Pamela Hansford Johnson was born into a theatrical family in south London in 1912. She was educated at Clapham County Girls Secondary School. After leaving school at the age of 16, she took a secretarial course and worked for several years in the London branch of an American bank. She began her literary career by writing poems. In 1933, Pamela wrote to Dylan Thomas, and a friendship developed. Marriage was considered, but the idea abandoned. In 1936 she married Australian writer Gordon Neil and In 1950 C.P. Snow. Her first novel, This Bed Thy Centre, was published in 1935, inaugurating a long and varied career as a published author of fiction, essays and plays. Her other books include the `Dorothy Merlin' trilogy (The Unspeakable Skipton, 1959; Night and Silence, Who is Here, 1962; and Cork Street, Next to the Hatter's, 1965), The Humbler Creation (1959) and The Good Listener (1975), and works of criticism on Thomas Wolfe and Ivy Compton-Burnett. She held visiting academic positions at American universities including Wesleyan and Yale. She reviewed and broadcast extensively. In 1975 she received the CBE. She dies in 1981. The foreword writer, Ann Widdecombe, was shadow home secretary from 1998 to 2001. She earned a reputation as one of Britain's liveliest and most direct politicians. Her achievements outside politics include becoming a popular novelist, as well as presenting television programmes. Ann Widdecombe, a devout Catholic, has a life-long love for G.K. Chesterton's Father Brown adventures.
Pamela Hansford Johnson, who died in 1981, is now better remembered for a brief engagement to Dylan Thomas than for her own remarkable talents as a writer. This cool, sinister book is saturated in a Christianity that once formed the framework of ordinary English lives and now seems as distantly exotic as the rites of the Amahuaca tribe. It tells the story of Setter, a Harley Street physician who seems a reassuring, even a saintly, figure. Not so. He confesses to Vic, a former patient and the novel's narrator, that inside he is 'extremely dirty' and prey to tormentingly sadistic fantasies. Marriage unravelling, his sanity at risk, Setter becomes fixated on Sammy, a teddy boy who claims to have killed someone. Set in the 1960s, at a moment of interface between the past and the recognisably modern world, this exquisitely controlled novel is driven by terror of the social fragmentation that would come once a commonly held belief in damnation - conjured, in a potent blending of the domestic and divine, as a 'subterranean sun' burning a thousand miles beneath the lino - ceased to exert its moral hold. --Olivia Laing, The Guardian, May 1st 2008
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