Bright Young People - The Lost Generation of London's Jazz Age (Paperback)

The modern obsession with celebrity began with the Bright Young People, a voraciously pleasure-seeking band of bohemian party-givers and blue-blooded socialites who romped through the gossip columns of 1920s London. Drawing on the virtuosic and often wrenching writings of the Bright Young People themselves, the biographer and novelist D. J. Taylor has produced an enthralling account of an age of fleeting brilliance.

"The laziest way to put someone down is to call him or her an egomaniac. It's what we say when we loathe someone but can't think of anything more precise. That label was often and too easily applied, in London in the late 1920s and early '30s, to members of the so-called Bright Young People: a small, carefully circumscribed circle of elite 20-somethings who seemed to glide, as D. J. Taylor puts it in his nimble new book, on 'a compound of cocktails, jazz, license, abandon and flagrantly improper behavior.' The Bright Young People were the most glamorous, influential, self-absorbed, quasi-bohemian and overeducated creatures in existence. During their flickering moment they were adored and despised in almost equal measure. Good parties are enemy-making machines--You weren't asked? Surely your invitation was lost in the mail--and no one orchestrated them like the Bright Young ones. Nearly every event was an eye-popping spectacle, fully played out in the era's gossip columns. In his novel "Vile Bodies," published in 1930 (and still hilarious), Evelyn Waugh gave an overview of the Champagne-fueled social carnage: 'Masked parties, savage parties, Victorian parties, Greek parties, Russian parties, circus parties, parties where one had to dress as somebody else, almost naked parties in St. John's Wood, parties in flats and studios and houses and ships and hotels and nightclubs, in windmills and swimming baths . . . all the succession and repetition of massed humanity. . . . Those vile bodies.' Waugh, of course, was a Bright Young Thing himself, or at the least he existed at the group's margins. So did others who would go on to become well-known artists: John Betjeman, Nancy Mitford, Anthony Powell, Cecil Beaton and Henry Green among them. These bold-face names were among the lucky survivors. More than a few burned out, got lost or threw their promise away. Other would-be Bright Young People, Lytton Strachey snarked, seemed to have 'just a few feathers where brains should be.' Mr. Taylor, the British author of "Bright Young People: The Lost Generation of London's Jazz Age," is a biographer (he has written lives of Thackeray and Orwell) and literary critic, and he tells this story with a good deal of essayistic flair, precision and flyaway wit. Just as important, he relates this ultimately elegiac narrative with a surprising amount of intellectual and emotional sympathy. He plainly wants to be bothered by the Bright Young People's antics, too. 'One of the great consolations of English literary life, ' Mr. Taylor observes, wonderfully, is the idea that 'seriousness is automatically the preserve of people with cheery, proletarian values and prosaic lifestyles--that a barfly with a private income and a web of well-connected friends has already damned himself beyond redemption.'"--Dwight Garner, "The New York Times
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"The saga of Beaton, Evelyn Waugh and the less famous social butterflies that everyone called the Bright Young People may be the ideal escapist fantasy for these sober economic times. Theirs was a life of glittering frivolity, of scavenger hunts that stopped traffic in Sloane Square, cocktails and dancing until dawn, notorious gatherings like the Bath and Bottle Party at a swimming pool ('bring a Bath towel and a Bottle' the invitation said), sprees that envious mortals read about in gossip columns. To make the fantasy complete, the story even offers a satisfying touch of schadenfreude. As D. J. Taylor emphasizes in this incisive social history, these flighty creatures crashed with a thud louder than you'd imagine butterflies could make. Taylor compares the Mozart party photo to a 'medieval morality play' capturing how the Bright Young People got their comeuppance: their zaniness became more self-conscious and attenuated; they tried to ignore the fragile postwar economy and the crumbling aristocracy, but those changes were ready to bite them. It was fun while it lasted, though, for much of the 1920s . . . Lightened by the book's beautiful design, laced with mordant period quotations and delicious satiric cartoons from newspapers and magazines. Taylor's richly detailed work also calls attention to two breezy, auspicious first novels about the Bright Young People that are unfortunately out of print: Nancy Mitford's "Highland Fling" and Anthony Powell's "Afternoon Men.""--Caryn James, "The New York Times Book Review"
"Combining diaries, biographies, news reports and novels to paint the social life of 1920s London, D.J. Taylor has created that rarest of books--one you can safely recommend both to scholars of Evelyn Waugh and the entourage of Paris Hilton. The engaging "Bright Young People," written by a critic and novelist best known for his biography of George Orwell, reads like a case study in youth culture, trendsetting, log-rolling and cultivated bohemianism. It examines the symbiotic relationship between a loose-knit group of partygoers and a media that, in gossip columns and mocking denunciations, made them the first celebrities who were famous, in our contemporary sense, for being famous. By the most generous estimate, there were never more than 2,000 souls among the ranks popularly known at the time as the Bright Young People. By most accounts, those souls were self-absorbed, self-mythologizing and terribly jaded. Their defining exploits included boisterous scavenger hunts, extravagant hoaxes and the 'stylized debauchery' of more fancy-dress balls than you can shake an engraved 16-inch-high invitation at--including the Bath and Bottle Party, the Circus Party, the Hermaphrodite Party, the Great Urban Dionysia and the Mozart Party, where the menu came from a cookbook owned by Louis XVI. They excited the public imagination--and incited a moderate moral panic--with their fast living and reflexive flippancy. The greatest talents associated with the movement were Waugh and the photographer Cecil Beaton. Taylor deftly traces how the former drew on his friends' exploits for the hysterical satire of "Vile Bodies" and "Decline and Fall," and how the latter--an Edmund Hilary among social climbers--used his to further his career. Lesser accomplishments detailed here include "Singing Out of Tune," a novel by brewery heir Bryan Guinness that documented the Bright Young Person's daily routine: 'waking up late, meeting people for lunch, bringing the lunch party home for tea, moving on to cocktails and dinner . . . and ending up with a communal trek around the fashionable restaurants of the West End.' But in this realm any accomplishment was an exception, and the non-career of the occasional poet Brian Howard proved emblematic of this wasted youth revolt. 'The books Brian Howard never wrote would fill a decent-sized shelf, ' Taylor writes, elsewhere noting that the man lived out his frustrating life 'in that exotic never-never land where the Ritz bar meets the out-of-season Continental resort.' The fun ended soon enough; by 1931, England was in financial crisis and a 10-hour-long Red and White Ball rang down the era. But Taylor's skillful reconstruction of the whole hazy time feels like a lasting party favor."--Troy Patterson, NPR

"A poignant study of the elusive relationship between art and the