1{2 "document_id": "lb_hotpotqa_de202b6e76dc82831c7f14a6d4346d84b0c0e5e3783356cf",3 "family": "public_hotpotqa",4 "split": "dev",5 "text": "Passage 1:\nArnold Bennett\nEnoch Arnold Bennett (27 May 1867 – 27 March 1931) was an English author, best known as a novelist who wrote prolifically. Between the 1890s and the 1930s he completed 34 novels, seven volumes of short stories, 13 plays (some in collaboration with other writers), and a daily journal totalling more than a million words. He wrote articles and stories for more than 100 newspapers and periodicals, worked in and briefly ran the Ministry of Information in the First World War, and wrote for the cinema in the 1920s. Sales of his books were substantial and he was the most financially successful British author of his day.\nBorn into a modest but upwardly mobile family in Hanley, in the Staffordshire Potteries, Bennett was intended by his father, a solicitor, to follow him into the legal profession. Bennett worked for his father, before moving to another law firm in London as a clerk, aged 21. He became assistant editor and then editor of a women's magazine, before becoming a full-time author in 1900. Always a devotee of French culture in general and French literature in particular, he moved to Paris in 1903; there the relaxed milieu helped him overcome his intense shyness, particularly with women. He spent ten years in France, marrying a Frenchwoman in 1907. In 1912 he moved back to England. He and his wife separated in 1921 and he spent the last years of his life with a new partner, an English actress. He died in 1931 of typhoid fever, having unwisely drunk tap-water in France.\nMany of Bennett's novels and short stories are set in a fictionalised version of the Staffordshire Potteries, which he called The Five Towns. He strongly believed that literature should be accessible to ordinary people, and he deplored literary cliques and élites. His books appealed to a wide public and sold in large numbers. For this reason, and for his adherence to realism, writers and supporters of the modernist school, notably Virginia Woolf, belittled him, and his fiction became neglected after his death. During his lifetime his journalistic \"self-help\" books sold in substantial numbers, and he was also a playwright; he did less well in the theatre than with novels, but achieved two considerable successes with Milestones (1912) and The Great Adventure (1913).\nStudies by Margaret Drabble (1974), John Carey (1992) and others have led to a re-evaluation of Bennett's work. His finest novels, including Anna of the Five Towns (1902), The Old Wives' Tale (1908), Clayhanger (1910) and Riceyman Steps (1923), are now widely recognised as major works.\n\nLife and career\nEarly years\nArnold Bennett was born on 27 May 1867 in Hanley, Staffordshire, now part of Stoke-on-Trent but then a separate town. He was the eldest child of the three sons and three daughters of Enoch Bennett (1843–1902) and his wife Sarah Ann, née Longson (1840–1914). Enoch Bennett's early career had been one of mixed fortunes: after an unsuccessful attempt to run a business making and selling pottery, he set up as a draper and pawnbroker in 1866. Four years later Enoch's father died, leaving him some money with which he articled himself to a local law firm; in 1876 he qualified as a solicitor. The Bennetts were staunch Wesleyans, musical, cultured and sociable. Enoch Bennett had an authoritarian side, but it was a happy household, although a mobile one: as Enoch's success as a solicitor increased, the family moved, within the space of five years in the late 1870s and early 1880s, to four different houses in Hanley and the neighbouring Burslem.From 1877 to 1882, Bennett's schooling was at the Wedgwood Institute, Burslem, followed by a year at a grammar school in Newcastle-under-Lyme. He was good at Latin and better at French; he had an inspirational headmaster who gave him a love for French literature and the French language that lasted all his life. He did well academically and passed Cambridge University examinations that could have led to an Oxbridge education, but his father had other plans. In 1883, aged 16, Bennett left school and began work – unpaid – in his father's office. He divided his time between uncongenial jobs, such as rent collecting, during the day, and studying for examinations in the evening. He began writing in a modest way, contributing light pieces to the local newspaper. He became adept in Pitman's shorthand, a skill much sought after in commercial offices, and on the strength of that he secured a post as a clerk at a firm of solicitors in Lincoln's Inn Fields, London. In March 1889, aged 21, he left for London and never returned to live in his native county.\n\nFirst years in London\nIn the solicitors' office in London, Bennett became friendly with a young colleague, John Eland, who had a passion for books. Eland's friendship helped alleviate Bennett's innate shyness, which was exacerbated by a lifelong stammer. Together they explored the world of literature. Among the writers who impressed and influenced Bennett were George Moore, Émile Zola, Honoré de Balzac, Guy de Maupassant, Gustave Flaubert and Ivan Turgenev. He continued his own writing, and won a prize of twenty guineas from Tit-Bits in 1893 for his story 'The Artist's Model'; another short story, 'A Letter Home', was submitted successfully to The Yellow Book, where it featured in 1895 alongside contributions from Henry James and other well-known writers.In 1894 Bennett resigned from the law firm and became assistant editor of the magazine Woman. The salary, £150 a year, was £50 less than he was earning as a clerk, but the post left him much more free time to write his first novel. For the magazine he wrote under a range of female pen-names such as \"Barbara\" and \"Cecile\". As his biographer Margaret Drabble puts it:\n\nThe informal office life of the magazine suited Bennett, not least because it brought him into lively female company, and he began to be a little more relaxed with young women. He continued work on his novel and wrote short stories and articles. He was modest about his literary talent: he wrote to a friend, \"I have no inward assurance that I could ever do anything more than mediocre viewed strictly as art – very mediocre\", but he knew he could \"turn out things which would be read with zest, & about which the man in the street would say to friends 'Have you read so & so in the What-is-it?'\" He was happy to write for popular journals like Hearth and Home or for the highbrow The Academy.His debut novel, A Man from the North, completed in 1896, was published two years later, by John Lane, whose reader, John Buchan, recommended it for publication. It elicited a letter of praise from Joseph Conrad and was well and widely reviewed, but Bennett's profits from the sale of the book were less than the cost of having it typed.In 1896 Bennett was promoted to be editor of Woman; by then he had set his sights on a career as a full-time author, but he served as editor for four years. During that time he wrote two popular books, described by the critic John Lucas as \"pot-boilers\": Journalism for Women (1898) and Polite Farces for the Drawing Room (1899). He also began work on a second novel, Anna of the Five Towns, the five towns being Bennett's lightly fictionalised version of the Staffordshire Potteries, where he grew up.\n\nFreelance; Paris\nIn 1900 Bennett resigned his post at Woman, and left London to set up house at Trinity Hall Farm, near the village of Hockliffe in Bedfordshire, where he made a home not only for himself but for his parents and younger sister. He completed Anna of the Five Towns in 1901; it was published the following year, as was its successor, The Grand Babylon Hotel. The latter, an extravagant story of crime in high society, sold 50,000 copies in hardback and was almost immediately translated into four languages. By this stage he was confident enough in his abilities to tell a friend:\n\nIn January 1902 Enoch Bennett died, after a decline into dementia. His widow chose to move back to Burslem, and Bennett's sister married shortly afterwards. With no dependants, Bennett − always a devotee of French culture − decided to move to Paris; he took up residence there in March 1903. Biographers have speculated on his precise reasons for doing so. Drabble suggests that perhaps \"he was hoping for some kind of liberation. He was thirty-five and unmarried\"; Lucas writes that it was almost certainly Bennett's desire to be recognised as a serious artist that prompted his move; according to his friend and colleague Frank Swinnerton, Bennett was following in the footsteps of George Moore by going to live in \"the home of modern realism\"; in the view of the biographer Reginald Pound it was \"to begin his career as a man of the world\". The 9th arrondissement of Paris was Bennett's home for the next five years, first in the rue de Calais, near the Place Pigalle, and then the more upmarket rue d'Aumale.Life in Paris evidently helped Bennett overcome much of his remaining shyness with women. His journals for his early months in Paris mention a young woman identified as \"C\" or \"Chichi\", who was a chorus girl; the journals – or at least the cautiously selected extracts published since his death – do not record the precise nature of the relationship, but the two spent a considerable amount of time together.In a restaurant where he dined frequently a trivial incident in 1903 gave Bennett the germ of an idea for the novel generally regarded as his masterpiece. A grotesque old woman came in and caused a fuss; the beautiful young waitress laughed at her, and Bennett was struck by the thought that the old woman had once been as young and lovely as the waitress. From this grew the story of two contrasting sisters in The Old Wives' Tale. He did not begin work on that novel until 1907, before which he wrote ten others, some \"sadly undistinguished\", in the view of his biographer Kenneth Young. Throughout his career, Bennett interspersed his best novels with some that his biographers and others have labelled pot-boilers.\n\nMarriage; Fontainebleau and US visit\nIn 1905 Bennett became engaged to Eleanor Green, a member of an eccentric and capricious American family living in Paris, but at the last moment, after the wedding invitations had been sent out, she broke off the engagement and almost immediately married a fellow American. Drabble comments that Bennett was well rid of her, but it was a painful episode in his life. In early 1907 he met Marguerite Soulié (1874–1960), who soon became first a friend and then a lover. In May he was taken ill with a severe gastric complaint, and Marguerite moved into his flat to look after him. They became still closer, and in July 1907, shortly after his fortieth birthday, they were married at the Mairie of the 9th arrondissement. The marriage was childless. Early in 1908 the couple moved from the rue d'Aumale to the Villa des Néfliers in Fontainebleau-Avon, about 40 miles (64 km) south-east of Paris.Lucas comments that the best of the novels written while in France – Whom God Hath Joined (1906), The Old Wives' Tale (1908), and Clayhanger (1910) – \"justly established Bennett as a major exponent of realistic fiction\". In addition to these, Bennett published lighter novels such as The Card (1911). His output of literary journalism included articles for T. P. O'Connor's T. P.'s Weekly and the left-wing The New Age; his pieces for the latter, published under a pen-name, were concise literary essays aimed at \"the general cultivated reader\", a form taken up by a later generation of writers including J. B. Priestley and V. S. Pritchett.In 1911 Bennett made a financially rewarding visit to the US, which he later recorded in his 1912 book Those United States. Crossing the Atlantic aboard the Lusitania, he visited not only New York and Boston but also Chicago, Indianapolis, Washington and Philadelphia in a tour that was described by US publisher George Doran as \"one of continuous triumph\": in the first three days of his stay in New York he was interviewed 26 times by journalists. While rival E.P. Dutton had secured rights to such Bennett novels as Hilda Lessways and the Card (retitled Denry the Audacious), Doran, who travelled everywhere with Bennett while in America, was the publisher of Bennett’s wildly successful ‘pocket philosophies’ How to Live on Twenty-Four Hours a Day and Mental Efficiency. Of these books the influential critic Willard Huntington Wright wrote that Bennett had \"turned preacher and a jolly good preacher he is\". While in the US Bennett also sold the serial rights of his forthcoming novel, The Price of Love (1913–14), to Harpers for £2,000, eight essays to Metropolitan magazine for a total of £1,200, and the American rights of a successor to Clayhanger for £3,000.During his ten years in France he had gone from a moderately well-known writer enjoying modest sales to outstanding success. Swinnerton comments that in addition to his large sales, Bennett's critical prestige was at its zenith.\n\nReturn to England\nIn 1912, after an extended stay at the Hotel Californie in Cannes, during which time he wrote The Regent, a light-hearted sequel to The Card, Bennett and his wife moved from France to England. Initially they lived in Putney, but \"determined to become an English country landowner\", he bought Comarques, an early-18th-century country house at Thorpe-le-Soken, Essex, and moved there in February 1913. Among his early concerns, once back in England, was to succeed as a playwright. He had dabbled previously but his inexperience showed. The Times thought his 1911 comedy The Honeymoon, staged in the West End with a starry cast, had \"one of the most amusing first acts we have ever seen\", but fell flat in the other two acts. In the same year Bennett met the playwright Edward Knoblauch (later Knoblock) and they collaborated on Milestones, the story of the generations of a family seen in 1860, 1885 and 1912. The combination of Bennett's narrative gift and Knoblauch's practical experience proved a success. The play was strongly cast, received highly favourable notices, ran for more than 600 performances in London and over 200 in New York, and made Bennett a great deal of money. His next play, The Great Adventure (1913), a stage version of his novel Buried Alive (1908), was similarly successful.Bennett's attitude to the First World War was that British politicians had been at fault in failing to prevent it, but that once it had become inevitable it was right that Britain should join its allies against the Germans. He concentrated his attention on journalism, aiming to inform and encourage the public in Britain and allied and neutral countries. He served on official and unofficial committees, and in 1915 he was invited to visit France to see conditions at the front and write about them for readers at home. The collected impressions appeared in a book called Over There (1915). He was still writing novels, however: These Twain, the third in his Clayhanger trilogy, was published in 1916 and in 1917 he completed a sequel, The Roll Call, which ends with its hero, George Cannon, enlisting in the army. Wartime London was the setting for Bennett's The Pretty Lady (1918), about a high-class French cocotte: although well reviewed, because of its subject-matter the novel provoked \"a Hades of a row\" and some booksellers refused to sell it.When Lord Beaverbrook became Minister of Information in February 1918 he appointed Bennett to take charge of propaganda in France. Beaverbrook fell ill in October 1918 and made Bennett director of propaganda, in charge of the whole ministry for the last weeks of the war. At the end of 1918 Bennett was offered, but declined, a knighthood in the new Order of the British Empire instituted by George V. The offer was renewed some time later, and again Bennett refused it. One of his closest associates at the time suspected that he was privately hoping for the more prestigious Order of Merit.As the war was ending, Bennett returned to his theatrical interests, although not primarily as a playwright. In November 1918 he became chairman, with Nigel Playfair as managing director, of the Lyric Theatre, Hammersmith. Among their productions were Abraham Lincoln by John Drinkwater, and The Beggar's Opera, which, in Swinnerton's phrase, \"caught different moods of the post-war spirit\", and ran for 466 and 1,463 performances respectively.\n\nLast years\nIn 1921 Bennett and his wife legally separated. They had been drifting apart for some years and Marguerite had taken up with Pierre Legros, a young French lecturer. Bennett sold Comarques and lived in London for the rest of his life, first in a flat near Bond Street in the West End, on which he had taken a lease during the war. For much of the 1920s he was widely known to be the highest-paid literary journalist in England, contributing a weekly column to Beaverbrook's Evening Standard under the title 'Books and Persons'; according to Frank Swinnerton these articles were \"extraordinarily successful and influential ... and made a number of new reputations\". By the end of his career, Bennett had contributed to more than 100 newspapers, magazines and other publications. He continued to write novels and plays as assiduously as before the war.Swinnerton writes, \"Endless social engagements; inexhaustible patronage of musicians, actors, poets, and painters; the maximum of benevolence to friends and strangers alike, marked the last ten years of his life\". Hugh Walpole, James Agate and Osbert Sitwell were among those who testified to Bennett's generosity. Sitwell recalled a letter Bennett wrote in the 1920s:\n\nIn 1922 Bennett met and fell in love with an actress, Dorothy Cheston (1891–1977). Together they set up home in Cadogan Square, where they stayed until moving in 1930 to Chiltern Court, Baker Street. As Marguerite would not agree to a divorce, Bennett was unable to marry Dorothy, and in September 1928, having become pregnant, she changed her name by deed poll to Dorothy Cheston Bennett. The following April she gave birth to the couple's only child, Virginia Mary (1929–2003). She continued to appear as an actress, and produced and starred in a revival of Milestones which was well reviewed, but had only a moderate run. Bennett had mixed feelings about her continuing stage career, but did not seek to stop it.During a holiday in France with Dorothy in January 1931, Bennett twice drank tap-water – not, at the time, a safe thing to do there. On his return home he was taken ill; influenza was diagnosed at first, but the illness was typhoid fever; after several weeks of unsuccessful treatment he died in his flat at Chiltern Court on 27 March 1931, aged 63.Bennett was cremated at Golders Green Crematorium and his ashes were interred in Burslem Cemetery in his mother's grave. A memorial service was held on 31 March 1931 at St Clement Danes, London, attended by leading figures from journalism, literature, music, politics and theatre, and, in Pound's words, many men and women who at the end of the service \"walked out into a London that for them would never be the same again\".\n\nWorks\nFrom the outset, Bennett believed in the \"democratisation of art which it is surely the duty of the minority to undertake\". He admired some of the modernist writers of his time, but strongly disapproved of their conscious appeal to a small élite and their disdain for the general reader. Bennett believed that literature should be inclusive, accessible by ordinary people.From the start of his career, Bennett was aware of the appeal of regional fiction. Anthony Trollope, George Eliot and Thomas Hardy had created and sustained their own locales, and Bennett did the same with his Five Towns, drawing on his experiences as a boy and young man. As a realistic writer he followed the examples of the authors he admired – above all George Moore, but also Balzac, Flaubert and Maupassant among French writers, and Dostoevsky, Turgenev and Tolstoy among Russians. In writing about the Five Towns Bennett aimed to portray the experiences of ordinary people coping with the norms and constraints of the communities in which they lived. J. B. Priestley considered that the next influence on Bennett's fiction was his time in London in the 1890s, \"engaged in journalism and ingenious pot-boiling of various kinds\".\n\nNovels and short stories\nBennett is remembered chiefly for his novels and short stories. The best known are set in, or feature people from, the six towns of the Potteries of his youth. He presented the region as \"the Five Towns\", which correspond closely with their originals: the real-life Burslem, Hanley, Longton, Stoke and Tunstall become Bennett's Bursley, Hanbridge, Longshaw, Knype and Turnhill. These \"Five Towns\" make their first appearance in Bennett's fiction in Anna of the Five Towns (1902) and are the setting for further novels including Leonora (1903), Whom God Hath Joined (1906), The Old Wives' Tale (1908) and the Clayhanger trilogy – Clayhanger (1910), Hilda Lessways (1911) and These Twain (1916) – as well as for dozens of short stories. Bennett's fiction portrays the Five Towns with what The Oxford Companion to English Literature calls \"an ironic but affectionate detachment, describing provincial life and culture in documentary detail, and creating many memorable characters\". In later life Bennett said that the writer George Moore was \"the father of all my Five Towns books\" as it was reading Moore's 1885 novel A Mummer's Wife, set in the Potteries, that \"opened my eyes to the romantic nature of the district I had blindly inhabited for over twenty years\".It was not only locations on which Bennett drew for his fiction. Many of his characters are discernibly based on real people in his life. His Lincoln's Inn friend John Eland was a source for Mr Aked in Bennett's first novel, A Man from the North (1898); A Great Man (1903) contains a character with echoes of his Parisienne friend Chichi; Darius Clayhanger's early life is based on that of a family friend and Bennett himself is seen in Edwin in Clayhanger. He has been criticised for making literary use in that novel of the distressing details of his father's decline into senility, but in Pound's view, in committing the details to paper Bennett was unburdening himself of painful memories.These Twain is Bennett's \"last extended study of Five Towns life\". The novels he wrote in the 1920s are largely set in London and thereabouts: Riceyman Steps (1923), for instance, generally regarded as the best of Bennett's post-war novels, was set in Clerkenwell: it was awarded the James Tait Black novel prize for 1923, \"the first prize for a book I ever had,\" Bennett noted in his journal on 18 October 1924. His Lord Raingo (1926), described by Dudley Barker as \"one of the finest of political novels in the language\", benefited from Bennett's own experience in the Ministry of Information and his subsequent friendship with Beaverbrook: John Lucas states that \"As a study of what goes on in the corridors of power [Lord Raingo] has few equals\". And Bennett's final – and longest – novel, Imperial Palace (1930), is set in a grand London hotel reminiscent of the Savoy, whose directors assisted him in his preliminary research.Bennett usually gave his novels subtitles; the most frequent was \"A fantasia on modern themes\", individual books were called \"A frolic\" or \"A melodrama\", but he was sparing with the label \"A novel\" which he used for only a few of his books – for instance Anna of the Five Towns, Leonora, Sacred and Profane Love, The Old Wives' Tale, The Pretty Lady (1918) and Riceyman Steps. Literary critics have followed Bennett in dividing his novels into groups. The literary scholar Kurt Koenigsberger proposes three categories. In the first are the long narratives – \"freestanding, monumental artefacts\" – Anna of the Five Towns, The Old Wives' Tale, Clayhanger and Riceyman Steps, which \"have been held in high critical regard since their publication\". Koenigsberger writes that the \"Fantasias\" such as The Grand Babylon Hotel (1902), Teresa of Watling Street (1904) and The City of Pleasure (1907), have \"mostly passed from public attention along with the 'modern' conditions they exploit\". His third group includes \"Idyllic Diversions\" or \"Stories of Adventure\", including Helen with the High Hand (1910), The Card (1911), and The Regent (1913), which \"have sustained some enduring critical and popular interest, not least for their amusing treatment of cosmopolitanism and provinciality\".Bennett published 96 short stories in seven volumes between 1905 and 1931. His ambivalence about his native town is vividly seen in \"The Death of Simon Fuge\" in the collection The Grim Smile of the Five Towns (1907), judged by Lucas the finest of all the stories. His chosen locations ranged widely, including Paris and Venice as well as London and the Five Towns. As with his novels, he would sometimes give a story a label, calling \"The Matador of the Five Towns\" (1912) \"a tragedy\" and \"Jock-at-a-Venture\" from the same collection \"a frolic\". The short stories, particularly those in Tales of the Five Towns (1905), The Grim Smile of the Five Towns (1907), and The Matador of the Five Towns contain some of the most striking examples of Bennett's concern for realism, with an unflinching narrative focus on what Lucas calls \"the drab, the squalid, and the mundane\". In 2010 and 2011 two further volumes of Bennett's hitherto uncollected short stories were published: they range from his earliest work written in the 1890s, some under the pseudonym Sarah Volatile, to US magazine commissions from the late 1920s.\n\nStage and screen\nIn 1931 the critic Graham Sutton, looking back at Bennett's career in the theatre, contrasted his achievements as a playwright with those as a novelist, suggesting that Bennett was a complete novelist but a not-entirely-complete dramatist. His plays were clearly those of a novelist: \"He tends to lengthy speeches. Sometimes he overwrites a part, as though distrusting the actor. He is more interested in what his people are than in what they visibly do. He 'thinks nowt' of mere slickness of plot.\"\nBennett's lack of a theatrical grounding showed in the uneven construction of some of his plays, such as his 1911 comedy The Honeymoon, which played for 125 performances from October 1911. The highly successful Milestones was seen as impeccably constructed, but the credit for that was given to his craftsmanlike collaborator, Edward Knoblauch (Bennett being credited with the inventive flair of the piece). By far his most successful solo effort in the theatre was The Great Adventure, based on his 1908 novel Buried Alive, which ran in the West End for 674 performances, from March 1913 to November 1914. Sutton praised its \"new strain of impish and sardonic fantasy\" and rated it a much finer play than Milestones.After the First World War Bennett wrote two plays on metaphysical questions, Sacred and Profane Love (1919, adapted from his novel) and Body and Soul (1922), which made little impression. The Saturday Review praised the \"shrewd wit\" of the former, but thought it \"false in its essentials ... superficial in its accidentals\". Of the latter, the critic Horace Shipp wondered \"how the author of Clayhanger and The Old Wives' Tale could write such third-rate stuff\". Bennett had more success in a final collaboration with Edward Knoblock (as Knoblauch had become during the war) with Mr Prohack (1927), a comedy based on his 1922 novel; one critic wrote \"I could have enjoyed the play had it run to double its length\", but even so he judged the middle act weaker than the outer two. Sutton concludes that Bennett's forte was character, but that the competence of his technique was variable. The plays are seldom revived, although some have been adapted for television.Bennett wrote two opera libretti for the composer Eugene Goossens: Judith (one act, 1929) and Don Juan (four acts, produced in 1937 after the writer's death). There were comments that Goossens's music lacked tunes and Bennett's libretti were too wordy and literary. The critic Ernest Newman defended both works, finding Bennett's libretto for Judith \"a drama told simply and straightforwardly\" and Don Juan \"the best thing that English opera has so far produced … the most dramatic and stageworthy\", but though politely received, both operas vanished from the repertory after a few performances.Bennett took a keen interest in the cinema, and in 1920 wrote The Wedding Dress, a scenario for a silent movie, at the request of Jesse Lasky of the Famous Players film company. It was never made, though Bennett wrote a full-length treatment, assumed to be lost until his daughter Virginia found it in a drawer in her Paris home in 1983; subsequently the script was sold to the Potteries Museum and Art Gallery and was finally published in 2013. In 1928 Bennett wrote the scenario for the silent film Piccadilly, directed by E. A. Dupont and starring Anna May Wong, described by the British Film Institute as \"one of the true greats of British silent films\". In 1929, the year the film came out, Bennett was in discussion with a young Alfred Hitchcock to script a silent film, Punch and Judy, which foundered on artistic disagreements and Bennett's refusal to see the film as a \"talkie\" rather than silent. His original scenario, acquired by Pennsylvania State University, was published in the UK in 2012.\n\nJournalism and self-help books\nBennett published more than two dozen non-fiction books, among which eight could be classified as \"self-help\": the most enduring is How to Live on 24 Hours a Day (1908), which is still in print and has been translated into several languages. Other \"self-help\" volumes include How to Become an Author (1903), The Reasonable Life (1907), Literary Taste: How to Form It (1909), The Human Machine (1908), Mental Efficiency (1911), The Plain Man and his Wife (1913), Self and Self-Management (1918) and How to Make the Best of Life (1923). They were, says Swinnerton, \"written for small fees and with a real desire to assist the ignorant\". According to the Harvard academic Beth Blum, these books \"advance less scientific versions of the argument for mental discipline espoused by William James\". In his biography of Bennett Patrick Donovan argues that in the US \"the huge appeal to the ordinary readers\" of his self-help books \"made his name stand out vividly from other English writers across the massive, fragmented American market.\" As Bennett put it to his London-based agent J. B. Pinker, these \"pocket philosophies are just the sort of book for the American public\". However, How to Live on 24 Hours was aimed initially at \"the legions of clerks and typists and other meanly paid workers caught up in the explosion of British office jobs around the turn of the century … they offered a strong message of hope from somebody who so well understood their lives\".Bennett never lost his journalistic instincts, and throughout his life sought and responded to newspaper and magazine commissions with varying degrees of enthusiasm: \"from the start of the 1890s right up to the week of his death there would never be a period when he was not churning out copy for newspapers and magazines\". In a journal entry at the end of 1908, for instance, he noted that he had written \"over sixty newspaper articles\" that year; in 1910 the figure was \"probably about 80 other articles\". While living in Paris he was a regular contributor to T. P.'s Weekly; later he reviewed for The New Age under the pseudonym Jacob Tonson and was associated with the New Statesman as not only a writer but also a director.\n\nJournals\nInspired by the Journal des Goncourt, Bennett kept a journal throughout his adult life. Swinnerton says that it runs to a million words; it has not been published in full. Edited extracts were issued in three volumes, in 1932 and 1933. According to Hugh Walpole, the editor, Newman Flower, \"was so appalled by much of what he found in the journals that he published only brief extracts, and those the safest\". Whatever Flower censored, the extracts he selected were not always \"the safest\": he let some defamatory remarks through, and in 1935 he, the publishers and printers had to pay an undisclosed sum to the plaintiff in one libel suit and £2,500 in another.\n\nCritical reputation\nNovels and short stories\nThe literary modernists of his day deplored Bennett's books, and those of his well-known contemporaries H. G. Wells and John Galsworthy. Of the three, Bennett drew the most opprobrium from modernists such as Virginia Woolf, Ezra Pound and Wyndham Lewis who regarded him as representative of an outmoded and rival literary culture. There was a strong element of class-consciousness and snobbery in the modernists' attitude: Woolf accused Bennett of having \"a shopkeeper's view of literature\" and in her essay \"Mr Bennett and Mrs Brown\" accused Bennett, Galsworthy and Wells of ushering in an \"age when character disappeared or was mysteriously engulfed\".In a 1963 study of Bennett, James Hepburn summed up and dissented from the prevailing views of the novels, listing three related evaluative positions taken individually or together by almost all Bennett's critics: that his Five Towns novels are generally superior to his other work, that he and his art declined after The Old Wives' Tale or Clayhanger, and that there is a sharp and clear distinction between the good and bad novels. Hepburn countered that one of the novels most frequently praised by literary critics is Riceyman Steps (1923) set in Clerkenwell, London, and dealing with material imagined rather than observed by the author. On the third point he commented that although received wisdom was that The Old Wives' Tale and Clayhanger are good and Sacred and Profane Love and Lillian are bad, there was little consensus about which other Bennett novels were good, bad or indifferent. He instanced The Pretty Lady (1918), on which critical opinion ranged from \"cheap and sensational\" ... \"sentimental melodrama\" to \"a great novel\". Lucas (2004) considers it \"a much underrated study of England during the war years, especially in its sensitive feeling for the destructive frenzy that underlay much apparently good-hearted patriotism\".In 1974 Margaret Drabble published Arnold Bennett, a literary biography. In the foreword she demurred at the critical dismissal of Bennett:\n\nWriting in the 1990s the literary critic John Carey called for a reappraisal of Bennett in his book The Intellectuals and the Masses (1992):\n\nIn 2006 Koenigsberger commented that one reason why Bennett's novels had been sidelined, apart from \"the exponents of modernism who recoiled from his democratising aesthetic programme\", was his attitude to gender. His books include the pronouncements \"the average man has more intellectual power than the average woman\" and \"women as a sex love to be dominated\"; Koenigsberger nevertheless praises Bennett's \"sensitive and oft-praised portrayals of female figures in his fiction\".Lucas concludes his study with the comment that Bennett's realism may be limited by his cautious assumption that things are as they are and will not change. Nevertheless, in Lucas's view, successive generations of reader have admired Bennett's best work, and future generations are certain to do so.\n\nCrime fiction\nBennett dabbled in crime fiction, in The Grand Babylon Hotel and The Loot of Cities (1905). In Queen's Quorum (1951), a survey of crime fiction, Ellery Queen listed the latter among the 100 most important works in the genre. This collection of stories recounts the adventures of a millionaire who commits crimes to achieve his idealistic ends. Although it was \"one of his least known works,\" it was nevertheless \"of unusual interest, both as an example of Arnold Bennett's early work and as an early example of dilettante detectivism\".\n\nLegacy\nArnold Bennett Society\nThe Society was founded in 1954 \"to promote the study and appreciation of the life, works and times not only of Arnold Bennett himself but also of other provincial writers, with particular relationship to North Staffordshire\". In 2021 its president was Denis Eldin, Bennett's grandson; among the vice-presidents was Margaret Drabble.In 2017 the society instituted an annual Arnold Bennett Prize as part of author's 150th anniversary celebrations, to be awarded to an author who was born, lives or works in North Staffordshire and has published a book in the relevant year, or to the author of a book which features the region. In 2017 John Lancaster won the award for his poetry collection Potters: A Division of Labour. Subsequent winners have been Jan Edwards for her novel Winter Downs (2018), Charlotte Higgins for Red Thread: On Mazes and Labyrinths (2019) and Lisa Blower for her story collection It's Gone Dark Over Bill's Mother's (2020). The prize was not awarded in 2021 because of the Covid-19 situation, but in 2022 it was won by John Pye, a former detective inspector turned crime writer, for his novel Where the Silent Screams Are Loudest. The prize in 2023 went to Philip Nanney Williams for his book Adams: Britain's Oldest Potting Dynasty.\n\nPlaques and statuary\nBennett has been commemorated by several plaques. Hugh Walpole unveiled one at Comarques in 1931, and in the same year another was placed at Bennett's birthplace in Hanley. A plaque to and bust of Bennett were unveiled in Burslem in 1962, and there are blue plaques commemorating him at the house in Cadogan Square where he lived from 1923 to 1930 and on the house in Cobridge where he lived in his youth. The southern Baker Street entrance of Chiltern Court has a plaque to Bennett on the left and another to H. G. Wells on the right. A blue plaque has been placed on the wall of Bennett's home in Fontainebleau.There is a two-metre-high bronze statue of Bennett outside The Potteries Museum & Art Gallery in Hanley, Stoke-on-Trent, unveiled on 27 May 2017 during the events marking the 150th anniversary of his birth.\n\nArchives\nThere are substantial archives of Bennett's papers and artworks, including drafts, diaries, letters, photographs and watercolours, at The Potteries Museum & Art Gallery in Stoke-on-Trent and at Keele University. Other Bennett papers are held by University College London, the British Library, and, in the US, Texas and Yale universities and the Berg Collection in the New York Public Library.\n\nOmelettes\nBennett shares with the composer Gioachino Rossini, the singer Nellie Melba and some other celebrities the distinction of having a well-known dish named in his honour. An omelette Arnold Bennett is one that incorporates smoked haddock, hard cheese (typically Cheddar), and cream. It was created at the Savoy Grill in London for Bennett, who was an habitué, by the chef Jean Baptiste Virlogeux. It remains a British classic; cooks from Marcus Wareing to Delia Smith and Gordon Ramsay have published their recipes for it, and a variant remains on the menu at the Savoy Grill.\n\nNotes, references and sources\nNotes\nPassage 2:\nMermaid Series\nThe Mermaid Series was a major collection of reprints of texts from English Elizabethan, Jacobean and Restoration drama. It was launched in 1887 by the British publisher Henry Vizetelly and under the general editorship of Havelock Ellis. Around 1894 the series was taken over by the London firm of T. Fisher Unwin. Many well-known literary figures edited or introduced the texts. Some of the plays published had not been reprinted in recent editions, and most had dropped out of the stage repertoire.\nThe name alludes to the Mermaid Tavern in London. There has been a later New Mermaids Series.\n\nThe Best Plays of Beaumont and Fletcher\nNotes by John Strachey, two volumes\n(volume I) The Maid's Tragedy - Philaster - The Wild Goose Chase - Thierry and Theodoret - The Knight of the Burning Pestle\n(volume II) A King and No King - Bonduca - The Spanish Curate - The Faithful Shepherdess - Valentinian\n\nThe Best Plays of George Chapman\nEdited by William Lyon Phelps\nAll Fools - Bussy D'Ambois - The Revenge of Bussy D'Ambois - The Conspiracy of Charles, Duke of Byron - The Tragedy of Charles, Duke of Byron\n\nThe Complete Plays of William Congreve\nEdited by Alexander Charles Ewald\nThe Old Bachelor - The Double-Dealer - Love for Love - The Way of the World - The Mourning Bride\n\nThe Best Plays of Thomas Dekker\nNotes by Ernest Rhys\nThe Shoemaker's Holiday - The Honest Whore - Old Fortunatus - The Witch of Edmonton\n\nThe Best Plays of John Dryden\nEdited by George Saintsbury, two volumes\n(Volume I) Almanzor and Almahide, or The Conquest of Grenada, parts 1 & 2 - Marriage A La Mode - Aureng-Zebe\n(Volume II) All for Love - The Spanish Friar - Albion and Albanius - Don Sebastian\n\nThe Best Plays of George Farquhar\nEdited by William Archer\nThe Constant Couple - The Twin Rivals - The Recruiting Officer - The Beaux' Stratagem\n\nThe Best Plays of John Ford\nEdited by Havelock Ellis\nThe Lover's Melancholy - 'Tis Pity She's a Whore - The Broken Heart - Love's Sacrifice - Perkin Warbeck\n\nThe Complete Plays of Robert Greene\nEdited by Thomas H. Dickinson\nAlphonsus, King of Arragon - A Looking Glass for London and England - Orlando Furioso - Friar Bacon and Friar Bungay - James the Fourth - George-A-Green, the Pinner of Wakefield\n\nThe Best Plays of Thomas Heywood\nEdited by A. Wilson Verity, introduction by John Addington Symonds\nA Woman Killed with Kindness - The Fair Maid of the West - The English Traveller - The Wise Woman of Hogsdon - The Rape of Lucrece\n\nThe Best Plays of Ben Jonson\nNotes by Brinsley Nicholson and C. H. Herford, three volumes\n(Volume I) Every Man in His Humour - Every Man out of His Humour - The Poetaster\n(Volume II) Bartholomew Fair - Cynthia's Revels; or, The Fountain of Self-Love - Sejanus His Fall\n(Volume III) Volpone; or, The Fox - Epicœne; or, The Silent Woman - The Alchemist\n\nThe Best Plays of Christopher Marlowe\nNotes by Havelock Ellis, series introduction by John Addington Symonds\nTamburlaine the Great Part the First - Tamburlaine the Great Part the Second\n- Doctor Faustus - The Jew of Malta - Edward the Second\nAlso includes a biography of Christopher Marlowe and appendices.\n\nThe Best Plays of Philip Massinger\nNotes by Arthur Symons, two volumes\n(Volume I) The Duke of Milan - A New Way to Pay Old Debts - The Great Duke of Florence - The Maid of Honour - The City Madam\n(Volume II) The Roman Actor - The Fatal Dowry - The Guardian - The Virgin Martyr - Believe as You List\n\nThe Best Plays of Thomas Middleton\nIntroduction by Algernon Charles Swinburne, with Havelock Ellis, two volumes\n(Volume I) A Trick to Catch the Old One - The Changeling - A Chaste Maid in Cheapside - Women Beware Women - The Spanish Gypsy\n(Volume II) The Roaring Girl - The Witch - A Fair Quarrel - The Mayor of Queensborough - The Widow\n\nNero and Other Plays (1888)\nEdited by H. P. Horne, A. W. Verity, Arthur Symons and Havelock Ellis\nNero (anonymous) - The Two Angry Women of Abington (Henry Porter) - The Parliament of Bees (John Day) - Humour Out of Breath (John Day) - A Woman is a Weathercock (Nathan Field)- Amends for Ladies (Nathan Field)\n\nThe Best Plays of Thomas Otway\nNotes by Roden Noel\nDon Carlos, Prince of Spain - The Orphan - The Soldier's Fortune - Venice Preserved\n\nThe Best Plays of Thomas Shadwell\nEdited by George Saintsbury\nThe Sullen Lovers - A True Widow - The Squire of Alsatia - Bury Fair\n\nThe Best Plays of James Shirley\nIntroduction by Edmund Gosse\nThe Witty Fair One - The Traitor - Hyde Park - The Lady of Pleasure - The Cardinal - The Triumph of Peace\n\nThe Complete Plays of Richard Steele\nEdited by G. A. Aitken\nThe Funeral - The Lying Lover - The Tender Husband - The Conscious Lovers - The School of Action - The Gentleman\n\nThe Select Plays of Sir John Vanbrugh\nEdited by A. E. H. Swain\nThe Relapse - The Provok'd Wife - The Confederacy - A Journey to London\n\nThe Best Plays of Webster and Tourneur\nNotes by John Addington Symonds\nThe White Devil (Webster) - The Duchess of Malfi (Webster) - The Atheist's Tragedy (Tourneur) - The Revenger's Tragedy (Tourneur, but now usually attributed to Thomas Middleton)\n\nThe Complete Plays of William Wycherley\nEdited by W. C. Ward\nLove in a Wood - The Gentleman Dancing Master - The Country Wife - The Plain Dealer\n\nOnline editions\nBeaumont and Fletcher I • \nBeaumont and Fletcher II • \nGeorge Chapman • \nWilliam Congreve • \nThomas Dekker • \nJohn Dryden I • \nJohn Dryden II • \nGeorge Farquhar • \nJohn Ford • \nRobert Greene • \nThomas Heywood • \nBen Jonson I • \nBen Jonson II • \nBen Jonson III • \nChristopher Marlowe • \nPhilip Massinger I • \nPhilip Massinger II • \nThomas Middleton I • \nThomas Middleton II • \nNero and Other Plays • \nThomas Otway • \nThomas Shadwell • \nJames Shirley • \nRichard Steele • \nSir John Vanbrugh • \nWebster and Tourneur • \nWilliam Wycherley\nPassage 3:\nJohn Dicks (publisher)\nJohn Thomas Dicks (1818–1881) was a publisher in London in the 19th century. He issued popular, affordably priced fiction and drama, such as \"shilling Shakespeares and wonderfully cheap reprints of Scott and other standard authors.\" Earlier in his career he worked with Peter Perring Thoms and George W. M. Reynolds. Employees included illustrator Frederick Gilbert. Readers included Thomas Burt and Havelock Ellis. Dicks retired in the 1870s, when his sons took over the firm which continued into the 1960s.\n\nWorks issued by John Dicks\nMusical Treasures (sheet music series); numbered list\n\nDrama\nThe British drama: illustrated, vol. 1–4, John Dicks, 1864–66\nDicks' British Drama, 1866–, 1866 (series)\n\nDicks' Standard Plays\nDicks' Standard Plays, 1874–1907 (series)\nList of Dicks' Standard Plays and Free Acting Drama, 1883, OL 7225611M – arranged by number, title, author (Ainsworth, Dickens, Lytton, Scott, etc.), and theme (nautical, dumb hero, ghost, Irish, Scotch, military, temperance, fairy, equestrian, etc.)\n\nFiction\nGeorge W. M. Reynolds. Mysteries of the Court of London.\nDicks' English Novels (series); numbered list\nDicks' English Library of Standard Works (series).Dicks' English Library of Standard Works, v.33 (via British Library on Flickr)\nWorldCat. Dicks' English Library of Standard Works (series)\nDicks' Celebrated Works (series); numbered list\n\nPeriodicals\nBow Bells: A Weekly Magazine of General Literature and Art, 1862, pp. 83 v – authors included George Manville Fenn, George Augustus SalaFashion plate, 1865\nFashion plates, 1870s\nReynolds' Miscellany\nHalfpenny Gazette, 1861–1865\nEvery Week, 1869–1896\nPenny Illustrated Weekly News\nFiction, edited by Eliza Winstanley – weekly\n\nCatalogues\nShakespeare, William (c. 1860s), List of Books Published by John Dicks\nJohn Dicks' Catalogue, 1874, OCLC 500243028\nPassage 4:\nHavelock Ellis\nHenry Havelock Ellis (2 February 1859 – 8 July 1939) was an English physician, eugenicist, writer, progressive intellectual and social reformer who studied human sexuality. He co-wrote the first medical textbook in English on homosexuality in 1897, and also published works on a variety of sexual practices and inclinations, as well as on transgender psychology. He developed the notions of narcissism and autoeroticism, later adopted by psychoanalysis.\nEllis was among the pioneering investigators of psychedelic drugs and the author of one of the first written reports to the public about an experience with mescaline, which he conducted on himself in 1896. He supported eugenics and served as one of 16 vice-presidents of the Eugenics Society from 1909 to 1912.\n\nEarly life and career\nEllis, son of Edward Peppen Ellis and Susannah Mary Wheatley, was born in Croydon, Surrey (now part of Greater London). He had four sisters, none of whom married. His father was a sea captain and an Anglican, while his mother was the daughter of a sea captain who had many other relatives that lived on or near the sea. When he was seven his father took him on one of his voyages, during which they called at Sydney, Australia; Callao, Peru; and Antwerp, Belgium. After his return, Ellis attended the French and German College near Wimbledon, and afterward attended a school in Mitcham.\nIn April 1875, Ellis sailed on his father's ship for Australia; soon after his arrival in Sydney, he obtained a position as a master at a private school. After the discovery of his lack of training, he was fired and became a tutor for a family living a few miles from Carcoar, New South Wales. He spent a year there and then obtained a position as a master at a grammar school in Grafton, New South Wales. The headmaster had died and Ellis carried on at the school for that year, but was unsuccessful.\nAt the end of the year, he returned to Sydney and, after three months' training, was given charge of two government part-time elementary schools, one at Sparkes Creek, near Scone, New South Wales, and the other at Junction Creek. He lived at the school house on Sparkes Creek for a year. He wrote in his autobiography, \"In Australia, I gained health of body, I attained peace of soul, my life task was revealed to me, I was able to decide on a professional vocation, I became an artist in literature; these five points covered the whole activity of my life in the world. Some of them I should doubtless have reached without the aid of the Australian environment, scarcely all, and most of them I could never have achieved so completely if chance had not cast me into the solitude of the Liverpool Range.\"\n\nMedicine and psychology\nEllis returned to England in April 1879. He had decided to take up the study of sex and felt his first step must be to qualify as a physician. He studied at St Thomas's Hospital Medical School, now part of King's College London, but never had a regular medical practice. His training was aided by a small legacy and also income earned from editing works in the Mermaid Series of lesser known Elizabethan and Jacobean drama. He joined The Fellowship of the New Life in 1883, meeting other social reformers Eleanor Marx, Edward Carpenter and George Bernard Shaw.\nThe 1897 English translation of Ellis's book Sexual Inversion, co-authored with John Addington Symonds and originally published in German in 1896, was the first English medical textbook on homosexuality. It describes male homosexual relations as well as adolescent rape. Ellis wrote the first objective study of homosexuality, as he did not characterise it as a disease, immoral, or a crime. The work assumes that same-sex love transcended age taboos as well as gender taboo. The work also uses the term bisexual throughout.The first edition of the book was bought-out by the executor of Symond's estate, who forbade any mention of Symonds in the second edition.In 1897 a bookseller was prosecuted for stocking Ellis's book. Although the term homosexual is attributed to Ellis, he wrote in 1897, \"'Homosexual' is a barbarously hybrid word, and I claim no responsibility for it.\" In fact, the word homosexual was coined in 1868 by the Hungarian author Karl-Maria Kertbeny.Ellis may have developed psychological concepts of autoeroticism and narcissism, both of which were later developed further by Sigmund Freud. Ellis's influence may have reached Radclyffe Hall, who would have been about 17 years old at the time Sexual Inversion was published. She later referred to herself as a sexual invert and wrote of female \"sexual inverts\" in Miss Ogilvy Finds Herself and The Well of Loneliness. When Ellis bowed out as the star witness in the trial of The Well of Loneliness on 14 May 1928, Norman Haire was set to replace him but no witnesses were called.\n\nEonism\nEllis studied what today are called transgender phenomena. Together with Magnus Hirschfeld, Havelock Ellis is considered a major figure in the history of sexology to establish a new category that was separate and distinct from homosexuality. Aware of Hirschfeld's studies of transvestism, but disagreeing with his terminology, in 1913 Ellis proposed the term sexo-aesthetic inversion to describe the phenomenon. In 1920 he coined the term eonism, which he derived from the name of a historical figure, the Chevalier d'Éon. Ellis explained:\nOn the psychic side, as I view it, the Eonist is embodying, in an extreme degree, the aesthetic attitude of imitation of, and identification with, the admired object. It is normal for a man to identify himself with the woman he loves. The Eonist carries that identification too far, stimulated by a sensitive and feminine element in himself which is associated with a rather defective virile sexuality on what may be a neurotic basis.\nEllis found eonism to be \"a remarkably common anomaly\", and \"next in frequency to homosexuality among sexual deviations\", and categorized it as \"among the transitional or intermediate forms of sexuality\". As in the Freudian tradition, Ellis postulated that a \"too close attachment to the mother\" may encourage eonism, but also considered that it \"probably invokes some defective endocrine balance\".\n\nMarriage\nIn November 1891, at the age of 32, and reportedly still a virgin, Ellis married the English writer and proponent of women's rights Edith Lees. From the beginning, their marriage was unconventional, as Edith Lees was openly bisexual. At the end of the honeymoon, Ellis went back to his bachelor rooms in Paddington. She lived at Fellowship House. Their \"open marriage\" was the central subject in Ellis's autobiography, My Life. Ellis reportedly had an affair with Margaret Sanger.According to Ellis in My Life, his friends were much amused at his being considered an expert on sex. Some knew that he reportedly suffered from impotence until the age of 60. He then discovered that he could become aroused by the sight of a woman urinating. Ellis named this \"undinism\". After his wife died, Ellis formed a relationship with a French woman, Françoise Lafitte.\n\nEugenics\nEllis was a supporter of eugenics. He served as vice-president to the Eugenics Education Society and wrote on the subject, among others, in The Task of Social Hygiene:\n\nEventually, it seems evident, a general system, whether private or public, whereby all personal facts, biological and mental, normal and morbid, are duly and systematically registered, must become inevitable if we are to have a real guide as to those persons who are most fit, or most unfit to carry on the race.\nThe superficially sympathetic man flings a coin to the beggar; the more deeply sympathetic man builds an almshouse for him so he need no longer beg; but perhaps the most radically sympathetic of all is the man who arranges that the beggar shall not be born.\nIn his early writings, it was clear that Ellis concurred with the notion that there was a system of racial hierarchies, and that non-western cultures were considered to be \"lower races\". Before explicitly talking about eugenic topics, he used the prevalence of homosexuality in these 'lower races' to indicate the universality of the behavior. In his work, Sexual Inversions, where Ellis presented numerous cases of homosexuality in Britain, he was always careful to mention the race of the subject and the health of the person's 'stock', which included their neuropathic conditions and the health of their parents. However, Ellis was clear to assert that he did not feel that homosexuality was an issue that eugenics needed to actively deal with, as he felt that once the practice was accepted in society, those with homosexual tendencies would comfortably choose not to marry, and thus would cease to pass the 'homosexual heredity' along.In a debate in the Sociological Society, Ellis corresponded with the eugenicist Francis Galton, who was presenting a paper in support of marriage restrictions. While Galton analogized eugenics to breeding domesticated animals, Ellis felt that a greater sense of caution was needed before applying the eugenic regulations to populations, as \"we have scarcely yet realized how subtle and far-reaching hereditary influences are.\" Instead, because unlike domesticated animals, humans were in charge of who they mated with, Ellis argued that a greater emphasis was needed on public education about how vital this issue was. Ellis thus held much more moderate views than many contemporary eugenicists. In fact, Ellis also fundamentally disagreed with Galton's leading ideas that procreation restrictions were the same as marriage restrictions. Ellis believed that those who should not procreate should still be able to gain all the other benefits of marriage, and to not allow that was an intolerable burden. This, in his mind, was what led to eugenics being \"misunderstood, ridiculed, and regarded as a fad\".Throughout his life, Ellis was both a member and later a council member of the Eugenics Society. Moreover, he played a role on the General Committee of the First International Eugenics Congress.\n\nSexual impulse in youth\nEllis' 1933 book, Psychology of Sex, is one of the many manifestations of his interest in human sexuality. In this book, he goes into vivid detail of how children can experience sexuality differently in terms of time and intensity. He mentions that it was previously believed that, in childhood, humans had no sex impulse at all. \"If it is possible to maintain that the sex impulse has no normal existence in early life, then every manifestation of it at that period must be 'perverse,'\" he adds.\nHe continues by stating that, even in the early development and lower functional levels of the genitalia, there is a wide range of variation in terms of sexual stimulation. He claims that the ability of some infants producing genital reactions, seen as \"reflex signs of irritation\" are typically not vividly remembered. Since the details of these manifestations are not remembered, there is no possible way to determine them as pleasurable. However, Ellis claims that many people of both sexes can recall having agreeable sensations with the genitalia as a child. \"They are not (as is sometimes imagined) repressed.\" They are, however, not usually mentioned to adults. Ellis argues that they typically stand out and are remembered for the sole contrast of the intense encounter to any other ordinary experience.Ellis claims that sexual self-excitement is known to happen at an early age. He references authors like Marc, Fonssagrives, and Perez in France, who published their findings in the nineteenth century. These \"early ages\" are not strictly limited to ages close to puberty, as can be seen in their findings. These authors provide cases for children of both sexes who have masturbated from the age of three or four. Ellis references Robie's findings that boys' first sex feelings appear between the ages of five and fourteen. For girls, this age ranges from eight to nineteen.\nFor both sexes, these first sexual experiences arise more frequently during the later years as opposed to the earlier years. Ellis then references G.V. Hamilton's studies that found twenty percent of males and fourteen percent of females have pleasurable experiences with their sex organs before the age of six. This is only supplemented by Ellis' reference to Katharine Davis' studies, which found that twenty to twenty-nine percent of boys and forty-nine to fifty-one percent of girls were masturbating by the age of eleven. However, in the next three years after, boys' percentages exceeded those of girls.\nEllis also contributed to the idea of varying levels of sexual excitation. He asserts it is a mistake to assume all children are able to experience genital arousal or pleasurable erotic sensations. He proposes cases where an innocent child is led to believe that stimulation of the genitalia will result in a pleasurable erection. Some of these children may fail and not be able to experience this, either pleasure or an erection, until puberty. Ellis concludes, then, that children are capable of a \"wide range of genital and sexual aptitude\". Ellis even considers ancestry as a contributions to different sexual excitation levels, stating that children of \"more unsound heredity\" and/or hypersexual parents are \"more precociously excitable\".\n\nAuto-eroticism\nEllis' views of auto-eroticism were very comprehensive, including much more than masturbation. Auto-eroticism, according to Ellis, includes a wide range of phenomena. Ellis states in his 1897 book Studies in the Psychology of Sex, that auto-eroticism ranges from erotic day-dreams, marked by a passivity shown by the subject, to \"unshamed efforts at sexual self-manipulation witnessed among the insane\".Ellis also argues that auto-erotic impulses can be heightened by bodily processes like menstrual flow. During this time, he says, women, who would otherwise not feel a strong propensity for auto-eroticism, increase their masturbation patterns. This trend is absent, however, in women without a conscious acceptance of their sexual feelings and in a small percentage of women suffering from a sexual or general ailment which result in a significant amount of \"sexual anesthesia\".Ellis also raises social concern over how auto-erotic tendencies affect marriages. He goes on to tying auto-eroticism to declining marriage rates. As these rates decline, he concludes that auto-eroticism will only increase in both amount and intensity for both men and women. Therefore, he states, this is an important issue to both the moralist and physician to investigate psychological underpinnings of these experiences and determine an attitude toward them.\n\nSmell\nEllis believed that the sense of smell, although ineffective at long ranges, still contributes to sexual attraction, and therefore, to mate selection. In his 1905 book, Sexual selection in man, Ellis makes a claim for the sense of smell in the role of sexual selection. He asserts that while we have evolved out of a great necessity for the sense of smell, we still rely on our sense of smell with sexual selection. The contributions that smell makes in sexual attraction can even be heightened with certain climates. Ellis states that with warmer climates come a heightened sensitivity to sexual and other positive feelings of smell among normal populations. Because of this, he believes people are often delighted by odors in the East, particularly in India, in \"Hebrew and Mohammedan lands\". Ellis then continues by describing the distinct odours in various races, noting that the Japanese race has the least intense of bodily odours. Ellis concludes his argument by stating, \"On the whole, it may be said that in the usual life of man odours play a not inconsiderable part and raise problems which are not without interest, but that their demonstrable part in actual sexual selection is comparatively small.\"\n\nViews on women and birth control\nEllis favoured feminism from a eugenic perspective, feeling that the enhanced social, economic, and sexual choices that feminism provided for women would result in women choosing partners who were more eugenically sound. In his view, intelligent women would not choose, nor be forced to marry and procreate with feeble-minded men.\nEllis viewed birth control as merely the continuation of an evolutionary progression, noting that natural progress has always consisted of increasing impediments to reproduction, which lead to a lower quantity of offspring, but a much higher quality of them. From a eugenic perspective, birth control was an invaluable instrument for the elevation of the race. However, Ellis noted that birth control could not be used randomly in a way that could have a detrimental impact by reducing conception, but rather needed to be used in a targeted manner to improve the qualities of certain 'stocks'. He observed that it was the 'superior stocks' who had knowledge of and used birth control while the 'inferior stocks' propagated without checks. Ellis's solution to this was a focus on contraceptives in education, as this would disseminate the knowledge in the populations that he felt needed them the most. Ellis argued that birth control was the only available way of making eugenic selection practicable, as the only other option was wide-scale abstention from intercourse for those who were 'unfit'.\n\nViews on sterilization\nEllis was strongly opposed to the idea of castration of either sex for eugenic purposes. In 1909, regulations were introduced at the Cantonal Asylum in Bern which allowed those deemed 'unfit' or with strong sexual inclinations to be subject to mandatory sterilization. In a particular instance, several men and women, including epileptics and pedophiles, were castrated, some of whom voluntarily requested it. While the results were positive, in that none of the subjects were found guilty of any more sexual offences, Ellis remained staunchly opposed to the practice. His view on the origin of these inclinations was that sexual impulses do not reside in the sexual organs, but rather they persist in the brain. Moreover, he posited that the sexual glands provided an important source of internal secretions vital for the functioning of the organism, and thus the glands' removal could greatly injure the patient.However, already in his time, Ellis was witness to the rise of vasectomies and ligatures of the Fallopian tubes, which performed the same sterilization without removing the whole organ. In these cases, Ellis was much more favorable, yet still maintaining that \"sterilization of the unfit, if it is to be a practical and humane measure commanding general approval, must be voluntary on the part of the person undergoing it, and never compulsory.\" His opposition to such a system was not only rooted in morality. Rather, Ellis also considered the practicality of the situation, hypothesizing that if an already mentally unfit man is forced to undergo sterilization, he would only become more ill-balanced, and would end up committing more anti-social acts.\nThough Ellis was never at ease with the idea of forced sterilizations, he was willing to find ways to circumvent that restriction. His focus was on the social ends of eugenics, and as a means to it, Ellis was in no way against 'persuading' 'volunteers' to undergo sterilization by withdrawing Poor Relief from them. While he preferred to convince those he deemed unfit using education, Ellis supported coercion as a tool. Furthermore, he supported adding ideas about eugenics and birth control to the education system in order to restructure society, and to promote social hygiene. For Ellis, sterilization seemed to be the only eugenic instrument that could be used on the mentally unfit. In fact, in his publication The Sterilization of the Unfit, Ellis argued that even institutionalization could not guarantee the complete prevention of procreation between the unfit, and thus, \"the burdens of society, to say nothing of the race, are being multiplied. It is not possible to view sterilization with enthusiasm when applied to any class of people…but what, I ask myself, is the practical alternative?\"\n\nPsychedelics\nEllis was among the pioneering investigators of psychedelic drugs and the author of one of the first written reports to the public about an experience with mescaline, which he conducted on himself in 1896. He consumed a brew made of three Lophophora williamsii buds in the afternoon of Good Friday alone in his set of rooms in Temple, London. During the experience, lasting for about 24 hours, he noted a plethora of extremely vivid, complex, colourful, pleasantly smelling hallucinations, consisting both of abstract geometrical patterns and objects such as butterflies and other insects. He published the account of the experience in The Contemporary Review in 1898 (Mescal: A New Artificial Paradise). The title of the article alludes to an earlier work on the effects of mind-altering substances, an 1860 book Les Paradis artificiels by French poet Charles Baudelaire (containing descriptions of experiments with opium and hashish).\nEllis was so impressed with the aesthetic quality of the experience that he gave some specimens of peyote to the Irish poet W.B. Yeats, a member of the Hermetic Order of the Golden Dawn, an organisation of which another mescaline researcher, Aleister Crowley, was also a member.\n\nLater life and death\nEllis resigned from his position as a Fellow of the Eugenics Society over its stance on sterilization in January 1931.Ellis spent the last year of his life at Hintlesham, Suffolk, where he died in July 1939. His ashes were scattered at Golders Green Crematorium, North London, following his cremation.\n\nWorks\nThe Criminal (1890)\nThe New Spirit (1890)\nThe Nationalisation of Health (1892)\nMan and Woman: A Study of Secondary and Tertiary Sexual Characteristics (1894) (revised 1929)\nDas konträre Geschlechtsgefühl (in German). Leipzig: Wigand. 1896. p. 1. with J.A. Symonds\nStudies in the Psychology of Sex (1897–1928) six volumes (listed below)\nStudies in the Psychology of Sex. Vol. 1 The Evolution of Modesty, The Phenomena of Sexual Periodicity, Auto–Erotism. 1897.\nAffirmations (1898)\n\"Mescal: A New Artificial Paradise\". The Contemporary Review. LXXIII. 1898.\nThe Nineteenth Century (1900)\nStudies in the Psychology of Sex. Vol. 2 Sexual Inversion. 1900.\nStudies in the Psychology of Sex. Vol. 3 Analysis of the Sexual Impulse, Love and Pain, The Sexual Impulse in Women. 1903.\nA Study of British Genius (1904)\nStudies in the Psychology of Sex. Vol. 4 Sexual Selection in Man. 1905.\nStudies in the Psychology of Sex. Vol. 5 Erotic Symbolism, The Mechanism of Detumescence, The Psychic State in Pregnancy. 1906.\nThe Soul of Spain (1908)\n\"The sterilisation of the unfit\". The Eugenics Review. 1 (3): 203–06. 1909. PMC 2986668. PMID 21259474.\nStudies in the Psychology of Sex. Vol. 6 Sex in Relation to Society. 1910.\nThe Problem of Race-Regeneration (1911)\nThe World of Dreams (1911) (new edition 1926)\nThe task of social hygiene. New York. 1912. p. 10.\n\"Birth control and eugenics\". The Eugenics Review. 9 (1): 32–41. 1917. PMC 2942166. PMID 21259632.\nThe Task of Social Hygiene (1912)\nEssays in War-Time. February 2006.\nThe Philosophy of Conflict (1919)\nOn Life and Sex: Essays of Love and Virtue (1921)\nKanga Creek: an Australian Idyll. The Golden Cockerel press. 1922.\nLittle Essays of Love and Virtue (1922)\nThe Dance of Life. 1923.\nImpressions and Comments. Vol. 3. 1924.\nSonnets, with Folk Songs from the Spanish (1925)\nEonism and Other Supplementary Studies (1928)\nStudies in the Psychology of Sex Vol. 7 (1928)\nThe Art of Life (1929) (selected and arranged by Mrs. S. Herbert)\nMore Essays of Love and Virtue (1931)\ned.: James Hinton: Life in Nature (1931)\nViews and Reviews. 1932.\nPsychology of Sex. 1933.\ned.: Imaginary Conversations and Poems: A Selection, by Walter Savage Landor (1933)\nChapman (1934)\nMy Confessional (1934)\nQuestions of Our Day (1934)\nFrom Rousseau to Proust (1935)\nSelected Essays (1936)\nPoems (1937) (selected by John Gawsworth; pseudonym of T. Fytton Armstrong)\nLove and Marriage (1938) (with others)\nMy life. Houghton Mufflin. 1939.\nSex Compatibility in Marriage (1939)\nFrom Marlowe to Shaw (1950) (ed. by J. Gawsworth)\nThe Genius of Europe (1950)\nSex and Marriage (1951) (ed. by J. Gawsworth)\nThe Unpublished Letters of Havelock Ellis to Joseph Ishill (1954)\n\nTranslations\nGerminal (by Zola) (1895) (reissued 1933)\nThe Psychology of the Emotions by Théodule-Armand Ribot (1897)",6 "char_len": 71263,7 "document_hash": "8dbdfd783e7a3b7a213aea8b5dccc309077933ddb48cbe66c9b32fcc9d92ecf3",8 "questions": [9 {10 "question_id": "q00",11 "qtype": "hotpotqa",12 "question": "Havelock Ellis and Arnold Bennett were both what?"13 }14 ]15}