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time, helped on by a student who begins as a know-it-all but ends as a collaborator, earnestly prompting him with the details of
Whitelady's life. Enderby abruptly concludes the lecture by dismissing his imaginary playwright as a failure— at which point he recognises his creation as a mirror image of himself. Later, at his poetry-writing class, Enderby finds little to admire in his students' undisciplined effusions and tries to impress on them that poetry arises from craftsmanlike effort, not emotional self-indulgence. The students, however, just look at him pityingly and ask him when he plans to leave.
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The book blends social satire with self-mockery. In a classroom scene, for example, Enderby is unable to remember his planned lecture on minor
Elizabethan dramatists and so on the spur of the moment invents a playwright called 'Gervase Whitelady'. He discourses learnedly on this personage for some
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Everywhere—even on the subway—he encounters incomprehension and, usually, disapproval. When he finally gets home, however, a woman he's never seen before drops by and pulls a gun on him; she has come to tell him she's read and re-read all his poetry, and is now going to murder him for writing it.
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This unwanted public recognition has led to an invitation to teach
English at the University of Manhattan for a year. Also, since the film has controversial elements—including, for some reason, a lurid rape scene with Nazis and nuns—the reclusive, little-read poet has been receiving a barrage of
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cigars; refuses an offer of sex from a female poetry student who wants him to give her an A; struggles through two lectures; appears on a smarmy talk show; and draws a sword he carries hidden in his cane to defend a middle-aged housewife from a gang of thugs on the subway.
446:: Burgess came to hate the film that made him famous. This autobiographical element is most apparent in the talk show scene, where Enderby's fellow guests (an actress and a psychologist) attack the poet for his involvement in a film version of "The Wreck of the
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First, however, she orders him to strip naked and urinate all over his collected works. Enderby strips, but since he has an erection he cannot obey the rest of her command. The scene ends, apparently, in a sexual encounter. Enderby dies later that night.
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is an account of his last day alive. The day in question is a cold one in
February. He spends it in New York City, where for the past several months he's been working as a visiting professor of English literature and composing a long poem about
314:. The producer, intrigued, asked for a script, which Enderby duly composed. The eventual film bears little resemblance to this script or to Hopkins's poem; however, his name is prominently credited, and the film, and Enderby, are now famous.
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Enderby suffers three heart attacks over the course of the day, and succumbs to a fourth some time after midnight. Between attacks, he goes about his business: he happily works on his
Pelagian poem; eats dyspeptic American food and smokes
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is laced with
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Enderby's present situation arose from a chance encounter with an
American film producer in Tangiers, where he owns a bar. Publican Enderby served the man a Scotch and pitched him an idea for a new film—an adaptation of
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ranting phone calls from angry citizens who are eager to denounce "his" film. Invariably, these callers (and other critics) have never read the original poem; indeed, they don't even know it exists.
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Novel Style: Ethics and Excess in
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Burgess, Anthony. "The
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872:Revolutionary Sonnets
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