H. M. Tomlinson (1873–1958)
Author of The Sea and the Jungle
About the Author
Works by H. M. Tomlinson
Gifts of Fortune 8 copies
South to Cadiz 4 copies
All hands! 3 copies
A brown owl 2 copies
The Derelict 1 copy
The Haunted Forest 1 copy
Marejada en el Atlántico 1 copy
Gallions reach: a romance 1 copy
Associated Works
Wild: Stories of Survival from the World's Most Dangerous Places (Adrenaline) (1999) — Contributor — 65 copies, 1 review
Tagged
Common Knowledge
- Legal name
- Tomlinson, Henry Major
- Birthdate
- 1873-06-21
- Date of death
- 1958-02-05
- Gender
- male
- Occupations
- journalist
war correspondent (WWI)
literary editor (of the Nation and Athanaeum)
travel writer
novelist - Organizations
- American Academy of Arts and Letters (Foreign Honorary, Literature, 1943)
- Nationality
- UK
- Birthplace
- London, England, UK
- Place of death
- London, England, UK
- Associated Place (for map)
- London, England, UK
Members
Reviews
This book was a revelation to me about the lyrical writing of travel writer Tomlinson. I really enjoyed his vivid metaphor and effective telegraphing of the awe and wonder he felt in his first-time venture at sea travel and the Amazon with its rivers, life, and pioneering rubber plantations. Rather like Exit the Rainmaker, this is a story of someone who rather suddenly left all behind in civilization to drop out and get way. From the tramp steamer, Tomlinson heard the call to jump into the show more unknown
Below my rock, on the land side—to which I had turned my back—was a monstrous cesspool. It was in the centre of the village. It was the capital of all flies, and the source and origin of all smells, varying smells which reposed, as I had found when below in the hot and stagnant street, in strata, each layer of smell invisible but well-defined. Among the weeds in the roads were many derelict cans. Over the empty tins, and the garbage, pulsed and darted hundreds of Brazil’s wonderful insects.show less
But I was above all that, on my high rock. Its height released me to a wide and splendid liberty. I cannot tell you all that my vantage surveyed. But chiefly I was assured by what I saw that I was more central even than my eyes showed; they merely found for me the intimation. Here was all the proof I wanted; for faith is not blind, but critical, yet instantly transcends to knowledge at the faintest glimmer of authentic light, as when an exile who is beset by inexplicable and puissant circumstance among strangers whose tongue is barbarous, is surprised at a secret sign passed there of fellowship, and is at once content. Yet I can report but a broad river flowing smooth and bright out of indefinite distance between dark forests to the wooded islands below; and by the islands suddenly accelerated and divided, in a slight descent, pouring to a lower level in taut floods as smooth, noiseless, and polished as mercury. Lower still was the gleaming turmoil of the falls, pulsing, and ever on the point of vanishing, but constant, its shouting riot baffled by the green cliffs everywhere. But I could escape, for once, over the parapets of the jungle to the upper rolling ocean of leaves; to the 292distance, dim and blue, the region where man has never been.
"Our mutability, like the wind which bloweth where it listeth, is subject to sorceries having the necessity of the very laws which send zephyrs or hurricanes out of the immane."
Tomlinson's thoughts are permeated with history, by ghosts of men and ships, by the lost rural landscapes of his youth; he's held by "the spell of the imponderable", "lurking shallows and unknown landscapes." This isn't to suggest a bent toward mysticism, but an indication of a deeply contemplative nature, attuned to show more vibrations and patterns most of us don't notice. Will anyone ever again experience the tingling certainty he felt, while talking to a 110 year old man, that he was talking to a wizard?
"When I looked up, the forest across the creek regarded me with the large composure of a guardian of the unrevealed...".."It knew that it's aspect was sufficiently repressive."
On a steamy island in the South Pacific he stands at the dark edge of a mangrove forest and easily imagines a labyrinthodon rising from the muck.
On the stern deck of a steamer he watches a barque silently pass in the moonlight: "a gracious apparition in a delusive hour.".
The vastness of things forgotten troubles Tomlinson very much. The progress of civilization -- telephones, radios, talking pictures, automobiles -- inevitably involves the destruction of individuality and the loss of communal memory. Many things, he fears, will have to be learned over and over.
He's not a Thoreau nor does he pretend to be, nor any sort of philosopher. He's an observer and commentator who writes beautiful, gentle prose that encourages us to be aware,
These pieces originally appeared in various periodicals 1928-1930. show less
Tomlinson's thoughts are permeated with history, by ghosts of men and ships, by the lost rural landscapes of his youth; he's held by "the spell of the imponderable", "lurking shallows and unknown landscapes." This isn't to suggest a bent toward mysticism, but an indication of a deeply contemplative nature, attuned to show more vibrations and patterns most of us don't notice. Will anyone ever again experience the tingling certainty he felt, while talking to a 110 year old man, that he was talking to a wizard?
"When I looked up, the forest across the creek regarded me with the large composure of a guardian of the unrevealed...".."It knew that it's aspect was sufficiently repressive."
On a steamy island in the South Pacific he stands at the dark edge of a mangrove forest and easily imagines a labyrinthodon rising from the muck.
On the stern deck of a steamer he watches a barque silently pass in the moonlight: "a gracious apparition in a delusive hour.".
The vastness of things forgotten troubles Tomlinson very much. The progress of civilization -- telephones, radios, talking pictures, automobiles -- inevitably involves the destruction of individuality and the loss of communal memory. Many things, he fears, will have to be learned over and over.
He's not a Thoreau nor does he pretend to be, nor any sort of philosopher. He's an observer and commentator who writes beautiful, gentle prose that encourages us to be aware,
These pieces originally appeared in various periodicals 1928-1930. show less
A travel book unlike any other I've read. It describes the route of a cargo ship, a steamer that in 1909 carried a load of Welsh coal from Swansea to Pará, Brazil and then up the Amazon river and a small tributary to a site near the San Antonio Falls where it sat "in port" for a month while inspections were made and cargo unloaded. The return trip went via Barbados, past Jamaica and landed at Tampa, FL from where our narrator caught a train to New York and made his final way home. He's show more actually not much of a figure in the story itself- mostly an observer. It begins rather abruptly when Tomlinson is on his way to work, feeling bitterly oppressed by the daily grind, and stops to have conversation with a sailor on the street. This man invites him to take passage on the cargo steamer (it being short a few hands) and our narrator pretty much ditches his job, family and responsibilities in an instant to go along. From there the book is all about the journey. I liked reading it, but the descriptions can be so dense it's hard to keep track of what you're reading about sometimes. The author has interesting insights and musing to share about everything he witnesses. The few momentous events seem to occur to other people, and there are a number of tall tales and travel stories told by other people met along the way. It really does give you a vivid sense of place, the pitch and roll of the ocean, smothering heat inside the belly of the ship, characters of the deckhands (most did not speak English), the changes of weather, the sudden wall of greenery of South American jungle, glimpses of native people, birds and astonishingly gorgeous butterflies, fears of mosquitoes and disease, and a crazy story about this railroad being built deep in the rain forest headed who knows where.
Certain aspects of the book reminded me vividly of The Lord of the Flies, Mister Johnson by Joyce Cary and State of Wonder but it's hard to put my finger on exactly why.
from the Dogear Diary show less
Certain aspects of the book reminded me vividly of The Lord of the Flies, Mister Johnson by Joyce Cary and State of Wonder but it's hard to put my finger on exactly why.
from the Dogear Diary show less
Never having heard of H.M. Tomlinson, and never having read a travel book, it was Time Life's meager introduction which compelled me to purchase this volume for 75 cents. I both liked that it took place mostly on a ship, the Capella, and that the Amazon was visited.
The prose of Tomlinson was not at all that which I had expected it to be. I don't understand why he isn't more recognized. His writing is hauntingly poetic, eloquent, and descriptively detailed. He is never boring. His show more personality, his most intimate thoughts, his humor, are all offered to us. He gives us the illusion that he holds nothing back from us, hides nothing.
Here is an audio sample of his prose:
http://netherletterlog.blogspot.com/2011/01/introduction-to-tomlinson-read-by-aa...
I admire Tomlinson's rebellious spirit, which was an Orwellian (Orwell wouldn't write 1984 for another 39 years) result born of his eyes being opened to the chains of modernity. I can't help but notice that Tomlinson was ready to reemerge into society with a new spirit, after having been witness to the desolation of peril-haunted equatorial forests.
He often relates to us that he felt as if within the Amazonian foliage something dark and sinister and nameless sat in wait; that it could afford to wait, being timeless. He sees the building of the railway as futile, but praises the men who carelessly sacrifice their lives in the joint endeavor.
Back in England, Tomlinson notes that the trees seem as toys to him; all greenery seems blunted in contrast to the swelling Jungle.
I felt that Tomlinson was a very empathetic man—he tells us much of animals, and their treatment. Many had "pitiful ends". He tells us too of the "pitiful ends" of many of the workers who had been duped into coming to the Amazon by "the Company". It's postmodernist puerility to think that the cruelties Tomlinson reveals to us are a thing of the past. Horror goes on daily; and unlike many 'evil philosophies', I believe they are collective horrors. It is a defensive mechanism which supposes that the world is not tragic, that tragedy can only happen individually—that the holocaust was no more significant than the event of a single Jew being tortured by the Nazi doctors. I believe that this is the reason why Nietzsche's mind snapped at the moment he saw the old horse being beaten in the street; the reason Tomlinson saw himself reflected in the terror filled suffering eyes of the mortally wounded monkey which was to be dinner. Tomlinson was a Darwinian evolutionist, but no materialist, which explains the despairing beauty of his prose. show less
The prose of Tomlinson was not at all that which I had expected it to be. I don't understand why he isn't more recognized. His writing is hauntingly poetic, eloquent, and descriptively detailed. He is never boring. His show more personality, his most intimate thoughts, his humor, are all offered to us. He gives us the illusion that he holds nothing back from us, hides nothing.
Here is an audio sample of his prose:
http://netherletterlog.blogspot.com/2011/01/introduction-to-tomlinson-read-by-aa...
I admire Tomlinson's rebellious spirit, which was an Orwellian (Orwell wouldn't write 1984 for another 39 years) result born of his eyes being opened to the chains of modernity. I can't help but notice that Tomlinson was ready to reemerge into society with a new spirit, after having been witness to the desolation of peril-haunted equatorial forests.
He often relates to us that he felt as if within the Amazonian foliage something dark and sinister and nameless sat in wait; that it could afford to wait, being timeless. He sees the building of the railway as futile, but praises the men who carelessly sacrifice their lives in the joint endeavor.
Back in England, Tomlinson notes that the trees seem as toys to him; all greenery seems blunted in contrast to the swelling Jungle.
I felt that Tomlinson was a very empathetic man—he tells us much of animals, and their treatment. Many had "pitiful ends". He tells us too of the "pitiful ends" of many of the workers who had been duped into coming to the Amazon by "the Company". It's postmodernist puerility to think that the cruelties Tomlinson reveals to us are a thing of the past. Horror goes on daily; and unlike many 'evil philosophies', I believe they are collective horrors. It is a defensive mechanism which supposes that the world is not tragic, that tragedy can only happen individually—that the holocaust was no more significant than the event of a single Jew being tortured by the Nazi doctors. I believe that this is the reason why Nietzsche's mind snapped at the moment he saw the old horse being beaten in the street; the reason Tomlinson saw himself reflected in the terror filled suffering eyes of the mortally wounded monkey which was to be dinner. Tomlinson was a Darwinian evolutionist, but no materialist, which explains the despairing beauty of his prose. show less
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