The International Literary Quarterly
Contributors

Shanta Acharya
Marjorie Agosín
Donald Adamson
Diran Adebayo
Nausheen Ahmad
Toheed Ahmad
Amanda Aizpuriete
Baba Akote
Elisa Albo
Daniel Albright
Meena Alexander
Rosetta Allan
María Teresa Andruetto
Innokenty Annensky
Claudia Apablaza
Robert Appelbaum
Michael Arditti
Jenny Argante
Sandra Arnold
C.J.K. Arkell
Agnar Artúvertin
Sarah Arvio
Rosemary Ashton
Mammed Aslan
Coral Atkinson
Rose Ausländer
Shushan Avagyan
Razif Bahari
Elizabeth Baines
Jo Baker
Ismail Bala
Evgeny Baratynsky
Saule Abdrakhman-kyzy Batay
Konstantin Nikolaevich Batyushkov
William Bedford
Gillian Beer
Richard Berengarten
Charles Bernstein
Ilya Bernstein
Mashey Bernstein
Christopher Betts
Sujata Bhatt
Sven Birkerts
Linda Black
Amy Bloom
Mary Blum Devor
Michael Blumenthal
Jean Boase-Beier
Jorge Luis Borges
Alison Brackenbury
Julia Brannigan
Theo Breuer
Iain Britton
Françoise Brodsky
Amy Brown
Bernard Brown
Diane Brown
Gay Buckingham
Carmen Bugan
Stephen Burt
Zarah Butcher McGunnigle
James Byrne
Kevin Cadwallander
Howard Camner
Mary Caponegro
Marisa Cappetta
Helena Cardoso
Adrian Castro
Luis Cernuda
Firat Cewerî
Pierre Chappuis
Neil Charleton
Janet Charman
Sampurna Chattarji
Amit Chaudhuri
Mèlissa Chiasson
Ronald Christ
Alex Cigale
Sally Cline
Marcelo Cohen
Lila Cona
Eugenio Conchez
Andrew Cowan
Mary Creswell
Christine Crow
Pedro Xavier Solís Cuadra
Majella Cullinane
P. Scott Cunningham
Emma Currie
Jeni Curtis
Stephen Cushman
David Dabydeen
Susan Daitch
Rubén Dario
Jean de la Fontaine
Denys Johnson Davies
Lydia Davis
Robert Davreu
David Dawnay
Jill Dawson
Rosalía de Castro
Joanne Rocky Delaplaine
Patricia Delmar
Christine De Luca
Tumusiime Kabwende Deo
Paul Scott Derrick
Josephine Dickinson
Belinda Diepenheim
Jenny Diski
Rita Dove
Arkadii Dragomoschenko
Paulette Dubé
Denise Duhamel
Jonathan Dunne
S. B. Easwaran
Jorge Edwards
David Eggleton
Mohamed El-Bisatie
Tsvetanka Elenkova
Johanna Emeney
Osama Esber
Fiona Farrell
Ernest Farrés
Elaine Feinstein
Gigi Fenster
Micah Timona Ferris
Vasil Filipov
Maria Filippakopoulou
Ruth Fogelman
Peter France
Alexandra Fraser
Bashabi Fraser
Janis Freegard
Robin Fry
Alice Fulton
Ulrich Gabriel
Manana Gelashvili
Laurice Gilbert
Paul Giles
Zulfikar Ghose
Corey Ginsberg
Chrissie Gittins
Sarah Glazer
Michael Glover
George Gömöri
Giles Goodland
Martin Goodman
Roberta Gordenstein
Mina Gorji
Maria Grech Ganado
David Gregory
Philip Gross
Carla Guelfenbein
Daniel Gunn
Charles Hadfield
Haidar Haidar
Ruth Halkon
Tomás Harris
Geoffrey Hartman
Siobhan Harvey
Beatriz Hausner
John Haynes
Jennifer Hearn
Helen Heath
Geoffrey Heptonstall
Felisberto Hernández
W.N. Herbert
William Hershaw
Michael Hettich
Allen Hibbard
Hassan Hilmi
Rhisiart Hincks
Kerry Hines
Amanda Hopkinson
Adam Horovitz
David Howard
Sue Hubbard
Aamer Hussein
Fahmida Hussain
Alexander Hutchison
Sabine Huynh
Juan Kruz Igerabide Sarasola
Neil Langdon Inglis
Jouni Inkala
Ofonime Inyang
Kevin Ireland
Michael Ives
Philippe Jacottet
Robert Alan Jamieson
Rebecca Jany
Andrea Jeftanovic
Ana Jelnikar
Miroslav Jindra
Stephanie Johnson
Bret Anthony Johnston
Marion Jones
Tim Jones
Gabriel Josipovici
Pierre-Albert Jourdan
Sophie Judah
Tomoko Kanda
Maarja Kangro
Jana Kantorová-Báliková
Fawzi Karim
Kapka Kassabova
Susan Kelly-DeWitt
Mimi Khalvati
Daniil Kharms
Velimir Khlebnikov
Akhmad hoji Khorazmiy
David Kinloch
John Kinsella
Yudit Kiss
Tomislav Kuzmanović
Andrea Labinger
Charles Lambert
Christopher Lane
Jan Lauwereyns
Fernando Lavandeira
Graeme Lay
Ilias Layios
Hiên-Minh Lê
Mikhail Lermontov
Miriam Levine
Suzanne Jill Levine
Micaela Lewitt
Zhimin Li
Joanne Limburg
Birgit Linder
Pippa Little
Parvin Loloi
Christopher Louvet
Helen Lowe
Ana Lucic
Aonghas MacNeacail
Kona Macphee
Kate Mahony
Sara Maitland
Channah Magori
Vasyl Makhno
Marcelo Maturana Montañez
Stephanie Mayne
Ben Mazer
Harvey Molloy
Osip Mandelstam
Alberto Manguel
Olga Markelova
Laura Marney
Geraldine Maxwell
John McAuliffe
Peter McCarey
John McCullough
Richard McKane
John MacKinven
Cilla McQueen
Edie Meidav
Ernst Meister
Lina Meruane
Jesse Millner
Deborah Moggach
Mawatle J. Mojalefa
Jonathan Morley
César Moro
Helen Mort
Laura Moser
Andrew Motion
Paola Musa
Robin Myers
André Naffis-Sahely
Vivek Narayanan
Bob Natifu
María Negroni
Hernán Neira
Barbra Nightingale
Paschalis Nikolaou
James Norcliffe
Carol Novack
Annakuly Nurmammedov
Joyce Carol Oates
Sunday Enessi Ododo
Obododimma Oha
Michael O'Leary
Antonio Diaz Oliva
Wilson Orhiunu
Maris O'Rourke
Sue Orr
Wendy O'Shea-Meddour
María Claudia Otsubo
Ruth Padel
Ron Padgett
Thalia Pandiri
Judith Dell Panny
Hom Paribag
Lawrence Patchett
Ian Patterson
Georges Perros
Pascale Petit
Aleksandar Petrov
Mario Petrucci
Geoffrey Philp
Toni Piccini
Henning Pieterse
Robert Pinsky
Mark Pirie
David Plante
Nicolás Poblete
Sara Poisson
Clare Pollard
Mori Ponsowy
Wena Poon
Orest Popovych
Jem Poster
Begonya Pozo
Pauline Prior-Pitt
Eugenia Prado Bassi
Ian Probstein
Sheenagh Pugh
Kate Pullinger
Zosimo Quibilan, Jr
Vera V. Radojević
Margaret Ranger
Tessa Ransford
Shruti Rao
Irina Ratushinskaya
Tanyo Ravicz
Richard Reeve
Sue Reidy
Joan Retallack
Laura Richardson
Harry Ricketts
Ron Riddell
Cynthia Rimsky
Loreto Riveiro Alvarez
James Robertson
Peter Robertson
Gonzalo Rojas
Dilys Rose
Gabriel Rosenstock
Jack Ross
Anthony Rudolf
Basant Rungta
Joseph Ryan
Sean Rys
Jostein Sæbøe
André Naffis Sahely
Eurig Salisbury
Fiona Sampson
Polly Samson
Priya Sarukkai Chabria
Maree Scarlett
John Schad
Michael Schmidt
L.E. Scott
Maureen Seaton
Alexis Sellas
Hadaa Sendoo
Chris Serio
Resul Shabani
Bina Shah
Yasir Shah
Daniel Shapiro
Ruth Sharman
Tina Shaw
David Shields
Ana María Shua
Christine Simon
Iain Sinclair
Katri Skala
Carole Smith
Ian C. Smith
Elizabeth Smither
John Stauffer
Jim Stewart
Susan Stewart
Jesper Svenbro
Virgil Suárez
Lars-Håkan Svensson
Sridala Swami
Rebecca Swift
George Szirtes
Chee-Lay Tan
Tugrul Tanyol
José-Flore Tappy
Alejandro Tarrab
Campbell Taylor
John Taylor
Judith Taylor
Petar Tchouhov
Miguel Teruel
John Thieme
Karen Thornber
Tim Tomlinson
Angela Topping
David Trinidad
Kola Tubosun
Nick Vagnoni
Joost Vandecasteele
Jan van Mersbergen
Latika Vasil
Yassen Vassilev
Lawrence Venuti
Lidia Vianu
Dev Virahsawmy
Anthony Vivis
Richard Von Sturmer
Răzvan Voncu
Nasos Vayenas
Mauricio Wacquez
Julie Marie Wade
Alan Wall
Marina Warner
Mia Watkins
Peter Wells
Stanley Wells
Laura Watkinson
Joe Wiinikka-Lydon
Hayden Williams
Edwin Williamson
Ronald V. Wilson
Stephen Wilson
Alison Wong
Leslie Woodard
Elzbieta Wójcik-Leese
Niel Wright
Manolis Xexakis
Xu Xi
Gao Xingjian
Sonja Yelich
Tamar Yoseloff
Augustus Young
Soltobay Zaripbekov
Karen Zelas
Alan Ziegler
Ariel Zinder

 

President, Publisher & Founding Editor:
Peter Robertson
Vice-President: Sari Nusseibeh
Vice-President: Elena Poniatowska
U. S. General Editor: Neil Langdon Inglis
London Editor/Senior Editor-at-Large: Geraldine Maxwell
New York Editor/Senior Editor-at-Large: Meena Alexander
Washington D.C. Editor/Senior
Editor-at-Large:
Laura Moser
Deputy Editor: Allen Hibbard
Deputy Editor: Jerónimo Mohar Volkow
Deputy Editor: Bina Shah
Advisory Consultant: Jill Dawson
General Editor: Beatriz Hausner
General Editor: Malvina Segui
Art Editor: Calum Colvin
Deputy General Editor: Jeff Barry

Consulting Editors
Marjorie Agosín
Daniel Albright
Meena Alexander
Maria Teresa Andruetto
Frank Ankersmit
Rosemary Ashton
Reza Aslan
Leonard Barkan
Michael Barry
Shadi Bartsch
Thomas Bartscherer
Susan Bassnett
Gillian Beer
David Bellos
Richard Berengarten
Charles Bernstein
Sujata Bhatt
Mario Biagioli
Jean Boase-Beier
Elleke Boehmer
Eavan Boland
Stephen Booth
Alain de Botton
Carmen Boullossa
Rachel Bowlby
Svetlana Boym
Peter Brooks
Marina Brownlee
Roberto Brodsky
Carmen Bugan
Jenni Calder
Stanley Cavell
Hollis Clayson
Sarah Churchwell
Marcelo Cohen
Kristina Cordero
Drucilla Cornell
Junot Díaz
André Dombrowski
Denis Donoghue
Ariel Dorfman
Rita Dove
Denise Duhamel
Klaus Ebner
Robert Elsie
Stefano Evangelista
Orlando Figes
Tibor Fischer
Shelley Fisher Fishkin
Peter France
Nancy Fraser
Maureen Freely
Michael Fried
Marjorie Garber
Anne Garréta
Marilyn Gaull
Zulfikar Ghose
Paul Giles
Lydia Goehr
Vasco Graça Moura
A. C. Grayling
Stephen Greenblatt
Lavinia Greenlaw
Lawrence Grossberg
Edith Grossman
Elizabeth Grosz
Boris Groys
David Harsent
Benjamin Harshav
Geoffrey Hartman
François Hartog
Molly Haskell
Selina Hastings
Beatriz Hausner
Valerie Henitiuk
Kathryn Hughes
Aamer Hussein
Djelal Kadir
Kapka Kassabova
John Kelly
Martin Kern
Mimi Khalvati
Joseph Koerner
Annette Kolodny
Julia Kristeva
George Landow
Chang-Rae Lee
Mabel Lee
Linda Leith
Suzanne Jill Levine
Lydia Liu
Margot Livesey
Julia Lovell
Willy Maley
Alberto Manguel
Ben Marcus
Paul Mariani
Marina Mayoral
Richard McCabe
Campbell McGrath
Jamie McKendrick
Edie Meidav
Jack Miles
Toril Moi
Susana Moore
Laura Mulvey
Azar Nafisi
Martha Nussbaum
Tim Parks
Clare Pettitt
Caryl Phillips
Robert Pinsky
Elizabeth Powers
Elizabeth Prettejohn
Martin Puchner
Kate Pullinger
Paula Rabinowitz
Rajeswari Sunder Rajan
James Richardson
François Rigolot
Geoffrey Robertson
Ritchie Robertson
Avital Ronell
Carla Sassi
Michael Scammell
Celeste Schenck
Daniel Shapiro
Sudeep Sen
Hadaa Sendoo
Miranda Seymour
Daniel Shapiro
Mimi Sheller
Elaine Showalter
Penelope Shuttle
Werner Sollors
Frances Spalding
Gayatri Chakravorty Spivak
Julian Stallabrass
Susan Stewart
Rebecca Stott
Mark Strand
Kathryn Sutherland
John Whittier Treat
David Treuer
David Trinidad
Marjorie Trusted
Lidia Vianu
Victor Vitanza
Marina Warner
David Wellbery
Edwin Williamson
Michael Wood
Theodore Zeldin

Assistant Editor: Sara Besserman
Assistant Editor: Ana de Biase
Assistant Editor: Conor Bracken
Assistant Editor: Eugenio Conchez
Assistant Editor: Patricia Delmar
Assistant Editor: Lucila Gallino
Assistant Editor: Sophie Lewis
Assistant Editor: Krista Oehlke
Assistant Editor: Siska Rappé
Assistant Editor: Naomi Schub
Assistant Editor: Stephanie Smith
Assistant Editor: Robert Toperter
Assistant Editor: Laurence Webb
Art Consultant: Verónica Barbatano
Art Consultant: Angie Roytgolz

 

Brian Inglis shown second from left at a Spectator party in the early 1960s
(Brian Inglis edited The Spectator from 1959 to 1962). Columnist Alan Brien
is shown wearing opera glasses. Ruth Langdon Inglis is on the right.


FEATURED INTERVIEW:
Brian Inglis Remembered
Interlitq Interviews Neil Langdon Inglis
 

 



Interlitq: Summarize for us the achievements of Irish author Brian Inglis (1916-1993), in this year, the centenary of your father’s birth.

NLI: Brian's main achievements fall into three categories.  As an advocate for the existence of the supernatural, he gave the subject of parapsychology respectability (note that word respectability—we shall return to it). He forced a skeptical establishment to confront claims and evidence for the existence of the paranormal. Another writer might have been ignored; Brian was able to compel this attention by virtue of his track record as a journalist, historian, and admired public figure. His works of history (on more conventional topics) dated back to the 1950s, and he is an honorable and distinctive member of the 20th century club of non-academic historians (we must mention Winston Churchill, Roy Jenkins, Paul Johnson, as other shining examples). Last but not least, Brian's 1960s weekly documentary on the events of 25 years previously, All Our Yesterdays (Granada Television, 1960-1973, with Brian at the helm for the last ten years), spawned a host of imitators and influenced media representations of WWII and wartime Britain for generations to follow.

Interlitq: Would it be true to say that he downplayed military issues when looking back on his own life and career?

NLI: He never gloried in his own military service with the RAF (Coastal Command). If the subject was brought up, he would touch upon his flight training (where he learned about the "triangulation of forces"). I think he mentioned once that he had shot done one German aircraft. On the other hand, he loathed fantasists who bragged about bogus military records. But there he would leave it, changing the subject as swiftly as possible.

Interlitq: How did he feel about being a war historian on TV? Was he proud of AOY?

NLI: He knew the subject cold (with some obvious omissions; I assume he had inside information about the Enigma/Ultra programs, but could not discuss them openly in view of official secrets legislation). Brian was ambitious and when a top-rated TV program was offered to him, he was hardly going to refuse (we were often #2 in the ratings, if never quite #1—Coronation Street got in our way). AOY was produced by men Brian admired and respected, and Granada was an employer that nurtured talent (provided you did not fall out with the bosses, thereby becoming Persona Non Granada). 

Brian was a perfectionist and called for the highest standards, to the extent the dictates of weekly broadcasting permitted. His trademark economical style meant that every sentence he spoke was packed with insight and information.  His contract with Granada was generous and allowed him time for his own research. There was financial stability and a beautiful home in Bayswater to live and entertain in (although he would cringe to hear me say this). None of this came handed on a platter. Stress was inescapable—Brian is visibly nervous in his maiden broadcast—but his life had been ruled by deadlines and he did what needed to be done to make the show a success.

Interlitq: What was the downside?

NLI: As I have hinted, Brian was never completely free to speak his mind. AOY was a mass hit, and Granada was catering to the general public, for whom the events of WWII were in the recent past and being relived anew; viewers were the nation’s grandparents, parents, and children.  Thus, decades before social media, Brian dared not overlook the silent scrutiny of millions of armchair historians across the land.  An outright attack on royalty (had there been one) would have been unthinkable. Brian could not be a revisionist, as part of him had always wanted to be. 

Also, shopkeepers in our neighborhood, in conversations with my mother, extolled Brian for his seriousness, by which they meant respectability. This was not a reputation he wanted, yet it stuck to him like a burr. In real life Brian Inglis supported the use of cannabis, and a reappraisal of traditional sexual morality, including the decriminalization of homosexuality.

This double life created a certain amount of cognitive dissonance, which grew unpleasant, and finally intolerable. It was hard to be radical when you were also a product of Ireland’s Protestant Ascendancy, albeit one who viewed the British Empire and Establishment with cold suspicion. You might say that Brian was neither fully British nor fully Irish.

Interlitq: In his books, was Brian a muckraker?

NLI: Sometimes yes and sometimes no. One of his earliest books, “Fringe Medicine” [Faber and Faber, 1964], was considered so controversial that the publisher had to rope in a noted surgeon to write the foreword and lend what they perceived as a veneer of credibility. Unorthodox medicine was merely one topic that Brian was unable to focus on fully until his departure from television. When AOY ended, Brian was freed of its shackles and plunged headlong into his pet topics. He was able to mount an indictment of the hated British Empire in "The Opium War" [Hodder and Stoughton, 1976], an exposé of the opium trade; this book is a legal document from the counsel for the prosecution as much as a work of history. “The Opium War” is a title scheduled for reissue by Endeavour Press in London.

And yet, Brian's public school history master Murray Senior had always counseled him to read dissenting views.  Brian could be fair and courageously so.  To raise the issue of Irish revolutionary Roger Casement's homosexuality, as Brian did in "Roger Casement" [H&S, 1973], decades before the gay-marriage referendum in Ireland, was calculated to make him enemies within the Republican community and elsewhere. As was his portrait of Casement as a long-standing civil servant who served the Crown ably for years in hardship posts, and who was treated with respect and no small amount of patience by the UK authorities until Casement's treason could be ignored no longer.

Interlitq: Was Brian objective in his treatment of the occult?

NLI: The paranormal texts crackle with hostility.  For Brian, the existence of the psi force was the great under-reported story of his time, and he displayed a sincere commitment to getting to the bottom of that story. He felt a burning dislike for what he recorded as establishment "resistance movements", motivated by obscurantism, which sought to quash unorthodox para-scientific research out of fear of the truth. He would always claim to be cool and rational but his feelings on this topic ran very high indeed. His 1970s battles with the U.S. Committee for the Investigation of Claims for the Paranormal (originally named CSICOP) were ugly and do not show Brian at his best. "Science and Parascience"—the sequel to the more readable "Natural and Supernatural"—is the work of a fanatic. It has numerous admirers. [Both titles were originally from H&S 1984 and 1978, and both have now been rereleased by White Crow Books, including in e-book form—see http://whitecrowbooks.com].

Over time Brian moved away from a fascination with "hard-core psi" (levitation, spoon-bending, telekinesis) to a broader interest in the elusive forces of serendipity and chance which shape our world, and which even skeptics like me can and do experience. No friend of scientists, he came to regard scientists' flashes of inspiration as a manifestation of the psi force itself. 

Toward the end of his life he achieved a degree of contentment with his last love, Australian journalist Margaret van Hattem (cut short by her untimely death 1989). He was not, I think, fighting pitched battles in quite the same way as before. Some of his best friends were skeptics!

Interlitq: And socially?

NLI: Work meant everything to him. In common with many writers he was most productive before lunch.  Always more of a listener than a talker in social situations, he enjoyed having people around him, especially women.  His barefaced philandering in the 1960s finished my parents' marriage; yet Brian evolved, and by the 1980s he was a sincere and helpful mentor for dozens of female authors and professionals (Lionel Shriver, the American novelist, was one). He even socialized occasionally with my mother, Ruth Langdon Inglis (a wonderful author in her own right), in the closing years of his life, at the Academy Club run by Auberon Waugh, where they were both members. Brian was, I like to think, at peace with himself at last.

Interlitq: Did such a busy life leave much time for family? What prompted your decision to revisit your father's work?

NLI: As noted above, White Crow Books and Endeavour Press are reissuing some of Brian's most noted publications in Kindle and in some cases print editions. I have been providing assistance where appropriate.  Personally I find some of the books easier to read than others; the parapsychology titles remind me too painfully of being lectured by Brian about his spoon-bending friends, whom I regarded as transparent frauds. As a husband, Brian was pretty much of a disaster; but as a parent he did his duty and loved my sister and me in his own way. I don't believe he ever understood me. Yet I prefer to remember the good times. His birthday gift of Otto Klemperer's recording of Beethoven's Eroica symphony launched me on a lifetime of classical music collecting and appreciation. 

One year before his death he pointed out to me an academic paper on parapsychology which quoted an Inglis in a footnote; it wasn't Brian Inglis who was quoted—but me, Neil Inglis, a skeptic! We could both laugh about this over many glasses of wine. It was the last time I saw him alive.

Neil L. Inglis

U.S. General Editor

lordstarlink@gmail.com

Featured Interviews