Woolfian Boundaries - Clemson University
Woolfian Boundaries - Clemson University
Woolfian Boundaries - Clemson University
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46 WOOLFIAN BOUNDARIES<br />
Allen has described Hampson’s American-inspired, pared down style as “appear[ing] at fi rst<br />
harsh, even crude” (Tradition 226) and William Plomer has characterized this fi rst novel as<br />
“very English” in fl avor, sober and direct, marked by a “deep and unsentimental tenderness”<br />
(xi). Trekkie Ritchie, later Trekkie Parsons, designed the cover for Saturday Night at the Greyhound<br />
and the Woolfs highlighted the regional quality of the work in their marketing of it as<br />
“a story of village life [showing] Hampson’s powers of story telling and character drawing.”<br />
Th e book was praised for its simplicity, dramatic realism, and truth.<br />
Hampson’s novel worked well with the Woolfs’ mandate at the press which was to<br />
launch new authors and to publish work that would not fi nd a home with a mainstream<br />
publishing house (Saturday Night at the Greyhound had been rejected by Jonathan Cape in<br />
Figure 2. Trekkie Ritchie, dust jacket for Saturday Night at the Greyhound, 1931<br />
1929). Th e Hogarth Press was in a position to take risks in 1931 with close to their highest<br />
ever yearly profi t in 1930, a success repeated in 1931 before profi ts declined in 1932<br />
(Willis Appendix B). Certainly the support of Hogarth Press author William Plomer and<br />
also the presence at the press between 1931 and 1932 of John Lehmann, recently called<br />
“the most successful supporter of working-class writing” in the 1930s, would have been<br />
factors in the Woolfs’ decision to continue working with Hampson, as well as perhaps a<br />
factor in their discontinuing their relationship with him (Hilliard 130). 5<br />
Another factor in the Woolfs’ support of Hampson at a time when they were becoming<br />
increasingly professionalized might have been that other publishing houses were actively<br />
seeking working-class fi ction at the time. 6 Virginia Woolf made much of Hampson’s<br />
putative working-class status, celebrating him as “Our Cardiff waiter” in a letter to Clive<br />
Bell (L4 292) and describing him as “ravaged, exhausted, has been a bootboy, a waiter, also