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Widmerpool’s unease with the artistic throughout Dance is bracketed by angular drawings, first his mocking pictograph in the cabinet de toilette at La Grenadière and now at the end of the novel by reappearance of the Modigliani drawing.
Kenneth Widmerpool Marc Boxer cover to the Fontana edition (1977) of At Lady Molly’s
On the penultimate pages of HSH, Henderson unwraps the drawing, which has moved from Stringham’s possession to Pamela Flitton’s to Widmerpool’s, intertwined with Widmerpool’s rise and fall.