Celtic Dawn: A Portrait of the Irish Literary Renaissance by Ulick O’Connor (1984)

We will show that Ireland is not the home of buffoonery and easy sentiment, as it has been represented, but the home of ancient idealism.
(Prospectus for the Irish Literary Theatre drafted by Lady Gregory, 1897; page 188)

This is a much more substantial work than O’Connor’s 1975 history of the Easter Rising. That was a slender pocket-sized 180 pages, this is a bigger format 416-page book complete with hefty index, 17-page bibliography and all. But like the earlier book, it’s still very much a personal account, and based on biography and anecdote rather than more scholarly history.

O’Connor (1928 to 2019) wrote a lot but he was neither a professional historian nor literary critic. He was more an erudite and impassioned amateur. And so this isn’t a scholarly or historically profound account, more an attempt, in his own words, ‘to convey the energy and elation of an era on Europe’s last island, perhaps the last in a series of renaissances which flourished in different countries since the Italian one in the fourteenth century’.

As with the earlier book, O’Connor is not shy about describing his own connections with the various settings and people involved, which makes for sweet anecdotes which, however, tend to bring out its rather home-made feel.

I was led to believe it’s a group biography of the key figures of the Celtic renaissance but, as you can see from my summary (below), it’s more like an interlocking series of biographies of all the Irish writers of the time, plus a fair few political figures.

One by one O’Connor introduces them to us and gives pen portraits. (I double checked I was using this phrase correctly. A pen portrait is ‘a brief, vivid and written description of a person, providing a “snapshot” of their character, lifestyle, and key traits, rather than just objective data’, which seems accurate enough.)

First of all we’re introduced to the key figures in chronological order and then, as they begin to work together, write for each other’s magazines or theatres, introduce each other to new ideas etc, the stories overlap and intertwine to build up a mosaic portrait of a major literary movement. At key moments when the central players, Griffiths, Yeats, Lady Gregory, AE, Edward Martyn, see their vision for a mature national Irish literature come to fruition, it can be very moving. And the figure of George Moore, the mocking dandy novelist, weaves in and out of the story like Puck, helping, mocking and memoiring.

The key players are:

Standish O’Grady (1846 to 1928)

Son of a Church of Ireland minister, O’Grady retained his aristocratic Unionist beliefs till the end of his life, but he played a pivotal role in the Celtic Renaissance by researching, writing, publishing and publicising the ancient legends of Ireland. His academic works – ‘History of Ireland: Heroic Period’ (1878–81) and ‘Early Bardic Literature of Ireland’ (1879) – didn’t sell so he realised he needed to dramatise them and romanticise Irish legends in a series of historical novels including ‘Finn and his Companions’ (1891), ‘The Coming of Cuculain’ (1894), ‘The Chain of Gold’ (1895), ‘Ulrick the Ready’ (1896) and ‘The Flight of the Eagle’ (1897). His insistence that the ancient Irish legends ranked with the tales of Homer inspired Yeats and others, leading to the title ‘Father of the Celtic Revival’. A lot later Yeats wrote: ‘whatever is Irish in me he kindled to life’ (p.25).

Douglas Hyde (1860 to 1949)

Son of a Church of Ireland rector, Hyde was home schooled among gillies and labourers, where he heard Gaelic spoken and started to study it. He began transcribing folk songs and discovered the people of Connacht remembered courtly songs and poems, which he translated and published. It was his poems published between 1890 and 1894 that inspired Yeats and Lady Gregory to realise the folk culture could be the basis for a national revival.

Around 1880 Hyde joined the Society for the Preservation of the Irish Language. Between 1879 and 1884 he published more than a hundred pieces of Irish verse under the pen name An Craoibhín Aoibhinn.

In 1886 Hyde met and became close friends with W.B. Yeats (then 21). They often met and discussed each other’s poetry.

In 1892 Hyde helped establish the Gaelic Journal, and wrote a manifesto called ‘The necessity for de-anglicising the Irish nation’ arguing that Ireland should follow its own traditions in language, literature, and dress. O’Connor sees it as a pivotal moment (p.165) because it led to…

In 1893 he helped found Conradh na Gaeilge (the Gaelic League) to encourage the preservation of Irish culture, music, dance and language. Ten years later there were 600 branches with a membership of 50,000. The next generation of Irish republicans (including Pádraig Pearse, Éamon de Valera, Michael Collins) became politicised through their involvement in Conradh na Gaeilge.

In the same year he published ‘Love Songs of Connacht’. The book had Gaelic poems on one page and prose and verse translations on the other. O’Connor thinks it ‘set the style of the literary renaissance’ (p.170).

Charles Stewart Parnell (1846 to 1891)

1875: Charles Stewart Parnell elected MP for Meath. O’Connor thinks the crucial fact of his life was that his other was American, from a family of heroes who fought against the British. By 1880 Parnell had succeeded Isaac Butt as leader of the Irish Party. In 1888 he was vindicated by an enquiry into his role in the Phoenix Park Murders (which Skin-the-Goat in James Joyce’s ‘Ulysses’ was meant to be the getaway driver for). Here and in his Easter Rising book, O’Connor thinks Parnell’s achievement was to bring together land reformers, constitutionalists and physical force advocates into one party to win the electoral success which gave them 70 or so seats in the London House of Commons and so made them the decisive force in British politics during the 1880s.

Parnell generated an energy which fuelled the elation unleashed in the national being.

Parnell had been having an affair with Katherine ‘Kitty’ O’Shea, a married woman, lived with her and fathered two children by her, when her husband, Captain O’Shea, brought a divorce suit against her, citing Parnell as co-respondent. The case came to court in November 1890 causing a scandal. The Catholic hierarchy turned against him, Gladstone was forced to criticise him. His closest associates in his own party deserted him to form the Irish National federation. The alliance of nationalist forces he had carefully assembled fragmented, and Irish nationalism was set back by a generation.

The following year he died of tuberculosis in Hove, aged just 45. His body was brought back to Dublin and given the biggest funeral procession ever seen. Yeats wrote several poems about it. So did the 9-year-old James Joyce, who went on to dramatise the bitterness surrounding his fall in the famous Christmas dinner scene in ‘A Portrait of the Artist as a Young Man’.

O’Connor thinks Parnell united the Anglo-Irish and the Gaelic Irish into the new identity of the nationalist Irish. (O’Connor nowhere really tackles the more obvious divide between Protestant and Catholic.)

Yeats believed part of the inspiration for the Irish Literary Renaissance was that the people’s creative energies were turned away from politics by Parnell’s fall and sought alternative outlets: folk stories, pagan religion, poetry and drama.

Lady Gregory (1852 to 1932)

Isabelle Augusta Persse, Lady Gregory was the 14th of 18 children! From a Protestant low church background but had a Catholic nanny who told her rebel stories. Met and married Sir William Gregory, recently retired as governor of Ceylon, 62 to her 28. Engaged in political campaigns. Affair with Wilfrid Blunt, the explorer, adventurer, poet and anti-imperialist. Jailed for chairing an anti-eviction meeting in Galway. Husband Sir William died in 1892 aged 74, leaving Augusta aged 40, mistress of Coole Park. She needed income so set about writing, and turning the Park into a venue for Irish nationalist writers. Her momentous meeting with 31 year-old Years was in 1896.

Agreed to create an Irish Literary Theatre for him, to be funded by Edward Martyn.

Studied Gaelic and collected folktales in west of Ireland, heading towards ‘Visions and Beliefs in the West of Ireland’, published in 1920 with notes and two essays by W.B. Yeats.

Memorably wrote: ‘I defy anyone to study Irish history without getting a dislike and distrust of England’ (p.201).

By the later 1890s Coole Park was recognised as a meeting place for writers, with Yeats often there, and AE, Douglas Hyde, Martin. George Bernard Shaw visited and John Masefield. When she heard Irish literature being condemned by Trinity College academics it inspired her to devote two years to retelling the stories from O’Grady’s History of Ireland but in her own style which she had developed over years of translating. The result was ‘Cuchulainn of Muirthemne: The Story Of The Men of the Red Branch Of Ulster arranged and put into English by Lady Gregory, with a preface by W. B. Yeats’, published in 1902. The book is a centrepiece of the literary renaissance. It was well reviewed, and Yeats later used stories in it as the basis for no fewer than five plays, and Synge based his last play, Deirdre, on it.

George Moore (1852 to 1933)

Irish novelist, short-story writer, poet, art critic, memoirist and dramatist. Moore came from a landed family of Catholics who lived at Moore Hall in Carra, County Mayo. The estate had 12,000 acres and his father had not only a stables but a full scale racecourse built on the model of Aintree racecourse in Liverpool.

Moore’s father wanted him to go into the Army but young George wanted to be a painter and so went to Paris in 1873 to study art. There, he befriended many of the leading French artists such as Manet (who painted his portrait) and Degas, and writers such as Villiers de l’Isle-Adam and Mallarmé. Failing as a painter he had a go at poetry but was bad at that, too. At which point he commenced writing prose fiction which turned out to be his metier. He wrote in the naturalist style pioneered by Émile Zola. According to Richard Ellmann, his writings influenced the early James Joyce.

In 1880 he heard his estate was in trouble and so returned. The 1879 harvest had been as bad as the potato famine years and tenants were refusing to pay rents. Moore toured the estate and was shocked at their abject poverty. Having sorted out new, lower rents in order to maintain the estate, he moved to London and started writing at a prodigious rate:

  • A Modern Lover, 1883
  • A Mummer’s Wife, 1885 – Kate Ede, bored housewife in the Potteries, runs away to join a troupe of travelling actors
  • A Drama in Muslin, 1886 – satire on the annual season at Dublin Castle
  • A Mere Accident, 1887
  • Parnell and His Island, 1887 – factual often scathing essays and portraits
  • Confessions of a Young Man, 1888
  • Modern Painting, 1893 – factual book introducing the French Impressionists
  • Esther Waters, 1894 – portrait of a serving girl
  • Celibates, 1895 – three characters explore love, sex and social conventions
  • Evelyn Innes, 1898

He had a love-hate relationship with his country, writing in the factual book ‘Parnell and His People‘ that Ireland was ‘a primitive country and barbarous people’, and:

Ireland is a bog, and the aborigines are a degenerate race — short, squat little men — with low foreheads and wide jaws.

Fifteen years later he would write about the British Empire and its administrators in much the same terms. O’Connor quotes Martyn saying Moore observed himself, his actions and beliefs with the detached attitude of a scientist.

Edward Martyn (1859 to 1923)

Another landlord of a large estate and urban property except that Martyn’s family was Catholic. He was cousin and boyhood friend with George Moore: George the sensualist and Edward the ascetic. They visited Bayreuth together.

Tulira Castle Martyn was eccentric. He comprehensively renovated the family property, the Gothic Tulira Castle, but chose to live in a spartan bedroom. He was a connoisseur of church music. Tulira was and is only 4 or so miles from Coole Park, home of Lady Gregory.

Music He was a fine musician in his own right, giving memorable performances for guests on an organ he had installed at Tullira.

Cultural sponsor Martyn used his wealth to benefit Irish culture. His activities and sponsorships included:

  • 1897: co-founder and endowing of the Feis Ceoil
  • 1903: foundation of the Palestrina Choir (the resident choir at the St Mary’s Pro-Cathedral, Dublin)
  • funding and direction of St. Brendan’s Cathedral, Loughrea
  • president of Na hAisteoirí, the Irish-language drama group
  • sponsored and guided An Túr Gloine, Ireland’s first stained-glass workshop
  • sponsored the Irish Theatre

Martyn was reportedly pivotal in introducing William Butler Yeats and Lady Gregory to each other in 1896. The three founded the Irish Literary Theatre, for whom Martyn wrote his best and most popular plays ‘The Heather Field’ and ‘A Tale of a Town’. He covered the costs of the company’s first three seasons, which proved crucial to establishing the company and the future of the Abbey Theatre.

Irish republicanism He became involved with the political work of Maud Gonne and Arthur Griffith. He was a vocal opponent of the visit of Queen Victoria to Ireland in 1897 and of Edward VII in 1903, this time as chairman of the People’s Protection Committee.

He became close friends with Griffith and funded the publication of his tract ‘The Resurrection of Hungary in 1904’ which publicised Griffith’s abstentionist strategy i.e. non-cooperation with every aspect of the British administration.

From 1905 to 1908 he was the first president of Sinn Féin (the party only taking that name in the latter year). In 1908, he resigned from the party and politics in general to concentrate on writing and his other activities.

He was on close personal terms with Thomas MacDonagh, Joseph Mary Plunkett and Patrick Pearse and mourned their executions in the aftermath of the Easter Rising. A parish hall and church that he founded at Labane, near Tullira, were burned by the Black and Tans. In ‘A Terrible Beauty’ O’Connor quotes the letter Yeats wrote to the Times protesting this.

John Butler Yeats (1839 to 1922)

From an Anglo-Irish = Protestant family, he studied at Trinity College, briefly pursued the law before switching to painting. He became a prolific portrait painter but was not a good businessman, so he and his family were always hard up and regularly moved. ‘In a material sense he had been a hopeless parent’ (p.110).

In 1863 he married Susan Pollexfen (1841 to 1900) daughter of a Sligo merchant and shipowner. She was dismayed when he abandoned the law. They had six children: three sons and three daughters, the oldest son being the Nobel Prize winning poet and dramatist William Butler Yeats. The two daughters most mentioned are Lily and Elizabeth, known as Lolly. Apparently, Susan went slowly mad.

Surprisingly, in 1907 at the age of 68, he travelled to New York aboard the RMS Campania with his daughter Lily and never returned to Ireland, dying in a boarding house in New York.

William Butler (W.B.) Yeats

J.B. was an atheist materialist, a follower of Comte and Darwin. His son, Willie, reacted against this into his Celtic Dawn love of fairies and spiritualism, describing himself as ‘a voice of the revolt of the soul against the intellect’ (p.150). In reaction against his Victorian materialist father, from his teenage years onwards Yeats subscribed to every spiritualist fad available, setting up the Hermetic Society with a friend, meeting Madame Blavatsky and getting into Theosophy, studying ancient Indian texts etc.

In the 1880s father John moved the family to London, to Bedford Park, introducing young Willie to Oscar Wilde among others. One day in June 1889, Maud Gonne turned up on their doorstep. She was already a legend and said to be the most beautiful women in Europe.

Yeats joined the Order of the Golden Dawn led by Mcgregor Mathers. He took to Rosicrucianism as an ideal synthesis of Christianity and paganism. In 1889 he had published his first book of poems, ‘The Wanderings of Oisin and other poems’, supported by the Fenian John O’Leary.

In 1890 Yeats along with Welsh poet Ernest Rhys founded The Rhymers’ Club which met at the London pub ‘Ye Olde Cheshire Cheese’ in Fleet Street.

Later Yeats and others glamorised members of the club as the ‘doomed generation’ because so many died of poverty, alcoholism or disease. Hmm. This is a typical example of literary types’ self-mythologisation. Compare the peace and plenty they enjoyed with the experience of the generation who reached manhood as the First World War broke out; who were the real doomed generation?

The most notable of the Rhymesters was Arthur Symons who wrote an excellent book ‘The Symbolist Movement in Literature’; read to Yeats from French and Latin poetry; and gave Yeats introductions to key literary figures in Paris (Verlaine, d’Adam) when he went to visit the French capital.

1894 production of his first play, ‘The Land of Heart’s Desire’ in London. In it a young woman about to be married is lured into the otherworld by a fairy. George Moore attended and was put off Yeats by his posing in a big black cloak and walking up and down the back of the dress circle wearing a ridiculous sombrero. He had a pathological dislike of Ibsen and issue-led theatre, thus profoundly disliked Shaw’s plays.

Hard up, in autumn 1894 Yeats went to stay out in Sligo with his uncle George Pollexfen. Although a successful merchant, George was also into mysticism and a member of the Hermetic Dawn. He was single, living alone apart from a serving girl he was convinced had second sight.

In 1896 Yeats, aged 30, moved to rented rooms at 18 Woburn Buildings in London where he would live for the next 15 years.

In August the same year, Edward Martyn invited Yeats and Arthur Symons to visit him at Tulira. The visitors asked if they could take a boat to the Isles of Aran, the most remote and unspoiled part of Ireland, which they did for five days. During the visit Lady Gregory invited them to nearby Coole Park. This was the decisive visit which began their collaboration. Amusingly, Symons witnessed their conversation and instantly realised that she would seduce Yeats away from lyric poetry. He ever afterwards referred to her as ‘the witch’ (p.182).

In 1897 Yeats went for another stay with Martyn. While Martyn was elsewhere Yeats was left with Lady Gregory, lamenting that there was nowhere for him to get his plays produced in a Dublin dominated by plays and entertainments imported from England. Within an hour she had mapped out a scheme to set up an Irish national theatre. She would call on her connections via her dead husband with establishment figures and ask them all to cough up £25 for three years to fund the thing. When Martyn rejoined them and heard the plan, he immediately signed up.

In 1898 Yeats, exhausted by his unrequited love for Gonne, came back to Coole. Lady Gregory let him rest in bed, created a daily timetable, had his food sent up, let him walk through the grounds and round the lake where he got to know the wild swans. For the next 20 years she was to be his rock and support until he married in 1917, and she had a hand in arranging that.

George Russell (A.E.) (1867 to 1935)

Met Yeats at art school. The Russell and Yeats families lived near each other. Professional seer of visions which he depicted in his drawings, sacred mountains, druids, the Hindu and Irish gods were related. He did a painting of a divine being and, wondering what to call it, heard the word ‘aeon’ being whispered to him, a few weeks later opening a book about the Gnostics and discovering ‘aeon’ was the name they gave to the first order of beings created by the Divine Mind. From that moment till his dying day he signed his works AE and the brand stuck. He used to go to the esplanade at Bray and hold forth to passersby about the glories of the ancient religion of mankind. Standish O’Grady heard him and was impressed.

In the late 1880s he gave up painting and got a job as a draper’s assistant during the day, so as to be free to practice mystical mind exercises at night.

Despite all this he had a practical side: at Yeats’s suggestion, Horace Plunkett appointed Russell assistant secretary of the Irish Agricultural Organisation Society (IAOS), an agricultural co-operative society Plunkett founded in 1894. He was responsible for developing the credit societies and establishing Co-operative Banks in the south and west of the country.

From 1905 to 1923 he was editor of the influential Irish Homestead, the journal of the IAOS.

O’Connor quotes a good thing A.E. said to a Catholic friend who was twitting him about his mystical beliefs: ‘Like all Irish Catholics you are an atheist at heart’ (quoted page 157).

Sir William Wilde (1815 to 1876)

From a Protestant family, Wilde was an ophthalmologic surgeon and the author of significant works on medicine, archaeology and folklore, particularly concerning his native Ireland. Also, the father of Oscar Wilde.

Wilde was a founder member of the Irish nationalist Home Government Association, established by his Trinity College Dublin colleague Isaac Butt as the precursor to the Irish Parliamentary Party.

In 1851 Wilde married the poet Jane Francesca Agnes Elgee, who wrote and published under the name of Speranza. The couple had two sons, William (Willie) and Oscar, and a daughter, Isola Francesca, who died in childhood.

He was knighted in 1864, mostly for his help conducting a census in Ireland.

Wilde was promiscuous (‘Sir William had a name as a lecher’, p.101). He fathered three children by two women before he married Jane. In 1864 his reputation was damaged by the Travers libel trial. There’s a good summary in the Irish Times:

Wilde is important for O’Connor because he a) spoke Irish like a native and b) collected folklore from his estate in the west of Ireland.

Jane Francesca Agnes Elgee Wilde (Speranza) (1821 to 1896)

From a prosperous Protestant family in Dublin. The plaque on the grave of her husband describes her as ‘Speranza of The Nation, writer, translator, poet and nationalist, author of works on Irish folklore, early advocate of equality for women, and founder of a leading literary salon’.

Speranza As a young woman in the 1840s, Elgee wrote for the Young Ireland movement, publishing patriotic ballads in The Nation under the pseudonym of Speranza, calling for Irish independence and anti-British. Charles Gavan Duffy was the editor when ‘Speranza’ wrote commentary calling for armed revolution in Ireland as a result of which the authorities at Dublin Castle shut down the paper and brought Charles Duffy to court but he refused to name the person who had written the offending article.

Marriage In 1851 Elgee married the successful society doctor and ophthalmologist, William Wilde, thus becoming Jane Wilde. When he was knighted in 1864, she became Lady Wilde.

Folklore When Wilde died in 1876, the family discovered that he was virtually bankrupt. Lady Wilde joined her sons in London in 1879, living with Willie in poverty, supplementing their meagre income by writing for fashionable magazines. She wrote several books based on the research of her late husband into Irish folklore, notably ‘Ancient legends, mystic charms, and superstitions of Ireland’ (1887). O’Connor thinks it ‘contains some of the most beautiful folk tales in existence’ (p.100), although he tells us that the expert, Douglas Hyde, was sceptical about them, given that Jane didn’t actually speak Gaelic. Yeats on the other hand thought they were so good he didn’t care if Lady Jane had embellished them or not (p.115). There’s an obvious study to be done comparing Jane’s folk stories and her son Oscar’s fairy stories…

Feminist Jane was an early advocate of women’s rights, and campaigned for better education for women. She invited the suffragist Millicent Fawcett to her home to speak on female liberty. She praised the passing of the Married Women’s Property Act of 1882, which prevented a woman from having to enter marriage ‘as a bond slave, disenfranchised of all rights over her fortune’.

Oscar Wilde (1854 to 1900)

Yeats’s father moved the family to London and introduced young Willie to Oscar, who he knew through his parents. Wilde was ten years older than Willie and tried to help the young poet. Willie was impressed by Oscar’s attempt to make every aspect of his life beautiful but he deprecated the older man’s sloth. O’Connor points out that when Oscar toured the USA for almost the whole of 1882, he was feted among Irish audiences as much for being the son of the nationalist Speranza as for being a London aesthete. George Bernard Shaw, 2 years older than Oscar, thought him ‘a very Irish Irishman’.

John O’Leary (1830 to 1907)

An Irish separatist and a leading Fenian. He studied both law and medicine but did not take a degree. For his involvement in the Irish Republican Brotherhood, he was imprisoned for five years in England. He spent time in Paris among other political exiles and developed a strong sense of the importance of having a national culture in order to promote independence. He’s important to this narrative because he got to see W.B. Yeats debate and orate and came to believe he was the national poet Ireland was waiting for.

O’Leary was on the Supreme Council of the Irish Republican Brotherhood and inducted Yeats into it. Yeats was to remain involved for the rest of his life. The IRB would regard Yeats as ‘their man’ in the literary movement. Later Yeats would say ‘to him I owe everything I set my hand to’. O’Leary arranged for the publication of Yeats’s first volume, and introduced him to folklorists who supplied the material for his books ‘

Maud Gonne MacBride (1866 to 1953)

Born of an English mother and father in the army, brought up in the barracks, lived with the family in Austria and the south of France, attended the 1886 season at Dublin Castle, attended balls and was presented to the Prince of Wales. But Maud rebelled against her upbringing to become a firebrand Irish nationalist and suffragette.

In 1889 she was introduced to W.B. Yeats who was driven mad with love for her, but she refused to become his lover a) because she was already having an affair with a Frenchman Lucien Millevoye, later b) because she later fell in love with and married (in 1903) the nationalist activist John MacBride (one of the leaders of the Easter Rising, executed by the British in 1916).

William Morris (1834 to 1896)

English textile designer, poet, artist, writer, and socialist activist associated with the British Arts and Crafts movement. In the late 1880s and 90s he was for a while an idol of Yeats’s (‘one of the few men he ever really worshipped’, p.138), who visited him at Kelmscott House and attended meetings of his Socialist League. When Yeats’s collection of essays, ‘the Celtic Twilight’ was published in 1893, the Morris group hailed it as the Irish equivalent of their own pre-Raphaelite movement. What they had in common was a rejection of Victorian pragmatism, mercantilism and science in favour of romantic worlds of faerie. But O’Connor suggests the difference was that the pre-Raphaelites were nostalgic for a vanished English past whereas Yeats was trying to instil the folk culture of Ireland in the here and now.

Eventually they split after Yeats sat through a socialist meeting consisting of attacks on religion before getting to his feet and insisting that only through religion and imagination could the revolution come, before being told to desist and sit down. He never attended another meeting.

George Bernard Shaw (1856 to 1950)

Of Protestant Anglo-Irish descent, Bernard Shaw was a playwright, critic, polemicist and political activist. His father was an alcoholic corn merchant, but his mother, Lucinda, was a noted opera singer, she sang at the Castle and was congratulated by the Lord Lieutenant. Shaw grew up in a household saturated with classical music which is why he was able to become a music critic when he moved to London in 1876. This was encouraged by the mentorship of George Lee who formed a sort of menage with the Shaw household and organised classical concerts. He was also a Catholic who introduced young George to Irish nationalism.

He wrote more than sixty plays, including major works such as Man and Superman (1902), Pygmalion (1913) and Saint Joan (1923). He worshipped Ibsen for confronting the middle classes with truths they’d prefer to ignore.

His first success was Arms and The Man, first staged in 1894. It was funded by Shaw’s lover, Florence Farr and staged alongside Yeats’s first play ‘The Land of Heart’s Desire’. Wilde wrote to congratulate Shaw.

John Millington Synge (1871 to 1909)

Another protestant, from a wealthy Anglo-Irish background, Synge went to Paris to study music. Realising he was not going to become a composer, he met Yeats on a visit to the capital, who advised him to go to the Aran Islands (which Yeats had visited only months before) to learn from the peasants. Two years later, in May 1898, Synge did just that. He made five visits over the next few years. By the end he was fluent in Gaelic. It helped that he was a fine violinist and picked up many airs and tunes which he played for the locals.

(In between these trips he spent five successive summers at Coole Park, collecting stories and folklore, perfecting his Irish, but living in Paris for most of the rest of each year.)

Then he set about writing the half a dozen plays that he is remembered as a key figure of the Irish Literary Revival.

Horace Plunkett (1854 to 1932)

Phenomenally posh, Plunkett was born in Sherborne, Gloucestershire, the third son of Admiral Edward Plunkett, the 16th Baron of Dunsany, of Dunsany Castle, Dunsany, near Dunshaughlin, County Meath, and the Honourable Anne Constance Dutton (daughter of John Dutton, 2nd Baron Sherborne).

Raised in County Meath, Plunkett was Anglo-Irish, raised in the Church of Ireland, educated at Eton College and University College, Oxford.

However, he appears in this story because he went to Wyoming in America to try and cure his incipient tuberculosis, spending ten years there and turning out to have a talent for running ranches at a profit. And when he returned to Ireland, in 1891, he ended up, through a series of initiatives, becoming a pioneer of agricultural cooperatives. In 1894 he set up the Irish Agricultural Organisation Society (IAOS).

Among many other appointments, he heard about Lady Gregory’s good works in Galway and went down to visit. Here he met Yeats who he initially thought an ass until he heard him address a meeting of local farmers and realised there was more to him than first appeared. Plunkett needed an organiser to tour the west of Ireland. Yeats recommended his friend AE who had developed practical experience working for his draper’s company. After years on the road, in 1901 he became editor of the co-op’s magazine, The Irish Homestead.

Irish Literary Theatre

The first plays staged in the theatre’s first season, in 1899, were:

  1. Yeats’s The Countess Cathleen, first published in 1892: is set during a famine in Ireland, where the noblewoman Countess Cathleen sells her soul to demons to save the starving peasantry.
  2. Edward Martyn’s The Heather Field: Carden Tyrrell, a visionary landowner, becomes obsessed with reclaiming a barren, heather-covered field and transforming it into fertile pasture, mortgaging his estate and ignoring his family’s needs, causing conflict with his practical wife, Grace; as the project fails, Tyrrell withdraws into madness.

O’Connor gives a humorous account of the runup to the productions, which Yeats got George Moore to help with, and he was a tyrant who enraged everyone, writing a letter to Martyn so offensive that the latter threatened to withdraw his play.

The famous thing is that the Catholic hierarchy and traditional nationalists got wind of the plot and decided it was a libel on Irish peasantry and Irish womanhood etc. A claque of students attended the first night to yell abuse and boo, but they were combated with cheers. George Moore had played a vital role in securing appropriate actors and directing them. He now sent London critics over to Dublin who loved it. So he had a big hand in launching the theatre.

A celebration dinner was held for all involved at the Shelborne Hotel. Moore described it in his Autobiography:

Yeats rose, and a beautiful commanding figure he seemed at the end of the table, pale and in profile, with long nervous hands and a voice resonant and clear as a silver trumpet. He drew himself up and spoke against Trinity College, saying that it had always taught the ideas of the stranger, and the songs of the stranger, and the literature of the stranger, and that was why Ireland had never listened and Trinity College had been a sterile influence. The influences that had moved Ireland deeply were the old influences that had come down from generation to generation, handed on by the story-tellers that collected in the evenings round the fire, creating for learned and unlearned a communion of heroes.

The second season was staged in 1900 at the Gaiety Theatre and featured two plays by Edward Martyn – Maeve, The Tale of a Town – and The Last of the Fianna by Alice Milligan. The mere fact that these were successfully staged at the 1,200 seat Gaiety and not the 500-seat Antient Common Rooms, showed how the theatre was becoming a commercial as well as cultural success.

Arthur Griffith (1871 to 1922)

Griffith was a key but complicated figure. He was an Irish writer, newspaper editor and politician who founded the political party Sinn Féin. He led the Irish delegation at the negotiations that produced the 1921 Anglo-Irish Treaty, and served as the president of Dáil Éireann from January 1922 until his death that August.

But back in the period O’Connor is covering Griffith is important because he articulated an entirely new strategy for achieving independence. Parnell thought he could do it in the English Parliament; physical force revolutionaries thought they could do it through targeted assassinations and taking on the British Army of occupation. Griffith suggested a third way which was for the Irish to retire entirely from British politics – the policy of ‘abstentionism’ – and instead set up their own administration entirely separate from the British: for the MPs elected in the (British defined) constituencies to not only not go to London, but to set up their own Parliament (the Dail), giving everything Irish Gaelic names, to create their own laws, their own budget, their own courts and system of justice, to create a parallel and independently Irish administration at all levels. Hence the name of his organisation, Sinn Fein which means ‘ourselves alone’.

This was a compelling new idea which caught everyone’s imagination (it’s even mentioned several times in James Joyce’s ‘Ulysses’).

Yeats’s anti-Britishness

1898 – elected president of the committee to celebrate the centenary of the 1798 uprising.

1899 – October, second Boer War broke out and Yeats, Gonne and Martyn became members of the Transvaal Committee protesting Britain’s treatment of the Boers.

1900 – April, the same group plus others formed a committee to protest a planned visit of Queen Victoria to Dublin. (The old queen was 81). (Here as in his Easter rising book, O’Connor tells us that Maud Gonne’s future husband, John Macbride, was in South Africa leading a brigade of Boers against the British.)

O’Connor quotes a letter by Yeats to the Daily Express on 3 April 1900 which gives you a real feeling of his anti-British republicanism. Speaking of Victoria, he writes:

She is the official head and symbol of an empire that is robbing the South African republics of their liberty, as it robbed Ireland of hers. Whoever stands by the roadway cheering for Queen Victoria cheers for that empire, dishonours Ireland, and condones a crime. But whoever goes tomorrow night to the meeting of the people and protests within the law against the welcome of that Unionists and time-servers will have given this English Queen, honours Ireland and condemns a crime.

Moore moves back to Dublin

The Boer War prompted George Moore to revise his opinions of England and Ireland. He began to hate the former and romanticise the latter, forgetting all about his amusingly insulting opinions of 15 years earlier. Strikingly, he is quoted saying he has come to hate the English language and wants to flee the English country and English people (p.282).

He moved back to Dublin in 1901. He’s in this account a) because he was an important novelist in his own right but b) because of his close relationship with the founders of the Literary Theatre, which extended, as O’Connor shows, to a major rewrite of one of Edward Martyn’s plays, which infuriated his old friend. It must be said, his droll insouciance and wit make him one of the most attractive characters in the book. O’Connor devotes quite a few pages to just comic anecdotes from his own autobiography and other people’s reminiscences.

O’Connor gives a comic account of Moore and Yeats struggling to collaborate on a play based on the legend of Diarmuid and Grania, Moore’s attitude is priceless. He was then chosen to direct a production of Douglas Hyde’s play ‘The Twisting of the Rope’ but resigns after 3 weeks. Hyde himself played the lead role of Hanrahan the poet and turned out to be sprightly and antic onstage, completely the opposite of his sober, scholarly everyday persona. The two plays were performed in October 1901. Grania wasn’t a success whereas ‘The Twisting of the Rope’ was the first play to be performed in Irish and was joyously received by nationalists. The audience sang patriotic songs. The audience mobbed Yeats at the stage door. In the audience was John Millington Synge, who saw the language and imagery he had been collecting on the Aran Isles come to life onstage. Within a few months he’d written his first play and within a year the first of his five masterpieces.

Joyce

Joyce loathed these productions and wrote a savage indictment of their success titled ‘The Day of the Rabblement’. He thought Yeats and Co were catering to the low, debased tastes of the Irish people by sinking themselves deeper into the mire of illiterate peasant superstition, whereas Joyce wanted to join and become a star in the great European tradition. Which is why he had to leave Ireland altogether.

Joyce walked across Dublin one night to AE’s house and waited till the established writer returned at midnight. They talked till 4 in the morning. Easy-going AE was impressed and wrote to Lady Gregory warning him about this ‘spectre of fastidiousness’ (p.296). When Joyce left Ireland for Paris in 1904, Lady Gregory gave him money.

The Fays and the Abbey Theatre

The origins of the famous Abbey Theatre in the work of two brothers, William and Frank Fay. In the 1890s, William had worked with a touring company in Ireland, Scotland and Wales while Frank was heavily involved in amateur dramatics in Dublin. After William returned, the brothers began to stage productions in halls around the city. O’Connor gives his usual pen portrait and explains how Frank asked AE permission to use a play which he, AE, had written solely for literary interest, ‘Deirdre’. Discovering it wouldn’t fill a whole evening they approached Yeats for a short filler and he gave them ‘Cathleen Ni Houlihan’ and suggested Maud Gonne play the lead role. Amazingly, she agreed. The brothers hired the cramped St Theresa’s Hall on Clarendon Street for the production. Opening night was 2 April 1902. Deirdre was well received but the Yeats play is about the allegorical figure of Ireland depicted as a long-suffering old crone, who is transformed into a beautiful queen by the sacrifice of a young man. There were cheers throughout and, at the end, a standing ovation. Partisans like Arthur Griffith saw it as the start of a national revival. I’ll now quote from Wikipedia because the events surrounding the foundation of the Abbey Theatre are a bit convoluted and not fully explained by O’Connor:

Encouraged by the St Theresa’s Hall success, Yeats, Lady Gregory, Æ, Martyn, and John Millington Synge founded the Irish National Theatre Society in 1903 with funding from Annie Horniman. Horniman was a middle-class Englishwoman with previous experience in theatre production, having been involved in the presentation of George Bernard Shaw’s Arms and the Man in London in 1894. An acquaintance of Yeats from London circles, including the Order of the Golden Dawn, she came to Dublin in 1903 to act as Yeats’ unpaid secretary and to make costumes for a production of his play ‘The King’s Threshold’. They were joined by actors and playwrights from Fay’s company.

At first, they staged performances in the Molesworth Hall. When the Mechanics’ Theatre in Lower Abbey Street and an adjacent building in Marlborough Street became available after fire safety authorities closed it, Horniman and William Fay agreed to buy and refit the space to meet the society’s needs.

On 11 May 1904, the Society formally accepted Horniman’s offer of the use of the building. As Horniman did not usually reside in Ireland, the royal letters patent required were granted in the name of Lady Gregory, although paid for by Horniman. The founders appointed William Fay theatre manager, responsible for training the actors in the newly established repertory company. They commissioned Yeats’ brother Jack to paint portraits of all the leading figures in the society for the foyer, and hired Sarah Purser to design stained glass for the same space.

On 27 December 1904, the curtains went up on opening night. The bill consisted of three one-act plays, ‘On Baile’s Strand’ and ‘Cathleen Ní Houlihan’ by Yeats, and ‘Spreading the News’ by Lady Gregory. On the second night, ‘In the Shadow of the Glen’ by Synge replaced the second Yeats play. These two bills alternated over a five-night run.

In addition to providing funding, Horniman’s chief role with the Abbey over the coming years was to organise publicity and bookings for their touring productions in London and provincial England.

‘The Shadow of the Glen’ caused a furor. I have written a separate blog post about it.

Codas

Towards the end of the book, O’Connor deals increasingly briskly with his charges.

Joyce He portrays Joyce leaving for the continent, helped with cash from Lady Gregory, and even Yeats who met him at Euston station, bought him breakfast and helped him catch the boat train to Paris. In O’Connor’s portrait Joyce comes over as fiercely arrogant, angry, bitter and determined. In Paris he met Synge but the two didn’t get on at all. He’d only been there a few months when his father telegraphed him to return to Dublin because his mother was dying. It was then that occurred the famous occasion when Joyce refused to kneel and pray for his mother, letting her die distraught that her son was an atheist, leaving him gnawed with guilt which provides a central thread to ‘Ulysses’, where he grandly renames it ‘agenbite of inwit’. It was on 16 June 1904 that he had a second date with an uninhibited Galway girl who kissed him and touched his willy through his trousers, thus persuading the highly sexed Joyce that she was the girl for him, and indeed they spent the rest of their lives together, and she was the rock which enabled him to write his masterpieces.

Lady Gregory Having been midwife to numerous plays, Lady Gregory now started writing her own. Amazingly, she ended up writing about 100, and many were very popular. Her best works are probably ‘The Rising of the Moon’ and ‘The Workhouse Ward’. It was seeing plays like these on the Abbey Theatre’s first tour of America, which apparently inspired American playwright Eugene O’Neill to write his first plays. In the 1920s, when finances were tight, she persuaded the new Free State government to give the Abbey Theatre a stipend, making it the first state-sponsored theatre in the world.

Climax and aftermath

It turns out that those 1904 productions are the climax of O’Connor’s book. The precursor to the Abbey Theatre had been created and Yeats, Gregory, AE had seen their vision of a native Irish theatre based on native Irish legends and themes come true. From left-field came J.M. Synge whose Aran Island-inspired plays would expand and consolidate the genre.

So instead of continuing to take things forward at the slow incremental pace he’d used up till now, rather surprisingly O’Connor leaps forward to the first night of Sean O’Casey’s ‘The Plough and the Stars’ in 1926. After a vivid description of the protests and catcalling which forced Yeats to call in the police, again, O’Connor relaxes on the final pages of his book and turns into lists. The renaissance was underway and he lists the next generation of playwrights which came through along with a sudden interest in painting, which had until these last few pages only received passing mention in reference to John Yeats. Now there’s a sudden list of Irish painters who flourished in the 00s, 10s and 20s. The outstanding art collector Hugh Lane left his collection to the Dublin Art Gallery. In less than a page he skips over the East Rising and civil war to the creation of the Irish Free State, and then the last 3 or 4 pages concern the afterlives of his central characters.

Edward Martyn broke with the Abbey Theatre founders, founded his own rival theatre, died in 1924.

George Moore argued with everyone in the movement and, in 1912, left Ireland a second time, reverting to his initial contempt for his homeland. He died in 1933. He always felt James Joyce had plagiarised his ‘Confessions of a Young Man’ in his ‘A Portrait of the Artist as a Young Man’, and stole his famous short story ‘The Dead’ from the end of his novel ‘Vain Fortune’. But the pair met in Paris in 1929 when Joyce was eager to conciliate the older man and they got on surprisingly well.

Lady Gregory stopped writing plays in the 1920s, negotiated a government subsidy for the Abbey Theatre in 1925. Her son Robert was killed serving in the air force in 1918. Coole Park had to be sold off, along with its wild swans and the tree she had her famous writers carve their names into. She died in 1932.

W.B. Yeats came to be recognised as one of the greatest poets of the age, receiving the Nobel Prize in 1924. He was made a senator in the new Free State. In 1928 he entered a late flowering period of creativity with ‘The Tower’. He died in the south of France in 1939.

Douglas Hyde was installed as president of Ireland in 1938. He had faded out of public life after refusing to let his Gaelic League get involved in politics. The decision to bring him out of retirement paid homage to his work as a young man in rescuing the Celtic language and its stories.

O’Connor ends with a charming story, of how the following year, when war broke out, coal became scarce, so Hyde opened the coal cellars of the Viceregal Lodge to the population of Dublin. Instead he had turf brought from the countryside so that the grand dinning, ball and state rooms of the palace, which had echoed to the social life of the conqueror for so many years, were now filled with the aromatic smoke betokening authentic Irish peasant life.

Firesides

O’Connor is a romantic, sometimes sentimental author. Peasants are noble. Aristocrats are noble. All his upper class characters are fine riders and excellent shots. He takes a heroic view of Irish patriots. One aspect of this is his fondness for ‘firesides’ as a symbol of authenticity, especially, of course, the firesides of the people and peasants.

[Henry Grattan]’s speech at the inauguration [of the 1782 parliament] would become a hymn of nationalism recited around the firesides of nationalist Ireland in the nineteenth century. (p.15)

Under the name of Speranza [Francesca Elgee] wrote patriotic ballads about the Fenians and English misrule, like ‘The Famine Year’ which was recited around firesides throughout the country. (p.100)

Soon [Synge] had mastered the Irish jigs and reels and slow airs, and he would sit at night near the firelight in the cottages and play his airs for the dancing boys and girls. (p.191)

This [lines from a Yeats poem] could be from the court of Aquitaine; or that its sentiment is a trifle extravagant, the address of a Cavalier. Least of all does one think of it as a poet’s address to his country in one of the traditional names which were used for Ireland in the seventeenth century, and that this was perfectly understood by the people when it was sung for them round their firesides or in the fields. (p.214)

[Of ‘In the Shadow of the Glen’] It was, after all, a daring theme for those days to depict a wife leaving a husband, however aged, for a tramp travelling the roads. The fact that it was based on an Irish folk tale told around the firesides of the west would not make it any more palatable when it would be acted out in front of urban audiences who would lack the Rabelaisian acceptance of farmyard life. (p.333)

The story of how Cuchulain inadvertently kills his own son whom he had had (unknown to him) by a Scottish princess, Aoife, was still told around the country firesides in the west. (p.352)

Documentary

There are many documentaries on the subject. This one is an easy-going complexity-free example, bolstered by extensive interviews with the eminent academic Fintan O’Toole. Most interesting for me was the section about Patrick Pearse’s objections to the movement which he said ought to be ‘strangled at birth’. He thought Yeats and Lady Gregory, Protestants both, were denying the Catholic faith of the peasants they depicted, and Ireland as a whole, in order to promote their own personal vision of a pagan Ireland, the Ireland of the myths and legends they collected and they promoted.

There was also a class aspect, because the revivalists’ plays focused on peasants or aristocrats, itself an ancient binary, with no space for the majority population of working and middle class. In this sense, their vision was utterly unrepresentative of Ireland’s realities. (Just one reason for James Joyce’s complete rejection of their vision and aesthetic, although the movement was, eventually, to be large enough for the working class dramas of Sean O’Casey.)


Credit

‘Celtic Dawn: A Portrait of the Irish Literary Renaissance’ by Ulick O’Connor was published by Hamish Hamilton in 1984.

Related reviews

  • Irish reviews

No Longer at Ease by Chinua Achebe (1960)

‘A man who lives on the banks of the river Niger should not wash his hands with spittle.’
(Traditional Igbo proverb, No Longer At Ease, chapter 1)

‘Na so did world be.’
(Igbo proverb, p.230 and elsewhere)

Chinua Achebe’s second novel is closely linked to the first, Things Fall Apart. The protagonist of that book was Okonkwo, a big man in the village of Umuofia, of the Igbo people in what would later become south-east Nigeria. Three-quarters of Things Fall Apart depicts the culture and practice of the Igbo people in the 1890s; the final quarter depicts the slow but unstoppable arrival of British colonial rule bringing with it European religion, administration, law and order, and showing the adverse affect these had on traditional Igbo culture and on Okonkwo in particular.

This second novel leaps forward about 60 years, to the late 1950s, to describe the life of Okonkwo’s grandson, Obi Okonkwo. In Things Fall Apart one of the many ill effects of the arrival of the British was that Okonkwo’s eldest son, Nwoye, converted to Christianity and moved out of the district altogether, changing his name to Isaac, betraying his heritage and rejecting his (often violent) father. We are told that Nwoye moved to the nearest big town, Umura, where he enrolled in teacher training college. Well, the protagonist of this book, Obi, Okonkwo, is Nwoye’s son (page 159; his mother is named Hannah Okonkwo, p.158).

An executive summary is pretty simple. Obi is a smart young man who gets the opportunity to study law in Britain. After graduating, Obi returns to his native Nigeria and gets a job in the public administration. Here he is shocked to discover that local government, already, before independence (which came in 1960), is mired in corruption.

In various ways, Obi’s attempts at honesty are rebuffed or mocked. He meets a young woman and falls in love, sharing with her the moral dilemmas he is faced with. Just paying to maintain his status, for example, paying the insurance on his car, stretch his resources. then his mother falls ill and needs medical treatment. Then he gets his girlfriend pregnant and has to pay for an abortion. The bank start pressing him about his ever-growing overdraft. Obi starts accepting bribes. The climax comes when he accepts one from an undercover policeman and is subsequently arrested, charged and taken to court for bribery.

The novel opens at the end of the plot, with Obi in court on trial for corruption and the narrative takes the form of flashbacks, back to all the moments which led up to him standing in court, broken and demoralised.

Chapter 1

Chapter 1 describes responses to Obi’s arrest and trial. White colonials (notably Obi’s boss, Mr Green) are depicted as dismissing all Africans as corrupt. He and his cronies are described drinking and pompously laughing at the exclusive white men’s club, served by discreet black stewards.

By complete contrast we are then introduced to the Umuofia Progressive Union, formed 6 or 7 years earlier (i.e. about 1950) by men from Obi’s village of Umuofia, with a view to subsidising the education of the best and brightest among them (p.157).

Obi was the first candidate chosen under this scheme and had been loaned £800 to study in England, to be repaid over 4 years after his return – and now here he is, on trial, bringing shame on his village and clan, harshly criticised by some in the Union. In fact, he had already outraged many in the Union, years earlier, by changing the subject he studied in England from the (useful) Law to (useless) English (p.158).

The narrative then moves further back in time to the big prayer meeting held in Umuofia and hosted by his father, the retired Christian catechist, where Obi is toasted as the pride of the community and given blessings and presents and advice for his trip, first to Lagos, then to London.

Chapter 2

Stories about big city Lagos told by soldiers who’d fought for the British in the Second World War, when they returned to Umuofia. En route to the UK, Obi looks up a friend from his school, Joseph Okeke (‘a second class clerk’), who briefs him about life in the big city.

Then the scene cuts to four years later, with Obi returned from the UK and living in Lagos, now attached to his girlfriend, Clara, and discovering seedier, poorer slums of the city which he hadn’t seen on his brief stay en route to England.

Quite quickly we are immersed in Obi’s post-British life in Lagos, complete with girlfriend Clara Okeke who is a nurse, puts up with Obi reading his poems, prefers to go to trashy violent American movies. His friend Christopher, a graduate from the London School of Economics. They have long arguments about the future of Nigeria and the role of bribery already present in the black administration.

Chapter 3

The reader is getting used to the narrative jumping around in time. Now we leap back to when Obi and Clara first met, at a dance in St Pancras Town Hall in London. Obi was clumsy and gauche. Eighteen months later they meet by chance on the boat back to Nigeria, the MV Sasa, sailing from Liverpool.

Evocative description of the sea journey, companions at dinner, the changing moods of the sea. Obi has bad sea sickness and formerly aloof Clara is kind enough to give him some pills for it. Obi becomes firm friends with a white man, John Macmillan (p.172). They discover they’re both 25 years old.

The ship docks at Funchal, largest city in the Madeira islands. Obi, John and Clara explore the city together. That evening, back on board ship, they have their first kiss.

Chapter 4

On arriving at Lagos a local official tries to extract a £5 import duty on Obi’s radiogram. It’s a symbolic re-introduction to African corruption. ‘Dear old Nigeria,’ he said to himself (p.176).

The officials of the Umuofia Progressive Union arrange a grand gala reception for the prodigal son. We learn his first name is actually Michael, Michael Obi Okonkwo (p.177). The scene is played for laughs (I think) with a big discrepancy between Obi’s informal approach (dressing in shirtsleeves, delivering an informal speech about education) which contrast strongly with the shirt and tie formality of the Union’s officials and a grandiose speech about obi representing their village in the Great Future of the Country etc.

After the reception his friend Joseph takes him to a bar for a drink. Obi wants to eat traditional Nigerian food but finds it impossible to order. Nobody with ambition eats the old-style food (roast yams and bitter-leaf soup).

A flashy car draws up outside the club and out gets the super-popular, handsome and well-groomed politician the Honourable Sam Okoli. Happening to be in a chair facing that way, Obi sees he has a female companion in his flash car. It is Clara.

Bribery and corruption

In the 20 or so books about post-independence Africa I’ve read this year, corruption emerges as such a consistent universal feature of African states and economies that you eventually realise it is the system, the way things are run and managed from the lowest to the highest levels, while the fol-de-rol about democracy or transparent governance etc are formal hoops African leaders have to jump through in order to get their next tranche of World Bank loans, half-mocking lip service paid to western banks.

So this book is a fascinating insight into how the issue of corruption was perceived, discussed and addressed by Africans at the time of independence, over 60 years ago. Just the fact that Achebe chose to make the topic a central theme of his second book, with repeated discussions of it by the characters, is itself hugely revealing. Regarded just as documentary evidence for social history, it’s a fascinating body of evidence. I was riveted by passages like this:

In Nigeria the government was ‘they’. It had nothing to do with you or me. It was an alien institution and people’s business was to get as much from it as they could without getting into trouble. (p.178)

Chapter 5

Obi writes a paper expressing his view that corruption is caused by the older generation and will be stamped out once a new, young generation of university graduates like himself rise to the top. He interviews for a job in the civil service, led by a white man who is happy to discuss recent literature with Obi (recent literature including Graham Greene’s ‘The Heart of The Matter’). This man asks him point blank if he wants to the job (Secretary to the Scholarship Board) so he can take bribes? Obi is understandably furious but also demoralised that this is the universal and low expectation of even educated young Nigerians (cf. p.212 where Joseph’s friends simply expect Obi to take bribes).

While waiting to hear the result, Obi takes a ‘mammy-wagon’ i.e. a packed bus, the 500 miles from Lagos to Umuofia.

On the way corrupt policemen pull them over for a bribe. Obi watches the driver about to pay and both participants shy away from being directly witnessed. This only leads to the driver motoring a bit further on then stopping and running back to pay the policemen. Instead of the standard 2 shillings the bribe is jacked up to 10 shillings. Everyone in the car blames Obi for his goody two shoes, over-educated fussiness which has only ended up making them worse off. Obi despairs of wiping out corruption. Educating the masses would take centuries. It has to come from changing the people at the top. Maybe a benign dictator.

An enlightened dictator. People are scared of the word nowadays. But what kind of democracy can exist side by side with so much corruption and ignorance? (p.186)

This book was published in 1960, just as Nigeria gained independence, six years before it had its first military coup in 1966. To date there have been five military coup d’états in Nigeria. Between 1966 and 1999 Nigeria was ruled by a military government apart from the short-lived Second Nigerian Republic of 1979 to 1983 = 29 years of military rule.

The mammy wagon arrives at the famous market town of Onitsha, allowing Obi to wander round it and Achebe to slip in a description of it, before he completes the last 50 miles to Umuofia. There’s a heartfelt passage, which feels very autobiographical, on how lonely Ibo felt in London, and how he felt like a cultural traitor, studying the language of the colonist, instead of his own culture.

Back in the village he is greeted by a great assembly, featuring his father the Christian but plenty of village elders who have refused to become Christians, and speak and think in the old ways, sitting on goatskin, unable to imagine a ship which sails the oceans, only able to conceive of Obi’s trip as a voyage to the land of the spirits. The old culture lives on very powerfully in Umuofia.

Pidgin

Many of the characters, the minor uneducated ones, appear to speak pidgin English. It feels like this novel is a good source of information about the state of pidgin in 1950s Nigeria, but I am too uneducated / ignorant of the subject to comment.

Christopher’s prowess at pidgin i.e. being able to switch between English, Igbo and pidgin to suit the company, time and situation (p.238).

Chapter 6

When everyone else has left, an intimate portrait of Obi’s family, his mother, father, brother, six sisters (p.196). His father, Isaac, is officious and bossy about his Christian faith in a way reminiscent of his tyrannical father, Okonkwo. Isaac forbade his wife, Obi’s mother, Hannah, to tell her children the old folk stories (p.197). Obi remembers being a boy at the village school and humiliated because when called on by the teacher to stand before the class and tell a folk story, he couldn’t. He went home in tears and told his mother. She said wait till your father goes to his next evening prayer meeting, then she told Obi a folk tale. Then he was able to tell it in school. These all feel like pure autobiography of Achebe whose father was a teacher and evangelist. Achebe’s father took the Christian name Isaiah; Obi’s father takes the Christian name Isaac.

It’s difficult to convey how candid and moving these passages are. No great excitement, no arguments, no historical moments, just a sense of the warmth and companionableness of a large family who enjoy teasing and entertaining each other. Made me jealous.

Chapter 7

He remembers the second white man he saw, a Mr Jones who was a school inspector 20 years previously i.e. about 1937 (in fact, later in the text the narrator dates it to 1935, p.235). Mr Jones was tall and drove a big motorbike which he left half a mile from the school so he could arrive unannounced and detect faults. How he interrupted the black headmaster, Mr Nduka and then, in his rage, slapped him. How Mr Nduka was an expert wrestler and in a flash had Mr Jones on the floor in a wrestling hold. How all the children fled in terror.

Obi presumably passed his interview because we now see him starting h is first job, in government administration. His boss is the rude Mr Green, while his immediate manager is the old and cowering African, Mr Omo, who has bad teeth and can only speak pidgin.

As a new senior civil servant Obi is awarded a clothing allowance and a car. He phones Clara who is thrilled. he discovers the Honourable Sam Okoli has no designs on Clara, in fact is soon to marry her best friend. Sam lives in a massive house. There was controversy when the government blew £35,000 on each new house for its ministers. He shows off to Clara and Obi his gramophone and tape machine. He has immaculate flunkeys to wait on him. All this before independence. You can see why post-colonial critics accuse the Europeans of establishing a template of gross inequality between governors and governed which the African ruling classes simply copied.

Clara tearfully tells Obi she can’t marry him because she is an osu, a kind of Igbo version of the Indian ‘untouchable’, from a family which devoted itself to a particular tribal god and became outcasts (defined on pages 207, 208 and 256). Obi, as an educated man, consider all this gibberish, insists that he will marry her, buys an engagement ring.

The friend in Lagos, Joseph Okeke, whose place he’s still staying at, argues with him, saying his parents, Christians though they may be, will reject an osu as a bride, specially for the local boy made good Obi. (Later Clara says she doesn’t like Joseph because ‘he’s a bushman’ i.e. uneducated, close to the old tribal rural ways, p.237.)

The first educated Nigerian generation

Sprinkled through the book are references to the idea that they – Obi, Clara, Joseph et al – belong to the new young generation, they are going to do things a new way, not just re. corruption, but bringing western education, standards of behaviour etc, in exactly such things as this ridiculous superstition about osu. But some of them are aware that, being a pioneer generation means they can’t change everything at once. For example, his educated friend Christopher coming down on his parents’ side, regarding Clara:

‘You may say that I am not broad-minded but I don’t think we have reached the stage where we can ignore all our customs.’ (p.264)

Chapter 8

We learn the years is 1956 because the Umuofia Progressive Union holds its next meeting on 1 December 1956 (p.212). You can see why the UPU exists, to promote the interests of men from the village who have moved to the big city and have formed what is in effect s self-help group. But you can also see how it itself fits into the matrix of corruption in the sense that, having got ‘one of theirs’ into a good government job, they expect him to speak up for his clansmen and use his influence to get them jobs and money.

In the event Obi makes a gracious speech and a good impression until the President of the UPU (‘the father of the Umuofia people in Lagos’) very mildly starts to refer to Clara as bad company. He had barely hinted at her osu background (‘a girl of doubtful ancestry’) when Obi, trembling with fury, leaps to his feet, shouts abuse at the President and, despite plenty of voices telling him to calm down, storms out of the meeting and has his driver roar off.

Having just read Things Fall Apart I see that Obi has inherited the fiery temper which characterised and was the downfall of his grandfather, Okonkwo.

Chapter 9

At his new work Obi is given an office with Mr Green’s secretary, Miss Marie Tomlinson. She seems to be sweet and friendly although Obi suspects her of being a spy set to catch him out.

Obi has been back from Britain for 6 months when he is first tempted by a bribe. An inoffensive looking man named Mr Mark offers him a bribe to give preferential treatment to his daughter. Obi chases him out of the office, not least because Miss Marie Tomlinson has witnessed the entire thing.

Obi is as proud of himself for resisting temptation as he was after he lost his virginity (to a white woman in England, p.220).

Money pressure. Obi is paid a monthly salary of £47 ten shillings, but from this he is paying back his loan from the UPU at £20 a month, and sending £10 to his parents, and promised his father, on his visit back to Umuofia, that he would pay his younger brother, John’s, school fees.

That evening Mr Mark’s 17 or 18 year old sister, Elsie Mark (p.222) knocks on his apartment door. He kindly invites her in and she tells her sad story, that the family spent all their money on her elder brother who failed all his exams, so now it’s desperately important that she goes to university in order to get a good job with lots of money to support her family and she’ll do anything to get a recommendation from Obi in his capacity as Secretary to the Scholarship Board. I think the implication is she is prepared to sleep with him but at this moment Clara bursts through the front door, bridles when she sees the girl, helps herself to a drink from the fridge, asks about the soup she made for Obi and generally makes it crystal clear that he is her man. But she needn’t have bothered. The poor young girl is humiliated. Obi kindly offers to run her back into town (taxis are expensive) and all the way back Clara gives him a hard time.

Chapter 10

A year later the insurance on Obi’s car is due, £40. He only has £13 in the bank. Not least because he sent his mother £35 to be given private medical treatment. Then there’s his electricity bill. And the tyres have gone and need renewing.

He decides he has to take out a £50 overdraft with the bank. Which all leads to an argument with Clara. Her way of arguing is to go completely silent and, since she does most of the talking, creating a great silence, which eventually intimidates Obi into capitulating.

Chapter 11

Obi’s speculation about Mr Green, who works very hard at the job but, Obi thinks, for a vision of Nigeria which doesn’t exist, for the Nigeria of his western colonialist dreams. Clara sends a package via a messenger from her hospital, which contains £50. Obi goes to see her, to tell her he can’t accept it. They argue about it.

Obi and Clara go to see his friend, Christopher the economist, and his latest girlfriend, Bisi, who persuade them to go dancing at the Imperial Hotel. Interesting description of dancing styles to high-life music. When they emerge from the bar in the early hours it’s to discover that someone’s broken into Obi’s car and stolen the box with Clara’s £50 in it.

Chapter 12

Mr Green is depicted as a bigot who, despite having ‘served’ in the country for 15 years, makes a point of telling everyone that all Africans are corrupt and lecturing Obi on his fellow ‘educated’ Nigerians who expect the Government to pick up the tab for their lives.

He’s obviously meant to be a narrow-minded bigot but I couldn’t help having a sneaking liking for him, as I did for the bigoted ex-pats in Ronan Bennett’s novel about Congo at the time of independence, The Catastrophist. On the face of it they’re illiberal bigots except that they turn out to predict the future (political chaos, violent secessions, civil war, white flight) with perfect precision, while the sympathetic liberal characters, who hoped for the best, turn out to be completely wrong.

Mr Green is more obnoxious than that, he goes out of his way to be offensive and insulting. He’s an arse, basically. But there’s enough truth mixed up in his prejudice to make him an interestingly complicated character.

Obi receives a letter from his father saying his mother requires further medical treatment.

Then he has a day with friend Christopher going to chat up two Irish Catholic girls he knows, then onto Bisi’s place, then to his latest girlfriend’s, Florence. Obi tells him about the girl, Elsie Mark, who appeared to offer herself in order to win a scholarship. She got it anyway and is studying in England, now. Christopher calls him a fool for turning down sex with her. She probably slept with the rest of the Board. Maybe, Obi says, but can’t he see how corrupt it is. They go out for dinner and argue about definitions of bribery late into the night.

Chapter 13

February 1957 (p.249). Clara again tells him she wants to break off the engagement. She says it’s because his parents will disapprove. He reassures her, they kiss, they make love.

Obi takes a week’s leave back home. He explains how villagers like his expect the local boy who made good in the big city to shower them with largesse except that, as we’ve seen, he’s actually broke (specially as he’s just paid John’s fees for one term, £16 ten shillings), so that’s a problem (p.251).

When he gets to Umuofia he discovers his mother is very weak and ill and old, with hands like claws. He tries to contain his sorrow. Performers from a funeral pass by and stop to serenade them. His mother likes music, ‘even when it was heathen music’.

Chapter 14

Still on this week’s leave at his village, Obi finally has the conversation about Clara with his father. His father tells him point blank he cannot marry Clara. They debate it, Obi saying it’s ridiculous superstition and will have disappeared in ten years’ time, his father insisting he will curse himself, his sons and daughters, their sons and daughters, for generations to come. In a funny way Obi enjoys the argument because he feels he is engaging with his father in a way he never has before, in all his 26 years (p.257).

The next morning he is up early to attend family prayers led by his father. Then he is alone with his very sick mother who horrifies him by telling him that if he marries an osu she will kill herself and he will have her blood on his hands!

Obi retires to his bed, claiming to be too tired from the long journey to see anyone, which neighbours and people who’ve come to visit consider a great insult. In the evening his father comes quietly into his bedroom but instead of discussing the osu issue, Obi’s father tells him about how he rebelled against his father and how his father cursed him, and all his life he’s lived under this shadow.

Chapter 15

Obi drives the 500 kilometres all the way back to Lagos in one go, without stopping, nearly crashing into a mammy-wagon on the way. He washes, changes, goes to Clara’s apartment, tells her about his mother, tries to make it sound like a small impediment which can be fixed, but Clara says ‘I told you so’ and hands him back her engagement ring (p.263). Then she lowers her voice and says there was something else she wanted to tell him, but…she’ll sort it out herself. Presumably she means she’s pregnant.

Obi drives to see his friend Christopher who 1) takes his parents’ side, saying he personally would never marry an osu; and 2) he can get him the addresses of some abortionists, though again he personally thinks it’s the woman’s responsibility, not least because you can never be sure whether you’re the father.

The first doctor they go to see is an old guy who refuses point blank to perform an abortion. The second one is much younger and demands £30 in cash. Both ask Obi why doesn’t he simply marry her?

Chapter 16

Obi sweats about where to get the money, rejecting the options of a moneylender, his friends let along the President of the Umuofia Union. He settles on the smooth and handsome and rich Honourable Sam Okoli.

At 2pm the next day Obi is at the clinic and hands the doctor £30 in cash. The doctor tells Clara to stay and Obi to return at 5pm. Obi goes out and gets into his parked car, watches Clara exit the clinic and get into the doctor’s car and they drive away. After a few seconds Obi panics and lurches after them. He’s too late but he drives all over Lagos like a mad thing trying to find them.

At 5pm he’s back at the clinic but the doctor is alone, telling him he wants to keep Clara in overnight in case of complications. Next day Obi’s back at the clinic and pushes past the nurse and all the waiting patients to see the doctor. The doctor very casually says Clara had a few complications but is now at a private clinic being looked after by a colleague of his. Obi races over to the address he gives him, and is told Clara is seriously ill and cannot see visitors.

Chapter 17

Next morning Obi is back at work and the last thing he needs is the poisonous bigot Mr Green criticising the number of holidays Nigerians treat themselves too etc. He had gone to see Clara at the hospital but when she spotted him she simply turned to the wall. All the other patients saw this. Obi has never felt so humiliated.

His finances are pressing. He wants to pay Clara back the £50 that was stolen. He goes see Mr Omo about his advance. I didn’t understand this. I think he got an advance for his visit back to his parents in Umuofia but didn’t realise it was a loan and had to be paid back, retaining a sum calculated according to mileage. He does the sums and discovers he can only claim for £15 for his drive to and from Umuofia. He’ll have to lie and say he went further, say to Cameroon.

When Obi considers the total situation, he realises it’s the burden of having to pay £20 back to the Union which is screwing his finances. He decides to unilaterally stop paying it, without telling them.

He writes and rewrites a long self-extenuating letter to Clara but can’t get the tone right. Yes, great at quoting T.S. Eliot, but rubbish at managing his job, finances and relationships. Portrait of a callow young man.

Chapter 18

Clara is in hospital for five weeks then goes on 70 days sick leave without contacting him. Then he gets a demand from the Revenue for income tax £32. Then his mother dies and, although he sends money, it isn’t enough to pay for an impressive funeral, which is noted by the entire town, and reported back to the UPU in Lagos. An avalanche of troubles and failures.

By this stage it is clear Obi is a man crushed by a combination of circumstances rather than any particular Grand Flaw. Early on in the novel he had argued with the white man who interviews him for his job that tragedy isn’t a matter of one Grand Event which brings closure and satisfaction to all concerned. Real tragedy is the daily grinding down of people by circumstances. You can see how that speech was inserted as a comment on this entire narrative.

The vexing thing is, of course, that everybody misinterprets his actions. We hear a load of speeches at the Union from old timers who’ve seen it happen all-too-often, the young man who gets an education, moves to the big city, is seduced by the sweets of sin i.e. women, and forgets his family, his village and the old ways. They are like the Chorus of a Greek tragedy, or Achebe’s reimagining of a Greek tragedy as one of grinding crushing circumstances rather than a grand climax.

His work gives him leave, he goes home, cries his eyes out and sleeps like a baby. Then Joseph, the ‘bushman’, arrives with a crate of beers to be put in the fridge, and then in groups about 25 of the UPU arrive at Obi’s flat. Joseph may be a ‘bushman’ but he understands his people better than Obi. The arrivals condole with Obi who is genuinely touched, then get on with gossiping about news and current affairs.

The indictment of a young man who doesn’t respond appropriately to his mother’s death reminded me of Albert Camus’s novel The Outsider.

‘Poor mother!’ he said, trying by manipulation to produce the right emotion. But it was no use. The dominant feeling was of peace. (p.280)

Chapter 19

Suddenly the novel ends. Just four more pages, in which Obi feels as if he’s been through the wringer, been through the fire, and emerged new-forged.

It is the season when students applied for their scholarships. Obi has brought a lot of the paperwork home. A flash car pulls up in front of his apartment block. A confident flash man enters his flat and proffers £50 cash if Obi will recommend his son for the scholarship to study in Britain. He goes on to say they ought to become friends, and he will nominate him to become a member of Lagos’s premier club. Then he walks out ignoring Obi’s feeble protestations. The money lies there all the rest of the day and the night while Obi agonises.

In a few swift paragraphs we cut to a scene of Obi dancing with a young girl who is on the short list of candidates. He manoeuvres her to the bedroom. They have sex though it isn’t in the event, very fulfilling. He drives her back to her place then drops round to friend Christopher’s to joke about it.

Obi has, in other words, been thoroughly corrupted. He pays off Sam Okoli who loaned him money, he pays off his bank overdraft. Then someone brings £20. He takes it but a few minutes later the same man returns with a police officer. They search Obi, find the marked notes and he is charged with corruption. The rest is like a dream, he sleepwalks through it in a daze.

And in a quick throwaway paragraph, Achebe brings us back to the very start of the novel with Obi standing in the dock, listening to a series of witnesses to his life saying none of them understand how a fine, upstanding man with all the privileges and perks of his fine education let himself sink to the blah blah blah.

High life music

In chapter 11 Obi and Clara, Christopher and his latest girlfriend, Bisi, go to the Imperial hotel where the band plays this song and the dancefloor is immediately packed.

It’s followed by ‘Gentleman Bobby’.

Music dates stories faster, more completely, than language. This novel is as old as this music and doesn’t the music sound dated, messages from another, more innocent world?

Thoughts

Corruption is the nominal central theme of the novel, as discussed above. But from this emerges the bigger one of the clash of cultures and values over this question of osu, a clash which remains as fierce and intractable as when the missionaries first arrived in Umuofia 60 years earlier. In this respect the novel paints a really persuasive, compelling portrait of the way the old African traditions not only lived on and continued to thrive but presented an ever-wider chasm with the values of ‘the modern world’. It is this clash which the novel really presents, with the power which comes from the slow patient accumulation of thousands and thousands of tiny details, of language and description and characterisation.

Then there’s sexual politics. Clara’s abortion nearly kills her. So no-one dies but Clara nearly does and the foetus does, victims of the failure of a traditional patriarchal society to join the modern world. Mind you, as so often, the real blocker to a rational solution is not Obi’s father, who is presented as almost a victim, a sensitive man who laboured under a lifelong curse – it’s his mother, the caring woman he thought he had a special bond with, who threatens to kill herself if he should marry an osu. He thinks he can talk his father round. With his mother’s absolute ban there can be no negotiation.

Achebe is great for all kinds of reasons, for being the first great African novelist, for his style, for his loyalty to his roots, for his phenomenal ability to completely immerse you in the African milieu. All the way through I was trying to put into words the thing which makes his books so immensely enjoyable, and I think it’s his sincerity. There’s no bullshit, contrivance or pretence, for effect. It feels like he’s giving you his own experiences, slightly tweaked to fit into a novel narrative, but without pretence or contrivance. You feel like you’re reading something really profound and true. Sounds silly but it’s almost an honour to read Chinua Achebe’s novels.

Conrad and Heart of Darkness p.235.


Credit

No Longer At Ease by Chinua Achebe was published in 1960 by Heinemann Books. References are to the 2010 Everyman’s Library hardback edition.

Related links

Chinua Achebe reviews

Africa reviews

Ladysmith by Giles Foden (1999)

Published the year after Foden’s famous debut, ‘The Last King of Scotland’, ‘Ladysmith’ is even longer, weighing in at a chunky 362 pages. He must have been working on them at the same time and this prompts the thought of considering them as two prisms or perspectives, from different periods, on their subjects – Africa, white people in Africa, colonialism and war.

Talking of dates, I realised Foden probably wanted the book to be published in 1999 as this marked the centenary of its subject, the start of the siege of Ladysmith. I wonder if the actual publication date was aligned as well i.e. in October or November. In fact one of the characters wonders whether the siege will go on for decades and his diary of it will be dug up a century hence, in 1999 (George Steevens the journalist, p.175).

Anyway, Ladysmith is a dazzling feat of imagination and bravura writing, hugely gripping, informative and entertaining. Also, it is very hard, grim and violent.

The siege of Ladysmith

The (Second) Boer War lasted from 11 October 1899 to 31 May 1902. Less than a month into the conflict Boer forces surrounded the town of Ladysmith in the colony of Natal on 2 November 1899 – occupied by British civilians, Asians and Africans and a contingent of the British army – and besieged it for 118 days, until it was relieved by British forces on 28 February 1900.

Prologue

The narrative opens not in Africa, but in late-Victorian Ireland (later on, we realise it’s about 1880). Four dramatic pages briskly describe the poverty and persecution suffered by the unnamed narrator, which drives him to join the Irish Republican Brotherhood. The underlying point is the implied connection between the Irish and the Boers, small subject peoples oppressed by the British Empire. He’s involved in a shootout with British police, escapes, is hidden by comrades in the Brotherhood, then smuggled to Liverpool, where he plans to start a new life in the colonies.

Part 1. Crossways

It quickly becomes clear that a distinguishing feature of the book is its very large cast of characters. Here’s a list of the characters who appear in the first hundred pages or so:

  • Bella Kiernan, 20, eldest daughter of…
  • Leo Kiernan, red-haired proprietor of the Royal Hotel, Ladysmith (p.19)
  • Jane Kiernan, 18, Bella’s blonde younger sister (p.24), admired by gunner Foster of the Naval Brigade (p.62)
  • Gunner Herbert Foster, likely young lad and beau to Jane Kiernan
  • Antonio Torres, barber, from Lourenço Marques in Portuguese East Africa (now named Maputo and Mozambique, respectively) which he left when his beloved Isabella Teixera da Mattos (p.93) married another man (Luís)
  • Mrs Frinton, thin, ascetic, grey-haired, God-fearing widow (p.47), most religious woman in town (p.125)
  • Mr and Mrs Star, the Ladysmith bakers (p.15)
  • Tom Barnes of the Green Horse regiment (p.20), writes long descriptive letters home to his mother and sister Lizzie, one of which includes burning down the house of an absent Boer including piano and music (pages 60 to 65)
  • four journalists: George Steevens of the Mail; Henry Nevinson of the Daily Chronicle; Donald McDonald of the Melbourne Argus; William Maud the Graphic’s special artist (pages 21 and 120); MacDonald is coarse and racist (p.75); Steevens, small and bald and scholarly, is a legend for his calm under fire (p.76); Nevinson is more the neutral 40-ish narrator type (p.78) albeit a ‘dour figure’ (p.203)
  • Atkins of the Manchester Guardian
  • Perry Barnes, Tom’s younger brother who’s followed him into the army, a farrier by trade, aboard the same ship bringing the Biographer, Winston Churchill and thousands of troops to South Africa (p.26)
  • Lieutenant Norris, Tom and Bob’s superior officer
  • the Biographer who it took me a few pages to realise is not a photographer but a pioneer of moving pictures i.e. film photography – describes the loading and sea voyage of the Dunottar Castle setting off from Southampton to Cape Town – he grew up in Birmingham and considers himself an outsider at the captain’s table full of plummy posh officers (p.26); he is so-named because he works for the Mutoscope and Biograph Company (p.56)
  • Winston Churchill, correspondent for the Morning Post (p.30)
  • General Redvers Henry Buller (p.35)
  • Muhle Maseku, wife Nandi (who Maseku married when he was 13) and young son Wellington, one of thousands in a refugee column fleeing (p.36), he is separated from his wife and boy into a group of 400 Blacks by Boers who force them to work on building fortifications; in the rush down a muddy slope after a day working in the rain he breaks his ankle
  • Marwick, kindly Englishman from the Natal Native Affairs Department (p.38)
  • General Piet Joubert, Commandant-General of the Transvaal (p.40)
  • Major Mott, the military censor (p.43) started out ‘harsh’ and, as things become intense, becomes ‘merciless’ (p.97), proud possessor of a grand sealion moustache (p.195)
  • Mohandas Gandhi, speaking at a Hindu political meeting and interviewed by the Biographer (pages 54 to 57)
  • Bob Ashmead, soldier sharing a tent with Tom Barnes (p.58)
  • Dr Sterkx, doctor in the Boer camp who looks after Muhle Maseku and his broken ankle (p.66); turns out it was his house and piano and music Tom Barnes and his troop burned down and took his wife Frannie prisoner into Ladysmith; he makes primitive crutches for Muhle who he gets to become an assistant; they watch battles from a nearby hill
  • Mr Grimble of the Ladysmith town council, local farmer and leading light in Carbineers (p.86), producer of fruit jams (p.104)
  • Archdeacon Barker (p.88)
  • Lieutenant General Sir George White, overall commander of the Ladysmith forces (p.171)

The start of the bombardment

The first shell from the surrounding Boers lands in Ladysmith on 2 November 1899. The town council debates evacuating the wounded and non-combatants. Jingos are outraged. Nevinson the journalist is developing into our eyes and ears and visits the station as the first long train of wounded and women and blacks and Indians pulls out. The telegraph line has been cut so he advertises for Blacks to be paid runners i.e. sneak through the Boer lines and get to the nearest British town in order to get his despatches sent back to London. Since they might be shot on sight the Blacks are charging £20 a journey. Nevinson hires a boy, Wellington, who’s the son of Muhle Maseku who we’ve seen being co-opted into the Boer camp then breaking his ankle. Nevinson includes not only his own despatches but letters friends want posted, including Tom’s to his mum.

Bella and Jane discuss their boyfriends, how long the siege will last, what will happen afterwards. Bella drops by the Star bakery. All food is rationed now and can only be bought with coupons. Bella pays triple the price for a loaf of bread which turns out to be adulterated and makes her sick.

General of the besieging Boers, Joubert, allows trains of wounded and non-combatants to be taken to Camp Intombi down the railway line. Jingos christen it ‘Fort Funk’ (p.106). (According to Wikipedia, the Intombi Military Hospital was some 5 kilometres (3.1 miles) outside Ladysmith and run by Major General (later Sir) David Bruce and his wife Mary. During the siege, the number of beds in the hospital camp grew from the initial 100 to a total of 1900. A total of 10,673 admissions were received and treated at Intombi.)

All classes of men are conscripted into digging defensive trenches and sangars. Torres the barber is bombed out.

Ladysmith measures not 3 miles in any direction. By 5 December 1899 some 3,500 cylinders of explosive iron have been thrown at it (p.123). Growing stress at the ceaseless barrage of incoming shells. Night-time burial parties. Food becomes scarcer. Water from the river polluted with faeces. More and more disease. British forces make a few night-time sallies and spike one Long Tom, cause of celebration. But there are others and numerous other field guns surrounding them. The constant barrage continues.

Dramatic tension

In all kinds of novels the reader experiences an element of suspense and tension as they wait to see what will happen to the characters, how the story will pan out. Well, in a war story like this, there’s a pretty obvious brutal tension involved, as you read about all of these characters, share their thoughts and feelings and perceptions and that is…which of them are going to be killed, or die of disease, or be horribly maimed?

(Lots) more narrative

Tom and Bob are practising cavalry manoeuvres when interrupted by shellfire (they’re not hurt). At the Boer camp Muhle Maseku wakens to see his son, Wellington, has been caught carrying his package of messages through Boer lines, by members of the Irish Brigade, who are kicking and beating him and about to drag him away to execute him. Muhle intervenes, hitting the leader of the Irish Brigade, John MacBride, with his crutch and is shot in the thigh for his troubles, passing out.

(Mention of John MacBride is significant, because he appeared in the prologue to the entire book set, we later learn, around 1879, a member of the small group of Irish Nationalists which includes the unnamed narrator of the prologue. The significance of all of this is explained towards the very end of the book.)

The Biographer has made it by train as far as Frere where the line has been blown up by the Boers. Churchill has gone and got himself captured when the Boer derailed an armoured train he was riding in. The other correspondents are making a fuss to get him freed.

The Biographer is an eye witness to the Battle of Colenso, 15 December 1899. He gets involved in carrying stretchers of the wounded which is where he bumps into Mohandir Gandhi who, somewhat improbably, takes the opportunity to explain that all this bloodshed has helped him crystallise his worldview of satyagraha or non-violence (p.151).

Colenso was one of the three catastrophic defeats which were dubbed Black Week (Sunday 10 December to Sunday 17 December 1899) in which some 2,800 British troops were killed, wounded or captured (p.153). Buller sends, via the new helioscope system which has been set up to replace the broken telegraph, a depressed defeatist message to Ladysmith to surrender which the town’s commander in chief, Lieutenant General Sir George White, to his credit, ignores.

We are given the text of a letter Perry Barnes writes home to his sister from the camp at Frere i.e. Buller’s camp trying to get past Colenso to relieve Ladysmith. The point is that at the end of the narrative, Foden explains that one of the sources of the novel was an actual cache of letters written by one of his forebears who was in the siege.

A shell lands on the steps of the Royal Hotel blowing off the leg of a doctor who later dies. Bella ponders the mother she never knew, Catherine, from back in Ireland.

(At which point I realised this is probably the ‘Catherine’ we see getting shot dead by British police in Ireland in the dramatic opening Prologue. And realise at the same moment that the unnamed narrator of the Prologue must have been the man now known as Leo Kiernan, Bella’s father and owner of the Royal Hotel.)

Bella and Tom have slowly become an item though Bella is wary. Novels and love, do all ‘serious’ novels have to feature a love story?

Nevinson is astonished to spot the young Zulu he had sent with his despatches bathing in the river with his mother. Wellington explains how he was caught, beaten up, the documents taken from him, read and defaced, but he was saved from execution by General Joubert who instead tasked him with returning them to Ladysmith, which Wellington did by creeping up on a sentry post and chucking the bag in then running off.

Bella finally agrees to ‘walk out’ with Tom, they walk out to the empty orchard outside town and have first sex, breathily described: ‘She rubbed against the straining tip of him’ etc (p.187). Although they get as far as him licking her through her panties, she bridles, pulls back, unzips his trousers and masturbates him till he climaxes, giggling quietly because his name is Tom, and the big guns firing on the town are nicknamed Long Toms and she is holding his Long Tom in her hand.

George Steevens has had enteric fever for weeks and Nevinson is justifiably concerned for him and his sometimes hallucinatory feverish conversation. The bored journalists have amused themselves by setting up a home-printed broadsheet called the Ladysmith Lyre whose purpose is exaggeration, rumour and amusement.

Very long description of a cricket match put together by the General, between two teams called the Colonials and the Mother Country. Both Tom and Gunner Foster do good batting, to the admiration of Bella and Jane. Tribal courtship rituals. To his irritation Leo Kiernan is compelled to be captain of the Colonials. It all builds to a climax as Bella’s dad turns out to be an improbably fine cricketer (improbable because he’s never played the game before) and the Colonials are just one run away from victory when just the one shell is lobbed at the game by the Boers on the surrounding hills. It explodes sending red hot splinters everywhere but apparently harming no-one, the final ball is played, Bella’s dad misses it but it hits young Herbert Foster who had remained in his wicket keeper’s crouch and when Tom goes up to see him, realises he is dead, killed instantly by a liver of shrapnel from the Boer shell.

Part 2. The Tower

Two days later Jane is in deep shock, shell-shocked, PTSD, shakes, catatonic, throws up, can’t answer questions. Bella cleans up the vomit, remakes the bed, puts her in, goes downstairs to the hotel bar which promptly receives two direct hits.

When she wakes up in the makeshift hospital in the town hall, she discovers both her dad and she have gashes but otherwise unhurt. Leo has sent Jane with a nurse in that day’s train to Intombi. Leo takes Bella to see the hotel which is utterly ruined. She reclaims some dirty clothes and sheets from the wreckage then her dad takes her to the network of caves along the river Klip, where bombed-out women and children are living.

Gaza

It’s unnerving to read the account of a population traumatised (and killed and mutilated) by relentless, merciless bombardment on days when, making coffee or lunch, I turn on the radio and hear more grim details of the relentless Israeli bombardment of Gaza. Even more eerie to read about the huge network of tunnels the homeless men and women of Ladysmith constructed in the soft soil alongside the river Klip, reminding me of the vast labyrinth of tunnels Hamas has are said to have created in Gaza. Rightly or wrongly I couldn’t get the contemporary resonance out of my head as I read descriptions of crying women and children surrounded by unrelenting, random death.

‘When will it end?’
‘I never thought I would see myself like this.’
‘Mummy!’
‘My God, I have no hope left in me.’ (p.231)

It was as if they’d gone back in time to a prehistoric era; it was as if they were real cave-dwellers now. (p.234)

1899. 2023. Some people think the human race changes, that ‘humanity’ is moving forwards and upwards, that we are ‘progressing’. I don’t.

More part 2

Bella is settled into a dugout cave, has sort of bed made up for her by kindly Mrs Frinton. Standing outside she notices the Portuguese barber, Torres, digging. Turns out he’s digging up unexploded munitions. When a shell comes over Torres grabs her hand and yanks her over and into the men’s tunnels. Here a rough uitlander makes an off-colour remark prompting Torres to fight him for the lady’s honour. Arguably, this section should have been called ‘The Tunnels’ as the narrative dwells on Bella’s completely changed circumstances and how poor and alone and ill and hungry she feels. It’s called The Tower because in her distracted mind she creates a shimmering tower rising above the ruined town, an image of transcendence and escape.

On Christmas Day 1899 a shell lands nearby spattering Bella with mud as she was dressing in her best blouse, she spends hours rocking on the floor in despair. Her dad arrives with a letter from Jane at the military hospital who, mercifully, has recovered.

After two weeks Bella is sent by the river cave women to get provisions from the Commissariat in town. She visits the Royal and is distraught to see it looking like it’s been abandoned for years. In the ruins she discovers the Zulu mother Nandi and Wellington the messenger boy are squatting. Nandi tugs her skirts and begs and Bella gives her some of her precious supplies.

(The degrading immiseration of once cheerful well-fed westerners also reminds me of the imprisonment of the Europeans in the Japanese internment camp in J.G. Ballard’s ‘Empire of the Sun’.)

She goes to the Town Hall to see her father, is disconcerted to see that he is sitting on the military tribunal alongside Mayor Farquhar and Major Mott, and then horrified when they drag Torres the barber before them and arraign him for spying and treason, for which the penalty in time of war is death. Tom had reported seeing someone flashing messages using a mirror from some shrubbery on the edge of town, had fired into the bushes, missed the man who disappeared, leaving fragments of a mirror of the type which Torres used to sell from his barber’s shop, and the footprint of a boot with a big V on it.

The case is not proven but he is still roughly tied up and dragged off to the Dopper Church which has been surrounded by barbed wire and turned into an ad hoc prison for suspects.

Part 2 is much much more focused on one character (Bella) than part one had been with its cast of over 40. Now it’s all about Bella’s feelings at being bombed out, realising she doesn’t like Tom who obeys orders rather than listen to her, and hates her father after he defended the xenophobic unfairness of trying Torres.

Next day she goes back into town and to the Dopper Church, where she asks the guard to fetch Torres to the barbed wire where she apologises for everything and promises to do whatever she can. Then she goes to the ruins of the Royal Hotel, climbing gingerly up the ruined staircase to the Star Room where she finds her father, white with intense strain. His revolver is on the desk. He makes her swear not to try to find him till the siege is over but stay in the caves. In a flash it came to me that Leo is the spy, the traitor, the anti-British Irish Republican Brother who is signalling information to the Boers. I bet at some crucial moment we discover Leo’s boots have a big V pattern on them.

Part 3. Amours de Voyage

Rather mercifully, the narrative leaves Bella and her agonisings about Tom, the meaning of love, her father and Torres and we’re back with Nevinson, the dour journalist. ‘Amours de voyages’ is the ironic description Nevinson gives to the final delusions of his friend Steevens as he approaches the final stages of enteric fever. Nevinson visits the sheds at the (now disused) railway station to see for himself the vast abattoir and horse-stewing factory it’s been turned into, producing revolting foods such as ‘chevril’, made from boiling horses’ bones and guts.

There’s an interlude where Foden inserts newspaper reports, and Churchill’s telegram to Britain, giving details of his daring escape from Boer captivity and wild escape by train and walking the 300 miles north to Portuguese East Africa (Mozambique).

That night the Boers mount their biggest attack, seizing part of the vital Caesar’s Camp area. Nevinson finds command headquarters in total chaos and rides out to see for himself, ending up taking refuge in a sangar of the Irish Fusiliers, during the fierce battle and on into a sudden rainstorm. The British counter-attack and take all the key positions. 500 British soldiers killed to about 800 Boers. A significant battle. By the time he gets back to the cottage he’s been sharing with the other correspondents, Nevinson feels chill and ill.

Cut to Churchill taking a boat to Durban then hastening back to Buller’s relieving force, where he is greeted and filmed by the Biographer (quite a while since we’ve heard about him). They can see the terrible guns firing down onto the town but every attempt to cross the river Tugela is repulsed by the Boers who are firmly entrenched on the other side.

A slightly delirious, impressionistic description of the disastrous attack on Spion Kop, 23 to 24 January 1900, premonition of the Somme and First World War butchery. Ends with a letter from Perry Barnes back to Lizzy describing the slaughter and blaming the useless British generals (pages 303 to 304).

Dr Sterkx comes to the Zulu Muhle Maseku whose gunshot wound to the thigh is healing, says he will help him escape from the Boer camp into Ladysmith, if he will take a message to his wife, Frannie.

Bella now spends all her time by the filthy, faeces-full river, brooding, hungry and depressed. She is slightly deliriously metaphysical, staring at the same scene till it shimmers and wobbles, until she feels like one more shape in the lifeless scene (p.307).

Torres becomes desperate stuck inside the barbed-wired church. He becomes fascinated by the Boer woman who still has her goose with her. The reader realises it’s Frannie, distraught wife of Dr Sterkx.

Thrilling description of Muhle Maseku’s escape from the Boer camp during British shelling, under cover of drifting smoke, but still they spot and trail him, taking pot shots till he abandons the obvious route down a gulley and goes up the side and over land, hiding and resting as the full moon floods the landscape with light (p.314).

Tom is depressed, with the duration of the war, with guarding the church, with his ended relationship with Bella who just gives him a hard stare and turns away. So at some cheap estaminet he pays ten shillings to go with a Malay prostitute. Pleasantly pornographic: ‘A soft warm hood of flesh began to press itself over the tip of him’. (p.318). She blows him then rides him to a climax.

On the subject of sex we learn that the Biographer and Perry have been (male, same sex) lovers for some weeks, regularly jerking each other off in the river.

Bella seeks out Nandi and asks for her help. These days Wellington doesn’t smuggle food in, he spends all his time roaming round the surrounding country looking for the sign his father said he would make. That night Wellington appears to Torres inside the church and tells him to follow him. They wriggle through a small window he’s loosened, then sneak across the empty space to the fence which has a square cut out of it. There’s a sentry box but as he watches, Torres sees a female figure approach the sentry, engage it in conversation, then kiss. It is Bella, calculatingly distracting Tom.

Torres is led by Wellington through back streets, out of town to a copse where there’s a brazier with one of the town’s many observation balloons tethered over it. In a little while Bella arrives, they climb into the basket, undo the ropes, and drift into the sky, escaping the imprisoned town.

Tom is flogged for letting Torres escape, so badly he is sent to Intombi camp, where his bloody back is tended by Jane Kiernan. Wellington Maseku brings in his wounded, badly ill father, who he found hiding in a shallow burrow he’d dug to hide from the Boers, but weak and emaciated and his leg wound badly infected. Because of all the goods Wellington smuggled into the camp, the doctors say they’ll see what they can do.

Ladysmith is relieved. The Boers pull out and head north. Buller’s relieving force enters from the south. We are shown the characters reacting differently (Mrs Frinton, of course, praying). Most vivid is MacDonald coming across Nandi weeping at the front of the ruined Royal Hotel. She’s just learned her husband died of blood loss as a result of the amputation of his leg. Perry Barnes is decapitated by one of the last, random Boer shells. The Biographer, who had been filming his lover at the moment of his gruesome death, collapses in hysterics.

Paintings and patriotic accounts record General Buller riding up to General White, dismounting and shaking his hand as the crowds cheered but no such thing happened; Buller just rode blithely by.

Part 4. The monologues of the dead

An oddity. A series of short, sometimes very short (half page), texts by various characters from the narrative, being:

  • Tom Barnes (December 1901) – the British are in the ascendant and in this letter Tom describes razing Boer farmsteads he is completely disillusioned with empire, queen and country, thinks the entire war has been a shambles
  • Mrs Sterkx (March 1902) – an unforgiving description of the concentration camps the British herded Boer women and children into, where they died by their thousands
  • Nevinson (December 1915) – reporting at the conclusion of the ill-fated Gallipoli campaign, reporting that many think Churchill should be publicly hanged for his part in promoting the campaign
  • Bobby Greenacre (January 1916) – was about to sign up and go to the war when he is bitten by an adder
  • Nevison (November 1916) – talks about his friendship with W.B. Yeats, his lover Maud Gonne who has gone off to nurse soldiers on the Western front, leaving the man she married, John MacBride who a) had led the Irish Brigade in Natal and b) took part in the famous Easter Rising in Dublin; he heard that Bella and Torres landed safely in their balloon and are presumably living somewhere
  • The Biographer (February 1931) – during the main text the Biographer was always frustrated the moving pictures alone didn’t tell the full story; here he is now doing the voiceover for a Movietone News film about Mahatma Gandhi
  • Churchill (February 1931) – speech to the West Sussex Conservatives in which he takes the time to execrate Gandhi turning up to meet the Viceroy of India dressed in peasant clothes
  • Jane (May 1933) – multiple sadnesses; she has just buried Tom, who she married; and she remembers back to discovering her father dead in the ruins of the Hotel, having shot himself with his revolver and slowly discovered that he was the spy signalling information to the Boers; thought as much; then how she tracked down Bella and Torres, discovering he sold a bauxite claim for a fortune and took Bella back to Portugal where they lived the life of the 1910s and 20s rich, spats, feather boas and fast cars
  • MacDonald (December 1938) – bumped into Bobby Greenacre who is now an eminent lawyer, a KC in Australia
  • Gandhi (August 1942) – he has been arrested for publicly stating his party will not fight the Japanese if they invade India; so he’s been incarcerated, yet again; he marvels at the way everything – he, history – are misrepresented: ‘everything is distorted and misrepresented’ – this seems a rather obvious comment about the nature of fiction itself, and maybe about Foden’s own kind of historical fiction in particular
  • Churchill (27 May 1944) – a secret cypher telegram which indicates Churchill’s vehement dislike of Gandhi right to the end
  • The Biographer (July 1945) – retired now, he reflects on how Churchill will be kicked out at the election, how his time and his romance of the British Empire is over; the British will leave India as soon as they decently can; still, Churchill’s rhetoric and determination kept the British at it for six long years; respect
  • Wellington – reflects on the Sharpeville Massacre, 21 March 1960, the enduring wickedness of the Pass Laws in South Africa’s history; Wellington is a member of the African National Congress (ANC) and in prison for burning his Pass Card in front of the press; he is being represented in court by a young Nelson Mandela; he remembers Ladysmith, the experience of being in prison, and reflects how, for people like him – South African Blacks – it has never been otherwise

Obviously deliberate that a Black African is given the last word in this story about Africa.

Foden’s multifarious styles

There were fairly frequent moments in ‘The Last King of Scotland’ when I was surprised by an oddity of Foden’s prose style, but assigned it to the narrator. But there are more here, so I’m concluding they’re part of Foden’s essential approach to language.

Formal prepositions

He has an old-fashioned way with prepositions, for example he insists on using their full formal versions, ‘upon’ instead of ‘on’, ‘whilst’ instead of ‘while’.

He is much given to the old-fashioned inversion of phrases to avoid ending a sentence with a preposition.

People were saying that the first real shots of the war had been fired at Dundee, to where a column had rashly been thrown forward. (p.45)

Flight to Intombi was now a measure of which many non-combatants availed themselves. (p.105)

In a battered hansom cab Churchill, together with Atkins of the Manchester Guardian, went up to the Mount Nelson Hotel to plan their campaign and to conduct interviews with the military staff staying in that grand residence, before leaving for East London by rail, therefrom to catch the mail packet to Natal. (p.52)

Is this meant to convey the archaic quality of late-Victorian prose, the formality of late-Victorian social life, or the stilted pompousness of this particular pair of characters? Or does Foden just regard it as a valid form of phrasing he can mix in with other far more modern, even slangy, phraseology? Whatever the motive it results in a text which is a mosaic, or mashup, of multiple tones and registers.

He has a similar fondness for an antiquated use of the word ‘so’.

The Klip took a tortuous course through the town and its environs, and the bank in parts was fairly high. It was so where he was walking… (p.119)

Wouldn’t this be more naturally be phrased as ‘it was like this where he was walking’? Is the unusual phrasing ‘It was so…’ intended to evoke Victorian phraseology, because I’m not sure it does. It reminds me more of Captain Picard’s catchphrase in Star Trek Next Generation: ‘Make it so.’ It’s a conscious style decision; Foden repeats it later:

Forced to meet this turning movement in the British attack, the Boers had had to extend their line. Churchill reported it so. (p.295)

It’s one among many odd, anomalous, unmodern turns of phrase which Foden deliberately deploys. Much earlier in the book, describing the town council debate about whether the non-combatants should leave the town:

Others, in particular those who had suffered injury to family or property from the bombardment, were all for leaving the soldiers to it and getting out from under the shadow of shell. (p.87)

‘The shadow of shell’ is an odd phrase, isn’t it? It’s not Victorian or modern, if anything it reminds me of the alliteration of Anglo-Saxon poetry.

Ornate phrasing

There are many such unorthodox or contrived phrasings, not massive in themselves, just a continual trickle of unusualness:

‘Let me explain,’ intervened Bella, in agitated fashion. (p.111)

But there were larger quarrels, ones in which such discriminations counted for naught. (p.189)

All seemed set to enjoy themselves in fair measure. (p.195)

This sounds more like Shakespeare than late-Victorian prose.

Yet, if truth be told, there were other constants… (p.214)

Is the deployment of ‘if truth be told’ an attempt to mimic late-Victorian oratory? Is it conscious pastiche or irony? Or is it Foden writing in his own style? Does his own style combine this odd range of registers, taking in modern slang, through boys’ adventure clichés, oddly formal word order, to passages of fairly contemporary psychological description and analysis?

Slang

Ladysmith above ground could get very nippy at night (p.230)

‘There must be something we can do,’ said Bella. She reached up and clasped his fingers, with the wire between them. Torres gave a dry laugh, but he did not remove his hand. ‘I cannot see how. Unless you mean to bring guns and spring me out.’ (p.262)

Use of the word ‘spring’ made me think of a 1940s film noir, or the thousands of American movies where the associates of criminals ‘spring’ them out of gaol.

Grandiloquent

But sometimes Foden’s prose is the opposite of slangy and goes beyond historic pastiche to take on a conscious pomp and circumstance, as here, where the correspondent Nevinson is meditating on the futility of war:

No wonder that the armies of the past vanish, their ancient dead only rising from the furrows of buried time to laugh, invisibly, at the very pageants of memory by which we seek to summon them. (p.286)

Grandiloquent, meaning: ‘pompous or extravagant in language, style, or manner, especially in a way that is intended to impress.’ I understand that this grand style reflects the personality of Nevinson who, as the novel progresses, becomes increasingly prone to grand reflections on history i.e Foden is capturing the style of a specific character.

Grandiloquence of a different type is deliberately deployed in the climactic scene when Ladysmith is finally relieved by British troops and you can feel Foden reaching for a different, feverish style to try and convey the emotional release of the moment, to evoke the hysteria of the crowds:

The crowd opened to let them [the liberating army] trot past, and then followed as they swung into the main street, the vanguard of an exultant avenue of humanity, each crying or laughing as the moment took them, letting go their emotions as if the siege walls had tumbled in their very breasts (p.331)

‘Very breasts’. The whole liberation scene is written like this, in a deliberately high heroic but sentimental Edwardian style, which is very noticeably different from most of the rest of the book.

Prose poetry

And sometimes into the mix Foden throws long, lyrical sentences of prose poetry. Here’s the funeral of the highly literate correspondent George Steevens who dies of enteric fever after a long delirious illness:

A soft rain was falling and, every now and then the donkey pulling the hearse let out its ghastly bray, which echoed between the silent rocks. On the way, Nevinson saw Tom Barnes and his friend, who stopped and saluted in the moonlight. This silvery pall, falling down through ragged edges of cloud, reflected on the hearse, the glass of which was covered in black and white embellishments, and on the lines of white crosses marking the graves of earlier fatalities. (p.290)

It doesn’t have the lustral mellifluousness of, say, the fairy tales of Oscar Wilde, but it is obviously a conscious effort at lyrical landscape painting.

Playful prose

Sometimes Foden indulges in wordplay, picking up on his own phraseology for the lolz:

So that day the censor escaped the unconscious wish of the correspondents – although as he had been on the lavatory at the time, it didn’t really count as a hair’s-breadth escape. Some did escape by such a measure. (p.102)

I had to read that twice before I realised the phrase ‘such a measure’ is referring back to the hair’s breadth (that the person he goes on to talk about, Bobby Greenacre, did escape death by a hair’s breadth). This picking up, echoing and playing with his own phrases occurs fairly often. The soldier Perry Barnes swears when he describes the murderous effect of the Maxim gun:

In his notebook, the correspondent marked the expletive down as a double dash. That night dashes were to the point, and points also: the searchlights at Buller’s camp and in the invested town again communicated by flashing Morse on the clouds. (p.293)

See how he picks up and plays with his own phraseology.

I’m not complaining, I’m not meaning to criticise in the negative sense. The opposite. I’m celebrating the complexity of Foden’s style. I’m trying to analyse out some of the many different lexical tricks or quirks, along with the varying registers, tones and strategies going on in Foden’s prose style, which make it sometimes odd and unpredictable, always interesting and highly readable.

Imperial politics

Strangely, there’s relatively little politics in the book. Early on there’s a set-piece argument or friendly debate, between the journalists Nevinson and Steevens, about the point of the British Empire.

Nevinson, in his youth tempted by the teachings of the anarchist Kropotkin, puts the standard liberal view that the Boer War is unnecessary and has been fomented by jingos such as Lord Milner, Cecil Rhodes and Joseph Chamberlain purely out of greed, to annex the Boer republics so Britain can get its hands on their diamonds and gold.

‘Do you really believe in that stuff any more, after wat we’ve been through these last few days? Is Empire really worth it, George, after all?’ (p.83)

And his colleague, Steevens, puts the standard riposte that the war must be won because failure, or even weakness, will inspire the hundreds of millions of other subjects of the empire to rise up and end it. Nevinson:

For if Ladysmith fell, why not Natal, the Cape, indeed why not, as subject peoples everywhere saw that it was possible, the Empire itself? (p.48)

When Nevinson points out how shabby and squalid many of the doings of the supposedly ‘noble’ Empire are in reality, Steevens is given some pithy lines about how the Empire shouldn’t be judged by any of its practical applications, but as a platonic ideal of perfect community and administration:

‘I’m with Thucydides, I’m afraid. On the Athenian Empire. It may seem wickedness to have won it…but it is certainly folly to let it go….

‘It’s the vital ideal of Empire one must hang on to – however tawdry the reality, however full of outrageous postures and cheap tricks. We’ve got to keep aiming at something beyond the truth. I suppose, at base, it is all to do with spreading light.’ (p.84)

I enjoy bits like this not because I agree with them (at all) but because it’s a point of view you never hear nowadays, drowned by today’s blanket execration of everything to do with the British Empire.

Also, reading contemporary debates about the point of an empire from the 1880s, 1890s, 1900s and so on, sheds quite a bit of light on absolutely modern issues in international affairs. Michael Ignatieff’s series of books from the 1990s wonder whether there aren’t many countries which are too poor or chaotic to run themselves and where ‘the international community’ needs to step in and run them in order to save the populations from massacre – Bosnia, Yemen, Syria, Gaza.

Obviously he’s not talking about the same kind of exploitative conquest as characterised the European empires but, to many of the peoples watching the arrival of Western armies in, for example, Iraq or Afghanistan, the subtle moral differences made by liberal commentators are irrelevant: they were just the latest waves of Western invaders and they needed to be resisted.

Twentieth century politics

The short final section four has a powerful but, I think, questionable affect. In very short order (i.e. in a hurry) we are shuffled through extremely brief descriptions of:

  • the concentration camps set up in the later stages of the Boer War
  • the First World War
  • the disastrous Gallipoli campaign
  • the Easter Rising in Dublin
  • three or four brief snippets which ask us to consider the role of Winston Churchill in twentieth century British history and the defeat of Nazi Germany in particular
  • ending with Wellington talking about the Sharpeville Massacre, the ANC, Nelson Mandela and the struggle against apartheid

This is a lot of stuff to take in and process. In my opinion, too much. As in ‘The Last King of Scotland’ only more so, it feels as if the novelistic subject matter – the focus on people, their characters, and interactions and thoughts and feelings – is swamped by the powerful associations attached to the historical events Foden describes.

Just considering the role of Winston Churchill in twentieth century British history and the defeat of Nazi Germany, in particular, but also his increasingly outdated attempts to preserve the British Empire, is a vast, simply enormous subject. Its scale and complexity completely overwhelm the thousands of fine and beautifully imagined details Foden has filled his book with (the descriptions of the fruit in Mr Grimble’s orchard spring to mind, or the cricket match, or Torres’s escape from the church, Major Mott’s sealion moustache, and hundreds of others).

This final section feels like wave after wave of overwhelming, each one eclipsing the one that went before – concentration camps, Gallipoli, the Easter Rising, Indian independence, the Second World War – the scale of each of them is too enormous and also too historical, in the sense that it’s more interested in political issues than in people.

And the last wave, the last three pages containing Wellington’s thoughts, his references to the Sharpeville Massacre and then onto the figure of Nelson Mandela, now universally acknowledged to be a secular saint, completely erases everything that went before, burying much of the fine detail so carefully depicted in the previous 350 pages, to become the abiding image and memory of the book. It’s a shame.

I can see that Foden intended these snippets to demonstrate that history doesn’t end with one event but is a continuum and that people’s lives continue way after the significant events they’ve been part of. That’s seems to me a fine and fairly traditional strategy for a novel, thousands do the same thing, tying up loose ends of characters’ afterlives. It’s the fact that Foden associates every one of these loose ends with major political events which is the dubious decision, a decision which – to repeat myself – risks swamping the subtlety and detail of much of what came before.

Christian feminism 1899

Mrs Frinton, in normal times a figure of fun (to Bella, anyway) for being an uptight old widow lecturing everyone about Our Lord, in wartime becomes reliable and solid (if still given to lectures). At one point she tells Bella all this trouble is down to men, the same everywhere:

‘They [men] are just like us, really,’ [Bella] ventured. ‘Only most of the time we don’t realise it.’
‘That’s a very new-fangled view,’ said the widow. ‘It’s not one I hold with myself. You or I wouldn’t fight – not just brawling, I mean, we wouldn’t be fighting this war. This – it’s all men, just men. Believe you me, when we get to the Good Place, we will find many more women there than men.’ (p.229)

I know plenty of feminists who would wholeheartedly agree, 123 years later.


Credit

Ladysmith by Giles Foden was published in paperback by Faber Books in 1999. References are to this Faber paperback edition.

Giles Foden reviews

Related reviews

Losing Small Wars: British Military Failure in the 9/11 Wars by Frank Ledwidge (second edition, 2017)

‘You have the watches, but we have the time.’
(Taliban saying, possibly apocryphal, page 93)

Summary

This is a quite mind-blowing, jaw-dropping analysis of the incompetence, ignorance, narrow-mindedness, bad planning, profligacy, bureaucratic in-fighting, politicking, terrible leadership, lack of strategy, appalling mismanagement and ineptitude which characterised the British Army campaigns in Iraq (2003 to 2009) and Afghanistan (2004 to 2014). For the rest of my life, when I hear the words ‘British Army’ on the radio or telly or in movies, I’ll think of this devastating exposé and hang my head in shame and embarrassment.

All of the UK’s recent conflicts – Iraq, Afghanistan and Libya – have been total failures in spite of the efforts of our men and women…None of these conflicts has resulted in anything remotely resembling success. All have failed, and failed not badly, but catastrophically.

[Haven’t] the years of involvement in the post 9/11 wars [been], excepting the two world wars, the most expensive and least successful decade and a half in British military history?

The bulk of the responsibility for them [the failure] must be laid at the doors of our politicians who have little idea of conflict and consequences and no experience thereof…However, if Iraq in 2003 was Blair’s war the generals were complicit not only in its inception but also in its failure.

This book sets out to be one man’s reasonably well-informed view of why our forces, and our army in particular, have performed so badly in recent operations.

This isn’t a history of the British army campaigns in Iraq and Afghanistan so much as a sustained 250-page analysis of why they went so very, very, very wrong. Extremely wrong. Mind-bogglingly wrong. In the introduction Ledwidge writes that he is ‘calling the high command of the armed forces to account for what I regard as nothing less than a dereliction of duty‘ (p.11) and he proceeds to flay politicians, civil servants, advisers and senior military figures with a cat o’ nine tails.

Then, in the longer second half of the book, Ledwidge analyses half a dozen major themes which emerge from the failed wars (the real nature of counterinsurgency, the changing face of military intelligence, the need for a more self-critical and reflective culture in the army) and suggests practical reforms to create an army fit for 21st century combat.

Ledwidge’s qualifications

Ledwidge is formidably well qualified to discuss the issues. He has had an impressively wide ranging career both in and outside the military, and served in all the countries under discussion.

Ledwidge began his career as a lawyer. After qualifying, he spent eight years practising as a criminal barrister in his home city of Liverpool. He then worked for a decade in the Balkans and throughout the former Soviet Union in international human rights protection, criminal law reform, and institution building at the highest levels of government. He developed particular expertise in missing persons, human trafficking and torture prevention.

Ledwidge explains in the introduction that he fancied diversifying and volunteered to join the Royal Naval Reserve, learning navigation and seamanship on minesweepers in the North Sea. He was commissioned in 1993 and went on to serve for fifteen years as a reserve officer with extensive operational experience, retiring as head of the Human Intelligence branch (p.267).

In 1996 he went to Bosnia to serve alongside the military in a team tasked with identifying and tracking down war criminals. In 1998 he moved on to Kosovo as part of a military/civilian peacekeeping unit and was there during the actual war, 1998 to 1999. After the Balkans he served with the Organisation for Security and Co-operation in Europe, in states of the former Soviet Union, mostly Tajikistan.

In 2003 he was called back into regular military service and sent to Basra, in southern Iraq, leading one of the teams of the Iraq Survey Group, tasked with finding the mythical weapons of mass destruction. In 2007 to 08 he served as the first ‘Justice Advisor’ to the UK Mission in Helmand Province.

In 2009 he retired as a military officer. During and after the war in Libya (2011 to 2012) he performed a similar role at the UK Embassy in Libya. (He has also worked in Ukraine during the current war, a period obviously not covered in this book.)

Nowadays Ledwidge is an academic, a senior lecturer at the University of Portsmouth. He is the author of this and a number of other books about contemporary warfare, and regularly appears on the media as an expert.

The first three chapters of the book deal with 1) Iraq 2) Afghanistan and 3) Libya. They aren’t detailed histories of events such as you find in Jack Fairweather’s and numerous other chronicles. They cover just enough of the events to raise the issues and themes which he then addresses in the second, analytical, half of the book.

There are no maps. Shame. Obviously you can look it all up online, still… And it’s poorly copy-edited. Ledgewick repeats adjectives or adverbs in the same sentence. At one point he lists the countries involved in the Syrian conflict and includes Russia twice in the same list. Should have been better edited.

1. Basra

In the invasion of Iraq in March 2003 the Brits were assigned to take Basra, the second city of Iraq, close to the Gulf of Persia, sitting astride the Shatt al-Arab waterway which is formed from the junction of the rivers Tigris and Euphrates, and only 50k from the border with Iran. At one point he likens old Basra to cosmopolitan seaports like Liverpool or Marseilles (p.16). But the Islamic revolution in Iran, followed by 8 years of the Iran-Iraq War, followed by Saddam’s ill-fated invasion of Kuwait, followed by ten years of Western sanctions had made it a harder, poorer, bitterer place to live and brought out a fanatical strain in many of the mostly Shia Muslim population.

Once the invasion was complete the British Army was given responsibility for the occupation of Basra and the four southern provinces around it (Basra, Maysan, Al Muthanna and Nasariyah), the heartland of Iraq’s Shia community. However, almost immediately the city was taken it became clear that British politicians, the Ministry of Defence, the General Staff and senior planners had no idea what to do next:

‘It became very apparent to me shortly after crossing the border that the government and many of my superiors had no idea what they were doing.’ (Colonel Tim Collins, p.20)

‘There was no strategic planning or direction at all beyond the military invasion. There was no articulated strategic context nor end state. There was no campaign plan.’ (Major General Albert Whitley, adviser to the US commanding general)

‘[There was a] lack of any real understanding of the state of the country post-invasion. We had not done enough research, planning into how the country worked post-sanctions…None of this had been really thought through.’ (General Sir Freddie Viggers)

Numbers

In Kosovo NATO forces were able to secure order because they had the numbers to do so. In Basra and south Iraq British forces never had anything like enough boots on the ground to make society to secure, to ensure law and order. They lost control of the streets in the first few days when looters ran rampant, criminal gangs flourished, random street crime became endemic – and never recovered it.

The lack of any thought whatsoever as to how the army might deal with looters was to have disastrous consequences. (p.24)

George Bush and Tony Blair made speeches promising the Iraqis reconstruction of their country, peace and prosperity, a flourishing economy and democratic accountability. None of this was delivered and it turned out the invaders couldn’t even make the streets safe. Carjackings, kidnappings, rape, gang violence all flourished out of control within weeks.

More than any other factor, the restoration and maintenance of order requires numbers. (p.24)

On 26 June politicians and generals were woken from their dreams when six military policemen were killed in the town of Majar al-Kabir, due to failures of communication, malfunctioning equipment etc. The real point was that the town, and the whole area, had a proud tradition of resisting invaders including Saddam Hussein’s own security forces, something which the British forces simply didn’t know about or understand (p.27).

Ledwidge arrived in September 2003 after the first honeymoon was over. British soldiers no longer wandered the streets in soft hats, stopping off at cafes. They were coming under increasingly sustained attacks: roadside bombs, ambushes, snipers.

Meanwhile Shia death squads emerged, assassinating former members of Saddam’s regime, terrorising Sunni Muslims into leaving entire areas under threat of death (i.e. ethnic cleansing à la Bosnia), kidnapping, torturing and murdering any possible opponents, and imposing a strict Puritan religious orthodoxy on the street (mostly against women) (p.31).

Instead of addressing any of this, British forces had enough on their plate simply defending themselves. In fact this became their main aim. Ledwidge says his utterly fruitless efforts leading a team looking for WMDs crystallised the way the occupying forces were interested entirely in their own concerns and didn’t give a monkeys about the million Basrawis whose city was turning into hell.

The Geneva conventions

Is an invading or conquering army responsible for securing law and order? Emphatically yes. It is a fundamental principle of the Geneva Conventions. Apparently Colin Powell summed this up to George Bush as ‘You broke it, you own it.’ None of the invading forces acted on this legal basis. Donald Rumsfeld joked about the widespread looting days after the invasion, apparently unaware that the coalition forces had an internationally binding legal duty to prevent it.

For a year after the invasion Shia militias, backed by Iran, took control of the streets. In an example of their complete lack of understanding, the British project for training new corps of Iraqi police ended up recruiting many of these militias who then, wearing uniforms supplied by British taxpayers and wielding guns paid for British taxpayers, set about terrorising, extorting, raping and killing Basrawi citizens – who then wondered why their British occupiers were allying with murderers. The British hoped that they were ‘incorporating’ the militias into a new police force. Instead they were legitimising the militias (pages 35 to 36).

Rotations and reconstruction

The British Army had a policy of rotating units home every 6 months. The army saying has it that you spend the first two months learning the job, the next two months doing it capably enough, and the last two months hanging on and not getting injured, before rotating home for ‘tea and medals’.

This system guaranteed that just as any particular brigades or battalion and their senior officers was about to get an inkling of how local society functioned, had made important contacts and were building trust, they were abruptly whisked away. The system guaranteed a lack of continuity or consistency and prevented any kind of long-term planning.

Instead new brigades came in with senior officers determined to make a ‘splash’. Often they worked out one significant or ‘signature’ offensive, carried it out – some pointless firefight resulting in a hundred or so dead enemy militants and swathes of civilian homes and properties destroyed – then hunkered back down in their base till rotated home and a medal for the commander-in-chief. (p.90)

This happened every six months as the actual city the British were meant to be policing slipped further and further into Shia militia control.

Jaish al-Mahdi

The biggest Shia militia was the Jaish al-Mahdi (JAM), loyal to the figure who emerged as the head of militant Shiism, Muqtada al-Sadr. To cut a long story short, despite the British Army’s best efforts, the JAM ended up taking over Basra.

By the end of 2006, control of the city had essentially been lost to the Shi’a armed groups. In September 2006 Basra was to all intents and purposes the domain of one of them – the Jaish al-Mahdi (JAM), the military wing of the Office of the Martyr Sadr (OMS). (p.39)

Attacks on British outposts intensified until by 2006 they were on a war footing. Given the complete collapse in security on their watch, absolutely no reconstruction of any type took place. The rubbish piled up in the streets, many of which were open sewers, electricity was rare and erratic, water supplies were unsafe, bombed schools remained in ruins. Nothing.

‘Basra was a political and military defeat.’ (Commodore Steven Jermy, p.40)

‘I don’t know how you could see the British withdrawal from Basra in 2007 in any other light than as a defeat.’ (Colonel Peter Mansoor, p.41)

Operation Sinbad

In September 2006 the British launched Operation Sinbad which aimed to take on the most corrupt ‘police’ stations and clear them out. Some measure of clear-out was achieved, at the cost of ferocious firefights, but as soon as the operation ended in February 2007, the Shia militias and gangs returned.

On the same day the operation ended, 18 February 2007, Tony Blair announced a major ‘drawdown’ of troops in Basra, from 7,000 to 4,000. Many of the officers Ledwidge quotes consider this the moment of defeat. It signalled to friend and foe alike that the British were giving up and running away.

Withdrawal

The incoming commander, General Jonathan Shaw, decided to withdraw the British garrison in Basra Palace to the heavily fortified allied airfield 10 miles outside of town. It was dressed up in fancy terminology, but it was giving up. The British did a deal with JAM whereby they notified the militants whenever they were going to exit the airbase and were only allowed to patrol Basra with the JAM’s permission. British rule in Basra had produced:

‘the systematic abuse of official institutions, political assassinations, tribal vendettas, neighbourhood vigilantism and enforcement of [Islamic] social mores, together with the rise of criminal mafias.’ (Middle Eastern Report number 67, 25 June 2007)

‘The short version is that the Brits have lost Basra, if indeed they ever had it…’ (US officer close to General Petraeus)

‘The military’s failure to provide a safe environment for the local population represented a strategic failure for the UK in Iraq.’ (James K. Wither, author of Small Wars and Insurgencies)

In defence of the British position are the arguments that: a) British occupation couldn’t go on forever b) the political and popular will back in Britain had turned against a demonstrable failure; but most of all c) it was felt that it was time for the Iraqi government to step up to the plate and take responsibility for security in its second city. So Basra was ‘formally’ handed over to the Iraqi government in December 2007. But the Iraqi government didn’t have the wherewithal i.e. army or neutral and functioning police force, to retake it.

There was a fourth reason British troops were drawn down in 2008. The politicians and generals both wanted to refocus their efforts on Afghanistan. This was:

  1. a desert war i.e not mired in heavily populated cities
  2. a ‘good’ and moral war i.e. against a defined enemy, the Taliban
  3. offered the British Army the opportunity to redeem itself in the sceptical eyes of the Americans (stated in so many words by General Sir Richard Dannatt, p.62)

More sinisterly, 4) some officers are quoted to the effect that the general staff needed to find something for the battalions coming free in Iraq to do in order to justify the military budget. ‘Use them or lose them’ was the motto.

And so the British campaign in Afghanistan was motivated, at bottom, by not just domestic British politics (Blair’s ongoing wish to suck up to Bush), but Whitehall bickering about the Ministry of Defence’s budget. Well, a lot of British soldiers, and thousands of Afghans, were to die so that the British Army general staff could maintain its funding in the next budget round.

2. Helmand

History

The British had ‘form’ in Afghanistan. During the Victorian imperial era we fought at least two wars against Afghans plus innumerable skirmishes. Afghanistan was a loose bundle of tribal regions between the north-west frontier of imperial India and the Russian Empire and so the site of the famous ‘Great Game’ i.e. extended spying and political machinations against Russia.

We had our arses kicked in the First Afghan War of 1839 to 1842 which featured the largest British military disaster of the nineteenth century, when a force of 4,500 soldiers and 12,000 civilians were forced to abandon Kabul and retreat through the Khyber Pass on 1 January 1842. One man, one man, alone survived. In the Second Afghan War of 1878 to 1880 the British lost the battle of Maiwand to a coalition of tribal chiefs.

The thing about Maiwand is that it’s about 60 miles from Lashkar Gah, the capital of Helmand Province where the British now went. Although nobody in Britain remembers the battle, the Afghans do: it’s the great moment when they took on the might of the British Empire and triumphed. In Afghan history the battle holds something like the place of Agincourt in our national myth. The British were blundering into the heartland of Afghan pride and patriotism. Once again, colossal ignorance.

‘We knew very little about Helmand Province.’ (Air Chief Marshal Sir Glen Torpy, p.69)

British soldiers arriving to police the area where they lost a famous battle to the great-great-great-grandfathers of the present tribal leaders was, in effect, a challenge to a rematch. Which is why Ledwidge quotes president of Afghanistan Ashraf Ghani saying that, if there’s one country from the entire international community which emphatically shouldn’t have been sent to south Afghanistan, it was Britain (p.66).

Situation in 2007

Some Brits had been in place since 2001 when small units of US and UK special forces were infiltrated into the north of the city and directed the campaign to overthrow the Taliban. A small British unit helped secure Kabul, and one had been quietly operating a provincial reconstruction team in the north of the country.

Since the overthrow of the Taliban in 2001 American special forces had been holding Helmand Province from a base in the capital Lashkar Gah, which, under their relaxed supervision, was completely peaceful. It was the arrival of the Brits which triggered the violence which was soon to engulf them, characterise their 3 years in the country, and lead to another crushing strategic defeat.

Bosnia and a proper force

When the Brits took part in peacekeeping in Bosnia they were part of a force 60,000 strong, in a relatively benign security setup (no Kosavars or Serbs attacked patrols), close to the European countries with large NATO bases i.e. easily resupplied. Many officers apparently thought Helmand would be the same sort of thing because Helmand Province is the same rough size as Bosnia and has a similar population, around 1 million. Hence Defence Secretary John Reid confidently asserting that the army would spend its 3 year mission supervising reconstruction projects without a shot being fired. What an idiot.

The British deployed a small force of just 3,500 to cover an area two and a half times the size of Wales, with little or no infrastructure i.e. roads, 8,000 miles from home, with little or no knowledge about the local people, their ethnic or tribal makeup, culture or history (p.69).

Deposing the one man who held the province together

When the Brits arrived the chief power in the region was a warlord named Sher Muhammed Akhundzada or SMA for short (p.70). He practiced extortion and intimidation but he had suppressed all other rivals and so in effect kept the peace. SMA was also heavily involved in opium cultivation and heroin production, the leading component of the local economy. Well, in 2005 the British prevailed upon President Karzai to get rid of SMA, to the dismay of the Americans and aid workers.

The inevitable happened. With the local strongman who’d been keeping the peace removed, a host of smaller gangs and militias moved into the area, notably the once-cowed remnants of the Taliban. Removing SMA was the single act which triggered all the chaos which followed. It was the Brit equivalent of Bremer dissolving the Iraqi army and police (p.71).

Heroin

At international meetings British politicians had enthusiastically volunteered the British Army to lead on combating the drugs trade. Trouble was the British were also trying to mount a hearts and minds counterinsurgency campaign, and the two were diametrically opposed. Every time they shut down a poppy plantation and burned all the heroin, they made an angry enemy of the farmer and his workers and dependents. Worse, some operations were closed down while others continued to thrive, leading to the belief that the entire policy was just another form of extortion and corruption (p.71).

SAS advice

An SAS unit had been operating in the area in co-operation with the Americans for four years. They were tasked with writing a report ahead of the deployment of the 3,500 British forces. They advised we keep SMA in place, would need a significant increase in numbers and money in order to carry on the Americans’ effective hearts and minds campaign, and that the Brits should remain within the highly populated central part of the province (p.74).

Instead the Brits sent a small force with little money, got rid of the one man who could control the province, and then took the decision to ignore the SAS advice and disperse the troops to small barracks set up in each town. The fancy ambition was to ‘disperse and hold’. Maps in HQ showed ‘inkspots’ of pacification which would slowly join up till the whole province was pacified and reconstruction could crack on.

Platoon houses under attack

Of course that never happened. Instead, small forces found themselves trapped in what became known as ‘platoon houses’ in Helmand’s various towns, Lashkar Gah, Musa Qaleh, Sangin and so on. Ledwidge summarises the deployment in a devastating litany of mistakes. The force deployed:

with vulnerable Snatch Land Rovers, no real counter-IED capability, not enough helicopters, no air-to-ground fire capability, and only a limited ability to gather intelligence or carry out combat operations. This made it a very weak and blind force, and one that would depend entirely on the goodwill of the population and its leaders for its mobility beyond its bases and even its existence within them. (p.75)

The situation was made ten times worse by sacking the one man who knew and controlled the province and who they could have worked with, SMA.

3 Para

The 3,500 troops deployed to Afghanistan were 16 Air Assault Brigade, with one battle group of about 650 men based around the Third Parachute Regiment or 3 Para. These boys are trained to fight and were looking for a fight. Ledwidge thinks they were about the last possible troop you wanted to deploy to a region which required slow, subtle and careful relationship-building.

Testing new kit

The army had recently acquired some of the new Apache helicopters. These have awesome firepower and were designed for high intensity fighting against the invading Soviet Army on the North German plain. Army staff wanted to see them in action. So there was no hearts and minds strategy regarding the Afghan people. Planning was led not by long-term political or strategic considerations, but by operational considerations, which went: we’ve got these troops. We’ve got some new helicopters. We need to use them both or we’ll lose them in the next Treasury spending review. Let’s go!

Dispersing our forces

A long-term development plan for Helmand Province had been written but it was ignored in favour of faulty intelligence. Somehow the figure of 450 Taliban fighters came to the attention of the Brigade staff. This sounded like a number that 3 Para could eliminate. So, instead of concentrating their forces in the heartland as the plan and the small number of US troops who’d been quietly manning Helmand recommended, the decision was taken to deploy small, agile, light forces to each town ready to kill these insurgents (p.83). Ledwidge names the guilty general who took the decision to ignore the draft plan and all the best advice and split up his forces into small pockets scattered round small towns, but it’s such an indictment, such a fatally bad decision, that I am too cautious to name names.

Very quickly these little fortresses our boys were dispersed to became magnets for insurgents keen to show themselves worthy of their great-great-great-great grandfathers and their feats against the invading Angrez. Attacks on the platoon house began immediately and got steadily more intense. British troops found themselves fighting merely to hang on. All thoughts of pacification or security were abandoned. Plans for reconstruction and economic development were abandoned. The Brits proved unable to secure the peace let alone do any reconstruction. Barely able to supply themselves, all they could do was fight off continual attacks. This desperate plight was dignified with the title ‘force protection’. In reality it was hanging on for dear life.

It is this stressed and highly embattled situation which is chronicled in vivid accounts like ‘3 Para’ (‘Real Combat. Real Heroes. Real Stories’) and many other bestselling paperbacks like it. Ledgwidge has a humorous name for this entire genre – herographies, stirring accounts of our plucky lads, surrounded and fighting against the odds. He suggests there’s something in our national psyche which warms to the notion of the plucky underdog, the Battle of Britain, the Blitz. But it’s all rubbish. These embattled outposts were created by a commanding officer who went against the advice of the Americans and a handful of Brit SAS troops who had been quietly hunkered down in Lashkar Gah and kept the province void of violence from 2001 to 2006 when 3 Para arrived and stirred up a hornet’s nest.

Same with Sniper One, Sergeant Dan Mills’ vivid, Sun-style account of hanging on in a fortified base against sustained assault by ‘insurgents’ in al-Amarah, south-east Iraq. From the first page the account shows dazzling ignorance about the environment he’s been posted to. The entire narrative opens with the way that, on their very first day, on their very first patrol, of all the places to pull over their Snatch Land Rovers for a breather, they chose to park outside the local headquarters of the fierce and violent Shia militia, the Jaish al-Mahdi. The fiercely chauvinistic militants inside took this to be a calculated insult to their pride and manliness and so, with no warning, opened fire on the patrol and lobbed grenades at them, one of which severely injured a mate of Dan’s, leading to a sustained firefight. When relief vehicles were sent to ‘extract’ them, these were ambushed and proved unable to reach them etc.

It’s a dramatic story and would make the great opening scene of a movie but, having read Ledwidge’s high-level, strategic analysis, you could hardly come up with a clearer example of the blundering British ignorance of the situation on the ground, ignorance of the subtleties and dangers of local power politics, feuds and rivalries which condemned our troops to being surrounded and besieged both in Basra and Helmand. Same thing happened in both places. No lessons were learned. Nothing was understood.

Dan Mills’ intense and violent experience of being besieged lasted four months until the entire garrison of his particular fortress, Cimic House, was evacuated and ‘extracted’ back to the more defensible base at the local airport. Mills is at pains to tell us they left with honour. But really, like the British army as a whole in both Basra province and Helmand province, they were soundly beaten and ran away.

Only tiny numbers were actual fighting troops

A central and rather mind-boggling fact is that, of a deployment of 3,500 troops it may be that only a couple of hundred are available for actual patrols. In the Afghan chapter as in the Basra chapter, Ledwidge explains that a quite astonishing number of the ‘troops’ sent to these kinds of places have other roles to play apart from combat: from military police manning prisons, to cooks and engineers, from planners and general staff through the comms and media and press teams. There are the drivers who bravely bring in provisions and ammo to the central bases over long, exposed supply lines, there are the helicopter pilots and the scads of engineers and specialists required to keep them airborne. There are, of course, expert handlers, storers and maintainers of all the different types of ammunition, quartermasters and logistics specialists. The list goes on and on and explains the stunning fact that, out of a battalion of 3,500 men, only 168 were available for foot patrols (p.143). Thus the provincial capital, Lashkar Gah, a town of 200,000, was patrolled by just 200 British soldiers, of which only 20 were actually out on the street at any one time (p.83). Pathetic. Insignificant.

Ledwidge compares the British deployments in Basra and Afghanistan (8,000 and 5,000 in conflict zones with completely unreliable support from the ‘police’) to the well-known deployment to Malaya in the 1950s (which British officers never stopped boring their American colleagues with) which consisted of 40,000 troops working alongside a trustworthy local police force of 100,000. In other words a completely different situation.

The Taliban return

Ledwidge arrived in Afghanistan mid-2007, one year after the initial deployment, to find chaos on the streets and the Brits fighting for their survival in an archipelago of isolated, highly embattled strongholds (p.88). The army had completely lost the initiative and was reduced to hanging on in these forts, rarely able to leave them, their ‘presence’ and ‘authority’ non-existent more than a few hundred yards from the walls – all while the Taliban slowly re-established themselves among the general population as reliable providers of security and justice, albeit of a very harsh variety. Harsh but better than the random outbursts of extreme violence and destruction associated with the angry, frustrated British soldiers.

Sangin and the drugs trade

In Sangin, one of the world centres of the heroin trade, the Brits found themselves drawn into drug turf wars without understanding the complex power politics between rival drug gangs, ‘police’, regional and central government, tribal allegiances and religious motivations. The Brits just labelled them all ‘Taliban’ and thought they achieved something when they killed 5 or 10 or 20 of them in a firefight; when of course such firefights had zero impact on the actual situation. All they ever did was destroy the centres of the towns where these kinds of firefights took place (‘destroying and depopulating town centres’ p.84) and kill lots of innocent civilians; or else forced the populations to flee these new centres of violence, nobody knew where: off into the desert, to other towns, many to the slums of Kabul.

All this reinforced the ancestral perception that the ‘Angrez’ were unwanted invaders who brought only destruction and death – as they did. New insurgents were created whenever their families were injured or killed, new recruits stepped in to replace fathers or brothers. The potential supply of ‘insurgents’ was limitless.

‘Killing insurgents usually serves to multiply enemies rather than subtract them…[something which] is especially relevant in revenge-prone Pashtun communities…’ (General Michael Flynn, former US army chief of intelligence in Iraq, p.206)

This wasn’t helped at all by the adoption of a ‘decapitation’ strategy, increasingly adopted (out of desperation) in Basra and Helmand. It meant targeting supposed leaders of the insurgency and then killing them. There are four obvious objections to this policy. One is that for every ‘Taliban leader’ you kill, at least one if not more male relatives will step into the gap. Two is that almost certainly you will kill innocent civilians in the process, thus inflaming the general population and recruiting more enemy. Three, more than one serving officer raised fears that these decapitation forces degenerated into little more than ‘death squads’, not unlike the notorious death squads which existed in many Latin American countries (p.233).

The fourth objection is that the entire policy relies on accurate intelligence i.e. knowing who these alleged Taliban leaders are. Accurate intelligence was something the Brits never had in either Basra or Helmand. None of them spoke the language. They had to rely on local sources and Ledwidge gives some bleakly funny examples of one or other gang of businessmen or drug barons ‘tipping the British off’ about dangerous ‘Taliban leaders’ who the Brits then dutifully arrested in a violent and destructive raid but when they interrogated them, slowly and embarrassingly discovered that so-called ‘Taliban leaders’ were in fact heads of a rival business or drugs gang. In other words, the Brits were routinely played for patsies, useful idiots who could be twisted round the little fingers of savvy local drugs barons and warlords.

So decapitation doesn’t work, you lose the moral high ground, and you multiply your enemy. But it was this desperate expedient, the tactic of a force which has lost the battle, which the Brits resorted to in both Basra and Helmand.

And these counter-productive and sometimes farcical efforts were then publicised by army press and media officers as successful raids, listing the amount of weaponry captured and ‘insurgents’ killed, puff stories and completely meaningless figures which were then reported in the British press, and passed up the chain of command to eventually be shown to naive politicians in PowerPoint presentations which proved how we were winning the war and would bring peace and plenty to Iraq and Afghanistan any minute now, we’re just turning the corner, just give us another billion to finish the job, Prime Minister.

Cause of the destruction

So many civilian deaths were caused because the Brits would go out on a patrol, almost immediately be ambushed and surrounded and start taking casualties, and so radio in for air support. Up would come an Apache attack helicopter armed with guns firing high calibre rockets designed to penetrate Soviet tanks into urban areas packed with houses built of breeze blocks or mud bricks. The choppers might have fought off the attackers but they also devastated all the buildings in a large area (p.82).

This destruction of the centres of every town in Helmand was the direct consequence of not sending enough troops. More troops could have defended themselves better without calling in death from the air. Inadequate troops had to call in what was effectively heavy artillery. The shitty British tradition of trying to do it on the cheap ended up destroying Afghan towns and massacring Afghan civilians.

Imagine your house was completely destroyed in one of the Brits’ pointless ‘pacification’ exercises, maybe your wife or son or brother killed or injured, and the local resistance offered you a stipend to take up arms and help drive these wicked invaders out of your homeland. It would not only be your patriotic, tribal and family duty, but you’d want to do it, to be revenged.

And so the Brits spent years devastating and destroying the very towns they said they’d come to rebuild and ‘develop’. Madness. This pattern continued for four years, ‘an operation that was in a state of drift, chaotically bereft of credible strategy’ (p.91).

Six months rotations

Everything was made worse by the Army’s policy of 6 months rotations. Every 6 months battalions would be rotated home and an entirely new troop came in with new officers and men who didn’t have a clue about their surroundings. The system tended to incentivise each new commanding officer to devise and carry out pointless engagements known as ‘signature operations’ (p.90). British commanders, like middle managers everywhere, have to be seen to be doing something, even if their violent and entirely counter-productive little operations worked against the long-term aims of the deployment i.e. securing the population (p.99). None of the officers had long-term interests. They were only there for 6 months which leads to loss of knowledge, loss of continuity, and continual chopping and changing of plans (p.144).

Allying with a corrupt government

And yet another fundamental flaw: the Brits were meant to be defending ‘the government’ but it took senior Brits many years to realise the ‘government’ in Kabul was no better than a congeries of gangs and cliques and criminals carving up budget money and resources among themselves and their tribes. The mass of the people despised and hated the so-called ‘government’ and we…allied ourselves with them (p.95).

Allying with criminal police

On the ground the Afghan ‘police’ were even worse than the Iraqi police. Iraqi police were notorious for corruption – under Saddam their main occupation was stopping traffic at checkpoints and demanding bribes. But the police in Helmand Province were significantly more vicious; they extorted money with menaces and were notorious for raping women and boys. Every police station had a ‘fun boy’ or house catamite for the officers to sodomise (p.76).

Thus the British were seen to be supporting and helping murders, rapists and extortionists. Ledwidge quotes an aid worker getting a phone call from terrified civilians, after the British ‘secured’ an area of Sangin so that the ‘police’ could sweep through the area looking for the bad guys but, in reality, raping at will and extorting money at gunpoint (p.85). The British allied themselves to the most criminal element in Afghan society. Thus it is absolutely no surprise to learn that everyone, without exception, wanted the rapist-friendly, town-destroying ‘Angrez’ to leave as soon as possible (p.95).

The appeal of the Taliban

The British ‘strategy’ enabled the Taliban to present itself as the representatives of impartial justice and security. After all, that had been their achievement when they came to power in 1996: ending years of civil war between rival warlords. ‘The single most effective selling point of the pre-9/11 Taliban was justice’ (p.94). They could offer what the British couldn’t and slowly the majority of the population came to prefer rough justice to criminal anarchy.

‘The Taliban did not even have a bakery that they can give bread to the people, but still most people support the Taliban – that’s because people are sick of night raids and being treated badly by the foreigners.’ (Afghan farmer, quoted p.233)

Legacy

The deployment of 16 Air Assault Brigade had been nothing short of disastrous. Bereft of insight or perspective of any point of view except the most radical form of ‘cracking on’ they had left a legacy of destroyed towns, refugees and civilian casualties…They had set a pattern of dispersed forts, difficult to defend and even more difficult to support or supply. (p.87)

All this explains why, in 2010, the Americans had to bail the British out and come and secure Helmand, exactly as they had had to take over Basra after the British miserably failed there as well. The Yanks were cheered on arrival in Garmshir, not because they were American, but simply because they weren’t British.

A mission that had begun with high hopes of resurrecting Britain’s military reputation in the eyes of its American allies had resulted only in reinforcing the view that the British were not to be relied on. (p.105)

If Basra damaged the military side of the so-called ‘special relationship’, then Afghanistan destroyed it (p.106). The British ambassador to Afghanistan reflected that the entire campaign was ‘a half-baked effort’ (p.105).

In 2013 Prime Minister David Cameron declared ‘mission accomplished’ (these politicians and their lies) and by the end of 2014 almost all British combat troops had been withdrawn. What Ledwidge didn’t know as he wrote the second edition of this book in 2016 was that 6 years later Joe Biden was to withdraw the final US troops from the Afghanistan with the result that the country fell within a week to the same Taliban who the Brits cheerfully claimed to be eliminating in 2007 and 2008 and 2009. Was it all for nothing? Yes, except for the lasting legacy of bitterness and hatred we left behind. Ledwidge quotes journalist Jean Mackenzie:

I never met an Afghan who did not hold the view that the British were in Helmand to screw them. They hate the British viscerally and historically. Even if they had been competent there was no way the British were going to do well there. But when they came in with gobbledeygook about ‘robust rules of engagement’ and started killing Helmandi civilians, that was it. (p.107)

It is obvious what a huge gap separated the reality experienced by most Afghans and the story the Brits told themselves and, via their sophisticated Comms and Press teams, told the British people and the world. ‘Lies’ is the word that springs to mind. ‘Propaganda’, obviously. ‘Spin’ is the term that was used by New Labour and its media manipulators. But it’s maybe closer to the truth to say comprehensive ‘self deception’.

The weak point of counterinsurgency theory

Counterinsurgency can only work in a state with a strong or supportive government. What the Americans and British in Iraq and Afghanistan told themselves they were doing was supporting ‘government’ forces against insurgents. The problem was that the ‘government’ itself was highly partisan or weak or both, and its representatives on the ground were corrupt and violent and ineffective. Under those circumstances the native populations made the rational decision to opt for the only force which had in the past ensured basic security, the Mahdi Army in Iraq and the Taliban in Afghanistan (p.108). Backing weak governments tends to encourage ethnic nationalism as the only viable alternative.

Sucking up to the Yanks

Damningly, the conclusion Ledwidge comes to is the reason there was never any coherent strategy in either Iraq or Afghanistan, the reason the British generals and majors and soldiers never really knew what they were meant to be doing, is because both campaigns really, in essence, had only one aim: Tony Blair’s wish to suck up to the Americans. Blair wanted to be a player on the world stage, to secure his fame, to stand shoulder to shoulder with the Yanks in their War Against Terror, thought Britain could be the older wiser Athens to America’s bigger richer but unsophisticated Rome, blah blah blah, yadda yadda yadda.

The goal of being America’s best friend may be despicable or admirable according to taste, it doesn’t really matter, because the practical outcome was that the British Army was put to the test and failed, not once but twice, failing to provide security and anything like peace in both southern Iraq and southern Afghanistan. Both times the American Army had to move in and take over and did a much better job. So the net, high-level result was the exact opposite of Blair’s wish to be seen as America’s number one best friend. As Ledwidge puts it, if Basra damaged the so-called ‘special relationship’, Helmand destroyed it (p.106).

3. Libya

In 2011 the Arab Spring began in Tunisia and popular protests soon spread to Libya and Egypt. In Libya anti-government protests broke out in the eastern city of Benghazi. The West worried that Colonel Gaddafi was about to send armed forces to massacre protesters so France, the UK and US sponsored UN resolution 1973 justifying ‘intervention’ to save lives and establishing no fly zones, the concept pioneered in Iraq to protect the Kurds in 1991.

On this basis the French launched lightning air strikes against Gaddafi’s forces as they entered Benghazi and threatened to attack protesters, and in support of the rebel National Transitional Council. As usual, there was a lot of high-minded guff about protecting civilians and how regime change was the last thing on our minds, but there was steady slippage and the bombardments increased to actively support the rebels and quell the government forces.

In June 2011 Ledwidge was deployed to Libya as a ‘stabilisation officer’. On 20 October 2011, Gaddafi was tracked down to a hideout in Sirte, surrounded by the usual clamouring rabble, and beaten and shot to death. There’s grim, dispiriting footage of the event in this this American news report.

Anyway, the point is, you get rid of a long-ruling dictator who’s been holding his country together via repressive, feared security forces and… does it overnight turn into Holland or Vermont? No. It collapses into civil war between rebel factions and into the power and security vacuum come… Islamic terrorists. Exactly as happened in Iraq.

Thus, Ledwidge tells us, Libya under Gaddafi from 1969 to 2011 never harboured any Islamic terrorists. In the years since his fall it has become the North African base of Islamic State and other extreme Islamic groups who now use it as a base to launch attacks into neighbouring countries.

Ledgewick’s thematic critique

Part two of the book (pages 117 to 281) moves on to consider general points and issues raised by the three wars. These are so many and so complicated that I’ll give only a brief selection. They’re addressed in chapters titled:

  • Dereliction of Duty: the Generals and Strategy
  • Cracking On and Optimism Bias: British Military Culture and Doctrine
  • Tactics without Strategy: The Counterinsurgency Conundrum
  • Managing Violence: the Question of Force
  • Strangers in Strange Lands
  • Fixing Intelligence
  • Thinking to Win

The armed forces are top heavy. The army has more generals than helicopters. This in turn breeds groupthink. All senior officers are trained at one college where they are taught to think the same.

Another aspect of the overpopulation of generals is none of them stand up to politicians. Ledwidge gives examples from the Second World War and Malaya of generals demanding that politicians are absolutely clear about the goals and ends of campaigns. He also says generals from previous generations were blunt to politicians about risks. He describes the detailed explanation of the risks of failure give to Margaret Thatcher about the Falklands War. Whereas none of the umpteen senior generals overseeing the deployment to either Iraq or Helmand appears to have explained to the politicians (Blair, Brown) the very serious risk of failure. Trahison des généraux.

On the contrary, many suffered from optimism bias: ‘the tendency to overestimate our chances of positive experiences and underestimate our chances of negative experiences.’ Ledwidge gives examples of junior officers whose frank and candid assessments of situations were criticised as defeatist or even unpatriotic. Very quickly they learned to gloss over setbacks and accentuate the positive. If this pattern is repeated at every rung going up the ladder, then by the time it reaches the politicians military reports tell them we’re winning the war when we’re in fact losing it. Or encourage them to take further bad decisions on the basis of bad intelligence (pages 160 to 170). John Reid later testified that the generals said it would be no problem having a major troop deployment in Iraq and Afghanistan simultaneously (p.162)

Politicians don’t understand the army. Blair went out of his way to praise the army in his appearances before the Chilcott Enquiry by saying they have such a ‘can-do’ attitude. Except that it turned out that they can’t do. At all. But clearly that’s not what they told him. In the war, in Malaya, in the buildup to the Falklands, generals made the political leaders very aware of the risks. But ahead of Iraq and Afghanistan they appear not to have. The attitude was ‘Yes, Prime Minister’, kowtowing and acquiescing. Craven.

There are a number of reasons for this. 1) One is pusillanimity i.e. generals being scared a) about their own careers b) about funding for their service, if they appeared reluctant. 2) Another is groupthink: they all agree and fall in with political will.

3) Ledwidge explains another reason by quoting Max Hastings as saying that the British Army has a long and venerable tradition of failing to send enough men, of trying to do things on the cheap, with not enough troops – a policy which has resulted in a whole series of catastrophes, all of which are air-brushed out of history.

It’s connected to 4) the belief that the British Army is somehow special; that its role in World War Two, in various colonial pacifications, in Northern Ireland, then in Bosnia and Kosovo, somehow gives it a moral superiority, an integrity and decency and blah blah blah which don’t have to rely on banal details like having enough troops or the right equipment to do the job. British exceptionalism.

And this is itself connected to the long-held view that the British somehow won the Second World War, although the soldiers and logistics in the West were mostly American, and the war in the East was, obviously enough, won by the enormous sacrifices of the Russian Army. Yet somehow the belief lingered on through the generations that because we ‘stood alone’ against Hitler and suffered through the Blitz, we were the moral victors of the war. Which in turn leads to 5) the view that we’ll muddle through, that it will all come right because, well, we’re the good guys, right?

All of which explains why the narratives we tell ourselves (and government spin doctors and military press officers tell us) – that we are the good guys coming in to get rid of the terrorists and rebuild your country for you – are so completely at odds with the practical impact we actually had on the lives of people in Iraq and Afghanistan and, to a lesser extent, Libya. And why we couldn’t understand why so many of them came to hate us, tried to kill us, and rejoiced when they drove us out of their countries.

Red teaming

There is an established process to tackle this which is to deploy so-called ‘red teams’ which are simply a group of planners who you pay to think through everything that could go wrong and devise worst case scenarios. To think a plan through from the point of view of the enemy and consider what they’d do, where our weakest points are. In fact just before the deployment to Iraq the Defence Intelligence Staff did produce a red team report. It accurately predicted that after a short honeymoon period the response of the Iraqi population would become fragile and dependent on the effectiveness of the post-conflict administration, as indeed it did. But the report was ignored. As you might expect, Ledwidge recommends that ‘red teaming’ plans is made standard practice, as well as a culture of critique being encouraged at every level of the military hierarchy.

Clear thinking about counterinsurgency

Apparently the Yanks got sick of listening to British officers crapping on about what experts they were at counterinsurgency because of our great achievements in Malaya and Northern Ireland. So Ledgwidge devotes a chapter to extended and fascinating analyses of both campaigns, which demonstrates how they were both utterly different from the situations in Iraq and Afghanistan. Maybe the key difference in both was that Malaya and NI both had a functioning government and a large and reliable police force, neither of which existed in Iraq/Afghan. In Iraq and Afghanistan the army was tasked with fighting an insurgency and rebuilding a national government at the same time.

Divided aims

Having a functioning government in place meant that the military was free to concentrate on handling the insurgency and so were not distracted by requirements of state building or infrastructure reconstruction. Yet these were huge issues in both Iraq and Afghanistan and so split the priorities and distracted the strategies for dealing with the insurgency. The army always had two simultaneous but conflicting agendas, in fact three: 1) deal with the insurgency; 2) support the creation of a new functioning civil government, along with a new police force; 3) try to rebuild infrastructure, power stations and suchlike.

Dividing them into three separate aims like that helps you to understand that any one of those goals would have tested a military presence of modest size, but lumping all three together was an impossible ask. It was too much to ask of any army, but especially one that was undermanned from the start.

Because numbers: 40,000 troops in Malaya + 100,000 reliable police; 28,000 troops in Northern Ireland + tens of thousands of police; but in Afghanistan just 5,000 troops and useless corrupt police. Numbers, numbers, numbers.

More than any other factor, the restoration and maintenance of order requires numbers (p.24)

Ledwidge uses various experts’ ratios of troops to civilians to estimate that there should have been at least 50,000 British troops in Helmand, not 5,000 (p.205). At the height of the Troubles there were 28,000 troops in Northern Ireland (p.202).

In Malaya, contrary to myth, there was also a good deal of coercion, many rebels were shot, there were atrocities (village massacres) and something akin to concentration camps was used to round up the jungle population so as to starve the Chinese communist insurgents of support. I.e it was more brutal than rose-tinted legend depicts.

The importance of intelligence

In Northern Ireland the key was intelligence i.e. the British military and security forces got to know the enemy really, really well. This in-depth knowledge allowed them to contain IRA campaigns but more importantly, paved the way for negotiations. And the negotiations which brought the IRA in were carried out by civilians not military.

Ledwidge has an entire chapter explaining traditional definitions of military intelligence, along with ‘the intelligence cycle’ (p.232), a lengthy explanation of why it worked in Northern Ireland (stable government, large reliable police force, lengthy deployments – 2 years – similarity in background between army and IRA, same language), similar culture, values and experiences, down to supporting the same football teams (p.237). None of this applied in Iraq/Afghanistan, which triggers a chapter-long analysis of how modern intelligence seeking needs to be rethought and updated to apply to such demanding environments (pages 231 to 248).

With disarming candour, Ledwidge says sometimes the best intelligence isn’t derived from hi-tech spying but from just talking to journalists, especially local journalists; they often have far better sources than whip-smart intelligence officers helicoptered into a situation who don’t speak the language, have no idea of the political and social setup, and are asked to supply actionable intelligence within weeks. Read the local papers. Listen to the local radio stations. Meet with local journalists.

Ledwidge was himself an intelligence officer within the military, and then a civil rights worker for the Organisation for Security and Cooperation in Europe i.e. as a soldier and a civilian, so is well placed to make this analysis.

All wars are, at bottom, political and require political solutions

Maybe the most important point of all is that counterinsurgency is a political activity. David Galula the French counterinsurgency expert thought that counterinsurgency operations should be 80%/20% political to military (p.177). The military effort only exists to support what must first and foremost be a political strategy (ideally, of negotiating towards a peaceful settlement).

This was the most important point about the Malaya Emergency, that it was run by a civilian Brit, with civilian ends in view.

If [the great military theorist Carl von] Clausewitz tells us nothing else he tells us this: overriding all is the political element. No amount of military nostrums or principles will make up for the lack of a workable political objective, rooted in a firmly realistic appreciation of national interest. (p.188)

The great failure of the British campaigns in Iraq and Afghanistan was that they became entirely military, became narrowly focused on finding and killing the enemy. Ledwidge associates this with the failed American strategy in Vietnam. In Nam the Americans boasted at their daily press conferences about the number of enemy they’d killed. Military and politicians and public were all led to think that numbers of enemy dead equalled ‘success’. But of course it didn’t. The Yanks killed tens of thousands of the enemy but lost the war because it was a political struggle, for the allegiance of the people.

Thus Ledwidge says he knew the Brits were losing in Afghanistan when he arrived to find the army press conferences once again focusing on numbers of insurgents or ‘Taliban’ killed in each day’s skirmishes and firefights. Political engagement and discussion had been sidelined in favour of a purely military solution; but there was no purely military solution and so we failed.

Spiralling costs

Did you know it cost £400,000 per year to maintain one soldier in either of these countries? Or that one 1,000 kilo bomb dropped from a plane on a suspect target cost £250,000? Ledwidge says the campaign in Afghanistan cost some £6 billion per year (can that be right?). And for what? Ledwidge estimates the cost of both campaigns to the British government at £40 billion. For nothing.

Better education

The book ends with a chapter comparing the high education standards expected of American officers (and recruits) and the absence of such criteria for the British. He reviews the astonishing number of senior US generals with PhDs, something I noticed in Thomas Ricks’s book about Iraq, and which backs up Emma Sky’s experience that all the senior US officers she worked with are astonishingly well educated and erudite. Not only better educated, but more flexible in their thinking. Having attended civilian universities for several years they are used to free and open debate and to defending their opinions and analyses in open forums – something British army officers are actively discouraged from doing. Ledwidge gives names of British army officers who’ve written essays critical of the army whose publication has been blocked by MoD officials, or who have chosen to resign from the army altogether in order to publish their book.

Due to the US army’s encouragement and lavish spending on higher education for its officers, there are currently more American army officers studying for research degrees in British universities than British army officers (p.260).

With the ever-growing role of cyber warfare, Ledwidge cites a contemporary Chinese military theorist, Chang Mengxiong, who says that future wars will be about highly skilled, well-educated operatives – not clever but conformist generals promising they can do anything to naive politicians, then ‘cracking on’ and muddling through the dire situation they’ve got their men into, killing more and more innocent civilians, retreating to embattled forts and finally retreating with their tails between their legs. It’ll be about fighting smart. (From this perspective, the Russian invasion of Ukraine seems even more blundering, brutal and outdated.)

Ledwidge’s recommendations

Our generals were not up to the job. We need better ones. The number of one-star and above generals across all three services should be cut from 450 to 150. We don’t need 130 major generals or 800 full colonels.

Senior officers need to be drawn from a more diverse pool, not just in terms of gender and race, but expert civilians should be encouraged to join the army, and take officer training.

To reach the rank of general you must take an in-depth course in strategy (currently not necessary). Parts of this could be offered by senior business people and academics who specialise in logical thinking.

The savings from getting rid of hundreds of senior officers who do little more than fill committees and shuffle paperwork would generate savings which could be invested in training courses at civilian institutions, such as universities, such as the US Army pays for its senior generals to take, in order to produce soldier scholars.

The army keeps buying ridiculously expensive hardware which turns out to be irrelevant to the kind of wars we are now fighting. Part of that is down to the blatant corruption of the senior staff who make purchasing decisions and who, upon retirement, take up lucrative directorships at the very companies they’ve awarded billion pound contracts to. They should be forbidden by law from doing so for at least five years after leaving the services.

The chances are the next really serious threats we will face to our security come from either a fully armed massive Russian army, or from lethal cyber `attacks. Since successive governments have cut defence budgets and successive general staffs have frittered it away on expensive hardware, the more basic elements of a functioning military have been overlooked, most importantly the ability to think, process and adapt very fast to probably fast-moving threats.

Hence the need for a broad-based strategic education, and not the narrow, tradition and conservative fare dished up at Sandhurst or the Joint Services Command and Staff College (JSCSC) at Shrivenham.

Conclusions (mine, not Ledgwidge’s)

1. Never believe anything the British Army says about any of its campaigns.

2. Whenever you hear a preening politician or ‘expert’ journalist crapping on about ‘the special relationship’ between the UK and the US, remember the humiliating shame of the British Army having to be bailed out not once but twice by the American army from jobs it had volunteered to do and egregiously failed at. Remember the roster of senior US military figures Ledwidge lines up to testify that the Americans will never trust the British Army again.

3. Never, ever, ever send the British Army on any more ‘security and reconstruction missions’. They will not only miserably fail – due to lack of intelligence, planning, failure to understand the nature of the conflict, refusal to use modern intelligence approaches and above all, cheapskate paltry numbers and lack of resources – but they will make the situation worse, occupying wretched little platoon forts which become the epicentres of destructive firefights, devastating town centres, leaving thousands dead. And sooner or later they will have to be bailed out by the Americans.

In making and executing strategic decisions both senior officers and politicians should understand the basic limitations on capability and be fully apprised of potential failure. (p.138)

4. Dictators in Third World countries may be evil but, on balance, may be better than the alternatives, these being either a) the situation created by invading US and UK forces in Iraq and Afghanistan (insurgency, terrorism, devastation) OR b) the situation created by a failed attempt to overthrow a dictator, as in Syria, i.e. anarchic civil war, huge numbers of civilian deaths, millions of wretched refugees and the explosive growth of terrorism.

Maybe stick with the dictator. Evil, but limited and controllable evil, which is better than the other sort.

One-sentence conclusion

After the expensive failures in Iraq and Afghanistan and the hasty and counter-productive involvement in Libya (the 2011 bombing campaign to support Gaddafi’s opponents), two fundamental criteria must be applied to any thought of similar interventions in the future:

Before any military commitment it is essential that: 1) a clear political objective be set, and that 2) sufficient resources be made available to get the job done. (p.274)


Credit

Losing Small Wars: British Military Failure in the 9/11 Wars by Frank Ledwidge was first published by Yale University press in 2011. References are to the YUP paperback of the second edition (2017).

New world disorder reviews

A Brief Revolution @ the Photographers’ Gallery

The Architectural Review is a monthly international architectural magazine. It was founded in London in 1896 and does what its title suggests, covering all aspects of the built environment.

Manplan

Just over 50 years ago, in 8 issues from September 1969 to September 1970, the Review ran a series of eight specially commissioned reports on the state of architecture at the end of the 1960s. It was to review not just architecture in the narrow sense but the entire state of town planning, in an age when old Victorian slums were being torn down to make way for gleaming new towns made of high-rise towers, medium-rise blocks characterised by lifts and concrete walkways, subways under sweeping new ring roads, nicely laid-out grassed areas and so on.

The Review’s editors called the series of articles ‘Manplan’ and hired leading photojournalists and street photographers to address a set of eight themes, being:

  1. Frustration
  2. Travel and communication (‘Society is its contacts’)
  3. Town Workshop
  4. Education (‘The continuing community’)
  5. Religion
  6. Health and Welfare
  7. Local government
  8. Housing

The result was a series of brilliant photos shot on a 35mm camera in a spirit of photo-reportage – vivid and dramatic black-and-white works which captured a nation in the midst of great social, cultural and environmental change. To the horror of some of its contributors and readers, the magazine turned its back on large-format, heroic photography of buildings and their details, instead embracing a grainy, 35mm black-and-white reportage aesthetic, where people were as, if not more, important than the places. In the words of The Royal Institute of British Architects, publishers of the Architecture Review:

The aim was to propose an alternative and more holistic approach to urban planning, which would look at all basic human needs as a whole. The photographs illustrating the issues were created in the spirit of photo reportage and often featured people inhabiting the spaces studied by the survey, thereby shifting the focus from the architecture itself to the human element within the built environment.

So it was intended to be polemical stuff. The photographers were:

  • Ian Berry
  • Tony Ray-Jones
  • Tim Street-Porter
  • Patrick Ward

Altogether the Architectural Review published about 80 photographs. Just 16 are on display here, but every single one of them is a masterpiece; there’s no slack. Each one is a densely packed, highly charged vignette. This exhibition isn’t big but it is packed with social history, with memories and nostalgia for a time within the living memory of many but feeling evermore distant.

Design and layout

On a separate wall is a display of the actual copies of the magazine which the photo-essays appeared in, along with the words and designs of ‘Manplan’ editor Tim Rock and designers Michael Reid and Peter Baistow. This section goes into detail about how the photographs were processed, reproduced and printed (using ‘special matt black ink’) along with analysis of the layout and typography. All a bit over my head but interesting for students of design.

The photographs

Private terraced houses on the Old Kent Road opposite Camelot Street Estate, London by Tony Ray-Jones (1970) part of ‘Manplan 8: Housing’, in Architectural Review, September 1970. Courtesy Architectural Press Archive / RIBA Collections

Housing at New Ash Green, Kent by Tony Ray-Jones (1970), part of ‘Manplan 8: Housing’, in Architectural Review, September 1970. Courtesy Architectural Press Archive / RIBA Collections

Low-rise housing, Tavy Bridge, Thamesmead, Greenwich, London, 1970 by Tony Ray-Jones, part of ‘Manplan 8: Housing’, in Architectural Review, September 1970. Courtesy Architectural Press Archive/RIBA Collections

Classroom windows in a school in Wales, 1969 by unknown photographer, part of ‘Manplan 4: The continuing community (education)’, in Architectural Review, January 1970. Courtesy Architectural Press Archive / RIBA Collections

High-rise flats and multi-storey car park, Birmingham, 1970 by Peter Baistow, part of ‘Manplan 5: Religion’, in Architectural Review, March 1970. Courtesy Architectural Press Archive / RIBA Collections

Chatsworth Street school and high-rise housing block overlooking the cleared site, Liverpool, 1969 by Tom Smith, part of ‘Manplan 4: The Continuing Community (education)’ in Architectural Review, January 1970. Courtesy Architectural Press Archive / RIBA Collections

Salvation Army officers picnicking on the steps of the figure group Asia by J H Foley, Albert Memorial, Kensington Gardens, London, 1969 by Peter Baistow, part of ‘Manplan 5: Religion’, in Architectural Review, March 1970. Courtesy Architectural Press Archive/RIBA Collections

Unidentified primary school, 1969 by unknown photographer, part of ‘Manplan 4: The continuing community (education)’, in Architectural Review, January 1970. Courtesy Architectural Press Archive / RIBA Collections

Thamesmead film

To one side of the 16 framed photos on the wall, is a TV monitor showing a film from around the same time (in fact the year before the project, 1968). So far as I can tell it’s not directly connected with RIBA or the Manplan project except for the slender link that one of the 80 Manplan photos happens to cover the same subject as the film, namely the new estate being built at Thamesmead.  So it wasn’t directly related to the Manplan project but gives context to the kind of architectural and town planning thinking which was going on at the time of the Manplan project.

Directed by Jack Saward, this 25-minute public education film gives an overview of the history and construction of Thamesmead, a sort of new model suburb built down the River Thames from London on the site of the old Royal Arsenal, a site that extended over Plumstead Marshes and Erith Marshes.

Alas, to quote the introduction to the video on YouTube:

The ambition is commendable but it didn’t quite work in practise, with Thamesmead becoming a notoriously problematic estate and its architects perceived as exhibiting many of the faults of post-war planning, with communities being tinkered with from above like a real-life experiment. This is where utopia meets authoritarianism.

Hard to believe, but the planners that designed the place provided insufficient transport links with London, no way of crossing the Thames for 5 or 6 miles in either direction and – best of all – an almost complete lack of shopping facilities and banks. Lots of pretty little lakes but…nowhere to buy food. According to the label in the exhibition, the estate ‘was soon plagued by social problems caused by lack of facilities and public transport’.

The half-built estate won an unwanted fame when American film director Stanley Kubrick used parts of it as the setting for his notoriously violent 1971 movie, A Clockwork Orange, a vision of an alienated, dystopian society. Here’s the photo of it taken by the brilliant Tony Ray-Jones which provides a sort of coincidental link between the Manplan series and the film.

Thamesmead under construction, Greenwich, London, 1970 by Tony Ray-Jones in ‘Manplan 8: Housing’, Architectural Review, September 1970. Courtesy Architectural Press Archive / RIBA Collections

Which do you prefer? Which do you think is telling the truth, the film or the photo?

The Robert Elwall Photographs Collection

All the materials for the Manplan exhibition, photos and old copies of the AR magazine, come from the Robert Elwall Photographs Collection. This comprises around 1.5 million images from the earliest days of photography to the present day. The collection includes photographic archives of individual architects and practices, travel and topographic images from across the world, press photographs from major architectural journals, and large bodies of work by some of the best known architectural photographers of the 20th century. The collection includes prints, negatives, slides, transparencies, photographically illustrated books and digital files. It is itself part of the larger Royal Institute of British Architects collections.

Conclusion

Flicking through some of the text on the walls is a dispiriting experience. These 1970 writers were raging against the soulless design of modern cities, the daily struggle of commuting to work on overcrowded public transport, against air pollution, excess traffic and the destruction of the environment, against the dominance of the car over human-friendly spaces, against the dehumanising effects of modern technology, against social inequality and the lack of social housing, against the prioritising of profit over people.

It’s as if, 53 years later, nothing has changed except we all have smart phones to share our frustration about how things obstinately carry on being rubbish. The Manplan writers’ rage and frustration is captured by this, the last entry in the exhibition.

Double page spread from Manplan 1. ‘Frustration’

It’s a copy of the original magazine, open to a double page spread showing a traditional Pearly King and Queen standing in front of the typically sterile, barren waste ground surrounding a clutch of looming, threatening tower blocks. Up in the top right is a text reading: ‘The richness of East End life is replaced by monotony and inhumanity.’

Yep. that’s the world I grew up into and which punk rock, with its angry nihilism, was a direct response to. Eternal shame on England’s architects and town planners.


Related links

More Photographers’ Gallery reviews

Men at Arms by Evelyn Waugh (1952)

‘I’m what’s called a “conducting officer”. I take American journalists round fighter stations. But I shall find something else soon. The great thing is to get into uniform; then you can start moving yourself round. It’s a very exclusive war at present. Once you’re in, there’s every opportunity.’
(Lord Ian Kilbannock explaining to Guy the importance of getting on in a war, Men at Arms)

Men at Arms is the first in what developed into a trilogy of novels about the Second World War which Waugh named The Sword of Honour trilogy. It tells the story of devout Catholic, conservative, standoffish but honourable and frequently depressed fellow, Guy Crouchback:

Thirty-five years old, slight and trim, plainly foreign but not so plainly English, young, now, in heart and step…

The novel starts with the outbreak of the Second World War and follows Guy’s long, clumsy and sometimes very funny progress through the military machine, with a world of details about the farcical bureaucratic aspects of army life.

But the book also includes, like a persistent background hum, Guy’s deep Catholic faith and his feel for the ‘old’ values of religion and an older traditional way of life embodied in the figure of Guy’s venerable father, Mr Crouchback.

And the book’s other understated but persistent theme is for Guy’s loneliness and isolation, his unhappiness, sometimes sinking as low as actual despair. For too long, the narrative tells us, Guy has inhabited a ‘dry, empty place’ of the soul.

The Crouchback family

How so? Well, Guy’s character is carefully constructed to evoke the same kind of pity and compassion he was seeking to evoke in Brideshead Revisited, the sense of the decline and fall of a once noble family, the sense of quietly heroic old buffers trying to keep up ancient values and dignity in a world gone to hell.

Guy’s father is over 70, a quiet, decent man of deep devout Catholic faith who has nobly weathered a series of setbacks. He is the representative of a family which can trace its lineage back to the time of Henry I. For centuries the Crouchback family have lived in a country estate named Broome, somewhere in north Devon. But the family suffered a) personal and b) financial setbacks.

On the personal front, Mr Crouchback’s wife gave him four children then died young, leaving him with a permanent sense of sadness. Worse was to come because, at the outbreak of the Great War, the eldest son and heir, Gervase, went straight from his Catholic private school, Downside, into the Irish Guards, where he managed to get himself killed on his first day in the trenches. Then the second son, Ivo, always a loner and oddball, when he was 26 went missing from home and was discovered months later, holed up in a lodging in Cricklewood where he was deliberately starving himself to death. He was brought home but the damage was done and he died soon after.

There was an only daughter, Angela, who married a non-Catholic, an ambitious chap who’s gone on to become a successful Conservative MP, Arthur Box-Bender.

And Guy himself. Guy also ‘married out’ of the family religion, marrying the beautiful non-Catholic socialite, Virginia. He took his younger son’s share of the diminished family fortune and settled in Kenya, running a farm beside a mountain lake where the flamingos rose at dawn first white then pink. Wow. But his wife pined and said she needed to go to England for a break and then, after 6 months or so, wrote to announce she was leaving him, for a mutual friend named Tommy Blackhouse.

‘Poor Guy, you did get in a mess, didn’t you? Money gone, me gone, all in one go. I suppose in the old days they’d have said I’d ruined you.’
‘They might.’

Now, Guy is a Catholic, his father is a Catholic, his sister is a Catholic and so they all take it for granted that, although he can get divorced according to the law of the land, he cannot be divorced in the eyes of God. In other words, he will never be able to remarry, never be able to have children, in particular a son. Therefore the family name is doomed to die out. This is the pessimistic scenario Waugh has engineered for his characters, one source of the sense of loss and mild depression which hangs over the figure of Guy Crouchback.

His non-Catholic brother-in-law Box-Bender is just the most prominent of their friends who think this is all nonsense: Guy should just remarry, have children, reclaim the home farm, revive the estate and the family name. Where’s the problem? When Guy meets up with his ex-wife again in London, she also is blissfully light-hearted about it all:

‘You never married again?’
‘How could I?’
‘Darling, don’t pretend your heart was broken for life.’
‘Apart from my heart, Catholics can’t remarry, you know.’
‘Oh, that. You still keep to all that?’
‘More than ever.’

But Box-Bender, Virginia and all the rest of them are pagans, non-believers, not part of the clique, not part of sinn fein (Irish for ‘ourselves’), of the cosa nostra (Italian for ‘our thing’), of the special ones. They are not Catholics, and Catholicism, at least in Waugh’s hands, is not only a theological but a sociological marker, which sets the believer apart and, though he doesn’t overplay this, pretty obviously marks them as morally and spiritually superior to everyone else around him.

So much for a) the personal; as to b) the financial situation, in the aftermath of the First World War the estate became slowly too large and costly for Mr Crouchback to run. So he sold off the contents (attending the auction himself), let the house to a convent and retired to a hotel in Matchet, a nearby seaside resort.

However, it is important for Waugh and his characters that the ancient rituals do not completely die out and so ‘the sanctuary lamp still burned at Broome as of old’ and Guy’s father attends mass there once a year.

So, both financially and personally, the Crouchback family has fallen a long way and Guy is its embattled, lonely, often depressed last representative.

Guy is a loner

Guy’s Kenya period is underplayed, referred to only in a couple of sentences. Much more is made of the family’s Italian property, ‘Castello Crouchback’, on the idyllic Italian island of Santa Dulcina delle Rocce, a property bought by Guy’s grandfather back in the time of Queen Victoria. In fact the novel opens with a historical passage describing the first arrival of those grandparents on a yachting holiday at the island and their decision to buy the run-down ruins.

You might have thought these opening passages would afford luxury descriptions of pre-war Italy, and they do, a bit, but what they’re really for is to establish a) the penumbra of sadness which hangs over Guy ever since his wife left him eight years earlier, and b) the way he can never really make friends. He’s always an outsider. The Italian villagers take to nearly all the other expats on the island, they are sympatico, but Guy is not simpatico.

He was not loved, Guy knew, either by his household or in the town. He was accepted and respected but he was not simpatico.

Guy is lonely. Inside him is a blankness, an emptiness he can’t put into words, his imagination a prey to mournful images:

Sometimes he imagined himself serving the last mass for the last Pope in a catacomb at the end of the world.

It is against this complex family and personal background that the declaration of war comes on 3 September 1939 and (like many other men) Guy is hugely relieved to escape the frustrations and unhappiness of personal life, and make a clear and unambiguous commitment: to return to England to serve his king and country and fight against unambiguous evil.

Guy back in England

All the above is explained in a sort of prologue to the book. The main action of the novel opens with the declaration of war and Guy packing his stuff to return from his Italian island home to England to serve king and country.

Guy arrives in London hoping to find a role in the army straightaway. He goes to his club, Bellamy’s, every day. Everyone is in turmoil. Everyone has evacuated their families from their London places and sent them down to the country. Box-Bender is locking up his London place and moving in with two male friends. Guy embarks on a campaign to get himself into the army, buttonholing military friends and writing countless letters to ministries and old contacts. No joy.

So he goes to stay with his sister Angela at her home in Gloucestershire.

Box-Bender’s house was a small, gabled manor in a sophisticated village where half the cottages were equipped with baths and chintz.

In a typically comic/farcical detail, their hallway is stuffed with crates of ‘Hittite tablets’ evacuated from the British Museum.

Guy is impressed by Arthur and Angela’s son, Tony, young and keen, who’s already got himself a place in the army, lucky blighter. They gossip about all the local families, some who’ve left the country altogether (the Abercrombies have decamped to Jamaica) and about the numerous accidents resulting from the blackout. Scandalised reports of the crime wave prompted by the blackout, lots of muggings.

After staying the night Guy travels down to see his father at the pub, the Marine Arms, in Matchet, where he took rooms as a long-term resident after he relinquished the estate at Broome. Like everywhere in England it’s in a tizzy because of the war, packed with an unusual numbers of guests, some of the staff have been conscripted etc. In the dining room, his father introduces him to Tickeridge, a hairy old cove who’s a major in the Halberdiers. When Guy expresses a genuine wish to be in the army, Tickeridge says he’ll see what he can do. Ha! Contacts. It’s not what you know, or who you know – it’s who your father knows!

Guy joins the army

And so Guy finds himself one of a new cohort of officers in the Royal Corps of Halberdiers, nicknamed the Apple Jacks and the Copper Heads, a fictional regiment which is going to be central to his career in the army and all three novels. His closest associate is a lightly eccentric fellow called Apthorpe.

Both being that much older, they find themselves referred to as ‘uncle’. Lots of detail of army protocol, an extension of the strict rules around correct dress which were drummed into him at school, then university. Regimental traditions. Pen portraits of the other new officers, namely de Souza, Sarum-Smith, Leonard and a slightly shifty chap called Trimmer.

Guy joins his regiment

Guy joins the Halberdiers at their peacetime barracks. There is basic training and squarebashing i.e. drill on parade grounds. There is a lot of fuss about dressing correctly for different functions at different times of day, for example, the officers have to dress appropriately, and immaculately, for dinner in the mess hall.

It is obvious to me, at any rate, how life in the army follows naturally from life at prep school, life at private school, life at Oxford or Cambridge, and then life in the kind of upper class country house which Waugh idealises. What they all have in common are servants who do all the drudgery, change bedding, do all laundry, clean shoes and boots and cook and bring drinks. Their country houses are full of servants, their junior boys fag for the seniors at private school, there are ‘scouts’ to clean their rooms at Oxford and waiters bring meals in hall dinners, but on the other side of the ledger, in return for all these privileges, it is expected that the beneficiary, the boy growing up in a country house, at private school or Oxford, and then an officer in a good regiment, will follow the rules and there are lots and lots of rules governing all aspects of behaviour, dress, speech and thought.

It is a world of huge privilege but also of tremendous constraints. There is often no legal punishment for breaking the rules, but the army has a wide variety of sanctions for chaps who do not behave like an officer and a gentleman, and the narrow society of London clubs which Guy moves in also has its sanctions, its ability to cut or snub anyone who behaves incorrectly.

Brigadier Ben Ritchie-Hook

We are introduced to the feared and renowned figure of Ben Ritchie-Hooke, who will become their brigadier. I don’t really understand the structure of the British army, but I think what is happening is that , now war has been declared, all regiments, which had been allowed to dwindle in peacetime, are being rapidly up to full strength, recently retired officers asked back in and new officers being recruited. This is the new intake of officers which Guy is part of. First they will be trained, then newly recruited and conscripted ordinary soldiers will arrive and be put in their charge. At some point the regiment will become fully operational and Ben Ritchie-Hook will come into full command.

Throughout the first part of this novel this process takes place, observed from Guy’s point of view, sometimes, confusing the reader, sometimes confusing even Guy who’s in the thick of it.

Anyway, Ritchie-Hook is an almost Monty Python level of a caricature of a senior army officer. He wears an eye patch and a black leather glove on one hand, having lost an eye and fingers and thumb in battle. A sharp line is drawn between the initial commander in chief of the barracks who oversees thorough but pedestrian training, and the terrific change in mood which takes place when Ritchie-Hook arrives and takes over. He is all about biffing the enemy.

For example, the initial rifle range practice consists of long boring afternoons loading your gun, lying down, firing at a distant target, and having the target monitor flag whether you got a hit, a bullseye etc. By contrast, under Ritchie-Hook the brigadier himself runs up and down the trench at the end of the range waving a stick with a tin hat on it above ground level and defies his men to hit it. Later they have to crawl on their hands and knees just under a barrage of live fire.

Ritchie-Hook is a wonderful comic creation and the trigger for a series of comic incidents. For example he first appears at a drinks party held by a senior officer where, through a series of verbal misunderstandings, he mistakes Guy for Apthorpe the fellah who was in Africa for years, gruffly dismissing the fact that one of his officers seems to have spent the 1930s in Italy, no good that, don’t like the sound of that – which of course refers to Guy who keeps very silent about the fact for the rest of the evening. Comedy of manners.

but he also allows Waugh to create the kind of war he wants, which is farce. If you read war books from the Great War you are left in no doubt that it was a tragedy of enormous scale. Anyone coming to Waugh’s Sword of Honour trilogy expecting the same will be surprised. It is overwhelmingly concerned with the boring humdrum details of training and office politics (as officers jostle for promotion) and bureaucracy and pettifogging rules, interspersed with moments of ludicrous farce. Only at the very end are any guns fired in anger and then only a dozen or so and for a few pages, on a tiny night-time excursion onto a beach in Africa which is over half an hour after it began and achieves nothing.

Southsand prep school

The officers are sent to a place called Kut-al-Imara House at Southsand-on-sea. It is a preparatory school, vacated by staff and pupils so the army can take over. Its rooms are named after World War One battles and, as Guy explores it on arrival, he paints a very vivid picture of a certain kind of lower league school, redolent of embarrassment and shame.

He leant against a coil of antiquated iron pipes and was surprised to find them hot. They seemed to lack all power of radiation; a yard from them there was no sensible warmth. He could imagine a row of little boys struggling to sit on them, tight-trousered boys with adenoids and chilblains; or perhaps it was a privilege to sit there enjoyed only by prefects and the First Eleven. In its desolation he could see the whole school as it had been made familiar to him in many recent realistic novels; an enterprise neither progressive nor prosperous. The assistant masters changed often, he supposed, arriving with bluff, departing with bluster; half the boys were taken at surreptitiously reduced fees; none of them ever won a scholarship or passed into a reputable public school or returned for an Old Boys’ Day or ever thought of his years there with anything but loathing and shame. The History lessons were patriotic in design, turned to ridicule by the young masters. There was no school song at Kut-al-Imara House. All this Guy thought he snuffed in the air of the forsaken building.

It’s one more image which brings the reader up short and makes you realise just how much Waugh was writing for readers of his own class and not for the humble likes of you and I. And also one more example of the way this class obsesses about its prep and private schools. It’s a common observation that Waugh’s generation of writers – including George Orwell, Cyril Connolly, W.H. Auden and many others – never really seem to have escaped the clothes, drill, mannerisms and world view inculcated by an English public school system which reached a kind of acme in their day.

And then the equally commonly commented-on fact that so many of the institutions of English public life – the quadrangles of Oxford and Cambridge, the quadrangles of the inns of court for lawyers, the quads and committee rooms of Westminster, the parade grounds and officers messes of the army – are a continuation of that ordered, regimented, elite, blinkered, narrow but highly effective view of life.

The characters frequently compare this or that army regulation to ‘school’, the narrator compares this or that situation to something similar at a public school. It comes as no surprise when a prep school moves into Malchett and hire old Mr Crouchback as a supply teacher, teaching, of course, not maths or geography or something useful, but, of course, Classics, ancient Greek to be precise. Apthorpe even takes Guy, one drunk night, in a taxi out to the location of his prep school Staplehurst, now, he discovers to his horror, demolished and a modern estate built over it. Sic transit…

Anyway, life at Southsand is the backdrop for Waugh giving a thousand and one little details of army life, starting with the typical ‘foul-up’ that Guy and his cohort of officers arrive at Southsand station an hour after the bus arranged to pick them up had left and having to make their own way by taxi. Bureaucratic cock-up typical of hundreds and hundreds more which Guy will become used to in army life.

There are comic incidents. At a guest night for the regiment the officers end up getting drunk and playing a game of rugby with a waste paper basket and when everyone piles onto Guy his knee is painfully wrenched. It swells up and so for weeks afterwards, he wears a bulky dressing, needs a cane to walk and is excused drill practice.

When his fellow older officer, Apthorpe also manages to injure his leg on a drunken night out, the two eldest new officers, who had both already gained the ambivalent nickname ‘uncle’, both appear limping and using canes, to general hilarity. The comedy is like that. Schoolboy comedy.

Similarly, Guy discovers he can’t actually see the targets at the firing range at the statutory 300 yard distance, thus discovering that he needs glasses, but on a whim, instead has a monocle made by a local optician, which solves his firing range problem but, of course, also contributes to making him a figure of fun.

Another little plot strand is the Italian restaurant kept by Mr Pelecci which they take to frequenting, chatty Mr Pelecci often sitting with them and chatting about the news. They don’t at first realise that he is a spy.

Catholic theology on Guy’s marriage

The officers are allowed out to explore the town. Guy and Apthorpe join the town yachting club, chiefly for its bar. He meets a Mr Goodall, Ambrose Goodall, who turns out to be a Catholic convert with a hobby of studying the old Catholic families of England. They have lunch and dine and go to the yacht club bar and it emerges that Goodall knows the history of Broome and Guy’s own family. And then, in the context of another family, in passing remarks that, theologically, it is no sin or crime for a man to have sex with his divorced wife as, in the eyes of God, she has never been separated from him. Although Virginia has been unfaithful, he hasn’t, and so the marriage is still, theologically speaking, valid.

Seduction of Virginia

This leads to disastrous episode where Guy tracks Virginia down in London. She is, typically for him and the circles they move in, staying at Claridge’s hotel. He moves into a room down the hall and she is initially delighted to bump into him, as she is delighted to bump into everyone, darling, during this beastly ghastly war. He invites her round for drinks and it is then that he puts his arm along the back of the sofa and makes an attempt to kiss her. Virginia thinks he’s being ridiculous. If you’re going to do it, do it properly, and puts down her drink and kisses him back.

But then she asks what’s brought this one and Guy makes the disastrous mistake of explaining the theological position i.e. she is still his wife in the eyes of God and it is still theologically permitted for him to have sex with her. This shocks and horrified her much more than if it were a casual attempt at sex and she stands up and moves to the fireplace expressing horror, at which point Guy really screws things up by venting 8 years of frustration and accusing her of being a tart. Then there is a big silence when they both react to what has happened and been said.

Virginia: ‘You take too much for granted.’
Guy: ‘That’s an absolutely awful expression,’ said Guy. ‘Only tarts use it.’
Virginia: ‘Isn’t that rather what you think I am?’
Guy: ‘Isn’t it rather what you are?’

Guy grovellingly apologises, more because it’s bad form and poor manners than untrue, and they sort of patch things up. But, later, leaving Claridge’s, the incident does have the positive effect that it seems to have laid a ghost. His true feelings for Virginia have come out and he feels some sense of closure. It is  14 February 1940.

Apthorpe

His fellow ‘new’ officer, Apthrope, is arguably the dominant figure of the novel. Indeed the three main sections the book is divided into each use a Latin word to describe the three stages of Apthorpe’s progression, namely: Apthorpe Gloriosus, Apthorpe Furibundus and Apthorpe Immolatus where gloriosus is self evident, furibundus means ‘frantic, frenzied, maddened’ and immolatus means ‘having been immolated or sacrificed’.

Apthorpe’s character fascinates Guy from the start, his comic obsessions and behaviour. Thus, when Apthorpe is promoted to rank of captain ahead of Guy, he insists Guy salute him, and asks him to ask all the other new officers to do so, too. This, apparently, was technically correct but not necessary and makes Apthorpe look like a pedantic fool; in fact his fellow officers play various games with the act of saluting or not saluting when Apthorpe expects it which drives the poor man into a frenzy.

A platoon of signallers are billeted with the Halberdiers and Apthorpe insists they conform to Halberdier discipline and procedure, which leads to a long and increasingly embittered feud with their commanding officer, Dunn, which eventually escalates up to commanding officer level. Although he has been promoted. Apthorpe is acquiring a reputation as an eccentric.

Apthorpe and the saga of the Thunder-Box

One of Apthorpe’s eccentricities has been carrying round an enormous amount of lumber and ‘kit’ and ‘gear’ with him which he insists was vital to his much-mentioned but obscure ‘time in Africa’. ‘Somewhere among these possessions lay something rare and mysterious which Apthorpe spoke of as his “Bush Thunder-box”.’

This develops into the book’s best-known comic sequence, the kind of extended comic digression which characterised the best of his 1930s comic novels, reminiscent of Basil Seal’s scams in Put Out More Flags. The thunder-box is a beautifully made Edwardian chemical toilet, a cube of solid wood, which opens to reveal a porcelain seat and bowl. But why? asks Guy: there are toilets just down the hallway. ‘The clap old chap,’ Apthrope confidently explains. ‘A chap can never be too careful.’ So Guy watches Apthorpe surreptitiously, one evening, when the other chaps are in the game room, haul this big box out of the general lumber room and drag it across the prep school playing fields into a little games storeroom hidden among the bushes. For a couple of days Apthorpse disappears for ten minutes at a time and only Guy knows where he’s going.

However, disaster strikes when one evening Apthorpe encounters fearsome Brigadier Ritchie-Hooke exiting the clump of bushes which conceal his secret. Both are forced to salute each other but very uneasily. Apthorpe tells Guy the terrible news but worse is to follow. Next day Apthorpe goes for his daily evacuation and is horrified to see a sign pinned on the little outhouse saying the place is out of bounds to everyone below the rank of brigadier.

Apthorpe anxiously discusses the situation with Guy and ropes him into moving the dread device. So one evening they sneak down to the outhouse and manhandle it some distance away to another hiding place, returning very satisfied with their work. A few evenings later Apthorpe makes his usual excuses and slips off and a few minutes later Guy hears a muffled explosion. He knows at once what it is, and sets off running across the playing fields and into the bushes. He discovers a dazed Apthorpe sprawled on his face a few yards from the thunder-box which is now a splintered smoking wreck. Ritchie-Hook, in one of his famous practical jokes, had rigged the thing with a small explosive device.

The sequence of events themselves are fairly funny, but what turns it into award-winning farce is the tremendous seriousness with which Apthorpe takes it all, and the completely straight-faced way Guy plays along with him.

Penkirk

The regiment is moved to Penkirk not far from Edinburgh in a camp of tents. A castle is nearby. Here Apthorpe’s eccentricities continue to flourish. It is here that he commences his long-running vendetta against the officer in the Signalling regiment.

It is here that the first division of commands is given and Guy is bitter to be given only a platoon while Apthorpe is promoted above him. Only later does a friendly superior explain this is because Apthorpe is actually fingered for promotion into purely administrative positions whereas the Brigadier doesn’t want anyone in command of actual fighting units who hasn’t started out with experience of commanding a platoon. That cheers him up a bit.

A new commander is assigned, one Hayter, who Guy comes to dislike. There is a great deal about relations between the new officers of his rank and the complex array of commanding officers who come and go as the regiment is restructured and reorganised.

There is a long sequence which Waugh cleverly arranges around the one hundred and forty-three questions in the Army Training Memorandum No. 31 War. April 1940 which all the officers receive and are ordered to complete.

On 10 May 1940 Winston Churchill became Prime Minister, replacing the hapless Neville Chamberlain. It is worth lingering over what Waugh, or at least his character Guy, thinks of him:

Guy knew of Mr. Churchill only as a professional politician, a master of sham-Augustan prose, a Zionist, an advocate of the Popular Front in Europe, an associate of the press-lords and of Lloyd George.

He thinks he’ll be better than the other chap. But this is a novel and another character, Major Erskine, who, in the dim-witted nature of these characters is thought to be ‘brainy’ because he reads novels and is a bit scruffy, this Erskine is made to say, prophetically:

‘Churchill is about the only man who may save us from losing this war.’

The difference between history and novels is in novels opinions, ideas, perspectives are distributed among different characters for dramatic effect. Might be worth also quoting the place where Waugh gives his clearest explanation of Guy’s motive for fighting, for taking part in this war:

[Guy] was a good loser, but he did not believe his country would lose this war; each apparent defeat seemed strangely to sustain it. There was in Romance great virtue in unequal odds. There were in morals two requisites for a lawful war, a just cause and the chance of victory. The cause was now, past all question, just. The enemy was exorbitant. His actions in Austria and Bohemia had been defensible. There was even a shadow of plausibility in his quarrel with Poland. But now, however victorious, he was an outlaw. And the more victorious he was the more he drew to himself the enmity of the world and the punishment of God.

Note the complete absence of political analysis. Waugh doesn’t, for example declare his protagonist an enemy of fascism or Nazism (in fact, having lived in Italy for most of the 1930s, Guy has a relaxed attitude to the reality of Italian fascism on the ground). Certainly not in the way that English left-wing or liberal thinkers thought of Nazism as unambiguously evil and a threat to all notions of freedom. Guy just seems to think that in invading Poland, Nazi Germany has gone a bit too far. And then this phrase ‘the enmity of God.’ Is Waugh serious? Well, his character probably is. Guy is a devout and in many ways simple Catholic, with a simple sense of right and wrong.

The flap

All this is taking place in the spring and early summer of 1940 which saw, in the wider world of war, the Russian invasion of Finland and the German invasion of Norway, this latter prompting a badly organised and chaotic British attempt to land troops and hold the German advance. (Waugh’s earlier novel, Put Out More Flags, includes towards the end a passage describing the ill-fated involvement of one of the characters, Cedric Lyne, in this badly organised fiasco.) And then, of course, the evacuation of Dunkirk, 26 May to 4 June 1940.

All kinds of rumour reach our chaps and this is a useful social history aspect of the novel, what makes it more than history, that it doesn’t record what happened, but what educated people of the time thought was happening and was going to happen.

Aldershot

So they’re sent to Aldershot in Surrey, with some description of the surrounding sandy heathland. Apthorpe distinguishes himself again by, the second he’s put in charge when the commander in chief is briefly absent, causing a great panic when he claims he has reports of German paratroopers landing.

Maps of Calais are issued as if they’re going to be shipped across to fight there, the officers memorise them, discuss lines of defence and so on. Guy’s platoon is dominated by the impressive figure of Company Sergeant Major Rawkes. Guy leads his men on a training exercise on the big barren heathland, everyone gets lost, some men go absent without leave, no-one knows what is going on, rumours fly in all directions.

Tony

Guy receives two letters from his father, the first one (2 June 1940) lamenting that his nephew, Tony, appears to be missing presumed killed in France, the second one (12 June 1940) with the reassuring news that he is in fact a prisoner of war, but the doleful commentary that a) it was shameful that his regiment surrendered to the Germans, but they were ordered to and b) it is likely to be a long war and so a shame that such a fine fellow is going to spend the best years of his young manhood behind bars. He receives both letters on the day the Germans march into Paris, 14 June 1940.

The world has shifted on its axis. Nobody expected France to fall at all, and certainly not so quickly. Now Britain really is alone. Churchill gave his ‘we shall fight them on the beaches’ speech on 4 June 1940.

North Cornwall

The regiment is moved to Cornwall. Waugh details the boredom of hanging round not knowing what the future holds. There are wild rumours that the Germans are about to take Limerick in Ireland and the Halberdiers are about to be shipped over to defend it. Much studying maps of Limerick. Nothing happens. The officers have to cook up ways to keep the men entertained, lectures (Guy gives a well received one about wine making, knowledge he gained in Italy). Football. Evening games of bingo which, surprisingly, Brigadier Ritchie-Hooke recommends and calls ‘housey-housey’.

Extraneous figures came to add to the congestion. An odd, old captain like a cockatoo in the gaudy service-dress of a defunct regiment of Irish cavalry. He said he was the cipher officer and was roped in to lecture on ‘Court Life at St. Petersburg’.

Seen from Waugh’s perspective, army life is one surreal and farcical event after another. This is what makes the books so supremely readable and enjoyable, the tone of quiet humour which suffuses them, occasionally rising to moments of supreme farce.

South Cornwall

Then they are ordered to pack up everything and shunted on a series of trains across to the South Cornwall coast where they are ordered to guard several miles of heavily barbed wired beach. Top brass come for an inspection and one of the intelligence officers goes out of his way to emphasise the risk of fifth columnists, a concept and phrase which had only recently been coined, by General Franco during the Spanish Civil War.

This leads to an incident when Guy has a touch of the Apthorpes and reacts with paranoia when two officers turn up at his HQ (a requisitioned hotel) claiming to be from A Company, the 5th Loamshires. Guy suspects them of being fifth columnists, is impressed by their accurate seeming papers and posh English accents, but nevertheless instructs the sergeant major to take over the bren gun next on the clifftop and cover the pair as they’re taken down for a dip in the sea by a soldier he deputes for the job. If they make one funny move, the sergeant major is to shoot them. The dismay of Sergeant Major Rawkes who had, until this moment, thought Guy wasn’t too bad, for an officer, is very funny.

Brook Park

They’re ordered to pack up yet again and entrain for Brook Park in Surrey. Here occurs an event which the sardonic and witty fellow officer, de Souza, nicknames ‘the Languishing of Leonard’. Early on we had met officer Leonard’s wife, Daisy, who is distinctly not the right class, who drops her aitches and speaks out of turn at dinners or drinks for the regimental officers. She has followed her man from base to base, taking hotel rooms and now announces that she is pregnant. She kicks up an immense fuss and wants Leonard seconded to a safe domestic posting so he can be with her. Very sheepishly Leonard falls in line with her demands, secures his posting, from which point onwards the Adjutant, or acting head of the regiment, requests that his name never be mentioned again. Shame.

Liverpool

Next thing they know they are given two days leave (Guy goes to visit his father and finds him, of course, knee deep in the classics text he’s teaching the little chaps at the evacuated prep school) before returning to barracks at which point the entire regiment is packed up and sent to Liverpool.

After the usual chaos, embarking, disembarking and so on, they finally set sail to the Bay of Biscay, are joined by a fleet and sail on to the coast of Africa, near Dakar, to be precise (capital of what is now Senegal).

Here the fleet moors and numerous high level meetings are held. Initially Brigadier Ritchie-Hook is excited because they are finally going to get to land and biff the enemy. But this turns to bitter frustration when the raid is called off. The ordinary soldiers celebrate but Guy is called to a meeting of senior officers, namely the Brigadier, Colonel Tickeridge and the ship’s captain.

The beach raid in Africa

Ritchie-Hooke is furious that the raid has been called off because naval intelligence has some aerial photos of the beaches which could be interpreted to indicate that they’re criss-crossed with wire. But in this little meeting he is gleeful because he and Tickeridge have persuaded the captain of the ship to let them send a tiny little landing party to ascertain whether this is true. And Guy is to lead it.

He is told to go and choose a dozen men who will be taken aboard a launch by a navy captain, shuttled ashore under cover of darkness, faces blacked, carrying minimal equipment. Their mission is to ascertain the existence or not of ‘wire’ and capture a souvenir, a coconut, say, as proof of their trip.

The atmosphere of tense excitement is beautifully conveyed. There’s a beautiful little description as Guy and his men wait in the hold for the little sally-port, or door low down in the side of the ship, to be opened so they can climb a short distance down a rope ladder into the launch:

The lights were all turned off in the hold before the sally-port was opened by one of the crew. It revealed a faintly lighter square and a steamy breath of the sea.

Well, to be brief, they chug onto the beach, slip over the side and wade through the warm water, tiptoe up the ashore and do, indeed, find wire, rows of wire amateurishly strung across it. Then sounds and someone starts firing and then lots of guns start firing. Guy blows his whistle for general retreat but one of his chaps goes haring forward into the darkness. The rest return to the boat unharmed and the sailor captaining it reports everyone present and correct but Guy knows he saw someone else and goes back to check.

Just as well he did, for he discovers one of his men crawling back through the dunes, wounded in the leg. Guy curses, runs forward, supports him arm over shoulder back to the launch, heaves him in and the launch turns and putters back to the ship. As he helps him Guy realises this disobedient man is none other than… Ben Ritchie-Hook. Not only that, but after he is manhandled into the launch he slips into Guy’s lap the object he’s been hugging close all this time. It is the severed head of an African soldier.

The ‘gruesome’ in Waugh

What to make of this? It is at the same time farcical, comic and gruesome. But readers will remember this is the sometimes puzzlingly extreme tone he takes in many of his books. It is as if part of his approach to humour is to occasionally crank it up to broad farce, and then sometimes to take farce way over the top into The Gruesome.

It’s easy to forget that in his very first novel, Decline and Fall, when the young innocent Paul Pennyfeather finds himself in prison, he discovers that the padre is none other than one of his teachers at the crappy private school he taught at in Wales, Prendergast, who has retrained as a chaplain, and how the prison governor with his fancy ideas, decides it is a good thing to try and reform one of their most notorious prisoners by allowing him to express himself in the carpentry shop – and how this prisoner takes the first opportunity to saw off the padre’s head.

Ritchie-Hooke later explains that the man raised his gun at him so Ritchie chucked a grenade which blew him to bits, one of the bits of which was the head (which he proceeded to ‘trim’ a bit). The beheading of the African is no more offensive than the decapitation of Prendergast i.e. a bit offensive against good taste and restraint. What definitely is offensive is the way Ritchie-Hook refers to the head as his ‘coconut’ and so does everyone else concerned during the incident’s repercussions.

The repercussions are that Ritchie-Hooke has gone too far this time and is recalled to London for a bollocking and possibly the end of his military career. Guy was only obeying direct orders but finds himself also condemned to have a black mark against him.

Freetown

Having abandoned the attack on Dakar the allied fleet sails on to Freetown, the port capital of Sierra Leone (a British colony which remained secure during the war). Damaged ships turn back. The two ships carrying the Halberdiers dock and they go ashore.

There is a new brigadier. He calls Guy in, tells him that during the journey he was promoted captain but that, in light of his involvement in the Dakar fiasco, he has been demoted again. He is to be recalled to London. He will be flown there along with Ritchie-Hooke as soon as the latter is fit enough to travel.

Here in Freetown he makes his second mistake. Apthorpe took the opportunity of leave to go up country. Now word comes back that he is ill. In fact he has been brought back by native bearers in a Victorian style ‘sheeted hammock’ and deposited in hospital.

The brigade major gives Guy permission to visit Apthorpe and recommends he take a bottle of whiskey along, it’s always a nice gesture, though strictly speaking advised against. Guy does so and has a long rambling encounter with Apthorpe who is genuinely ill. Guy slips the whiskey under his bedclothes. A nurse coming in smells it on their breath and says the doctor has forbidden it but Guy lies and says he just gave Apthorpe a nip from his flask.

During this interview Apthorpe, in his comically earnest and tragic way, entrusts Guy with a last wish, which is to ensure that he (Guy) hands over Apthorpe’s legendary pile of kit and equipment to his old friend ‘Chatty’ Corner (who we met earlier in the book when he attended one of the regimental drinks parties). Guy promises and leaves.

A few days later the brigade major calls him in to tell him that Althorpe is dead. Drank the whole bottle of whiskey in a day. Guy is shocked but then more shocked to learn that he is being blamed. The brigade major was the one who suggested the idea, but now holds him responsible.

(Throughout Apthorpe’s dying scenes there is another thread of Waugh’s irrepressible cheeky comedy, which is that Apthorpe solemnly assures him that when he told him, all the way back at the start of the book, that he had two aunts, he was, in fact, fibbing: he only has one. Guy accepts this deathbed confession with a straight face. But this misconception, that Apthorpe had two aunts who will grieve his loss, is then repeated by every other officer and official involved in the case, adding a wonderful thread of humour to counterpoint the rather grim fact of his actual death.

Again, as in the story of the decapitated African, grim death is inextricably intertwined with farce. It is a conscious policy.

So anyway, now Guy has two black marks against him. A flying boat lands in the harbour. It is to take him and Ritchie-Hook back to London and at this point the novel ends.

Cutaway ending

Except that, as Guy flies back to Blighty and an uncertain future, Waugh uses his characteristic technique of cutting away from the protagonist to have him and his plight be discussed by people at some distance from the action who, therefore, treat it with the levity and half attention we all give to gossip about people we half know or have vaguely heard of. It is a home counties version of the Alienation Effect. It is half humorous, half-despairing. It is the way human life is, never really understood, immediately transformed into gossip, all our lives, ultimately, dust. Sarum-Smith and de Souza attend the funeral of Apthorpe, laid to rest in the English cemetery in Freetown, and then remark on the fact that both of the oldest ‘new’ officers, the ones they nicknamed ‘uncle’, have left on the same day (one being buried, the other flying home under a cloud):

‘Both Uncles gone the same day.’
‘Funny, I was thinking the same. I rather preferred Crouchback on the whole.’
‘He seemed a nice enough fellow. I could never quite make him out. Pity he made an ass of himself.’
Already the Second Battalion of the Halberdiers spoke of Guy in the past tense. He had momentarily been of them; now he was an alien; someone in their long and varied past, but forgotten.

The old truth: life is intense tragedy to the person living it, but comedy to everyone else.


Waugh’s worldview

Snobbery

Only members of his class count. The narrator is scornful of anyone outside his circle and its very limited extension into the narrow circle of People Like Us.

The vulgar middle class

Throughout his works Waugh is snooty about people who make a living through trade, shopkeepers, merchants, and what you might call the lower professions, accountants and the like. Thinking about the professions, the very big gap in his oeuvre is the legal profession. If you think about Dickens, his works are full of lawyers and legal cases. None in Waugh. The central profession is, in the 1930s comedies, journalism and, in the novels from Put Out More Flags, the army.

The working classes

The working class is invisible except for servants, publicans, waiters and waitresses (in civilian life) and batmen, valets, servants and drivers (in the army). Oh and the actual soldiers, the common soldier, the private. Almost none of these are mentioned and none are named. When Guy takes his little troupe ashore at Dakar the sergeant has a name but none of the men. They are anonymous extras.

But what interests me is not Waugh’s snobbish, privileged, entitled elitism, as such. It’s more to do with the way that, operating within this closed, super-narrow, elite worldview – the upper class, private school and Oxbridge, country house and the-old-regiment kind of world, bolstered by the exclusiveness and elitism of his upper-class Catholic faith – enables his discourse, allows the texts to be written. A writer can’t write about the entire world; you have to pick a subject. Waugh isn’t trying to describe the great shambling chaos of the modern world. His bright, alert, highly regimented, policed and orderly world is the unshakeable foundation which allows him to create these comic, satirical and, occasionally, devastating fictions.

The elitism is as much a genre as a worldview, with its own customs and conventions. If, for the purpose of reading and enjoying his books, you accept this worldview, then the interest moves on from anatomising the worldview itself, to enjoying the way Waugh subverts, bends and occasionally breaks it.

Private schools and prep schools

Authors of his generation just can’t get away from memories of their childhood prep schools and boyhood private schools. They make endless comparisons to them, something reminds them of this or that at prep or public school, somehow prep schools are always cropping up as actual items: thus the location of training in Southsea is a requisitioned prep school and Mr Crouchback finds a private school evacuating to near his hotel and is invited to become a teacher, a Classics teacher, of course. I wasn’t at all surprised when (in the third book in the trilogy) de Souza tells Guy:

‘All army courses are like prep schools–all that welcoming of the new boys.’ (Unconditional Surrender, page 97)

It’s the first point of comparison for all these privately educated men.

Mental illness

I’ve mentioned it repeatedly in my reviews of Waugh’s novels, but a surprising number of them feature characters or passages dealing with mental illness or mental breakdown. Thus the nervous collapse of Agatha Runcible in Vile Bodies, the teetering on the brink of shocked breakdown of Tony Last in A Handful of Dust, the decline into depressed alcoholism of former High Society doyenne Angela Lyne in Put Out More Flags, the mental collapse of Sebastian in Brideshead Revisited, not one but two suicides in The Loved One. Several of his short stories are about homicidal lunatics (Mr. Loveday’s Little Outing and The Sympathetic Passenger).

In the trilogy Waugh continues his interest in several ways, at several levels. Guy’s elder brother, Ivo, has a complete collapse into psychosis and starves himself to death. Guy himself has been down enough to qualify as depressed and there are plenty of descriptions of his sense of hollowness, emptiness and futility:

He [was] himself destitute, possessed of nothing save a few dry grains of faith.

His brother-in-law, Box-Bender, frankly expects Guy to go mad at any moment, like his older brother, which doesn’t help. And then there’s something odd, ‘rum’, about the central figure, Apthorpe, mounting in eccentricity all the way through to his final collapse.

It feels like madness is constantly lurking just around the corner in any Waugh text. For the most part Waugh manages to keep the lid on it, contain it, and express it in socially acceptable form as a sense of the ludicrous or the farcical. But sometimes, pop! madness or despair emerge into the open.

Influence of film

1. As I’ve pointed out in other reviews, the film technique of quick cutting between scenes is something Waugh absorbed and used to great effect, most notably in an early novel like Vile Bodies but more subtly throughout all his fictions. He is still using it liberally throughout the trilogy, which often features sequences of 2 or 3-page scenes, moving quickly from one setting to another.

2. At moments, like so many of us, like so many characters in twentieth century fiction, Guy compares his behaviour to what people would do in a film and finds himself failing to live up to the Hollywood ideal of dashing masculinity.

3. And then, sometimes, he just takes the mickey out of movies, very amusingly:

Once Guy saw a film of the Rising of ’45. Prince Charles and his intimates stood on a mound of heather, making a sad little group, dressed as though for the Caledonian Ball, looking, indeed, precisely as though they were a party of despairing revellers mustered in the outer suburbs to meet a friend with a motor-car who had not turned up.

An awful moment came when the sun touched the horizon behind them. The Prince bowed his head, sheathed his claymore and said in rich Milwaukee accents: ‘I guess it’s all off, Mackingtosh.’

Influence of books

The comparing oneself with cultural ideals comes over more clearly in his comparisons with popular fiction. Early on in the book Guy recalls a story of derring-do he was read at prep school (naturally) during the Great War, and which inspired him and his friends with images of dashing heroism. The memory comes when the Brigadier addresses the men:

‘Gentlemen,’ he began, ‘to-morrow you meet the men you will lead in battle.’

It was the old, potent spell, big magic. Those two phrases, ‘the officers who will command you…’, ‘the men you will lead…’ set the junior officers precisely in their place, in the heart of the battle. For Guy they set swinging all the chimes of his boyhood’s reading…

‘…”I’ve chosen your squadron for the task, Truslove.” “Thank you, sir. What are our chances of getting through?” “It can be done, Truslove, or I shouldn’t be sending you. If anyone can do it, you can. And I can tell you this, my boy, I’d give all my seniority and all these bits of ribbon on my chest to be with you. But my duty lies here with the Regiment. Good luck to you, my boy. You’ll need it”…’

The words came back to him from a summer Sunday evening at his preparatory school, in the headmaster’s drawing-room, the three top forms sitting about on the floor, some in a dream of home, others – Guy among them – spell-bound.

This passage explains much, about ideals and identity and the centrality of his bloody private school in both of them. But it also, on a comic level, gives rise to a recurring trope which is when Guy finds himself in a tight corner and wonders what this ‘Truslove’ character from his boyhood stories would have done in his place. Thus he refers, later on, to an officer volunteering for a mission ‘Truslove style’, and ironically nicknames the farcical episode on the beach of Dakar ‘Operation Truslove’.

It is a variation on the deep central issue I’ve mentioned above, of the way so many men – well, writers, anyway – of this generation, never escaped their public school manners, morals and essentially immature, schoolboy worldview.


Credit

Men at Arms by Evelyn Waugh was published by Chapman and Hall in 1952. All references are to the 1983 Penguin paperback edition.

Related link

Evelyn Waugh reviews

Stanley: The Impossible Life of Africa’s Greatest Explorer by Tim Jeal (2007)

The workhouse boy in paradise… (p.104)

When news broke that the large and expensive expedition led by the American journalist Henry Morton Stanley and funded by the biggest newspaper in America, the New York Herald, had succeeded in locating the ‘lost’ Scottish missionary, Dr David Livingstone, in deepest darkest Africa (in fact, at the town of Ujiji on the shores of Lake Tanganyika on 10 November 1871) it was telegraphed round the (developed) world and overnight made Stanley one of the most famous men on the planet.

Over the next 15 years Stanley would lead a series of epic expeditions through central Africa, making important geographical discoveries, drafting maps, establishing contact with local inhabitants, naming lakes and waterfalls and founding settlements which last to this day, especially along what developed into his main area of activity the enormous Congo river.

Stanley’s later expeditions were financed by King Leopold II of Belgium and played a vital role in marking out the territory which Leopold, at the epochal Congress of Berlin in 1885, claimed as his own personal demesne. The Congo Free State under Leopold’s personal rule had, by the turn of the twentieth century, become a byword for brutality and exploitation. Maybe as many as a million natives of the huge Congo region were killed, maimed or worked to death by white overseers intent on extracting rubber and other marketable commodities by any means necessary.

1. This association with the evil king, along with 2. numerous damning stories and rumours spread about him by his rivals (that Stanley was gay, his marriage was a sham, that he went to Africa to indulge a) his homosexual inclinations or b) his homicidal inclinations), and even 3. Stanley’s own writings in which he poses as a tough and merciless leader of men, exaggerating the battles he was in and the men he’d whipped or even killed, all these factors contributed to blackening Stanley’s reputation, from his own day down to ours.

In his introduction to this long, thorough and meticulously researched biography, Tim Jeal explains that these accusations were given their modern expression in Frank McLynn’s 1990 biography, Stanley: Dark Genius of African Exploration.

Young Stanley, aged 31, posing as the great white explorer with Kalulu, an African boy he bought out of slavery during the Livingstone expedition and took to London with him where he sent him to a church school in Wandsworth. A year later Stanley took Kalulu on the trans-Africa expedition, where the boy would die when his canoe was swept over a huge cataract on the Congo river

By sharp contrast, Jeal sets out to give a strongly revisionist account. He goes to lengths to explain that, unlike any previous biographer, he has been lucky enough to have access to the vast archive of Stanley’s papers held in the Musée Royal de l’Afrique Central in Brussels, some 7,000 items, including some 5,000 letters to him from a vast range of correspondents.

It is a close reading of Stanley’s unpublished journals, letters to  early sweethearts, to his wife, and masses of other unpublished documents which have led Jeal to take a much more nuanced approach to Stanley’s character and achievements and to actively rebut some of the traditional accusations made against him.

In addition, Jeal has spent most of his working life researching the classic Victorian explorers in Africa. His 1973 biography of Livingstone took the same approach, using private letters, diaries and archives to reveal the deeply flawed and troubled man behind the legend. And a few years after this book, Jeal published Explorers of the Nile: The Triumph and Tragedy of a Great Victorian Adventure (2011), a group portrait of the key European explorers – John Hanning Speke, James Augustus Grant, Richard Francis Burton, Samuel White Baker, Stanley, Livingstone and many others from 1856 to 1878.

The point is that Jeal has devoted a lifetime to in-depth research of these figures and it shows – in the length and scholarliness and immense attention to detail of this biography.

The central premise of Jeal’s account is that Stanley exaggerated his own brutality and the violent means he used in his explorations for personal and commercial reasons. 1. On a personal level, Stanley had experienced a childhood of Dickensian harshness and deprivation. Short, unloved, abandoned by his family and brought up in a workhouse, he over-compensated with fantasies of power, projecting himself as an invulnerable tough guy. 2. On a commercial level, Stanley was a journalist writing for American newspapers and they, too, valued sensationalism and tough guy heroics.

So both personally and professionally Stanley was incentivised to exaggerate the number of hostile tribes he encountered, the number of battles he fought, the casualties on all sides, the brutal way he enforced discipline on his own porters, the cruel way he inflicted punishment on warlike tribes. Jeal’s extensive notes indicate the thoroughness with which he re-investigated every single one of these claims and found time and time again a pattern of exaggeration and embellishment.

With the result that the Stanley who emerges from Jeal’s account is a much more intelligent, flexible and strategic figure, using violence where it was required, fighting back when attacked, but also encouraging his men and preferring to sign peaceful treaties with local chieftains, where possible. We have written evidence that he respected and admired Africans, wanted them to be treated fairly, and went out of his way to praise the lead porters who managed his extensive baggage trains. And he emerges as a much more psychologically damaged and vulnerable figure than the superficial history books suggest.

Stanley aged 44 in 1885, sporting the hat he designed to keep off flies and the sun, but which was widely mocked

Stanley’s early life

Accounts of Stanley’s three big Africa expeditions and his extended spell as explorer and negotiator for King Leopold can be found on any website about African exploration:

  • Livingstone expedition, 1871 to 1872, written up in How I Found LIvingstone, which single-handedly created the legend of the saintly missionary
  • African Great Lakes and Congo River, 1874 to August 1877 (999 days)
  • working for King Leopold, 1879 to 1885
  • Emin Pasha Relief Expedition, 1886 to 1889

Overall Stanley’s career in Africa covered some 18 years.

What is less well known and absolutely flabbergasted me was Jeal’s detailed description of Stanley’s early years. The young Stanley had one of the most action-packed and extreme lives I’ve ever heard of. So much happened to him that at several points I wondered whether I was reading a kind of spoof or parody of a life of derring-do. Surely nobody could have had so many adventures!

Stanley’s real name

For a start his name wasn’t Henry Morton Stanley and he wasn’t American. The boy was born John Rowlands in the town of Denbigh, north-east Wales, about 30 miles from the border with England.

Stanley’s mother

His mother was a teenager, Elisabeth Parry, who ended up having five children by three different fathers. Stanley never knew his father. He had suspicions and in later life tried to find out, but as a boy had no father figure in his life, and was haunted by the very real literal of abandonment.

Abandoned

His mother handed him over to his grandfather, Moses Parry, to look after but the grandfather died a few years later and the toddler John was passed onto cousins. They in turn fell on hard times and at the tender age of six, his uncle said he was taking him on an adventure, carried him on his shoulders the six miles to the nearby town of St Asaph and dumped him on the doorstep of the workhouse, rang the bell and walked away, abandoning him with no explanation. Imagine. Arguably John never recovered from these twin boyhood betrayals and the rest of his life can be interpreted by psychologists as a sustained attempt to regain the love and trust and sense of self-worth which he was robbed of at such an early age.

Workhouse

John Rowlands spent the next ten years living, eating, working in a workhouse where conditions were grim. Workhouses were inspected by local authorities and maintained a certain level of hygiene, food and education, and so young John was taught to read and write. He ended up as the equivalent of head boy and Jeal suggests that it was here, abandoned by parents and family, that he developed a taste for having younger, male followers, who he could order around, who gave him a sense of confidence and worth, which the Africa expeditions were to prove a an outlet for on a much larger scale.

Homosexuality?

In the St Asaph workhouse the boys slept several to a bed and contemporaries record that the older boys ‘took part in every possible vice’. Another Stanley biographer speculates that he was sexually abused there. Some of the girls were inducted into prostitution at an early age. Jeal quotes Stanley’s own writings asserting that this atmosphere had the opposite effect on him, putting him off sex, making him fastidious and disgusted. Maybe. There’s no doubt that his earlier, pre-Africa adventures and expeditions involved young male devotees. Was it platonic adoration or did it have a sexual tinge? This is the kind of psychosexual speculation beloved of modern biographers and encouraged by modern publishers because sex sells. Personally, I find it demeans the subject of this fruitless speculation and degrades the reader.

Jeal spends time producing the (limited) evidence and speculating. Personally, I don’t give a damn about anyone’s sex life except insofar as it directly effects their public actions or written works, and even then, most psychosexual biography seems pointless to me. Sexuality is so complicated, contradictory and chaotic that it seems to me presumptuous and generally futile to waste pages on idle speculation. I always skip these bits.

Liverpool

On coming of age Stanley left the workhouse and had to make his way in the world. His cousins arranged for him to go and stay with a relative, Uncle Tom Morris, in Liverpool (p.28). The family were friendly enough but turned out to be hard up and so John had to scout for work, eventually finding a job as assistant in a haberdashery. But the Liverpool docks were a romantic scene for a young man, full of sailors with stories of distant lands.

Cabin boy

Not surprising, then, that one day John announced to his relatives that he had signed up as a cabin boy on the Windermere bound for America. They warned him against it, it was a common practice to promise ‘cabin boys’ the equivalent of an apprenticeship but then treat them like dirt.

New Orleans

This is exactly what happened to young John and by the time the Windermere docked in New Orleans he’d had enough bullying and bad treatment, and jumped ship (p.31).

Hardware store

He wandered the streets and may have slept rough a couple of nights before getting into conversation with the owner of a hardware store and persuading him to take him on. In his autobiography John says the store owner’s name was Henry Hope Stanley and that he, John, needing a new identity in a new country, copied it. Jeal shows in meticulous detail that, as you might expect, the process was much more tentative than that: that the name might not have been that of the storekeeper himself (who Jeal identifies as a completely different person, James Speake) but certainly belonged to an eminent and successful New Orleans businessman and that John’s adoption of it was piecemeal and experimental over a period of years during which he experiments with variations on the names to create a new, American identity.

The Wild West

The store owner advised the man we can now call Stanley that he’d never make his fortune as a delivery boy, and to move up the Mississippi into the ‘the West’ where there were more openings for an enterprising man. So in August 1860 Stanley shipped up to Arkansas, to the small town of Cypress Bend fifty miles from Little Rock, where he got a job in another hardware store. Here he saw at first hand the violent, selfish, law unto themselves attitude of many of the settlers of what could be described as the Wild West. He gained in-depth knowledge of stores and supplies and provisions which would be of great use in his African adventures, and also of the very latest in guns and ammunition.

American Civil War

In April 1861 the American Civil War broke out. There was the usual rush of bellicose enthusiasm in both north and south. If young men didn’t volunteer for the army they came under concerted pressure, not least from young women, to show their manliness. Reluctantly young Stanley, still only 20, joined a regiment in the Confederate army (p.44). He fought at the famous Battle of Shiloh in April 1862, where Jeal gives a vivid description of the mayhem and massacre around him. Miraculously, Stanley survived unscathed and was taken prisoner by Union forces (p.45).

Briefly back to Wales

Stanley spent several months in a POW camp in Illinois where the prisoners came under pressure to sign up to the Union army which, eventually, Stanley did, on 4 June 1862 (p.48). A few weeks later Stanley discharged himself, made his way to Baltimore and took a ship back to Liverpool, to go see his estranged family (p.49). His mother was now the landlady of a pub in Denbigh, and when he arrived, hungry and tired, having walked from Liverpool, she rejected him. He stayed in the area a few days before returning Liverpool and taking ship back to the States.

Merchant seaman

For the next year and a half he bummed around as a sailor on American merchant ships which visited ports in Spain and France (p.51). In July 1864, still at a loss what to do in life, Stanley enlisted in the Union navy. He was appointed ship’s clerk or writer on the USS Minnesota. He was an eye witness to the bombardment of Fort Fisher in December 1864, and wrote it up not only for official records, but managed to sell colourful descriptions to several local newspapers. This marked his debut as a journalist (p.52). In February 1865 he persuaded a younger shipmate, Lewis Noe, to desert the ship when it was refitting in docks at Portsmouth, New Hampshire. They escaped wearing civilian clothes he’d bought from some carpenters.

Rafting down the Platte river

Stanley returned to New York where he resumed working for a man named Hughes. But he wanted a life of adventure, he avidly consumed accounts of adventures, he wanted to see the West. In May 1865 Stanley travelled to St Louis and managed to wangle a job a freelancer for the Missouri Democrat. To supplement his income he got a labouring job at a smelting works. Here he picked up another acolyte, William Harlow Cook and managed to persuade him to go on an ‘adventure’ and navigate the Platte River some 600 miles from Denver to where it joins the huge Missouri river (p.57).

It was at moments like this that I began to wonder whether Jeal was pulling the reader’s leg, but then I realised he is taking these accounts directly from Stanley’s own autobiography. As Jeal is a tremendous stickler for accuracy and devotes pages of text and extensive footnotes to even tiny details of the expeditions, one assumes he has cross-checked and verified Stanley’s accounts of his early adventures, too. And Stanley and Cook did have adventures, rafting during the day, camping in a tent at night: the raft capsized, losing a lot of their equipment, they were arrested by an army officer looking for deserters till Stanley threatened to shoot it out, the righted the raft and continued the journey, till it overturned again, Cook held on and was quickly carried away while Stanley had to make his way by land to Nebraska where they were eventually reunited.

Adventure in Turkey

Stanley returned to New York with Cook in tow and was reunited with Lewis Noe and his family. Somehow Stanley now managed to persuade both Cook and Noe to accompany him on an expedition to Turkey. They sailed from Boston to Izmir where, funds being low, Stanley could only afford two horses: one of his young acolytes had to walk. The journey turned into another ruinous farce. Noe set fire to some bushes to scare Cook but started a major conflagration which saw the three Americans get arrested.

Securing a release they continued inland till another controversial incident took place where Stanley tried to murder a Turk they met with a sword: he claimed he was fighting off the Turk’s sexual advances to Noe, Cook claimed Stanley meant to murder the Turk and steal his horses (p.59). The fight attracted ten other Turks who robbed our guys of all their belongings, dragged them to a nearby village, tied them up. Noe was gang-raped at knifepoint. A local magistrate heard of their situation and had them conveyed to a proper gaol. The local judge found the alleged assailants in possession of what was obviously Stanley’s American goods and so our guys all Stanley’s were released from prison and then spent some time suing the Turkish government for compensation. Stanley contacted the American ambassador at Constantinople who reluctantly lent these shabby American chancers £150, enough to pay Noe and Stanley’s fares to Marseilles, then to Paris, London and onto Liverpool (Cook had to stay behind to give evidence in the trial).

(Later we learn that much of the substance of these adventures were ratified by Lewis Noe himself who sold his version of events, from jumping ship in Portsmouth through the Turkey debacle, to the New York Sun, when Stanley returned from the Livingstone strip and was famous.)

Denbigh again

Stanley detoured, once again, from Liverpool to Denbigh to track down his mother the publican, this time wearing an officer’s uniform he’d had knocked up in Constantinople, to impress her with what a success he had become. Once again, she was less than impressed. He stayed over Christmas, visited other relatives, tried out his new persona of Henry Morton Stanley, moped around Liverpool, again, then took ship back to America.

The Wild West

In February 1867 Stanley arrived back in St Louis and wangled a full-time job on the Missouri Democrat at the princely salary of $15 a day. The very next day he was given the assignment of reporting on General Winfield Scott Hancock’s Indian campaign against the Kiowas and the Comanches (p.67). He covered the whole campaign, describing Indian atrocities and scalpings, the army’s destruction of native villages, he interviewed Wild Bill Hickock. He was right there in the Wild West.

The imperialist principle

Jeal makes the important point that it was here, watching the native Americans being harried, murdered and burnt off their ancestral land, that Stanley imbibed the key principle of imperialism – that backward nations and peoples will fall ineluctably and unpreventably before the forces of ‘civilisation’, industrialisation and economic development. In his writings Stanley sympathised with the Indians but thought that nothing could be done to save them; modernisation was an inevitable process; if not this general then another one. And this was the hard-headed, ‘realist’ attitude he took to Africa.

The New York Herald

But a fire burned in him to see the world, to have great adventures, to go to Africa. In December 1867 he travelled to New York, to the offices of the best selling newspaper in America, the New York Herald, where he bluffed his way into an interview with the tough editor James Gordon Bennett Junior, the hard-driving editor of America’s most successful newspaper, the New York Herald. Stanley pitched his idea of going in search of Dr Livingstone, but it was too speculative for Bennett who suggested a more practical assignment – reporting on the British military expedition into Ethiopia.

Journalist in Ethiopia

In 1867 the emperor of Ethiopia, Tewodros II, had taken a British envoy and others hostage the British government despatched a force to release them. Stanley arrived in Suez in January 1868 and promptly bribed the telegraph operator to transmit his despatches before any other journalist (p.71). accompanied that force as a special correspondent of the New York Herald.

He made several big discoveries on this trip. First was that, by posing as an American, he sidestepped the wretched British class system, and was treated as an equal by the lofty British officers. He was impressed by their cult of nonchalance and aristocratic indifference and cultivated the same pose. He also discovered how to be a success, ensuring that his account of the Battle of Magdala in 1868 (where the British, predictably, whipped the Ethiopian forces) was the first to be telegraphed back to Europe and America. It was a sensational scoop which made his reputation as a journalist and secured him a permanent job at the Herald (p.72)

Spain

Bennett now treated Stanley like any foreign correspondent and sent him to trouble spots to report. In October 1868 he was sent to Spain which was experiencing a civil war between monarchists and republicans. Taking a break from reports he returned to London, where he invited his mother and half sister to visit him, now staying in a grand hotel and unambiguously a successful man of the world. He returned to Spain in 1869 and Jeal uses Stanley’s autobiography to describe Stanley’s hair-raising adventures in Madrid, running across streets as the bullets flew and barricading hotel windows to stop stray bullets in scenes reminiscent of George Orwell’s Homage to Catalonia (p.82).

Through Asia

As you’d expect, Jeal deals with his customary thoroughness with the thorny question of who had the idea to go looking for the famous British missionary, Dr David Livingstone, who had departed for central Africa several years earlier, who nothing had been heard of for years, and who was feared dead. Was it Bennett’s idea or was it, the preferred option, a long-standing ambition of Stanley’s which he pitched an at-first sceptical Bennett?

Either way, although Bennett agreed it was a good idea, he decided to leave it on the back burner while public interest in Livingstone’s mysterious fate grew. Instead he paid for Stanley to go on journalistic assignments through ‘Egypt, Palestine, Syria, Iraq, the Crimea, Persia and finally India’ (p.85). During this year of travels Stanley reported on the opening of the Suez Canal, examined excavations in Jerusalem, visited Odessa and the battlefields of the Crimea, interviewed the governor of the Caucasus at Tiflis and travelled to the Persian Gulf via Persepolis.

Go ahead for the Livingstone expedition

He ended up in Bombay in October 1870, which is where he finally received the go-ahead from Bennett to proceed with the expedition to find Livingstone who was, still, ‘lost’, his whereabouts unknown. With promise of full funding Stanley set sail from Bombay across the Indian Ocean to Zanzibar, the traditional provisioning and jumping off point for east central Africa, in January 1871 (p.91).

It’s important to emphasise that there had been some news about Livingstone. In November 1869 the Bombay Gazette had published a letter Livingstone had sent from the interior, dated 6 months earlier and stating he was at the town of Ujiji on Lake Tanganyika. And this was, indeed, where Stanley was to find him.

Provisioning an African expedition

But the journey inland was perilous and logistically challenging. In the absence of any roads or wheeled vehicles or pack animals who could survive the dreaded tsetse fly, all provisions had to be carried by porters, hundreds of porters, who as well as food and drink carried the trade goods and gifts which had to be doled out liberally to all the tribal chiefs whose territory had to be crossed.

Jeal goes into characteristic detail about the funding, recruiting and provisioning for the great adventure. He hired local porter managers who had helped other explorers with their expeditions, and four white men to act as companions. Stanley led his large force out of Bagamoyo, the coastal port opposite Zanzibar, and into the interior on 21 March 1871. He had just turned thirty years old.

Summary of Stanley’s early life

What a life he had led! Just reading about his exploits is exhausting. Rejected by his mother, abandoned by his family, workhouse boy in a swamp of depravity, self educated, runaway to America where he acquired a new identity and reinvented himself as a buccaneering journalist in the Wild West, leader of absurd adventures on rivers and into faraway Turkey before bluffing his way into a top job as foreign correspondent with America’s premier newspaper, reporting from all over Europe and the Middle East. And only now, aged 30, embarking on the great adventure which would make his name and which, in turn, inaugurated 16 years of exploring, trekking, fighting, signing trade deals and mapping out huge swathes of unexplored central Africa.

He had packed more into his life before he set out to find Livingstone, aged 29, than many adventurers could claim to have experienced in their entire lives. (p.469)


Africa-related reviews

History

Fictions set wholly or partly in Africa

Exhibitions about Africa

Mark Leckey: O’ Magic Power of Bleakness @ Tate Britain

This is an absolutely brilliant, transformative piece of work, hugely staged and thrillingly experienced. It consists of a massive installation and three videos by contemporary artist Mark Leckey. Here’s the promotional video to gt a quick feel:

The big exhibition space on the east side of Tate’s central atrium has had all its partitions removed to create one enormous gallery space. In this space they have recreated a lift-size model of an enormous concrete motorway bridge. To be precise, a recreation of a section of the M53 flyover close to Leckey’s childhood home on the Wirral where he used to play with his boyhood friends.

The bridge goes over our heads at a diagonal, supported by enormous concrete piers. Off to the left is the concrete slope between the hard shoulder which ramps up to the underside of the bridge. It is an enormous brooding presence and absolutely brilliant, cavernous and terrifying.

The first motorway was opened in 1958 and these huge concrete monsters have been part of the British landscape for over 60 years. Why is so little written or painted or arted about them, and about the poisonous mega-roads and planet-strangling super-traffic they carry.

The room is almost pitch black. I nearly bumped into one of the enormous fake concrete motorway piers. But just about made them out because they – and the handful of concrete ‘benches’ scattered about  are illuminated by the flashing, fleering images from two enormous video screens on the far wall, and from a suite of six or so smaller screens off to the right.

Onto these are projected three art videos or films:

  • Fiorucci Made Me Hardcore (1999)
  • Dream English Kid, 1964 – 1999 AD (2015)
  • Under Under In (2019)

I used to work in TV. In the late 1980s I produced and directed a dozen or so videos for commercial clients, before going on to produce live and prerecorded programmes for Channel 4, ITV and BBC1 So I’ve spent a lot of time in edit suites, with editors and directors, editing, discussing, cutting and mixing material. This means I have quite high standards and so find a lot of experimental art videos unwatchably amateurish.

To my own surprise, however, I ended up staying to watch all three videos in their entirety and being riveted, transfixed, transported. Yes yes yes, I wanted to shout, this is actual modern life in its shittyness, in its squalor, with working class lads making the most of the appalling built environments, the failing schools, the windswept concrete shopping centres and the high-rise slums designed for them by avant-garde architects and progressive town planners, by getting off their faces on booze and pills and dancing themselves stupid on the dance floors of thousands of provincial dance halls and clubs.

Fiorucci Made Me Hardcore

Fiorucci Made Me Hardcore is a compilation of found footage from dance floors chronicling Britain’s underground club scene from the 1970s to the 1990s, from the era of mullets and Northern Soul through to the ecstasy-fuelled raves of the 1990s.

God it takes me back to having that kind of haircut in the 1970s and crappy church halls discos where lads in Doc Martens ended up fighting each other, through the pogoing and gobbing of the punk era, with the straights going to crappy mirror-ball discos, and then on into the suddenly hard core, techno, trance and rave scene of the late 80s which burst out of nowhere with its amazing sound systems, lasers and powerful psychotropic drugs.

So much for the social history, but what makes Leckey’s films a cut above others in the same style is the use of sound. He has a phenomenal grasp of the importance of sound, sound effects and sound editing. Having sat in those darkened edit suites for years and years and years I can vouch for the drastic affect sound editing and mixing has on the pictures in TV or film. Take a sequence of a beautiful girl smiling: then superimpose on it the sounds of – someone having an orgasm, a woman screaming, or a little girl saying a nursery rhyme. Identical image, radically different impacts.

The picture cutting is brilliant and worth commenting on in its own right; but what lifts Leckey’s films into brilliant is the extremely sophisticated and creative use of sound effects; mashups of music, deep ominous booms, clips of speech, electronic or industrial sounds.

So it’s the sound effects which, in my opinion, make these more than films, but into a fully immersive experience. The space under the mocked-up motorway is pitch black, cavernous and echoing. That’s why it’s worth traveling to Tate Britain to have the full huge, disorientating, slightly scary and sense-bombardment experience. Watching it on a computer or phone screen is too small and contained. You need to be overwhelmed by it. Possessed.

Dream English Kid, 1964 to 1999 AD

In 1979, Leckey went to Eric’s, the Liverpool nightclub, to see a gig by Joy Division. Recently, the artist located amateur footage of the event on YouTube. He realised that many, maybe most, of what we think of as treasured personal memories can now be found online, and that was the inspiration to assemble a film.

So Dream English Kid 1964 – 1999 AD uses archival material from television shows, advertisements and music, to recreate a record of all the significant events in his life from the 1970s until the 1990s.

God, it’s wonderful a) as straightforward nostalgia – I didn’t grow up in Liverpool or a slum, but I remember the look and feel of shitty England in the 1970s, and the sequence which shows all the horrible packed food – Nesquik, Marmite, Smash, Kelloggs Frosties – brought back the look and taste of all the crap our parents stuffed us with;

b) again because of the sophistication of the picture editing, but more than that, of the sound: it creates a really haunting beguiling, shocking, in your face soundscape, alternating soft silent moments, with raucous live gig sound, urchins in the street, lads, and other much more haunting, weird and unsettling sound effects. It is as if History itself is struggling to break through the bounds of petty human existence. As if some deeper force is struggling to break free from our everyday concerns about haircuts and boyfriends and pop songs, and tell us the big all-important thing, which we’re all too busy to listen to.

Under Under In (2019)

The last of the three film is Under Under In 2019 is noticeably different in feel. It’s because the other two are mostly made up of old film and video footage cannily edited together, while this one is all contemporary, shot on digital camera.

It is all shot under the actual motorway bridge whose model we are standing under and it features half a dozen or so young gang members, dressed in up-to-the-minute street fashion (I assume) – Adidas hoodies zipped up over their faces, trainers, rap hand gestures. For the first ten minutes or so they’re just hanging under the bridge, pushing each other, giggling, and what looks like getting high by car oil products (I think).

But as I’ve highlighted above, the real impact derives not from the visuals – but from the amazing soundscape Leckey has crafted, in which whatever conversation the lads are having is cut and fragmented and distorted and mangled into spare phonemes and loose grunts and blips and frags of speech, echoing, dismantled, lost under the roaring motorway bridge.

Still from Dream English Kid, 1964 – 1999 AD (2015) © Mark Leckey

Apparently the film in some way addresses a supernatural encounter Leckey believes he had under the bridge as a child.

Many of my works have their wellspring in things and experiences from my childhood and youth that still haunt me.

What this means is that one of the larking-about kids seems to see something, a creature tucked in the angle of the bridge, hands reach out, small hands, large hand, white images, intercut sound track, it’s impossible to make out what’s happening but a little kid’s voice repeats, ‘Where you been?’ in a strong Scouse accent.

I’ve made it sound much more comprehensible than it is, the images are quickly intercut, treated, amplified distorted shown from above, the camera swoops down, the same gestures are repeated in juddering cuts or vanish.

It’s all shown on the six smaller screens I mentioned above. You have to stand throughout the entire screening but after a while I realised that behind us, up in the cramped space where the ramp meets the bridge of the model, was another screen onto which were projected images of the pumped-up lads crouching in a row, pushing each other joshing and interacting, which complemented the main action on the six screens. Which cut out at some moments, leaving us in puzzling darkness. Haunting & spooky.

Suddenly something more or less understandable emerges out of the blizzard of fragments and rave-era jump cuts. This is a completely computer-generated diagram of the flyover bridge, and then the point of view descends, under road level to reveal… another view o the same thing, an older type of wooden bridge… and keeps on going down to reveal an older structure yet over the same ravine… and down again and again until we come to a layer of standing stones, dolmen like Stonehenge is built from, and the camera stops descending but moves forward, between the stones, into some dark ominous mysterious chamber.

Leckey has written and spoken about his interest in older visions of Albion, in older imagery connected with faeries and magic inhabiting the countryside, and this sequence obviously comes out of that interest. But it’s one thing to say something, and quite another to come up with a visual and audio presentation of it which is so huge and overwhelming that it makes the viewers’ hair stand up on end.

The film below doesn’t feature in the installation, but it gives you a good sense of the mashup of ancient magic, incantation, a visionary way of reconceiving the shitty, concrete slabverse of our poisonous, toxic streets and motorways and flyover cities, choked with fumes, killing us all, and the aggressively visionary cutups of imagery from all available sources which Leckey uses. And the weird spellbinding obsession with the motorway flyover as a metaphor for our entire ruinous civilisation, which I found preposterous, ungainly, and yet weirdly compelling


Related links

More Tate Britain reviews

Master Georgie by Beryl Bainbridge (1998)

One should never underestimate the disruptive force of haphazard actions.
(Master Georgie, page 104)

A decade or so ago I set out to spend a year reading only books by women authors. Among them, I read half a dozen or so novels by Beryl Bainbridge and loved them all. Having just worked through several books about the Crimean War (Victoria’s Wars by Saul David and Crimea by Orlando Figes) prompted me to dust off my old copy of Master Georgie, Bainbridge’s novel set during the Crimean War.

‘Quirky’ is a quick way of establishing where in the ballpark Bainbridge belongs, but doesn’t begin to capture her depth or complexity or strangeness.

Master Georgie, like most of her novels, is deceptively short and, in this Abacus paperback, has quite large print, resulting in the page having a light, airy feel. The text is divided into six sections and, since several of the protagonists are involved in the then-newfangled trade of photography, the book uses the conceit of naming each section after a ‘plate’ or early-style photograph. Hence:

  • Plate 1. 1846 Girl in the presence of death
  • Plate 2. 1850 A veil lifted
  • Plate 3. 1854 Tug-of-war beside the sweet waters of Europe
  • Plate 4. August 1854 Concert party at Varna
  • Plate 5. October 1854 Funeral procession shadowed by Beatrice
  • Plate 6. November 1854 Smile, boys, smile

Each ‘plate’ or section is narrated by a different character. Thus:

Plate 1. 1846 Girl in the presence of death (Myrtle)

This is told by a young girl named Myrtle (named on page 73), who was found as a toddler next to her mother, dead from smallpox in a slum in Victorian Liverpool, and taken into the household of wealthy if dissolute Mr Hardy. Myrtle is still pre-adolescent when she tells her tale. She has a mad crush on the son of the house, young Master George Hardy (the Master Georgie of the title), who is a medical student, with an amateur interest in phtography. George is wooing young Annie, and he has a friend, a would-be writer named Potter, who is enamoured of George’s sister, Beatrice.

The text is packed with uncanny detail, odd anecdote and strange insights – one of the oddest being that the child Myrtle is side-tracked from her task of accompanying George around town into watching a street performance of a Punch and Judy man. This is told with all the surreal oddity the subject encourages, but with the added twist that a passing horse shies, starts and backs into the Punch and Judy booth, knocking it and the performer inside sprawling. Disgruntled the performer packs his stuff into his gaudily painted van and trots off.

But the main event of this section is that, while George is strolling back from a run-of-the-mill chore, followed by the puppy-like Myrtle, he comes across a house outside which a wretched drunken harridan is wailing about a sick man. Reluctantly, medical student George feels compelled to investigate, is led up to the first floor, where, to his horror, he finds the half-naked body of his father with his trousers down on a bed. Pretty obviously Mr Hardy senior had a heart attack while having sex with the drunk woman, although we see all of this through the eyes of pre-sexual Myrtle who thinks he must have just been sleeping an a funny position.

Keeping his self-possession, George arranges for a street urchin, whose name we later discover is Pompey Jones, to fetch any conveyance he can beg or borrow. This, with typical Bainbridgean bizarreness, turns out to be the wagon used by the local Punch and Judy man we saw in an earlier scene – and, along with Myrtle, the trio dress Mr Hardy’s body, carry it into the Punch & Judy van, rattle back to the Hardy residence, sneak it through the family orchard and upstairs into Mr Hardy’s house, dodging the servants, Mrs Hardy and sister Beatrice. The guilty trio lay the stiffening corpse out on its bed as if he’s had a heart attack, perfectly natural-like. Then they go their separate ways, leaving the body for a maid to find that evening – which results in general hysteria among wife, daughter and servants. Myrtle swears eternal silence to George. Pompey is heavily paid off for his silence.

Plate 2. 1850 A veil lifted (Pompey)

Section two is narrated in the voice of Pompey Jones (as we learn on page 63), the street urchin who did Master Georgie the immense favour of helping him carry his dead father home four years back. We learn that George subsequently packed Myrtle off to boarding school to ensure her absence/silence. And that George sent Pompey with money to buy the silence of the drunk harridan/prostitute. But the latter is such an alcoholic she’d forgotten the incident anyway, so Pompey kept the money and spent it on a set of his own photographic equipment, figuring to pick up the craft from Mr George and eventually set up in his own right.

We learn that Pompey once scraped a living as a street performer, eating fire, which is how he badly burned his lip, which George tended to free of charge. Through one thing and another, Pompey has become a kind of favoured servant, a fixer and gofer for George, running occasional errands as and when required.

On the day covered by this section, Pompey arrives bright and early as requested by George at the Hardy house. Here, he tells us, while waiting for George to awaken, he’s got into the habit of performing little tricks before anyone’s up, namely moving bits of furniture around, swapping paintings, moving fire irons and so on. Today he carries out his boldest exploit yet by rearranging the living room tiger rug, draping it over the back of a chair so it appears almost lifelike. He takes a glass of the family port and surveys his work with pride. He is a cheeky chappy, an artful dodger, a streetwise kid.

George finally appears and commands Pompey into the waggon with his medical equipment because they are setting off on a bizarre medical exploit where Pompey will be needed, namely assisting at an operation George is carrying out along with a fellow surgeon, Dr Rimmer, to remove the cataracts from the eyes of an aging ape kept in the collection of the eccentric millionaire owner of Blundell Hall.

This requires Pompey to drive George and his boxes of equipment in a lumbering horse and cart on a circuitous route along the seashore out of Liverpool and through what are presumably – nowadays – heavily built up inhabited areas but which were, back in the 1840s, empty countryside or sparse hamlets, thus giving a frisson of recognition to any Liverpudlian readers of the novel. (Bainbridge was Liverpool born and bred.)

Pompey assists at the bizarre operation by applying ether in a rag to the mangy old ape and keeping it unconscious while the two surgeons cut into its eyes! I defy you to think of a weirder fictional scene. Afterwards Rimmer and George celebrate with a drink, the latter overdoing it (since his father’s death, George has become a heavy drinker) so that Pompey has to manhandle him into the cart and drive it back into Liverpool along the wide beach as the sun sets. They stop so George can have a drunken conversation with an old hermit who they find on the shore.

We learn, through Pompey’s quick cynical thoughts and memories, that, on the fateful day of Mr Hardy senior’s death, George made a pass at young Pompey. He makes another, drunken, pass now. So, George is what we would nowadays call bisexual, although it is one of the many appeals of Bainbridge’s books that she imagines people in the past thinking according to their own culture, mindsets, psychologies and categories – which are often remote and strange. Maybe this – George’s wandering sexuality – is the veil which is lifted in this section.

When they arrive back at the Hardy household, and Pompey has helped drunk George up to bed, he is accosted on the way back downstairs by George’s friend Potter, who sternly tells Pompey that his stupid jape of rigging up the tiger rug to look lifelike has caused George’s wife, Miss Anna, opening the door in the dim dawn light, to cry out, turn, trip, stumble and hurt her wrist but, more importantly, it brought on a miscarriage. Surprisingly, Pompey isn’t beaten or whipped but that is the end of his merry japes.

Plate 3. 1854 Tug-of-war beside the sweet waters of Europe (Potter)

This first-person narrative is in the voice of Potter (as we learn on page 70), an older friend of George’s who was a geologist. In the earlier sections I had got the impression he was another medical student but now it becomes clearer that he is a geologist – not least because he gives several long descriptions of rocks and geological formations, as well as describing the shock he received on reading Charles Lyell’s epoch-making textbook, the Principles of Geology. Alas Potter has tried – and failed – to make a living by writing and now, sheepishly, lives to a large extent on the generosity of his old friend George.

George, we begin to realise, is the unspeaking central figure around whom all these other lives circle.

Potter is now married to Beatrice and narrates how they, George and his wife Annie, ‘the children’, and Myrtle – now educated and grown up but still slavishly devoted to George – have decided to take a cruise through the Mediterranean to Constantinople. The initial idea was for the two men to revisit some of the locations Potter first visited as a young man (and which he wrote a not-very-successful travel book about) but first one and then other wife asked to come and the whole expedition just snowballed. Thus they are all together in Malta as they hear rumours of approaching war, and by the time they reach Constantinople it is confirmed that Britain and France have gone to war with Russia in support of the Ottoman Empire. The Crimean War has begun. George reports to the British consulate and volunteers as a surgeon, and is assigned to the newly established military hospital up the Black Sea coast at Varna.

Potter’s voice is much the most enjoyable of the three, with his cynically humorous take on his wife, his friend, their families, hangers-on. He gives deliciously acid thumbnail portraits of fellow passengers on the ship and then of fellow Brits in Turkey.

Both George and Potter are particularly irritated when a pompous fellow passenger, Naughton (a bumptiously jingoistic violin maker), becomes infatuated with Myrtle who, of course, has eyes only for George. George and Potter spontaneously start a joke which is to pretend to Naughton that Myrtle is already engaged. Pushed on the identity of her fiancé, they invent a dashing cavalry officer, all of which Naughton believes. Things get complicated later on, when Myrtle gets caught up trying to extricate the family puppy from street dogs in Constantinople, and is helped out by a passing cavalry officer. Naughton sees them returning from this incident and completely misinterprets it to think that this officer is Myrtle’s (entirely fictitious) lover.

And so when Naughton spies this same officer, innocently snogging a local woman in the box next to our chaps at the opera – and Myrtle weeping (entirely because the of the music) – Naughton completely misinterprets the scene to think the officer is behaving outrageously and making the poor aggrieved Myrtle weep. Naughton storms along the passageway, into the box and attacks the officer, who promptly defends himself and accidentally knocks Naughton clean out of the box and onto the stage beneath. George attends Naughton, who is not as injured as you’d expect, leaving Potter to feel sheepishly guilty, while reflecting on the absurdity of life, its randomness and chance complications.

Plate 4. August 1854 Concert party at Varna (Myrtle)

Section four is narrated by Myrtle, eight years older than her first appearance and a woman of the world. George has volunteered to work as a surgeon up at Varna, where the British soldiers are dropping like flies from the cholera epidemic. The wives – Annie and Beatrice – and the children have been packed off back to Blighty, and Myrtle and Potter have accompanied him to Varna.

This section gives us a sense of the sights and smells of the allied camp at Varna, especially the drunkenness of the British troops. It also slowly becomes clear that George’s relationship with Myrtle is now sexual. Myrtle goes for a horse ride with another Brit they met on the ship over, a Mrs Yardley who openly admits to being in an unmarried relationship with a colonel in the Guards. There is a typically bizarre scene where the pair of English ladies find themselves straying too close to a Turkish farm and being hussled into it by peasants, who promptly offer them bowls of none-to-clean milk while the exhausted peasant mother suckles a baby and a nearby pregnant goat gives birth messily, to the ladies’ horror.

But the main event in this section is a performance by a British concert party, chaps dressing up as women and singing each other sentimental songs. The climax is an explosive display by a handsome young fire-eater. Fire eating ring any bells? Yes, it turns out this performer is none other than Pompey Jones from Liverpool. He had become a photographer’s assistant in Liverpool, the photographer received a commission to come out and take pics of the army in Turkey, so that’s how he’s here in Varna; then one of the performers in the concert show went sick and someone had heard Pompey talking about his fire-eating days so he found himself being dragooned onstage. In other words, it is a staggering coincidence that Myrtle, George and Potter should bump into Pompey like this. But, as various characters reflect throughout the text, life is full of haphazard accidents and random chances.

Before the concert show George had asked Myrtle to prepare for a sexual encounter with him, so she had washed her armpits and ‘other places’. Alas, she waits and waits till dawn but he doesn’t come. She goes over to his tent and is upset to find George asleep in the arms of the handsome, fit young fire-eater. Myrtle is distraught, and finds herself pouring her heart out to Mrs Yardley – but Mrs Yardley and all the others believe in the cover story that George and Myrtle are brother and sister, and so thinks Myrtle is upset merely at the lower class and homosexual nature of George’s affections – she doesn’t realise Myrtle is upset because she feels a lover’s betrayal – and Myrtle, even in full flight of sobbing, realises she mustn’t reveal the truth.

Later, once George has woken and gone about his tasks at the barracks hospital, Myrtle and Pompey sit and talk about old times. Pompey startles her by revealing that Georgie has told him ‘about the babies’. It is via this conversation that we learn the startling revelation that Myrtle is the mother of George and Annie’s babies! After George’s wife Annie’s fourth and final miscarriage – the one caused by Pompey rearranging the tiger rug – Annie was declared infertile and so… and so the trio agreed that Myrtle should be impregnated and bear the children which she now helps to bring up but which George and Annie treat as theirs. She is the mother of George’s children. No wonder she is so besotted by him.

But in the way which I so admire about her historical novels, Bainbridge captures the way all involved acquiesce in the event but keep it hidden, coping with it, rationalising it, in a way inaccessible to our modern politically correct sensibilities.

Annie accepts the situation and the children and Myrtle. George conceals any public displays of affection for Myrtle and keeps her at a distance – and sleeps with young men. Which upsets Myrtle but doesn’t repel her: the homosexuality isn’t an issue. She even wonders whether George’s mother, old Mrs Hardy know but keeps quiet about the ‘scandal’.

The story feels so Victorian, so very much about love and desire twisted and reconfigured in unexpected, secret, repressed ways. People were different in the past. Really profoundly different, in the way they thought about life, lived, in their values and decisions, and Bainbridge’s novels wonderfully capture this difference on every page.

After Pompey leaves her, Myrtle tells Potter that Pompey knows about the babies. Foolish for George to have told him, Potter says. He could do you both harm. An ominous note is sounded. Will the story end in some kind of blackmail?

Plate 5. October 1854 Funeral procession shadowed by Beatrice (Potter)

This is the second narrative told in the voice of by Potter, in which he comes over as significantly more of a bore than in the first one. Shame. I liked his affable cynicism. Now we know, from remarks of George’s to his face, that George is finding him rude and offensive and he is boring everyone with his endless classical quotations.

It is through Potter’s eyes that we see the allied task force of 64,000 soldiers set sail from Varna, cross the Black Sea and land at Eupatoria, on the west coast of the Crimean Peninsula. Potter describes the unopposed landing, the assembly of the troops and then the nightmare march of the soldiers south, without food or drink through the intense heat of a blistering summer’s day, when thousands of soldiers dropped out of line and hundreds died of exhaustion and dehydration, the terrible march I’ve read about in the historical accounts by Saul David and Orlando Figes.

And so the soldiers straggle on to create the armed camp south of Sevastopol. Bainbridge is not a historian and so we only hear about the epic battles of the river Alma and of Balaklava peripherally, as throwaway remarks by Potter who is more concerned about the facilities in the camp where he finds himself, and the relationship with George and Myrtle.

It is a relief we are not shown these battles (as we might be in a more macho, male narrative). Instead the charge of the Light Brigade is only referenced insofar as some of the returning riderless horses ride on in among the hospital tents where Potter was assisting George. He stops one of the fleeing horses and commandeers it, albeit the poor thing has been deafened by the cannon.

There are drunken dinners with soldiers (officers, of course) at which Potter tactlessly prattles on about death and displays his classical and/or geological learning, to the others guests’ boredom or dismay. According to Potter’s narrative he is having more and more intense visions of his wife, Beatrice, who was wise enough to depart Constantinople and return to peaceful Wales, but now appears to him in visions by day and night. Most embarrassingly she appears to Potter when he’s attending a funeral of some officers they knew. Her spirit leads him away to pick an intensely blue cornflower. I suspect these feverish hallucinations are intended to be the symptoms of cholera or typhoid. Maybe Potter is going to die.

A photographer is present to pose the mourners at this funeral, to show ‘the folks back home’ – hence the section’s title, Funeral procession shadowed by Beatrice.

Plate 6. November 1854 Smile, boys, smile (Pompey)

The sixth and final section is narrated by Pompey. His boss, the photographer, has gone back top Constantinople for supplies, leaving Pompey to hang out with the gang – George, Myrtle, Potter – and give us our last sight of them.

Pompey isn’t in the army – he built on the photography equipment he bought with the money he sidelined from George, as per chapter two, to get a job as a photographer’s assistant. We learn that the photography van, painted bright white and containing shelves of cameras, lenses and development equipment, is none other than the Punch and Judy van which Myrtle described back in section one, eight years earlier, and which was used to carry the corpse of naughty Mr Hardy home. Thus do accidents and coincidences litter our lives.

The climax of the book comes when all four are called into action to reinforce British troops being attacked. I think this is an account of the Battle of Inkerman, a bloody battle in which Russian troops again and again stormed British strongpoints on a day of dense fog, in which the fighting was reduced down to bleak and horrific hand-to-hand bayoneting in muddy pits.

Pompey, the tough street urchin, finds himself commandeered into combat but – like the survivor he is – kills his quota of Russians and survives. These last few pages convey the horror, terror and mindless violence of battle and Pompey, the tough survivor is the perfect pair of eyes to see it through.

Then the battle is all over and Pompey and Myrtle are helping injured soldiers back towards a dressing station where George is working, specifically an officer who’s had both feet blown off and whose comrades put his stumps into a barrel of gunpowder to stanch the bleeding. George lends a hand and, when Myrtle calls out because she’s stumbled on a stone, George turns to look at her and at that moment an injured Russian soldier, who had been lying nearby and has propped himself up on a rock, takes one shot at the stretcher party and shoots George dead.

Myrtle cradles George’s head. Pompey staggers off to inform Potter, a man now much reduced from his former witty self, plastered in mud, malnourished, babbling classical quotes while tearing the pages of his precious books to stuff into the stove to keep warm. So much for intellectuals.

In the final act, Pompey returns to the British camp to discover his boss, the photographer, has returned and is taking a photo of five survivors for the folks back home. They need another figure to complete the composition. Pompey jogs off and returns bearing the corpse of George. Not fazed by dead bodies, the soldiers prop George up to look like one of themselves, one of the happy chaps defending ‘Justice’ and ‘Liberty’ and ‘Empire’, as the photographer says, ‘Smile, boys, smile.’

Finis.


The photos

By the end the reader realises that each section contains the taking of a photo: in section one George practices his new hobby by asking the young Myrtle to pose touching the corpse of his father (hence ‘Girl in the presence of death’), and each of the subsequent sections is named after a particular photograph which for one reason or other is taken during the action. Thus the photo of the funeral party in the penultimate section (the one where Potter shames himself by wandering off half-delirious to pick a cornflower) and, of course, the final posed and utterly deceitful photo which ends the text.

As I noted in my review of Crimea, which describes how the new-fangled photographs of the war were almost all carefully posed and arranged – the camera always lies.

Literary effects

Humour, often very dry humour, is never far away in Bainbridge’s novels. One simple but effective result of the way the book uses multiple viewpoints is that the impression and story told by one narrator can then be humorously undercut by the next one.

Thus when we see George through Myrtle’s eyes it is through the mind of a lovelorn girl who describes him as a handsome, wise and good young man. It is a shock to have the same George described by Potter as an overweight drunk. Similarly, Potter’s own text narrative is shrewd and witty, so we (well, I) was won over to his witty character. It comes as a shock, then, to have Myrtle, at the beginning of her next section, describing him as an intellectual bore, irritating everyone by quoting ancient poetry in the original, maybe – as Myrtle reflects – as an escape from the brutal realities of the present.

Conclusion: We are mysteries to each other. The world is a mystery to all of us.

Disconcerting

Bainbridge is the Queen of Disconcertment. The broad shape of her narratives, the vivid vignettes which stud her stories, and even passing similes and phrases, all contain the potential to unnerve, ruffle and discomfit the reader. For example, Potter describes their ship setting off from Constantinople:

In our wake flew a swarm of small birds, no bigger than robins, which are never seen to settle, but must always be in flight. The Turks, so I was told, suppose them to be the souls of women whom the Sultan has drowned. (p.106)

Not what you expected from a description of sea birds. Potter describes how the extended group spend an evening at the filthy Istanbul opera house, where the big passionate music of Verdi made Myrtle cry. But the reader is distracted from this straightforward situation by the discombobulating comparison which Myrtle’s weeping brings to Potter’s mind.

Then, some moments before the interval, I heard a strange mewing sound, which instantly brought back memories of Mrs O’Gorman’s kitchen and the cry of the stable cat prowling the bucket in which its kittens lay drowned. (p.100)

Wow. Yes. An endless ability to unsettle and unnerve.

Quite apart from the unsettling drift of the overall narrative, the text is laced with moments where the everyday is transformed into bewildering strangeness. Sometimes the incongruities can be very funny, like the extended deception Potter and George play on poor Naughton about Myrtle’s fictional lover. But mostly they’re weird and discomfiting. And sometimes poetic and evocative, coming and going in seconds, like the flow of experience. A tiny example: in the final section Pompey is sharing a cosy mug of tea with Potter, both of them shrouded in the impenetrably thick fog.

Close by, a horse pissed, its splatterings diminishing as it trotted on. (p.197)

This is a marvellous book, laced all through with the weirdness and poetry of life.


Related reviews