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Goldhill, the specialist in Greek tragedy whos been working on reception studies recently, writes a popularizing biography/analysis of the archbishop of Canterbury under Queen Victoria and his family: his child-bride Minnie (they got engaged when she was 11, married when she turned 18, and yes, it was creepy) who had passionate romantic friendships with women her whole life (possibly involving sex), and who, after the archbishops death, shared her bed with the previous archbishops daughter, whod already been living with her and her husband for years, until her own death; eldest surviving son Arthur, who believed very much in the value of reticence, and insisted that even someone who read his 142-volume diary wouldnt know him at all, who never married but never quite seems to have reached the place of self-knowledge and comfort of a Wilde or Carpenter (whom he knew), teaching at Eton then Cambridge and writing serious-ish novels; middle son Fred, who wrote light novels (including the ones made by the BBC into the Mapp and Lucia series) and spent a lot of time hanging out in Italy where all the gay expats went; and youngest son Hugh, who defied family expectations the most by becoming... a CATHOLIC priest (the first son of the archbishop of Canterbury to do so since the reformation), who of course also wrote novels. Also there were two daughters, they had romantic friends too, but they die and theyre girls, no one cares, duh. [Im being uncharitable: daughter Maggie didnt die right away and actually was the first published female archaeologist in Britain and also brought home her romantic friend to live with her and her mother and her mothers romantic friend the daughter of the previous archbishop of Canterbury, before having a mental breakdown and dying hospitalized; the other daughter caught diphtheria or something equally frightful tending to the poor and died really young.]Goldhill writes about the family, as he says, not because they are exemplary or typical, but because they were so abnormal (queer) while being at the center of Victorian power structures (Eton and other elite public schools; Cambridge; and of course, the Anglican church), simultaneously both very respectable and very very weird. The book is divided into three parts: the first, about how their various writings are helping to constitute the genres of biography, autobiography, and autobiografiction, novels that purport to be fictional characters autobiographies, like Dickens David Copperfield; this was a family that couldnt stop writing about itself, once the patriarch had passed away: all of the boys wrote about their parents and themselves, sometimes reworking the stories multiple times (and of course, Arthurs ridiculously lengthy -- yet reticent -- diary). The second part is about their sexuality, spanning as it does the 1850s [the creepy parents courtship] well into the 20th c. [post WWII even], and how they lived through the Foucauldian birth of homosexuality, without it ever seeming to touch their own sense of identity much?, even as they had passionate and possibly sexual relationships with others of their sex, and knew those who were beginning to use sexuality to define their own identities. The third section is about the role religion played in their lives, not only Hughs scandalous conversion, but Minnies extreme religiosity and Arthurs conflicts v. Freds lack of expressed passion. And of course, the family was so prolific that their miles of writing surely demand a scholars attention.The book is meant to be accessible to non-specialists: there are no numbered foot/end notes and the pricing ($12 for the Kindle edition) is clearly non-academic. However, Goldhills work is, as always, steeped in critical theory, so Im not sure the average reader with no academic background in literary theory would really appreciate it (there are other books about the family for that). But I really did enjoy it myself.My favorite bit, though, came in the epilogue, which I suppose was meant to mimetically show a bit of the genesis of the book itself. A young Goldhill has taken a class out onto the grass at Kings College, Cambridge, and a porter hurries over to tell them to move -- unaware, at first, that Goldhill is a faculty member and thus entitled to be there. He apologizes when he sees him, and points up at a window in a nearby building to explain who has complained; it was, he says, Dadie Rylands, whom Goldhill describes to the students as the young man with whom Virginia Woolf had had lunch in A Room of Ones Own. Rylands is elderly by this point but was once incredibly attractive [back in the 20s? When Goldhill first met him?], and was friends with... Arthur Benson; the point being that none of us, even those students who--horribile dictu--were unfamiliar with Woolfs essay, are actually that far removed either from the Bensons or from the Victorians. Not a clean break, but always modernity is where we are.
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