Complete Works of Evelyn Waugh: The Loved One

This volume is part of the Complete Works of Evelyn Waugh critical edition, which brings together all of Waugh's writings for the first time. This new edition of The Loved One provides extensive contextual notes to locate the work in its twentieth-century context.

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This volume is part of the Complete Works of Evelyn Waugh critical edition, which brings together all Waugh's published and previously unpublished writings for the first time with comprehensive introductions and annotation, and a full account of each text's manuscript development and textual variants. The edition's General Editor is Alexander Waugh, Evelyn Waugh's grandson and editor of the twelve-volume Personal Writings sequence.

'A wicked book', one reviewer called it. Evelyn Waugh's eighth novel, The Loved One (1948), represents a return to the pungent satirical manner from which its predecessor Brideshead Revisited, three years earlier, had deviated. The prospect of Brideshead being turned into a film took its author to Los Angeles, where he became more interested in Forest Lawn Memorial-Park and its funeral rites than in Hollywood and its dreams of immortality. Or rather, 'obsessed' (his word) about the relations between them. Around these twin industries he spun a macabre fiction about an English poet and failed scriptwriter, an ingenuous young American beautician, and the master mortician for whom she works. A strong supporting cast features the English ex-patriate community and the Hollywood Cricket Club, the movie moguls and their henchmen, and the devotees serving the fictional 'Whispering Glades'. The resulting story is one of Waugh's funniest, yet it harbours an underlying gravity about the way the world (or the West) was going in the aftermath of global war. The Loved One is deeply coloured by memories of war. It may be concerned with the world of appearances to which Hollywood and Forest Lawn were dedicated, but this does not make it superficial. On the contrary. Waugh subtitled it 'An Anglo-American Tragedy', but it can be just as well understood as the most mordant of comedies, closer to the world of Samuel Beckett than of P. G. Wodehouse. Or better, an improbable combination of the two.