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| Roger Lewis |
Lewis, a 52-year-old Welshman transplanted to England, resembles a Victorian mill producing industrial quantities of good reviews, academic articles, biographies and satire. Most of the works by this former Oxford don, who has first-class degrees and honours from St. Andrews, Magdalen and Wolfson, are hallmarked by his distinctive modernism overlaying a vigorous conservatism, together reminiscent of T. S. Eliot and Wyndham Lewis.
Like both, he is a revolutionary traditionalist who couples modern art-forms with timeless values: a concept understood by imaginative conservatives, not fully comprehended by their hidebound kinsmen who retreat from modernism in any form, and often loathed by what Lenin would today call Brit-culture’s Leftist true-believers, fellow-travellers from the BBC and similar media, and the useful-idiots of the unthinking chattering classes; in other words, much of the UK’s cultural Establishment.
Lewis has single-handedly reinvented the literary and show-business biography with his innovative lives of Sir Laurence Olivier, Peter Sellers, Charles Hawtrey and Anthony Burgess, turning an age-old formula into works of modern art.
The very structure and style of each biography is tailored to his subject, reflecting how modern media figures create their own personae for professional and personal gain, and how, ultimately, the audience’s and the biographer’s perceptions contribute just as much to our understanding of these half-real-half-concocted figures as do the conventional dates and details of their professional and personal lives. A Lewis biography, echoing Yeats, will not “separate the dancer from the dance.”





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