A writer
reminiscent of Liebling in this sense is Neville Cardus (1888-1975). Like
Liebling his interests straddled high and low, classical and popular. A dedicated
autodidact, he never went to college (reminding me of a slightly younger
English contemporary, V.S. Pritchett) and was hired by the Manchester Guardian as its cricket correspondent in 1919 and its
chief music critic in 1927. He held both jobs simultaneously until 1940. As a
critic, Cardus was idiosyncratic, and championed Delius, Mahler, Bruckner and Richard
Strauss. I admire his gusto and industry. In his Autobiography (Collins, 1947), Cardus writes of his boyhood:
“I
discovered Charles Dickens and went crazy. I borrowed Copperfield from the Municipal Lending Library and the ordinary
universe became unreal, hardly there. I read at meals; I read in the streets;
at night I would read under the lamps on my way to anywhere I happened to be
going; I would read until I was frozen cold, then run like mad to the next lamp.”
Cardus
prized Dickensian energy, in music as in cricket (a sport that I, like most Americans,
find terminally baffling). The passage continues:
“I read in
bed surreptitiously and against the rules, using a tallow candle. I read myself
to an acute state of myopia. . . .I can write of this boy without
self-consciousness. He happened so long ago. He might have been my son.”
On the final
page of his Autobiography, Cardus writes:
“I have
stored my mind and heart with good things; if I live another fifty years there
will not be enough time to explore and savour to the full this harvest. Such
harvests need to be jealously preserved, and we should offer constant
thanksgiving for them.”
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