
military service on the Italian front he taught English Literature at Baghdad
University and there wrote his first book, Hellebore the Clown.
On his return from Baghdad he interrupted his journey at Naples and
decided to live in Italy, such was the impression Italians had made on him in the
battle areas. But this depended on his having a sufficient income from his writing.
It came to him from Harper's Magazine when the editor bought his short story
No Enemy But Timeproviding him with a generous year's upkeep. He now
began publishing books on Italy and these received such positive notices that he
could settle in that country while keeping a base in London.
At the age of thirty-nine he was told by Dutch friends that unless he
practiced yoga he would have to face the normal medical destiny of old age. He
began practicing Hatha Yoga and daily pranayama (breath-discipline) under an
Indian guru in Switzerland. This breathing became his daily habit for twelve years:
only then did he have experience enough to develop a breath technique ofhis own
which would be thoroughly safe (1980). To this end he induced in himself panic
states ofhyperventilation SO that his future clients would be given clear warning
signals that a certain breathing pattern had reached its climax. When he felt that
his technique was ready he took it to Northern California, where he knew that
gurus were thick on the ground, SO that any new system was likely to receive
rigorous tests. Through his friendship with Nanos Valaoritis, a professor at San
Francisco University, he found an immediate clientele and taught his system under
the title ofOxygenesis over a period of eight years.
It was when he was commissioned to write a book about two dogs in
Germany, a saluki and a standard poodle, that he first embarked on his studies of
the human as an animal. These dogs communicated with their teacher by tapping
into her hand a given number of times for each letter in the German alphabet. He
witnessed many sessions over a period of months, with occasional visits from
Paris Match to take photographs.
This animal book was an important step for the author in that he realized
that animal and human studies could not be differentiated, and above all that there
was only one criterion of intelligence in an animal, namely whether he left his
natural habitat enhanced or degraded. By this criterion the human was the least
intelligent of animals, in that he had wrecked every habitat on earth.
This thought alone opened for him the most important revelations of his
life, pointing to humans as the most beleaguered creatures in existence, caught in
the tragedy ofhaving no 'fixed' habitat for which their nervous systems were
perfectly suited.
He more and more found that he was studying not what the human said
about himself or flattered himself to be ('history') but the far more exciting story


ITALIAN-SKETCHES
Maurice. Rowdon, a Londoner, has livedfor
manyyearsi in Italy and his books on that country
real
have won wide critical acclaim.
"It is. a
pleasure to come across a quite original book
entitled Italian Sketches'.
Mr. Rowdon is astonishingly
acute in recognising in theItalians' a quality which impels them-
THE FALL OF VENICE
to: spare: foreigners embarrassment or mortification. - It is
'The new book is a bold and vigorous one, and
a' reliefto reàd this factual book about Italy. I derived much
though true to its title is written with such
pleàsure from -this book and recommend it: warmly"-Sir
enthusiasm that one cannot help concluding
Harold Nicolson (The Observer)
that to fall is happier than to rise.'
NIGEL DENNIS Sunday Telegraph
"Recalls. Lawrence's Twilight in Italy' almost uncannily -
Mr Rowdon is fortunate, because after reading
The perfect antidote torthe effusive-outsider's: travel book-
his enthralling essays one can still return to
The:results. are superficially glum, but in retrospect and artis-
Venice and see so much that has survived the
tically exhilarating, because SO often pierçingly accurate and so
fàr under the skin of everyday appearances that it is really a
CYRIL CONNOLLY Sunday Times
new reappraisal almost of a. new. country. Extreme spiritual
Stylish and haunting' New Yorker
delicacy as wellas.physicalsensibility"-Isabed Quigly (Guardian)
A ROMAN STREET
"Only.f for:those who love Italy with-such an indecent obsession
I am quite delighted with it. It catches the very
that they positively welcome an author who is weak enough to
voice and breath of Rome'
be similarly. infatuated but strong. enough. to, list. "ashundred
J. I. M. STEWART
reasons:why he shouldn't.be. Ifit wère: possible to explain
'A first-class daily-life writer and all the
why Mr. Rowdon'si ideas are'so acceptible, it would be possible
Romanists will want to read him Every word
to: explainItaly-andi ifthis wére possible, nobody would, write.
ofit rings true reminds us ofl Lawrence'
books. abgut Italy-any more. All'books about Italy are frantic
BERNARD WALL The Observer
attempts to try. and undérstand the. nature. of its. fascinàtion,
THE COMPANION GUIDE TO
and' if Mr.. Rowdon's book is, one of the best attempts that has-
UMBRIA
béén made for many years,ithis is because he triés SO deeply to
understand and. must. excite.the-sympathy of anyone elsé who
'Mr Rowdon has written an exceptionally well-
informed and entertaining guide. This is an
has tried. to: do so" Nigel; Dennis, (Sunday: Telegraph)
outstanding travel book.'
Eastern Daily Press
"A new writer ofimportance... : Within. a couple. of pages he
has:e established astrong literary:1 personality. Ifs sentimental-
ists may wish he.found the-Italians'moter delightful-and flower-
like; lovers of Italy will be- pleasèd to. sée her. people honoured
by attention- of such a quality"-R:G. G. Price (Punch)
Weidenfeld and Nicolson
II St John's Hill, London SWII


Wols
Euly
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WEB SITE5
BIOGRAPHY
I was born in /London working-class family and took two degrees at Oxford, the
first in Modern History (a 'war degree') and the other in Modern Greats
(Philosophy, Politics, Economics) specializing in Kant's Critique of Pure Reason
(three years), myfirst year having been curtailed by the outbreak of World War
Two. At the age of 21 I was a Forward Observation Officer in the Italian
campaign. After the war, when I had taken my second degree, I taught English
Literature at Baghdad University and there wrote my first book.
Afterwards, on my way back to England, I stopped in Italy and decided to
live there if and when I had a sufficient income from my writing. This came from
Harper's Magazine, to which I sold a story, and it provided me with a generous
year's upkeep. I began publishing books on Italy. These received such enthusiastic
notices that from this time my books were commissioned in advance. By this
means I became a specialist in Italian civilisation, sO that I could settle in that
country while keeping a home in London.
At that time it didn't do to have any awareness ofwhat would'one.day
happen to our planet, even though there were drastic and lasting weather changes.
immediately after World War Two. In an otherwise gratifying review of my first -
book on Italy the Times Literary Supplement critic added, that he even forgave me
the *crankiness' of my suggestion that political parties would one day come into
being with the ticket of what we today call green' issues.
At the age of 39 I was told by a Dutch friend that unless I practiced yoga I 4i
would have to face the normal destiny of old age. I began practicing Hatha Yoga
and daily. pranayama (breath-discipline) under an Indian guru in Switzerland. This
was my daily habit for twelve years or more, and only then did I begin to develop
a breath technique which would be thoroughly safe. For this purpose I induced:
panic states ofhyperventilation in myself SO that these could never happen to those
in my charge. I taught this system under the title ofOxygenesis at Berkeley and
San Francisco Cal. over a period of eight years.
There I continued my writing and began to feel that there was no distinction
between my fiction and non-fiction books---fiction being a document in whichT
created the plot while a non-fiction plot was created by history. Thus it was that I
wrote my novels in a style suitable for an historical document and my history-
books in a highly personal style suitable for a novel. My SPANISH TERROR was
written in that personal mode, being the story ofhow money began to take
précedence over the human, solely to finance war.
Nowany animal that consistently, in every one ofits so-called civilizations,
has regarded war, namely. the planned decimation of its own species, not simply as
a glorious pursuit in its own right but the very basis of survival, is surely suffering
from dementia---a dèmentia which is exactly replicated in the present doomed
state of our planet. /
Through this growing awareness I became interested in the way a hitherto
dignified and ruthlessly self-confident civilization might suddenly fall into


degradation and become no more than its stones and frescoes and bridges---this
produced THE SIL VER AGE OF VENICE. I found I was increasingly studying
not what the human said about himself, or flattered himself to be (history), but the
far more exciting story ofhis mutations and adaptations, namely his brave,
prolonged and repeated efforts to find again the fixed habitat he had once enjoyed
as an animal.
In his frantic search he occupied every known habitat on the earth. Human'
could thus be defined as 'the animal that belongs nowhere'. Of all atrocities this
monkey, accustomed to roots and fruits, became a carnivore.
More and more I was convinced that only by seeing ourselves as the
animals we are can we reach the truth about ourselves and our deathly history.
This was why I was ready to examine the intelligence of two dogs in my ELKE
AND BELAM. For in the end we can only judge an animal's intelligence by the
state in which it leaves its habitat---whether enriched or degraded, ruined or
flourishing. And by this criterion the human has the smallest intelligence ofall the
animals.
This is perhaps dawning on more and more of us. Hundreds of us are
engaged in rehabilitating dead' land by the simple introduction of animals which
need not be indigenous to that land. Horses have been introduced into 'dead' land
both in France and Britain, and that land has at once sprung to life again with flora
and fauna. And perhaps millions are seeing their pets not simply as adornments to
the household but their equals and indeed their peers.
WORK
1) THE SPANISH TERROR
2) (non-fiction)
3) 'In this vivid account he captures the times when dagger, poisoned phial
and strangler's gut.. 2
4) 'He explodes the idea that the Renaissance was simply a flowering of the
human spirit, and shows another aspect---that scholars and artists were at
the mercy of the financial power-houses and did their work against a
background of war, revolution and factional fighting in the streets'. -
5) The sixteenth century was for Europe an epoch of fervent business,
persecution and war. In that time the modern world as we recognise it came
into being. Things changed faster than ever before and perhaps ever since.
Even the industrial nineteenth century was less original in its changes; the
basis of the work had been done three centuries before. For some people
'the sixteenth century' means the beginning of Christian civilisation proper.
They see the Middle Ages as a kind of passive incubation period,
dominated and repressed by the Church, before the great liberating forces
(called the Renaissance?) which brought about renewed trade, voyages of
discovery, new techniques of manufacture and the chastening of Rome.
But there is little evidence that a civilisation was created, though a


quite new society was. Compared with the Middle Ages the sixteenth
century had nothing tranquil and nothing wholesome about it. Small
pockets of civilization had arisen---Florence, Antwerp, Venice---but were
swallowed up in military occupation or affluence. They were piecemeal,
brief and interrupted attempts at a civilization for which Christendom as a
whole did not seem ready.
The question arises, was a sustained Christian civilization ever
achieved, comparable to the great (and certainly sustained) civilizations of
the Orient or the Mediterranean, where the smallest details of life seemed to
refer to a divine illumination?
Certainly mediaeval life was sustained; one generation saw much the
same world as the one before it. But then Europe was still nursing its
wounds after the chaotic dismemberment of the Roman Empire by
barbarian tribes. There was something too guarded, too numbed about
mediaeval life to call it civilized. Compared with the ancient civilizations
the mediaeval world was starved of light; it never translated---it did not
dare to translate---its deep sense of the divine into the outwardly
marvellous. It knew little about ancient Greece.
But at the time ofthe Renaissance, in the fourteenth and fifteenth
centuries, Europe did begin to look back---and to compare itself
unfavourably with the ancient past. That was what produced the pockets of
civilization--notably Florence under the Medici. But they were soon
engulfed in war and persecution. The result was a disturbed society which
still today fails to solve its problems or even to offer agreed definitions as
to what these problems are.
The problems certainly came into being in the sixteenth century.
They were insoluble then, by their nature. And since they remain the basis
oft the world we live in now, there seems no more hope than there ever was
of resolving them, except by the disintegration of the whole system of life
adopted at that time and consolidated, with growing chaos, ever since.
Violence became basic to life in the sixteenth century. It even
seemed an essential condition of Christian survival. Yet thirty years before
that ceritury opened violence was neither expected nor thought necessary.
When ih 1479 Federico of Urbino shattered some of the roofs ofColle Val
d'Elsa near Siena with his cannons, in the war between Florence and the
pope, the local population made a great cry about it being 'unfair'. Of
course pillaging had gone on, but it had usually been the work of an
eccentric. when not an accident. Niccold Vitelli ofCittà di Castello, who
devastated much of the Romagna during the same war, was known for his
brutality, and everyone prophesied a sticky end for him.
Less than half a century later there were new standards ofviolence
which were more reminiscent of the barbarian period than anything else.
Men became strangers to each other over trifling definitions of words---


men in the same camp, the same court, the same Church. The divisions
were SO great that only one factor held sixteenth-century life together at all
and that was the threat of a Turkish invasion. Without this Europe might
very well have reverted to its tribal condition of a millennium before. Yet
by this time the Middle Ages were something to laugh at, presumably for
having achieved a common and basically peaceful life throughout Europe.
Present-day society---whether we are talking about medical science or the
printing ofvast numbers ofbooks in vernacular languages or
communications or the banking system or exploration or racial and
religious persecution or the arts and literature or state debts or techniques of
war or espionage or the whitewashing' of human minds---was developed
at that time.
One factor underlay all these activities, a new factor for Christendom:
money. Of course money had always been used. But now it had an
unprecedented role. The fact that it went far beyond a mere symbol of
exchange to become thesine qua non of power had a great deal to. do with
the violence. Great sums of money were borrowed by states at fantastic
rates of interest, sometimes 50 percent. This was for the financing of war,
though it was still largely the polite war of mercenaries who hesitated to
engage the enemy for fear ofwinning their battles and ending their
contracts too soon. Now the armies had to do something highly impolite,
and increasingly by fair means or foul; and that was to win sufficient
territory and markets to pay back the loans plus the interest, in an escalating
activity that created one empire after another.
These empires began with aggression and ended in inflation. The first
great empire ofthis kind (quite different from the empires of Greece and
Rome) was the Spanish. And it arose more clearly from the borrowing.
principle than from any factor of simple self-aggrandisement. The gold and
silver bullion that poured into Spain from the newly won Americas
financed Spain's hold on Europe, and through inflation it also reduced
Spain to a secondary power in less than a century after its heyday. This new
type of empire clearly rose and fell with remarkable speed.
Since then other empires have gone through the same process, with
varying degrees of speed. And they continue to do sO. In this process the
mother-country becomes overburdened with its far-flung responsibilities
and in the end cannot compete with the power it has necessarily created
(under viceroys and puppet rulers-and in satellite states) in every part of the
globe'.
WORK
1. THE SILVER AGE OF VENICE
2. Nonfiction


3. Penetrates the most intimate corners ofVenetian life. His books have won
wide critical acclaim. 9
4. With his great knowledge of eighteenth-century Venetian life he lays bare
a civilization premised, as none other, on a tyranny of manners. But now
the aristocrats gambled day and night, infecting the common people with
their obsessive self-indulgence, in this last jewel oft the ancient regime. 2
5. Being a woman in Venice was a profession. She had to set the Serenissima
off, be its prise and consolation; a woman changed according to the state of
the Republic and the male tastes that happened to prevail. Whether these
corresponded to her own choice, much less her own happiness, had no
importance, It was a wonder that a clever woman could survive in Venice;
but there were a few, especially in the eighteenth century when she was a
pleasure-symbol and no longer the remote doll she had been a century
before, strutting along on stilts, the bearer of family prestige and talking to
no one. She was beguiling now, with 'occhio lascivo in ziro e seducente,
sedizioso el parlar, sia brute O bele ---'a roaming, lascivious, seductive
eye, seditious in speech, whether plain or beautiful'. But then she was freer
than ever before. Venice now required her freedom. She too was free to
fall.
The liberation of patrician women from a strait and secluded home-
life began during the nineteenth century with the coming of opulent
standards. Young patrician girls had once been forbidden the licence.of
going to church on Sundays, ever since 1482 when a young man whisked
off a girl called Giovanna di Riviera on her way to church and married her
outside Venetian territory; after that Mass was celebrated at home, in the
private chapel. A wife had once lived little more than a harem existence,
under the same roof with Circassian and Giorgian women, slaves with
whom she shared her husband and who often meant more to him than she
did. She went out rarely, and when she did was under heavy chaperonage;
in the period of luxury her high clogs secured the same effect, though she
did go out more. Even her children were taken from her early, the boys to
serve, their seniors in the Great Council, running messages, bringing coffee
and carrying the ballot boxes with their golden and silver balls, the girls to
close their minds tp all but daily trivialities in a convent: In the earlier
epochs social lifehad not been open to women; the only time they had
expected to appear in, public was on rare state occasions, as part of the
patrician
and even then they had been closely hemmed with family.
In other parts Italy women led nowhere near such an Eastern life, a fact
cempens
which makes the rapid abandonment of discipline in the last two centuries
ofthe Republic even more remarkable. By the end ofthat time what Italians
call 'the equilateral triangle' (wite, husband and lover) was, if not
established, not something to be surprised at. But then foreign influences
had intruded, No one was surprisod in; Londen that the fifth Duke of


Devonshire lived in a smooth triangle with his wife Georgiana and her
friend Lady Elizabeth Foster. By that time the patricians everywhere in
Europe common habits: Georgiana, like many Venetian women, was if
anything more interested in the card-table than love.
The height and costliness of the clog was a measure of sexual
morality. In the sixteenth century it had reached its highest and most
expensive; the Sumptuary Laws imposed a fine of twenty-five lire for clogs
beyond the allowed measurements or oftoo deliberate design. Fine pearls
were forbidden as a form of decoration, and even the permitted embroidery
could not be too rich. These shoes lasted as a form of patrician display,
though there was nothing in the rest ofEurope like them, until the end of
the seventeenth century. And then---with the disappearance of heroes and
Mediterranean hegemony---they went out SO thoroughly that women
seemed to have no shoes at all'.
ELKE AND BELAM
Nonfiction
Highly entertaining and provocative, this is the incredible, true-life
account of two astonishing dogs.'
Belam, a sleek racing saluki, and Elke, an adorable poodle, hold important
positions in the continuing study of animal intelligence. Based on months ofclose
observation and extensive talks with the dogs and their trainer, this book explains
the teaching process in fascinating detail.
When I met Elke 2, the Standard poodle bitch, and Belam, the saluki male,
on a hot September afternoon in 1975 at Salzburg airport they were sitting leashed
at the entrance with their teacher, too shy at first to offer me their. paws in greeting.
Elke's white fur was dazzling in the remarkably clear; mountain-reflected sunlight,
her eyes round and black and vivaciously attentive as she sat waiting for my
arrival rather stiffly. At her side Belam, taller and bonier, seemed the shyer ofthe
two with his long sensitive nose and gazelle eyes and deliciously straggling fur.
He simply gazed away when I bent down to take Elke's paw. But at the word from
his teacher he took shook hands.
They'd heard a lot about me. I was to write a book about them and help
make their intelligence known to the world, but for the momentali that was
forgotten. It was a hot, exhilarating day, and we were about to drive across.the
Austrian: border to one oft the most pleasant of Bavaria's medieval resort towns,
Berchtesgaden, well-known to skiers in the winter and to those taking the saline
waters to Bad Reichenhall in the summer.
Il knew Berchtesgaden well but had little thought on my previous visits that
I would, one day be returning to witness two dogs "talking", All that summer I'd
been studying the notes made by the dog's teacher on her daily lessons with them,


and was already convinced that Elke and Belam could add and subtract and tap out
in German not only answers to spoken questions but messages of their own. But it
was still a mental conviction, not very deep.
I certainly felt awe of them on our way from the airport, as ifthey deserved
more formal behaviour from me than I would give to other animals. I'd always
had a dog of my own but here were Elke and Belam gazing at me with a special
penetrating force. Or was that my imagination? How did they see me? Would they
like me? I found this the uppermost question in my mind.
Later that evening, when I'd seen them "talk", I realised that this awe of
mine had nothing to do with a real recognition of animal intelligence. And what I
witnessed in the next few days was to change my life as it had changed the life of
their teacher, Dorothy Meyers, only less suddenly than hers. After all, she'd
started from scratch, with only printed records of previous "tapping" animals from
fifty or SO years before to go on. For weeks she'd worked in the dark, doubting her
capacities as an animal teacher and all the less prepared for the shock of discovery
when it came. Like me, she'd been ready enough to accept animal intelligence as
an idea, but not to accept the reality of animals as equal beings. The discovery that
animals have in many respects a moral integrity, truthfulness and compassion
superior to our own was an even greater shock.
Contact E-mail:
Online bookstores: Amazon.com, Abebooks.com, Borders Online, Blackwell's
Online, barnesandnoble.com, booksense.com.


Ochohen Geelleng
Orey
At his offices he met the best friend he ever had, Dachiell, a Texan lady who became his wife
and remains sO. They took up life together in San Anselmo, Ca. Here he began work on the
most ambitious project ofhis life, THE MAD APE The animal that said it wasn't
(forthcoming). This book describes thel human not in terms ofhis own stories, his
histories' ofl himself, but his mutations and adaptations, demonstrating with example after
example that the human is a valiant because eroded creature, his religions and civilisations
being a clear reflection of his constant and deeply necessary self-revisions, as ifonly hermetic
practices give him sanity, in sometimes small and sometimes great measure.
Suune ce Coen
BOOKS Publishers
Shunachu Coldege
London:
Chatto and Windus
Badk --3> woh wll
Heinemann
Victor Gollancz
payecabog
Collins
Constable
Weidenfeld and Nicolson
Macmillan
i huuncen 4
USA:
Phbouhzis
Praeger
St.Martin's Press
Putnam
payelslogy
Germany:
S.Fischer Verlag
enuroume RL
t sputubt mee
fai
7 JOOIP
NOVELS
Hellebore the Clown (Chatto and Windus)
Perimeter West (Heinemann)
Afterwards (Barrie and Rockcliffe)
Dead Sunday A Journey into the Underworld (forthcoming)
Night Fevers Two Englishwomen in New York (forthcoming)
INTELLIGENCE
The Talking Dogs (Macmillan)
human--


Scurkifit
man boole As his crah
hook
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spucedd
anchhiskop
pritoop
fanly lag lau
-press release
KPe
seraible Sadunabis m mauli
- - book nevieu
Senel ont bookt. releonse bo Apoere
ALL diy sut envi du hum lo lauch
longelaad tmekl P
M6S orurer
saudocel tt C ugm
hurdbach revleu
lach pes da Rz
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poyen
MCERe mou
Jau -Fels
Susan
pughsmps Boy
2 srylign
Spui maas
Rirm gence
Yoga mag'
M U dutum 1
Lounch


MAURICE ROWDON C.V.
First poem published at the age of 15 in the
first edition of POETRY LONDON. First job when I was
18 for Mass Observation, having been recommended to
them by Stephen Spender.
A War Degree in Modern History at Oxford 1941-2,
a second full degree in Modern Greats, after the war,
specialising in philosophy (Immanuel Kant).
Short-listed for a philosophy fellowship at Christ
Church. Decided against academic career and taught
Eng Lit at Baghdad university 1951-2.
Published my first two books 1953 and 1955, with
Chatto and Windus. Cecil Day Lewis became my editor,
introducing me at his club etc to get me further into
the literary world but by now I had begun living
mostly in Rome on my Baghdad 'pension'.
In Italy I sold a story to the American Harper's
Magazine that I lived on for a further year. I began
my Italian books, Italian Sketches and A Roman
Street, these under the aegis of David Higham
Associates, which literary agency spanned the whole
of my publishing career from that time. When David
retired I decided to go with my editor David Bolt.
Settled in Italy, becoming something of an
Italian specialist after publishing my Companion
Guide to Umbria (Collins). However, I always kept a
pied à terre in London- -essential for my media
activities, namely television, working with
newspapers on themes connected with my books, theatre
productions (also as producer and/or director) and
film projects.
In 1980 decided to follow up my increasing
interest in American thought by going to N.
California where I remained until 1990 (by this time
David Bolt had moved office to the country, which was
not viable for me). The object of my living in
California was to confirm some of my ideas through
new knowledge only accessible there by personal
contact. I financed myself with a breath therapy I
had devised after almost two decades of practicing
daily pranayama or yoga breathing. Becoming a
practitioner in this therapy gave me hands-on
experience of wrecked nervous systems. All this time
I continued in my spare hours with my writing.
Returned with my family to Europe and began


working on my therapy at the Hale Clinic in London as
part of the medical director's team. My new hands-on
knowledge of the nervous system, now my chief
interest, was a major factor in my feeling that I was
at last able to write a valid account of WW2.
Publications (unagented)
HELLEBORE THE CLOWN
(Chatto and Windus)
OF SINS AND WINTER
(Chatto and Windus)
PERIMETER WEST
(Heinemann and S.Fischer
Verlag)
AFTERWARDS
(Barrie Rockcliff)
(Agented)
ITALIAN SKETCHES
(Victor Gollancz)
A ROMAN STREET
(Victor Gollancz)
COMPANION GUIDE TO UMBRIA* (Collins)
THE FALL OF VENICE*
(Weidenfeld, Praeger USA)
LORENZO THE MAGNIFICENT*
(Weidenfeld, and USA)
THE SPANISH TERROR*
(Constable and Book Club,
St. Martin's Press USA)
LEONARDO DA VINCI*
(Weidenfeld, Book Club
Associates)
THE TALKING DOGS*
(Macmillan, Putnam USA,
Japan, serialised for one
week by Evening News)
Commissioned non-fictions.
Theatre
ESKIMO TRANCE Victoria theatre Stoke on Trent.
ESKIMO TRANCE Mercury Theatre London under my own
direction.
MAHLER* Arts Theatre London, my own production.
MAHLER Studio Theatre Munich, my direction.
*The basis of Ken Russell's film of that name.
Television
BBC 55 min. Omnibus: THE FALL OF VENICE, which I
scripted from my book of the same title; I ran the
pre-production team in Venice as fixer, casting the
lead Italian players, organising barges for
generators, storage for costumes etc.


THURSDAY, SEPTEMBER 7, 1978
EVENING NEWS 15
DAY FOUR of Maurice Rowdon's story of talking dogs
Elke and the angels
ONE evening, after a
(a soft mist with eternal genuine Materia (he a too fine-or soft-
lustre).
matter). Materia is a word used in
delicious cake baked by
As the words formed on my pad philosophical discussion, meaning
and she went on tapping in her substance.
one of Dorothy's aunts,
deeply absorbed her eyes almost : Do you really mean Materia ?"
our conversation ranged
closed, we gazed dntd each other, our YES.
spines tingling with astonishment,
And who 1S er (he)?" GOD for
over many subjects, in-
ÔNE evening we talked again about Gott (God),-she tapped.
cluding whether dogs had
the tappings on death and OUR NEXT WALK, on a bright and the
began OE wonder 1f they had any- splendid morning, took us to
knowledge of death, God
thing to about God. Elke had Ramsau arld, high in the hills. Now
already
that she was At the parking lot, near an inn,
tap.
even
Edesa
and
reincarnation.
aware of the word.
Frau Heilmaier pointed to one
This was partly provoked
Dorothy asked Belam: "What do the benches and told me that Elke of
by Elke. Tired of being left
you love more than Mami (their pet had been very ill at that spot, Bonzo's
name for Frau Heilmaier)?"
shortly before her death.
alone. with Keesha and the
He seemed perplexed and she She also told me she had had an
puppies while the rest of us,
added: "Do understand?" NO. irresistible feeling, at the time she
including Belam, returned to
"Do you 1ove something more was buying her, that Elke II was brains for
than Mami?" YES. He tapped the reincarnation of Elke I.
Berchtesgaden at the end of
MAIAGRIT, which seemed to make Elke I was Frau Heilmaier's orig-
each evening, she tapped
no sense, then he flopped out on the inal dog pupil, but she had died
BELA IMR MIT OICH DARFE
floor.
midway The rough through date her Elke training. gave us the a prize
WE ZO ENDE : WEN ELKE
other evening for her own death
DOD for Belam immer mit
Heaven
two responds years with and something that of Elke ago I's death cor- IF you think your dog is
euch darf Weh zu ende .
"Do understand the word' which was two years and eight clever he could win you a
wenn Elke tod (Belam always
'God'?" Y2, "What do you think months ago." While we talked, Elke prize.
with you should pain end
of when we use this word?"
was on the lead between us. into Write and tell us in
if Elke death).
LEBEN UBER IHN BIS ODEM the That evening Elke and was Mami coaxed asked not more than 250 words
ALLE (live by him until breathing tapping position
There was a missing word
ends) he tapped. Alle is a colloquial her: Do you know the bench at about your intelligent
RSDE between "end" and "if"
expression for "gone," "ended," and the inn where we were today? Were pet. Tell us what makes
whose meaning was never
Odem an old, poetical word for you there once before?"
you sure he is clever.
established.
YES, Elke replied. When was Send us a picture of
But
Odemats
she was clearly saying
How did -that word reach him? that? What was your experience your pet, too, if you have
something dramatic like: "I prefer
For it rarely, if ever, figures in daily there ? What do you remember of one. For each letter we
death to loneliness." That evening A reincarnation? Elke the poodle 'speech.
that time ?'
publish we will pay £5.
she came home with us.
"Can say something more She tapped perfectly BESONDERS
She. had tapped the ward DOD, who said she was born again.
about COT9H
MAROOD (the second word very the And writer the best a letter wins free
which Dorothy interpreted at once might know quite as much as I did IS SCHEN I HIML UND MID sadly) ELKE WR (for Elke war) -
of year's
Tod (death). I was too surprised about the universe, and perhaps NGEL he tapped for ist schon im especially sick Elke was.
soft, supply moist HAP, the new
ts be able to' accept this and asked
Himmel und mit Engel *(is beautiful How long ago?" R (or three)
dog food made
her: "Would you please check that more. Frau Heilmaier leaned forward to in heaven and with angels). We IARE (for Jahre) three years. by Pedigree Petfoods.
this is the word she meant?. What Elke and asked: "What is it when laughed where had the cliche "Do you mean three years?" YES.
does death mean for her? Can. she one dies, my love?"
come from?
July 1972 had been the month of
me another word for" this ZO SCHWER for zu schwer (too WE HAD been discussing reincar- Elke I's prolonged sickness, and we
Result
difficult) came the answer.
nation and whether animals might were now in September 1975. Mami
"Do you mean too difficult to not be a source of knowlèdge on that Did you understand what
Letters should be
Unaided
say?" Dorothy asked her. "If you do, subject. We decided to ask Elke was saying to Mr. Rowdon at the - right away and must sent
tap three times. Or do you mean too "Have you ever died?" Dorothy bench So about Elke?" YES. Was it arrive before September
Dorothy passed the question difficult'for your heart? If you do, asked "How her. long YES. ago? Do you know?" another which Elke ?' Elke YES. was it?
11. Address them to "Talk-
and, as Élkë tapped her answer, on tap Elke five tapped times." five times. To make YES.
ing Dogs," Evening News,
took down each letter carefully the question clearer Dorothy asked She then tapped o (the tapping
Sickness
New Carmelite House,
Elke tapped without a single
"What do we mean by 'after for this could also mean two) fol-
London ECY4 1AQ (Comp).
error, unhesitatingly. Thé word I again: death'?"
lowed by IARE, which was clearly a Which Elke was marod ? Do you If an appropriate SAE is
saw unfolding on my pad was even Again without a sérious error, her phonetic rendering of Jahre know ?' She tapped ELKE UBAN enclosed we will en-
more astonishing than the first one. Elke tapped ZEN EUR GLAICH for (years).
BIS DOD.
deavour to.return photo-
It was. GESTORBEN (died). I zehn Uhr gleich (ten o'clock already). "Do you mean two years?" NO. "Is. uban right ?" NO.
graphs. The Editor's de-
showed it to the others in silence. lt was about 20 minutes to ten at "What do you mean, then?" UN i Do you mean uben (practise) ?' 1 cision is final. No alterna-
and there was a gasp..
that moment.
EDWAS for und etwas (and some- YES.
tive prizes. No correspond-
1 think this had a deeper effect "Listen Elke," Frau Heilmaier thing).
The sentence therefore stood for
on me than any other tappings I wit- said, "It's been a very special day to- : Do you mean two years and Elke uben bis Tod (Elke learn or ence about of the Associated result.
Employees
nessed that time,
day we had a lovely walk and something?' YES.
practise, till death) an excellent
It. was such an exact rendering we've talked about so many things. "Are you sure?" YES. Elke had wayof identifying Elke I.
Newspapers or
Group Ltd.
and the letters came with such a Surely you can work in the evening never been formally taught to Why do you say you were ill? families members are not of their
calm and regular rhythm quite just as an exception, as we do some- measure time in terms of years. Mami knows nothing about your
eligible.
unaided by Dorothy (who clearly had times So what is death?"
Have died many times ? Can being ill?
no idea what word would emerge EIN ZARTE she began to tap; at you say ? yoy YES.
DOCH TOT GEWESE SFER ZU Tomorrow:
until I showed it to her on my pad) the second word she became very So-have you died many times?" ERKLEREN for doch tot gewesen
that all I could do was stare tense, almost trembling, her head NO.
schwer zu erklaren (indeed been
before me in wonder, realising I was down in concentration. Then came- Have you died only once ?" YES. dead difficult to explain). Here she Three
in the presence of creatures who
know more all this ?'
experts
the word DUKLE.
Do you
stopped.
"Do mean dunkle by this NO.
Had she described her own exper-
0 Maurice Roudon 1978. Pub- word?" Y2ES.
" Can you say m ore about death?" ience in a previous life, or her give
lished by Macmillan (London)
Then came NEBEL MIT ETER- YES. about God ?" YES.
impression of Elke I's sickness from
Ltd., at £5-95 on September NISCHE ECHT SCHAIN. The whole She Or then
ER EIN ZO many overheard conversations,
sentence stood for ein zarter dunkler
tapped
received a telepathic picture of RE their verdicts
Nebel mit eternischen echten Schein ZART MATERI for er eine zu zarte 'hrough Mami?


16 EVENING NEWS
THURSDAY, SEPTEMBER 7, 1978
WILLIAM HALL AT THE CINEMA
Hitting the high-
and low-notes...
- YOU have to admire the nerve of a man
who sticks his neck out as far as Warren
Beatty does.
In Heaven Can Wait (A, Plaza) not only does
he put his name on the line as star, producer and
co-director, he also has a hand in the script.
The problem for any actor who jumps around behind
the camera as well as in front of it is" that if: he falls
on his facé, it is written off as one' mighty ego trip."
But in this richest of black comedies, Mr. Beatty
soméhow manages to
Falling love: Christie and Beatty.
Whistling in the dark:, Carradine.
make all those hats fit
quite snugly on his untidy
thatch of hair, and he
IF not exactly the most
comes up with a fllm that
wonderful.' The Silent Flute
should help lighten the
(AA, Columbia); has to be
dark evenings ahead.
the weirdest film of the year.
He plays a football quarter-
with
back for the Los Ângeles
Heavy, symibolism and
One-man bands
Rams who gets involved in a
lines that mean a lot' at the
road crash.
.body. -list Leo of millionaire. Farnsworth, industria- der plots threaten to put his by the maestro, and
Scene 4, Leicester
time' but not much.
As he is escorted through ing in his bath after drown- head in the-clouds yet again. him as well as Joan starring Baez,
Square, afterwards, it is. a tortuous
a sea of clouds by a sober-
a: lethal dose of being The clever twist. is that we it is one of those unending Classic 3, Oxford Streët) is : : know thyself' " odyssey as
suited messenger (played by his. wife (Dyan poison never see what the industria- road-show movies
a film that hovers between the bare-chested hero
fellow-director Buck Henry), Eyn and private s'e Cannon) tist actually looks or sounds Top Of The Pops mingling camera the humorous and the hor-
(Jen
to catch a: silver Concorde to (Charles Grodin). cretary The soul like. We have to-use imagi work with
rendous, and almost makes Cooper) plods garnély ovèr
heaven he
It's of Mr. Farnsworth
nation to decide just What glimpses of behind-the-scenes the group.
it with an
mountains and plalns to find
a mistake. Brestou shouldn't be 'for other shores. Mr. departs an ogre the man was.
The music is smashing- that
intriguing plot Ultimate Truth.
dead at all.
.enters instead. Beatty And it works. Gimmick or. but oh;
keeps us guessing tight At every turn he has to
His credentials for the
not, I tilt my halo to a'
the muddy dialogue! to the end.
fight off
Pearly Gates are checked From then on, it's a spritely, if. macabre, comedy
This is largely due to a
demons, monkey-
out by urbane James Mason, chuckle every minute as without the ghost of offen-'
chilling performance men, warriors, and other
àn. archangel in celestial- pin- Beatty decides his newly ac- siveness in' any of it.
Fast-runner Christopher
the by exponents of the martial arts,
stripe. Sure enough, compu- quired personality will take
Plummer as egged on by a blind flautist
ter error! He is 50 years on a fresh. change of heart
"LOOKING a little ragged steely-eyed sadist who_ com- (David
who can
ahead of his' time.
and a new lease of life. Long-player today, aren't we?" inquires mits a bank robbery only to
Carradine),
A Don't the words, Being The man is obviously a A.
for
the bank manager caus- find the mild clerk (Gould) still defeat six horsemen In
a good sport, mean' anything heartless monster. Feared by bands WEEK in
one-man tically as a rumpled Elliott has pocketed most of the pro- combat. But nothing will
to you? irri" bly asks the all. Putting up. nuclear plants
the cinema, and Gould arrives for his stint ceeds.
stop our hero.
messenger as Beatty insists in quiet villages in overseas Renaldo And Clara (AA, behind the counter 'at the From then on it becomes Finally he faces a shrouded
on bèing returned to Earth England, and even. "canning Camden a
Plaza), billed as Toronto branch.
a cat-and-mouse
as (but fangless) Christopher
and back into his own body. dolphins along with the tuna the Bob Dylan" flm, is. Hardly
Plummer stalks his game
Lee to learn the secrét of
They do not. Especially at local seaside resorts.
a long, long-playing récord since Mr. surprising, Gould has really, just through wet streets, conduct- quarry life.
when Beatty finds his body With a few swift board-. in self-indulgence that is found a woman's head in. his ing a war of nerves.
has been cremated 'with un- room decisions, Beatty re- bearable, provided you tropical fish tank, is on the A
Despite a screenplay by
seemly haste, and his ashes verses it all, persuades a fiery can't get enough of Bob run from a mass-murderer, slow-paced dirécted thriller, meti- Stirling Siliphant and
scattered over the flower-bed, schoolteacher (Julie Christie) Dylan:
and is about to complete his culously Duke
by Daryl Stanley Mann,. the script Is
leaving him a wandering soui to fall in love with him
It lasts 3 hours 52 minutes own embezzlement the tones with Hitchcock over- so weighty that ultimately it
without a home.
and is all. set to: live happily cut from 41 hours.
bank's funds. of
but too- many unneces- sinks tne film with all hands
Then he chances on the ever after when further mur- Directed, written and edited The Silent Partner (X, sarily make it nasty totally moments palatable. to and monkey-men, all. warriors
ALUMINIUM Assem- CLEANERS
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Continued from Page
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WESTERN DAILY PRESS
BRISTOL
ISSUE 8 SEP 1973
DATED'
I - a D
your
V - ng
a a
some
THE next time
After. nine months of
your dog starts
by Dan
lessons he-had Belam, asked what
seen in the wood,
tapping the ground
Lees
replied that he meant raven, a confirmed bird, and
with its front paw,.
added that it had pecked The talking dogs: A howler, or a sci
pay- attention..
the Loch Ness Monster him Anothet
advance?
and pavement fried
great
Aitic
It could be trying to But now, with scientists eggs. breakthrough the dogs personal was to' teach pro-
complain about the food making serious efforts to nouns proving. that the
or to lay the ground- and communicate dolphins, with Elke apes. and animals had a sense of
work for a philosophical Belam could stand a identity.
discussion.
chance of getting through spelling By 1975 out the words dogs were that
In Bavaria in southern to. us, especially as they they had overheard rather
Germany, a poodle called seem to have-a
deal. than been taught and giv-
Elke and a saluki called more to say. great most ing their
on the
Belam have been talking of the others.
after life as thoughts. "a soft
to their mistress since Former personnel con-
with eternial genuine dark
1973, using their
to sultant Dorothy. Meyer
signal an alphabet
Fastrort
da taps. and her friend Frau
Heilmaier. began by
Silly
teaching the dogs. to count
Conclusions
and then to do simple
The conversations, sums.
In The Talking Dogs
i which began- : with words When they could divide (Macmillan,
like man and ball, now and multiply they were Maurice Rowdon, who
include subjects like the introduced to the letter spent some time in Ger-
afterlife and the existence tapping code: One tap for many with the dogs and
of God.
F, two for 0, three taps their teachers, tells the
Talking animals. have-. for 25 R and for so on up to story of their achieve-
been around for a long After taps weeks X.: of patient detail ments in that such only.two painstaking con-
time.
work the dogs' vocabulary clusions are possible.
A tapping horse men- included words like gut Either the two German
tioned in Love's Labours for good, dumm for stu- ladies and their pets have
Lost who could do pid, katze for cat, and made the sort of
"strange and wonderful wurst for sausage, with breakthrough that war-
things by the. arts of Belam lagging behind rants an immediate inves-
magicke" was later Elke.
tigation by the m ost
burned at the stake with But even Elke was only highly qualified scientists
his master "as one witch", tapping out wiords sug- available.
while in the 1900s Clever gested to her or written Or they are consum-
Hans a stallion who could up_ on the blackboard.
mate liars and confidence
count, spell, add, subtract Then Dorothy began tricksters with Mr Row-
and read clocks and maps, asking her pupils ques- don as their dupe or their
became world famous.
tions like "do you accomplice.
By and large, however, remember the name of Meanwhile I shall be
talking dogs and the rest this sign?" which careful about what I say
have had a bad press as demanded a definite in front of our cat.
a regular feature of the answer and provided for You never know whom
silly season, along with a controllable response.:
she might repeat it to.


Bolt
Watson LTD AUTHORS' AGENTS
8 Storey's Gate London SWI
Tel: 01-930 5378/9 Cables: Bandwag London SWI
Directors: David Bolt Sheila Watson
Maurice Rowdon Esq.;
10th December 1974
5. Tamworth Street,
London SW6.
Dear Maurice,
I'm returning now under separate cover the
following manuscripts, A TUSCAN VILLAGE, A SONG OF THE
END OF THE WORLD, THE BATTLE OF THE MONKS (two outlines),
THE NIGHT OF THE ECLIPSE (3 folders), JANET, CONFESSIONS
OF A EUROPEAN, LETTER FROM SIENNA, DEVIL'S BRIG, TALES &
TRAVELS, PICTURES OF A DARK AGE (outline).
I think that's the lot but if we come across more
I'll send them on. Here is a list of our submissions:
A TUSCAN VILLAGE just returned by Constable. But
Ben Glazebrook there writes:
"This is a most attractively written outline and
I am réluctant to send it back to you, but I am afraid we all
agree here that there simply are not enough potential buyers
for us to be able to make out if we published.
"Incidentally, won't Maurice have to be careful
about what he says on page 11 (top) from a libel point of view?
"If you do not place this with another publisher,
and Maurice intends to go ahead anyway, I would be most
interested to see it when it is finished, provided that it is
not too long - say 65,000 words."
Previously declined by Temple Smith, Allen Lane/Longman,
Cassell and Eyre Methuen.
SOPHIA just back from Chatto whose editor writes:
"I have read Maurice Rowdon's new book with
ceaseless wonder, but with little enjoyment, and was
frequently put in mind of the later Bunuel films in which
one image so lightly attends upon the next as to challenge
all one's wits. In short I do agree; it is a very difficult
book. And alas, no I cannot make you an offer for it. I hope
you find a good home for it as it deserves. (It is a very far
cry from AFTERWARDS)."
Previously declined by Gollancz, Constable, Bodley Head,
Hutchinson and Cape.
contd/.
Keyr No. 1007046 London Registered Ollen 20/21 Princes Stroet London WIR BIQ
Xiong Sevely carc' 'h wach drMSS wiile W Aill- Bodseseloil wr calll antept Hb tesponelbility lot 1es4 bit dattiaga thiereto


Stanley House,
Farm Lane,
London, S.W.6.
Dear Maurice,
I finally read your play.It made me dizzy with amase-
ment and delight for the next two days.
It is evident
wiler
how much you have matured as a)
researcher,phylosopher.As a matter Af fact Kokochka
bits are better and more original in writing and sur-
prises,than the Mahler's bits.But THIS works alright
and makes an interesting contrast.
Why Mahler and Kokoschka7Why not the other ones "I asked
myself this question.I know now.I think that it must be
emphsised somewhere in Alma lines that Mahler was the
greatest genious she lived with and Ko Ko was the grea-
test stud-fucker she ever had.
Then- I think the play is a bit too long but this is
no problem.One can cut.Then there is this gigantic techn
ical problem for an actor how to make these transitions
done swiftly and efficiently.I know,you did give
me enough time to change make up and costihm for the
transitions but I don,t think ttink this should be
(could be) convincing.What I think is:why not to
try
and do it like in one Pinter's play where
two actors
play several interchanging characters.He would go to


ae a corner of the room(on the stage-in full view) pick
up a walking stick and from now on he would play a
new character.The magic of the stage and acting is
immence.It is endy important HOW you do it.Aren't I
right?In that case one avoids this a bit "circus like"
QUICK changes and the nerves:will I do it in time?God
I forgot mustaches and I am already on.You see what I
mean.
Then: something has to be done about the second part
of the second act.Too many changes:1 KOKO Mahler Mahler
KOKO etc,I thought.It seems to be a bit messy.
All beit-I think the material is powerful.Splendid.
The wisdom of life and the wisdom of art is there.There
are splendid lines.And scenes.
Thank you for sending it to me,Maurice.
I didn't get in touch with the director to be.I thought
I shoul first tell YOU about all my impressions:
good and bad.
I am going to film in France from the next Froday.
Will be back around middle of September.I hope
also
you
willl be back in Assisi.I will be
waiting to hear from
you.
C'ongratulating you once again on your work,
Seut reporols
aud
you
Batchiell
yaurs
Medell


Telephones Temple Bar 2006-7-8. . Vigollun, Rand, London Trade d Deliveries, 30 Maiden Lane WC
DIRECTORS
VICTOR GOLLANCZ e FRANKSTRAWSON RUTH GOLLANCZ
DOROTHYHORSMAN.S SHEILA HODGES.JOHN BUSH . HILARYRUBINSTEIN
VICTOR GOLLANCZ, LTD
14 Henrietta Street, Covent Garden, W.C.2
LONDON
18th September, 1953.
Maurice Rowdon, Esq.,
bei von Schack9Lukschy,
BERLIN - Grunewald,
Falterweg 31,
GERMANY.
My dear Maurice,
I don't really know how to take your last
letter: did my letter of September 1st nark you so
much, or were you us ing my letter as an occasion to vent
a long-inhibited anti-publishers spleen?
The point about THE EMBAIMERS is this: you
have a profound theme, you write with sensitivity and
from a poet's mind, at times it looks as though the book
might be becoming a second "Red Badge of Cou rage, It and
yet in the end, to me, to our chief reader, and presumably
to Chatto's, it doesn't seem to C ome off.
There is no
point in beating about the bush - the novel, in our
opinion, fails because you haven't given it sufficient
shape or narrative thread SO that your war is simply a
succession of incidents, without sequence in time or
meaning; even more important, there doesn't seem to
us any development of the theme, for the separate episodes
aren't much more than repe titions of it, and in the later
stages aren't even that.
"The book has to be taken on by someone who
wants my other work and is prepared to risk a loss for
that work, or else by S omeone who believes that the book
would be good for people"...well, to take your first point
first, obviously we should like to see your f uture work.
But, rightly or wrongly, we feel that this book would do
All manuscripts and other doruments submitted tot the firm, whether at the request of the frm or otherwise, are submitted at the author's risk:
and, while every possible care is taken, in the event of loss of or damage to manuscripts, etc., the company cannot hold itself in any way responsible


Maurice Rowdon, Esq.
18th September, 1953.
your reputation more harm than good, besides being, from
our point of view, a loser. As for your second point,
I believe, if you will forgive the presumption, t hat you
have it in you to write a book t hat will be "good for
people." I also believe, for what my judgment is worth,
that this book is not it; or, if it would do some good,
it won't do as much as a book that you are capable of
writing and may write in a few years time.
This letter may possibly nark you more than my
former one. But it comes, as my grandmother would say,
from a sincere well-wisher.
The manuscript is being returned to-day to Joan.
Yours ever,
lilgy
HR/WM


LICENSED ANNUALLY BY THE L.C.C.
REPRESENTED IN NEW YORK, CHICAGO, HOLLYWOOD AND PARIS.
MEMBERS OF THE AGENTS ASSOCIATION LTD.
TELEGRAMS AND CABLES:"CONFIRMATION LONDON"
TELEPHONE: REGENT 5367-8-9 REGENT 1141-2-3-4-5 GROSVENOR 3912-3-4.
ESTAB. 1888
Mocadilly House
HARRY FOSTER.
Kostere Jaoneas
LESLIE
Eid
A. MACDONNELL.
Bincus,
HYMAN ZAHL
Cntertainment Aureant.
12th November, 1953.
Maurice Rowdon, Esq.,
bei von Schack-Lukschy,
BERLIN = Grunewald,
Falterweg 31,
GERMANY.
Dear Mr. Rowdon,
I did receive your play and have just finished
reading it and I hope you will forgive me for not
acknowledging it sooner.
May I say quite frankly that although it is
a very interesting and perceptive piece of writing
it does not, in my opinion, add up to a play even in
the most limited meaning of the commercial world. I
do not mean that I object to a play having a serious
and even menacing note. I.do not. However, I have
to sell plays which the present day theatre managements
will be likely to appreciate and understand. Yours, I'm
afraid would not come into this category. However, please
send me anything else you may write and if it is a little
more lighthearted than "A Pilot of the Crooked" so much
the better.
With kind regards,
Yours sancerely,
Mak - h h a
MAX KESTER.


LICENSED ANNUALLY BY THE L.C.C.
REPRESENTED IN NEW YORK. CHICAGO, HOLLYWOOD AND PARIS.
MEMBERS OF THE AGENTS ASSOCIATION LTD.
TELEGRAMS AND CABLES."CONFIRMATION LONDON.
TELEPHONE: REGENT 5367-8-9 REGENT 1141-2-3-4-5 GROSVENOR 3912-3-4.
Bhecadilliy
ESTAB. 1888
House
HARRY FOSTER.
gostere Joeoi
LESLIE A. MACDONNELL.
Gircus
Eis
Phocadiliy
HYMAN ZAHL
Cnfertainment Bureaat,
Yondonswz
Maurice Rowdon, Esq.,
14th December, 1953.
5, Redcliffe Gardens,
LOND ON, S.W.10.
Dear Maurice Rowdon,
Thank you for sending me "A KINGDOM FOR THE VULTUES".
I will read this, but not until after Chri stmas! I am interèsted
to kno W that Ian Atkins is reading "HELLEBORE THE CLOWN" and
have taken the liberty of dropping him a line asking him to
let me know his views at the same time as he writes to you. I
have every confidence that between us we shall pull off a
deal of some sort even if we have to wait some time for it.
With kind regards,
Yours sincere ly,
Vacltolur
Max Kester.


Telephones Temple Bar 2006-7-8 - Vigollan, Rand, London - Trade & Deliveries, 30 Maiden Lane WC
DIRECTORS
VICTOR GOLLANCZ.FRANKSTRAWSON - RUTH GOLLANCZ
DOROTHYHORSMAN.SHEILA HODGES.JOHN BUSH . RILARTRURINSTEIN
VICTOR GOLLANCZ, LTD'
14 Henrietta Street, Covent Garden, w.C.2.
L,O NDON
1st September, 1953.
Maurice Rowdon, Esq.,.
bei von Schack-Lukschy,
Berlin - Grunewald,
Falterweg 31,
Ge: rmany.
Dear Maurice,
The position about THE EMBALMERS is this: I
read it myself as soon as it came in, liked a good deal
of it very much, but had certain reservations about its
selling potentialities. It is a particularly difficult
book to decide on, because one's reaction to the subject is
naturally so subjective. So, before writing toryou, I
wanted to have the opinion of our chief reader, who has
been reading for us for over twenty years and whom I know
would be sympathetic to your approach. Mos t unfortunately,
he has chosen this month to take his three weeks holdday, :
and therefore it. will be another ten days or a fortnight
before his report comes in. I am sorry to have to keep -
you waiting, but can the matter rest over till the middle
of this month?
Yours ever,
hilgy
HR/WM
All manuscripts and other documents submitted to the frm, whether at the request of the firm or otherwise, are submitted at the author's risk:
and, while every possible care is taken, int the event of loss of or damage to manuscripts, etc., the company cannot hold itself in any way responsible


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PIERS RAYMOND
TEMPLE BAR 0127/9
PUBLISHERS
40-42 WILLIAM IV STREET
LONDON
NS/HL
16th July, 1953
Dear Mr Rowdon,
Thank you 8o much for your letter of the 12th July.
You
should 'have had Cecil' 8 letter about THE EMBALMERS before you got
mind, as he wrote a day or two ahead of me, but I'm afraid it was
sent with the manuscript, by registered post, so it has probably
be'en delayed. However, I am enclosing a copy, as I think you might
like to know rightaway why we didn't feel able to take on the
manuscript, despite all the excellent work you had done on it.
I'm not surprised that you are puzzled by American and
subsidiary rights. Let me see if I oan sort them out a little for
you.
We have not been idle as. far as the book rights in the States
were concerned, as you will hate seen from my previous letter, but the
dramatic and television rights are a different matter, and although it
is as a rule easier to sell them after a book has been published, unless
the author is very well known, I think you would be well advised to get
a. specialist in these particular fields to handle the rights for you.
There are two people I could suggest, both of whom are very good. Max
Kester, who, incidentally, handles the film, dramatic and television
rights for Aldous Huxley, Aubrey Menen, and Edward Grierson; and Alan
Collins of Curtis Brown, New York.
Their respective addresses are:
Max Kester
Alan C. Collins
X Foster's Agency
Curtis Brown, Ltd
Picoadilly House
347 Madison Arenue
Piccadilly Circus, S.W.1
New York 17
Both firms could also deal with your short stories, though I believe
you had contact with Patience Ross of A,M. Heath, and you mey like
to continue with her as far as this side of your writing is concerned.
She could handle them on both sides of the Atlentic, whereas Kester
and Collins would only deal with American publication, An alternative
to Patience Ross would be Miss Ursula Winant of Richmond Towers Ltd,
1 Bloomsbury Street, W.C. 1.
She would be very good as she is herself
half-American and knows the market in the States well.
* ahn : 0.5. Wulin nmins Aganszue. ')40 hvodweg/M.y-'9.


With regard to translation rights, we have already been at work
on these and have offered HELLEBORE in Holland, Italy, Norway, Sweden
and France, so far I fear with no luck, but it's early days yet.
Mondadori turned it down ih Italy and it's now on its way to Bompiani.
Similarly, Norstedt in Sweden having just turned it down we shall send
it to Bonnier.
As we hear from the others so we shall take the
necessary action, and I will let you know immedietely if we make a sale.
I am delighted to hear about PARASOL - a charming title, by the
way and I hope you won't let your play-writing interfere too much with
your novel-writing! Though I can quite understand your interest and
admiration for the play form, nev er let it be said that it is more
important than the novel.
What's going to happen to us publishers if
all the young writers put the theatre first?
I agfee, nonetheless,
that we are sadly short of first-olass playwrights, if the London
theatre's passion for importing American work is- any guide.
Let me know if I can do anything more to help, and don't hesitate
to write at any time: I love to hear from you.
All best wishes,
Yours sincerely,
Saclu
Maurice Rowdon, Esq,
c/o Bianchi,
Via Vittoria Colonna 40 (int 12),
Rome, Italy.


LE CHEF DU SECRÉTARIAT
S.A.S.LA PRINCESSE
Polats
DE MONACO
Palace of Monaco
February 28th, 1975
Dear Mr. Rowdon,
H.S.H. Princess Grace
has directed me to answer your
letter of January 26th, 1975.
Although the English-
speaking audience in Monaco is
rather limited, the Princess
has given instructions to pass
OOR
your inquiry on to the Director
of our Summer Festival, Monsieur
Antoine Battaini, for consideration
and reply.
Sincerely yours,
Bol
P Cham
Paul Choisit
Alntcls
Je suis nc
wen
avec
E 1
Mr. Maurice Rowdon
deu - -
solel


DR. BERNHARD FRHR. VON BRUCK
RECHTSANWALT
RA. DR. v. BRUCK : WIDENMAYERSTR. 4 8000 MUNO CHEN 22
8000 MUNCHEN 2: 2
WIDENMAYERSTRASSE 4
Herr
TELEPHON (089) 22 33 11
TELEX: 06 23 937 JUS D
Maurice R O W d O n
Casa Campardi
San Gimignano /ITALIEN
Lieber Maurice,
das Verfahren Caron ./. Peterson leidet an Deiner Uner-
reichbarkeit. Auch meine beiden Schreiben vam 30.9. und
19. 12. 1977 blieben unbeantwortet. Ich bitte wenigstens
einmal zu antworten. Du weiBt, daB das Verfahren in Minchen
mit Deiner Zeugenaussage zu gewinnen ist. Dein Schweigen schafft
mir im ubrigen zusatzliche Arbeit. Auch ich hatte den ProzeB
gerne vom Tisch.
Mit freundlichen GriBen
Rechtsanwalt
BEI DI EN LANDGERICHTEN MUNCHEN I UND II SOWIE BEI ALLEN AMTSGERICHTEN
rs HECKKONTO UNCHEN 25444 44-808 DEUTSCHE BANK MONCHEN KTO.-NR, 63/06 070


THE
GoD DoGS
5 Tamworth Street
London
April 2 1978
Dear Harold,
Feeling lots of nostalgia for NY. Get hold of
my ELKE AND BELAM (Putnam) and please read it.
would like to get together a kind of sciengce fiction,
occult story in which because earth disastèrs have gone
too far the dogs through the agency of a small group
of men virtually take over the direction of the rehab-
ilitation of the earth by communicating with extra-terrest-
rial beings who have for some time been much concerned
about the future of the earth and its harmful Aale effects
on the rest of the universe. This would later entail
you reading another book, also a true one, which has
not been published in the States but are trance readings
from a psychic in New York State.
It must be done quickly
because Walt Disney asked to see my book-recently and I
do not Want ideas to grow out of it. P,ease show the
book to your agent if you think there is a chance of his
helping in the pre-Binancing etc.
Ideal would be for
you to be tied into it beforehand, and everything to be
copyrighted including title ahead of time. You would
be an excellent director for this.
Copies of this letter
are not going out to Jules Buck, Lew Grade or even Ken
Russell.
It should not be difficult to get financing up front
with the book to show. I can handle the dog side, show
how it's done, how the dogs must sit etc, and in any case
I initiated the first tapping school in Pa. which might
well produce a real American tapping dog or two by the
time the film came to be shot. The script could be most
exciting, setting out from a series of disasters, and
much psychic communication that pointed to the imminent
crisis and the necessity of 'talking to the dogs' which
none of the psychics involved understand. Then it trans-
pires that the owner of a 'tapping' dog understands what
it is all about.
I forbid either of us to wark on this without every-
thing prefinanced and prearranged.
The film could have
wonderful dimensions.
Lots of love to you both.
Wait, I've something more


to say. If you can't find a copy---it is possible
that because of this madman who is trying to have the
book stopped Putnam are holding it off the stalls for
a time---call up sweet Laurie Tag at Putnam and say
you're a friend of mine and must have a copy or two
right away.
Please remember me to Jane, and I hope
there haven't been any more meteors.
PS Did Su find her china again. Give her a big kiss
for me. Who is the guy who called my London agent months
ago and asked to see a copy of the book but we didn't send
him one.
Name of Schiller and his company the New Ingot
Production company of LA.
Maybe he'd be good for the
financing but one has to be careful here. Could you find
out about him?
PPS I think the seed of all this was Su. She told me
about a film 'which is just up your street' only about
was it rabbits? and this must at once germinated with
my dogs.


SOPHIA
sth Gronicsm.
Connece heme Laaely
at lu (
Au this igomalioi L cohef
pryceicelly


THE DOG GODS
Dear David,


uis
fre 2
Dear Laurie
Many thanks forthe first two copies off theypress,
it was a most sweet thought. Meanwhile, as my last
letter may have shown, I'm
te à apprehensive mainly
onthe score of credibility.while we havenomedia suppert.
I'm about to' go to Zurich to hopefully conclude negotiations
for the public appearance of Elke and Belam.
The key to
these is Werner Schmid, the Swiss impresario I mentioned
to you in connection with Uri Geller and Puharich. He
is a wheeler dealer and naturally has discovered that the
two dogs are potential d gold. He has his eyes fixed on
doing a TV series with them except that he has done nothing
about it. He is tirelessly cunning, and in Germany has
been called 'three Jews and two Armenians' - but this isn't
true because while he has the dynamism he certainly lacks
the widdom.
In fact he magnetises disaster.
I once ran
a press campaign with him on another subject and sew him
elel
shrewdly setting up gne day what he pulled down the next.
He even started a row with me on a live chat show. He
must be the only mannin the world to create a financial
empire out of HAIR and then lose the lot. He was arrestes
on the German border for tax evasion and sat in his cell
with his overcoat on and his suitacses packed at his side
after having cabled Uri Geller to dematerialise him for
a couple of hours as he had an importantshow to see in
Hamburg. They thought he was crazy. I am afraide
Lanire he is Mrs Heilmaier's public rélations, and she
has utter faith in him. I am dealing with her directly
at the moment but I'm sure he is in the background some-
where. They want a percentage of my royalties. I am
very willing to make a contract with them but they won't
come out and say what they want or if they will. 2
Mt fears about ceredibility at this delicatelstage
were what prompted me to suggest in my last
This is why I told you in my last leter that I th
This is why I think
You ask about the National Enquieer,. who called me
while I was in Venice to suggest sending a reporter down.
I set ent some stiff exclusivity yerms which they didn't
rise to, at least if the silence of Ann Borchardt on ths
esubject is anything to go by. I am giving exclusivity
to'a British Sunday, which has long been familiar with the
book, eince last yeandknows/ Dorothy Meyer and Werner Schmid.
Hopefully we wilhgeta good story and te-able E9 syndicate
hnt
it to the States before you publish.
My wife writes to me today from Connecticut that there
is a noticeable lack of prepublication fuss about the book,
elp
and Fatweys-taite-mote-ofwhet-she-seys as she has two
or three generations of highly successful publishing in
her bloodf Ifear any 'fussi must-hinge on-sedin-eupport.
Forme (and I had hopes Mrs Heilmaier) the commercial
iv aide
lecreve us h Imeheni
7 all Ikuss unolsalet->


ahgeckiYeXISXSERBROdaryx***x**xpart of, that of
changing human consciousn
If you want to drive Doubleday out of business, Gito
call tham
uny
just
every day and say Werher Schmid would
like to come in for a chat.
Luckily Macmillan advanced Arb1 some cash to keep
me, literally, flying.
I'll keep you closely and
immediately informed about Zurich. If you want to
contact me phonewise my london agent will know exactly
where I am on any given day.
I have a mugh more optimistic picture of British
possibilities on/ the book at the moment. As I said
in my last letter, 'the credibility factor is better
here because I'm available tol talk to people, especially
the press. But I'm fluffing and clucking like a hen
because
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5 Tamworth Street
London
Dear Mrs Heilmaier,
Miss Gautschy kindly got in touch with you about my
book on Elke and Belam, and has now advised me to write
to you.
The book will be published shortly in the USA by
Messrs Putnam, and later in Britain by Messrs Macmillan.
As you probably know, publishers only sign contracts
with writers or their agents. My agents are responsible
for all my contracts, and for receiving on my behalf all
my royalties.
You have asked me, through Miss Gautschy, whether
my publishers will negotiate a contract with you for a
separate royalty. As this would be impossible, I suggest
that my agents sign a contract with you assigning to you
a fair and just percentage of my royalties based on
accepted practice and precedent in the publishing industry.
As the book is published in each country, so will the
agent responsible for that country sign an agreement with
you whereby he sends you a portion of my royalties for as
long as the book is in circulation.
It would therefore
he necessary for you to name a bank account to which you
would wish this money to be sent.
May I have your permission to see the dogs once
more, Mrs Hleilmaier? And will you allow them to be seen
by journalists if necessary?
As I believe Miss Gautschy
bas already told you, people may soon be asking to carry
out their own 'interviews' with the dogs.
This is not
simply a matter of trying to increase book sales.. It is
of much greater importance than that, as I am sure you
know. At present there is a certain danger that the book
could become a successful book for pet-lovers, which was
not my intention when I wrote it, and was certainly not
your intention when you began the education of the first
Elke. The task of such a book is surely to penetrate
human consciousness with the much larger issue of animal
intelligence. I believe that only your help, your sanction
and approval can make that enormous difference.
In writing to you, I feel deeply inhibited by the
thought that you may believe I am guided by. the desire
to get a bigger circulation for.the book.
This is not


the case.
Interest in both the USA and this country
already shows that even without TV or newspaper verification
the book creates an interest and momentum of its own.
But, I repeat, I wrote the book to achieve more than sales
or even interest.
We have a marvellous opportunity here
to reach the human heart with a story that is not too
difficult for people to understand, and which does not
arouse their fears of the 'mystical' or complicated.
Only you can turn all this into a change of human
consciousness.
I hope and pray that it will be. possible for us all
to work together again in peace.
Yours very sincerely;
auilt
Maurice Rowdon


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