Eric Ambler reviews

Eric Ambler (1909 to 1998) was an English author of thrillers, in particular spy novels. Others had written espionage books before him but Ambler is often credited, in his six novels from the 1930s, with creating a lot of the atmosphere which was copied by later writers. During the Second World War and afterwards, he was also a successful screenwriter.

Pre-war novels

1936 The Dark Frontier British scientist gets caught up in a revolution in an East European country while trying to find and destroy the secret of the first atomic bomb. Over-the-top parody.

1937 Uncommon Danger (British journalist Kenton gets mixed up with the smuggling of Russian plans to invade Romania and seize its oil, in which the Russian or KGB agent Zaleshoff is the good guy against a freelance agent, Saridza, working for an unscrupulous western oil company. Cartoony.

1938 Epitaph for a Spy Hungarian refugee and language teacher Josef Vadassy, on holiday in the south of France, is wrongfully accused of being a spy and is given three days by the police to help them find the real agent among a small group of eccentric hotel guests. Country house murder.

1938 Cause for Alarm Engineer Nick Marlow is hired to run the Milan office of a British engineering company which is supplying the Italian government with munitions equipment, only to be plunged into a world of espionage, counter-espionage, and then forced to go on the run from the sinister Italian Gestapo, aided by Zaleshoff, the KGB agent from Danger. Persuasive.

1939 The Mask of Dimitrios Detective writer Charles Latimer sets out on a quest to find the true story behind the dead gangster, Dimitrios Makropoulos, whose dossier he is shown by the head of Istanbul police, discovering more than he bargained for in the process.

1940 Journey into Fear The war has begun and our enemies have hired an assassin to kill Mr Graham, the English engineer who is helping to upgrade the Turkish fleet. The head of Turkish security gets Graham a berth on a steamer heading to Italy but the enemy agent has followed him. Possibly the best of the six.

Post-war novels

1952 Judgment on Deltchev Playwright Foster is sent by a newspaper to report on the show trial of a fallen politician, Deltchev, in an unnamed East European country, and gets caught up in a sinister and far-reaching conspiracy.

1953 The Schirmer Inheritance Young American lawyer George Carey is tasked with finding relatives who may be eligible to receive the large inheritance of an old lady who died without heirs. Because she comes of immigrant stock the task takes him on a tour of European archives – in Paris, Cologne, Geneva, Athens, Salonika – where he discovers the legacy of the Nazis lingering on into the murky world of post-War Greek politics.

1956 The Night-Comers Engineer Steve Fraser is preparing to leave the newly independent Dutch colony of Sunda after a three-year project when he and his Eurasian girlfriend get caught up in a military coup. Trapped by the rebels in their apartment because it is in the same building as the strategically-important radio station, they witness at first hand the machinations of the plotters and slowly realise that all is not what it seems.

1959 Passage of Arms An American couple on a Far East cruise, naively agree to front what appears to be a small and simple, one-off gun-smuggling operation, but end up getting into serious trouble. A thorough and persuasive and surprisingly light-hearted fiction, the least spy-ish and maybe the best Ambler novel so far.

1962 The Light of Day Small-time con man Arthur Simpson gets caught up in a plan by professional thieves to steal jewels from the famous Seraglio Museum in Istanbul, all the time acting as an inside man for the Turkish authorities. An enjoyable comedy-thriller.

1964 A Kind of Anger Journalist Piet Maas is tasked with tracking down a beautiful woman who is the only witness to the murder of an exiled Iraqi colonel in a remote villa in Switzerland, and finds himself lured into a dangerous game of selling information about a political conspiracy to the highest bidder.

1967 Dirty Story Forced to flee Greece in a hurry when a porn movie project goes bad, shabby con man Arthur Simpson (who we first met in The Light of Day) takes ship through Suez to the East Coast of Africa, where he finds himself enrolled as a mercenary in a small war about mineral rights.

1969 The Intercom Conspiracy Two East European intelligence chiefs conceive a money-making scam. They buy a tiny Swiss magazine and start publishing genuine intelligence reports, which publicise American, Soviet, British and NATO secrets. All those countries’ security forces fall over themselves to discover the source of the leaks and, after ineffectually threatening the hapless editor of the magazine, buy it from the colonels for a cool $500,000. Another amusing comedy-thriller.

1972 The Levanter Middle Eastern industrialist Michael Howell is forced much against his will to collaborate with a Palestinian terror group planning a major atrocity, while he and his mistress frantically try to find a way out of his plight.

1974 Doctor Frigo Latino doctor Ernesto Castillo is ‘persuaded’ by French security agents to become physician to political exiles from his Latin American homeland who are planning a coup, and struggles hard to maintain his professional standards and pride in light of some nasty revelations. A very enjoyable comedy thriller.

1977 Send No More Roses Paul Firman narrates this strangely frustrating account of his meeting at the Villa Lipp with an academic obsessed with exposing him as the head of a multinational tax avoidance and blackmailing operation until – apparently – his boss intervenes to try and ‘liquidate’ them all, in a half-hearted attempt which completely fails, and leaves Firman in the last pages, on a Caribbean island putting the finishing touches to this narrative, designed to rebut the professor’s damning (and largely fictional) account of his criminal activities. What?

1981 The Care of Time Ex-CIA agent-turned-writer, Robert Halliday, finds himself chosen by a shadowy Middle Eastern fixer to help out with a very elaborate scam involving a mad Arab sheikh, an underground bunker, germ warfare experiments and a fake TV interview. Typically complex, typically odd.

Autobiography

1985 Here Lies: An Autobiography Droll, sly, giving nothing away.

… but the clouds… by Samuel Beckett (1977)

but the clouds… is a short play by Samuel Beckett written expressly for television. It was written in English (worth mentioning because Beckett wrote many of his works in French first, then translated them into English) from October to November 1976, first televised on BBC 2 on 17 April 1977, and published by Faber and Faber later the same year.

By this stage in his career, Beckett’s stage directions for his plays had become super-schematic, so much so that they beg the question whether the works can really be referred to as plays at all, in any conventional sense. This one consists of about a page and a half of detailed stage instructions followed by barely three and a half of action and dialogue, of which the actual dialogue takes up less than half the space. It is a play – if it is a play at all – almost entirely of silent movements.

The stage instructions list six elements to the piece and it is symptomatic that the one and only human actor in the piece is placed on the same technical level as camera setups and a disembodied voice:

  1. M – Near shot from behind of man sitting on invisible stool bowed over invisible table. Light grey robe and skullcap. Dark ground. Same shot throughout.
  2. M1 – M in set. Hat and greatcoat dark, robe and skullcap light.
  3. W – Close-up of woman’s face reduced as far as possible to eyes and mouth. Same shot throughout.
  4. S – Long shot of set empty or with M1. Same shot throughout.
  5. V – M’s voice.

The production notes describe the set.

Set: circular, about 5 m. diameter, surrounded by deep shadow.

And, typically for Beckett, he provides a simple but very precise diagram.

Diagram of the camera angle and stage positions for ‘…but the clouds…’

The four cardinal points of the circle are numbered 1, 2, 3, 4 and given names, thus:

  1. West, roads.
  2. North, sanctum.
  3. East, closet.
  4. Standing position.

With number 5 indicating the position of the camera i.e. the point of view.

The play stipulates four ‘changes’ which require the performer to turn or walk into the shadow in each direction, or emerge from the shadow. And the lighting? As so often with Beckett, the lighting restricts itself to the bare minimum effect you can achieve on a stage, which is the basic movement from black to light, via gloom and shadow. No colours. Indicated in the production notes thus:

Lighting: a gradual lightening from dark periphery to maximum light at centre.

This focus on the most minimal use of light and shadow echoes the lighting in Footfall, where the light was brightest at feet level, in order to emphasise the pacing feet, and then tapered off as it rose upwards, so that the body and face of the pacing actor are in shadow or darkness.

Beckett’s obsessive precision doesn’t let up with the end of the initial stage set-up. The three and a half pages of the actual shooting script consist of precisely 60 detailed instructions for changes of lighting or shot. Less than half the text is actual speech. Over half of these directions are one-line shot directions for the cameras.

Here’s the first eight. Note how actual speech – V, representing the voice of the bowed man, M – are only 3 of the 8 lines:

  1. Dark. 5 seconds.
  2. Fade up to M. 5 seconds.
  3. V: When I thought of her it was always night. I came in –
  4. Dissolve to S. empty. 5 seconds. M1 in at and greatcoat emerges from west shadow, advances five steps and stands facing east shadow. 2 seconds.
  5. V: No
  6. Dissolve to M. 2 seconds.
  7. V: No, that is not right. When she appeared it was always night. I came in –
  8. Dissolve to S. empty. 5 seconds. M1 in hat and greatcoat emerges from west shadow, advances five steps and stands facing east shadow. 5 seconds.

Twenty-eight words of speech to 64 of stage directions. Most of the speech is this minimal. The sequence of relatively short, one-sentence stage directions is interspersed at intervals with longer descriptions of the four big ‘changes’. Here’s the first ‘change’, direction number 25:

  1. Dissolve to S. empty. 2 seconds. M 1 in robe and skullcap emerges from north shadow, advances five steps and stands facing camera. 2 seconds. He turns left and advances five steps to disappear in east shadow. 2 seconds. He emerges in hat and greatcoat from east shadow, advances five steps and stands facing West shadow. 2 seconds. He advances five steps to disappear in west shadow. 2 seconds.

In fact, I counted the whole text and if we include the 60 numbers and various other numbers (the ‘2’ in ‘2 seconds’ etc) as words, then the entire piece contains 1,093 words, of which 448 (40%) are spoken and 645 (60%) stage directions.

The spoken text

Going a step further, I extracted all the spoken words to see what kind of sense they make when extracted from the carapace of stage directions. Doing this makes it easier to spot the repeated phrases, the dogged repetition of certain key words or phrases which is one of Beckett’s core techniques.

I have highlighted repeated phrases in bold and highlighted the use of numbers in red text.

3. V: When I thought of her it was always night. I came in
5. V: No
7. V: No, that is not right. When she appeared it was always night. I came in
9. V: Right. Came in, having walked the roads since break of day, brought night home, stood listening, finally went to closet
11. V: Shed my hat and greatcoat, assumed robe and skull, reappeared
13. V: Reappeared and stood as before, only facing the other way, exhibiting the other outline, finally turned and vanished
15. V: Vanished within my little sanctum and crouched, where none could see me, in the dark.
17. V: Let us now make sure we have got it right.
19. V: Right.
21. V: Then crouching there, in my little sanctum, in the dark, where none could see me, I began to beg, of her, to appear, to me. Such had long been my use and wont. No sound, a begging of the mind, to her, to appear, to me. Deep down into the dead of night, until I wearied, and ceased. Or of course until –
24. V: For had she never once appeared, all that time, would I have, could I have, gone on begging, all that time ? Not just vanished within my little sanctum and busied myself with something else, or with nothing, busied myself with nothing? Until the time came, with break of day, to issue forth again, shed robe and skull, resume my hat and greatcoat, and issue forth again, to walk the roads.
26. V: Right.
28. V: Let us now distinguish three cases. One: she appeared and –
31. V: In the same breath was gone…. Two: she appeared and –
33. V: Lingered… With those unseeing eyes I so begged when alive to look at me.
35. V: Three: she appeared and –
37. V: After a moment
38. W’s lips move, uttering inaudibly: ‘…clouds…but the clouds…of the sky…V murmuring, synchronous with lips: ‘…but the clouds…
39. V: Right.
41. V: Let us now run through it again.
47. V: Look at me.
49. W’s lips move, uttering inaudibly: ‘…clouds…but the clouds…of the sky…‘  V murmuring, synchronous with lips: ‘…but the clouds…
50. V: Speak to me.
52. V: Right. There was of course a fourth case, or case nought, as I pleased to call it, by far the commonest, in the proportion say of nine hundred and ninety-nine to one, or nine hundred and ninety-eight to two, when I begged in vain, deep down into the dead of night, until I wearied, and ceased, and busied myself with something else, more … rewarding, such as … such as … cube roots, for example, or with nothing, busied myself with nothing, that MINE, until the time came, with break of day, to issue forth again, void my little sanctum, shed robe and skull, resume my hat and greatcoat, and issue forth again, to walk the roads… The back roads.
54. V: Right.
57. V: ‘…but the clouds of the sky…when the horizon fades…or a bird’s sleepy cry…among the deepening shades…’

The Gontarski production

So what do all these detailed instructions look like in practice? This is a production directed by Stanley E. Gontarski, the noted Beckett scholar.

Several points arise.

1. One is that the Gontarski production uses music, quite prominent modern music, and musical sound affects such as the single penetrating note when the image of the woman appears. None of this is justified by the directions.

2. The second point is that the precision of the circular set and the precise imagining of the man moving from one cardinal point to another are completely lost in an actual TV or film production, because we are all used to basic movie or TV technique, namely the camera’s point of view jumping all over the place, from one angle to another, from long shot, aerial shot, slow-mo, close-ups and what-have-you. Doing this, using multiple camera angles, leaves us with little or no sense of the man moving carefully from one point of the compass to another, as Beckett has so carefully indicated in the stage directions. He just seems to be moving in and out of darkness in a rather random way.

In this respect, the directions are very much conceived as stage directions, based on the notion of a fixed and unmoving audience point of view – and do not translate very well into the much more flexible medium of television/film.

3. A third point is that the meanings Beckett attributes to the four points of the compass in his stage directions:

  1. West, roads.
  2. North, sanctum.
  3. East, closet.
  4. Standing position.

Only come out with great subtlety if at all. Nobody watching the piece would know that when the main figure goes to the shadowy position off to the left of the set, this is ‘1. West, roads’. The Faber Companion to Samuel Beckett suggests that these later plays are ‘post-literary’ in the sense that simply reading them is not enough, you have to see them in production to grasp the meaning. But I think this is incorrect in two respects. One: anyone who’s ever made any film or TV can tell you that a shooting script is just as ‘post-literary’, in the same sense, that it’s just a set of instructions for creating a final programme or movie.

But, secondly, these late playlets do in fact demand to be read, precisely so that you can enjoy the precision and mathematical numeration of their layout. Rather than being ‘post-literary’, they are in fact a new kind of literary, a new genre, a super-precise, over-enumerated, computer readout style of playwriting, which Beckett took to an extreme, and which has a mechanistic flavour and pleasure distinct to itself.

4. Lastly, an actual visualisation like this brings out what is easy to overlook when reading the text, which is the sudden appearance of those images of the woman:

W – Close-up of woman’s face reduced as far as possible to eyes and mouth. Same shot throughout.

When you read the text, the importance of the woman is easy to overlook because she has no physical presence and doesn’t do anything or say anything. But in the produced film – well, in this one at any rate – the woman has a striking, almost dominating, presence and really brings out the male narrator’s abject submission to her, or the memory of her.

5. And her visual dominance rises to a climax at the two times when we see her face mouthing the words and the male voice speaking them:

‘ …clouds…but the clouds…of the sky…but the clouds…’

These are genuinely spooky. The superimposition of one person’s mouth mouthing words while another person’s voice actually articulates them is genuinely creepy, like a sci-fi nightmare, a tale of possession and dispossession.

Themes and interpretations

W.B. Yeats

The title of the piece and those short phrases which the woman mouths and the narrator speaks, are all from the end of a poem, The Tower, by the great Irish poet W.B. Yeats:

Now shall I make my soul,
Compelling it to study
In a learned school
Till the wreck of body,
Slow decay of blood,
Testy delirium
Or dull decrepitude,
Or what worse evil come –
The death of friends, or death
Of every brilliant eye
That made a catch in the breath –
Seem but the clouds of the sky
When the horizon fades;
Or a bird’s sleepy cry
Among the deepening shades.

The poem expresses an attitude of detachment associated with Eastern philosophy. The poet will deliberately mould his soul in such a way as to be a tower amid the human chaos, so utterly schooled in a philosophy of detachment that every aspect of human life, all its trials and tribulations, will seem but the clouds in the sky, faraway and transient.

With this in mind we can see how the play enacts a dynamic tension, between a man who is trying to attain this level of detachment, to rise above himself and his own petty concerns – but who is quite clearly still in thrall to the image and memory of the woman who, we deduce, he has loved and lost. He is trying to escape from the world – but repeatedly dragged down into it by his own passions and longing.

It is, therefore, despite all the alienating and mechanical modernist trappings, a love story; or a story of lost love, of a man haunted by his lost love and making up all manner of mechanical and mathematical protocols to try and smother and control his hurt.

Endlessly trying to complete a narrative

In countless plays and prose texts since The Unnamable, Beckett protagonists have struggled to complete a narrative – in order to achieve completion and closure, in order to get it right, so as to define and understand something, so as to be able to move on.

But they never can. The circle is never complete, the story is never told. My favourite example is the radio play Cascando in which the Voice endlessly restarts and tries to complete one single anecdote about a man who wakes, goes down to the sea, and launches a dinghy… but the Voice can never quite complete the tale or get it right, despite trying, over and over.

Presumably this is easily enough identified as an allegory on ‘the human condition’ – permanently trying to complete, finish and understand our lives and what we’ve done, forever condemned not to be able to.

And so this short play appears to be another iteration of the same basic idea, with the man saying:

39. V: Right.
41. V: Let us now run through it again.

Unaware or not acknowledging that he’s going to have to keep ‘running through it again’, forever.

The Faber Companion To Samuel Beckett makes the canny point that the narrator is split in two, into M and M1, because he is directing himself. It is M who is directing his puppet self, ‘M in set’, to try and achieve the ‘right’ result.

This insight sheds light on many of Beckett’s texts, which are routinely divided between a kind of doing protagonist and a consciousness protagonist, between the self doing and the self commenting on the self doing. This insight suggests that all these texts are, in a sense plays in which the observing, commenting self is endlessly directing the actor self, rehearsing the scene or sequence over and over again till he gets it right. But he can never get it right, only fail again, fail better.

The meaning of numbers

As I’ve mentioned in earlier posts, reading the obscure autobiographical fragment, Heard in the Dark 2, was a revelation because in it Beckett says of the boy protagonist that:

Simple sums you find a help in times of trouble…Even still in the timeless dark you find figures a comfort…

This, for me, is the key which opens Beckett’s entire worldview, and explains the deeper meaning of his mechanical way of conceiving of the human body, human nature and, above all, the mechanical, rote movements of human bodies, as described in his numerous prose texts, plays and mimes.

Yes, they fall in with the avant-garde tradition dating from Dada of viewing human beings as robots, automata, and this aspect of his work has a strong anti-humanist intention.

But Heard In The Dark 2 reveals that the obsession with numbers also has a very personal psychological meaning for Beckett. It is comforting. It is reassuring. It was a help in times of trouble to the boy and young man, and it is a similar ‘help’ in all his adult fictions.

This piece is no exception and it comes as no surprise when the narrating Man says that, when his desperate pleas to the woman meet with failure – then he must busy himself with other things, with something:

more…rewarding, such as…such as…cube roots, for example…

It is no surprise that he categorises the woman’s appearances into four types. It is no surprise that he has worked out the relative proportions in which these cases arise.

This obsession with numbers (and also with enumerating every possible permutation of basic human movements, such as infest the experimental novel Watt), this obsession underpins everything Beckett wrote and especially the plays, which, as I pointed out at the start of this review, became by the mid-1970s, increasingly obsessed with numbers:

  1. in their apparatus (the stage directions)
  2. in their onstage actions (the actor’s precisely specified movements)
  3. in the text, the actual words spoken

The three levels are enacted in this text, thus:

  1. The superprecise description of the set and the precise numbering of the 60 stage directions.
  2. The superprecise description of the four pieces of onstage activity, the so-called ‘changes’ between one part and the next.
  3. The numerical content of what M actually says, namely the enumeration of the four ‘cases’ and then his assessment of the proportion of these ‘cases’, nine hundred and ninety-nine to one, or nine hundred and ninety-eight to two…’, the cube roots and so on.

What is the consoling nature of numbers? Well, numbers give the appearance of meaning, even when there is none. They belong to a world of reassuringly objective truth and consistency. In this short piece the psychological reassurance they provide is linked to the voice’s repeated description of himself seeking out his ‘inner sanctum’, ‘where none can see him”, where he can crouch and hide away, busying himself with…the consoling power of numbers.

Let’s look at the ‘four cases’ M mentions more closely. M enumerates four possibilities:

  1. the woman appears and instantly leaves
  2. she appears and lingers
  3. she appears and speaks Yeats’s words
  4. she does not appear at all whereupon the narrator busies himself with consolatory activities such as cube roots

In this respect, numbers are like a replacement for religion, which Beckett appears to have long since abandoned. They are a lucid, rational, objective system which can be used to give logic, order and meaning to what are, otherwise, the utterly meaningless actions and the hopelessly unfulfillable hopes of the human animal.

Trudging

Beckett characters walk a lot. Well, ‘trudge’ might be a better word. Trudge endlessly across bleak landscapes as in Fizzle 8, or like Pozzo and Lucky endlessly circling round their little world in Godot, or the 120 lost souls shuffling around their rubber cylinder in The Lost Ones.

Walking is a basic element of the profoundest, deepest allegorical fictions in literature, from Dante walking through hell and purgatory to Pilgrim walking through the allegorical landscape of Pilgrim‘s Progress.

In Beckett, however, walking is deliberately reduced, humiliated, to trudging, round in a circle, or shuffling forward bent painfully over like the old man in Enough.

Here the male figure, when all else fails, has no other recourse except to take his hat and coat, issue forth again and take to the roads, a phrase repeated four times, to walk the roads, the back roads, trudging and traipsing without hope or consolation…


Related link

Samuel Beckett’s works

An asterisk indicates that a work was included in the Beckett on Film project, which set out to make films of all 19 of Beckett’s stage plays using leading actors and directors. The set of 19 films was released in 2002 and most of them can be watched on YouTube.

The Second World War 1939 to 1945

*Waiting For Godot 1953 Play

Awarded the Nobel Prize for Literature 1969

Ghost Trio by Samuel Beckett (1976)

Ghost Trio is a short television play by Samuel Beckett, which lasts about twenty minutes. Beckett wrote it in English in 1975 and it was first televised on BBC 2 on 17 April 1977.

Ghost Trio has fantastically detailed stage directions specifying the exact layout of the room the action is set in and the position of the male figure at various points of the action. As with most later Beckett plays it includes a diagram of the set, showing a room 5 metres by 6 metres, with a window at the far end, a pallet on the left and a door leading into a corridor on the right. Near this door, for most of the action, the solitary protagonist, a silent man, sits hunched over on a small bench. Here’s the diagram:

Schematic diagram of the stage set and camera positions for Ghost Trio

And here’s the key to the diagram:

  1. Door
  2. Window.
  3. Mirror.
  4. Pallet.
  5. Male figure (F) seated by door.
  6. F at window.
  7. F at head of pallet.

A and B and C represent successive points of view of the TV camera:

A. Position general view.
B. Position medium shot.
C. Position near shot of 5 and 1, 6 and 2, 7 and 3.

Colour? Lighting? Well, as the mysterious woman’s voice who narrates the text tells us:

The light: faint, omnipresent. No visible source. As if all luminous. Faintly luminous. No shadow. [Pause.] No shadow. Colour : none. All grey. Shades of grey. [Pause.] The colour grey if you wish, shades of the colour grey.

A trio in three parts

As the name suggests, the play itself is divided into three parts and within each section further sub-divided into a set of numbered steps or directions, specifying not only the actor’s movements and words, but which of the 3 camera positions should be used, A, B or C.

I. Pre-action, contains 34 numbered actions or snippets of monologue
II. Action, contains 38 numbered directions or steps
III. Re-action, contains 41 numbered directions or steps

It is called Ghost Trio because the action is interspersed with excerpts from the Largo of Beethoven’s Fifth Piano Trio, Opus 70 #1, which was given the nickname ‘The Ghost’ because of the spooky feel of some passages. And because, like Footfalls before it and …but for clouds.. after it, the play itself feels ghostly, feels as if the protagonist is not really there at all. The human figure is a kind of pretext for things which go on around him, but not real physical things: he is the kind of locus for a succession of psychological states.

Typically, Beckett doesn’t leave the selection of passages from Beethoven’s work to the director, but is hyper-specific, giving the part number and direction number from his play and then specifying exactly which excerpt from the Ghost Trio should be used, right down to the  exact bar number:

I.13 beginning bar 47
I.23 beginning bar 49
I.31 to 34 beginning bar 19
II.26 to 29 beginning bar 64
II.35 to 36 beginning bar 71
III.1 to 2, 4 to 5 beginning bar 26
III.29 beginning bar 64
III.36 to end beginning bar 82

The Faber Companion to Samuel Beckett suggests that the extraordinary detail of the directions make this a kind of ‘post-literary’ work in the sense that the text of the play is almost unreadable. By which the authors mean that you have to see and hear the entire thing in an integrated production to really ‘get’ the entire effect. The Companion says it is, in this respect, a ghostly descendant of the kind of Gesamtkunstwerk proposed by Wagner in which all the arts are combined in harmony, which demands to be read and heard and seen.

As the Wagner reference suggests, the Companion goes on to suggest that the work can be said to be Beckett’s only attempt at an opera. Personally, I think that’s misleading: if opera means anything it is the singing of lyrics to music throughout an extended work which features characters and a plot, none of which is true of Ghost Trio. If anything is Beckett’s attempt at an opera, I’d have thought it was the 1961 radio play Words and Music which doesn’t actually feature sung lyrics, words and music of the title place in apposition i.e. next to each other, but for which various composers have written specially composed music. But even that is more accurately thought of as an allegorical masque.

Synopsis

The reader of these complex stage directions, with their diagrams and numbered steps, might easily be intimidated. But when you actually watch or listen to a production of Ghost Trio it is disarmingly simple.

Part one In part one a woman’s voice formally introduces herself and then describes the room we’re looking at, pointing out the features mentioned above, namely door, window and palette, then asks us to look in detail at the wall and floor, which are grey and dusty. She then asks us to look again as if there is value in really scrutinising these sparse elements. Part one ends with a clipped sentence stating that: ‘Sole sign of life a sitting figure’. A shambling, decrepit-looking man sitting on a bench, hunched forward over what the directions specify might be a ‘cassette’.

He is not named. He never speaks. Only the Voice speaks.

Part two There is no formal differentiation between parts one and two, no dipping of the lights to black as in other plays of this time. Instead, part two sets the tone or defines the theme in the opening sentence when the same woman’s voice says:

‘He will now think he hears her.’

Aha. Her. So the piece turns into a depiction of a silent, shuffling man who appears to be haunted by memories of ‘her’, a woman, an absent woman. In this it is very close to …but the clouds… which followed it, but also harks back to the surprisingly sentimental core of a piece like Krapp’s Last Tape which uses the innovative idea of an old man listening to tapes made by his younger self, but which focuses on a repeated memory of being a young man lying in a field in summer with his true love.

In other words, for all the disconcertingly modernist and anti-humanist apparatus of the text, the mise-en-scène, the long pauses between the fragmented and robotic voice etc – arguably, the piece is at heart shockingly sentimental, a man recalls his lost love. After all, Beethoven was the Romantic composer par excellence and Beckett (apparently) never abandoned his youthful attachment to German Romanticism.

A very recurrent Beckett trope is introduced at the end of part two where the woman’s voice says simply. ‘Stop. Repeat.’ which is what most Beckett characters and most Beckett texts do.

Part 3 has the most written instructions so is likely to be the longest in a production, but features no speaking voice at all, just a sequence of 41 stage directions, which require the figure onstage to go to the window and look out to the sound of rain falling, go to the palette and look at it, goes to a mirror hanging on the wall and stares into it for a while, all interspersed with snippets of the music being played, before these cut out and the action returns to silence.

Part 3 ‘builds up to’ a moment of pregnant symbolism, when we hear a faint knock on the door into the corridor. The protagonist slowly opens it and the camera cuts to his point of view. In the long empty corridor he sees what appears to be the figure of a boy ‘Dressed in black oilskin with hood glistening with rain. White face raised to invisible [figure]’.

The boy slowly shakes his head, twice, very slowly, then slowly withdraws back down the corridor. Is he saying, ‘Not today, she is not coming today, your lover, your Muse, not today’, much as the boy in Godot says Godot isn’t coming today. Tomorrow, maybe. Stop. Repeat.

If you keep a straight face, the image of the boy in the narrow corridor slowly shaking his head at all the old man’s hopes and wishes is a poignant symbol of loss and abandonment. If you have a sense of humour, this feels like Peak Beckett.

Ghost Trio ends with the door slowly closing and the figure withdrawing to sit on the nearby bench where we see him, again, hunched over, an eternal image of loss and abandonment.

Productions

Irksomely, it doesn’t seem possible to view the original 1977 BBC production. The closest we can get is the video below which appears to consist of just part 3, from a production Samuel Beckett himself directed in May 1977 at the television studios of the Süddeutscher Rundfunk in Stuttgart. So it’s presumably as close to the author’s intention as possible.

It certainly brings out the greyness, the bleakness, the slowness, and the hauntedness of the piece.

Conversely, here is a high-tech production featuring Nicholas Johnson as the figure and Hannah Grady as the Voice, adapted, filmed and edited by M. Dixon Causey.

If you can overcome an aversion to the American accent, it raises a few questions about the use of modern techno music or white noise as background to the narrator, and the funky ways the tape is treated and distorted to make it look like a modern cyber-thriller – all of which come from a different technical universe than Beckett knew. The male figure is hardly the decrepit, wasted, long-haired old geezer of the Beckett version, but a shaven-headed, snappy young American film studies graduate, clutching an ipod docking station and mini-speakers rather than a ‘cassette’.

And, most strikingly, when the Voice says ‘Repeat’, the film does in fact repeat all the figure’s actions from the first two parts, speeded up to a techno soundtrack with heavily treated (sepia-ed) visuals.

Is this radical updating valid and appropriate?

Personally, I think so. I positively like the superimposition of the huge Roman numerals I, II and III to introduce the three parts, and the big captions indicating DOOR and WINDOW in part one. These seem as suitably blunt and brain-damaged as the entire text is made to feel in this production. Whereas the German production accurately portrays a small grey enclosed space, much like a shabby boarding house room, this American production – with its bright white interiors, walls painted clinical white, and the man’s shaven head, all these elements make it feel as if the figure is an inmate in a medical facility, maybe an asylum.

Thoughts

Beethoven Is Ghost Trio an interpretation of the Beethoven work? A commentary on it? Or a reworking? Is the Beethoven piece intrinsic to the work or purely illustrative? Could it have been more or less any piece of work with a haunting theme which could have been cut up and sampled like this?

The boy In the German production I only knew the face was that of a boy because the text told me so. It could be interpreted as that of a young androgynous woman, maybe the woman the man appears to be listening out for.

Choosing a boy to deliver the head shake is reminiscent of the boy who makes two unexpected, and often overlooked, appearances at the end of each of the two acts of Waiting For Godot, and tells Vladimir and Estragon that, no, Godot will not be coming today. Tomorrow, maybe. Mañana.

Shades of grey The woman’s voice describing the entire room being bereft of colour, and even of an obvious light source, but consisting only of:

‘All grey. Shades of grey. [Pause.] The colour grey if you wish, shades of the colour grey…

to the modern reader prompts association quite different from what Beckett intended. How many shades of grey, the reader wants to ask.

Mr Bleaney To the average viewer it looks a lot like a depressed old man sitting in a room. More than ever, it seems like a Portrait of the Artist As A Writer Sitting In A Small Room Mulling Over What It Is Like To Be A Writer Sitting In A Small Room Mulling Over What It Is Like To Be A Writer Sitting In A Small Room Mulling Over What It Is Like To Be… and so on. Stop. Repeat.

Hammer horror I showed the German version to my daughter. She said what’s the old man so depressed about? When the door in the wall opened painfully slowly with its stagey Hammer Horror creaking sound effect, she burst out laughing and asked me whether it was a rejected episode of Scooby Doo. The younger generation – no soul.


Related link

Samuel Beckett’s works

An asterisk indicates that a work was included in the Beckett on Film project, which set out to make films of all 19 of Beckett’s stage plays using leading actors and directors. The set of 19 films was released in 2002 and most of them can be watched on YouTube.

The Second World War 1939 to 1945

*Waiting For Godot 1953 Play

Awarded the Nobel Prize for Literature 1969

A Savage War of Peace by Alistair Horne (1977)

The Algerian War was the long brutal conflict between the National Liberation Front (the Front de Libération Nationale or F.L.N.) fighting for Algerian independence from the French Empire, and the French Army tasked with repressing it.

The war lasted from 1954 to 1962. It brought down six French governments, led to the collapse of the French Fourth Republic and eventually forced General de Gaulle out of retirement to become President in 1958, solely in order to sort out a peace deal. As the violence committed by both the FLN and the army increased, as international opinion turned against the French, and as the Soviet bloc became friendlier with the Algerian revolutionaries, de Gaulle found himself reluctantly pushed towards the only logical solution – that France withdrew and granted Algeria its independence.

This was so unpopular among the 500,000 or so troops which France had by this time deployed to Algeria, and who had been fighting and dying in often inhospitable environments (the arid desert, the freezing mountains) that it prompted a military coup by the generals in Algeria. This collapsed in just four days, but the rebellion helped bring together a number of mid-ranking soldiers and psychopaths into an anti-de Gaulle, anti-independence paramilitary which called itself the Organisation armée secrète or O.A.S.

These (and other freelancers) planned and attempted some thirty (!) assassination attempts against de Gaulle as well as an escalating campaign of murder and terrorist outrages against liberal French in Algeria, against writers and thinkers in Paris (they bombed Jean-Paul Sartre’s flat and the homes of newspaper editors) as well as attacking Muslim bars, shops, schools, colleges and so on. IN February 1962 they killed over 550 people. The F.L.N. responded with their own tit-for-tat terrorist outrages. In March F.L.N. activists broke into the home of a pied noir nightwatchman, disembowelled his wife and smashed the heads of his two children, aged 5 and 6, against the wall (p.526). This book is packed with stories like that. Every day in Algiers was marked by the sound of explosions and gunfire.

Meanwhile, in the spring of 1962 secret talks began between de Gaulle’s emissaries and F.L.N. representatives at a secret location in the Swiss border. Horne’s book – brilliant in every aspect – shows how right down to the wire the F.L.N. representatives refused to budge on the purity of their demands for complete independence and control of all Algeria’s territory (shrugging aside attempts by France to hang on to her naval bases or the vast areas of the Sahara to the south of the Atlas mountains where, ironically, in the last few years of French rule vast reserves of oil and even more of natural gas had been discovered). A peace treaty granting Algeria independence was signed in March 1962.

Brutality

Official French figures tally up to about 300,000 Algerians who lost their lives in the fighting, but even more in the terrorism and as victims of the extensive intra-Muslim fighting and vendettas. The Algerian state settled on the round number of one million Muslims and sticks to it to this day.

The F.L.N. used terrorist tactics, planting bombs, using drive-by shootings and chucking hand grenades into European cafes, bars etc, but mostly they set themselves to murder Algerians who had sold out to the French authorities e.g. native village constables and local caids, cutting off noses or lips as a first warning, slitting the throats of any ‘traitors’ who remained loyal to the French regime. The French efforts became steadily more indiscriminate, arresting all political suspects in the towns, bombing entire villages and, at the scenes of brutal murders of Europeans, running wild and shooting every Muslim in sight. All of which, of course, helped recruitment to the rebels.

Both sides used torture although the F.L.N. routinely used barbaric bloodthirstiness: on August 20, 1955 about 80 guerrillas descended on the town of Philippeville and went from house to house massacring all Europeans. Mothers were found with their throats slit and their bellies cut open by bill-hooks, babies had their brains beaten out against the walls. One women had her belly cut open and the corpse of her young baby – cut to ribbons by knives – stuffed back inside her (p.121). When French paratroopers arrived on the scene some hours later they went mad and machine gunned every Muslim in sight.

In this respect F.L.N. tactics worked: the native population was terrorised into abandoning the French and giving the guerrillas help; the atrocities sparked the French into harsh reprisals which further alienated both peasant and educated opinion. The F.L.N. strategy was to militarise the conflict and the whole country, and it worked.

The advent of the O.A.S. in the final period of the war raised the levels of wanton brutality to revolting new heights, as French fanatical right-wingers launched attacks in mainland France and in Paris. The French Secret Service attempts to penetrate the O.A.S. were eventually successful in rounding up the O.A.S. leaders but, ironically, this only increased the level of murder and terrorism because the psychopathic ordinary members were now headless and unchecked.

In another level of irony (and what is history except irony written in blood), Horne shows how the O.A.S. – fighting to keep Algeria French – probably did more than any other group to ensure Algeria became independent.

Their aim was to create such chaos that it would lead to the overthrow of de Gaulle the traitor and then… and then… something good would happen (like the coup plotters, they had no grasp of politics). But their way to achieve this chaos was through random outrages, mostly against moderate and educated Muslims – and this had the effect, in the final year of the conflict, of driving a huge wedge between the communities. And this had toe effect of destroying forever any hope that the pieds noirs would be able to live side-by-side in harmony with their Muslim neighbours.

Divisions on both sides

War suggests two monolithic sides, but in fact both ‘sides’ were deeply divided and riven by factions. Ever since the French Revolution back in the 1790s, the French political nation has been bitterly divided between a revolutionary Left and an authoritarian Catholic Right, with all kinds of ineffective liberals ranged in between. After the Second World War, France also had to contend with a large and powerful Stalinist Communist Party. This contributed to the chronic problem with French politics – its instability: there were no fewer than 21 different governments between 1945 and 1958! It was, thus, very difficult for ‘the French’ to formulate and stick to one policy.

On the other side, Horne explains the political situation at the start of the war among the Algerians: there was a communist party, a Muslim fundamentalist party, and a Liberal party representing the so-called évolués i.e. educated Algerians who were progressing along the state-approved path towards full ‘French-hood’.

All of these found themselves outflanked and outmoded by the violence and determination of the F.L.N. But there were also big divisions ethnically and culturally among the Algerians, and within the F.L.N. itself. For a start there were gulfs between the minority of urban, educated, literate Algerians and the majority of the nine million population which were illiterate peasants. Also between ethnic groups in Algeria, for a large percentage of the population were (and are) Kabyle, descended from the original Berber tribal occupants of the country who had their own language, culture and traditions and not all of whom were Muslim. Horne shows how the Kabyle-Arab divide was a permanent problem of the F.L.N. leadership and on the ground led to some appalling massacres perpetrated by each side.

A glaring example was the Massacre of Melouza, in late May early June, 1957, when FLN rebels massacred 300 Muslim inhabitants of the Melouza village because they supported the rival rebel group M.N.A. To be precise the F.L.N. rounded up every male over the age of fifteen, herded them into houses and the mosque and slaughtered them like animals with rifles, pick axes and knives (p.221).

There was also a long-burning division between the ‘insiders’, who stayed in the country to lead the armed struggle, and a cohort of ‘outsiders’ who a) acted as ambassadors, seeking political and financial support from other Arab states – especially Nasser’s nationalist Egypt and b) worked tirelessly at the United Nations in New York to lobby the Cold War blocs and the rising non-aligned movement to support the struggle.

As in every other aspect of this masterful book, Horne gives a thorough and insightful account of the changing personnel, changing relationships and evolving success of each of these factions.

Obstacles to a settlement

The successive French governments had a dual prong strategy: to completely suppress the armed revolt through military means, while simultaneously implementing ‘reforms’ to try and win over the majority of the population. These were stymied for a number of reasons.

  1. Too little, too late The government sent Liberal Jacques Soustelle as Governor-General of Algeria in 1955 to devise a reform package. He introduced the concept of ‘integration’, not altogether easy to distinguish from the previous policy of ‘assimilation’. He aimed to improve the crushing poverty and unemployment in which most rural Algerians lived. He declared he would make Arabic an obligatory language in Muslim schools, train peasants in modern agriculture, eliminate inequities in education alongside the creation of other public works. But the rebellion had already started and, as atrocity followed atrocity, Soustelle found his rational, sensible plans becoming irrelevant in the sea of blood.
  2. The pieds noirs Pieds noirs is French for ‘black feet’. It’s a slang expression the metropolitan (or mainland) French invented for the French who had settled in Algeria. In actual fact, a large proportion of the European settlers in Algeria were from Italy, Spain and other countries. But they all thought of themselves as 100% French and were led by some powerful men who owned huge businesses, rich from shipping, agriculture, vineyards, housing and so on. There were nearly a million pieds noirs and they dominated the Algerian Assembly. In theory Muslims could be elected to this, but in practice, through a system of double elections designed to prevent Muslims being elected, only a small number of Algerians were representatives, despite the natives outnumbering the settlers by about 9 to 1. Anyway, unlike the French government and Liberal opinion, pieds noirs sentiment was solid and consistent: it was anti any kind of further power or representation for Algerians, it wanted the war pursued with maximum aggression, it was against independence in any shape or form. Early on it held riots against ministers sent over from France and realised that it, too, could mobilise the street and threaten violence to foil any attempts at concession.
  3. Algeria was French The strangest element, the most fateful, tragic aspect of the whole bloody tragedy, was that the French government of 1848 made the fateful declaration that Algeria was an integral part of France, as much a part as Brittany or the Dordogne. At least Morocco and Tunisia to the west and east of it had only been French protectorates and so they could, relatively easily, be given their independence – both in 1956. (An unintended consequence was that F.L.N. fighters could use both countries as refuges and arms bases.) But French politicians were lumbered with the fateful situation that Algeria was legally – and all the pieds noirs took this absolutely literally – part of France and so could not be given independence because it was not legally or culturally perceived as a separate entity.

Thus for the French it was not a question of granting a colony independence: it was a case of losing part of France itself. This, to any outsider, is quite obviously insane and part of the experience of reading this long book is to be soaked in the ongoing insanity of the entire French political class. Looked at in this way, the F.L.N. struggle can be seen as the brutal attempt to make the French realise and admit that Algeria was a nation in its own right.

Indo-China and Algeria – one long war

If the year 1954 rings a bell it’s because that was the year the French Army lost the Battle of Dien Bien Phu and, as a result, began to withdraw from Vietnam (see my reviews of two classics on the subject, The Last Valley by Martin Windrow  and Embers of War by Frederik Logevall). The massive French base at Dien Bien Phu was overrun in May 1954 and the rebellion in Algeria began in November 1954. In fact Horne shows that the founding meeting of the umbrella group of revolutionary parties that formed the F.L.N. actually took place on the very day that news of Dien Bien Phu reached Algeria. Many of the same military units who had just been repatriated from Vietnam found themselves being sent on to North Africa to fight another insurgency.

Thus, although on opposite sides of the globe, the wars in Indochina and in Algeria can be seen as aspects of the same struggle of native peoples to free themselves from French rule. Taken together they meant that France was engaged in serious colonial wars from 1945 to 1962. Long time, isn’t it? A long time that it could have been devoting its money and energy to rebuilding its war-torn society back home. And, if it had agreed negotiated independence for both countries, how many lives would have been saved, and what a good reputation France would have enjoyed within those countries and around the world. It makes Britain’s withdrawal from India and Pakistan, though flawed, look like the wisdom of Solomon.

The French military record

In the 1950s the French Army had to look back 150 years, to the heyday of Napoleon, to be really sure of major military victories which they won by themselves.

Napoleon’s army had been finally, definitively, defeated at Waterloo in 1815. The conquest of Third World Algeria began promisingly in 1830, but the French faced stiffer opposition than they expected and the conquest dragged on for over 15 years. It’s true the French won the Crimean War (1853-56) but only  in alliance with the British, only just, and only after establishing a reputation for caution and delay and after losing huge numbers of troops to illness. A few years later the military suffered a humiliation when their attempt to install a Francophone Emperor in Mexico failed and the puppet Emperor was executed in 1867.

But none of this compared with the seismically crushing military defeat in the Franco-Prussian War of 1870. After the Prussians had finished occupying and looting Paris, the city descended into a super-violent civil war as leftists declared a Commune and the French Army was sent in to defeat and annihilate them. The military defeat of the war and the deployment of Frenchmen to kill Frenchmen left a poisonous legacy which lasted a generation.

A generation later the French Army was the epicentre of the Dreyfus Affair which from 1894 to 1906 tore the country (again) into violently opposing factions either supporting or reviling a certain Captain Dreyfus, who was (wrongly) alleged to have sold military secrets to the Prussians. When he was, finally, exonerated, almost the entire army hierarchy looked like frauds and incompetents.

The French would have lost the Great War if the British Expeditionary Force had not helped to hold the line on the Marne in 1914. After three years of butchery, in 1917 the French Army was dishonoured to suffer widespread mutinies (the British didn’t).

Between the wars France was so divided that many thought the street riots which erupted across Paris in 1934 were the beginning of a civil war. The profound divisions between left, right and liberals encouraged the spirit of wholesale defeatism which led to the speedy French capitulation against invading Nazi Germany in 1940 (‘better the Germans than the reds’, was the cry of conservatives across the country).

France was finally liberated in 1945, with a large contribution from the British but mainly from the overwhelming might of the Americans, scores of thousands of whom died to liberate la patrie. Immediately, the French roared back into arrogant World Power mode and, in Indo-China, instead of taking Vietnamese nationalists seriously, spurned all talks and decided to beat them militarily (the tragic story so brilliantly told in Frederick Logevall’s Embers of War) to restore France’s gloire and grandeur and prestige around the world (it is telling that even in English, we use French words for these ideas).

The eight-year struggle to hang on to Indo-China climaxed in the international humiliation of defeat at Dien Bien Phu, when the French army’s heavily-defended citadel was crushed by the third world army of General Giap, leading the French Army and civilian administration to pack up and leave Vietnam.

(Some of the many, many soldiers, statesmen, civilians and eye witnesses quoted in this long book start the long track of France’s humiliations earlier, with the massive failure of the Seven Years War back in the 1760s, in which King Louis XV’s lack of financial and military commitment led the French to lose both Canada and India to the British Empire. Reflecting on this during the days it took to read this book, a simpler theory came to mind: in the Seven Years War Louis sacrificed the foreign colonies because his main focus was on maintaining France as the pre-eminent military power on the Continent, as his father had and as Napoleon would do. If we take this as the central aim of French foreign policy – to maintain French pre-eminence on the continent – then it was doomed to failure when it met the unstoppable rise of Prussia and Germany from the 1850s onwards. It took three bitter wars between the nations – in 1870, 1914 and 1940 – to prove beyond any doubt that Germany was (and remains) the top power in Europe. So a) France had wasted all those years, men and money in a project which turned out to be futile – while b) all the time their bitter rivals the British were by and large ignoring continental squabbles to focus on expanding their vast maritime empire).

Thus, at their elite academies (e.g. the famous École spéciale militaire de Saint-Cyr) each new generation of French officers was brought up on an unremitting diet of gloire and grandeur but had, embarrassingly, to look all the way back to the great battles of Napoleon 150 years earlier, to find the last real military victories, the last time the French had really won anything. The French were very aware that in the Great War (arguably) and in the Second War (definitely) its success was on the coat tails of the British and the Americans.

This long history of defeat and humiliation helps to explain the special bitterness and acrimoniousness of France’s relations with her colonies post-1945. She didn’t want to be humiliated yet again. According to the French historian, Raymond Aron:

that deep ingrained sense of past humiliations had to be exorcised. (p.331)

And yet, with bleak irony, it was the very doggedness with which she hung on in Indo-China and in Algeria that ended up guaranteeing the political and military humiliations she was striving so hard to avoid.

It’s important to grasp this sense of inferiority and grievance and bloody determination because it helps to explain the fundamental irrationality of the French military ending up declaring war on their own government, trying to assassinate the French head of state, taking France to the brink of civil war, and why a hard core of ‘ultras’ formed the O.A.S. which set out on a policy of murdering their fellow Frenchmen.

Suez

Horne pithily calls the Suez invasion ‘the shortest war in history and possibly the silliest’. (p.163). I hadn’t previously understood its connection with Algeria. The French were convinced that Nasser (leader of Egypt) was supplying the F.L.N. with arms and munitions (they and everyone else were given that impression by the fiery pan-Arab messages coming over on Radio Cairo). In fact, Nasser and the other Arabs were notably unhelpful in the early part of the war, refusing to supply the rebels anything – but the French didn’t know that. Thus when Nasser nationalised the Suez Canal in 1956 – two years into the Algerian crisis – the French seized the opportunity to strike a blow against the (supposed) supplier of their enemy in Algeria. The Israelis already wanted to strike a blow against the strongest Arab state and both countries leaned on the British to get involved.

The Suez Crisis is remembered because only a day or so into the joint Israeli-French-British assault on the canal zone the Russians began to make loud warning noises and President Eisenhower threatened to ruin the British economy by selling the U.S. government’s sterling bonds unless the Brits desisted. British forces were stopped in their tracks and British political leaders, the army, informed public opinion, all realised – with a never-to-be-forgotten jolt – that it marked the end of Britain’s role as a Global Power.

Growing up in the 1970s and 80s my generation accepted all of this as a given and now, 60 years later, it seems like ancient history. But it is just one more of the many insights this wonderful book throws up, to revisit it from the Algerian perspective.

Scale

The Algerian War is important in its own right, as the largest and bloodiest of all decolonising wars. You occasionally read about:

  • Britain’s heavy-handed response to the Mau Mau rebellion in Kenya, but that eight-year conflict resulted in some 12,000 Kenyan dead (mostly killed by fellow Kenyans) and only 200 settlers dead.
  • The Malayan Emergency, when Chinese communists led an insurgency against British imperial forces over a 12-year period from 1948 to 1960, led to a total of about 2,000 Malay and British police and army killed, and some 6,000 communist insurgents dead.
  • The crisis in British-held Cyprus in the later 1950s which resulted in some 600 dead.

Together with other small conflicts, these ’emergencies’ and insurgencies routinely appeared on the front pages British newspapers during the 1950s, but they are quoted here to compare and contrast with the awesome scale and enormous casualties and the huge political turmoil of the Algerian War. It was a completely different order of magnitude and the sheer number of bombings and atrocities is impossible to imagine. In some months there were over 1,000 incidents, over thirty every day. At the peak of O.A.S. activities they would set off 20 or 30 plastic explosive devices every day. In all, the French authorities recorded some 42,090 acts of terrorism.

Horne’s book is long and immaculately detailed, giving a riveting military history of the entire conflict, peppered with accounts of just enough of the atrocities to make you feel continually sick, and tense at the scale of what was at stake. It is like one of the most gripping novels ever written.

Long-term

The Algerian War turned out to be a testing ground for the kind of urban terrorism which has become so common in the 21st century, a pioneer of the strategy of attacking ‘soft’ civilian targets – nightclubs and pop concerts – in order to militarise and polarise society: the worse the atrocity, the greater the success in creating the battle lines.

The only response to this kind of terrorism-to-divide is not to rise to the bait and not to let society become polarised. But the best way to prevent it is not to allow injustice and grievance to build up to such a pitch in the first place, by giving all parts of society a voice, a say, and by having mechanisms through which to confront and solve grievances.

The war was also a template for the kind of asymmetric warfare in a Muslim country between a Western-style army and irregular militia and terrorist units, which has also become common in the 21st century – Iraq, Afghanistan, Syria. The cover has a blurb from Thomas E. Ricks, author of Fiasco – the damning account of America’s 2003 invasion of Iraq – which says this book has become compulsory reading for all U.S. military officers and counterinsurgency specialists, and Horne himself draws direct parallels with the Iraq invasion in his preface to the 2006 edition.

The war was such a long and convoluted conflict, with so many aspects, that it also contains examples of a whole range of political problems. In fact, it could almost be read as a sort of compendium of classic problems of statecraft.

  • How not to colonise a country and how not to ruinously hang on to it long after the time to go has come.
  • How not to stage a military coup, something the generals in fact attempted twice, failing both times.
  • How to return to a divided nation as a saviour, how to be all things to all men, and then how to steer a perilous course through violently opposing factions – as de Gaulle did.
  • How not to try and assassinate a head of state.
  • How to penetrate urban guerrilla organisations – Horne’s account of how the French penetrated the undercover F.L.N. network during the Battle of Algiers is brilliant.
  • Just as insightful, and impressive, is the account of how General Maurice Challe in 1959 instituted a whole new method to tackle attacks by smallish groups in remote desert areas – by using radio to call in helicopters carrying reinforcements to surround the armed bands, and by not giving up the chase or hunt until each one had been exterminated. Challe’s approach was showing real results, clearing entire areas of nationalists and reducing attacks, when his operation was overtaken by political developments and he was replaced by a general who never completed the process.
  • Building a wall. Like the Israelis were later to do, and Donald Trump threatens to do in our time, the French built a wall against their enemies. In their case it was an electrified fence stretching along 320 kilometres of Algeria’s border with Tunisia, the so-called Morice Line, because Tunisia in particular was a major bolthole for F.L.N. operatives, guns and money. The Morice Line formed a barbed-wire barrier lined with minefields and a sophisticated alarm system which alerted rapid response units to attempts to breach it, and who could be quickly helicoptered to the breach to intercept and kill F.L.N. fighters.
  • Urban uprisings. Both the pieds noirs and the Muslims staged mass uprisings in Algiers. The French one, starting in January 1960, was called ‘the week of barricades. Horne even-handedly shows how the pieds noirs students and activists organised it, and how the authorities tried to handle it.

There is just a whole host of war-related conflict and public order disturbances throughout the book. Not only Western armies but police forces could probably learn something about managing civil disturbance, disobedience and violent crowds.

Mass migration

The peace was signed with little agreement about the future of the pieds noirs. Seeing themselves as sold down the river, abandoned by their fatherland, and terrified of the reprisals in store once an F.L.N. government took over, the result was panic and a mass movement of people on a scale not seen since the end of the Second World War.

Over a million pieds noirs fled Algeria in a matter of weeks! There were many heart-breaking and panic-stricken scenes which Horne describes. Because of the demand on ships and planes, the pieds noirs were only allowed to take two suitcases of belongings with them. So they made bonfires of all their other goods, mementoes and belongings, then left their homes, which had often been the homes to families for many generations, abandoned to their new Arab owners. The refugees arrived in a France which was completely unprepared for them and which struggled to find homes and schools and jobs for them for many years to come.

Much worse, though, was the fate of the harkis, the native Muslims who had collaborated with the French Army and administration. Up to a quarter of a million Algerians worked with the French army, the ones who came under actual army discipline being called harkis. One of the (just) grievances of senior army figures was that the fate of the harkis wasn’t even addressed in the peace negotiations. Only about 15,000 managed to escape to France. The rest, over 200,000, were, in effect, left to the mercies of the F.L.N. which means that very many of thyem were tortured and murdered.

No-one knows for sure how many of these collaborators were murdered in the months that followed the French withdrawal in July 1962, but Horne quotes a few of the horror stories which later emerged. Hundreds were used to clear the minefields along the Morice Line by being forced to walk through them and get blown up. Many were tortured before being killed.

Army veterans were made to dig their own tombs, then swallow their decorations before being killed; they were burned alive, or castrated, or dragged behind trucks, or cut top pieces their flesh fed to the dogs. Many were out to death with their entire families, including young children. (p.537)

In some barracks French officers were ordered to take away the harki‘s weapons, promising them replacements, but then departing the next day, leaving the harkis completely unarmed and defenceless. Some French soldiers were ordered to stand impassively by while harkis were killed in front of them. As you’d expect, many French officers disobeyed orders and smuggled their Muslim comrades abroad, but nowhere near enough.

This book is absolutely packed with situations like this, cruel ironies of war and defeat, atrocities, torture and murder. 600 pages of horror – but reading it gives you an important – a vital – insight into contemporary France, into contemporary Algeria, and into contemporary conflicts between the West and Islam.

A Savage War of Peace

Sir Alistair Horne’s account was first published in 1977 and has long held the field as the definitive account, in English, of this awful conflict – although new studies have appeared throughout that period.

At 600 pages it is long, thorough and beautifully written. I’d read criticisms that it doesn’t give a proper account of the Algerian side, but there is page after page devoted to portraying and analysing the lead characters in the F.L.N. and to disentangling the hugely complex machinations both among the F.L.N. leadership, and between the F.L.N. and the other Muslim groups.

Horne quotes extensively from interviews he himself held with as many of the surviving F.L.N. leaders as he could track down. He explains in forensic detail the social, cultural, economic and political barriers put in the way of Algerians under French colonialism and the multiple unfairnesses of the French system, which led to so much poverty and grievance. When the violence gets going Horne is scrupulous in abominating the results of the terrorist attacks by all sides, and the execution of ‘traitors’ within the F.L.N. or to the civil war between Arab and Kabyle. But he accompanies these with clear-headed explanations of why each side adopted strategies of atrocity. It struck me as perfectly balanced.

Horne was a journalist in the lead-up to the war (working for the Daily Telegraph) and was in Paris researching his first book when the war broke out. He gives examples of the impact de Gaulle’s rousing speeches had on him and fellow journalists as they heard them. He was there. This gives him the invaluable advantage of being able to really convey the atmosphere and the mood, the psychology, the milieu, the feel of what is now a long-distant period.

As mentioned, Horne carried out extensive interviews with all the key players he could track down including – fascinatingly – surviving leaders of the F.L.N. and of the O.A.S. and the French coup leaders. He interviewed no fewer than five of the ex-premiers of France who governed during this stormy period. The text is littered with quotes from key players which shed invaluable light on the complex and long, long course of events. It also means he is able to give in-depth accounts by the main players of vital political and military decisions taken throughout the period.

Horne was himself a soldier who served during World War Two, and so manages to get inside the peculiar mindset of the soldiers in this war, from the foot soldiers on both sides to the higher ranks, the colonels and generals. He doesn’t view the conflict as an academic would (or as I would) as an abattoir, an unrelenting list of brutal murders and tortures – but rather as killings carried out in the name of understandable (if reprehensible) military and political strategies.

Speaking as a non-military man, as much more the liberal humanities student, from one angle the entire text – like the war – is a kind of exploration of the strange twisted notions of ‘honour’ which led men to throw hand grenades into dance halls, to assassinate schoolmasters, to slit the throats of gendarmes, to eviscerate pregnant women. You could make a list of the people – the generals and colonels – who pompously spout on about ‘honour’ and then correlate the massacres and murders committed by their troops. Something similar could maybe done to the F.L.N. who spoke about human dignity and smashed children’s heads against walls or slit open pregnant women.

I circled every mention of ‘honour’ and ‘glory’ I saw. So often they came just before or just after the description of yet more killing, bombing and knifing. Eventually I wished, as the narrator of Hemingway’s novel A Farewell To Arms does, that those old words – glory, honour, pride, dignity – could all be abolished, scrapped forever, thrown into the depths of the sea.

Horne’s style

I’m an English graduate. Words always interest me. Horne was very posh. The son of Sir Allan Horne, he was born in 1925 and sent to a series of public schools before serving in the RAF and the Coldstream Guards during the war. All things considered, it’s impressive that his prose isn’t more old-fashioned. It happily belongs to that post-war style of posh, correct English, grammatically correct but loosened up by the egalitarianism and the Americanism of the post-war years. His prose is a pleasure to read and to read aloud. As a tiny detail of this masterpiece of historical research & writing, I enjoyed the way he confidently uses rare and flavoursome words:

meridional Relating to or characteristic of the inhabitants of southern Europe, especially the South of France, in practice meaning hot-tempered

Says Jouhaud proudly [his disguise] gave him the air of ‘an austere professor, whom candidates would dread at exam time’, though, in fact, photographs reveal something resembling more the coarse features of a meridional peasant. (p.481)

contumelious – (of behaviour) scornful and insulting; insolent

[In the French National Assembly] one of Abbas’s fellow deputies had declared: ‘You showed us the way, you gave us the taste of liberty, and now when we say that we wish to be free, to be men – no more and no less – you deny us the right to take over your own formulas. You are Frenchmen, and yet you are surprised that some of us should seek independence.’ After this eloquent plea, he had been brought to order by the President of the Chamber in this contumelious fashion: ‘Monsieur Saadane, I have already reminded you that you are at the French tribune. I now invite you to speak in French there…’ (p.73)

Objurgation A harsh rebuke:

Through being in charge of the Cinquieme Bureau, with its potent functions of propaganda and psychological warfare [Colonel Jean] Gardes had a powerful weapon and he now used it unhesitatingly to further the cause of francisation – regardless of the objurgations of [Delegate-General] Delouvrier. (p.354)

The Islamic world

Horne has some blunt and simple things to say about the Islamic world. Writing in 2006 he says:

In many ways the horrors suffered in Algeria’s own civil war do read like a paradigm, a microcosm of present-day Islam’s frustrated inadequacy to meet the challenges of the modern world, the anger generated thereby finding itself directed into lashing out against the rich, successful West. (p.18)

This has not got any less true with the eruption in 2011 of the Arab Spring revolts which, in most cases, led to brutal suppression (as in Egypt) or the kind of chaotic civil war to be seen in contemporary Libya or Syria. If you include the under-reported civil war in Yemen, itself a proxy war between Saudi Arabia and Iran, and the recent ostracism of Qatar by the other Gulf states, it’s not difficult to see the entire Arab world as racked by conflicts and crises which its own political and cultural traditions don’t seem equipped to handle.

European nations themselves are fragile – until a generation ago half of Europe was part of the Soviet empire; in my lifetime Spain, Portugal and Greece were run by military dictatorships. And as Horne’s book brings out, just as I was born (in 1961) France nearly experienced a full-blown military coup which could have plunged the country into civil war. Democracy is extremely fragile, requires deep roots, requires the ability to disagree with your opponent without wanting to cut their throat.

Neo-Malthusianism

My son (19 and studying philosophy) calls me a neo-Malthusian. He means that whenever we discuss current affairs I always come back to the sheer scale of human population (and the related destruction of the natural environment). When France invaded, the population of Algeria was 1 million. When the insurrection broke out in 1954 it was 9 million. When Horne wrote his book in the mid-1970s it was 16 million. Today (2017) it is 41 million. The country is lucky enough to float on a vast reserve of natural gas which should underpin its budget for generations to come. But all across the Muslim world from Morocco to Pakistan, huge population increases have put pressure on governments to supply jobs to young men, while at the same time all those countries are reaching the limits of their agricultural and natural resources (of water, in particular).

I don’t think a ‘clash of civilisations’ is inevitable; but I do think an ever-expanding population will provide the motor for unending conflict, and this conflict will be channelled into well-worn channels of racial and religious conflict, invoking the well-worn vocabulary of grievance, victimhood and justification (this doesn’t mean just anti-western violence: the conflict between Sunni and Shia will just get worse and worse, the proxy wars between Shia Iran and Sunni Saudi will get worse; the plight of communities caught in the middle – the Kurds or the Egyptian Copts – will continue to deteriorate).

And various groups or individuals will accept the by-now traditional discourse that ‘It’s all the West’s fault’, that ‘There are no civilians; everyone is a warrior in the war against the infidel’, and so will be able to justify to themselves setting off bombs at pop concerts, driving a truck into a crowd of pedestrians, machine gunning sunbathers on a holiday beach, or storming into a popular market to stab everyone in sight.

All of these things happened during the Algerian War. And all of them are happening again. There are now five million Algerians living in France out of a total population of 67 million. Many of them descendants of the harkis who managed to flee in 1962, many are temporary migrant workers, and many are refugees from Algeria’s bloody civil war in the 1990s.

Many millions are crammed into squalid banlieus, suburbs of cheaply built high-rises and equally high unemployment, where periodic riots break out – the subject of Mathieu Kassovitz’s terrifying film, La Haine. France has been living under a state of emergency since the Bataclan attacks in November 2015. A massive deployment of troops and police was called up for the recent French elections. I shouldn’t be surprised if it becomes a permanent state of emergency. Angry Muslims are here to stay.

The Algerian War has effectively crossed the Mediterranean to France… (p.17)


Related links

Other blog posts about Empire

Dispatches by Michael Herr (1977)

‘… the madness, the bitterness, the horror and doom of it…’ (p.87)

Types of history

There’s a vast and ever-growing factual historiography of the Vietnam War, which for the past twenty years has been able to take advantage of the post-communist opening up of archives in Moscow, Beijing and Hanoi to present a fully-rounded history of the Indochina conflict, setting it in the long perspective stretching back to the Great War and forwards past the collapse of Russian communism in 1990.

These accounts are now able to analyse the course of events from the perspective of the Viet Cong, North Vietnamese and Chinese, and can bring the same comprehensive and detached approach historians have been used to applying to the Great War or the Crimean War.

But then, and quite separately, there is the mythology of the American War in Vietnam – a whole cultural complex, a mood, a movement, like a fashion, whose most enduring features at this distance in time are the classic movies it produced – Apocalypse NowThe Deer Hunter and so on – and the powerful pop music of the late 1960s – from the Beach Boys to Jimi Hendrix – which provided a soundtrack to the conflict.

All of this has been mixed and mashed with contemporary TV news footage and documentary clips of jungle mayhem, urban bombings, the last helicopters leaving the U.S. embassy in Saigon, cut and edited into sequences readily available on the History Channel or YouTube. A ‘myth’ as instantly recognisable as montages of flappers and jazz recall the Roaring Twenties or bomb blasts illuminating the night-time sky over Baghdad recall the Iraq War.

New Journalism

Michael Herr’s Dispatches is one of the classic accounts of the Vietnam war but from a very particular, unconventional, mythopoeic perspective. The late 1960s saw the birth of ‘the New Journalism’, epitomised by the wacky reportage of Tom Wolfe and later taken to the limit in the ‘Gonzo Journalism’ of Hunter S. Thompson.

In this new approach the ‘reporter’ identified powerfully with the counterculture of the day, especially its openness to drugs and pop music. Their ‘pieces’ abandoned traditional journalistic attempts at objectivity in order to present personal, subjective accounts and to freely deploy literary devices like stream-of-consciousness, different points of view, florid imagery and so on. And the ‘reporter’ more often than not became the hero, the dazed centre of the report, struggling to make sense of the crazy world around him.

Herr was in at the start of this movement and a 1965 piece by him about Vietnam is included in the 1973 book-length anthology, The New Journalism, edited by Tom Wolfe, which gave the ‘movement’ its name.

Dispatches’ prose and attitude is very much of its time, it’s the kind of knackered paperback you found lying around your elder brother’s room along with Zen and the Art the Art of Motorcycle Maintenance (1974) and Jonathan Livingstone Seagull (1970) among the butts of old joints and Leonard Cohen LPs. It is the high-tide of the new journalism approach to reporting Vietnam, it is a landmark, it is undoubtedly a masterpiece.

Dispatches

So Dispatches isn’t a work of history but neither is it conventional journalism. It consists of six titled sections (themselves made up of shorter numbered section), some of which appeared in magazines like Esquire and Rolling Stone, which are copyrighted 1968, 1969, 1970, and which report on events the author witnessed from 1967 through 1968.

1. Breathing In (pages 11 to 61)

The first section opens in late 1967. The tone is hip, knowing, cool. Herr’s prose is always wearing shades and three days of stubble. His gift for phrase-making and capturing the mixed-up street slang-cum-war jargon of the Army in Vietnam to try to convey the mind-bending experiences offered in so many ways by the war, is frequently breath-taking.

In the months after I got back the hundreds of helicopters I’d flown in began to draw together until they’d formed a collective meta-chopper, and in my mind it was the sexiest thing going; saver-destroyer, provider-waster, right hand-left hand, nimble, fluent, canny and human; hot steel, grease, jungle-saturated canvas webbing, sweat cooling and warming up again, cassette rock and roll in one ear and door-gun fire in the other, fuel, heat, vitality and death, death itself, hardly an intruder. (p.16)

Long looping sentences clotted with nouns, he also turns and twists the language to give familiar phrases new meanings in new contexts. He has a fantastic gift for vivid phrase making.

It was the same with your ongoing attempts at getting used to the jungle or the blow-you-out climate or the saturated strangeness of the place which didn’t lessen with exposure so often as it fattened and darkened in accumulating alienation. (p.19)

1960s slang and Nam slang, street slang, American slang, drug slang, black slang, war slang all meet on top of a sustained attempt to define indefinable sensations, pin down evanescent ideas, track down fleeting emotions:

At least actual contact when it was happening would draw long raggedy strands of energy out of you, it was juicy, fast and refining, and travelling towards it was hollow, dry, cold and steady, it never let you alone. (p.20)

This first section is the most trippy and poetic, pushing you in the deep end of deranged military activities and manic thoughts, offering up a smorgasbord of anecdotes, insights and reflections punctuated by manic moments under gunfire, contributing to the overwrought, druggy vibe.

2. Hell Sucks (pages 62 to 73)

Just one of the blasphemous mottoes all the Marines were allowed to paint on their helmets – Born to Kill, Far from Fearless, Mickey’s Monkey, Avenger V, Born to Raise Hell (p.65).

Once Herr has established his recklessly anecdotal, prose poetic, wigged-out style in the first section, this second one is a relatively short burst describing the intense days Herr spent in the city of Hue during the Battle which raged around the Viet Cong-held Citadel in January 1968 – many mangled bodies, death-eyed G.I.s (uniformly referred to as ‘grunts’) telling him their Zen stories, hiding behind the huge Citadel wall from NVA snipers and everywhere terrified and injured civilians.

(Compare and contrast Don McCullins’ account of his eleven days in the same place and time, in his gripping autobiography Unreasonable Behaviour.)

3. Khe Sanh (pages 74 to 133)

The longest section, this gives an impressionistic account of the time Herr spent inside the American camp at Khe Sanh up near the Demilitarised Zone, during part of the epic siege which took place between 21 January and 9 July 1968. There’s more factual information here than in any of the other sections, explaining where Khe Sanh was, the layout of the camp and surrounding hills, information about the U.S. military units and the suspected North Vietnamese Army units which were surrounding and bombarding it, reporting on the progress of the ‘battle’ i.e. the enormous tonnage of bombs the U.S. Air Force dropped on the Viet Cong, as well as sections giving the ‘official’ version of U.S. strategy and events, including an interview with a half-deaf and totally out-of-touch colonel back at HQ.

But much more than that, this section gives a sense of how it felt to be there, numb with terror or awed by the beauty of incoming rounds or outgoing tracer fire, laced with insights about the bitter rivalry between the Marine corps and the Air Cavalry, the anxiety every correspondent felt about the next chopper that can take you out of harm’s way.

It also has the most extended portrait of specific U.S. soldiers – an odd couple comprising skinny blonde Mayhew and huge black ‘Day Tripper’, describing their arguments and confusion and unspoken solidarity.

This section contains a great one-page account of a VC sniper secure in a bunker a few hundred yards from the camp, who survives so much shooting and bombing and even napalming of his position that the Marines end up cheering him and nicknaming him ‘Luke the Gook’.

It has the one-page story of mean Southern redneck Orrin who gets a letter from his girl back in Tennessee telling him she’s pregnant with another man’s baby and describing Orrin’s hard-core vow to survive the war and get home in order to kill her. And, so ubiquitous is superstition among combat troops, that from that moment on, Orrin’s vow made him ‘lucky’, so that other soldiers sought out his presence, as if his vendetta would preserve him.

There’s the story of the voodoo black grunt who uses an M-79 grenade-launcher to ‘take out’ a wounded VC who’s lying out in the perimeter barbed wire screaming, without even looking, from the sound alone, to everyone’s awe. A scene lifted entire and used in Apocalypse Now, presumably by Herr himself who worked on the script for that epic film. (He also co-wrote the screenplay of Stanley Kubrick’s Nam movie, Full Metal Jacket.)

Eventually, after the six month siege ended with the VC melting away from Khe Sanh, the U.S. Army secured its perimeters, cleared up and after a few months completely abandoned the entire camp, removing all assets then blowing up the bunkers. Herr doesn’t invent the air of crazed futility about the whole enterprise, it is there in the actual facts, in the historical record, in the universal sense of pointlessness and absurdity.

Postscript: China Beach (pages 134 to 136)

Short description of China Beach facing the Bay of Danang where lucky troops get to go for a few days rest and recuperation (R&R). Its main point is that a few weeks later Herr bumps into some soldiers from the division he was with at Khe Sanh, and asks after the skinny joker, Mayhew, who we’d got to know in the previous section – only to learn he’d been killed, a direct hit from a VC rocket-propelled grenade.

4. Illumination Rounds

These are short snippets, satoris, epiphanies.

  • The time he was riding in a Chinook which was under VC fire and the trooper next to him was hit and bled to death.
  • The bad reputation of the overpaid civilian construction engineers drinking and whoring in Saigon.
  • After a massacre of VC the U.S. captain had twenty or so VC corpses loaded into helicopters and then dropped on the centre of nearby villages to make a not-so-subtle point.
  • A pen portrait of Davis, a grunt shacked up down a back alley in Saigon with a local hooker, getting stoned with the boys and his unhappiness at the trap he’s caught himself in.
  • Meetings with the officer who claimed to have invented the phrase ‘Dink’ for VC, shortened from Rinky-Dink, because he didn’t like the common nickname ‘Charlie’.
  • How he first heard Jimi Hendrix on a tape deck switched on by a black grunt while they were all pinned down by VC fire in a paddy field. Jimi Hendrix – Fire (May 1967)
  • The Army surgeon in the provincial hospital at Can Tho a few days into the January 1968 Tet Offensive, who had been operating on wounded men for twenty hours without a break and ‘could not have looked worse if he’d lain all night in a trough of blood’ (p.150).

And so on…

5. Colleagues (pages 152 to 199)

This, the most thought-provoking section, begins as an account of the community of photographers and correspondents in Vietnam, which he estimates topped 700. His closest buddies were the photographers Tim Page, Sean Flynn, Rick Merron and Dana Stone (the ‘lapsed logger from Vermont’). They each get pen portraits, descriptions of their looks and attitudes and abilities, but the star of the show is Flynn, son of Hollywood actor Errol Flynn, who worked hard to live down his parentage but earned his chops as a fearless photographer.

This could have got a bit pally about his heroic mates, but Herr takes it deeper, with a number of anecdotes examining the odd relationship between the correspondents and the grunts. For example, the soldiers can’t believe the journos are there by choice.

And Herr moves on to ponder just what it was that drove him and the others to volunteer, to be there at all, to chopper out to wherever the ‘action’ was. To test themselves? To see if they measure up as men? And for the rush, the unparalleled adrenaline rush which comes from being under fire, running, shit-scared – which at the same time is the most exciting thing in the world and the most gut-churningly, pant-wettingly terrifying thing in the world – but which they become addicted to.

Thus they come to understand not only the sick-to-death despair of the grunts who just wanna go home, but also the inexplicable compulsion of the soldiers who extend their tours, sign on for more. And also the terrible alienation of those who finish their time, ‘rotate back to the World’ – but discover they just don’t fit in any more; nothing makes sense or is so intense or meaningful as what they’ve just been through; who miss their comrades; who have to come back.

And then this section goes deeper still to consider the strengths and failures of media reporting on the entire war and Herr emerges from the stoner prose to make some really strong, sober points.

  1. His generation, he says, were saturated with TV and films – they experienced the war even on the ground in terms of movie scenarios, expecting people to get up after the firefight, adopting poses they’d seen in the movies – all of which prevented them, for a while, from realising this was ‘real’.
  2. The official version of events given out by the Army at their daily press conferences (nicknamed by the press corps the ‘Five O’Clock Follies’) was ludicrously detached from events on the ground, which correspondents had often witnessed for themselves that same day (‘most of what the Mission wanted to say to the American public was a psychotic vaudeville’, p.173). But the correspondents still had to report it, the official view. And since they all reported the same Official Version then – compared to the scattered, disorganised, highly personal nature of each of their alternative views – the Official Version tended to dominate the media and create the strongest impression on the Great American Public, simply by nature of its repetition and its consistency.
  3. Also militating towards the Official Version was the fact that most photographers and journalists worked for daily newspapers or TV stations and so were always in a tearing hurry to file a ‘story’, some – any – pics and words to send back to their agency or paper or channel, and the Official Version was always the easiest, the readiest-to-hand. This was another factor in its predominance, even though almost all the correspondents in the country knew it was horse shit.
  4. And another element of its dominance was the sheer amount of information the officials gave out, using a bewildering and evergrowing set of metrics, data and statistics – ‘kill ratios’, ‘tonnage of bombs dropped’, ‘enemy casualties’, ‘territory seized’, ‘light losses’, ‘moderate losses’, ‘heavy losses’ – to lie, lie and lie again, to hide the bitter truth that they were losing and ‘the Mission’ was failing. These blizzards of stats were easily printed and broadcast, they filled space and sounded impressive – they reassured the public that everything was under control.

Only slowly did Herr realise what a privileged position he was in because he was not a correspondent – he was a writer sent with an open-ended brief from the monthly men’s magazine Esquire, which he interpreted as the freedom to skip around, catching choppers to wherever sounded ‘interesting’, wherever the ‘action’ was, which gave him the time to really get to know the grunts, to get under their skin, to see the war from their point of view.

All of this leads up to what I take to be the credo or manifesto or thinking which lies behind Herr’s deliberate adoption of the common soldier’s point of view, language, drugs and spaced-out attitude. Which is that:

The press got all the facts (more or less), it got too many of them. But it never found a way to report meaningfully about death, which is of course what it was all about. (p.173)

So on one level the entire book can be seen as an experiment in trying to create a prose style which can report meaningfully about death. Not facts or history, though some are required to give context. Instead a turbo-charged attempt to capture the incredibly intense emotions of bewildered, confused soldiers under fire in a chaotic, incomprehensible war.

In interviews Joseph Heller claimed that his World War Two classic, Catch-22, was actually more a satire about corporate America, about project management and management theory and management speak than about the actual war. In Vietnam the ghastly wedding of management speak and grotesque carnage reached new heights – Herr contemptuously refers to the more senior officers who asked the press corps to:

… get with the programme, jump on the team, get in for the Big Win. (p.184).

But Herr was blissfully free of the straitjacket of daily reporting which tied up most of his comrades, free to understand the crucial central fact, that:

Conventional journalism could no more reveal this war than conventional firepower could win it. (p.175)

And hence, quite simply, the rationale for his new journalism approach – for his stoner, tripped-out, grunt-level view of the madness. And that’s why his book is still a classic. Nearly 60 years after the event, nearly 50 years after it was published, it still captures and describes in the gaudy poetry of American street slang the unbelievable intensity, horror and beauty of modern armed combat, as no straight journalism, military reports, or sober histories ever could.

This section winds down with very personal reminiscences of his gang of buddies as the legendary Tim Page returns to Nam, and Herr, Page and Flynn enjoy wacky, frat-house adventures, getting stoned, playing the Mothers of Invention real loud, winding up Army Press Officers – he makes it sound like a swell life, like one long mad party, driving down to China Beach to catch some rays, then travelling back to Hue, now completely pacified and cleaned up, incapable of believing all the pain and carnage he witnessed there.

From what I can make out, Herr was only in Nam for about nine months, from the end of 1967 through the Tet Offensive (Jan-Sep 1968), the Battle of Hue (January to March 1968), the siege of Khe Sanh (January to July 1968) and leaving in September 1968.

The end of the book is desperately sad, like coming down after a great party. Herr is back in the States when he hears that Tim Page has received his final, almost fatal, head injury, and flies back to see him. Page has definitely retired, has a girlfriend, slowly recovers the use of his legs and even his left arm. They get stoned with Flynn and other friends, laugh about the old times, cry about the old times. It’s all over. Time to go back to ‘the World’, where they will never quite fit in or feel at ease.

6. Breathing out (pages 200 to 207)

A few last pages struggling to make sense of 1968 and the way the war and the rock music fused in that year and then short-circuited the decade. Then came the awful 1970s and Herr watched on TV the choppers he had loved cadging lifts across war zones on, being pushed off U.S. aircraft carriers into the South China Sea after the final American troops were withdrawn from Vietnam in 1973.

And then, finally, in spring 1975 the North Vietnamese Army fought their way south to conquer and unite the country after thirty years of struggle. Herr poignantly reports seeing pictures of victorious Viet Cong soldiers sitting on the banks of the Danang River, exactly where the U.S. Press Centre had been and where Herr and his pals had sat smoking and joking and laughing. All gone now.

Analysis

The fantastically powerful and evocative trippy, stoner prose and the ‘attitude’ it describes can be analysed out into distinct strands:

Meaningless chaos

Coming under fire in ‘random contacts’ – the GI who points his gun at Dana and, they all felt, could easily have pull the trigger. The whole war effort ‘out of control’ (p.45) all mirrored by the deliberate sense of getting-out-of-control created by the drugs of choice, pot and acid.

The risibility of the official version

Handed out at the daily 4.45 news conference, also known as ‘the Five O’Clock Follies’ – the man handing out press passes ‘thought it was all a fucking circus’ (p.177), and the actual troops on the ground often seemed lost souls in a demented fantasy.

Entire divisions would function in a bad dream state, acting out a weird set of moves without any connection to the source. (p.50)

To Herr and his stoned contemporaries the entire conduct of the war seemed like a very bad dream, irrational, insane.

Search and Destroy, more a gestalt than a tactic, brought up alive and steaming out of the Command psyche. (p.55)

That phraseology is not a rational analysis of a military strategy, but Herr has thought it through and the insanity didn’t call for a sane response. ‘(Who’s crazy? What’s insane?)’ (p.61), the only ‘answerable style’ for the madness is a mad style.

Drugs

Dope is referred to openly throughout, the evening sessions with joints passed round, the household fuelled by booze and grass, the widespread smoking of joints among the troops. As to stronger drugs, Herr refers once to the powerful hallucinogen psilocybin (the active ingredient of ‘magic mushrooms’) but surprisingly rarely to the other great 1960s drug, LSD or ‘acid’.

And yet the prose reeks of acid, of the way LSD strips your sense of their blinkers and protection and exposes your nervous system to massive sensory overload. Indeed that concept of too much information, of the brain, nervous system and mind being subjected to more than it can cope with, is mentioned throughout the text as a metaphor for the experience of combat when the adrenaline shock, and the rush of terrified awareness, is experienced as just ‘too much’ to process or handle.

Once your body was safe your problems weren’t exactly over. There was the terrible possibility that a search for information there could become so exhausting that the exhaustion itself became the information. Overload was such a real danger, not as obvious as shrapnel or blunt like a 2,000-foot drop, maybe it couldn’t kill or smash you, but it could bend your aerial for you and land you on your hip. (p.58)

Even when Herr quits the war and ‘rotates back to the World’, Page gives him a small ball of opium to float him through the flight home (p.200).

Pop culture

Is all around them, every unit has tape cassette players and either in bunkers or even out on patrol are liable to click Play and the room or trail or trench would echo to the sounds of Purple Haze by Jimi Hendrix or the latest single by the Rolling Stones.

Prose poetry

The rangy, slang, street poetic prose owes a lot to the Beats, to Allen Ginsberg’s poetic rants and William Burroughs’ cut-up prose, but also to the eloquence of American slang, a can-do attitude to the English language which creates openings and expressions from a recalibration, a special angling, of even the most ordinary words. During the 1960s the drug-cum-Zen-cum-Beat poetry language of a small sub-section of 1950s Bohemian culture, along with Black street slang and the argot of the urban jazz world, all mixed and went feral, spreading across street culture and into the songs and films and eventually official channels of the media and even the Army itself.

The book is alive with slang terms from all these sources, mashed together:

  • ‘believer’ – a dead Viet Cong (p.41)
  • ‘dig’ meaning to ‘get’, to ‘understand and enjoy’ – ‘can you dig it?’
  • ‘dink’ meaning ‘Vietnamese’ (92)
  • ‘gook’ meaning ‘enemy Vietnamese fighter’
  • ‘greased’ meaning ‘killed’
  • ‘grunt’ meaning infantry soldier (15). According to the online etymological dictionary the term originates from the Vietnam war and is first recorded in print in 1969.
  • ‘hip to’ meaning ‘up to speed with’ (86) as in ‘hip to…the sound, the trip, the mission, the attitude’
  • ‘jag’ meaning ‘prolonged bout’ as in ‘a crying jag’
  • ‘jive’ – routine, schtick, can be negative or positive – ‘don’t jive me, man’
  • ‘luck out’ meaning ‘get lucky’ (69)
  • ‘Slope’ meaning ‘Vietnamese opponent’ (86)
  • ‘spade’ meaning ‘Afro-Caribbean’ (98)
  • ‘tightly wrapped’ meaning ‘uptight, tense’ (97)
  • ‘tough shit’ meaning ‘bad luck’ (86)
  • ‘totalled’ meaning ‘killed’
  • ‘wiggier’ from ‘wiggy’ meaning ‘weird, freaked out’ (p.52), ‘wigged-out crazies’ (p.189) ‘the wiggiest goof of them all’ (p.197)
  • ‘zip’ meaning ‘enemy Vietnamese’

Beyond individual words, Herr records slang phrases which capture the alternative realities opened up by drugs and war and the lethal combination of both:

  • ‘Well, I’ll be dipped in shit.’
  • someone looks like ‘ten thousand miles of bad road’
  • ‘get some’ can refer to sleep, or just ‘action’, hence a demented chopper machine gunner can fire randomly into the jungle yelling ‘get some, get some’ – in a cracking throwaway Herr refers to this phrase as ‘the American banzai‘ (p.184)
  • ‘have a pair’ (p.53) or ‘grow a pair’, as in a pair of testicles, to prove you are a man
  • the ‘thousand yard stare’, a vivid description of the distant look in the eyes of soldiers fresh from action – ‘Hill 861 was the home of the thousand-yard stare…’ (p.101)
  • ‘it’s hotter than a bastard’ (p.164)

But it’s the way often fairly simple vocabulary is stacked together in spaced-out ways designed to capture the fleeting moment, the psych, the thereness of the impression, you had to have lived it, you had to know it, which transcends the context of Vietnam to become a series of experiments in time-encapsulating language, and helps give the book its enduring sense of life and weirdness.

Sitting by a road with some infantry when a deuce-and-a-half rattled past with four dead in the back. The tailgate was half lowered as a platform to hold their legs and the boots that seemed to weigh a hundred pounds apiece now. Everyone was completely quiet as the truck hit a bad bump and the legs jerked up high and landed hard on the gate. ‘How about that shit,’ someone said, and ‘Just like the motherfucker,’ and ‘There it is.’ Pure essence of Vietnam, not even stepped on once, you could spin it out into visions of laughing lucent skulls or call it just another body in a bag, say that it cut you in half for the harvest or came and took you under like a lover, nothing ever made the taste less strong. (p.203)

Tracks referenced in the text

‘Whenever one of us came back from an R&R we’d bring records, sounds were as precious as water.’
(p.187)

The text is littered with references to contemporary pop songs. One of the things which made the war seem so special was the way that pop music evolved incredibly quickly into more adult (pretentious) rock over precisely the same period (1965 to 1970), and so seemed to be directly commenting on the escalation and spiralling insanity of the conflict. Thus Herr can comment on the Beatles track, Magical Mystery Tour – ‘That was a song about Khe Sanh; we knew it then, and it still seems so.’ (p.91).

I began making a list of tracks as I came across them mentioned in the text and listening to them off the internet. Taken together, they evoke a vivid revolutionary world, which is immensely evocative even though it is all at least 50 years old, having gone through nostalgia, into obsolescence, been revived, and now becoming history. I remember some of these songs from my boyhood – my kids have never heard of any of it.


Credit

Sections of Dispatches by Michael Herr were published as articles in American Review No. 7Esquire and Rolling Stone in 1968 through 1970. It was published in book form in 1977 by Alfred A. Knopf. References are to the 1982 edition of the 1978 Pan Books paperback edition.

Vietnam war reviews

Rudyard Kipling: Selected Verse edited by James Cochrane (1977)

This Penguin edition from 1977 has neither introduction nor end notes, in fact there is no editorial matter of any kind. It also contains only 119 poems, compared to 183 in the Craig Raine selection and 123 in the T.S. Eliot edition. On the face of it, the Raine edition is the best paperback selection, casting its net widest, including more of the early light verse, and more oddities and rarities: it’s the most diverse and the most entertaining.

Where this edition does score over both the others is in its layout. Each new poem starts at the top of a page. Both the other editions run one poem straight on after the previous one, so poems start mid-page or right at the bottom of a page, with maybe just one stanza visible before you have to turn over and continue. Sometimes, given that Kipling poems often comes in sets and also often have a preliminary stanza in italics before the main poem begins, this layout can lead to real confusion.

Trivial though this may sound, the layout of this Cochrane edition does actually give each poem a kind of dignity and space in which to operate. When a poem ends the rest of the page is blank. You turn over – and a new one begins. It’s much clearer and easier to read than the other two.

Partly because of this, reading this edition I noticed poems which, although they’re included in the other editions, are broken up across several pages whereas here, starting at the top of their own dedicated page, they immediately had more presence and made more impact.

And once again, the poems amazed me with Kipling’s range. I was particularly struck by The Way Through The Woods (1910). A world away from the bouncy music hall ballads or the sonorous hymns of the 1890s, it could be by the sensitive Georgian poet Edward Thomas.

The Way Through The Woods

They shut the road through the woods
Seventy years ago.
Weather and rain have undone it again,
And now you would never know
There was once a road through the woods
Before they planted the trees.
It is underneath the coppice and heath,
And the thin anemones.
Only the keeper sees
That, where the ring-dove broods,
And the badgers roll at ease,
There was once a road through the woods.

Yet, if you enter the woods
Of a summer evening late,
When the night-air cools on the trout-ringed pools
Where the otter whistles his mate,
(They fear not men in the woods,
Because they see so few.)
You will hear the beat of a horse’s feet,
And the swish of a skirt in the dew,
Steadily cantering through
The misty solitudes,
As though they perfectly knew
The old lost road through the woods.
But there is no road through the woods.


Related links

More Kipling reviews

The Big Footprints by Hammond Innes (1977)

‘Just look at these pictures. That’s what happens when there are no game laws and men are allowed to let their lust for killing run away with them. Extermination,’ he thundered.
(The Big Footprints, page 75)

Characteristics

Innes’ novels have half a dozen regular characteristics.

1. Exotic location

Here, it’s Kenya, exhausted and dilapidated at the end of a (fictional) civil war, during which armies on both sides ravaged the wildlife, sometimes going on killing sprees and decimating the large mammals, especially elephants. Wildlife is also being destroyed by a severe drought and – the general message of the novel – by the growing demands of a spiralling population.

2. Ordinary bloke hero

Colin Tait, a freelance TV producer/director, is in Kenya to attend a conference of wildlife activists. Sort of interesting though this is, he harbours an ambition to travel north to Lake Rudolf to confirm descriptions he’s read in an unpublished manuscript given him by his publisher uncle, of a mountain littered with ancient buildings, where pottery has been found depicting a pyramid hill capped with buildings, indications of one of the earliest cultures in the world, the so-called rock pyramid of Porr.

3. Mysterious, older figure who bears a secret

The classic example is Captain Patch from The Wreck of The Mary Deare who keeps secret from the narrator for 250 pages the fact that his ship didn’t sink as everyone thinks, but that he beached it to keep it as evidence of company embezzlement and fraud. Here the mysterious older figure is Cornelius van Delden, a legendary Africa hand, tall, white-haired, an expert on Kenyan wildlife and environments, nicknamed Tembo. He is virtually banned in this fictional Kenya for speaking out against the government’s acquiescence in the mass murder of wildlife by their troops during the war and by the runaway population, and so he makes a lightning appearance at the conference before disappearing in a well-arranged stunt. Eventually the entire novel turns into his quixotic quest to save the area’s last wild elephants from hunters, aided – or witnessed – by Colin and American TV journalist, Abe Finkel.

4. The curse of the past

For a writer so at home with the modern world of travel magazines, international flights, with the minutiae of business law and practice, and capable of inspiring descriptions of physical activity, Innes’ plots almost all feature a heavy Gothic sense of doomed family relationships. Here we learn that the environmentalist van Delden was once best friends and business partner of Alex Kirby-Smith, but whereas the former has gone into sharp criticism of the government, the latter has allied with the same government, seeing it as the best way to moderate its excesses and regulate surviving wildlife, also setting up a fleet of meat freezing trucks to capitalise on his hunting activities, and generally exposing himself to accusations of being a heartless butcher.

5. Woman, carrier of the past

Van Delden has a daughter, Mary, who loves him but also gets drunk and cries about how he was never around when she was small, was always disappearing off into the bush, animals more important than her or her mother etc. Tait, as so many Innes’ protagonists, finds himself attracted to this strong-minded, tough woman (and eventually, on page 250, they do have wild sex during a thunderstorm on a mountain), but she is, as so often, heir to a twisted family legacy. For half way through the book she reveals that she is in fact Kirby-Smith’s daughter. Van Delden’s wife had an affair with his best friend, impregnating her, though it was van Delden who brought Mary up and who she spent her childhood calling father. No wonder she becomes very upset as the rivalry between the two men becomes more intense.

In fact, everyone has ‘a past’, as the book reveals that Colin’s parents committed suicide by jumping off a cliff, and he was raised by an uncle in the publishing trade, and routinely bullied at school for having no parents. And Abe Finkel, who he teams up with, reveals half way through that his reason for abandoning the journalistic mission he was on, is that his wife recently died of cancer, making him realise, if you don’t fulfil your dreams of roaming in the African bush now, when will you…?

6. Hesitation and miscommunication

Presumably it’s intended to create tension, but on every page occurs Innes’ trademark technique of having more or less every conversation dominated by one or both sides turning away, stopping in mid-sentence, pausing, going silent, shrugging or hesitating. It creates the sense that everyone knows something they’re not telling. Intended to create ‘suspense’ and tension, it risks leaving the reader frustrated and irritated.

On one level there is a ‘plot’ – when the other conference delegates catch the bus back to Nairobi airport, Tait, influenced by New York TV man Abe Finkel, decides to stay on, to see if there’s mileage in the van Delden story, but really planning to head north to Lake Rudolph, to the mysterious mount Kulal and the archaeological finds he’s read about in the old manuscript his uncle left him.

This sounds like it should be a dynamic situation, but on a page by page, paragraph by paragraph level, the text is made up instead of these endless deferrals, postponements and delays.

She gave a little shrug…I hesitated…He didn’t say anything after that…She didn’t answer. The silence was oppressive…After that we didn’t talk…Karanja hesitated…She shook her head…She was silent now…She didn’t answer…He didn’t say anything…He hesitated…He nodded uncertainly…He shrugged. ‘How the hell do I know? It’s just a feeling.’..’I don’t know. Maybe’…Karanja shook his head. ‘I don’t know’…He shrugged…He hesitated, staring up the road ahead…He was silent for a moment. the smile gone. Then he gave a quick little shrug…Abe asked, ‘Any game left?’ ‘I don’t know,’ he said, uncertainly…Murphy hesitated…Abe gave a little shrug…He hesitated…Van Delden shook his head. ‘Who knows?’…Van Delden shook his head…Karanja hesitated, then he shrugged…He shook his head…I shook my head…She was silent for a moment…She gave a little shrug…I hesitated…I shook my head, not wanting to talk about it…Kirby-Smith hesitated..I shook my head…But Karanja shook his head…Her gaze went back to the mountains and she was silent for a long time…She hesitated…She shrugged…

On one page, 156 in the Fontana paperback edition, Colin and Abe are asking their tracker, previously a van Delden associate, where van Delden must be hiding out and every paragraph starts this way: ‘Karanja shrugged… Karanja didn’t answer…Karanja shook his head again…Karanja was silent…Karanja hesitated…He was suddenly silent…Karanja hesitated…staring urgently at Abe, who didn’t say anything for a long time…’

On the very next page, Mary joins Abe and Colin and asks whether they think van Delden shot the Africans (see below): ‘…Silence was the only answer I could give her…I didn’t say anything…She was silent for a moment…her voice trembling into silence…She was silent for a while…I sat there, silent, not knowing what to say…’

Though they’re meant to be adventure books and are set in adventurous locations and feature violent and tragic incidents, the actual page-by-page experience of reading a Hammond Innes book is often of stasis and paralysis.

7. Participle clauses

There is another mannerism or part of Innes’ style perhaps worth commenting on, his tendency to write sentences which – after an active first clause – have two or three dependent clauses containing no active verb, but instead participles (generally the present participle or the past participle) or no verb form at all.

Short simple examples are obviously designed to create breathless excitement.

We waited, crouched in the gulley, listening. (p.166)

The elephants had all swung round, trunks weaving, seeking the new source of danger. (p.191)

And the effect can be strung out over longer distances:

Evergreens and patches of thick impenetrable bush, the boles of tall trees, twisted ropes of lianas, and my heart pounding as we climbed, following the beam of Karanja’s torch. (p.163)

But longer, slower sentences using this structure crop up throughout the novel, creating a particular effect which I can’t quite put my finger on.

I didn’t answer [main verb], suddenly aware of her reaching out [present participle clause], her hand on my arm [no-verb clause], pulling me down beside her [present participle clause]. (p.249)

Two possible interpretations occur to me – pictorial and static. Pictorial The main clause with the main verb introduces the sentence, and then the successive clauses, lacking an active verb, are like pictures, images, stills – as in a slideshow.

We were heading [main verb] across country in a more northerly direction, our speed gradually increasing [present participle], patches of soft sand, the scrub thicker and more trees [no verb]. (p.204)

From where we stood in the back of our truck we could see the flat expanse of the makeshift airstrip, scrub and boulders piled along the line of its single runway, and beyond it the thicker bush that marked the line of the lugga, acacias with flattened tops, and further still the greener growth spilling from the low arms of the mountains, the Horr Valley a sharp gash between cedar-dark slopes and the sky beginning to take on colour, the first rose tints of the rising sun. (p.139)

We were climbing now, the land sloping gently upward, the heat increasing rapidly. (p.180)

Static

Or, conversely, the lack of active verbs – their replacement with verbless clauses – sometimes adds to the sense of stasis and paralysis created by the endless silences and hesitations of the characters.

I sat on by the fire for a while, smoking a last cigarette and listening to the stillness. (p.110)

the present participles – ‘smoking’ and ‘listening’ – embodying the static lingering of the sitting. Or:

The argument went on for several minutes while we sat there motionless, the engine throbbing and the heat trapped in the valley. (p.111)

where the second clause gives a kind of sensual amplification of the first part, so that you can hear the engine ticking over, feel the prickliness of the African heat.

Nobody spoke, van Delden sitting silent and withdrawn, the three Africans squatting round the embers, a stillness settling on the land. (p.283)

The plot

Abe Finkel persuades Colin to stay on after the conference is over. The army officials who supervised the conference and all the delegates’ travel let them travel north on the understanding they are going to link up with Kirby-Smith’s troop who are carrying out a cull. But a pilot they chatted to saw a small camp off west of the road and here they find van Delden and three loyal African beaters/shooters, who promptly commandeer their Land Rover. A little later Colin and Abe are picked up by an army patrol of surly Africans and driven on to the Kirby-Smith camp.

Here Kirby-Smith says you’re welcome to watch and film a modern culling – and so there is a sickening description of him and his men in Land Rovers and trucks corralling half a dozen elephants into a clearing where they are shot down in seconds – and their corpses then set on by the soldiers, quickly joined by truckloads of locals (who are suffering from the drought and almost starving) who hack the dead animals to pieces.

It was the sort of scene cameramen dream about, nomadic tribesmen, hunters with guns, and elephants being hacked to pieces, blood everywhere. Close-ups of men, half-naked, armed with spears and knives, dark skins stretched over staring rib cages, faces drawn and shrivelled looking, of dead elephants, of tusks and meat, of Kirby-Smith, the great white hunter, firing at a warrior with his red cloak flung back, his sleek ochred hair coming loose in coils like snakes and his knife flashing. (p.145)

The next day, the cullers head out to another location to intercept another herd but, just as the elephants come into view, warning shots are fired which make the herd turn and escape, then one of the Kirby-Smith trucks explodes in flames, burning to a crisp the Africans inside. An appalled Colin is forced to agree with Kirby-Smith and Abe’s assessment that the men in it were shot dead, then the petrol tank ignited, by van Delden and his renegades. Van Delden has crossed the line and, in his bid to defend animals, has himself become a murderer. This is the context for Mary’s agonised confession that she is Kirby-Smith’s daughter but raised by van Delden and so caught between the two enemies.

In fact Mary begs Colin and Abe slip away from their army minders and go warn Van Delden that K-S and the army will now hunt him down and kill him, and so they persuade the African scout, Karanja, to take them to an old poacher’s hideout where they think van Delden might be lurking. And so they set off on what turns into the prolonged trek which will dominate the rest of the book. Briefly they scramble through scrub, up slopes, through forest, scared by wildlife, with vivid descriptions of the landscape, the nightscape, the animals and so on.

Van Delden appears out of the darkness and takes Colin and Abe under his wing, travelling with him and his scouts in pursuit of the next group of elephants. There’s an encounter with Kirby-Smith where they interrupt his trailing of another group of elephants, commandeering his Land Rover and smashing his rifle. Now their rivalry has turned into outright hatred. Mary had been in the vehicle. Van Delden makes her choose: are you walking back with Kirby-Smith or coming with us? In fact, he bundles her into the Rover as it sets off, and so she is now part of the small team.

Colin, Abe, van Delden and his pair of scouts drive on across the bush, passing through varieties of landscape allowing Innes descriptive faculties full rein. Whenever they camp and eat and talk, conversation turns to how to help the elephants survive and, increasingly, speculation as to why so many of the groups they’re coming across are travelling north, away from the overpopulated plains, towards the bleaker landscape around Lake Rudolph. Can elephants communicate? Do they know it is safer up there? Can they sense and communicate more than humans are aware of?

Van Delden goes off with one of the scouts, leaving Colin, Abe, Mary and Karanja to trek up the side of the mysterious mount Kalula (although there are not one but two maps showing the routes of these journeys, I found it impossible to follow their paths, and the text is quite vague about which bit of savannah, scrub, forest, desert, lava bed, river, hillside or mountain they are scrambling over at any particular point). Abe is experiencing increasingly visionary episodes, at one point almost going off on his own to defend a troop of elephants from the pursuing hunters, though talked out of it by Colin.

This mountain, Kulal, within thirty miles of Lake Rudolph, is setting to the climax of the novel: beyond it is where all the elephant groups seem to be heading. At its foot is an abandoned missionary building and it is here, on the edge of a steep gorge, that van Delden leaves them, promising to return once he’s found the elephants.

Later they hear engines and realise an army patrol is approaching, and quickly slip out of the back of the building and into the foothills of Mount Kulal, climbing quickly through low forest into the mist. After hours of climbing, they get to a sort of shelter among the rocks and spend the night. Here the group split up, Abe going with the tracker Dima, downstream towards the plain and the lake, while Colin and Mary go with Karanja up the sides of the mountain; as they near the peak a violent storm breaks out and it is here, in a rock shelter, that Mary suddenly offers herself to Colin and the simmering tension between the two is lanced in a feverish act of love-making (p.249).

Climbing higher they come upon a confusion of jagged volcanic spikes and gulleys and realise this can’t be the inhabited mountain top of the old account. Maybe it is on top of Mount Porr, thirty miles to the north and west…

Descending the mountain they hear a human cry and come upon Abe badly injured. He was with Kanjara when a cow elephant came to a nearby waterhole and Abe couldn’t resist sneaking really close to take photos. Something alarmed the cow who bellowed and its nearby calf came thundering out of the bush and trampled over Abe. He has a badly broken arm and cuts to the head. Kanjara, Colin and Mary help him down the rest of the mountain and to the shores of Lake Rudolph. That night, as they camp round a fire by the lakeside, van Delden appears out of the darkness. They learn that he and his scout have disabled the plane Kirby-Smith was using, sneaking up on it as the pilot worked on it, and have stolen another army truck. Not popular.

Karanja deserts them to go contact an army patrol. He returns saying he’s made a deal, van Delden to be flown out, a nature reserve set up, Karanji in charge of it. But none of this seems real compared with the stillness of the vast lake, the flamingos in the shallows, the elephants plodding silently to the shore, the immense primitiveness of the setting which Innes conveys as the characters stay awake most of the night knowing the next day will bring the inevitable Showdown the whole narrative has been building towards.

Van Delden drops Mary and the injured Abe where they can walk, or stagger, back the Mission, then returns with his scouts and Colin to the culling zone. Here trucks appear to scare a herd of elephants hidden in the forest out into the open; they emerge and there is a moment’s pause as the Land-Rovers containing their killers approach, then they go wild, trumpeting and attacking the vehicles. Abe makes a last, mad attempt to intercede, to change their direction and Mary comes running to his help and to my surprise both are trampled to death by the elephants who go on to rampage through the hunters’ vehicles, killing and goring many men, themselves losing many to rifle shots before breaking off the attack and lumbering towards the lake.

In the aftermath van Delden and an injured Kirby-Smith confront each other over Mary’s dead body while a disbelieving Colin looks on. Karanja appears and has now secured what he wanted ever since we first met him at the conference, power and authority – the minister who van Delden humiliated at the conference has been replaced and Karanji made Warden of a new wildlife sanctuary of the north: Karanji orders Kirby-Smith to suspend the cull; van Delden’s elephants are safe.

The small group bury Mary and Abe, building a cairn over their bodies. As night falls Colin falls asleep at their camp, exhausted. In the morning he wakes to see the small figure of van Delden paddling the primitive raft they found by the lake, north, towards the elephants. Karanji stands with the other African scouts: they will give Colin a lift back to civilisation, and 12 hours later he is back in London, unable to believe everything he has experienced and felt, determined to write this account of his strange adventure.

Nature writing

Innes is not what I’d call a prose poet. He doesn’t have the magical way with words of a Chandler or Cruz Smith. But, unlike a thriller writer like, say, Desmond Bagley (who also wrote a novel set in Africa, Juggernaut) he goes out of his way to provide descriptions of animals and, especially, of natural landscapes and changing times of day. These are, I think, most effective when Innes is in his beloved environment, the sea, but there are numerous attempts in this novel to convey the immediacy of the African scene, and of the elephants which dominate the story.

We pushed on, silent again, walking in a pale, cool light that was the interregnum between night and day. But it was brightening all the time and then suddenly the sun pushed a great shield of burnished red up into the eastern sky, and instantly the land flared with colour. From the flat sepia of desert gravel it turned to a dried blood hue in which everything glistened with light, scrub and thorn and skittering birds all brilliant with the great red glow of heat to come. It was fantastic, breathtaking… (p.180)

Save elephants, save the environment

Innes presumably intended this whole novel as propaganda, warning of the consequences of unchecked population growth in developing countries and the disastrous impact on wildlife. 40 years later I, like most people, I think, take it for granted that we are poisoning the seas, wiping out most large mammals as well as countless other species, and that it is too late to prevent catastrophic global warming.

Therefore, this novel seems like a memory of a more innocent age, the 1970s, when writers and the educated middle classes founded environmental pressure groups (World Wide Fund for Nature founded 1961, Friends of the Earth founded 1969, Greenpeace founded 1971) and thought there was something they could do to protect wildlife and the environment…

[Karanja] was staring out to the darkness of the gorge and after a moment he said, ‘Is part of our heritage and one day, maybe, I live to see those same elephants crossing Kulal again, but going the other way, going south into the lands they live in when I am young man, going to protected areas where the world can see them again. Quiet, dignified elephants living in peace and rearing their calves. Not fleeing half-starved and in terror, charging everywhere.’ He shook his head, smiling to himself. ‘Is a dream maybe, but that is what I hope.’ (p.247)


Related links

Hardback cover of The Big Footprints showing Mary van Delden in front of a big elephant, with the image of her father superimposed on the elephant's ear

Hardback cover of The Big Footprints showing Mary van Delden in front of a big elephant, with the image of her father superimposed on the elephant’s ear

Hammond Innes reviews

Fighter: The True Story of the Battle of Britain by Len Deighton (1977)

For new pilots the high-altitude battles could be a frightening experience. It was very, very cold at 25,000 feet, and the Spitfires slipped and skidded through the thin air, as the propeller blades failed to bite. Invariably the Perspex misted over and reduced visibility. Only slowly did the aircraft add a few hundred feet, and for this reason the throttles remained wide open. It meant that if a pilot dropped back from his formation through lack of flying skill, he could never catch up with them again. And above them were the Bf 109s, watching and waiting for just such a straggler. This was the way that many young men died: alone and cold in the thin blue air, peering through the condensation into the glare of the sun, unable to see the men who killed them.
(Fighter, page 244)

This is a totally gripping, impressively researched and comprehensive history of a key moment in British and world history and showcases the incredible depth and range of Deighton’s knowledge of the subject matter and period.

I read Blitzkrieg, the later book first, because that is the sequence of events. Both books are divided into five parts, with a long central section about the technical developments in the key weapons (tanks in Blitzkrieg, airplanes in Fighter) followed by an equally long section describing in detail the key events (of the German invasion of France in May 1940, of the Battle of Britain July to October 1940) ending with a fairly short epilogue or summary.

Fighter’s strengths

Fighter is the more enjoyable book, becoming steadily more gripping and exciting as you read on. I think it’s because:

  • Fighter planes are more beautiful and inspiring than tanks.
  • The planes were more directly the creation of inspired genius designers, who are more interesting to read about than the designers of tanks (Willy Messerschmitt, Reginald Mitchell the Spitfire, Sydney Camm the Hawker Hurricane).
  • The history of manned flight since the Wright brothers is more interesting than the history of putting metal plates and a machine gun on a lorry chassis and calling it a ‘tank’, and understanding how airplanes actually fly is more interesting, and more broadly applicable, than understanding how tank tracks work.
  • The fighter plane part of the battle concerns dashing and heroic individuals who Deighton names and describes in detail – Peter Townsend, Josef Frantisek, Adolf Galland – there are photos of them – unlike the largely anonymous and massed ranks activity of the Battle for France, led by a handful of rather imposing generals (Rommel, Guderian).
  • Later in the war, it all got vastly bigger. While Britain was producing 400 new planes a month, towards the end of the year President Roosevelt ordered his factories to begin producing planes, 50,000 planes a year! Later in the war the Luftwaffe was to lose in one day as many aircraft as it lost in the entire Battle. The Battle of Britain represents a moment when individuals still counted – Deighton calls it the last romantic battle in history.

Learnings

I learned that:

  • Lord Beaverbrook’s contribution to victory – put in charge of Fighter Command logistics by Churchill, cutting through lots of bureaucracy to maximise factory output and set up roaming repair squads – was as important as Air Chief Marshal Dowding’s contribution, and that Dowding said so. I was virtually cheering the Beaverbrook passages. I like his motto: Organisation is the enemy of improvisation.
  • The Germans didn’t have a plan. Hitler wasn’t much interested. Operation Sealion (the invasion of Britain) was conceived too late in the year (August) and Göring never gave clear strategic guidance to his marshals. The Germans fundamentally didn’t know what they were trying to achieve and Deighton lists four possible outcomes which included: destroy Fighter Command to give Germany control of the air and enable a cross-Channel invasion; bomb London into submission; destroy Britain’s war machine ie factories. They did some of each but none completely and all historians agree that they were on the verge of destroying Fighter Command – reducing airfields, planes and pilots below an operational minimum – when, early in September, they switched to the second strategy and bombed London for 57 consecutive nights. Though the population of London wouldn’t have agreed Dowding and Park considered this ‘the miracle’ for it gave them time to rebuild the fighter force.
  • When summer slipped into autumn and the weather worsened making a seaborne invasion impossible, Hitler shrugged his shoulders and got out his maps of Russia. Britain was effectively neutralised, the war in the West essentially over: he was interested in new adventures.
  • Deighton powerfully dislikes the bureaucrats at the British Air Ministry whose main contribution was to hamper Fighter Command with stupid orders, come up with pointless hare-brained schemes, and treat Dowding and Park, the two men whose masterly strategy won the Battle, appallingly. Both were sacked at the end of the year. Dowding was given 24 hours to clear his desk.

Robust views/detailed knowledge

As in Blitzkrieg, Deighton is confident in his opinions. Discussing one of the countless machinations of Air Field Marshall Erhard Milch, Deighton writes:

Milch’s allegations are nonsense. (p.301)

These kind of confident assertions are based on Deighton’s incredibly in-depth knowledge of the entire period, from the technical spec of the planes, through the organisational structure of both air forces, detailed profiles of the key players on both sides, to an understanding of the changing tactics developed by each side, down to precise descriptions of uniforms, medals, hats, parachutes and so on.

For example, his captions to many of the 62 photos in the book not only point out the figures in a picture but name the medals the pilots and generals are wearing; there are few photos of planes without additional information about their markings or pointing out details of design and construction to look for. As in his other books, he shows a special interest in organisational structures:

Geschwader was about 100 aircraft, give or take twenty according to circumstances. It consisted of three Gruppen, always designated by Roman numerals I, II or III. Finally there was the Staffel, about twelve aircraft. Staffeln were numbered from 1 to 9, in arabic numerals, to make a Geschwader. Thus, III/JG 26 means the third Gruppe of Jagdgeshwader (fighter Geshwader) number 26. While 8/KG 26 is the eighth Staffel of Kampfgeschwader (bomber Geschwader) number 76. (footnote on page 129)

Towards the end of the book, Deighton makes the very broad claim (repeated in Blitzkrieg) that, without Hitler’s antisemitism – which forced many of Germany’s best scientists and engineers abroad – the Nazis would probably have developed atomic bombs and the long-range missiles to deliver them and would quite possibly have taken over the world. From the minutiae of medals to grand sweeps of alternative history, this is a fascinating and rewarding book on countless levels.

Conclusion

After the first four Ipcress novels Deighton’s fiction changed – his prose became more obvious and functional while he experimented with new subject matter: comedy, a novel set in Hollywood, and then his devastating documentary novel about a World War II bombing raid, Bomber. When he returned to the spy genre in the early 1970s, the three spy novels leading up to Fighter feel much weaker than the Ipcress set.

Could it be that the time and mental energy Deighton expended researching his WWII histories, visiting key locations, months spent at the Imperial War Museum and other archives, and the correspondence and meetings he had with key players in the Battle of France and the Battle of Britain (both books contain photos ‘taken by the author’ and refer to letters and conversation with eye witness participants) – could it be that this massive expenditure of time and effort and immersing himself in bureaucratic records and organisational archives, permanently damaged his imaginative prose style and weakened his fiction?


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The Great Pursuit by Tom Sharpe (1977)

Tom Sharpe’s longest novel to date, a satire on the worlds of literary criticism and publishing. For the first time it contained what felt like genuine personal concerns and attitudes in the narrator’s fierce animus against the hypocritical literary critic, Dr Louth.

Plot

Frederick Frensic is a successful literary agent who has built his career on inverting everything he learned at Oxford, under the elitist (lady) literary critic, Dr Louth. Out of the blue he is posted an anonymous novel of breath-taking pornographic content describing the love affair between a 17-year-old boy and an 80-year-old woman – Pause O Men For The Virgin – via a firm of solicitors who instruct him to do his best with it.

Now Frensic has had on his books for ten years a no-hoper novelist named Peter Piper, a lost soul thoroughly misled by his literary education into thinking he must only write high-mindedly about ‘significant relationships’ and ‘meaning’ and ‘the soul’, who treats the very same Dr Louth’s masterwork of criticism, The Moral Novel, as holy writ, reading it every night before bed, and who every year rewrites his hopeless account of his sensitive adolescence in the style of one of the literary Greats.

So Frensic and his American partner, Sonia Futtle, decide to pass off the crude novel off as being by Piper and oh what a tangled web this creates, a web of deceits and contracts which determines the rest of the increasingly labyrinthine plot:

Piper is told he will get money and the wretched book he’s been working on for so long will be released as his second novel, so he reluctantly agrees. A firm of posh British publishers which is down on its luck is persuaded to publish the English version because Frensic, correctly, predicts that this high-brow imprimatur will make it easier to convince the American publisher Hutchmeyer, ‘the Al Capone of publishing’, to snap it up and publish and promote it in the States. This the bullish, illiterate Hutchmeyer does, paying an incredible $2 million advance, not least because Sonia flirts outrageously with him.

But things begin to veer out of control when Hutchmeyer insists that this Piper fellow does a promotional tour of the States to do TV and book signings. There is a very funny scene at New York’s docks where Hutchmeyer’s sidekick organises an ‘event’ for Piper’s reception, something that will get him on the news, by inviting activists from widely varying groups to meet him – Jews are told he’s an ex-Nazi Peipmann, Palestinians that he’s a leader of the PLO Piperfat, the Irish that he’s O’Piper the IRA leader, gays something else, with the result there is a massive riot, from which Piper barely emerges in one piece to scramble into a waiting ambulance, where the fixer – MacMordale – grabs a bag of blood from the bewildered nurse and breaks it over the dazed Piper’s head. Any publicity’s good publicity, right?

At the upstate Hutchmeyer residence, actually a vast tasteless mansion, a bloodied and bandaged Piper is introduced to his overwhelming host and his wife, Baby, one-time beauty queen in the 1930s, now the recipient of so many facelifts that, as Sonia points out, if she smiled, she’d scalp herself. In typical Sharpe fashion Hutchmeyer and his wife hate each other and, by a roundabout process, Baby comes to believe Piper is the real thing, a young man of genius and sensitivity who deserves protection from the cruel world.

Sonia, drunk, flirts with Hutch and persuades him to take her out in his yacht in bad weather. Baby takes advantage of the fact to act on impulse and reject the lies and frustrations of the past 40 years. Pack your bags, she tells Piper, we’re getting out of here, as she determines to act out a scene from one of the great historical novels. What makes it Sharpe is she decides to burn down the wretched mansion, so empties cans of petrol across it and sets them afire, but has brought the last one trailing gas down to the quayside and the cruiser where a very nervous Piper is waiting with his bags, so that the trail of flame follows her and leaps into the boat just as Piper accelerates the engines. They both leap off into the sea as the cruiser, now aflame, heads off into the bay where it collides with Hutch’s yacht and explodes. Hutch is rescued by the typically Sharpe Sonia, a big, strong, calculating lady, while Piper and Baby swim ashore further down the coast.

Baby realises she has burnt her bridges (and her husband’s house to the ground) and decides on impulse to head South, to the Deep South, of slavery and mangrove swamps and drags a reluctant Piper along with her. Everyone presumes they are dead and in scenes reminiscent of Wilt for a while Hutchmeyer is suspected of murdering his wife. Instead Baby persuades Piper – his head still swathed in bandages from the New York riot, to write out a full draft of Pause O Men For The Virgin, which they photocopy and post to Frensic in London.

Frensic had become very nervous about Piper revealing the elaborate scam to Hutch who would doubtless sue for all his money back and more, but when he receives the manuscript of the novel in Piper’s own hand-writing he is very perplexed. He goes back to the firm of solicitors in Oxford who posted him the typewritten manuscript and winkles out of them the name of the secretarial company which typed it up, run by a Miss Bogden.

In the true Sharpe manner this Miss Bogden is a frustrated divorcee and, having had his phone enquiry flatly turned down, he realises he must woo her: so he sends her red roses then phones posing as a long-time admirer from a distance, then invites her to dinner, all the time probing for any proof of the author’s whereabouts. Miss Bogden drops that she had a phone number she could ring if she had problems with the manuscript but then evades the subject and Frensic finds himself forced to accompany her back to her flat and, well, to be engulfed in her consuming sexual appetites in the name of his quest. He goes so far as to propose to her and, next morning, finds himself going to a jewellers to choose a ring before he finally finally gets the phone number out of her and makes his excuses. It is a funny moment when, after all this build-up, Frensic rings the number and it is an Indian takeaway 🙂 He realises he’s transposed the numbers in his excitement, and dials again, A quavery voice answers and says it is is Dr Louth here.

Frensic puts down the phone thunderstruck. So the high-minded and elitist literary critic, whose insistence that her students only read novelists of her Great Tradition – Austen, James, Conrad, Lawrence – and who cast into the outer darkness all mere entertainers, anyone who wrote for money – Dickens and Trollope and Meredith, let alone the entertainers from an earlier era, Smollett and Sterne and Fielding – whose baleful influence ruined generations of would-be writers by making them aspire to an impossible, and irrelevant, high-mindedness, who misled Frensic in his early career until he threw off her influence, and whose damaging influence is embodied in Piper’s unreadable screeds – it was she who wrote this pornographic best-seller. Frensic’s anger at her is real, and bespeaks Sharpe’s own experience at Cambridge in the heyday of the elitist literary critic, Frank Leavis, who similarly insisted on the existence of a Great Tradition. In fact the title of this novel is a simple merging of two of Leavis’s most famous books of criticism, The Great Tradition and The Common Pursuit. And of course, in none of these books or Leavis’s lectures or stern admonitions was there any place for the kind of well-crafted entertainments that Sharpe himself writes.

The novel hints at the journey Sharpe himself had to make, to throw off the stifling high-mindedness of Cambridge, before he could find his own voice and métier as a satirist and entertainer of genius.

Frensic goes on a hateful pilgrimage to Oxford, visits Louth in her ancient house, confronts her with the truth and forces her to burn the manuscript of the novel as going some way to making reparations for all the lives she’s ruined. Meanwhile, we learn that Hutchmeyer, liberated from his nagging wife, has made the umpteenth proposition to tough Sonia and – to his surprise – been accepted, and they get happily married.

In the tiny southern hamlet of Bibliopolis Baby and Piper come across Deep South prejudice and real hellfire preaching. In fact at the first service they are forced by their fanatical landlady to attend, the congregation get so carried away they insist on ‘bringing out the snakes’ which promptly go mad, biting lots of people, in fact killing the preacher himself while Baby, in an orgy of guilt and self-recrimination rips open her blouse a) to reveal her perfect (silicone) breasts b) to let a poisonous coral snake take hefty bites of them – to no effect. This so impresses the good folks of Bibliopolis that they promptly elect Baby their new preacher, and Piper finds himself giving hand-writing lessons to the locals, in time (ironically) setting up an official School of Writing.

Coda

As with many of Sharpe’s novels, you would have thought things could stop right here: The mystery of the book’s author has been revealed; Frensic’s quest is at an end; Hutch and Sonia are happily married; Baby and Piper have found their niche in a sleepy southern backwater.

But no. There is more. It’s a little hard to follow, but Baby has encouraged Piper to continue writing out Pause O Men For The Virgin in his own hand-writing, but each time, making it more in his voice, turning it into his version. Which Piper does, dutifully posting it off to Frensic in London, who is perplexed. Like everyone else, he thinks Piper and Baby perished in the fire at the mansion.

Meanwhile, Miss Bogden, jilted by Frensic (who had used a false name during his 24 hours of passion with her), is set on revenge and tracks him down. Frensic hears her voice on the stairs to his Hampstead flat, grabs his essentials and decamps to Corkadale’s house where he reveals the truth that Piper is not the author of this wretched book. He then takes a plane to new York, on to Miami, and hires a car to drive to this wretched place Bibliopolis. Here he finds Piper a part-time preacher in the Church of the Great Pursuit and there is space for another bitter screed against Dr Louth/Leavis and their deadening, anti-humane influence, before Frensic confronts Piper, lashing out at his wretched ambitions and telling him to stop sending him rubbish manuscripts of his awful novel.

But outside a ‘welcoming committee’ of the local sheriff and assorted hicks await Frensic; they’ve all heard him crticising that nice Mr Piper, a fine upstanding pillar of the community, and drag Frensic before the local judge who turns out to be — none other than Baby Hutchmeyer. She grimly dangles in front of Frensic the prospect of being sentenced to the local chain-gang, which he will survive for, ooh, maybe a month. The alternative is the final stitch-up in a book made up of crooked contracts and devious deceptions. He, Frensic, must allow his name to go on the succession of novels which Piper will send him, once a year, from Bibliopolis. He, Frensic, must arrange for them to be published and promoted.

And so it comes to pass. Frensic arranges for Piper’s first novel to be published, but under his name: he quits his literary agency and goes to live in obscurity in the South Downs and – the final cruel irony – the critics love Piper’s first novel, and it is a roaring success.

Anti-American

The entirely gratuitous excursion into the deep South reminded me a bit of the journey of young Martin and Mark Tapley to a disease-ridden swamp in Dickens’s funniest novel, Martin Chuzzlewit (1844), which was criticised in its day for its surprisingly savage satire on the bad manners, appalling speech, filth and greed of contemporary America. Something similar is going on here. In Wilt the worst excesses of fashionable politics and trendy sexual openness are associated with the American couple, the Pringsheims, who are slowly exposed as hateful liars. The Great Pursuit moves almost all its plot to America the better to satirise the crass commercialism, philistinism, crudity, violence and shallowness of American life.

F.R. Leavis

That said, the real core of the novel’s anger is with Dr Louth, a transparent version of F.R. Leavis, the enemy is English through and through.

The Great Pursuit was Dr Sydney Louth’s latest, a collection of essays dedicated to F.R.Leavis and a monument to a lifetime’s execration of the shallow, the obscene, the immature and the non-significant in English literature. Generations of undergraduates had sat mesmerised by the turgid inelegance of her style while she denounced the modern novel, the contemporary world and the values of a sick and dying civilisation. Frensic had been among those undergraduates and had imbibed the truisms on which Dr Louth’s reputation as a scholar and a critic had been founded. She had praised the obviously great and cursed the rest and for that simple formula she was known as a great scholar. And all this in language which was the antithesis of the stylistic brilliance of the writers she praised. But it was her anathema which had stuck in Frensic’s mind, those bitter, graceless curses she had heaped on other critics and those who disagreed with her. By her denunciations she had implanted the inhibitions which had spoilt Frensic and so many others like him who had wanted to write. To appease her he had adopted the grotesque syntax of her lectures and essays. By their style Louthians were instantly recognisable. And by their sterility. (p.205)

F.R. Leavis was still alive when this novel was published. Was he made aware of its savage criticism of his life’s work? What on earth must he have made of it?


Credit

‘The Great Pursuit’ by Tom Sharpe was published by Martin Secker and Warburg in 1977. Page references are to the 1979 Pan paperback edition. All quotations are used for the purpose of criticism and review.

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Goodbye California by Alistair MacLean (1977)

His speech had the fluency and precision of an educated man for whom English is not his native language.
(Typically illiterate sentence from Goodbye California, page 86)

Bad

This is a bad, bad book. Why? Well, let’s start with the ludicrous plot, cardboard characters and almost unreadable prose.

Plot

A Muslim fanatic named Morro has concocted an evil conspiracy: he has kidnapped the top nuclear physicists in America along with half a dozen technicians, and been stealing or buying uranium on the black market. He and his gang are holed up in a Xanadu-style millionaire’s castle built high in the Sierra Nevadas. The final step in his Evil Plan is to break into the San Ruffino nuclear reactor, steal nuclear waste and kidnap half a dozen staff, carrying them all off to the remote castle.

One of the hostages is Susan, wife of famously tough LA cop, Sergeant Ryder. Guess what – he’s a maverick who does thing his own way, rubs the authorities up the wrong way but always gets the job done. And his son, Jeff, is also a cop.

When they hear that their wife/mother has been kidnapped they tender their resignations to the corrupt chief of police they call Fatso, and go independent to track down the gang.

Not that independent, as they acquire the grudging help of the FBI, although they go way outside the law, severely beating the aforementioned corrupt police chief and then the local crooked judge (who they handcuff in bed naked with his ‘secretary’ and photograph).

It’s a two-track plot: on the one hand Ryder and his son are pursuing leads via his crooked boss, the corrupt judge, and investigating the head of security at San Ruffino who turns out to have shady links, all the time trying to figure out where Susan is being held. Parallel to this we are shown the situation in the mountain hideout where the hostages are treated with the courtesy, fine wine and indulgent smiles of the psychopath baddie we’re familiar with from a thousand Bond movies and pale copies. ‘Ah, Professor Aachen, I am so glad you could join us’ etc. We are also shown the laboratory and workshop where the scientists and technicians have been tortured into building working hydrogen bombs.

Hydrogen bombs!

Morro’s plan is to detonate one of these off the California coast, causing most of it to fall into the sea and the rest to be submerged in a monster tsunami.

Can Ryder and his son track down and neutralise Morro and his gang before they can carry out this dastardly plan?

I didn’t care. I was surprised by how little I cared. Partly because I felt I was reading the novelisation of a really low-budget 1970s disaster movie, cross-bred with the terrible American cop shows of the period like CHiPs (1977 to 1983).

Styleless

But most of all because MacLean’s prose style has become insufferably opinionated, long-winded and, above all, unfunnily ironic and facetious.

About ten minutes before ten Jeff switched on the TV. The screen showed a bluish-tinged stretch of extremely unprepossessing desert, so unattractive a spectacle that the commentator was trying – and making extremely heavy weather of it – to compensate by an intense and breathless account of what was taking place, a gallant and foredoomed effort as nothing whatsoever was taking place. (p.301)

Prose any sensible person would cross the street to avoid.

The police had made a record number of arrests of hoodlums whose greed in taking advantage of this unprecedented opportunity had quite overcome their sense of self-preservation and were still looting away with gay abandon when policemen with drawn guns had taken a rather less than paternal interest in their activities. (p.405)

Burnett began to swear, with a fervour and singular lack of repetition that showed clearly that a considerable part of his education must have been spent in fields other than the purely academic, remembered that he was in the presence of ladies, reached for the Glenfiddich and fell silent. (p.417)

It is impossible to really enter the spirit of a book, to enjoy it, let alone be gripped by it, when you are reminded on every page that the author is a twerp.

First or third person

The Wikipedia entry on Alistair MacLean divides his 30 or so novels into four groups: the fourth and by far the worst phase starts in 1973 with the terrible The Road To Dusty Death, and continues through the next 11 novels, including this one, on to his death in 1987.

An obvious feature of these later, bad ones is they are all told in the third person – by an omniscient narrator. When MacLean’s lumpen jokiness and heavy irony was contained in the voice of the protagonist himself, being ironic at his own expense, it was generally shorter and more bearable: it genuinely lightened moments of stress. But when that heavy irony and facetiousness is deployed by the creator against his own creations, when the author lets you know that he finds his own story and characters laughable and predictable (‘it was, inevitably, x’, ‘he was, predictably, y’, ‘it took no great intelligence to realise z’), the believability of the whole text evaporates.

And a third-person narrator has a second flaw, the fatal temptation to crap on at greater length, much greater length, than a first-person narrator. The first person narrators of his classic thrillers of the 1960s are generally in a tearing hurry. They are doing stuff. The switch to third-person narrator was accompanied by a switch to a more leisurely approach, as this narrator now regards everything from a lofty, and loftily satirical, point of view.

MacLean’s would-be humour works OK in the first person, and in small doses, but becomes unbelievably clumsy and crass when translated into the third person.

America, like England, has much more than its fair share of those people in the world who choose not to conform to the status quo.

They are the individualists who pursue their own paths, their own beliefs, their own foibles and what are commonly regarded as their own irrational peculiarities with a splendid disregard, leavened only with a modicum of kindly pity and sorrow and benign resignation, for those unfortunates who are not as they are, the hordes of faceless conformists amongst whom they are forced to move and have their being.

Some few of those individualists, confined principally to those who pursue the more esoteric forms of religions of their own inventions, try sporadically to lead the more gullible of the unenlightened along the road that leads to the ultimate revelation: but basically, however, they regard the unfortunate conformists as being sadly beyond redemption and are resigned to leaving them to wallow in the troughs of their ignorance while they follow the meandering highways and byways of their own chosen life-style, oblivious of the paralleling motorways that carry the vast majority of blinkered mankind. They are commonly known as eccentrics. (p.80)

If a character spouted this gibberish as his personal opinion, it might be a tad more acceptable, it could be taken as throwing light on the character, necessarily partial, and it would probably have been kept a lot shorter. But this lumpish, badly-written rubbish opens an early chapter, supposedly setting the scene and tone of the entire work. And because it is the narrator talking, he can write at whatever length he wants. There are numerous long, wearily facetious passages like this. It is the tone of the novel. They just make you think the author is a berk.

When the first-person narrator of his classic thrillers was piecing the jigsaw together we shared his burning urgency, lives were at stake, think, man, think! I’ve never read novels which grip you so tightly by the throat and don’t let go. But the transition to the third-person narrator destroys the tension, because the narrator airily transports you to the baddies hideout, taking you round the setup, explaining how it’s all been done and what the plan is – and making poor Ryder’s investigations seem pathetic and pointless. Destroying the tension, erasing your interest.

Characters

In a related problem, the last-phase novels all have large casts. When events are seen from one person’s point of view they tend to have a narrow focus of friends (one or two key allies) and foes. This novel has over forty named characters and I was frequently confused about who was who. The maverick cop. His wife held hostage by the evil baddies (think Die Hard without the style). His daughter pops up for a scene. His son. His corrupt boss. The rotten judge. The local sheriff who gets assassinated. The overworked FBI man. The pal on the local newspaper. The unflappable psychopathic baddie. His 6-foot-6 man-mountain number two. Some good cops. Some bad cops. The harassed head of the nuclear reactor. Five kidnapped nuclear scientists. Six kidnapped technicians. Morro’s hired psycho who enjoys torturing them. And so on and on…

America

Like Breakheart Pass, The Golden Gate and Seawitch this is another book set in America, and the transatlantic move is somehow, along with the other factors listed above, connected with the collapse of MacLean’s writing. America was where, by the 1970s, the audience, the money and the movies were and so … that’s where MacLean set his novels. But with dire consequences.

America in the 1970s had a taste for cheap disaster movies (1974 alone saw The Towering Inferno, Earthquake, Hurricane, Trapped Beneath the Sea etc), so … MacLean bent to prevailing fashion and wrote a nuclear blast-catastrophic earthquake-tsunami disaster novel… And it’s a stinker.


Alistair MacLean reviews