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
Chana Bloch
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: Glenna Luschei
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
Argentine Editor: Yamila Musa
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: Lara Alcantara-Lansberg
Art Editor: Calum Colvin
Deputy General Editor: Jeff Barry

Consulting Editors
Shanta Acharya
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
Thomas Luschei
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: Emily Snyder
Assistant Editor: Robert Toperter
Assistant Editor: Laurence Webb
Art Consultant: Verónica Barbatano
Art Consultant: Angie Roytgolz

 

Neil Langdon Inglis

The Power of Prose:
Revolutionary or traitor?
Classic biography of Roger Casement reissued by Endeavour Media
An assessment by: Neil Langdon Inglis
 

 

The life and career of Irish author Brian Inglis (1916-1993) brought him many accolades for his achievements in journalism and broadcasting. His editorship of The Spectator (1959-62) was hailed for its nurturance of new talent, the resulting boom in circulation, and bold editorial decisions. Inglis is believed to written the magazine’s historic editorial in favor of decriminalizing homosexuality. On television, Inglis was a pioneer (on What the Papers Say, starting in 1956; and he went into battle with primitive vote-tallying computers during the Rochdale by-election in 1958). In 1962, Brian took over the reins of All Our Yesterdays, the long-running Granada documentary series that reviewed the events of a quarter century in the past, reaching its glory days in the period 1964-70, when it covered the WWII years.

Henry Fairlie is sometimes credited with coining the term “The Establishment” in the pages of The Spectator, and Inglis was in many ways a quintessential Establishment figure. Yet Brian chafed against such labels. His investigation of unorthodox healing, Fringe Medicine (Faber and Faber, 1964) was considered so controversial that the publisher included a preface by a well-regarded surgeon to reassure anxious readers. On The Spectator, Brian brought in younger columnists, often on the political Left (Alan Brien, Bernard Levin); yet in so doing he deliberately overlooked the magazine’s historic ties with the Tory Party, an affiliation never forgotten by the magazine’s proprietor. Inglis’s resignation, facilitated by the prospect of a top job in TV, soon followed. Inglis’s generous contract with Granada Television allowed him to pursue his own intellectual interests and, when AOY came to an end in 1973, Inglis was not sorry to return to full-time writing. Why?

As the host of a top-rated WWII documentary in the 1960s, Inglis was never free to speak his mind. On camera, he shared his insights with millions of armchair historians all over the country, for whom the war was a recent and vividly remembered experience. Network television was not the proper forum for shocking audiences with revelations (Inglis could not have mentioned the Ultra/Enigma programs, were he aware of their existence, as seems certain). One day, Brian vowed to slough off these restrictions. A return to freelance status would allow him to be a revisionist historian, and to return to the topics dearest to his heart, including Irish history. With the dawn of a new decade, Brian seized his chance to remind the world of his intellectual independence and his gifts as a historian.

ROGER CASEMENT

Brian Inglis never forgot his roots. In The Story of Ireland (originally published by Faber in 1956, and released by Endeavour in e-book form in 2016), Inglis is a spirited spokesman for his people, telling their story for British audiences in a manner reminiscent of Josephus advocating for the Jews two millennia beforehand. Inglis’s account is notable for its verve and enthusiasm, as well as its sympathy for the Irish way of life at all levels of society, including among the rural poor (in whose company, it must be said, Inglis spent little time). Anticlericalism is surprisingly absent—more than once Inglis intones that the Irish regarded the Church of England as “heretical”—and it is only when the subject turns to the notorious Board of Censorship that Inglis’s loyalties as an author can be suppressed no longer.

Were Inglis alive today, he would agree that Ireland’s 1916 rebels deserved a more nuanced portrayal in light of recent scholarship. Brian undertook such a task himself with his landmark biography of Roger Casement (originally published by Hodder & Stoughton, 1973), broaching the subject of Casement’s homosexuality, still a taboo subject with Ireland’s gay marriage referendum lying decades in the future. In Casement, the Christ-like figure beloved of the Republican imagination is revealed as an agent of Empire, valued by the Foreign Office for his unique intelligence-gathering abilities in hardship posts, and indulged by the Crown until his collusion with enemy powers could no longer be tolerated.

Described as “the father of twentieth-century human rights investigations,” he had been honored in 1905 for the “Casement Report” on the Congo rubber trade and knighted in 1911 for his important investigations in the field. His knighthood reminds us that if Casement was by inclination a rebel against the Empire, he remained a rather quiet one for long periods. His reports and dispatches back to London, if never quite perceived through their author’s own highly personal lens, were acknowledged for their power, bravery, and perceptiveness, and they made a lasting impact on public and official attitudes and on the welfare of suffering peoples.

Casement is not easy to pigeonhole, and is in many ways a far more multidimensional figure than his advocates allow. In an authorial decision that may have cost him friends and colleagues in Ireland, Inglis quotes regularly from Casement’s “Black Diaries,” accepted as authentic by Inglis (he would not have quoted from them otherwise), but deplored to this day as fiction or forgery by Casement’s vocal admirers. For Casement, human feeling was meant, in theory at least, to take precedence over market value in human relations (“a people once hunted themselves, whose hearts were based on affection as the root principle of contact…”). The transactional encounters described in RC’s private diary entries provide an interesting counterpoint to his more public assertions.

After he retired from consular service in 1913, Casement’s involvement with Irish republicanism became less abstract and more active. Soon, he sought German support and weapons for an armed rebellion in Ireland against British rule during the Great War. He was not welcomed everywhere with open arms. The Irish Times (April 14, 2014) takes up the story:

Casement visited the camps [for Irish prisoners] in early 1915 claiming to be the “right-hand man of the Kaiser”. According to an account by Private John Cronin from Co Cork, the men were furious when Casement denounced John Redmond [Irish politician and supporter of Home Rule] as a “traitor” and the Home Rule Bill as a “pretence”. “As soon as the men realised who he was and what was his aim, they set upon him, and he was only saved by the German sentries from serious injury.” As a result of their behaviour, rations were stopped for the Irish prisoners of war for three days.

How German involvement was meant to benefit Casement’s beloved Ireland was never made clear; and the unspoken conclusion of Inglis’s book is that Casement was naive and hopelessly out of his depth. He was also, by any logical definition, a traitor; and capture and prosecution for treason was a predictable consequence.

Thus, despite his own strong sympathy for Irish romantics and his own demonstrated fondness for polemic, Brian Inglis cannot quite bring himself to whitewash his subject. It is the author’s intellectual honesty, analytical precision, and mastery of the material that makes “Roger Casement” Inglis’s greatest achievement, as well as one of the very finest biographies of the 20th century.

It is fitting that this profile should end on an optimistic note. Inglis, to use his own phrase, always favored constitutional means as a way to progress toward a better world. And in later years, Brian became involved with the British-Irish Association, at whose events policymakers and talking-heads came together—peacefully—to discuss Irish issues, including the perennial topics of Partition and “The Troubles”. Inglis, whose family roots were in Ulster, strove to be fair on these occasions. Inglis numbered among his many friends not only supporters of Irish Unification, but also commentators hostile to Sinn Fein. He would have welcomed the perceptible easing of tensions in the immediate aftermath of the GFA in 1998, as exemplified by Ian Paisley’s restrained reaction to the transfer of Aer Lingus transit business from Shannon to Belfast in 2007. And while accepting that challenges have re-emerged (as a result of Brexit and other policy developments in Northern Ireland and the ROI), Inglis would always be happiest when reforms were achieved at the ballot box.

"The Power of Prose"