Simon Raven, a literary luminary of his time, made a lasting impact on the world of British television as a prolific scriptwriter, in addition to his remarkable accomplishments as a novelist. His monumental 'Alms For Oblivion' series of novels delved into the intricate complexities and moral ambiguities of the upper and upper-middle classes during the post-war era, thereby securing for him an international reputation as a masterful writer and a notorious figure known for his scandalous lifestyle.
Eccentric and flamboyant, Raven's persona was as captivating as it was complex, with a profound affinity for the game of cricket, a penchant for high-stakes gambling, and a taste for fine spirits, which often led to indulgent revelries. His extramarital escapades, which traversed the gender spectrum, only added to his enigmatic allure.
Despite being occasionally criticized for his perceived snobbery, Raven staunchly maintained that his literary endeavors were intended for an audience that shared his refined sensibilities, namely those who were well-educated, worldly-wise, and skeptical of the conventions that governed society.
Raven's literary debut, "Feathers of Death", emerged onto the scene in 1959, presenting a poignant and provocative tale of same-sex romance set against the backdrop of military life. As he navigated the world of publishing, Raven soon discovered that the lucrative realm of television writing held greater financial rewards. His inaugural television play, "Royal Foundation", made its broadcast debut on the BBC in 1961, followed by a succession of other notable works, including his acclaimed adaptations of Anthony Trollope's literary masterpieces, "The Way We Live Now" and "The Pallisers".
In the year 1974, a notable television adaptation took place, as he transformed Frances Donaldson's literary work, Edward & Mrs. Simpson, into a seven-part series that garnered immense popularity, despite encountering criticism from the esteemed Wallis Simpson and the revered Queen Mother.
Additionally, he had the distinction of reworking Nancy Mitford's renowned novels, Love in a Cold Climate, and The Pursuit of Love, for the esteemed Thames Television network.
Raven's most recent television endeavor was the 1992 production of Julian Symons' captivating whodunnit, The Blackheath Poisonings, which aired on Central Television. This intriguing mystery series, penned by Symons, was a notable departure from Raven's previous work, showcasing his versatility as a television creator.
In his twilight years, the renowned Raven contemplated a significant undertaking, namely, to bring William Makepeace Thackeray's timeless novel, Vanity Fair, to life on the small screen through a BBC television adaptation. Moreover, he had also envisioned a three-episode television production of Evelyn Waugh's celebrated novel, Brideshead Revisited.
However, unfortunately, neither of these ambitious projects came to fruition. In a poignant interview with The Stage newspaper, conducted just before his passing, Raven candidly expressed his sentiments, stating, "I don't think there is a place for me on television anymore." He further elaborated on his reasons, revealing that he found the pressures of working within the modern television industry to be increasingly taxing. According to Raven, the industry had become overly concerned with political correctness, a development that he felt was antithetical to his artistic vision and values.
The remarkable life of Raven, a literary figure whose existence was a testament to the power of creativity and the human spirit. As he himself so eloquently put it, "I would like to think that as a writer one had not deliberately done anyone else a bad turn or suffered from envy." This poignant reflection speaks to the complexities of Raven's character, a man who was driven by his passion for writing and yet was not immune to the frailties and imperfections that define us all.
If we were to distill the essence of Raven's life into a single phrase, it would be a phrase that speaks to his generosity of spirit and his ability to form deep connections with those around him. As he so humorously and poignantly put it, "If there is to be an epitaph, then let it read: He always shared his bottle - and his bed." This phrase is a powerful reminder of the importance of human connection and the ways in which we can come together to form meaningful relationships.
