Pool Group

Bryher's father was the shipowner and financier John Ellerman, who left her a very large inheritance which would eventually go towards funding many of Pool's projects. Bryher knew from an early age that she was lesbian.[2] Her wealth enabled her to give financial support to struggling writers, including Joyce and Edith Sitwell. She also helped with finance for the Paris bookshop Shakespeare and Company (started by Sylvia Beach) and certain publishing ventures. She also helped provide funds to purchase a flat in Paris for struggling artist Baroness Elsa von Freytag-Loringhoven.

H.D. (1886–1961) was born Hilda Doolittle in Pennsylvania, the daughter of a professor of astronomy and a musically-inclined mother. While still a school-girl she met Ezra Pound, who encouraged her writing and, in 1913, proposed that she adopt the pseudonym H.D. as a pseudonym under which to publish her first poems in Poetry Magazine. At the same time as the problematic relationship with Pound (they were twice engaged) H.D. was carrying on a love affair with a Pennsylvania woman art student, Frances Josepha Gregg. In 1919 H.D. had a daughter, Perdita, by the Scottish composer and music critic Cecil Gray (1895–1951). It was while she was pregnant that she formed an alliance with Bryher which was to last until H.D.’s death in 1961. The relationship was an open one, with both taking other partners. In 1921 Bryher entered into a marriage of convenience with the American author Robert McAlmon, whom she divorced in 1927. In 1928, H.D. became pregnant by Kenneth Macpherson, but the pregnancy was terminated later the same year. The complexities of H.D.'s relationships led her to consult the pioneer sexologist Havelock Ellis and to develop a deep interest in psychoanalysis: in the 1930s, she was to be analyzed by Freud, and her interest deeply marked her poems and other writings.

In 1927, Bryher married Kenneth Macpherson, a writer who shared her interest in film and who was at the same time H.D.'s lover. Macpherson, was a young Scottish painter with a passion for film. H.D. seems to have fallen in love with him though Macpherson was evidently exclusively homosexual. In Burier, Switzerland, overlooking Lake Geneva, the couple, along with Doolittle, built a Bauhaus-style structure that doubled as a home and film studio, which they named Kenwin. Bryher and Macpherson also formally adopted H.D.'s young daughter, Perdita, whose name they officially registered as Frances Perdita Macpherson.[3]

Most of the books were by the members of the group which had been expanded by the addition of Oswell Blakeston (né Henry Joseph Hasslacher, 1907–1985) who had started his working life in the cutting rooms at Gaumont British. A contemporary of David Lean, at around 20, Blakeston became a protégé of Macpherson and went on to a long career as writer and critic.

Kenneth Macpherson wrote of his views on world cinema in an editorial from the first issue of Close Up that encompassed many of the Pool Group's views,

But it was only a glimpse here and there. The Germanic thing was getting across though, curious details, watchfulness, harking on claustrophobia. We filed Germany for future reference and peeped at Vienna. Here again was tripe. Hollywood was better. Italy a shade worse. France tied up in knots on problems of continuity. While England trundled deplorably in wake, the only thing that could be said for it that it didn't seem to mind being a laughing stock. Then we began to hear from Russia. We had got very sick of Russian novels and Russian plays, and in spite of a recrudescence of Russian influence in art and decoration, there was prejudice. But Potemkin and Aelita put an end to that. Russia was getting its finger on something....Cinematography has stuck itself in front of the artist, and the artist wants to work his medium straight. His conflict is with the business manager. He also wants HIS medium straight. The thing one sees in consequence is compromise, and the beginning of a problem. As usual there are ways and means, which we will talk about later. I want first of all to cavil a bit in a general way and work in a bit of analysis and criticism.[4]

The story revolves around a guesthouse run by a set of liberal, hedonistic young people sympathetic to the emerging black American culture. In what would have been completely frowned upon at the time, the manageress played by Bryher has given a room to Pete (Paul Robeson) and his light-skinned black wife Adah, played by Robeson’s real wife at the time Eslanda Robeson. Adah though is having an affair with a white man Thorne (Gavin Arthur), who is also involved with Astrid (played by the poet Hilda Doolittle aka HD). When Adah leaves Thorne to be with her husband Pete, Thorne is distraught and race becomes an issue.

Increasingly Pete becomes the scapegoat for the heartache and conflict that follows between Thorne and Adah. When Thorne “accidentally” murders Astrid, the “liberal” Guest House is forced by the authorities to kick Pete out: “That’s what we’re like,” admits the sympathetic Manageress resignedly. To an extent, Robeson’s character could be seen as reductionist in terms of identity as he tends to be photographed in natural surroundings: sometimes with clouds and the sea as backdrops – the location set in a Swiss Alps border town is important in this respect. Likewise Pete’s behavior is stoical even in the most threatening situations. Yet on the other hand this portrays the reality of culture in this period, and besides Pete also is the character that comes out of the situation with the most dignity even when he is asked to leave town.[6]