Hammond Innes reviews

Hammond Innes (1913 to 1998) was a British thriller writer novelist who wrote over 30 novels. His protagonists tend to be ordinary men thrust into perilous situations, often in extreme locations or situations. In fact in many of his novels the exotic locations are as – if not more – important than the human protagonists. I’ve always admired the fact that he was a very organised writer, spending six months travelling to settings around the world, doing thorough location research, followed by six months of writing.

Best one?

When I read them, I thought The Wreck of the Mary Deare was the best one, but years later it’s the unforgiving frozen landscape of the Antarctic in The White South which has stayed with me.

Innes’ novels

1940 The Trojan Horse Barrister Andrew Kilmartin gets involved with an Austrian Jewish refugee engineer whose discovery of a new lightweight alloy which will make lighter, more powerful aircraft engines reveals an extensive and sinister Nazi network which reaches to the highest places in the land; features a nailbiting chase through the sewers of London and a last-minute battle on the Nazi ship.

1940 Wreckers Must Breathe Journalist Walter Craig stumbles across a secret Nazi submarine base built into a ruined tin mine on the Cornwall coast and, along with local miners and a lady journalist, fights his way out of captivity and defeats the Nazis.

1941 Attack Alarm Wartime thriller set during the Battle of Britain, drawing heavily on Hammond Innes’s own experience as an anti-aircraft gunner. Barry Hanson is a former journalist now serving on an RAF airfield gun crew in 1940 who comes to believe a network of Nazi fifth columnists is planning to sabotage the airfield ahead of a major German attack, but none of his superiors believe him.

—Second World War—

1946 Dead and Alive A short post-war thriller divided into two halves. It begins on the Cornish coast, where ex–Royal Navy officer David Cunningham, emotionally adrift after the war, helps salvage a stranded landing craft with fellow veteran McCrae. They refit it as a small commercial venture, planning to trade goods in post-war Italy. A newspaper article about their efforts brings a letter from a French woman asking them to find her missing daughter, Monique, who was sent to Italy during the war. When they sail to Naples they profit from selling goods but become entangled in local criminal networks after McCrae angers a powerful figure.

1947 The Killer Mine Army deserter Jim Pryce discovers dark family secrets at a ruined Cornish mine which is being used as a base by a father-and-son team of smugglers who blackmail him into doing some submarine rock blasting, with catastrophic results.

1947 The Lonely Skier Writer Neil Blair is hired to visit the Dolomite mountains in Italy, supposedly to write a script for film producer Derek Engles, in reality to tip him off when key players in a hunt for Nazi gold arrive at the ski hut in the mountains where – they all think – the missing treasure is buried.

1947 Maddon’s Rock Corporal Jim Vardin, convicted of mutiny at sea and imprisoned in Dartmoor, breaks out to clear his name and seek revenge on the captain and crew who pretended to sink their ship, the Trikkala, but in fact hid it in order to steal its cargo of silver bullion.

1948 The Blue Ice Mineralogist and industrialist Bill Gansert sails to Norway to discover the truth about the disappearance of George Farnell, a friend of his who knew something about the discovery of a rare metal ore – an investigation which revives complicated enmities forged in Norway’s war-time Nazi occupation.

1949 The White South Narrator Duncan Craig becomes mixed up in the disaster of the whaling ship Southern Star, witnessing at first hand the poisonous feuds and disagreements which lead a couple of its small whalecatcher boats to get caught in pack ice, fatally luring the vast factory ship to come to their rescue and also becoming trapped. It then has to evacuate over 400 men, women and children onto the pitiless Antarctic ice where Craig leads his strife-torn crew to safety.

1950 The Angry Mountain Engineering salesman Dick Farrell’s wartime experiences come back to haunt him as he is caught up in a melodramatic yarn about a Czech spy smuggling industrial secrets to the West, with various people from his past pursuing him across Italy towards Naples and Mount Vesuvius, which erupts to form the dramatic climax to the story.

1951 Air Bridge Bomber pilot fallen on hard times, Neil Fraser, gets mixed up with Bill Saeton and his obsession with building a new type of diesel aero-engine based on a prototype looted from wartime Germany. Saeton is helped by partner Tubby Carter, hindered by Tubby’s sex-mad wife Diana, and spied on by Else, the embittered daughter of the German who originated the designs. The story moves to Germany and the Berlin airlift where Saeton’s obsession crosses the line into betrayal and murder.

1952 Campbell’s Kingdom Bruce Campbell, given only months to live by his doctors, packs in his boring job in London and emigrates to Canada to fulfil the dream of his eccentric grandfather, to find oil in the barren patch of the Canadian Rockies known as ‘Campbell’s Kingdom’.

1954 The Strange Land Missionary Philip Latham is forced to conceal the identity of the man who replies to an advert to come and be doctor to a poor community in the south of Morocco. Instead of curing the sick, he finds himself caught up in a quest for an ancient silver mine, a quest which brings disaster to the impoverished community where it is set.

1956 The Wreck of the Mary Deare Yacht skipper John Sands stumbles across the wreck of the decrepit steamer Mary Deare and into the life of its haggard, obsessive captain, Patch, who is determined to clear his reputation by revealing the conspiracy to sink his ship and claim the insurance.

1958 The Land God Gave To Cain Engineer Ian Ferguson responds to a radio plea for help received by his amateur radio enthusiast father, and sets off to the wilds of Labrador, north-east Canada, to see if the survivors of a plane crash in this barren country are still alive – and what lies behind the conspiracy to try and hush the incident up.

1960 The Doomed Oasis Solicitor George Grant helps young tearaway David Thomas travel to Arabia to find his biological father, the legendary adventurer and oilman Colonel Charles Whitaker, and becomes embroiled in a small Arab war which leads to a siege in an ancient fortress where the rivalry between father and son reaches a tragic conclusion.

1962 Atlantic Fury Painter Duncan Ross is eyewitness to an appalling naval disaster on an island of the Outer Hebrides. But intertwined with this tragedy is the fraught story of his long-lost brother who has stolen another man’s identity. Both plotlines lead inexorably to the bleak windswept island of Laerg.

1965 The Strode Venturer Ex-Merchant Navy captain Geoffrey Bailey finds himself drawn into the affairs of the Strode shipping company which aggressively took over his father’s shipping line, thereby ruining his family and driving his father to suicide. Now, 30 years later, he is hired to track down the rogue son of the family, Peter Strode, who has developed an obsession with a new volcanic atoll in the middle of the Indian Ocean, whose mineral wealth might be able to help the Maldive Islanders whose cause he champions.

1971 Levkas Man Merchant seaman Paul goes to find his father, eccentric archaeologist Pieter Van der Voort, another typical Innes obsessive, this time one convinced he can prove his eccentric theories about the origin of Man, Ice Age sea levels, the origin of Atlantis and so on. Much sailing around the Aegean, feelingly described by Innes, before the climax in a vast subterranean cavern covered in prehistoric rock paintings, in an atmosphere heavy with timeless evil, where his father admits to being a murderer.

1973 Golden Soak Alec Falls’ mining business in Cornwall goes bust so he fakes his own death and smuggles himself out to Australia to take up the invitation to visit from a rancher’s daughter he’d met. He finds himself plunged into the mystery and intrigue which surrounds the struggling Jarra Jarra ranch and its failed mine, Golden Soak, a mystery which leads him on a wild chase out into the desolate hell of the Gibson desert where Alec discovers the truth about the mine and the persistent rumours of a vast hill of copper, and witnesses archetypal tragedies of guilt and expiation, of revenge and parricide.

1974 North Star One-time political agitator and seaman Michael Randall tries and fails to escape his complex past as he finds himself embroiled in a plot to blow up a North Sea oil rig, a plot which is led by the father he thought had died decades earlier.

1977 The Big Footprints TV director Colin Tait finds himself caught up in the one-man war of grizzled African hunter and legendary bushman Cornelius van Delden against his old friend, Alex Kirby-Smith, who is now leading the Kenyan government’s drive to cull the country’s wildlife, especially its elephants, to feed a starving population and clear the way for farmers and their cattle, all tied up with Tait’s obsessive quest to find a remote mountain where neolithic man was said to have built the first city in the world.

1980 Solomon’s Seal Property valuer Roy Slingsby prices the contents of an old farmhouse in the Essex countryside and is intrigued by two old albums of stamps from the Solomon Islands. He takes up the offer of a valuing job in Australia and finds himself drawn into the tragic history of the colonial Holland family, the last surviving son of which is running machine guns to be used in the coup and bid for independence of Bougainville Island. Though so much of the detail is calm, rational, business-like, the final impression is of an accursed family and a fated ancestral house which burns down at the novel’s climax.

1982 The Black Tide When his wife dies blowing up an oil tanker which has gone aground near their Cornwall home, ex-merchant seaman Trevor Rodin goes searching for the crew he thinks deliberately ran her aground. His search takes him to Lloyd’s of London, to the Nantes home of the lead suspect and then on to the Persian Gulf, where he discovers several ‘missing’ tankers are in fact being repurposed by terrorists planning to create a devastating environmental disaster somewhere on the coast of Europe. With no money or resources behind him, and nobody believing his far-fetched tale, can Rodin prevent the catastrophe in time?

1985 The High Stand When gold millionaire Tom Halliday and his wife Miriam go missing, their staid Sussex solicitor Philip Redfern finds himself drawn to the old gold mine in the Canadian Rockies which is the basis of the Halliday fortune, and discovers that the illegal felling of the timber planted around the mine is being used as a front for a gang of international drug smugglers, with violent consequences.

1988 Medusa Former smuggler turned respectable ex-pat businessman, Mike Steele, finds his idyllic life on the pretty Mediterranean island of Minorca turning very nasty when he gets mixed up with mercenaries running guns onto the island to support a violent separatist movement and military coup.

1991 Isvik Wood restorer Peter Kettil gets caught up in a crazy scheme to find an old Victorian frigate allegedly spotted locked in the Antarctic ice by a glaciologist before his death in a flying accident. His partners are the nymphomaniac Latino wife of the dead glaciologist, Iris Sunderby, a bizarre Scottish cripple, Iain Ward, and a mysterious Argentine who may or may not have been involved in atrocities under the military junta.

1993 Target Antarctica Booted out of the RAF for his maverick behaviour, pilot Michael ‘Ed’ Cartwright is hired by Iain Ward, the larger-than-life character at the heart of the previous novel, Isvik, to rescue a C-130 Hercules plane off a damaged runway on the Antarctic ice shelf. It takes a lot of shenanigans, not least with a beautiful Thai woman who is pursued by the Khmer Rouge (!), before in the last few pages we realise the whole thing is a scam to extract diamonds from the shallow seabed, diamonds like the ones the survivor of the frigate found in the previous novel.

1996 Delta Connection An astonishing dog’s dinner of a story which starts out reasonably realistically following the adventures of Paul Cartwright, scrap metal consultant, in Romania during the chaotic days leading up to the overthrow of the communist ruler Nicolae Ceaușescu, before moving on to Pakistan and the Khyber Pass where things develop into a violent thriller with car chases and shoot-outs – before jettisoning any attempt at realism and turning into a sort of homage to Rider Haggard’s boys adventure stories as Cartwright and his gay, ex-Army mentor, battle their way through blizzards into the idyllic valley of Nirvana, where they meet the secret underground descendants of Vikings who long ago settled this land, before almost immediately participating in the palace coup which overthrows the brutal ruler and puts on the throne the young woman who Paul fell in love with as a boy back in Romania, where the narrative started.

Essays

Edvard Munch Portraits @ the National Portrait Gallery

Munch at the British Museum 2019

Six years ago the British Museum held a big exhibition of Edvard Munch’s prints, including the famous Scream. In my review of the exhibition I summarised the exhibition’s narrative of how Munch (1863 to 1944), when a youngish man, in the 1890s, was part of a hard-drinking, permissive Bohemian set in the capital of his native Norway, Oslo (then called Kristiana), and how the hedonistic free-love and hard drinking ethos of this world clashed with his strict Protestant rural upbringing to produce an often unbearable tension and angst in the young man. Not just unhappiness – intense mental distress. The British Museum show had numerous quotes from Munch’s journals and diary up on the walls all making the same point:

For as long as I can remember I have suffered from a deep feeling of anxiety which I have tried to express in my art. (1908)

I was walking along the road with two friends – the sun was setting – suddenly the sky turned blood red – I paused, feeling exhausted – and leaned on the fence – there was blood and tongues of fire above the blue-black fjord and the city – my friends walked on, and I stood there, trembling with anxiety – and I sensed an infinite scream passing through nature. (22 January 1892)

All art, like music, must be created with one’s lifeblood – Art is one’s lifeblood. (1890)

You get the picture, and a feel for the troubled mentality which produced not only The Scream but a host of other deeply haunting woodcuts – of vampire-like young women, of traumatised couples standing in front of lakes of bottomless meaning and forests of endless threat.

However, alongside the woodcuts and paintings with titles like Despair, Anxiety, Death, and so on, Munch throughout his life was an accomplished painter of portraits, of his family, his Bohemian friends, of society patrons, and of himself. In fact he produced hundreds of them.

Munch at the National Portrait Gallery 2025

This fine exhibition at the National Portrait Gallery brings together 40 of Munch’s portraits, ranging across 40 years of his long career, from the 1880s to the 1920s, for us to enjoy, savour, compare and contrast. It is the first such exhibition to focus on Munch’s portraits ever held in the UK and includes foreign loans never before seen in the UK.

A mixed bag

The main point to make at the start is the great variety of size and treatment over these 40 or so years – and the very variable quality. Munch’s star is obviously in the ascendant and the curators, and many of the media reviewers, make a big case for him being one of the twentieth century’s great portraitists. I just don’t think that’s true. It’s nearly true, there are a lot of good portraits here, including some portraits of writers which have long been classic – but there are a lot of poor paintings here as well; ones I thought were poorly executed, showed bad draughtsmanship, sketchy painting technique.

There are quite a few powerful, notable works, but just as many that I’d cross the road to avoid or wouldn’t look twice at in a general exhibition.

Stories

One other point. The gallery labels accompanying the portraits are excellent and full of interest. Very often exhibition labels fall back on woke clichés or very general descriptions of what you can already see for yourself, and can be exasperating or futile, accordingly.

However the picture captions here are uniformly excellent. Almost all of them move beyond a brief background of the image to give fascinating potted biographies of the subjects, and seeing as these come from a surprisingly broad range of figures, in Norway but also Germany where Munch spent a lot of time, all these potted biographies build up into a fascinating mosaic of the times. They range all the way from the biography of Munch’s father and sisters, via the various writers, artists and poets he knew in his merry Bohemian times, through to fascinating accounts of the physicians, industrialists and patrons he painted, and their lives and fates after he painted them.

Putting to one side the questionable merit of some of the paintings, these potted biographies bring to life a whole world of culture and patronage in north-central Europe which we in Britain, in thrall to a very Paris-based view of modern art, are almost completely ignorant of.

Layout

The exhibition is arranged thematically and chronologically, taking visitors on a four-part journey through Munch’s immediate family, bohemian artists and writers, his patrons and collectors, and finally his closest confidants, the so-called ‘Guardians’ who supported him in his later years. I’ll pick a key work from each section.

1. Family

The earliest paintings, from his early 20s, are small oil paintings of himself, his father and the aunt (Karen Bjølstad) who moved in after his mother died of tuberculosis when he was five (in 1868). I really liked the small portrait of his bearded father – Dr Christian Munch, a military doctor – lighting his pipe. They’re small, dark and inside and hark back to naturalist painting of the 1860s and 70s which he would swiftly work through and move beyond.

Quite quickly we move outside, though, to a much larger work like ‘Evening’ (1888). This, the caption tells us, depicts Munch’s sister, Laura, on a family holiday, just a year before she was permanently hospitalized with schizophrenia. The curators claim it captures her sense of alienation from her surroundings. Do you agree? Apparently in the centre of the painting was a standing figure but Munch painted over it in order to emphasise and increase the sense of distance between the soulful woman and the figures by the lake.

Evening by Edvard Munch (1888) © Museo Nacional Thyssen-Bornemisza

2. Bohemian friends

Munch left his family home to study art formally in the mid-1880s, becoming part of the bohemian scene in Kristiania. This was a network of internationally-connected artists and writers whose their ideals ran contrary to the strict religious principles of Munch’s upbringing. They advocated free love, atheism and women’s emancipation.

It was here that he developed a free-er more expressive way with paint which he called ‘soul art’, and which relied on the intensity of the relationship with the sitter as much as technical proficiency. In other words, his brushwork became looser. Leader of this set of freethinkers was the anarchist Hans Jæger whose portrait dominates this section and was chosen by the curators to promote the entire show. They comment on the cynical, confident pose of a man who knows he bosses his social group, comfortably slouched on a sofa in the Grand Café, Kristiana.

Hans Jaeger by Edvard Munch (1889) © Nasjonalmuseet for kunst, arkitektur og design, The Fine Art Collections. Photo: Nasjonalmuseet/Børre Høstland

Munch didn’t stay in Kristiana but travelled to Berlin where he had been invited to show. Here he met the Polish writer and dramatist Stanisław Przybyszewski whose 1894 monograph ‘Das Werk des Edvard Munch’ was the first publication to promote Munch internationally and to suggest the idea of the ‘Naked Soul’ as being fundamental to his work. Przybyszewski believed that society placed such a constraint on basic human instincts that it was the artist’s duty to compensate by giving free rein to unconscious impulses and desires – what he termed ‘the naked soul’.

The other strong work in this section is the portrait of lawyer Thor Lütken. Do you notice anything odd about this picture?

Thor Lütken by Edvard Munch (1892) Private Collection. Photo: Munchmuseet / Sidsel de Jong

The oddity is that, on close inspection, the lawyer’s left sleeve, along the bottom of the picture, contains a moonlit landscape inhabited by two mysterious figures, a man in black and a woman in white.

Detail of Thor Lütken by Edvard Munch (1892) Private Collection. Photo: Munchmuseet / Sidsel de Jong

Are they lovers or a symbolic portrayal of life and death, Death and The Maiden? Whatever the intention, it’s a pretty unconventional thing to do in a professional portrait but indicates the tremendous influence the 1890s movement of Symbolism had on Munch’s thinking.

Talking of Symbolism, the section includes a series of works which aren’t paintings but black-and-white lithographs. These depict some super-famous figures from the time, notably the playwrights Henrik Ibsen and August Strindberg, the French Symbolist poet Stephane Mallarmé, and the composer Frederick Delius who Munch met at the health resort of Wiesbaden, alongside group sketches of north European Bohemians in a number of cafes and bars.

The point is that for some of these portraits – notable Ibsen, Mallarmé and a striking portrait of himself – created a novel approach, presenting the sitters as disembodied heads floating in space. The detached floating head was a familiar motif in Symbolist art, signifying a split between the physical and spiritual self but hadn’t been used in such intimate and realistic portraits before.

The novel format does several things. In the portrait of Ibsen it emphasises the distance between the floating head and the busy life going on outside the window; in the wonderful portrait of Mallarmé, probably the most successful likeness in the show, it focuses you on the face and eyes so you feel you are just about to hear a pearl of wisdom from the witty old gent. According to the ever-interesting picture caption, Mallarmé was fascinated by the occult, which may explain the ghost-like feel of the portrait. And he said that the image reminded him of one of the images of Jesus on a holy shroud…

And in the self portrait with skeleton, the jet black background makes Munch’s head seem as if guillotined and floating in space, as in a bizarre dream.

3. Patrons and collectors

The third section of the exhibition examines Munch’s relationship with his patrons and collectors. By the early 20th century, Munch was one of the most exhibited artists in Europe. Returning to Berlin in 1902, he won the support of a group of wealthy and influential collectors, whose patronage further elevated his profile. It’s fascinating to learn that, in the curators’ words, ‘Many had Jewish heritage and held key professional and institutional positions in German society. They all shared an enthusiasm for the philosophy of Friedrich Nietzsche and his belief in the creative power of the individual’ – indeed the influence of Nietzsche’s insistence on the Superman overthrowing all society’s traditional values and creating his own, is mentioned in the commentary of quite a few works from this period. Also, disapproving moralists nowadays frequently associate Nietzsche with the strains of thought which led to the Nazis, so it’s striking to learn that quite so many Jewish figure were attracted by his ideas.

From 1902 to his breakdown in 1908, Munch began to take commissions from the rich and successful and this marked a turning point in his portrait style. Increasingly he painted in bright and bold colours to reflect the dynamism of his sitters. The outstanding work in this section is the super-striking portrait of German physicist Felix Auerbach, commissioned in 1906.

by Edvard Munch (1906) © Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation)

In my opinion, you can see at least three things going on in this portrait. 1) The face and in particular the eyes address you really directly, with startling immediacy. Their clarity and figurative accuracy are comparable to the Mallarmé image’s eyes.

2) This immediacy distracts you from the fact that a lot of the secondary detail is no precise, is done using Munch’s trademark curves. Look at the hand holding the cigar: the fingers, the hand, the sleeve do not stand out with photographic realism from the background coat but instead are moulded with his trademark blurred curves. Instead of focusing on light and shadow to make the detail crisp, he prefers to go over the rounded outline of the hand again and again, in different colours, to give it an almost cartoon simplicity.

Lastly, of course 3) the bright red background. Maybe it’s an attempt at the actual wallpaper behind this rich patron when he painted him, but it feels more like an aesthetic statement. At first glance it made me think of the Fauves and Matisse who were just starting to do the same kind of thing in France but the wall caption tells me it’s a homage to Van Gogh’s use of bright and non-naturalistic colours. (n fact this painting now resides in the Van Gogh museum in Amsterdam.) It certainly feels like Munch felt free to create any kind of background he wants, and to use very strong vibrant colour in order to create an effect, in this case an extremely powerful and stirring effect.

The redness of the image reminded me of John Singer Sargent’s masterpiece, Dr Pozzi at Home (1881). Look at Sargent’s treatment of the hands, and indeed of the face. Pretty much none of the works in this exhibition demonstrate the draughtsmanship, the accuracy, or the painterly precision of Sargent.

In a very different mode, and much more reminiscent of his famous woodcut prints in its appreciation of feminine sensuality and its air of mystery, is The Brooch (1902), Munch’s lithograph of the Brixton-born violinist Eva Mudocci. As we’ve seen, Munch created a series of Symbolist ‘floating head’ portraits but almost all of them are of men. This portrait of Mudocci is a rare example of a woman depicted in this manner.

The Brooch (Eva Mudocci) by Edvard Munch (1902) © Private collection, courtesy Peder Lund

As usual the picture caption gives us a fascinating potted biography of the sitter and I couldn’t help laughing out loud when I read that ‘Eva Mudocci’ was actually born Evangeline Hope Muddock in Brixton.

These are the outstanding good works in this section, but there began to be ones I didn’t like or felt fell far short of a professional standard. There are three prints from a set of 16 commissioned by a Dr Linde of his wife and young children. These ought to be good and they’re nearly good, but when you look closely, you see that they’re not good. Look at this drawing of his four sons – all the faces are bodged and wonky. Sorry to be so literal minded, but compared to the draughtsmanship of Holbein or Sargent or Lawrence or numerous other painters, ancient and modern, Munch’s technique feels good, but not wow.

Breakdown

Ten years of heavy drinking, of numerous affairs and moving constantly from place to place took their toll and in 1908 Munch had a breakdown. He was admitted to a private nerve clinic in Copenhagen, run by Dr Daniel Jacobson and slowly, steadily made a full recovery, going on to become a virtual teetotaller.

When Jacobson requested a portrait, Munch chose to pose him in a powerful stance echoing Holbein’s iconic portraits of Henry VIII, painted in bright swirling colours as if engulfed by flames. The wall caption amusingly tells us that Jacobson hated the portrait.

Dr Daniel Jacobson by Edvard Munch (1908) © SMK, National Gallery of Denmark. SMK Photo/Jakob Skou-Hansen

This reproduction makes it look quite dark and more coherent than it is in the flesh. In the flesh it is enormous, larger than life size, and scrappy. You can clearly see the untouched canvas through the scrappy hurried brushstrokes. Now ordinarily I really like this kind of thing when it conveys a sense of dynamism, as in Degas, or experimentalism, as in Cézanne. But, sorry everyone, in Munch, for me, it just felt scrappy and half-hearted.

My opinion was exacerbated by the presence in this room of quite a few other middling to poor paintings, which had the effect of dragging the whole thing down. Take Olga and Rosa Meissner from 1908. I can see that Munch is moving into the new world of German Expressionism, in the breakthroughs of post-impressionism, anticipating the scrappy portraits of English artists like Dora Carrington or Vanessa Bell a decade later. But I don’t like it. The faces are poor and the painting style is scrappy and half-hearted.

There were quite a few paintings with this half-finished scrappy vibe in this section and even more in the fourth and final room.

4. The Guardians

Following his recovery at Dr Jacobson’s clinic, in 1909 Munch moved back home and settled permanently in Norway. In that year (1909) Norway had gained independence from its union with Sweden and Munch was hailed a national hero, having been knighted the previous year.

Munch’s recovery of his health and turning away from the ruinous ways of his Bohemian lifestyle were supported by a small group of new friends who he came to call his ‘Lifeguards’ or ‘Guardians’ – friends and supporters he found among writers, artists and patrons. These Lifeguards were so important to Munch that he refused to be parted from their portraits, which acted as talismanic substitutes for them when they weren’t around. So this last section of the exhibition brings together ten or so portraits of these people which, I’m afraid to say, I found almost uniformly ‘bad’.

In its press images the NPG supplies the two strongest pictures in the room, which are the full-length portrait of Jappe Nilssen and the one of Birgit Prestøe in ‘Seated Model on the Couch’ (1924). They do not supply any of the weaker ones, such as the double portrait of Käte and Hugo Perls, of painter Ludvig Karsten or writer Christian Gierløff.

Here’s the best image in the room, the portrait of Jappe Nilssen.

Jappe Nilssen by Edvard Munch (1909) © Munchmuseet. Photo: Munchmuseet / Juri Kobayashi

As you can see, it’s a powerful work, employing van Gogh-style slabs of primary colours to create a dynamic image – although the real source of its power is in the man’s four-square, virile pose. But it’s arguably the best image in the room, and not typical of almost all the others, which feel far weaker and less finished, in at least one case, literally so.

The only other work in the this section that I liked is a portrait of a regular sitter for Munch, Birgit Prestøe. He painted her many times between their meeting in 1924 and 1931.

Seated Model on the Couch (Birgit Prestøe) by Edvard Munch (1924) © Munchmuseet. Photo: Munchmuseet / Sidsel de Jong

I liked this image because, from a distance, it reminded me of the kind of mathematical modernism I really like – the post-cubist angularity of Futurism and Vorticism. But of course, it’s more by accident than design. When you go closer you see that not many of the lines are straight, most are in fact bent or curved or swirly, although I still like the random pools of colour, such as the dark orange on her shoulders and hip and knee.

And here are links to some of the much more characteristic, much less finished, much scrappier, and less pleasing works:

The Olsen, in my view, showcases all Munch’s weaknesses. The draughtsmanship of the face is poor, the arms are worse (at first glance, she looks like a thalydomide victim), the shadow looks like a pool of spilled dirty water.

The Christian Gierløff demonstrates the hold of what I early on came to think of as The Swirl on Munch’s technique, the way 1) the outlines of a figure’s body are echoed and repeated in multiple lines to create a kind of shadowy, faltering effect, and 2) the way the figure doesn’t stand out distinctly from the background, as people do in real life, but what background he can be bothered to paint in shapes itself around the foreground figure. This is most obvious in the rock of whatever it is behind Gierløff and on his right, whose contours entirely shape themselves around his figure, and the yellow line outlining the black which is presumably his shadow, and which curves round to a kind of golden loop on the ground at his feet, which to the schoolboy mind, suggests a puddle of urine.

Clearly Munch considers the backgrounds to his later portraits to be very secondary, to have a mostly decorative effect. Now whereas this works excellently in the striking and very finished portrait of Felix Auerbach, which is indoors, and whose backdrop hovers with pleasing ambiguity between a real wallpaper and pure abstraction – in my opinion this approach does not work when the figure is out of doors and so the background becomes more important, is necessarily more varied, we as animals want to understand the context and precise positioning of a fellow human, so I found Munch’s collapse into semi-abstract swirls and half-arsed shadows, frustrating and incomplete. They’re neither the realism of a Singer Sargent nor the purely decorative abstraction of a Matisse, but a muddy no-man’s-land in between.

Conclusion

The curators, and a surprising number of critics in the papers and magazines, try to persuade us that Munch was one of the great portrait artists of the 20th century. This excellent exhibition makes the strongest possible case for its cause, and is certainly very enjoyable for the biographical and historical facts to be found in all the picture captions – but, in my opinion, ultimately fails. Some of his paintings are excellent, the famous writer lithographs are classic – but, in my opinion, quite a few, especially of the later portraits, are badly drawn, scrappily painted, and the deployment of the swirly outlines which made his 1890s trauma works and the Symbolist portraits so powerful, has degenerated into a messy, irritating mannerism.

Here’s another work which features in the fourth room, a portrait of himself with friend, Torvald Strang.

It’s mildly interesting to learn from the wall caption that 1) the lawyer and barrister Torvald Stang had been a friend of Munch’s since the 1880s, often supporting him during difficult times. He was said to be an elegant man about town. And also to learn that 2) Munch had a strong liking for yellow and often used it as a background for his portraits.

But is this painting any good? Not really, no.

The promotional video


Related links

Related reviews

Leonard Woolf: A Life by Victoria Glendinning (2006)

Leonard and Virginia were agreed that his chief fault was cowardice, and hers was snobbery.
(page 151)

‘If it were not for the divine goodness of L. how many times I should be thinking of death.’
(Virginia Woolf diary 28 May 1931, quoted p.291)

Having read most of Virginia Woolf’s adult work, why read a biography of her husband, Leonard, and not her?

1) Because I’d had enough of Virginia: the essays finished me off, my cup overflowed with Woolf style, snobbery and delirium. 2) I’d learned most of the important facts about her life from the short biographies and notes in each of her novels, and the essays. 3) These notes sometimes referred to books by Leonard, notably a book he wrote called Quack! Quack! mocking the 1930s dictators, Mussolini and Hitler, which intrigued me. He wrote two novels, over 15 books of political science, was a committed socialist, literary editor, publisher, and wrote six volumes of autobiography. Does anyone ever read these? No.

So 4) Leonard is the underdog. The critical industry around Woolf is now mountainous – as Glendinning puts it, ‘There is a small mountain of books and articles on the life and work of Virginia Woolf’ (p.502) – and will only increase year by year. She is a patron saint of feminist writing, as iconic as fellow feminist saints Frida Kahlo and Sylvia Plath. There are lots of biographies of her, hundreds of books and tens of thousands of critical essays about her writing. But what about the mystery man who loved and supported her throughout the years of her great achievements, who tried to manage her recurring bouts of mental illness, who co-founded and ran their famous Hogarth Press? Let’s find out.

Jewish

Woolf was Jewish. He came from a large and extensive Jewish family. I enjoyed Glendinning’s handy summary of the history of the Jews in England, their slow liberation from various legal and customary restrictions during the nineteenth century, and then the transformation in the size of the Jewish population and in attitudes towards them triggered by the mass immigration of Jews from Russia in the 1880s and ’90s.

This more than quadrupled the size of the Jewish community in England and, because so many of them were very poor, from peasant communities, and often settled in the slummiest parts of the East End, it was this mass influx which gave rise to the casual antisemitism you find (distressingly) in so many Edwardian and Georgian writers (Saki and D.H. Lawrence spring to mind. The fact that Virginia includes antisemitic comments in some of her novels, and was regularly casually antisemitic in her letters and diaries – ‘I do not like the Jewish voice, I do not like the Jewish laugh,’ (p.189) – requires a separate explanation).

Father

Woolf was born in London in 1880, the third of ten children of Solomon Rees Sidney Woolf (known as Sidney Woolf), a barrister and Queen’s Counsel, and his wife Marie, maiden name de Jongh). Both parents were Jewish, and from extended families. This is why Glendinning needed four pages to depict the full, extended family trees of both parents. At various points, family members are quoted jokingly referring to it as ‘the Woolf pack’. From time to time grown-up Leonard, feeling sorry for himself, referred to himself as ‘a lone Woolf’.

The family lived at 101 Lexham Gardens off the Earl’s Court Road. The household was:

an example of a typical, well-to-do Victorian way of life, underpinned by an unquestioned social hierarchy and set of values. (p.13)

As a young man Leonard was conscious of ‘the snugness and smugness, snobbery, its complacent exploitation of economic, sexual and racial classes’ (quoted p.15).

We are told all kinds of things about Sidney Woolf but the single most important fact is that he died in his prime, in 1892, aged 47 (p.23). He had earned a lot as a lawyer and that income ended overnight. Now relatively impoverished his widow, Marie, was fortunate enough to have a legacy to live off. She hung on at Lexham Gardens for two years then moved the family to a smaller house further out of town – 9 Colinette Road, off the Upper Richmond Road in Putney.

School

After prep school, Leonard was sent to the prestigious St Paul’s School in west London. Lots of anecdotes, prizes and whatnot, but the important thing is that it was as a slight, shy, Jewish teenager that he developed what he called his ‘carapace’, the protective shell he was to deploy for the rest of his life.

Trinity College, Cambridge

In 1899 he won a classical scholarship to Trinity College, Cambridge. Glendinning vividly paints how he encountered a small group of fellow undergraduates who became soul mates, including the flamboyant Lytton Strachey and the hulking great Thoby Stephen, nicknamed The Goth, son of the biographer Sir Lesley Stephen and brother of the sisters, Vanessa and Virginia Stephen, the second of which Leonard was, of course to marry. But Strachey was the man. Before he’d arrived at Cambridge Strachey was a fully-formed individual with outrageous views and a particular way of speaking which influenced all his friends. Leonard became closer to Lytton Strachey than anyone else in the world, calling him ‘the most charming and witty of human beings since Voltaire’ (p.189).

I tend to think of E.M. Forster as being an old man, but he was actually a year younger than Leonard and they got to know each other at Cambridge.

Leonard was elected to the elite discussion society called The Cambridge Apostles and it is fascinating to learn the rules of this elite club and the kind of topics they discussed. When I was a sixth-former I read A.J. Ayer, learned about Logical Positivism, and went on to read Wittgenstein, all of which convinced me that talk of Beauty and Love and Truth and God is enjoyable, entertaining but ultimately meaningless.

More precisely, they may have a psychological importance and impact on the people who discuss, write and read about such topics, but they don’t really relate to anything in the real world. They derive from a misunderstanding of language. Because we talk about a good meal, a good person and a good day, it’s easy to be deluded into thinking there must be something they have in common. Plato started the ball rolling by writing dialogues in which Socrates and his followers endless debate the True Nature of The Good. Two and a half thousand years later, clever undergraduates at Cambridge were doing just the same.

I follow Wittgenstein in believing there can be no answer to these kinds of questions because they are non-questions based on a misapplication of language. Viewed from a correct understanding of language i.e. that language consists of a vast number of language games – then any given use of language may or may not be appropriate to the vast number of language games people continually play, invent and evolve and self-important Oxbridge discussions of these great big concepts simply take their place among myriads of other linguistic interactions.

Anyway, all this was to come. For the time being these clever young men thought Truth and Beauty were excellent subjects to write long papers about and present at gatherings of like-minded chaps who all considered themselves part of a literally self-selecting intellectual elite, the Apostles. Members of the Apostles included Leonard, Strachey, E. M. Forster and a year or so later, John Maynard Keynes. Thoby Stephen (his future wife’s brother) was friendly with the Apostles, though not a member himself. What comes over from Glendinning’s comprehensive accounts of these meetings and discussions is how absolutely irrelevant everything they discussed is to us today. Here are the dates of Leonard and significant contemporaries:

  • E.M. Forster b. 1879
  • Lytton Strachey b.1880
  • Thoby Stephen b.1880
  • Leonard Woolf b. 1880
  • Clive Bell b.1881
  • John Maynard Keynes b.1883

G.E. Moore

All of them were deeply in thrall to the moral philosopher George Edward (G. E.) Moore (1873 to 1958), himself an older member of the Apostles. They were still undergraduates when Moore published his influential book, Principia Ethica, in 1903, which was concerned with that age-old problem, What is the good? Moore decides that ‘the good’ is ultimately unknowable, so that:

By far the most valuable thing, which we can know or can imagine, are certain states of consciousness, which may roughly be described as the pleasures of human intercourse and the enjoyment of beautiful objects.’ (p.63)

1. The pleasures of human intercourse and 2. the enjoyment of beautiful objects. Friends, lovers and art. Or, as Wikipedia summarises it:

that the summum bonum lies in achieving a high quality of humanity, in experiencing delectable states of mind, and in intensifying experience by contemplating great works of art,

Moore’s conclusions led his book to be treated as a kind of Bible by the network of friends which came to be known as the Bloomsbury Group, validating their belief that human relationships are what count most: Love and Beauty. Sounds like Keats, doesn’t it, from almost a century earlier? Glendinning quotes John Maynard Keynes’s extravagant response to Moore’s theory: ‘It seemed the opening of a new heaven on a new earth’ (p.64).

The thing to understand is that the younger generation experienced this as a tremendous liberation from the oppressive burden of Victorian beliefs in duty and honour and nation and empire and queen and country and all the rest of it. For believers like Leonard the book stripped away centuries of oppressive religious beliefs, shedding the calm light of common sense on the agonising questions of how to live and what to believe.

‘Isn’t that the supreme, the only thing – to be loved.’ (Strachey, quote p.98)

But there were plenty of critics who mocked these earnest young believers. Glendinning quotes Beatrice Webb’s shrewish view that the book had little or no value and simply gave the young generation who worshipped it ‘a metaphysical justification for doing what you like’ (p.65).

Glendinning herself criticises the Principia because:

  1. Its unquestioning definition of The Beautiful was heavily Victorian and becoming out of date as the new aesthetics of the 20th century kicked in
  2. Moore’s idea of the good life was very passive and quiescent i.e. simply ignored the active life of politicians, engineers, administrators, people who did things. It was a privileged academic’s conclusion that the best possible way of life was… to be a privileged academic.
  3. No sex please, we’re British: Moore’s ‘asexual mind-set seemed to preclude the “intrinsic value” of any “state of consciousness” elicited by anything more urgent than affection’ (p.63). In other words, Moore’s was a very pallid, underpowered, sexless view of human emotions.

Choice of career and the Civil Service exam

Woolf was awarded his BA in 1902 but stayed on at Cambridge for another year to study for the Civil Service examinations which he took in the summer of 1904. He got a low pass, 69th in the list, and was offered a job as an imperial administrator in Ceylon. First he went the round saying goodbye to his uni friends and this included dinner at the Stephens new house. Sir Leslie Stephen had recently died (February 1904) and his children had moved out of the gloomy family house in Hyde Park Gate to a roomier lighter one in Bloomsbury. Visiting his friend Thoby (the Goth), meant meeting the two beautiful sisters, Vanessa and Virginia. Glendinning points out that the latter was still recovering from the nervous breakdown triggered by her father’s death, one of what was to become a string of breakdowns and mental health problems. During this breakdown she had made the first of several suicide attempts (p.129).

Ceylon

Woolf was in Ceylon for 7 long years, 1904 to 1911. Glendinning makes the point that he met hundreds of native Sinhalese and Tamils but never became friendly with one of them. He liked Ceylon, some of the scenery was breath-taking. He wrote that the jungle:

‘is a cruel and dangerous place, and, being a cowardly person, I was always afraid of it. Yet I could not keep away from it.’ (quoted p.109)

, but he became an increasingly conflicted imperialist. As he was slowly, systematically promoted, he found himself adjudicating law cases and arguments and realised the only thing to do was be as strict and impartial as possible. At the same time he came to hate the impact many imperial laws and restrictions had on the natives.

Glendinning gives a vivid and fascinating account of all this, based on the twin sources of the official diary he kept of his duties, along with the many letters he exchanged with his friends back in England, Thoby, a friend called Saxon but above all Lytton Strachey.

He lost his virginity to a Singhalese woman and seems to have had occasional sexual encounters, but didn’t keep a native mistress as many other young male imperial administrators did.

The conversation of whores is more amusing than the conversation of bores.

The correspondence with Lytton back in England, in Cambridge, is extraordinarily candid about sex. Lytton deploys what he himself calls ‘the dialect of their intimacy’ (p.146). Lytton was a promiscuous homosexual who needed to be falling in love with new young men all the time. Glendinning quotes liberally from his letters which depict not just his sex life, but the sex lives of those in their set or circle, including Duncan Grant, Clive Bell and Keynes. For example, where he explains that he is having an affair with Duncan Grant, who is also sleeping with Keynes. Lytton and the others delighted in using the word ‘copulate’, in a self-mocking tone.

‘I copulated with him [Duncan] again this afternoon, and at the present moment he is in Cambridge copulating with Keynes.’ (p.115)

As always, it’s the promiscuity of gay men which staggers me, compared with the, as far as I can tell, complete chastity of their female contemporaries, specifically Virginia and Vanessa.

A note that Leonard’s sister, Bella, came out to Ceylon in 1907. She married a colonial administrator, Robert Heath Lock, Assistant Director of the Peradeniya Botanical Gardens, near Kandy in 1910. She wrote children’s books and the first tourist guide to Ceylon. She was one of many voices advising Leonard to get married. She merits a Wikipedia page of her own.

The Longest Journey

While Leonard was in Ceylon, his friend E.M. Forster published an autobiographical novel, The Longest Journey which describes the coming-to-maturity of young Frederick ‘Rickie’ Elliott, including lengthy descriptions of his time as an undergraduate at Cambridge. Critics think the character of Stewart Ansell, the clever student which Rickie’s and their circle look up to, is at least partly based on Woolf. Certainly the flashy pseudo-philosophical conversations at Cambridge which the novel opens with, are based on The Apostles. Woolf and Strachey both hated it.

Back from Ceylon

After seven years service Leonard was given an extended leave to return to England. Glendinning quotes many of the colleagues and managers in the Colonial Service who advised him to get married. it’s interesting to read the opinions of quite a few contemporaries all advising that marriage is the best thing or only thing which a young man can do to acquire focus and purpose in his life. ‘Marriage was the only way forward’ (p.120).

We know from their letters and diaries that it was Lytton who first proposed to Virginia, in a panic that she might accept (p.114). You have to have followed the text quite closely to understand why this flamboyant queer would even consider such a mad move in the first place. She sensibly turned him down.

Virginia’s character As the focus of the story turns towards Virginia Stephen, Glendinning gives a useful profile and description of her (pages 128 to 130). The bit that stood out for me was the notion that her mother was aloof and distant, so that the girl Virginia hardly ever had time with her alone.

In adolescence and beyond, she became emotionally attached to older women. (p.128)

Aha, I thought – this sheds light on the warmth and fondness for mother figures and older women which you find in her fiction – Betty Flanders, Clarissa Dalloway, Mrs Ramsay, Lucy Swithin.

Virginia’s physicians We learn about the wonderfully named Dr Savage, the physician treating her mental illness, and that he had treated her father for depression, and one of her cousins, who ended up committing suicide. Also, we learn that her sister, Vanessa, was also prey to anxiety and depression. She had her own ‘nerve doctor’, Dr Maurice Craig of 87 Harley Street. So was it genetic?

Brunswick Square The Stephens children moved again, to 38 Brunswick Square, and invited several friends to move in and take rooms. Among these was Leonard who moved in on 20 November 1911. Their wooing was slow and painful.

The Aspasia Papers Constant company led Leonard to fell deeper and deeper in love with the beautiful, mercurial, charismatic Virginia, who he came to nickname Aspasia. This was the name of the wife of Pericles (495 to 429 BC), leader of Athens during its so-called Golden Age. He wrote descriptions of her and these expanded to become sketches of the entire social circle or set, all under pen-names, eventually called the Aspasia Papers. The whole gang he joking referred to as The Olympians.

Leonard proposes to Virginia On 10 January 1912 he proposed to her. This upset her so much she took to her bed. But over the following weeks he maintained his suit and the great day came on Wednesday 29 May when she acknowledged the loved him. They told the gang who reacted in different ways. Rupert Brooke claimed it was Leonard’s sexual know-how that got her. He described her eyes lighting up when Leonard described having sex with prostitutes in Ceylon. Put simply, he was the only man she knew who wasn’t gay and had had sex. With a woman!

He was 31, she was 30, both getting on a bit.

Quits the Colonial Service The Colonial Office required him to end his leave and return to Ceylon by May at the latest but Leonard realised he couldn’t go back, and after some surprising shows of flexibility by Whitehall, he eventually resigned his position. Now what was he going to do? He was writing a novel and had written some short stories, but hadn’t made any money from them.

Wedding They were married on Saturday 10 August 1912 at St Pancras Registry Office, a very small low-key affair. As Glendinning puts it:

Leonard and Virginia were agreed that his chief fault was cowardice, and hers was snobbery.
(p.151)

And both faults lay behind his failure to invite his mother to the wedding. Not being invited to the most important day of a son for whom she had made such sacrifices as a single mother deeply hurt her.

Sex

Glendinning (like all their friends) moves onto the subject of sex. Virginia seems to have got to the ripe old age of 30 without every experiencing sexual feelings. This is what you’d deduce from her novels and essays which have a kind of hallucinatory sexlessness. So she didn’t have a clue and he wasn’t savvy enough to be a teacher. He’d only slept with a few Singhalese prostitutes and prostitutes are 1) experienced and 2) compliant. Apparently when Leonard went to make his move, Virginia became increasingly anxious and over-excited in the way which preceded her breakdowns so he had to desist. Permanently.

Glendinning cites a letter exchange of 1933 with Ethel Smyth the feminist composer, where they talk about a news story that young women are having operations to break their hymens ahead of getting married, and joke about going to have the operation themselves. Woolf was 51 and apparently serious. Glendinning concludes from this and plenty of other evidence that Leonard and Virginia never had penetrative sex, so the marriage was never consummated in the normal way. Within a year they took to sleeping in separate rooms and never again slept together.

Events

Breakdown and suicide attempt After the marriage Virginia’s anxiety, nerves and depression grew worse. She became extremely anxious about the likely reception of her first novel, ‘The Voyage Out’. They went to the country hotel to celebrate the first anniversary of their honeymoon but it was a disaster. Virginia had high anxieties about food and refused to eat. Back in Brunswick Square, unattended for a few hours, she took an overdose of veronal (100 grains of veronal) sleeping pills. Prompt action by Keynes’s brother, Geoffrey who was staying in the house, and a stomach pump, saved her life but this necessitated a round of carers, nurses, consultations with the three physicians now treating her.

The Village in the Jungle In the middle of all this Leonard’s first novel, The Village in the Jungle, was published to good reviews. It’s set in Ceylon but not among the white ex-pat and colonial community, instead it entirely habits the minds of poor Singhalese villagers. And it’s written in what, for the times, was very plain factual English, what Glendinning calls ‘spare and unmannered’. Woolf’s old boss, Sir Hugh Clifford, wrote that:

‘Your book is the best study of Oriental peasant life that has ever been written, or that I have ever read.’ (p.168)

It’s available online and I’ve read and reviewed it for this blog.

Virginia Woolf was five feet ten inches tall. She had a ‘cut glass accent’ (p.299).

The Women’s Co-operative Guild The misery with Virginia lasted for months. Throughout this period Leonard became involved with the Women’s Co-Operative Guild, led by its young and energetic president, Margaret Llewelyn Davies. He went to meetings and the annual conference and write articles to promote their work.

He was by this stage writing lots of articles and reviews for a variety of journals, including the New Statesman.

Exempted from war service When the war came the army was at first fuelled with volunteers. The Military Service Act of 1916 widened the age of conscription to all men aged between 16 and 41. Leonard was 35 but underweight and anxious, with a permanent tremor in his hands. In the next three years he underwent three medical examinations but each time presented a letter from his doctor exempting him, predicting that if he were conscripted he would have a physical and mental breakdown within months.

The Fabian Society As well as the Women’s Co-Operative, Leonard had been collared by Sidney and Beatrice Webb, leading lights of the Fabian Society, who were always recruiting likely young chaps for their cause. Sympathetic to gradualist socialism based on facts and figures, Leonard was commissioned to research and write various reports. Thus in 1916 was published the result of extensive researches, his International Government. The book’s central proposal was for an international agency to enforce world peace, and he went on to join a number of the organisations lobbying for a League of Nations to be set up, becoming friendly with the genial H.G. Wells in the process.

Labour Party Leonard joined the Labour Party and helped research and write policy papers. Women’s Co-Operative, League of Nations charities, Fabians and Labour, he wrote research papers, pamphlets and books for all of them. His next book was the thoroughly researched Empire and Commerce in Africa.

1917 Club As a left-winger Leonard welcomed the Russian Revolution. As promptly as December 1917 he helped set up the 1917 Club in Soho as a discussion forum.

The Hogarth Press In 1917 the couple bought an old printing press for £19 and set it up on the dining room table of Hogarth House in Richmond and taught themselves how to use it, to print pages and stitch them together into books. Their first publication was Two Stories, one by Leonard, one by Virginia. Hers was The Mark On The Wall, a free-associating flight of fancy. It was her first published story. His old friend Lytton Strachey immediately saw it was a work of genius. But as Virginia’s confidence grew, Leonard’s shrank. He had published two novels but began to lose faith. He was happier writing factual books.

Mark Gertler, Lady Morrell, Katherine Mansfield They make friends with Mark Gertler, self-obsessed Jewish painter and lover of Dora Carrington. At Garsington Manor, home of Lady Ottoline Morell, they meet the New Zealand short story writer Katherine Mansfield and her husband, the editor John Middleton Murray. They agreed to published Mansfield’s 68-page story The Prelude on their press

Leonard produced another book, Co-operation and the Future of Industry and agreed to edit a journal called International Review. The publishing sensation of 1918 was his old friend, Lytton Strachey’s debunking work of biography, Eminent Victorians.

In the war one of Leonard’s brothers, Cecil, was killed and one, Philip, badly wounded.

Recap When the war ended Glendinning summarises that Woolf had established himself as a documentary journalist and political propagandist, an experienced public speaker and author of distinguished books, as well as a seasoned book reviewer, and publisher in his own right. He was a behind-the-scenes figure in the growing Labour Party and was offered a seat to contest as an MP but, after some hesitation, turned it down.

James Joyce In April 1918 Harriet Weaver, patron of The Egoist magazine, approached them with the unfinished manuscript of James Joyce’s Ulysses but they had to turn it down. Far too big for their expertise, it was rejected on the grounds of obscenity by the two commercial printers they approached. Obscenity was Virginia’s central objection to Joyce, see her essay Mr Bennett and Mrs Brown (1923). She couldn’t get past her snobbish aversion to his references to peeing, pooing and the male anatomy. (The book’s central character, Leopold Bloom, has a bath and idly watches his willy floating in the water.) In her own fictions, almost all references to the body, let alone sex (God forbid) are rigorously excluded, which helps to give them their strange, bloodless, ethereal character.

Woolf’s problematic reaction to Joyce (admiration, envy, rivalry, disgust at his physicality) are explored in two excellent essays by James Heffernan:

T.S. Eliot Conversation with Weaver turned to her other protegé, T.S. Eliot, who they invited to tea to discuss whether he had anything to publish. As a result they published seven of his poems in a small edition of 140 in November 1919. Initially stiff and inhibited, Eliot became friends with Virginia who referred to him, unpretentiously, as Tom. He, like Leonard, was to become carer to a mad wife. He was six years younger than Virginia (born 1888 to Virginia’s 1882). (Later Glendinning wryly notes that ‘Eliot continued to consult Leonard as an expert on mad wives,’ p.265. Ten years later they could have both helped Scott Fitzgerald with Zelda.)

Monk House In 1919 they were meant to go down to Cornwall to join the ménage which had been set up by D.H. Lawrence, his wife Frieda, Middleton Murray and Mansfield – but never did. They had been used to a place in the country named Asheham House but it was sold by the owner. They looked around and settled on Monks House in the village of Rodmell in Sussex. They paid £580 plus £120 for the freehold. This is now a National Trust property. When they moved in it had no running water, electricity or toilet facilities. These two highbrows put up with conditions which would nowadays as unfit for human habitation. Leonard became addicted to working in the garden and had to be dragged away to take Virginia for constitutional walks.

Back in London they bought a bigger press and began to consider the Hogarth Press as a commercial venture. They published Virginia’s story, Kew Gardens. It was 1919 the year of the Paris Peace Conference and Leonard nearly went. They printed Leonard’s Three Tales from the East with a cover by Dora Carrington, to very positive reviews.

Friends’ success Lytton had become a famous name with his Eminent Victorians and Keynes became famous for writing a scathing indictment of the peace terms imposed on Germany in The Economic Consequences of the Peace (December 1919). But although much of Leonard’s research for International Government was used by the British government or other organisations at the Conference, he got little recognition.

Empire and Commerce in Africa: A Study in Economic Imperialism (1920) a scathing indictment of British imperial policy in Africa. He was writing for the New Statesman and wrote leading articles on foreign affairs for the Nation. He was secretary to the Labour Party Committee on International and Imperial Questions. He was in the loop.

The Memoir Club Molly McCarthy set up the Memoir Club to bring together old pals from Cambridge to read works in progress. A propos of this you realise that Leonard, the man, was the objective authoritative and grounded one; Virginia, the woman, was flighty, solipsistic, experimental (p.237).

Gorki and the Russians In 1919 Maxim Gorky sent a friend of theirs, Kotelianski, a manuscript of his life of Trotsky, which he brought to the Woolfs. Thus began a series of careful translations of contemporary Russian literature by the Hogarth Press.

Teeth out In June 1921 Virginia had another nervous collapse. It is mind-boggling to read that some experts thought that having your teeth extracted was a cure from mental illness. On this occasion she had three pulled out. By the end of her life she’d had all her teeth pulled out by these experts.

Jacob’s Room In November 1921 she finished writing Jacob’s Room but with the end of any book came a rush of doubt, anxiety and sometimes collapse. She had come to rely on Leonard entirely, and he had evolved to know his place was by her side and supporting. At the time of the peace conference he had been asked to travel abroad, the Webbs asked him to visit Bolshevik Russia and report back, but he turned all offers down in order to remain by Virginia’s side. This makes him a hero, doesn’t it?

Passage To India Leonard played a key role in helping Morgan Foster complete his most important novel, A Passage To India, when Forster had severe doubts and thought of abandoning it (p.242). Passage was published in 1926 and made Forster famous and financially secure. Leonard was the grey eminence behind it.

Stands for Parliament Leonard stood as a Labour candidate for Liverpool in the 1922 General Election but, thanks to his lacklustre speeches about international affairs and against imperialism, came bottom of the poll. It was a relief.

Literary editor

‘I expect you have heard that, having failed as a) a civil servant b) a novelist c) an editor d) a publicist, I have now sunk to the last rung… literary journalism. I am now Literary Editor of The Nation and Athenaeum.’ (letter to Lytton Strachey, 4 May 1923)

The salary, £500 a year, gave the couple some financial stability and coincided with the start of ‘the most prolific and successful period of Virginia’s writing life’ (p.248). She had published Jacob’s Room and started the long process of writing Mrs Dalloway and was, in addition, writing important essays and reviews.

Leonard’s literary positions Wikipedia gives a handy list of Leonard’s editorial positions:

  • 1919 – editor of the International Review
  • 1920 to 1922 edited the international section of the Contemporary Review from 1920 to 1922
  • 1923 to 1930 – literary editor of The Nation and Athenaeum (generally referred to simply as The Nation)
  • 1931 to 1959 – joint founder and editor of The Political Quarterly from 1931 to 1959

The Waste Land It’s a bit mind-boggling to learn that the Hogarth Press published The Waste Land and the type was set in the household larder. ‘Tom’ was pleased with the typescript and layout. In the same year he established a literary magazine of his own, the Criterion and he and Leonard now were friendly and conspiring literary editors, swapping reviewers and ideas. Tom became a regular visitor to their house, mostly alone, in fact maybe a bit too often as his marriage with the mentally unstable Vivian sank into misery.

Glendinning very entertainingly punctuates the key events of Leonard’s life with a roundup of what all the other Bloomsburies were doing, which is mainly having hetero or bisexual affairs with each other. A little grenade was thrown into the mix when Keynes announced he was not only in love with, but going to marry a dancer from the Ballets Russes, Lydia Lopokova (p.249).

52 Tavistock Square Virginia felt out of it in Richmond and wanted to socialise more. So they sold Hogarth House (for £1,350) and rented 52 Tavistock Square for £140 a year.

Vita Sackville-West At this time Virginia met and became friends with socialite and author Vita Sackville-West. She was married to diplomat Harold Nicholson but they led separate lives, he with a string of boyfriends, she having affairs with women and, eventually, with Virginia. They became ‘tentative’ lovers for about three years. But sex was alien to Virginia’s nature and Vita was a passionate collector of conquests.

Labour As well as working full time as literary editor of the Nation, he continued to be secretary to Labour’s Advisory Committee on International and Imperial Questions. He drafted the foreign policy section of Labour’s 1929 manifesto. Throughout the 1920s he campaigned for India and Ceylon to be given independence. If they had, he later wrote, the murder and mayhem of the independence struggle and the catastrophe of partition would never have happened.

Freud The Hogarth Press embarked on publishing the complete works of Freud being translated by James and Alix Strachey. This project carried on into the 1960s, long after Leonard had parted company with Hogarth, and they’re the edition I own, as republished by Penguin. Despite this, Leonard grew more anti-analysis as he grew older. I’ve reviewed quite a few of Freud’s works:

Vita It became a love affair in December 1925. They took trouble to conceal the full depth of it from Leonard.

Car In August 1927 he bought a car. He drove Virginia all round the country. They drove to the south of France. He wrote that nothing changed his life as much as owning a car.

Mrs Dalloway was published by the Hogarth Press on 14 May 1925. The Common Reader, a volume of 21 short literary essays, was published the same year, and the following year was the first one in which Virginia’s income exceeded Leonard’s. In 1927 her masterpiece To The Lighthouse was published. In 1928 she earned £1,540 to his £394.

Nicknames Virginia never called him Len, she called him Leo. From the start of the marriage they had numerous nicknames for each other but the enduring ones were the Mongoose and the Mandrill. Before she married, Virginia’s nickname in the Stephen household was ‘the Goat’.

They went to Berlin to visit Harold Nicholson, it was a long draining visit with many late nights, and on her return she had a relapse and was in bed for three weeks. Glendinning quotes her as saying she really wanted ‘the maternal protection which… is what I have always wished from everyone’. Suddenly, reading that, I saw how Woolf was a child, endlessly seeking reassurance. And it made me see her novels as essentially childlike, a sexless, jobless, workless, child’s-eye view of life.

Orlando: A Biography was published on 11 October 1928 and sold well, securing their finances. A year later, in October 1929, A Room of One’s Own was also successful.

Richard Kennedy, 24, was the latest young graduate taken on to help out at the Hogarth Press. He describes how Leonard was:

the magician who keeps us all going by his strength of will… and Mrs W is a beautiful, magical doll, very precious but sometimes rather uncontrollable.’

He describes how, when she was lifting off into one of her manic spells, Leonard would gently tap her on the shoulder and she would stop talking, and quietly follow him, go to her bedroom where he talked quietly, read to her and calmed her down. Leonard had to warn new people what they could not say to Virginia to avoid a problem/getting her over-excited. I hadn’t realised she was this on the edge, all the time.

Ethel Smyth During 1930 Virginia gets to know the deaf, feminist composer Ethel Smyth and they become regular, and sometimes bawdy, correspondents. Smyth was 72, Virginia 48. Here’s Smyth’s most famous work, The March of The Women. Very worthy, but heavily Victorian and boring.

New Fabian research Bureau Leonard is appointed to its executive committee in 1931.

Kingsley Martin, an earnest young nonconformist, is appointed editor of the New Statesman which he would remain for 30 years. Leonard became joint editor of the Political Quarterly which he remained for the next 27 years.

The Hogarth Press published 31 books or pamphlets in 1930, 34 in 1931.

John Lehmann just down from Trinity Cambridge, was hired to work on the Press. He lasted two years. While here he published New Signatures, the selection which introduced the poets of the Auden generation. He introduced the Woolfs to Christopher Isherwood. They published Laurens van der Post’s first book. The more I read about the Hogarth press, the more impressive it becomes.

Glendinning cites eye witness accounts from Lehmann, Barbara Bagenal and Harold Nicholson of how Virginia needed Leonard to calm her when she got over-excited or had a fugue, a loss of awareness of where she was or what she was doing (p.294).

There are plenty of eye witnesses testifying to how happy Leonard and Virginia were at Monks House, how relaxed with each other and a civilised routine. Visitors heard Virginia endlessly talking to herself, in the bath, as she pottered round the big garden, and along country lanes, so that the locals came to think of her as bonkers. The servant Louie Everest came to recognise when Virginia was having one of her bad headaches because she pottered round the garden, bumping into trees.

1932

21 January: Lytton Strachey died of cancer. Leonard wrote a sensitive obituary. He had been Leonard’s best friend in their youth. His death confirmed Leonard was middle aged.

11 March, Lytton’s partner, the painter Dora Carrington, shot herself.

Mains water is brought to Monks House and they get a telephone, Lewes 832. Virginia buys new beds from Heals.

1 October Oswald Mosley founded the British Union of Fascists. Marches, rallies and violence in the East End. The Woolfs were connected to all this because up till this point Virginia’s lover, Vita Sackville West’s husband, Harold Nicholson, had been secretary to Mosley. Now he quit.

Conversely, T.S. Eliot‘s mentally unstable wife, Vivian, joined the Fascists. Eliot separated from her and never saw her but she stalked him and made public scenes. Virginia sympathised and ‘Tom’ became a good friend and regular visitor to their London or Sussex house.

1933

1933: Victor Gollancz asked Leonard to edit An Intelligent Man’s Way to Prevent War. This is the same subject as prompted Virginia’s great book, Three Guineas. In April Mosley held a rally for 10,000 followers at the Albert Hall. Leonard and the Fabians thought he might be in power in five years’ time.

1934

July: they visited the fabulously wealthy Victor Rothschild and promised to look after his pet marmoset while he went abroad. It was called Mitzy and became so attached to Leonard’s kindness that she never went back. She perched on Leonard’s shoulder or head and the back of his jacked was routinely strewn with her poo.

5 to 10 September: Leonard listens to the Nazi Nurenberg rally, relayed on the radio. He was inspired to write his satire on the totalitarian regimes, Quack Quack!

9 September: art critic and populariser of the French post-impressionist painters, Roger Fry, died. Vanessa had had a fiercely sexual affair with him (13 years older than her) and was inconsolable. Slowly the idea crystallised that Virginia should write his biography. This was to turn into a chore and produce a not very good book.

1935

May: Driving to Italy Leonard decided to take a detour through Nazi Germany. Glendinning points out that in his autobiographies he doesn’t mention the antisemitism of the 1930s, doesn’t mention Mosley or the British Union of fascists. She thinks this is because he didn’t want to put down in black and white even the possibility of his country’s rejection of himself, as a Jew. The British Foreign Office advised Jews not to visit Hitler’s Germany. Brief description of their journey through Nazi Germany, soldiers everywhere, public notices against Jews, mobs of children giving the Nazi salute. They had taken Mitzy the marmoset with them who made people laugh and defused tensions.

June: published his attack on the Fascist governments, Quack Quack!

September: Nazi Nuremberg Race Laws Jews legally different from their non-Jewish neighbours introducing all kinds of legal discrimination.

September: Leonard and Virginia attended the Labour Party Conference where Ernest Bevin argued that Britain had to rearm to face the Fascist powers, annihilating pacifist speaker in the process.

2 October: Mussolini invaded Abyssinia. Sanctions were useless as didn’t include Germany or the USA. Leonard wrote bleakly about the failure of the League of Nations. He had spent 20 years arguing that the only way to keep peace was international co-operation. Now he was forced to abandon that position and agree with Bevin that Britain needed to re-arm and make itself strong.

1 November: UK General Election in which Labour were thrashed and the new coalition government of Conservatives along with small breakaway factions of the Labour and Liberal parties, was headed by Conservative Stanley Baldwin.

Tom Eliot brought Emily Hale, a former love and confidante, to meet Leonard and Virginia, who left a record of their tea, finding Leonard more sympathetic, warm and tired.

1936

20 January: King George V died, succeeded by his son, Edward VIII.

6 March: Hitler’s troops reoccupied the Rhineland in breach of the Versailles Treaty. The atmosphere of growing antisemitism in Britain. British Union of Fascists symbols drawn on the walls.

Trying to finalise The Years and separate out the polemical book which was to become Three Guineas brought Virginia closer to breakdown than she’d been since 1913. She lost half a stone and for over three months was unable to work, an unusual hiatus. Only in the last 3 months of the year could she resume work on what was to be her longest novel.

July: Spanish Civil War broke out with the army’s coup against the republican, anti-clerical socialist government. Leonard concluded the international system had collapsed and a European war was inevitable.

Sunday 4 October: the Battle of Cable Street as anti-fascists attacked a march by the British Union of Fascists through the East End.

5 to 31 October: the Jarrow march.

19 December: after a prolonged constitutional crisis, Edward VIII abdicates because of the Establishment’s refusal to let him marry the American divorcee, Wallis Simpson.

1937

Leonard was ill for an extended period of time. Glendinning thinks it expressed his anguish about the international situation and dread for the plight of the Jews. He tried various consultants who thought it was diabetes or prostate trouble i.e. didn’t have a clue.

April: the bombing of Guernica.

24 June: Leonard and Virginia were among many artists and performers onstage at the Albert Hall for a concert to raise money for Basque orphans.

20 July: the terrible news that Virginia’s nephew (Vanessa’s son) Julian Bell had been killed after volunteering to drive an ambulance in Spain.

Leonard was diagnosed with numerous ailments and prescribed loads of medicines none of which worked. He even went to see the inventor of the Alexander technique, Frederick Alexander, but gave it up as too arduous. His ongoing illness prompted love and support from Virginia. Glendinning quotes Virginia’s diary describing them walking round Tavistock Square like a lovestruck couple:

‘love-making – after 25 years can’t bear to be separate…you see it is enormous pleasure being wanted: a wife. And our marriage so complete.’ (Virginia’s diary 22 October 1937)

21 October: after a long gestation, Virginia’s final and longest novel, The Years was published. It received good reviews and was her most commercially successful novel although Leonard thought it was her worst.

In late 1937 John Lehmann became a partner in the Hogarth press, buying out Virginia’s share for £3,000.

1938

March: Lehmann started full time as co-director of the Hogarth Press. Endless bickering with Leonard. But it was making more money than ever, £6,000 in this tax year.

March: Leonard installs a wireless in 52 Tavistock Square. He himself makes regular radio broadcasts.

12 March: the Anschluss, Nazi Germany marches into Austria and takes it over. At the Labour Party Executive Leonard argues for a coalition with the Conservatives and the introduction of conscription.

April: Lady Ottoline Morrell, hostess of the literary salon at Garsington Manor, died.

June: Three Guineas published. Leonard thought it typified Virginia’s impeccable feminism but their friends didn’t like it. Forster thought it cantankerous, Keynes thought it silly, Vita thought it unpatriotic. I think its structure (like a lot of Woolf’s writing) is eccentrically oblique and sometimes confusing, but the picture she builds up, especially through the extended notes, of the patriarchy which held back British women, is magnificent, radiating scorn and quiet rage.

August: Tom Eliot’s wife Vivian was certified insane and sent to a lunatic asylum where she spent the last 9 years of her life. Eliot never visited her.

September: the Munich Crisis, Neville Chamberlain flies to Munich and along with the French Prime Minister allows Hitler to annex the Sudetenland, part of Czechoslovakia with a large German population. Leonard predicted war. Virginia is still very much in love with him. She bakes a loaf of bread and calls out to the garden, where he’s up a ladder ‘where he looked so beautiful my heart stood still with pride that he had ever married me’ (letter to Vanessa Bell, October 1938).

9 November: Kristallnacht when the Nazis unleashed stormtroopers on Jewish homes, business and synagogues across Germany. Hundreds of synagogues throughout Germany, Austria and the Sudetenland were damaged, over 7,000 Jewish businesses were damaged or destroyed, and 30,000 Jewish men were arrested and incarcerated in concentration camps. Leonard has a recurrence of the painful rash which covers his back and other parts. He sees doctors but Glendinning thinks it was psychosomatic, stress, and to do with the persecution of the Jews.

December: Leonard finished the first volume of After the Deluge, an analysis of Enlightenment thought into the early nineteenth century. His aim was to show the psychological and sociological process which bring about wars, and so avoid them. Fat chance. When it was published in September 1939 it sold pitifully.

1939

January: Leonard and Virginia go to tea with Sigmund Freud, recently escaped from Nazi Vienna. The Hogarth press had been publishing his works for 15 years. Leonard was struck by Freud’s aura of greatness. Freud died a few weeks into the war, on 23 September 1939.

15 March: German army annexes the rest of Czechoslovakia and claims the country has ceased to exist. France and Britain bring forward their rearmament programmes. Leonard’s psychosomatic rash returns with a vengeance.

23 June: their friend the artist Mark Gertler gassed himself. He was suffering from financial difficulties, his wife had recently left him, his most recent exhibition had been slammed, he was still depressed by the death of his mother and the suicide of Dora Carrington with whom he’d been madly in love, and was fearful of the imminent world war.

Victor Gollancz commissioned Leonard to write a book in defence of civilisation and tolerance for the Left Book Club for £500. But the final manuscript of Barbarians at the Gate contained criticisms of the Soviet Union which were unacceptable to the communists at the club, leading to a prolonged exchange of angry letters.

2 July: Leonard’s mother died. He was unsentimental.

The Woolfs moved to 37 Mecklenburg Square, taking their thousands of books and the Hogarth printing press.

23 August: Germany and Russia signed their non-aggression pact. 1 September Germany invaded Poland. 3 September Britain was at war with Germany.

November: The Barbarians at the Gate was published and slated by left-wing fellow travellers.

1940

The War for Peace published in which Leonard defended what critics called his utopianism in international relations.

June: France collapsed. Hitler enters Paris. Dunkirk. Leonard was shaken.

September: the Blitz began and was to last until May 1941. The blackout is enforced in Rodmell (the village where they had their country home). Virginia spoke to the local Women’s Institute then became its secretary. Like many others they equipped themselves with means of committing suicide should the Germans invade (p.353).

Correspondents: Virginia was still writing letters about her everyday life to Ethel Smyth who didn’t die until May 1944. Leonard still wrote letters to Margaret Llewelyn Davies of the Women’s Co-operative Guild.

They drove to London but couldn’t get as far as Mecklenburgh Square because of the bombing. A pill box was built in the field beyond their garden. German planes flew overhead every day. The flat in Mecklenburgh had its windows blown out by bombs, but their old place at 52 Tavistock Square was reduced to rubble. The Hogarth press machinery was evacuated to Letchworth. The books from Mecklenburgh were shipped down to Monks House where they packed the corridors.

23 November: Virginia finishes first draft of Between the Acts. She slowly fell into a depression, Her hand started to shake.

1941

25 January: Virginia turned 59 and Leonard began to be worried about her persistent depression. She was revising Between the Acts, always a dangerous time. They socialise, Virginia telling people her new novel is no good, though Leonard praised it.

March: she went for a walk in the fields and fell into the river whose banks had broken and flooded some of their land. Leonard returned from giving a talk to find her staggering back towards the house, wet and upset. Vanessa visits and tries to cheer her up.

Monday 24 1941: he realised she was becoming suicidal. The situation was as bad as her collapse in 1913. He consults a friend, Octavia Wilberforce, about whether to his nurses and force 24 hour supervision on Virginia against her will. But this is what had triggered furious psychotic breakdowns in the past so they decided to try and gentler approach, of Leonard calmly supporting and encouraging her.

Next day was a series of humdrum chores, recorded by Leonard and the house servant, and Virginia said she was going for a walk before lunch. An hour or so later Leonard went up to his sitting room and found two letters there, one for Vanessa one for himself, suicide notes. The letter to him is so full of love it made me cry. She thanked him and said she had had a wonderful life but she could feel her madness coming on, she was hearing voices, she couldn’t read, he would be better off without her.

Obviously he came running downstairs, hailed all the servants, sent one to get the police and help and spent the day till sunset searching the flooded river Ouse. He found Virginia’s walking stick lying on the bank. In subsequent days the river was dragged for the body. Eventually the authorities gave up the search for her body.

Three weeks later he body was discovered floating in the river by some teenagers having a picnic. They called the police. Leonard had to identify it. Coroner’s report etc. Leonard drove on his own to the cremation.

All his friends tried to console him, saying she was better off dead than really mad, but Leonard swore she would have recovered from this attack as from previous ones. He buried her ashes under two elm trees in the garden at Monks House which they had jocularly named after themselves.

Joyce and death Born February 2, 1882, Joyce was precisely eight days younger than Virginia. Two days after his death on January 13, 1941, she noted in her diary that he was ‘about a fortnight younger’ (D 5: 352-53). She outlived him by just a little over ten weeks.

Virginia asked Leonard to destroy all her papers

He disobeyed and in the years to come Virginia Woolf’s diaries and letters, autobiographical writings and unpublished works, were to be published and pored over in ever greater detail. The shape of her legacy, and the broader picture of the Bloomsbury Group, would have been very different if he’d obeyed her wishes.

Was he right to ignore her explicit, direct request, as Max Brod disobeyed Kafka’s request to burn his papers?

The shocked response of friends and family, other writers, journalists, and the wider world, are described and done with by about page 380 of this 500-page book. Leonard Woolf still had 28 years to live (died 14 August 1969). A man who was born the year Gladstone replaced Disraeli as Prime Minister (1880) lived to see men land on the moon. The twentieth century, century of marvels but also cataclysmic disasters.

After Virginia

What’s interesting is the power of the biography completely evaporates with Virginia’s death. I hadn’t realised how much Leonard’s story had come to be entwined with hers, and his existence justified by his support of her as she wrote her masterpieces. When it’s back to just him it remains sort of interesting in a journalistic gossipy way but the pressure drops right down.

Twenty-eight more years of living, writing, politicking, editing, publishing and loving – one year less than his marriage to Virginia (1912 to 1941). According to Glendinning ‘Few people are so fortunate in their later life as Leonard Woolf’ and he had many happy years. But for this reader, at any rate, all the life went out of the book when Virginia died.

Trekkie

In the next few years he fell in love with a woman called Trekkie (real name Margaret Tulip) Parsons, a keen but nondescript painter, married to Ian Parsons, an editor at Chatto and Windus, a handsome charming man. Ian sort of permitted a menage a trois to develop though it’s doubtful that Leonard and Trekkie ever had sex, and I hate myself for reading about other people’s sex lives, though this is an unavoidable aspect of modern biography. Ian meanwhile was having an affair with his editorial assistant Norah Smallwood so… so people will be people.

Superficial though it sounds, the relationship with Trekkie lasted for the rest of their lives.

The growth of Bloomsbury

The other theme which emerges is the slow steady growth of the Bloomsbury industry. Post-war interest in Virginia and other figures just kept on growing. The surviving members of the network –published books every year and fed the market throughout the 1950s (p.433). The advent of the swinging 60s, sexual liberation, the decriminalisation of homosexuality in 1967, a greater openness about sex, made the Bloomsburies, with their fluid sexuality and open relationships, seem forebears and founders.

The members wrote autobiographies and memoirs, and a steadily growing tribe of academics wrote books about them. Glendinning describes some of the early Virginia scholars who began to approach Leonard asking for help, advice, an interview, and whatever papers he could spare.

Glendinning records Leonard’s growing involvement with not just American scholars but professional buyers of manuscripts such as Hamill and Barker, to whom he sold off packets and parcels of letters, manuscripts and diaries, through the 1950s and ’60s, for lucrative sums (pages 427, 450).

The schism between academics and public intellectuals

This move to biography was encouraged by the growing schism between general, freelance public intellectuals such as Leonard, and the growing number of professional academics housed in the growing number of postwar universities. When Virginia and Leonard started writing all intellectuals were on about the same level, with some being experts at universities, but many freelance writers knowing quite as much across a broad range of subjects. The tone of discourse across public writers and academics was comparable. In the new era of academic specialisation, academics developed technical terms and jargon, assumed specialist knowledge, which increasingly cut them off from generalists let alone the man in the street.

Leonard fell victim to this specialisation with his book on international politics, After the Deluge, published in 1955. He intended it to form the third part of a trilogy (the previous books published in 1931 and 1939) which he allowed himself to be persuaded to give the grandiose title Principia Politica. This begged comparisons with the masterworks of Newton (Philosophiæ Naturalis Principia Mathematica), Whitehead and Russell’s Principia Mathematica or GE Moore’s Principia Ethica, but it was nothing of the kind, as reviewers were quick to point out. Compared to the new ranks of professional academics, Leonard appeared discursive, repetitive, anecdotal and amateurish (p.444).

The spread of universities and growth of a class of specialist academics was epitomised by the opening, in 1961, of the University of Sussex, just outside Brighton and only 5 miles from Leonard’s rural retreat in the village of Rodmer (p.465).

For the public intellectual locked out of the growing ivory tower of academia, there remained publishing (he continued to be a director of the Hogarth Press), ‘the higher journalism’ (he continued to edit the Political Quarterly, and biography and memoirs. So this feeds back into the growth of Bloomsbury books – none of the survivors (Vanessa, Duncan, Quentin and so on) were really expert, scholarly expert-level on anything except… themselves.

Leonard himself epitomised the trend. Having had his masterwork of political commentary rubbished he retreated to the safer territory of his own life, and commenced his own autobiography which ended up taking no fewer than six volumes:

  • Sowing: An Autobiography of the Years 1880 to 1904 (1960)
  • Growing: An Autobiography of the Years 1904 to 1911 (1961)
  • Diaries in Ceylon 1908 to 1911, and Stories from the East: Records of a Colonial Administrator (1963)
  • Beginning Again: An Autobiography of the Years 1911 to 1918 (1964)
  • Downhill All the Way: An Autobiography of the Years 1919 to 1939 (1967)
  • The Journey Not the Arrival Matters: An Autobiography of the Years 1939 to 1969 (1969)

I’d never heard of these but they won him prizes. Beginning Again won the W.H. Smith book prize and the handy sum of £1,000.

Michael Holroyd’s two-volume biography of Lytton Strachey published in 1967-8 proved to be a turning point. Its openness about Strachey’s homosexuality, his numerous affairs, his thousands of camp letters, shed a completely new light on the Bloomsburies, rendering much that had been written up to that point obsolete, but confirming their reputation as sexual pioneeers (p.475).

Pointless

In the last volume of his autobiography Leonard candidly, devastatingly, adjudged that a lifetime of political activism, sitting on innumerable committees, spending years researching and writing position papers and polemical books (calling for international co-operation for peace) achieved more or less nothing.

‘I see clearly that I achieved practically nothing.’ (quoted p.484)

Thoughts

Authoritative, thorough, empathetic, insightful, fascinating and often very funny, nonetheless Glendinning’s definitive biography becomes increasingly focused on the mental illness of poor Virginia, relentlessly building up to Virginia’s suicide which is so terrible, so upsetting, so devastating, that I could barely read on and stopped trying to review it after that point.


Credit

‘Leonard Woolf: A Life’ by Victoria Glendinning was first published by Simon and Schuster in 2006. Page references are to the 2007 Pocket Books paperback edition.

Related links

Virginia explaining and justifying her technique in ‘Modern Novels’ (TLS 10 April 1919):

The mind, exposed to the ordinary course of life, receives upon its surface a myriad impressions–trivial, fantastic, evanescent, or engraved with the sharpness of steel. From all sides they come, an incessant shower of innumerable atoms, composing in their sum what we might venture to call life itself; and to figure further as the semi-transparent envelope, or luminous halo, surrounding us from the beginning of consciousness to the end. Is it not perhaps the chief task of the novelist to convey this incessantly varying spirit with whatever stress or sudden deviation it may display, and as little admixture of the alien and external as possible.

Let us record the atoms as they fall upon the mind in the order in which they fall, let us trace the pattern, however disconnected and incoherent in appearance, which each sight or incident scores upon the consciousness. Let us not take it for granted that life exists more in what is commonly thought big than in what is commonly thought small.

Revised as ‘Modern Fiction’ in The Common Reader (1925).

Brasil! Brasil! The Birth of Modernism @ the Royal Academy

Executive summary

To be really blunt, my wife said, ‘If this is the best Brazilian art has to offer, you can see why we’ve never heard of it before.’ A proper review needs to be more nuanced and caveated than that, and as you study each of the individual artists, you come to appreciate them more deeply… but it is a not unreasonable thumbnail summary. There are lots of really good works here, easily enough to make it worth visiting, but no one artist that really, really broke through – and many of the works I liked partly because they so clearly showed their European influences and origins.

Because as you read the wall panels, the key point to emerge is that almost all of the artists featured here spent some or a lot of time in Europe studying art – especially in the early part of the show, during the period just before and after the First World War – which is why, in the first half, you are continually seeing paintings which remind you of cubism, the Fauves, German Expressionism, then later on, Art Deco and 1930s socialist realism.

This process of assimilation from European sources was directly addressed in the ‘Anthropophagic Manifesto’ by a writer closely associated with the early Brazilian modernists (and husband of the great Tarsila do Amaral) Oswald de Andrade. The manifesto describes modern Brazilian artists eating and digesting the great European innovations of the early twentieth century, mixing them with local subject matter and non-European traditions to produce a distinctive new hybrid.

Watching the artists’ Western influences and training being remodelled and fused with Brazilian subject matter to create each artist’s personal vision is one of the main interests of the show. (Although important to be clear that some of them never went to study in Europe and so developed their own native or naive style from scratch.)

For what it’s worth, in my opinion Tarsila do Amaral emerges as the artist with the most distinctive and fully formed vision in her own right, closely followed by Lasar Segall and Vicente do Rego Monteiro (see below for all of them).

This is a big exhibition, filling the Royal Academy’s main galleries and yet it doesn’t quite feel like it. Most of the works are relatively modest in scale and, with the exception of a handful of massive paintings and a few large sculptures towards the end, the rows of medium-sized paintings often feel over-awed by the hugeness of the gallery space. I couldn’t help seeing this as a metaphor for the way this often very striking post-colonial art, despite everyone’s best intentions, derived its strength from the series of innovations taking place in the European heartland and, latterly, in America.

Anyway, on to a more detailed review.

Overview

In the early 20th century a new modern art was emerging in Brazil. Starting in the 1910s and continuing through the 1950s, ’60s and ’70s, Brazilian artists adapted contemporary trends, international influences and artistic traditions to create new visual styles informed by the vibrant cultures, identities and landscapes of Brazil.

This exhibition celebrates this 60-year period between 1910 and the 1970s through the stories of ten influential artists. The show reveals the development of their artistic styles and the context in which they were created. It brings together over 130 works to capture the diversity of Brazilian art at the time. The artists are, in (rough) chronological order:

  1. Anita Malfatti (1889 to 1964)
  2. Lasar Segall (1891 to 1957)
  3. Tarsila do Amaral (1886 to 1973)
  4. Vicente do Rego Monteiro (1899 to 1970)
  5. Candido Portinari (1903 to 1962)
  6. Flávio de Carvalho (1899 to 1973)
  7. Djanira (1914 to 1979)
  8. Alfredo Volpi (1896 to 1988)
  9. Rubem Valentim (1922 to 1991)
  10. Geraldo de Barros (1923 to 1998)

The majority of works come from rarely-seen Brazilian private collections, as well as Brazilian public collections, most of which have never been exhibited in the UK. So this is a unique opportunity to see key works by ten of Brazil’s major twentieth century artists brought together in one place, and to get a sense of how pioneers of Brazilian visual culture took their European sources, developed and moulded them for their own purposes.

Brazil: history and ethnicities

1. History

I take a historical view of everything (art, politics, literature) so I liked it being explained right at the start that Brazilian history can be divided into four eras:

  • pre-Colombian i.e. before Europeans arrived
  • colonial (1500 to 1815)
  • Imperial (1815 to 1889)
  • modern since Brazil became a republic in 1889

The original inhabitants of this vast area of north-east South America consisted of numerous tribes and clans with their own languages and religions. The Portuguese explorer Pedro Álvares Cabral, hoping to sail west around the world to India, arrived in the territory that would become Brazil on April 22 1500, claiming the land for the King of Portugal.

2. African slavery

There followed centuries of colonisation and settlement by the Portuguese who first of all enslaved the local inhabitants to work on their ranches and mines, and then set up a transatlantic slave trade importing kidnapped Africans. In 1526 Portuguese mariners carried the first shipload of African slaves to Brazil. Of the 12 million enslaved Africans brought to the New World, almost half – 5.5 million people – were forcibly taken to Brazil as early as 1540 and until the 1860s. Slavery was only abolished in Brazil in May 1888, one year before the country overthrew its imperial regime to become a republic.

3. Mass immigration

The abolition of slavery in 1888 and the expansion of coffee plantations created a demand for labour. Many people internally migrated from the impoverished north-east, but Brazil also became a popular destination for immigrants. In the last decades of the nineteenth century Brazil experienced a surge in immigration, particularly from Europe, with Italians, Portuguese and Spanish immigrants fleeing poverty in their own countries, as well as Jews fleeing pogroms in Russia and Eastern Europe. Between 1872 and 1903 almost two million immigrants arrived in Brazil, increasing the population to around 17 million.

4. Technological change

Like every other country, Brazil (well, the cities and more developed regions) experienced the shock of new technologies, which seemed to follow each other with dizzying speed: the telegraph, the telephone, electrification of street lights and homes, the tram, the motor car.

These four factors explain why, as the twentieth century dawned, many Brazilian intellectuals realised they needed to create new literary and art styles to capture their newly republican, newly modern, newly multicultural society. They had to break away from the stuffiness and formality of the country’s nineteenth century Salon art, with its fondness for bog historical and religious subjects painted with painstaking realism.

Some of the leading figures were women who, like women in all the developed countries, thought women’s art and artists needed promoting. Some came from very poor backgrounds and reckoned the working classes needed to be sympathetically represented in art. And some were of Indigenous extraction and reckoned the original peoples of the land deserved better representation.

A curatorial mistake

The curators make what I think is a very big mistake right at the start of the exhibition. As usual the first room you enter is the octagonally-shaped Central Hall. Now the early wall labels emphasise the heaviness of the country’s nineteenth century art, with its European tastes for academic art and typical subjects such as historical allegories and religious scenes, as approved by Brazil’s own Royal Academy, the Academia Imperial de Belas Artes, which dominated Brazil’s arts and crafts for a century.

In my opinion, the curators would have done well to fill this Central Hall with examples of this stuffy old art, introducing us to the key figures of the old style, showing us massive realist depictions of some important battle and sentimental images of saints turning their tearful eyes towards heaven etc. This would very effectively have indicated what the ten artists in the subsequent galleries were breaking away from and given a better sense of just how radical their artistic revolution was.

Instead, with lamentable solipsism, the curators choose to fill this room by telling us that in November 1944, the Royal Academy of Arts hosted the first and, at that date, largest exhibition of modern Brazilian art in the UK. It was divided into two sections containing 80 paintings and 86 works on paper and was linked to a related exhibition about contemporary Brazilian architecture.

Now this is sort of interesting but only for art historians, and it doesn’t directly shed light on what is to follow. I thought it was a distraction and, as I say, a lost opportunity to provide deeper historical context.

Key historic event: Semana de Arte Moderna 1922

The early presentation of modernist art in Brazil crystallised in the Semana de Arte Moderna (Modern Art Week) that took place in Sao Paolo in 1922. ‘A cultural milestone in Brazil’, the Semana played a crucial role in bringing Brazilian Modernism to public awareness, and is referred to in the introduction and the biographies of the four or five artists who featured in it.

So, to the ten artists. Ten is a lot to take in. I’ll give a thumbnail sketch of each and a work which is either characteristic or exemplifies a theme of the show.

1. Anita Malfatti (1889 to 1964)

Pioneering woman artist who first brought European avant-garde styles (cubism, Fauvism, Expressionism) to Brazil.

  • the first Brazilian artist to introduce European and American forms of Modernism to Brazil
  • born in São Paulo, of Italian and German-American descent, when her father died the family moved to Germany
  • lived in Berlin from 1910 to 1914, attended drawing classes, influenced by German museum collections
  • 1915 moved to continue her education in the United States

Malfatti returned to Brazil in the autumn of 1916 and in December 1917 held the ‘Exposição de pintura moderna Anita Malfatti’ (Anita Malfatti Modern Painting Exhibition) in São Paulo. She must have blown people’s minds. The show was the first to challenge the orthodoxy of academic and Salon art and is now celebrated as the first modernist exhibition in Brazil. You know I mentioned the obvious influence of European pioneers on many of the Brazilians? Well:

First Cubist Nude or The Little Nude by Anita Malfatti (1916) Private collection, Rio de Janeiro

In 1923 Malfatti moved back to Europe, to Paris on a scholarship. She lived in Montparnasse and was mentored by French painter Maurice Denis, exhibiting at the Salon d’Automne in 1927. She returned to São Paulo in 1928 but the days of her experimental and progressive art were behind her.

The wall of her works is mostly portraits in a cubist-modernist style. I really liked two or three of these which leaned more towards German Expressionism in their strident colouring.

Portrait of Oswald by Anita Malfatti (1925) Collection of Hecilda and Sérgio Fadel. Photo by Jaime Acioli © Anita Malfatti

As usual this drab reproduction doesn’t convey the subtlety and vibrancy of the original.

2. Lasar Segall (1891 to 1957)

Colourful, stylised depictions of rural life, lots of green palm tree leaves, until his midlife turn to grimmer subject matter.

  • Jewish, born in 1891 in Vilnius, Lithuania, and so an outsider to a tropical country, to Catholic culture etc
  • 1906: moved to Berlin and studied at the Imperial Academy of Fine Arts of Berlin and Dresden Academy of Fine Arts, where he was exposed to the Expressionist and Neue Sachlichkeit (New Objectivity) movements
  • first visited Brazil in 1913, meeting fellow artists and intellectuals, and exhibiting and selling his work before returning to Europe
  • leading figure of the Dresden Expressionist movement – 1919 set up the Dresden Secession group with Expressionist painter Otto Dix
  • 1923 Segall migrated to São Paulo and was quickly welcomed by modernist artists and writers who saw him as a representative of the European avant-garde
  • 1932, with Anita Malfatti and Tarsila do Amaral, he founded the Sociedade Pró-Arte Moderna (SPAM) in 1932 to promote modern art
  • his work was at times subject to anti-immigrant and anti-Semitic attacks

His early depictions of favelas in a naive style are lovely, really simplified, stylised, semi-abstract. A scholar calls it a tropicalisation of early cubism but surely it’s more readable, less distorted than cubism. For example, Boy with Gecko (1924).

This is the painting which is included in the articles and promo material. Early on you realise that green, numerous shades of green, are a recurring colour in many of these paintings, capturing the distinctive greenness of tropical foliage.

Banana Plantation by Lasar Segall (1927) Collection of the Pinacoteca do Estado de São Paulo. Photo by Isabella Matheus © Lasar Segall

There are half a dozen of these deliberately stylised and naive paintings and then the viewer is brought up short by a very big painting in a completely different style. This is Pogrom from 1937. As the Nazi tyranny proceeded, Segall who had such an attachment to Germany, turned to depicting the horrors being inflicted on his co-religionists.

Pogrom by Lasar Segall (1937)

Note the headstone with Hebrew writing at the bottom left. The curators point out the dove at the top of the work, which indicates, or aspires to, a kind of hope. Ill-placed though, wasn’t it? There was no hope.

After the war Segall’s images became increasingly abstracted in the 1950s, producing a series of paintings featuring forests, brown paintings of vertical lines. These look like a traumatised response to the Holocaust, in the same way that Francis Bacon or Giacometti convey post-war trauma. A bit dazed by ‘Pogrom’, I read these as references to the thick forests of his native Lithuania, where so many Jews were murdered and buried.

3. Tarsila do Amaral (1886 to 1973)

do Amaral is the first painter you feel who develops a really distinctively Brazilian, non-European style, depicting the jungle and village life. Her work is very attractive.

  • pioneering woman artist who developed a distinctively Brazilian modern style
  • daughter of wealthy parents who owned numerous coffee plantations, and so ‘a coffee heiress’
  • private painting lessons then moved to Paris in 1920 to enrol at the Académie Julian, one of the few schools which offered women artists life drawing classes
  • 1922: returned to São Paulo where she formed the Grupo dos Cinco (Group of Five) alongside Anita Malfatti, Mário de Andrade, Menotti Del Picchia and Oswald de Andrade, who became her partner (whose portrait was painted by Anita Malfatti, see above)
  • 1923: she returned to Paris with Oswald where they lived till 1928
  • Tarsila’s art became known for its vibrant colours, simplified forms and distinctly Brazilian themes
  • her 1928 painting Abaporu, a simplified solitary figure with distorted proportions, inspired Oswald to write the ‘Manifesto Antropófago’, which proposed artists engage in “cultural cannibalism” that would metaphorically “devour” wide-ranging influences to create something new and uniquely Brazilianhttps://en.wikipedia.org/wiki/Abaporu
  • 1929: economic crash, she separated from Oswald
  • 1931: held an exhibition in Moscow, returned to Brazil and attended meetings of the Brazilian Communist Party. Paintings from this period, such as ‘Second Class’ (1933), reflect her more socially aware perspective

do Amaral produced the exhibition’s keynote image, the one used on the poster and all the promotional material and you can see why – it’s nice to look at. Pinks and greens and blues, very relaxing. Obviously she has taken a Brazilian jungle scene and utterly transformed it from the old Salon realism, into a series of semi-abstract shapes which are strongly reminiscent of Surrealism.

Lake by Tarsila do Amaral (1928) Collection of Hecilda and Sérgio Fadel. Photo by Jaime Acioli © Tarsila do Amaral S/A

4. Vicente do Rego Monteiro (1899 to 1970)

Big brown stylised Art Deco figures with a strong pre-Colombian flavour.

  • Rego Monteiro was born in the coastal city of Recife in the north-eastern state of Pernambuco
  • 1911 moved to Paris, where he studied drawing and sculpture
  • 1914: at the outbreak of the First World War his family moved back to Brazil, to Rio de Janeiro where he became interested in the culture of the Amazon and started using native themes and motifs into his work
  • 1922: joined the group who organised the famous Semana de Arte Moderna in São Paulo
  • he returned to Paris where he lived for the next decade and thereafter alternated between Paris and Recife

Rego Monteiro’s is arguably the most distinctive of the set. They are highly stylised brown paintings which depict human figures in a style derived from pre-Colombian native traditions.

Archer by Vicente do Rego Monteiro (1925) Courtesy of Almeida and Dale Galeria de Arte. Photo by Sergio Guerini © Vicente do Rego Monteiro

Initially I thought they felt the most free from any European influence – none of the cubism or Expressionism or Surrealism we’ve seen up till now. Until my wife pointed out that they’re Art Deco, with the repetitions and symmetries of the stylised human figures. Yes. Or like the stylised figures in the friezes of Eric Gill.

Before he developed this primitive style, he produced some lovely Art Deco images. The most famous is Tennis from 1928. As Mrs Simon pointed out, this is a rare instance of someone having fun in a painting. Most paintings show portraits of intense intellectuals or hard working peasants or murdered Jews or African-Brazilians working in the fields. People having fun is a rarity in art, which may be why it remains such a minority interest.

5. Candido Portinari (1903 to 1962)

Portinari is something else again. Born the son of Italian immigrants and he grew up in relative poverty on a coffee plantation and had a lifelong concern for the lives of the poor. This led him to a kind of 1930s social realism we haven’t yet seen in the rather elite Group of Five artists we’ve hitherto been learning about.

  • 1918 sent by his parents to Rio de Janeiro where he studied at the Escola Nacional de Belas Artes
  • 1928: won a scholarship to travel Europe in 1928 and spent two years moving around France, England, Italy and Spain, studying the old master
  • on his return determined to paint the hard lives of peasants in the backlands and developed his socialist-realist style

My wife pointed out a common theme of his paintings is the figures have enormous chunky feet. I thought this was a facetious remark, but it is picked up by the curators who state: ‘He enlarges the hands and feet of the coffee-plantation worker to emphasise his connection to the land.’

Coffee Agricultural Worker by Candido Portinari (1934)

A bit of historical background. The 1929 crash in world markets led to the collapse in Brazil of the coffee industry and widespread unemployment, impoverishment. This led to a coup establishing the populist government of Getúlio Vargas. (Vargas served as president of Brazil from 1930 to 1945 and then again from 1951 until 1954. Due to his long and controversial tenure as Brazil’s provisional, constitutional, dictatorial and democratic leader, he is considered by historians as the most influential Brazilian politician of the 20th century.) It was against this troubled economic, social and political background that Portinari copied Picasso’s 1930s style of big chunky figures, but for political effect.

Like his Mexican contemporary Diego Rivera, Portinari created massive public murals depicting the dignity of labour. He collaborated on numerous projects with the modernist architect Oscar Niemeyer. He received various high-profile commissions, including a Rivera-style commission to create huge murals, titled ‘War and Peace’, for the United Nations Headquarters in New York (1952 to 1956). The curators, a tad disappointingly, don’t include even photos of these, but there’s always the internet.

Commissions like this gave Portinari a huge international profile, so that in the mid-century he was widely seen as Brazil’s most important artist.

Portinari had a song written to him, ‘Un Son para Portinari’, regularly performed by the legendary Argentine singer, Mercedes Sosa.

6.Flávio de Carvalho (1899 to 1973)

de Carvalho was a painter, architect, theatre producer and designer, but appears to be mainly remembered as the first performance artist in Brazil.

  • born in Rio de Janeiro into an aristocratic family, raised in São Paulo, studied in Paris, and gained a degree in civil engineering from Durham University (!)
  • as an artist he was largely self-taught, his only formal training being the evening drawing classes he took while at university
  • he returned to Brazil in time to take part in the famous Semana de Arte Moderna of 1922
  • he entered national and international architecture competitions for public buildings with outlandishly ambitious designs, experimented with writing, and designed and staged several avant-garde theatre productions
  • 1933: founding member of the multidisciplinary Clube dos Artistas Modernos (Modern Artists’ Club) which attracted the attention of established modernists including Oswald de Andrade (author of the manifesto, partner of Tarsila do Amaral) who dubbed de Carvalho ‘the Ideal Anthropophagus’
  • his paintings blended Surrealist, Cubist and Expressionist influences
  • 1934: first public exhibition closed down on the grounds of obscenity

I think I liked de Carvalho’s paintings the least of any in the set. Grungy, they gave me the shivers. They reminded me of Graham Sutherland’s art, one of the few modern artists I really dislike, but de Carvalho caught the mood: he was successful and was invited to represent Brazil at the 1950 Venice Biennial.

In stark contrast to all his paintings is a photo recording one of de Carvalho’s several ‘performances’. He started doing these as early as the 1930s. According to Wikipedia, he created:

what he called ‘Experiências’ (experiments), ‘performance art’ before that term was introduced. In 1931, he joined a Catholic Corpus Christi parade in São Paulo, walking in the opposite direction and wearing a cap although removing headgear was considered a necessary sign of respect, driving the crowd to call for his lynching, which he later said was an experiment in crowd psychology. This work, the Experiência n. 2, has come to be understood as an early work of performance art, but it could also be understood in terms of Surrealist provocation that comments on the contested structures of political and religious authority in São Paulo following the Revolution of 1930.

The photo on display here is from 25 years later, when, on 18 October 1956, de Carvalho staged ‘Experiência N.3’, walking through São Paulo in the ‘New Look’ outfit he had designed for men in the tropics, which comprised a skirt, blouse and fishnet stockings, scandalising the crowd who gathered to watch him.

Photo of Experiência N.3’ by Flávio de Carvalho

7. Djanira (1914 to 1979)

Christened Djanira da Motta e Silva (she preferred to be referred to simply as Djanira) was a largely self-taught artist whose simple, dynamic paintings reflected the working class world of her upbringing.

  • born in Avaré, São Paulo, to a working-class family, father was of Indigenous ancestry, her mother the daughter of Austro-Hungarian immigrants
  • throughout her childhood Djanira worked as a seamstress and on a coffee plantation
  • her artistic practice began aged 23 (1937) while recovering from tuberculosis in a sanatorium in São José dos Campos
  • 1939: Djanira settled in the Bohemian neighbourhood of Santa Teresa, Rio de Janeiro, where she established a boarding house where many intellectuals lodged, including Emeric Marcier (1916 to 1990) who taught her the basics of painting
  • the only other formal training Djanira received was through evening classes in drawing
    at a private art school in São Paulo

Her subjects were self- portraits, portraits of people close to her, and the landscapes and everyday life of Rio. Her style, a hybrid of figuration and abstraction, was sometimes described as naïve, a description she rejected: ‘I might be naïve, but my painting is not.’

From 1945 to 1947, Djanira lived in New York, where she met the Surrealist artists Joan Miró and Marc Chagall. During the 1950s she journeyed around Brazil to study its landscapes, peoples, customs and social realities. Notably, she travelled to Bahia, where she experienced the Candomblé religion, and she also lived among the Canela people in Maranhão, which allowed her to reflect on her Indigenous Brazilian heritage. This explains why many of her paintings are accompanied by sociological or anthropological explanations.

Flying a Kite by Djanira (1950) Banco Itaú Collection. Photo by Humberto Pimentel/Itaú Cultural © Instituto Pintora Djanira

All her paintings are in this style. I could see what she was doing, the socio-political and artistic aims of it, but I didn’t warm to them. The best and biggest, one of the biggest works in the show, is ‘Three Orishas’ from 1966. It has a backstory:

Candomblé is an Afro-Brazilian religion of West African origin that combines elements of Yoruba, Fon and Bantu. Enslaved peoples brought the religion to Brazil and it developed in the port city of Salvador, the capital of the state of Bahia. Djanira encapsulates the rituals and beliefs of Candomblé with a triad of Afro-Brazilian deities, from right to left: Yemanjá, a maternal, protective deity; Oxalá, the creator, unusually represented as a woman here; and Oxum, deity of the river and fresh water.

Installation view of ‘Three Orishas’ by Djanira in Brasil! Brasil! The Birth of Modernism @ the Royal Academy. Photo by the author

8. Alfredo Volpi (1896 to 1988)

Volpi was self-taught and a pioneer of pure abstraction.

  • born in Lucca, Italy, his family emigrated to Brazil when he was just two years old
  • grew up in a working-class neighbourhood in São Paulo, and left school at 12 to work as a painter-decorator to support his family
  • never receiving a formal artistic education, Volpi began painting in the 1920s, adapting the materials and techniques of his trade, including preparing his own paints and canvases

Volpi’s early paintings were relatively conventional. He made landscapes and genre scenes alongside a group of other self-taught artists on weekend trips to the countryside, including to the seaside fishing village of Itanhaém.

His style changed significantly in the 1940s, when he turned his attention to urban scenes and began to work with egg tempera instead of oil paint. Some of them are naive and stylised depictions of buildings, such as the many paintings he titled Facade. These alternated with completely abstract works based on repeated geometric patterns.

Untitled by Alfredo Volpi (1950) Daniela and Alfredo Villela Collection. Photo by Jaime Acioli © Alfredo Volpi

His work became increasingly abstracted, taking architectural elements including apartment blocks, windows and roof tiles, and simplifying them to bold geometric shapes with a flat use of vibrant colour, reflecting the vitality and life of the cities he portrayed.

Volpi received widespread recognition during his lifetime; he was joint winner of the prestigious São Paulo Biennial Prize in 1953. He aligned himself with no particular art movement but followed artistic developments both in Brazil and Europe. He was responsible for introducing a generation of Brazilian artists to the work of Swiss-German artist Paul Klee (1879 to 1940) who emerges as an influence on the following two artists, as well.

Today his work is understood as a bridge between Brazil’s earlier modernists and the Concrete Art movement of the later twentieth century, which emphasised geometric abstraction, see Geraldo de Barros, below.

9. Rubem Valentim (1922 to 1991)

Lovely, Klee-like, colourful abstract paintings and sculptures.

  • born in Salvador, in the north-eastern state of Bahia, Rubem Valentim grew up in a region deeply influenced by spirituality, both Roman Catholicism and Candomblé, a religion rooted in West African beliefs, that would profoundly shape his art
  • Valentim initially trained in dentistry, but left the profession by the late 1940s to pursue painting
  • early work adopted the social-realism popular among local artists, but by the 1950s he began to develop his own distinct visual language
  • this geometric abstract style synthesised African symbols, particularly those associated with Candomblé, with modernist forms
  • his works came to feature vibrant colours and structured arrangements of symbols, evoking sacred Afro-Brazilian totems and spiritual iconography

The charming home-made quality of Valentim’s abstract paintings reminded me of Paul Klee, geometric shapes strung together on straight lines like kebabs. Here’s what I mean.

Installation view of Brasil! Brasil! The Birth of Modernism @ the Royal Academy showing Untitled (1962) by Valentim Rubem. Photo by the author

The paintings are complemented by four or five big sculptures which repeat the technique of abstract symmetrical designs.

Installation view of Brasil! Brasil! The Birth of Modernism @ the Royal Academy showing a painting and two reliefs by Valentim Rubem. Photo by the author

By the 1960s, Valentim had gained national and international recognition and took part in the São Paulo Biennial, the Venice Biennale, and the First World Festival of Black Arts in Senegal, which helped to cement his reputation as a leading voice in Brazilian art.

Calling himself an ‘artist-priest’, Valentim infused his works with powerful cultural significance as a means of preserving and celebrating African identity in Brazil.

In 1976 he wrote ‘Manifesto ainda que tardio’ (‘A Manifesto, Albeit Late’) in which he advocated for recognition of African cultural heritage as a vital part of Brazilian identity, challenged Eurocentric artistic norms, and promoted a greater cultural synthesis: ‘The Afro- Amerindian-Northeastern-Brazilian iconology is alive… and we must drink in it with lucidity and great love.’

We have come a long way from Malfatti and do Amaral bravely importing cubist or Expressionist motifs.

10. Geraldo de Barros (1923 to 1998)

Right at the end of the exhibition there comes a sharp change in format. All nine of the preceding artists had been painters. Suddenly there’s a wall of black and white photos, clever modernist studies in sharp angles and abstract shapes made by things like rooftops and telegraph wires, shot from high up or low down to emphasise their geometric shapes, or multiple exposures overlaying different perspectives of stark industrial artefacts (railway stations, electricity pylons). de Barros has his own website which includes a page of these photos under the title ‘Fotoformas’.

Here’s a thumbnail bio:

  • de Barros born in a small town in the state of São Paulo; shortly afterwards his family moved to the state capital
  • his interest in art began in 1941, and for several years he juggled working in a bank with studying for a degree in economics and taking art classes at the Associação Paulista de Belas Artes (São Paulo Association of Fine Arts)
  • de Barros soon found himself drawn to abstraction
  • in 1946 de Barros acquired his first camera and soon focused his artistic energies on photography
  • his approach was highly experimental, employing techniques such as photomontage, multiple exposures and physical interventions on negatives to explore the medium’s conceptual potential
  • by 1949 he was invited to set up the Museu de Arte de São Paulo’s photographic lab, and it was there in 1950 that he held the influential solo exhibition ‘Fotoforma’

All the photos on display here are really good in their way, although they reminded me of other modernist photographic experiments from the 1920s and ’30s, specifically the Bauhaus photos of Constructivist artist László Moholy-Nagy.

But the de Barros wall also featured a series of small quirky paintings which look exactly like Paul Klee paintings. He was well aware of the influence. One of photos is titled ‘Homage to Paul Klee’. I really liked Port View which I can see on the internet but can’t open as a separate image. Here it is in Google Images.

So he produced lovely Paul Klee-esque paintings, as well as a striking body of semi-abstract, modernist photographs. But it’s actually as a founded or pure abstraction in Brazil that he’s remembered.

  • 1951: a scholarship from the French government enabled de Barros to spend a year
    studying in Europe
  • on his return he founded the Grupo Ruptura (Rupture Group) which championed geometric abstraction as a means of transforming society, overcoming limits of language, geography and nationality
  • these ideas became cornerstones of Brazil’s Concrete Art movement

Arrangement of Three Similar Shapes within a Circle by Geraldo de Barros (1953) Collection Lenora and Fabiana de Barros. Courtesy Luciana Brito Galeria, São Paulo. Photo by Gustavo Scatena, Imagem Paulista © Geraldo de Barros

de Barro’s progressive approach extended to furniture design, marrying technical innovations with a Concrete aesthetic.

In 1954 he co-founded Unilabor, a cooperative that sought to merge modernist principles with accessible, affordable production and was in production until 1961. There’s a page devoted to Unilabor on his website.

In 1964 he founded a new furniture company, Hobjeto. This was a more commercial operation and it’s interesting to compare the 1950s Unilabor designs with the bolder, more colourful 1960s Hobjeto designs.

His output continued until his retirement in 1989. In terms of his range, from fine art to commercial furniture design, de Barros was obviously a major cultural influence.

The Klee connection

The three final artists in the show – Alfredo Volpi, Rubem Valentim and Geraldo de Barro – produced works that look very like Paul Klee paintings and watercolours, and even namecheck Klee directly.

It was intriguing, then, to read, on the credits label right at the end of the show, that this exhibition was organised by the Zentrum Paul Klee in Bern. Not contributed to, but organised by. Did that influence the selection of artists in this show? Were they chosen deliberately to reflect Klee’s influence? Or because the Zentrum just happens to own a lot of Brazilian art? At the time of writing, não sei.


Related links

Related reviews

The Culminating Ape by Peter Kemp (1982)

Carey and Dickens

In 1973 the literary critic Professor John Carey published an entertaining study of Charles Dickens’ imagination entitled ‘The Violent Effigy’. Instead of analysing Dickens’ novels in terms of themes or issues or morality or symbolism, of gender or class or race and so on – Carey instead devoted a chapter each to half a dozen primal aspects of human experience which really fired Dickens’s writing, identifying the situations and subjects which triggered his most vivid writing, starting with violence and working through topics like fire, food, sex, death and so on.

Each chapter was stuffed with examples from the novels (and essays and travel books) as if Carey had read Dickens’s complete works with a set of index files constantly open by his side in which paragraphs or entire scenes would be assigned to each theme and sub-theme. The result was chapters made up of quotes and scenes and characters and events and words and phrases and metaphors illuminating each particular topic. Thus the opening chapter, on violence, shows how powerfully, repeatedly and obsessively Dickens was attracted by public hangings, raging fires, murderers, how his gargoyle imagination created characters who burst into flame or wanted to eat one another, and so on and so on.

Kemp and Wells

Well, in 1982 literary journalist Peter Kemp did something similar to H.G. Wells.

Introduction: the Darwinian worldview

Kemp starts from the basic premise, readily attested by umpteen quotes from Wells himself, that the year Wells spent studying under the great promoter of Darwinian evolution, Thomas Henry Huxley, at the South Kensington College, was the most important of his life. And that the central learning of that year was a kind of biological reductionism, the radical teaching that humans are animals like any other, just another twig on the vast tangled bush of life, entirely physical and material in nature, with no hint of a God to promote our sense of specialness and apartness from all the other living things.

No, we are living organisms, one species among the million or so others which have evolved over three billion years of chance and accidents, most closely related to the family of primates and, within that family, to the great apes. In this brief opening chapter Kemp gathers together a dozen or so Wells quotes all repeating the same idea, that ‘humanity is but animal rough-hewn to a reasonable shape’, but ‘an etherealised monkey’, ‘a creature not ten thousand generations from the ape his ancestor’, is:

no privileged exception to the general conditions that determine the destinies of other living species.

Just like all the other animals, humans need to ‘eat, mate, find a congenial habitat, and survive danger – by fighting, escaping or co-operating with other members of his species’. Man is, in other words, ‘the culminating ape’ i.e. the culmination, in the present, of the line of descent from the apes (‘in the present’ for who knows what mutations and evolutions await in the future).

So, having established that this materialist, Darwinian view of humanity underpins everything Wells wrote, Kemp then does a Carey, and devotes a series of chapters to looking in great detail at specific aspects of this human-as-animal worldview, and how these fundamental aspects are embodied and dramatised and described across the full range of Wells’s forbiddingly vast oeuvre.

Kemp’s five big chapters address:

  1. Food (The Edible Predator)
  2. Sex (The Slave Goddess)
  3. Habitat (The Redeveloped Basement)
  4. Survival Mechanisms (The Pugnacious Pacifist)
  5. Self Image (The Grand Earthly)

And just like Carey’s book, Kemp’s is stuffed to overflowing with as many examples, quotes, scenes and passages, keywords, symbols and metaphors as he could find about each of these core issues from all over Wells’s works. What it lacks in ‘theory’, Kemp’s entertaining book makes up for in its hundreds of juicy examples and entertaining quotes. It sometimes contains ideas and thoughtful interpretations but really it is a riotous guided tour of the phantasmagoria of Well’s unquenchable imagination, and so it is a riot to read.

1. Food

Having just read it I can confirm that the real message of ‘War of the Worlds’ is not so much alien invasion but the idea that humans, so long accustomed to being top of the food chain, suddenly find themselves the prey and foodstuff of the Martians. Just like rabbits and grouse and all the other animals we’re used to hunting, now we have to go on the run, find burrows, hide during the day and only come out at night.

‘The Island of Dr Moreau’s central idea is to blur the boundaries between the human and the animal, as Dr Moreau does in his demented vivisection experiments. Closely connected to it is the notion of cannibalism, as his half-man half-animal creations show no reluctance to kill and eat people or each other. Kemp offers a summary of Wells’s overall intention:

The cannibalism and carnivorous preying in his books are designed to frighten man into a full awareness of his biological condition. (p.34)

‘The Food of the Gods’ is, as the name suggests, entirely about the impact of a wonderfood which makes babies grow into giants and the social disruption this brings.

One of the Invisible Man’s many problems is that when he eats anything it is, to start with, entirely visible inside him as half-digested chunks of matter. Only as his system breaks food down and absorbs it into him does it become invisible which explains why, after eating, he has to hide till this biological process has been achieved (p.49).

Kemp cites Wells writing that he aimed to counter and refute what he called ‘Bio-Optimism’ i.e. the sentimental belief that evolution means things steadily improve, countering it with a healthy dose of what could be called ‘Bio-Realism’ (p.12). Certainly his scientific romances all point to the disasters that mankind’s accelerating technologies seem liable to bring.

The phrase Bio-Optimism made me think that, if the dictionary definition of ‘woke’ is being ‘alert to racial prejudice and discrimination’, you could conceive a term closer to my sense of things, which would be ‘biowoke’, meaning being ‘alert to the evolutionary, biological, Darwinian nature of human beings’ and, indeed, of the entire natural world we live in.

Anyway, the opening passages about Wells’s polemical materialism soon get swamped by the avalanche of Kemp’s examples, which feel like they quickly wander far from the point and descend to a kind of fascinating triviality.

Leaving the marvels of the scientific romances mentioned above for the bathos of Wells’s social novels, Kemp explains at some length how ‘The History of Mr Polly’ is a novel about a man who is a martyr to his bad digestion (pages 52 to 54). In fact, Kemp shows how Wells’s own personal history of stomach and digestive problems is echoed in lots of novels and characters.

In Mr Polly he builds a whole book around human indigestion…basically, it is the story of a man who leaves a bony woman who is a bad cook for a plump woman who is a good cook. (p.52)

Having just read it, I was amused by the accuracy of this summary. Kemp neatly balances Polly (about bad food and indigestion) with ‘Tono-Bungay’, which is a novel about a cure for indigestion which becomes a worldwide smash hit and propels its creator and his nephew, the book’s narrator, to giddy heights of fame and wealth – but all based on exploiting the bad guts of its credulous consumers (p.55). And so it makes a neat counterpoint to Polly:

Real ills are displayed in Mr Polly; spurious remedies in Tono-Bungay. (p.54)

Kemp modulates from the level of considering entire plots of novels to zooming in on particular aspects of food and eating. He gathers quotes from umpteen novels to show us that Wells had a thing about tentacles e.g the horrible tentacles gathered at the mouths of the hungry Martians and the tentacles of giant crabs the time traveller encounters in the dying days of the planet, through to the social comedies where, for example, innocent Ann Veronica feels harassing Mr Ramage’s hands ‘stretching [like]

hungry invisible tentacles about her’.

And teeth – when we see other people’s teeth we realise they are descended from countless generations of animals which have used them to rip and tear to pieces other living animals. The front teeth are acceptable but sight of the incisors should make anyone with an imagination shiver, so Kemp then proceeds to give us loads of examples of monsters with horrific teeth, or people with notable teeth, examples of where teeth are used as symbols or metaphors, and so on.

So when Kemp is at level 1, showing how a theme or idea dominates an entire narrative, such as ‘War of the Worlds’ or ‘Moreau’ or, in a domestic vein, ‘Polly’ or ‘Tono’, Kemp is interesting and useful. When he shifts down to level 2 and throws at the reader loads of quotes describing tentacles or teeth, he persuades us that these are recurring obsessions of Wells’s which we will, as a result, be more aware of next time we read a Wells text. But you can’t help feeling he is descending to trivia when, at level 3, he has a few pages telling us that Wells repeatedly gives characters food names and rattles off a long list of examples, from Amontillado (a cardinal in Meanwhile) to Wensleydale (in The Sea Lady) via characters named Butter, Beans, Bramble, Cranberry, Cabbage, Lettice. Or when he gives us a few pages full of quotes showing that Wells also liked to use similes comparing people to food (a veiled bride looking like confectionary, an albino having a head like a coconut, someone who is ‘egg-faced’, a man who looks like a chestnut, and so on and so on). You can’t help feeling that, by this stage, the method has dwindled down to a form of stamp collecting or train spotting.

On the other hand, though, this stamp collecting approach does remind you of the thousands of throwaway details in a novel which you enjoy at the moment but tend to forget in the sweep and overall shape of the narrative, and it is enjoyable to be reminded of these details, and hundreds and hundreds of forgotten details is what this book overflows with. I’d forgotten that in the future when ‘The Sleeper Awakes’ the white cliffs of Dover are covered in advertising hoardings – things like that which spark sudden memories of the feel and flavour of books you read a while ago…

2. Sex (The Slave Goddess)

Scientific premise: All animals have to mate. Humans breed. Society replenishes itself with new generations.

Kemp kicks off, a bit tangentially, by highlighting the handful of places where Wells tangles with eugenics, the idea of breeding a better standard of human, but Wells was the first to admit that science didn’t have the first idea how to do this, knowing nothing of genetics.

This chapter gives the impression of flitting about the large subject of sex and love and reproduction almost at random. Next thing we know Kemp is describing the basis biographical fact that Wells married his cousin when he was a very young man, discovered she was dim and sexless so ran off with one of his students, but soon enough got bored of her and embarked on a series of affairs, some of which caused public scandal. The point of all this is just how often he recycled these facts in his novels, marriage to someone markedly beneath the protagonist’s intellectual and cultural level in ‘Love and Mr Lewisham’, a dry and disappointing marriage followed by a happier one in Mr Polly, running away for the sake of true love in Ann Veronica, and so on.

Then Kemp spots that Wells, in his autobiography, says his first sexual stirrings came from the images of Britannia and other female national symbols he saw in Punch (the weekly humorous magazine), followed by seeing big bare-breasted sculptures in art galleries, and Kemp goes on to list all the male characters who admit to the same foible scattered through his fiction. And then specific instances of Greek goddesses being cited, Aphrodite or Athena.

The scene of a boy or young man looking up at a girl sitting on a wall occurs in Tono-Bungay and Mr Polly. These and other women are generally a social class above the protagonist, who is looked down on in both a literal and metaphorical sense.

Proposals or love happen at elevations. Helen Walsingham crowds Kipps into proposing to her up the old keep at Lympne. Ann Veronica finally knows passionate love in the Alps, and many other examples.

The ultimate high place is flying, which is described with sensual lavishness in Tono-Bungay.

However, these high-up women invariably end up very much the junior partners, and Kemp brings together the many places where female characters explicitly refer to their men as Master or King, as Ann Veronica does in the Alpine section of her novel. Kemp cites a whole series of characters who are sceptical of women’s ability to have original thoughts and of women who are all too ready to abase themselves as helpers to strong men.

In fact Kemp more or less lists a whole load of sexist attributes which Wells consistently gives to his women, which includes:

  • making his women honorary men or boys
  • making women describe themselves as slaves who venerate their beloved men as King or Master
  • ridiculing women’s intellectual ability as non-existent
  • making them indulge in childish play talk with their lovers
  • characterising women as extravagant spenders of men’s hard-earned cash

All the early social comedies feature a woman ‘wrecker’ who diverts and destroys a promising man’s career, reworkings of the autobiographical fact that Wells gave up his studies to marry his cousin who turned out to be intellectually dim and frigid – ‘research disruptors’ such as Ethel in ‘Love and Mr Lewisham’, Marion in ‘Tono-Bungay’, Miriam in ‘Mr Polly’, Remington’s career ruined by his elopement with Isabel Rivers in ‘The New Machiavelli’).

Many of the novels feature a love triangle, itself the trigger for jealousy, sometimes murderous rage.

By contrast, his various utopias envisage a jealousy-free world of free love.

For an advocate of free love Wells is surprisingly judgemental about smut and sordid fumbling and horrible male banter. This is all muddy and grubby. It is contrasted with the ‘clean’, pure love of clean young men and women for each other as, for example, Ann Veronica.

Wells the Victorian anathematised what he saw as the moral collapse of the 1920s into obscenity and pornography. Thus he thinks Brave New World demonstrated that Aldous Huxley was obsessed with sex (which is a bit rich coming from the notorious old philanderer). When the Sleeper Wakes he discovers the future has Pleasure Cities where the lascivious and promiscuous exhaust themselves in hedonism till they die childless, what Kemp calls ‘camouflaged extermination chambers’ (p.109). Like everyone who enjoys speculating about utopias and perfect worlds, Wells knows it will require exterminating quite a lot of the actual existing human population.

What comes over is that Wells consistently thinks of sex as a powerful urge which has to be slaked but shouldn’t be over-indulged in or get in the way of work. Incidentally Kemp quotes at length the description of Ramage from Ann Veronica which summarises very well a certain experimental male attitude to sex as endless quest and adventure:

His invalid wife and her money had been only the thin thread that held his life together; beaded on that permanent relation had been an inter-weaving series of other feminine experiences, disturbing, absorbing, interesting, memorable affairs. Each one had been different from the others, each had had a quality all its own, a distinctive freshness, a distinctive beauty. He could not understand how men could live ignoring this one predominant interest, this wonderful research into personality and the possibilities of pleasing, these complex, fascinating expeditions that began in interest and mounted to the supremest, most passionate intimacy. All the rest of his existence was subordinate to this pursuit; he lived for it, worked for it, kept himself in training for it.

Ramage is an example of the City gent as sexual hypocrite, all immaculate facade and coercive exploitation. Another type of hypocrite is the sexually repressed Oxbridge don, such as Prothero in ‘The Research Magnificent’ (1915).

Although he counsels restraint and balance in his books, between grubby promiscuity and his other enemy, celibacy, ‘that great denial of life.’ Celibacy is particularly dangerous when the sexually abstinent take out their frustrated energy in other mediums, especially politics, as Rud Whitlow in ‘The Holy Terror’ (1939).

I’ve just finished reading his feminist novel, ‘Ann Veronica’ so was surprised that Kemp pulls out so many quotes demonstrating Wells’s intense antipathy to the suffragettes. Wells thought they would be a sisterhood of pure-hearted statuesque females as per his fantasies. Instead he was disillusioned to realise they were a screeching rabble, addicted to violence and hooliganism. He has one of his characters describe suffragettism as ‘The Great Insane Movement’.

Kemp is funny on Wells taking the mickey out of the suffragettes. I liked his characterisation of Wells dwelling on the feminists’ preference for ‘damage over debate’, and how, in order to demonstrate the special qualities of reason and compassion which women said they would bring to politics, they set about burning letter boxes, smashing shop windows, spitting at cabinet ministers, assaulting the police, slashing paintings and sending letter bombs. Feminists and our culture, generally, nowadays downplays the impressive Suffragette bombing and arson campaign which contemporaries and the activists themselves referred to as terrorism.

3. Habitat (The Redeveloped Basement)

Scientific premise: species, and life in general, are shaped and moulded by their environments. Man is the first species which can substantially alter his environment and, Wells argued, he needs to do it more and faster if he is to survive.

Basements: The odd chapter title derives from the fact that Wells spent his early formative years living in a series of basements (in his parents’ shop, then when his mother became a housekeeper at Up Park country house, then he was apprenticed to various drapers’ shops). These grim subterranean experiences meant that, once he escaped from a life of humiliating toil, Wells’s imagination fantasised about high, light, open places. And it’s this dichotomy, between dark cramped dingy underground and light bright upstairs, as dramatised in umpteen ways throughout his writings, which this chapter explores.

As with the other chapters, it starts by exploring the theme very literally and then slowly moving out to more metaphorical or related topics.

TM: Probably the most striking example of this upstairs-downstairs dichotomy in The Time Machine between the sunny happy world inhabited by the Eloi, who are preyed on by the Morlocks who emerge from their underground dens, but that’s not where Kemp starts.

Rising: Kemp starts by showing us how very widespread the description of basements is, particularly in the social comedies. By contrast, he shows us that when Wells characters go up in the world they not only rise up the social hierarchy, but move to bigger higher lighter houses (with bigger windows).

Uncle Edward’s ascent: He particularly focuses on Tono-Bungay in which Uncle Edward Pondorevo, as he amasses more wealth, rises from living in a basement in Highbury, to living in a house, to moving out to a house in the country (big windows, aery rooms) and the logical conclusion of all this rising which is to commission his own house to be built on a hilltop. Clearly, this physical ascent out of the gloomy underground to a rich man’s mansion on a height mirrors Uncle Edward’s social ascent, as he climbs the social ladder, taking lessons in etiquette and elocution along the way.

Disorder: But ‘Tono-Bungay’ also demonstrates related topics. For Wells the country house of Bladesover represents order and hierarchy. Kemp demonstrates how ‘Tono-Bungay’ contains a dazzling variety of embodiments of disorder, chaos, collapse, disintegration. This extends from the speech patterns of many of the comic characters who can barely speak or have odd mannerisms, through to the symbolism of ‘quap’ which rots and decays everything it comes into contact with. Kemp lists and explains a whole raft of images of decay which infect the novel at every level and this passage really deepened my appreciation of the novel (pages 131 to 137).

Ruins of the future: In this respect, ‘Tono-Bungay’ is deeply connected to ‘The Time Machine’ because the latter describes collapse and decay but in a science fiction context, as when the time traveller goes exploring the ruins of latter-day London far in the future, and Wells luxuriates in page after page of descriptions of ruined buildings and statues covered in vines etc, images which have become standard in sci fi but which must have been phenomenally powerful to those first readers.

London cancer: This segues into a brief section about Wells’s dislike of the way London has spread out chaotically, like a cancer, swallowing up the nice orderly villages around it (compare E.M. Forster’s similar dislike of London’s inexorable spread, destroying the surrounding country e.g. the end of Howards End).

New York: By contrast Kemp describes Wells’s admiration for New York, with what was then (1910s/1920s) its unprecedented array of soaring skyscrapers. Its height and space dazzled Wells on his first visit (in 1906, described in ‘The Future in America’) and triggered admiring references throughout his writings.

Ideal cities: New York’s mathematical orderliness of avenues and streets was a model for some of the ideal cities of Wells’s utopias and this takes Kemp on to a consideration of the new worlds described in his various utopias which, of course, consisted of high light aery buildings. If they have undergrounds these echo the fundamental dichotomy laid out in The Time Machine as in When the Sleeper Wakes, with its extensive network of of ‘underways’.

Magic transformation of society: This leads Kemp, in passing, to note how bad Wells was at thinking through the process whereby humanity would get from its chaotic present to the gleaming futures he imagines. In one a man falls asleep and wakes up 200 years later. In another a comet passes through the earth’s atmosphere, trailing a chemical which brings about a complete transformation in human nature. In ‘Things To Come’ only a ruinous war which almost destroys civilisation can clear the ground for the bright new future.

Relations between the sexes have always been poor with both sides complaining long and bitterly about the other, and the modern ubiquity of feminism means that it is difficult to think, write or talk about men and women, love and sex, without triggering an avalanche of parti pris comment from one side or another of the toxic culture wars. So the sex chapter (above) felt vexed and embattled.

By complete contrast, this chapter about spatial and geographic metaphors in the life, autobiographies and fictions of H.G. Wells – free of gender cultural controversy – felt enlightening and rather wonderful.

4. Survival Mechanisms (The Pugnacious Pacifist)

Scientific premise: Animals have three strategies to cope with threat: fight, flight or co-operation.

Fight

Destruction: As Kemp’s title suggests he is at pains to show that, although Wells described himself as a pacifist, his imagination overflowed with images of war, specially in the science fiction and utopias. World war destroys civilisation in ‘The War in the Air’ and ‘the World Set Free’ and in ‘The Shape of Things To Come’, and ‘The War of the Worlds’ revels in massive destruction.

Soldiers: His autobiographies reveal that he loved playing with toy soldiers and imagining himself a general as a boy. But once war arrived, in 1914, after an embarrassing early rush of blood to the head (in which he wrote unforgivable things about conscientious objectors) he grew increasingly haunted by the realities of war and Kemp quotes some choice passages from the novels which describe various protagonists at the front squidging through rotten corpses, seeing maggots breeding in dead bodies, rotting faces covered with flies etc.

Wells’s temper: Moving on, Kemp tells us that Wells had a very short temper and was quick to fury. One aspect of this was the scathing letters he wrote to reviewers and fellow authors, the blistering caricatures he carried out at book length (Henry James caricatured in ‘Boon’, Ford Madox Ford in ‘The Bulpington of Blup’).

Anti-Catholic: Wells’s fiction takes swipes at clerics, lampoons bishops and develops a really blistering hatred of the Roman Catholic church, leading up to the gassing of the Pope in ‘The Shape of Things To Come’.

Violent chaps: Wells has surprisingly violent characters: it’s easy to forget how homicidal the invisible man becomes or just how violent us ‘Uncle Jim’ who aims to maim and injure the hero of ‘Mr Polly’, turning what ought to be the bucolic Potwell Inn into a warzone.

Flight

Bicycles: In a typically lateral move, Kemp associates the ‘flight’ part of an animal’s response to danger with The Bicycle. Wells was an early adopter and proselytiser for bicycles, his happiest characters ride one (e.g. Mr Polly) and he wrote an entire novel about a draper shop assistant’s cycling holiday, ‘The Wheels of Chance’. Bert Smallways, hero of ‘The War in the Air’, goes from running a bicycle repair shop in a Kent suburb to witnessing the end of civilisation.

Running away from domesticity: Kemp cites lots of evidence from Wells’s autobiographical writings of his need to escape the chains of custom and habit and the humdrum, which translates into his small trapped men who try to run away – Lewisham, Kipps, Polly. Many of his novels are studies in frustration by a man who moved restlessly from love affair to love affair, and also moved house regularly, and at one stage planned to have four dwellings, two in Britain, two in France, which he could move between, restlessly in movement (p.166). Wells later wrote that the entire novel ‘The New Machiavelli’ was ‘a dramatised wish…about going off somewhere.’ Ann Veronica performs a series of escapes ending up with her running off with her lover, Capes.

Suicide: I think Kemp misses a trick by not mentioning suicide; he doesn’t discuss it and it doesn’t appear in the index and yet a number of his heroes in the social comedies feel so wretchedly trapped that they consider suicide. The most florid example is Mr Polly. After 15 years trapped in a loveless marriage and a poky little shop, the only way out he can conceive of is to cut his throat and set fire to the shop. It is comic that he sets fire to the shop alright but then bottles out of the suicide and so finds himself in the middle of a raging house fire, and it is farcical that this quickly runs out of control into the Great Fire of Fishbourne.

Adventure running: Obviously, in the science fiction adventures there is a great deal or running, such as the narrator running from the Martians or Graham going on the run in ‘Sleeper Wakes’ and the invisible man is on the run from London where he’s committed various crimes. Kemp thinks the scene where Bedford is racing across the moon crater trying to keep ahead of the creeping shadow of the lunar night is the most exciting thing Wells ever wrote. Here, as at other points, Kemp comes close to banality because, when you think about it, almost all adventure stories involve chase scenes…

Flying: Paralleling the passage Kemp devoted to cycling, he then has a section citing all Wells’s references to flying. First there’s the fact that Wells himself became addicted to flying and took early flights to and within a variety of countries. Then Kemp lists the characters who fly, including George Pondorevo who’s a flight designer as well as Graham in ‘When The Sleeper Wakes’, but many other, and not forgetting the ultimate extension of flying, Bedford and Cavour’s flight to the moon.

Co-operation

Finally, Wells thought of flying as having the capacity to bring mankind together into the kind of world state he fantasised about, in two ways: one, commercial travel would bind together countries in common economic and cultural ties. Two, the mere fact of airplanes diminishes the idea of the self-contained nation state. No country is secure once manned flight gets off the ground, every country becomes vulnerable to aerial attack, and so the arrival of manned flight would, Wells, thought, provide a great spur towards nations weakening their identity and moving towards a world government. Some hope. Thus, for example, the fact that the new world order in ‘The Shape of Things To Come’ is established by a brotherhood of engineer aviators, represented in the movie version, ‘Things To Come’ by the aviator hero John Cabal.

In his factual writings Wells used his biological training to highlight examples of co-operation or symbiosis in the natural world and spent 50 years repeating over and over than humanity had to do the same, to coalesce, to become one organism, sometimes meaning it almost literally. Look at the world today: Gaza, Ukraine, Xinjiang, Sudan, Syria, drugs gangs everywhere. Is Wells’s vision of a united human race under a world government any nearer than during his lifetime? No, because it is a profoundly stupid idea which reveals the basic shallowness and naivety of his ‘thought’.

This explains why the three massive factual books he wrote between the wars, the so-called ‘Outline of History’ trilogy – The Outline of History (1920); The Science of Life (1930); The Work, Wealth and Happiness of Mankind (1931) – are completely unread today, because they had little of enduring value to say.

Never judge creative writers for the power of their ‘ideas’ which are almost always tripe. Assess them on the power of their imaginings and their prose, which are often transformational.

All Wells’s writings about a World State are based on one primordial error, which is the assumption, so common up to the present day among western liberals and writers and commentators, that western values are world values, that the values of the west (democracy, human rights, freedom of speech, freedom of expression) are universal values, but they are not. Russia, China and the entire Islamic world are cultures and places where some of these values are paid lip services but other values are more important, nationalistic values in Russia and China and Islam in the Islamic world.

Remember the Iraqi farmer who told Rory Stewart that Iraq would never be a democracy, never. Why not? Because the great majority of its people don’t want it to be – democratic values of the kind Wells spent 50 years (from the 1890s to the 1940s) banging on about, are a particular outcome of the particular religious, social, cultural, economic and military histories of western countries. Other peoples and places haven’t had the same experiences and so prioritise other values. In Iraq identity is predominantly about family, tribe, region and religion, a long way from western notions of deracinated, rootless, atomised units of labour, citizens detached from ancient identities who are free to debate, assemble and vote according to their consciences.

Kemp entertainingly highlights the complete contradiction between Wells’s lifelong hectoring of mankind to co-operate and collaborate more, and his complete failure to collaborate with anyone in his own life. Anybody, like scientist Julian Huxley, who worked with him on joint authored books struggled with his domineering decisions. Beatrice Webb wrote scathingly about his inability to work with anyone in the Fabian Society, his bad manners, rudeness and dictatorial style. And the film professionals he wrote screenplays for complained about Well’s inability to compromise and respect others’ specialisms.

It’s like an alcoholic preaching to everyone about abstinence before passing out from inebriation.

A concrete barrier in Wells’s own writings about a unified mankind was that he himself was riddled with prejudices. Kemp confirms what I’ve noticed in all his books which is a consistent antisemitism, and selects quotations whose gross stereotyping sometimes make Wells sound like a Nazi.

Mind you, Kemp goes straight on to give us quotes where Wells comprehensively badmouths the Germans, who he began criticising during the Great War and didn’t stop for the next 30 years. Germans, in his view, are insensitive, brutish and only happy when obeying orders.

Kemp then quotes Wells’s views on Black people which are at best patronising (colourful clothes, happy smiles, upbeat music) and at worst, casually belittle Blacks with comments about their supposed stupidity and vanity. Wells’s fears are dramatised in ‘When The Sleeper Wakes’ in which, during the world revolution, colonial Black police are sent to London bringing their terrifying reputation for rape and violence. In the Fourth Year (1918) includes the quote:

It is absolutely essential to the peace of the world that there should be no arming of the negroes beyond the minimum necessary for the policing of Africa. (quote p.185)

5. Self Image (The Grand Earthly)

Scientific premise: human beings aren’t really individuals but collections of moods, emotions, personalities and so on. What gives humans a shaky unity is what Wells calls the persona.

This is a promising idea but Wells expresses it in a terrible wishy-washy, humanist manner. Compare and contrast Sigmund Freud’s dazzling succession of theories about the unconscious and the dynamic nature of mind, or Carl Jung’s theories about archetypes, the anima and so on, and Wells is nowhere. (Kemp picks out a passage where Wells explicitly says he prefers Alfred Adler’s theory of the inferiority complex to Freud’s theories of the human mind, quoted p.194).

Still, we’re not interested in Wells as a ‘thinker’ where he’s a non-starter, but as an entertainer. As Kemp aptly phrases it, we enjoy his best works because they are:

enriched with unexpected detail scooped from life by deftly imaginative phrases. (p.214)

In this respect Kemp kicks off with a consideration of how many of his characters pretend to be someone else, associate, worship, model themselves on others.

Kemp starts with the men Wells modelled himself on, paying repeated tribute to the medieval scientist Roger Bacon, but the central figure is Thomas Huxley, who moulded his thinking on scientific lines, who showed the central importance of education, and who showed that being an educator could lead to fame and respect.

So his entire life was dedicated to the role of public educator with reams of articles and lots of books designed to educate the public away from religion and superstition and towards science. He became hysterically convinced that society was in a ‘race between education and catastrophe’, as he put it in ‘World Brain’. And Mr Lewisham has the slogan ‘Knowledge is Power’ pinned to his garret wall.

Yes but knowledge of what? And what kind of power?

Wells makes the two same mistakes most commentators do of thinking a) that most people give a toss about ‘education’, when quite obviously plenty of people hated school, left as soon as they could, and passed on their know-nothing attitude to their kids, whilst many people just aren’t suited to academic study; and b) that education means one commonly agreed thing: i) 100 years later educators are still squabbling about what to teach and how; ii) in many parts of the world, for example the Muslim world, teaching religion is hugely more important than ‘western science’, compare Saudi Arabia’s funding of madrassahs across the Muslim world.

So Wells’s vast output of texts advocating for ‘education’ are i) irrelevant to most people ii) based on an untenable notion that there is just One Education, one kind of knowledge, one incontestable Science which everyone needs to be converted to and which, it becomes clear as his books progress, simply equates to his own views, a utopia where ‘world government’ is the simple-minded answer to all problems.

So it’s a meaningless concept, and even if it had any meaning, it’ll never happen. In fact the error is summed up in Kemp’s pithy opening sentence:

A scientific education saved Wells’s life; he assumed it would do the same for the world. (p.1)

But he was wrong.

Back to the books, Wells spoke about all knowledge being brought together into a ‘World Brain’ (the title of a book) and Kemp links this back to the colourful idea of the Grand Lunar who rules Selenite society in ‘First Men in the Moon’. (This explains the title of this chapter, for the Grand Lunar, essentially one big brain yards wide, cannot believe that earth society is run by governments of men. ‘Is there not a Grand Earthly? he asks.)

The dominating importance of education moves onto the dominating educator. We’ve seen how Wells talked about co-operation but was in practice a difficult domineering personality.

From there Kemp moves on to discuss dictators in Wells’s work, men who exercise total control. He praises Adler because he thinks the inferiority complex and the will to power operate continually whereas Freud’s sex instincts are more intermittent.

But Wells doesn’t venerate one particular leader. In his prophetic writings he went on and on about an elite, what he calls the Samurai in ‘A Modern Utopia’, the subject of his essay ‘An Open Conspiracy’. In ‘After Democracy’ he calls for ‘a Liberal Fascisti, for enlightened Nazis’ (p.196).

He prided himself on his access to the powerful, to the great minds of the age, a trend which reached its peak in his notorious meeting with Stalin. His idiocy about the world reaches a kind of climax, as he subsequently wrote that Stalin is modest and self-critical and that no-one is afraid of him (p.197). Someone that completely wrong about one of the key figures of the twentieth century and everything he represented is hardly to be trusted on any other subject.

All this can be seen as an astonishing achievement for the son of a housekeeper. More subtly you can see how it is motivated by the wish to create an alternative hierarchy of values and achievers – scientists and educators – than the hierarchy Wells was brought up in and oppressed by – aristocrats and their parasites, religion and superstition.

The exorbitance of his imagination is revealed by the books titles, 11 of which have ‘world’ in the title, most of the others overdoing it – First and Last Things, The Fate of Homo Sapiens, Mankind in the Making.

And the length – many of them are very, very long. Wells freely explained that many of the reasonable length novels (Kipps, Ann Veronnica) were fragments of what he originally planned.

And the unstaunchable prolificness, the terrifying amount he wrote, came at the price of repetition. Many of the later novels echo or repeat plots and characters from earlier ones. Kemp points out that the novels about sexual relations show a tendency to fall back on the same limp scenarios and emotions.

That said, Kemp makes the interesting point that scientists, previously thin on the ground in English fiction, throng Wells’ novels and short stories i.e. he helped to make the serious research scientist a plausible figure, many of them Fellows of the Royal Society, which, as he grew older, Wells yearned to be elected to.

Alliteration

It’s not a heavy theoretical book, there aren’t really many ideas in it although lots of insights, but Kemp clearly set out to enjoy himself and to entertain his readers. One amusing aspect of this is his fondness for alliteration:

Drudgery in draperies sapped his energy… (p.1)

He bounded energetically towards affluence and achievement… (p.1)

Subsisting on a medical menu, Mrs Tewler is duped and doped to death… (p.57)

It’s a trivial detail, really, but Kemp’s enjoyment of his own alliteration is infectious and worth mentioning.

Conclusion

This kind of book has at least two definable merits. One, its selection of quotes and scenes and examples reminds you of moments in the novels which you’d forgotten, so it works as a pleasurable aide memoire, a collection of memory jogs.

Secondly, the extended descriptions of basements and downstairs spaces in Wells’s own life and then in his fiction – as of all the other topics and themes which Kemp lists and describes – don’t explain the novels, they enrich them. They bring all these aspects – which it is easy to overlook in the hurry of reading for the plot – to life. It makes them 3D. it gives them an extra power and pungency. It makes reading or remembering these themes and images in the novels more rich and pleasurable. It enhances your enjoyment. This is a very enjoyable and enriching book.


Credit

The Culminating Ape by Peter Kemp was published by Macmillan Press in 1982. References are to the 1996 revised paperback edition.

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Adolf Hitler: My Part in his Downfall by Spike Milligan (1971)

Milligan’s war memoirs

The same year that Eric Newby published his memoir of being an escaped prisoner of war in ‘Love and Death in the Apennines‘, Spike Milligan published his own contribution to the roster of Second World War memoirs, ‘Adolf Hitler: My Part in his Downfall’.

In the preface Milligan says it was intended to be the first part of a trilogy about his war experiences, covering the period from his conscription in 1939 till the time his regiment landed at Algiers. Volume 2 would cover from going into action till VJ day. Volume 3 would cover from his demobilisation in 1945 to his eventual return to England. In the event, according to Wikipedia, Milligan ended up writing no fewer than seven (!) volumes of war memoirs:

  • Adolf Hitler: My Part in His Downfall
  • ‘Rommel?’ ‘Gunner Who?’
  • Monty: His Part in My Victory
  • Mussolini: His Part in My Downfall
  • Where Have All the Bullets Gone?

The Goons

A few year after the end of the war, Milligan would be central to setting up the fantastically popular radio programme, The Goon Show, which ran from 1951 to 1960 and created characters and catchphrases which entertained a mass audience during the decade of Austerity. (He has a brief passage explaining the origin of the word ‘Goon’ which he took from a US TV series about Popeye, on page 77 and further references to proto-Goon writing on pages.) In theory I ought to like The Goons, and I sort of enjoy the silly voices, but between my youth and the Goons lies, like an Iron Curtain, the vast presence of Monty Python, like an impassable barrier.

Monty Python

The thing about the Pythons, for me, was their intelligence and cultural capital; it was the logic and thoroughness of the thinking, where an idea is worked through with a thoroughness which takes it beyond the everyday and far into the surreal, such as the dead parrot sketch or ‘is this the right room for an argument’ sketch, combined with their easy familiarity with advanced cultural knowledge, for example the confidence with which they handle the material in the Philosophers’ Song. It’s written by someone who really has done a degree in philosophy and really knows what they’re talking about and it shows. They also had tremendous variety due to all the members being capable of writing material.

By contrast, The Goons always seemed very thin to me. It relied entirely on Milligan as the main writer and, although he has a fertile way in creating characters many of whom became popular figures, and it has silly voices and absurdist scenarios, for me it lacks the conceptual depth, the twisted logical thoroughness and the cultural confidence of the Pythons.

I’ve never met anyone who quote Goon Show sketches but all through my life I’ve met lots of bores who can reel off entire Monty Python sketches, and this is why. The Goons relied on silly voices and quickfire gags, whereas Python was all about very clever concepts worked out very cleverly, so that anyone repeating them not is not only funny but experiences the deep logic many of them follow.

So that’s why I feel the way I do about this book – that the comedy aspects of it depend entirely on the textual equivalent of him doing funny voices and pulling funny faces, and these are, frankly, pretty limited tricks and quickly become over-familiar.

Types of Milligan joke

What I mean is he has a limited number of types of gag and you quickly come to recognise and expect them. Most of them are types of wordplay. For example, over and again he quotes a common or garden English locution then takes it to extremes, exploiting its latent absurdity:

I heaved at the weights, Kerrrrrrissttt!! an agonised pain shot round my back into my groin, down my leg, and across the road to a bus stop. (p.19)

Father and son were then shown the door, the windows, and finally the street. (p.16)

The walls once white were now thrice grey. (p.27)

Very closely related is taking a common or garden phrase and taking it literally and/or giving it an unexpected (and therefore comic) spin.

I was put in Lewisham General Hospital under observation. I think a nurse did it through a hole in the ceiling.

The fog was very dense, as were Signallers Devine and White.

Sergeant Harris was a regular. He went every morning without fail. (p.50)

He said I couldn’t climb a tree for toffee. I said, ‘Who climbs trees for toffee? I get mine in a shop.’ (p.94)

We had arrived at a hundred-year old deserted chalk quarry. How can people be so heartless as to desert a hundred-year-old chalk quarry?

The dance was held in a large and comfortable countrystyle lounge: chairs and sofas clad in loose floral covers, plenty of polished wood, a few Hercules Brabizon-Brabizon water colours on walls, standard lamps with silk shades, a few oriental curios, traces of visits to foreign climes. (What are foreign climes? Waiter! A pound of foreign climes, please!) (p.98)

A deliberate misunderstanding can be worked up into a bit of repartee:

A worried officer rushed up. ‘Can you play “The Maple Leaf Forever”?’ ‘No sir, after an hour I get tired.’ ‘You’re under arrest,’ he said. (p.48)

[The cook] doled out something into my mess tin. ‘What is it?’ I asked. ‘Irish Stew,’ he said, ‘Then,’ I replied. ‘Irish Stew in the name of the Law.’ (p.141)

There’s the verbal trick of offering a clichéd phrase then doing a comic reversal of it:

Occasionally he sang ‘Mighty Like a Rose’ in a quavering light baritone (or mighty like a baritone, in a quivering rose).

Taking words intended metaphorically literally:

The Catholic priest warned, ‘Avoid loose women.’ I never told him the women I knew were so loose they were falling to bits. (p.49)

These all strike me as variations on the same idea, the deliberate misinterpretation of an everyday phrase for comic effect, or the revealing of the comic implications laying dormant in a phrase which he makes explicit, or the taking of a common phrase to absurd extremes. Puns, in other words.

Another strand is what you could call English suburban surrealism like the jokey stuff at the beginning about his mum making an air raid shelter in the garden or his dad putting a road block across their street, silliness of a very ‘Diary of a Nobody’ kind. It’s surrealism but of a very mundane flavour. Of the statutory cross country run in the army he knocks off a quick one-line gag:

Many tried to husband their energy by running on one leg.

Or:

‘Silence when you speak to an officer,’ said Battalion Sergeant Major. (p.29)

All of his humour depends on a kind of rapid, quickfire delivery which, once it gets going, keeps you permanently off balance, vulnerable to the next gag, then the next one then the next one.

It can become quite painful. 1) Milligan’s humour is very hit and miss. On the radio it didn’t matter too much because the script was made up entirely of absurdist scenarios which carry you with them, and in whose chaotic context a barrage of one-liners worked. Plus, crucially, 2) the performance was shared between Milligan and two performers of genius, Harry Secombe and especially Peter Sellers.

But in static prose Milligan doesn’t have any of those resources. It’s just him and the written word, no silly scripts, silly voices or silly collaborators egging each other on.

Read cold on the page this reveals a number of things. One is that, after an opening flurry of silliness – taking the mickey out of Neville Chamberlain, the silly stories about his father and older brother trying to get the Ministry of Defence interested in patently absurd inventions, getting into trouble with the police for erecting a barrier across their road on the day war is declared and so on – the book settles down and becomes more factual and this is generally to the good.

Behind the tiresome gags is an interesting account of being conscripted and sent to join a gunnery regiment on the south coast. There’s all kinds of stuff about men in the army but what really comes over is how he set up a jazz band with three like-minded blokes and managed to play gigs and parties around the region, sometimes picking up hefty fees. The story of him being invited to the BBC studios in Maida Vale to play with a scratch band and actually record some tracks is memorable because it is sincere; his love of music and of performing shines through.

A second thing which emerges is that his style is wildly uneven, veering from semi-illiterate, passing through competent enough, and on to the extremely idiosyncratic. Here he is, struggling to write a sentence.

From motor vehicles we went on to Bren Carriers, they were marvellous, they’d go anywhere, and didn’t we just do that. (p.111)

At the other end of the spectrum his attempts at normal prose are liable to be interrupted by his fondness for staccato and/or telegraphese: he is very partial to one-word sentences, verbless sentences and abrupt transitions.

At six o’clock we arrived at the night rendezvous, a field of bracken resting on a lake. We got tea from a swearing cookhouse crew, who took it in turns to say ‘piss off’ to us. We were given to understand we could have a complete night’s sleep. Good. We tossed for who was to sleep in the truck. I lost. Sod. Rain. Idea! Under the truck! Laid out ground sheet, rolled myself like a casserole in three blankets. I dropped into a deep sleep. I awoke to rain falling on me. The truck had gone. Everybody had gone. (p.85)

There’s one particular passage where he attempts to describe the simple beauty of lazing around in the sunshine on the South Downs and his attempt to write descriptive prose is so weird it’s worth quoting in full:

No matter what season, the Sussex countryside was always a pleasure. But the summer of 1941 was a delight. The late lambs on springheel legs danced their happiness. Hot, immobile cows chewed sweet cud under the leafchoked limbs of June oaks that were young 500 years past. The musk of bramble and blackberry hedges, with purpleblack fruit offering themselves to passing hands, poppies red, red, red, tracking the sun with open-throated petals, birds bickering aloft, bibulous to the sun. White fleecy clouds passing high, changing shapes as if uncertain of what they were. To break for a smoke, to lie in that beckoning grass and watch cabbage white butterflies dancing on the wind. Everywhere was saying bethankit.

All that said, I liked the descriptions, right at the end, of going aboard ship. The vividness of the experience has obviously stayed with him and brings out some of his best description.

Nobody wanted to sleep. I worked out we were waiting for the tide. About one o’clock the ship took on an air of departure. Gangways were removed. Hatches covered. Chains rattled. The ship started to vibrate as the engines came to life. Waters swirled. Tugs moved in. Donkey-engines rattled, hawsers were dropped from the bollards, and trailed like dead eels into the oil-tinted Mersey. We were away. Slowly we glided downstream. To the east we could hear the distant cough of Ack-Ack. The time was 1.10 a.m., January 8th, 1943. We were a mile downstream when the first bombs started to fall on the city. Ironically, a rosy glow tinged the sky, Liverpool was on fire. The lads came up on deck to see it. Away we went, further and further into the night, finally drizzle and darkness sent us below. (p.130)

Q TV

In the 1970s when I started watching TV as a boy, Milligan wrote and presented the Q series of absurdist, surreal comedy sketches. He seemed to have a lot more fun making them than it was to watch them. Even as a boy I felt there was something wrong about them. I wasn’t surprised, later on, to learn that Milligan had had a mental breakdown towards the end of the war and that it was the start of a lifelong battle against depression. He didn’t seem to be master of his material but letting it gush out and master him. Well, the same feels true of the passage I’ve just quoted – he’s letting the first things that come to mind, the gags, verbal fizzes and bangs, have their way. Possibly the text took ages to compose and revise and hone but I’m talking about the final effect, which is of a man carried away by the exuberance of his own deranged antics.

Class and education

What also comes over is a class thing, that Milligan was lower-middle class with little or no higher education. His humour, and this text, entirely lacks any cultural or intellectual depth. Most male British writers of the twentieth century went to a) public school and b) Oxford or Cambridge, where they were pumped full of the Latin classics and English literature’s greatest hits. Those kinds of authors (and their fictional protagonists) feel perfectly at home dropping quotes and references from the standard Western canon of poets, playwrights, philosophers and so on. These kinds of knowing references are the natural accompaniment of the smooth narratives, rounded sentences and well-shaped paragraphs which they were taught to write at school and which are so enjoyable to read in their novels, poems, autobiographies and so on.

Milligan has absolutely none of this. There are no literary or intellectual or cultural references of any kind anywhere in the book (actually I spotted two things: one where he paraphrases ‘The Walrus and the Carpenter’ by Lewis Carroll, and another occasion where he spoofs the style of the King James Bible. That’s it as far as cultural references go.) Lacking any literary or cultural depth, there’s just the basic narrative of events during his period of service in a gunnery battery based on the south coast of England, which is continually interrupted by the incessant fizzing and banging of his literalism, puns and wordplay.

This inability to create larger structures or develop a flowing narrative is connected to the way the text isn’t structured in chapters (which you strongly suspect he wouldn’t have been able to plan and flow over a long stretch) but into short sections given blunt headings such as RELIGION, FOOD, SPORT, BARRACK ROOM HUMOUR and so on. Rather as the Q TV series was almost like notes for a comedy show, with the half-finished chaotic nature of the notes left in full view, so ‘Adolf Hitler: My Part in his Downfall’ feels like notes for an autobiography, a ramshackle rummage of sections devoted to specific themes, pasted together in roughly chronological order, with no attempt to join them together into a coherent narrative.

And all of this is connected with what I mentioned earlier about class. Although Milligan was in the army there’s surprisingly little about the army as a career – nothing like the earnest engagement in the RAF of Geoffrey Wellum, for example. Instead, army life is depicted from the classic perspective of the non-officer class, as a predicament to be mocked with work and duties to be dodged whenever possible.

Spike is determined to make you see life and the Army from the squaddie’s point of view, as an organisation characterised by mismanagement and shambles, as an opportunity for pranks and practical jokes, and a set of rules and enforcers (for example, scary sergeant-majors) to be broken, dodged and avoided – all with the aim of furthering the three classic interests of uncultured working class life – grub, booze and shagging.

Anti-romance

He warns us in the preface that it’s going to be ‘bawdy’ and it is, indeed, crude bunk-up-behind-the-bike-sheds stuff.

If we take John Buchan in his Sir Edward Leithen books, as a type of the very upper-class, tight-lipped, chivalrous view of women and romance, then Spike is at the extreme opposite end of the spectrum. He, like, one suspects, many of his fellow 20-something conscript soldiers, is permanently on the lookout for sex. Whichever bars, pubs or clubs they visit or his band plays in, he’s always got an eye open for the birds, makes a point of chatting them up, is constantly aware of then. The main reason he applied to join the RAF in 1940 was that men in RAF uniform were always surrounded by the best birds in pubs (‘All the beautiful birds went out with pilots’) and he wanted some of that. Nothing to do with wanting to fly let alone serve his country. Birds. Women. Chicks.

Whereas Eric Newby’s war memoir contains a chaste and sensitive and romantic portrait of the woman who helped him on the run and went on to become his wife, a typical Milligan anecdote describes the way the high-minded Jehovah’s Witness in his unit, Bombardier MacDonald, was slowly degraded by military life until one night the guard on duty, Gunner Devine, was puzzled to hear a funny rhythmic thumping noise coming from the back of the coal sheds. Upon investigation he found Bombardier MacDonald, his trousers round his ankles, ‘having a late-night knee-trembler with a local fat girl.’ But that’s not the end of it.

Gunner Devine watched until the climax was nigh, then shouted, ‘Halt! Who comes there?’ The effect was electric. MacDonald ran into the night shouting ‘Armageddon’. The girl, still in a sexual coma, was given Gunner Devine’s rifle to hold, while he terminated her contract.

The picture of the local fat girl holding the gunner’s rifle while he took his turn screwing her is about as far from the upper-class nobility of Buchan or the romantic love affair of Newby as it’s possible to get.

But ‘Adolf Hitler: My Part in his Downfall’ is packed with incidents like this – blunt descriptions of crude practical jokes, awful food, the odd characters you’re forced into proximity with in the army (the soldier who turned up on parade naked, the hypochondriac, the madman), silly escapades and shagging stories – only Milligan’s love of jazz and the regular playing of his band offer any sort of escape, the one place, you feel, where he can be himself and stop having to be the relentless gagster.

Happiness was a mug of tea, a cigarette, and a record of Bunny Berrigan playing ‘Let’s do it’.

It’s a great feeling playing jazz. Most certainly it never started a war. (p.135)

Birds

We had three [observation posts]: Galley Hill, Bexhill; a Martello Tower, Pevernsey and Constables Farm on the BexhillEastbourne Road. Most of us tried for the Martello on Pevensey Beach as the local birds were easier to lay, but you had to be quick because of the tides.

After a quick drink in The Devonshire we ended up at the Forces Corner to finish off the evening. I started chatting up the birds, one especially, Betty Aspnel, a plain girl who made up for it with a sensational figure, man has to be satisfied with his lot, and man! this girl had the lot.

In the evenings after dark, one or two of our favourite birds would visit us and bring fish and chips; once in we bolted the door.

That night there was an Officers’ and All-Ranks’ dance in the Drill Hall. We all worked hard to extricate all the bestlooking A.T.S. girls from the magnetic pull of the officers and sergeants. Alas, we failed, so we reverted to the time-honoured sanctuary of the working man – Drink.

Sex

At this new billet we received morning visits from a W.V.S. Canteen Van. A very dolly married woman took a fancy to me and one night, after a dance, she took me home.

Sometimes he tells what you could call a straightforward anecdote, without the odd prose style and quickfire gags. Probably the best example is, again, about sex.

It was all sex in those days it was that or the ‘flicks’ and flicks cost money. There was a lovely busty bird called Beryl, who had hot pants for me. During the interval of our first dance at Turkey Road I took her to the lorry park, into the back of a fifteen hundredweight truck. We were going through our third encore when the truck drove off. Apart from the jolting it must have been the best ride we’ve ever had. It stopped at Hastings. Through the flap I saw our chauffeur was Sergeant ‘Boner’ Hughes who hated my guts (I don’t know why, he’d never seen them). He backed the truck up an alley and left it while he went into The White Lion for a drink with his bird who was barmaid. Slipping into the driving seat I drove it back, and arrived in time to play the second half of the dance. ‘Where the bloody hell have you been?’ asked Edgington, sweating at the piano. ‘I, Harry, have been having it off in the back of a lorry, and I got carried away.’

Pranks

These include:

  • the variety of farting skills in the unit, including the man who had an assistant light his farts
  • the gunner who always reeled back to barracks blind drunk and had a piss in a corner of the dorm, till a new recruit asked where to sleep and they all told him to put a bunk in the corner with the result that that night he got covered in a stream of pee
  • the bombardier they all hated so when he passed out drunk one night they removed his trousers, then loaded him, in his bed, into a lorry and deposited him in Bexhill cemetery
  • the soldier who did impersonations with his cock and balls, arranging them to produce tableaux with titles such as ‘Sausage on a Plate’, ‘The Last Turkey in the Shop’, ‘Sack of Flour’, ‘The Roaring of the Lions’ and, by using spectacles, ‘Groucho Marx’

Spike worked in the signals part of the regiment.

One of the pleasures of Duty Signaller was listening to officers talking to their females. When we got a ‘hot’ conversation we plugged it straight through to all those poor lonely soldiers at their OR’s and gun positions. It was good to have friends.

Army foolishness

Allegedly when he arrived his unit had some Great War-period 9.2 inch artillery pieces with only one drawback. There were no shells. This didn’t stop their commanding officer insisting on training the correct drills over and over except, when it came to the crucial moment, the entire gun crew was trained to shout BANG in unison.

The actual war

The narrative does follow a simple chronology describing him and his family hearing Neville Chamberlain’s declaration of war, the repeated official letters announcing his call-up and then, once he’s in the army, the months leading up to Dunkirk (26 May to 4 June 1940), the rest of 1940 and into 1941. During this entire period he and his battalion are shunted from one south coast posting to another.

In the passages about Dunkirk an unusual degree of seriousness breaks through:

Next day the news of the ‘small armada’ came through on the afternoon news. As the immensity of the defeat became apparent, somehow the evacuation turned it into a strange victory. I don’t think the nation ever reached such a feeling of solidarity as in that week at another time during the war. Three weeks afterwards, a Bombardier Kean, who had survived the evacuation, was posted to us. ‘What was it like,’ I asked him. ‘Like son? It was a fuck up, a highly successful fuck up.’

The same is even more true of the Blitz, which historians date from 7 September 1940 to 11 May 1941. Milligan and his mates lie in their dormitories on the south coast and hear the German bombers fly over night after night. Sometimes they go outside and can see the sky to the north lit up orange as London burns. Lots of them are Londoners, so they lie awake at nights trying to cheer each other up with stories of how solid Anderson shelters are and how the bombs will never penetrate to the Tube shelters. Worried men.

Damage

This brings me to how the war quite obviously damaged him quite severely. In the preface he warns:

There were the deaths of some of my friends, and therefore, no matter how funny I tried to make this book, that will always be at the back of my mind…

He describes how in 1941 they made friends with a jazz drummer named Dixie Dean whose Dad owned a radio shop in Hailsham. On Sunday evening he invited the band over to listen to jazz records all evening. It was his greatest joy. When he was posted overseas he left his jazz record collection in Dixie’s dad’s care and, of course, his shop suffered a direct hit, destroying all his records bar one.

Among the losses was my record collection, all save one, which I still have, Jimmy Lunceford’s Bugs Parade. I daren’t play it much; it creates such vivid memories. I have to go out for a walk; even then it’s about three hours before I can settle down again. (p.102)

When he worked as a signaller, a wartime telephone exchange was set up:

It was installed in a concrete air-raid shelter at the back of Worthingholm. In 1962 I took a sentimental journey back to Bexhill. The shelter was overgrown with brambles; I pushed down the stairs and by the light of a match I saw the original telephone cables still in place on the wall where the exchange used to be. There was still a label on one. In faded lettering it said, ‘Galley Hill O.P.’ in my handwriting. The place was full of ghosts – I had to get out. (p.73)

‘I had to get out’ – just those five words, if you give them their proper weight, reveal the truth behind the entire book; almost buried in the welter of gags, one-liners, excruciating puns and absurdist flights of fantasy, lurks the deep, abiding mental anguish.


Credit

Adolf Hitler: My Part in his Downfall by Spike Milligan was published by Michael Joseph in 1971. References are to the 1973 Penguin paperback edition.

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SAS: Rogue Heroes by Ben Macintyre (2016)

Courage, like death, seldom appears where it is expected.
(One of Ben Macintyre’s reflections in ‘SAS: Rogue Heroes’, page 178)

This is the official history of the Special Air Service (SAS) during the Second World War, from its inception in July 1941 to its disbandment in October 1945.

Among all the other textual paraphernalia there’s a two-page ‘select’ bibliography which includes no fewer than 25 other books which had already been written about the SAS when this one was published (2016) and I bet more have been published since. So it’s a very popular and well-trodden subject. Indeed, Macintyre writes that as the Second World War reached an end, and the British press discovered the SAS:

The hints of roguish derring-do, combined with a distinct lack of hard detail, created a hunger for SAS stories that has never abated. (p.273)

What distinguishes this book from its competitors is its official status and therefore the access Macintyre was given to a mass of material including: the regimental diary (the SAS War Diary), personal accounts, top secret reports, memos, private diaries, letters, memoirs, maps, never-before-released archival material and hundreds of photos. The result is a 310-page Penguin paperback which is presumably as close to the definitive account as we’re likely to get.

The narrative is surrounded by textual apparatus, including a Foreword by the Right Honourable Viscount Slim, patron of the SAS Association; seven good, clear maps; a list of all the SAS operations during the war; a regimental roll of honour; a chapter giving the post-war careers of the book’s leading figures; numerous photos; the bibliography and an index.

Overshadowing all this is the fact that the book was made into a big-budget BBC drama series, broadcast in 6 episodes at the end of 2022, well reviewed in the press and watched by millions. I bought the book after watching the series, probably like tens if not hundreds of thousands of others. So it’s not only a popular history of then, the Second World War, but very much an artefact of our times, of now.

Part 1. War in the Desert

‘SAS: Rogue Heroes’ is immensely readable, clearly, authoritatively, grippingly written, a perfectly calibrated entertainment. I couldn’t put it down and read it in two highly enjoyable evenings. No wonder it was a Sunday Times bestseller.

You can read the basic facts on the SAS Wikipedia article and countless other web pages. My blog posts are always too long because I summarise everything; this time I’m just going to give the most striking, dramatic or funny elements in note form:

David Stirling

The SAS was founded by Sir Archibald David Stirling who came from a grand, landed Scottish aristocratic family. His family connections helped at key moments drum up support from Scottish grandees high up in the British Army: ‘This was an age when family and class connections counted for much’ (p.23). And:

Stirling was possessed of a profound self-belief, the sort of confidence that comes from high birth and boundless opportunity. (p.10)

Apparently, the decisive moment in Stirling’s life was when he was rejected from a Paris art school for being no good. He became determined to prove himself some other way (pages 9 and 91).

Stirling prided himself on being a renegade, a rebel against traditional army discipline and authority, an opinion vouchsafed by everyone who knew him plus all subsequent biographers. After completing officer training his report summarised him as ‘irresponsible and unremarkable.’

In return he powerfully disliked army discipline and hierarchy, calling military bureaucracy ‘a freemasonry of mediocrity’ and ‘layer upon layer of fossilised shit’ (p.22).

Surprisingly (or maybe not) everyone who worked with him said he was quietly spoken, respectful of his men, got to know them all, rarely raised his voice or lost his temper. He presented comrades in the group with challenges or missions and somehow made them feel like it was their duty to do it.

He was also very against boasting and swank which he described as being ‘pomposo’ (p.126).

Alternative tactics

Traditionalists still thought of wars in terms of huge armies clashing across defined fronts. Stirling conceived of a small agile force working behind enemy lines to sabotage enemy resources.

This was war on the hoof, invented ad hoc, unpredictable, highly effective and often chaotic. (p.172)

This ended up working dramatically well in the North African desert where civilisation amounts to a thin strip along the roads by the coast, inland from which stretch truly vast areas of desert, many of which were unexplored and unmapped in the 1940s.

I was staggered to learn that the Libyan desert covers half a million square miles, nearly half the area as India (1.269 miles²) (p.58).

Stirling badly damaged his back on his first parachute jump, losing consciousness and, when he awoke, unable to walk. Doctors thought he’d be crippled for life. Slowly feeling returned but later he suffered from blinding migraines.

Operation Squatter

Notoriously, the first SAS ‘mission’, Operation Squatter, on 16 November 1941, was a catastrophic blunder. The aim was to parachute at night behind German lines in the Libyan desert, infiltrate five enemy airfields on foot, plants explosives on as many German and Italian airplanes as possible, then head south to a rendezvous with the jeeps of the Long Range Desert Group (LRDG) deep in the desert.

But a fierce storm blew up just as the planes were due to depart. At that point, and then again when they were over the drop zone and due to jump, Stirling was warned to abort, but he took the pig-headed decision to proceed. 1) One of the aircraft carrying the SAS men was shot down – all 15 soldiers and the crew were killed. 2) The pilots were flying absolutely blind in a howling desert storm, had no idea where they were and told the soldiers to jump blind. 3) Some members of the remaining four teams were killed when they landed badly or were dragged across rocky, thorn-bush-full landscape by their chutes. Half a dozen were so badly injured they were left with pistols and told to fend for themselves. At least one shot himself there and then. Three of the teams couldn’t find the packs of ammunition, food and explosives that were dropped with them so were rendered useless. One by one they stumbled south to the rendezvous point. The mission failed to destroy a single enemy aircraft and of the 65 SAS men who set off only 21 made it back (p.55).

It was such a traumatic incident that Macintyre covers it twice, once in the brief prologue to the entire book, designed to drum up excitement (pages 1 and 2), then in an entire chapter (chapter 4, pages 47 to 56) which makes very grim reading.

Amazing that the powers that be let Stirling continue with his experiment. After this fiasco the only way was up.

Paddy Mayne

Top international rugby player. Notorious drunk with a terrible temper. Only close friend he had was Eoin MacGonigal with whom he forged a close, possibly homoerotic, bond, but who was killed during Operation Squatter. Mayne was never the same. Six months later Mayne took leave to go look for MacGonigal’s grave in the desert (p.116). Mayne was a core member of the early group but he and Stirling were never close.

Mayne seemed to take pleasure in slaughter: ‘Fighting was in his blood: he thrived on it.’ (p.115)

The attack on Tamet airfield, designed to knock out Axis planes, but when Paddy heard sounds of merriment from the pilots hut he and two others kicked the door open and opened up with machine guns massacring all the Germans and Italians within. Just one of many such incidents.

Jock Lewes

The exact opposite of Mayne, John Steele ‘Jock’ Lewes was a strict disciplined Englishman. Macintyre says he toured Nazi Germany in the late 1930s and even fell in love with a German woman, but when she introduced him to hard core fascists the scales fell from his eyes and he behave ever afterwards like a man angry at having been fooled.

Lewes was a key player in the formation of the unit with whom Stirling developed the idea of a special force which could be parachuted behind enemy lines and after seeing action in the defence of Tobruk, he joined the unit as Stirling’s second in command.

He was involved in the design of the unit’s badge and motto and was an inveterate tinker, designing the ‘Lewes bomb’ which could be attached to enemy planes or vehicles with an inbuilt timer. To cite his Wikipedia page:

To destroy Axis vehicles, members of the SAS surreptitiously attached small explosive charges. Lewes noticed the respective weaknesses of conventional blast and incendiaries, as well as their failure to destroy vehicles in some cases. He improvised a new, combined charge out of plastic explosive, diesel and thermite. The Lewes bomb was used throughout the Second World War.

He was killed by enemy airplane fire after leading an attack on Nofilia aerodrome, on 30 December 1941 aged 28 (p.79). Stirling later stated that Lewes had a better right to be the founder of the SAS than he did. Lewes’s death in the TV series is very upsetting and feels like the end of an era. It’s only by reading this book that you realise the entire North Africa era was just the first part of a much, much longer story.

Amateurishness

Throughout the book there’s a tension between the initial amateurishness of the group Stirling assembled and its home-made training regimes (for example, his bonkers idea that jumping out the back of a jeep travelling at 30 miles per hour was good training for making a parachute jump) and the tremendous commitment of everyone in the group to their leader and their methods.

Unlike most officers, who thought in linear terms, and care about promotion, medals and the steady progression of the battlefront, Stirling approached warfare sideways and from an amateur perspective. (p.99)

Fitzroy Maclean

Also from a grand family, Fitzroy Hew Royle Maclean, 1st Baronet, (1911 to 1996), unlike Stirling, was a scholar and an intellectual (p.83). When war broke out he transferred to the army from a successful career in the diplomatic service. He was with the SAS for about a year, in 1942, taking part in numerous raids, including the farcical attack on Benghazi. Later that year he was transferred to the Middle East as part of the Persia and Iraq Command before, in 1943, Churchill chose him to lead a liaison mission to Tito’s partisans in Yugoslavia in 1943. After the war he served as a Conservative MP and recorded his extraordinary career in the classic book ‘Eastern Approaches’. Maclean is routinely cited as a possible inspiration for Ian Fleming’s creation of the character of James Bond. He is quoted delivering a classic English attitude to foreigners (uncharacteristically philistine for a man fluent in numerous languages):

‘I have always found that in dealing with foreigners whose language one does not speak, it is best to shout.’ (p.105)

The motto

He describes the debate about designing a badge for the unit and choosing a motto. ‘Who dares wins’ motto beat alternative suggestions ‘Strike and destroy’ (too blunt) and ‘Ascend to descend’ (obscure) (p.85).

The French

Surprisingly ‘French troops would play a vital role in the evolution of the SAS’ (p.87). This remark is à propos the arrival of 52 Free French paratroopers under the command of Colonel Georges Bergé and it is, indeed, surprising to learn the extent to which Free French troops were involved in SAS operations.

The farcical raid on Benghazi

Featuring Maclean and Randolph Churchill. Chapter 9, pages 97 to 110, a) from a base in the Jebel mountain range and b) using the ‘Blitz Buggy’. This was a Ford V8 station wagon with a top speed of 70 mph containing two rows of 3 seats, with the roof and windows removed and painted Wehrmacht grey. (p.94).

On the evening of 21 May 1942 the Blitz Buggy, containing Stirling, Maclean, Randolph Churchill (Winston’s son) and three others bluffed their way past German then Italian guards and into Benghazi where they hid out in a ruined house while planning to row dinghies out to ships in the harbour and attach limpet mines. Everything went wrong starting with the fact that the drive across the desert and up and down gullies etc damaged the rods or something in the buggy which led to it making a howling racket wherever it went. Their night-time attempt to blow up the ships is fouled by heavy guards and the fact that the two inflatable dinghies they brought along both have punctures (and the pumping equipment makes an incredibly loud racket). They nearly get caught umpteen times and are forced to hole up in the ruined flat all day, twitching with nerves as enemy patrols pass by neighbours interfere and, at one point, a drunken Italian blunders in, only to run off at the sight of filthy bearded men with guns. Eventually they drive back out of town in the racketing Blitz Buggy after a very intense 24 hours. The whole thing is like a comic movie and makes for a tense but hilarious scene in the TV series.

In fact Randolph Churchill wrote a highly dramatic ten-page account of the day to his father, Winston, precisely the kind of buccaneering adventure designed to appeal to the wartime PM, and which helped bolster his support for Stirling and the SAS (p.110).

Car crash

It’s typical of Stirling, who really was reckless, not just in military sense, that the four days later, safely back behind British lines, Stirling was driving the Blitz Buggy far too fast, took a corner at speed and, to avoid an oncoming lorry, swerved and ended up rolling the vehicle resulting in: the death of Arthur Merton the distinguished war correspondent; Maclean suffering a broken arm, collarbone and fractured skull; Randolph Churchill receiving three crushed vertebrae; and Sergeant Rose having his arm broken in three places. Maclean quipped that:

‘David Stirling’s driving was the most dangerous thing in World War Two.’ (p.109)

I know he’s a great hero and everything, but quite regularly Stirling comes over as a reckless idiot, the death toll in Operation Squatter and incidents like this providing a powerful indictment.

Captain George Jellicoe

George Patrick John Rushworth Jellicoe, 2nd Earl Jellicoe (1918 to 2007) sailed out to the Middle East with Layforce, met Stirling in the bar at Shepheard’s hotel in April 1942, and signed up for the SAS (p.120). He joined the raiding party of 13 June 1942 which attacked fortifications at Heraklion on Crete. It was led by Colonel Georges Bergé. Disguised as Cretan peasants they cut through the perimeter barbed wire surrounding Heraklion airfield and planted bombs on the fleet of parked Junkers 88 bombers. As they started exploding, the team escaped back to the perimeter fence in the confusion.

Bergé paused after half an hour and announced that they would all be awarded the Croix de Guerre for the night’s work. He then led the party south. Or rather north, because in the excitement he had been reading the map upside down. (p.121)

We get a lot of detail about Jellicoe’s time with the SAS but the most memorable remark is his comic comment on the Free French:

‘They were very, very free; and very, very French.’ (p.124)

An independent force

By June 1942 what had started as L Detachment had raided all the important German and Italian airfields within 300 miles of the forward area. It had long ago dropped the idea of parachuting behind enemy lines and instead had worked closely with the Long Range Desert Group which, basically, drove them to within walking distance of targets, dropped them off, then hung around for a day or two to pick up the returning survivors of each attack.

But during this period it had itself got to know and understand all kinds of desert terrain and benefited from the inspired navigating skills of Mike Sadler.

With its own transport base and navigators, and the ability to attack at will from a forward base, L Detachment was fast becoming what Stirling had always intended it to be: a small, independent army, capable of fighting a different sort of war. (p.132)

Stirling discovers from intercepted messages that the Germans are calling him ‘the Phantom Major’ (p.138).

Sidi Haneish

The extraordinary story of the massed jeep attack on Sidi Haneish airfield. Eighteen jeeps drove 50 miles across the desert from their hideout in Bir el Quseir and then overran the airfield, driving along the main runway in two columns, each jeep armed with Vickers K machine guns, incredibly powerful weapons originally designed for RAF aircraft, causing incredible destruction (pages 139 to 142).

Dinner with Winston Churchill

On pages 153 to 156 Macintyre describes Stirling, back in Cairo, washed and scrubbed and attending dinner with Winston Churchill, with Field Marshall Jan Smuts and General Alexander, C-in-C of the African front. Churchill was, predictably, bowled over by Stirling’s enthusiasm and asked him to write a memo laying out aims of the SAS, a document which still survives.

Stirling asked the three eminent leaders, Churchill, Smuts and Alexander, to sign a piece of paper as a souvenir. Later, with typical chutzpah he typed above it ‘Please give the bearer of this note every possible assistance’ and use it shamelessly to cajole quartermasters into supplying immense amounts of new equipment (p.156).

Expansion

In September 1942 the SAS was recognised in the official British Order of Battle. It was expanded to include 29 officers and 572 other ranks. It was divided into four squadrons, one under Stirling, one under Paddy Mayne, one devoted to the French forces, and a newly commissioned Special Boat Service put under George Jellico (p.167).

At the age of 26 Stirling had become the first man to create his own new regiment since the Boer War. (p.167)

At the end of 1942 a second SAS regiment came into being, commanded by Stirling’s brother, Bill (p.179).

Battle of El Alamein November 1942

The final actions of the SAS in North Africa took place within the much larger event of the (second) Battle of El Alamein, October to 1942. The Germans had advanced inside the borders of British Egypt, and to within forty miles of Alexandria. Not only Egypt was at stake but the country contained the Suez Canal which was the lifeline to the entire British presence in the Far East, as well as controlling access to the oil fields of Persia, also vital for the Allied war effort.

Over two months the new commander of British Forces Lieutenant-General Bernard Montgomery led the Eighth Army to a victory which was the beginning of the end of the Western Desert Campaign. Victory eliminated the Axis threat to Egypt, the Suez Canal and the Middle Eastern and Persian oil fields. It revived the morale of the Allies, and coincided with the Allied invasion of French North Africa far to the West, thus trapping Rommel’s Afrika Corps in a classic pincer movement.

Stirling is captured

Stirling was desperate to make a contribution to this vast effort. On 16 January a force of 14 men in five jeeps set off from their base in the Tunisian desert aiming to link up with the fast-moving First Army near the coast. The Germans had, of course, for some time been aware of a roving force of saboteurs operating behind their lines and Rommel had ordered sweeps and searches to be made of desert areas close to his main forces. And so it was that, at a rest stop in a ravine en route to the coast, Stirling and his force were surrounded and arrested by a much larger German force. (In fact three of the group managed to escape in the initial confusion and trekked west through the desert to meet up, more dead than alive, with American forces advancing from the West, which I mentioned above.)

But for Stirling the war was over. He was sent to bases in Africa, then Italy, interrogated at all of them. He made some notable escapes but always managed to be recaptured until he was eventually sent to the impregnable fortress of Colditz near Leipzig in East Germany.

Because his capture happened at more or less that same time that the Desert War came to an end (with Allied victory) it coincided in a significant change in the personnel and purpose of the SAS. Macintyre has an elegiac page remembering the members who died during the desert campaign, before turning to the fact that the regiment was now to have a new leader, the dedicated stone-cold killer Paddy Mayne, and was now to operate entirely in occupied Europe.

Part 2. War in Europe

As I mentioned, I bought the book after watching the hugely enjoyable BBC TV series. which, I now realise, only dramatised part one of the book, the Desert War section, pages 1 to 189. It turns out that pages 193 to 310 describe the completely different environment the unit faced fighting in Europe, first up through Italy, then playing their part in the D-Day landings and the push across France, then fighting in Germany itself. All this leads up to the surprising fact that it was SAS men, some of whom we met way back in the early part of the desert campaign, who were the first to enter the Bergen-Belsen concentration camp in April 1945 which tends to cast a grim nihilistic shadow over everything which preceded it.

As I mentioned, the thing about the army, especially in wartime, is that it continually chops and changes and rearranges its units to suit changing needs. Thus, at the end of the desert war, in 1943, 1SAS was split into two parts, a Special Boat Squadron (SBS) under Jellico and a Special Raiding Squadron under Mayne. 2SAS continued in existence under the command of Stirling’s brother, Bill. I imagine for an author like Macintyre the main challenge is which activities of which unit to include.

Sicily

July 1943 Mayne’s SRS was tasked with knocking out defences on beaches on Sicily, ahead of the main allied invasion. In the event:

The Italians surrendered with indecent haste. ‘They gave up very easily,’ said [Johnny] Wiseman. (p.197)

During the assault they had had to paddle their dinghies past Allied paratroopers who were intended to land behind enemy lines but whose gliders got blown off course, crashed in the sea, and now they were drowning. Hard man Reg Seekings describes how they had to paddle straight past them, as stopping to pick them up would wreck their own mission, upon which lives depended.

Seeking emerges, in the second half of the book, as a barely controlled psychopath and hard man. He becomes the Spirit of Killing.

Seekings stormed the machine gun post, hurled in a grenade and then killed the occupants with a revolver as they staggered out, one after the other. ‘I enjoyed the killing. I was scared but I would have gone into action every day if I could.’ (p.197, and cf the massacre on page 293)

If war with Russia comes, then we will want lots of Reg Seekings.

Italy

The assault on Bagnara, a port on the Italian mainland. Then they’re tasked with taking Termoli on the opposite, northern coast of Italy. The Germans were pulling out when an SRS force of 207 men landed and seized the town. The German C-in-C, Field Marshall Kesselring was furious and ordered a counter-attack. Enemy spotters guided artillery fire into the town. There was a direct hit on a lorry loading up with 17 men and bags of grenades. After a huge explosion, not a single body was left intact, with heads and legs and other body parts strewn around the street. Seekings had just walked away from the lorry, Wiseman had just jumped down from the cab, and so both survived but were badly traumatised. An Italian family had been at a doorway watching. the mother and father were both killed instantly but then Seekings saw the little boy running round screaming with a his intestines hanging out of a bad stomach wound, so Seekings grabbed him and shot him dead on the spot. Yes, we want the Reg Seekings on our side.

Hitler’s commando order

On 18 October 1942 the German High Command had issued the ‘Commando Order’ which stated that any Allied soldiers captured in Europe and Africa should be summarily executed without trial, even if in proper uniforms or if they attempted to surrender. Any commandos or similar unit not in proper uniforms should be executed on the spot (p.208).

Three points:

1) This meant men in units like the SAS fought harder to avoid falling into enemy hands, and then made every effort to escape (and Macintyre describes some mind boggling escapes). Many others were caught and executed according to the Order (the execution of Sergeant Bill Foster and Corporal James Shortall, page 210).

2) It indicated a general darkening of the war. In the desert the unit had felt like it was having tally-ho adventures, a freewheeling band of buccaneers. In Europe the fighting got a lot dirtier, darker and more sadistic (p.205).

3) This last relates to the way the SAS found itself being used more and more as a commando i.e. an extension of the proper army, going ahead to defuse enemy defences, and not the band of pirates Stirling conceived of, operating for long stretches behind enemy lines to distract and demoralise the enemy. The tension between the two roles waxed and waned over the next two years (pages 201, 209).

An estimated 250 Allied servicemen, including downed airmen, perished under Hitler’s Commando Order. (p.311)

France (pages 212 to 274)

D-Day was 6 June 1944. The SAS had grown. 1SAS and 2SAS, combined with two French SAS regiments, a Belgian contingent and a signals squadron brought the total of the SAS Brigade to 2,500, commanded by a new, regular brigadier.

When Bill Stirling learned that a lot of these SAS forces were to be parachuted in ahead of the landings to act as shock troops ahead of the main attack he was furious; this was the climax of ‘ordinary’ military thinking and completely against the spirit of the SAS, so he resigned, an act which ‘signalled the end of the Stirling brothers’ leadership of the SAS’ (p.215).

The maquis

The following chapters depict the many adventures of the many different units of the SAS parachuted in to work with, lead and train, the French Resistance, or maquis as it was more commonly referred to.

Main learnings:

1) The maquis contained a surprising number of fighters from other nations, above all Russians, prisoners of the Germans who had somehow escaped and headed west.

2) There was a continual risk of treachery and betrayal; quite a few SAS-led hideaways in forests and mountains were betrayed to the Germans, who surrounded, captured and then, as per the Commando Order, executed everyone.

3) Some of this was because the maquis was riddled with internal politics, in fact the maquis was the continuation by other means of normal French politics and that politics was riddled with extremist factions who hated each other, notably the die-hard communists at one end of the spectrum and right-wing Catholic nationalists at the other. These were the dire political and social divisions which undermined the French republic throughout the 1930s, weakened France’s resistance to the initial German invasion, and would return to dog French politics even after the war. As Reg Seekings put it, the maquis were:

‘really political parties who had run away into the woods.’ (p.228)

And as Macintyre comments:

By 1944, the conflict in rural France had taken on many of the aspects of a civil war, with all the treachery and cruelty which that entails. (p.229)

4) Lack of proper military training or discipline often hampered the maquis’ usefulness.

The French resisters were fickle allies, riven by internecine disputes that often turned deadly. ‘The blood feud between the maquis was terrible,’ wrote [Johnny] Cooper. Fraser McLuskey considered even the most competent French fighters to be liabilities: ‘Co-operation with them in military operations is in most cases inadvisable and in many cases highly dangerous.’ Spies, real and imagined, were everywhere, and as the German occupation was rolled back the score-settling intensified. (p.240)

The book includes eye witness descriptions from our boys of watching the resistance hold quick kangaroo courts and then execute civilians accused of ‘collaboration’, often on no evidence apart from gossip and malice. For all these reasons the straight-down-the-line British SAS often found them difficult allies to work with. See my review of:

There was another aspect to all the SAS operations in occupied France which was German reprisals; almost every SAS-led attack on rail lines or fuel dumps or tank camps was met a few days later by the Germans’ wholesale slaughtering of entire nearby villages, farmsteads and so on, for example the rape, murder and burning the Germans inflicted on the village of Vermot (p.236).

The parachute padre

1SAS received its first chaplain, the Reverend Fraser McLuskey, who came to be known as ‘the parachute padre’ (p.230). This figure slowly grows in importance, getting to know the men, listening in private to their fears and concerns, holding (quite) services in their forest or mountain hideouts, helping improve morale and cement bonds.

Paris

Head of the SAS Paddy Mayne and seasoned navigator Mike Sadler arrived in liberated Paris on 25 August 1944.

It’s a recurring theme of this period that SAS groups entering towns were surrounded by deliriously happy civilians and especially young women throwing flowers and kisses but that, occasionally, enemy snipers or forces had remained behind, opened up firing, and then all these civilians got in the way of effective armed response.

SAS killings

Macintyre makes much of the illegality and immorality of the Hitler Commando order and yet, as the France chapters proceed, the objective reader notices quite a few times when SAS men have gone on the record, either in writings or interviews, as shooting dead surrendering opponents, for example this, from Roy Farran. During the Battle for Crete of 1941, his squadron encountered a group of surrendering soldiers:

‘Five parachutists came out of the olive trees with their hands up. I was not in any mood to be taken in by German tricks. I ordered the gunner to fire.’ (p.253)

Operations were now so continual that Macintyre includes a diary of Farran’s: 4 September destroyed two staff cars and a ten-ton troop carrier; 5 September ambushed a motorcycle convoy killing 6; 6 September surrounded by girls with flowers so not able to properly engage a German staff car making a getaway; 7 September attacked by 600 German troops, counter-attacked killing the German colonel and second in command – every day like that, for months.

SAS headquarters were moved to Hylands House near Chelmsford in Essex.

The Vosges

the campaign in the Vosges mountains led by Captain Henry Carey Druce of 2SAS, who went by the nom de guerre of ‘Colonel Maximum’. There’s no point detailing their actions which are too long and complicated, but they, like almost everything in the book, read like scenes from the most action-packed war movies.

North Italy

Back to Italy and a detailed account of Operation Tombola to shoot up German headquarters in the town of Albinea.

Into Germany

SAS forces followed the main Allied advance into Germany. the key learning here is that, in the desert and in France the Germans had been operating in neutral or opposition territory where the SAS or resistance could move freely to the indifference or active support of the native populations, could find good hideouts and strike at will.

When they entered Germany the tables were turned. Now the entire civilian population was against them, now the Germans were on home soil, now it was the Allies who drove along the main roads in large convoys and were vulnerable to sudden ambushes by small, mobile enemy units. Plus, of course, the fanaticism of the real die-hard Nazis.

The SS seemed ‘happy to die’ and the SAS often seemed happy to oblige them. (p.289)

The other thing was the child soldiers. In its dying months Hitler’s regime press-ganged tens of thousands of boys under 18 into uniform and forced to fight. You might think these children, some only 14 or 13, pitiable victims, but the accounts here show that many of them were as much if not more fanatical than their often demoralised elders (p.292). Macintyre gives accounts of children shooting not just machine guns but Panzerfaust single-shot man-portable anti-tank weapons at them. And the SAS responding in kind. An anonymous SAS soldier is quoted as saying:

‘If you shot one little bastard the others would all start crying.’ (p.292)

Big question: Did the Nazis pioneer the use of indoctrinated child soldiers (which I have recently been reading about in Africa, Sierra Leone and Uganda)? Did Germans invent the phenomenon?

Operation Howard

Worth mentioning this incident, on 10 April 1945, near the village of Börger, where a unit of SAS driving in jeeps came under fierce attack from a wood and where Paddy Mayne – still alive and still leading from the front – displayed unbelievable courage in leading the attack on the ambushers (pages 296 to 300). By this stage in the narrative Mayne has emerged as a beyond larger-than-life figure, as a force of nature, a whirlwind of cold-eyed death and destruction wrought on the enemy. He was nominated for the Victoria Cross (VC) but in the end received another bar to his Distinguished Service Order.

Macintyre contrasts Mayne’s action with that of a Dane, Major Anders Lassen, who in April 1944 led an SAS action against the Greek island of Santorini and was the only non-Commonwealth soldier in the Second World War to be awarded a VC.

Bergen-Belsen

The war narrative climaxes with the SAS unit which came across Bergen-Belsen concentration camp in April 1945, described in chapter 23, pages 303 to 306. It seems like something from a movie that among the unit which discovered it were individuals we’ve come to know very well throughout their previous operations and escapades, including Johnny Cooper, the Reverend Fraser McLuskey, the hard case Reg Seekings, and officer in charge Major John Tonkin. Amazing that they all survived this long.

Among the horror and evil of the Nazi death camp, the most telling moment is when the SAS officer in charge, Tonkin, ordered the camp guards and officer not to be shot on the spot. God knows they’d killed enough Germans in the preceding years. Instead:

Calmly and quietly, Tonkin chose to demonstrate what civilisation meant. (p.305)

Eight months later the commandant and warden of women prisoners were tried, convicted and hanged in Hamelin prison. He doesn’t mention what happened to the guards.

Colditz

On the same day that Belsen was liberated, so was Colditz Castle where Stirling had spent two long years as a prisoner of war. Two days earlier the camp commandant had received orders to ship the entire population of POWS East. Suspecting they would be used as bargaining chips or simply murdered, the senior British officer refused. Stirling was back in England by 17 April. Next day he broke out of the psychiatric evaluation camp where he was being held, headed for London, hit a nightclub and by 2 in the morning was having his ‘first roger for years’ (p.308).

But fighting continued up to the final German surrender on 8 May 1945. On 1 October the combined SAS forces paraded for the last time at Hyland House and were then officially disbanded.

War Crimes Investigation Team

There’s an odd coda which is that after the fighting ended, the head of 2SAS Brian Franks, sent Major Eric ‘Bill’ Barkworth to find the burial places of all SAS men listed as lost during the war and to track down all the German officers responsible for their murders as a result of the Commando Order. Macintyre calls it the last operation of the wartime SAS and describes it, along with the trials and punishments it led to, in fascinating detail pages 311 to 315.

The SAS idea spreads

Initially, after the dropping of the atom bombs on Japan, the Army chief of staff thought we were entering an entirely new era of warfare and so disbanded the SAS. However, just two years later they realised that a host of small conflicts had sprung up around the world, not least in Britain’s efforts to hang onto its empire, and so the SAS was re-established in January 1947.

Not only that but the idea of a small armed force of soldiers trained in survival behind the lines and sabotage spread to Allie countries and was replicated in Canada, New Zealand, Australia, and, after some delay, in America, taking the form of what became known as Delta Force. Right at the end of this splendid book Macintyre give a quick summary of the unit’s rationale:

In tactics and intentions, American and British special forces still follow the principles pioneered by the SAS in the desert more than seventy years ago: attacking the most valuable strategic targets without warning and then melting way again, forcing the enemy to remain on constant, debilitating alert. (p.317)

Afterlives

This wonderfully researched, brilliantly written, absolutely riveting book comes to a logical conclusion with six pages on the post-war lives and careers of the main characters we’ve got to know well during the main narrative, including David Stirling, the man who really emerges as the embodiment of SAS values Paddy Mayne, and others such as Roy Farran, Mike Sadler, Jim Almond, Reg Seekings and Johnny Cooper, the reverend Fraser McLuskey, John Tonkin and Bill Fraser. Not all these lives had happy endings, a kind of muted indication of the long-term psychological damage caused by the terrible scenes they’d witnessed and sometimes dreadful things they’d done.

I liked it that Reg Seekings for many years ran a pub in Cambridgeshire. There’s one landlord you wouldn’t want to have an argument with about chucking out time.

Many of them, like Reg and Stirling, went on to serve or lead forces in various parts of the British Empire, against communists, insurgents and nationalist forces, but that is another, and morally far more complicated story.

Within the context of this book and this war these men really were amazing heroes, models of unbelievable bravery and daring. And this book is an outstanding tribute to them.

Unexpected comedy

Macintyre has some nice comic timing and phrasing. Stories which made me laugh include the Churchill faked request form, plus:

1) When Dr Malcolm Pleydell was assigned as medical officer to the group, he expected to find a bunch of cold-eyed killers. Instead Stirling showed him round the camp like the host of a village garden party, explaining that the distant bangs were because some of the group were about to go out ‘on a party’ i.e. attacks on coastal defences, and were just practicing the explosives.

Pleydell had been expecting a man of blood and steel, a ruthless trained killer; instead he was made to feel as if he had just joined a particularly jolly beachfront house party, with bombs. (p.113)

2) Of the storming of Italian defences on Sicily, Macintyre writes:

A Cambridge graduate and former spectacles salesman, [Johnny] Wideman lost his false teeth but won a Military Cross that day. (p.197)

3) A lot later, in August 1944 in occupied France, Henry Druce was leading a group of SAS hooked up with a large party of French Resistance (which in fact included renegade Russian soldiers). The Resistance was generally referred to as the maquis, referencing the tough scrubland found in the south of France which made for good hiding places. The problem with the maquis was their lack of discipline, their poor training, and their fierce internal squabbles. Anyway, they light flares for an RAF drop of ammunition and food but, with typical indiscipline, members of the maquis rip the canisters of supplies open before Druce and the Brits can gather and guard them. Some of the French, starved from long months in hiding, ripped open the provisions in the canisters and started gorging themselves.

‘One Frenchman died of over-eating,’ Druce recorded. Another of the maquis extracted what he took to be a hunk of soft cheese from one of the containers and devoured it only to discover that it was plastic explosive, which contains arsenic. He then ‘died noisily’. (p.265)

4) At the end of 1944, operating in north Italy, SAS forces are joined by Captain Bob Walker-Brown, the son of a Scottish surgeon who had joined the SAS after tunnelling out of an Italian POW camp, crawling through the main sewer then walking to Allied lines.

He had an enormous moustache, a bluff sense of humour, an upper-class accent so fruity that the men barely understood his commands, and a habit of saying ‘what what’ after every sentence, thus earning himself the nickname ‘Captain What What’. (p.279)

So there is, throughout the book, a thread of very English humour, Macintyre entering into the spirit of self-deprecating humour and understatement evinced by so many of these soldiers, both at the time and in later memoirs and interviews.

A non-British account?

Once the SAS started working alongside the Americans, after D-Day, I began to wonder what the Yanks made of the determinedly upper-class, stiff-upper-lip, committed but often ramshackle and amateurish shenanigans of the Brits described in this book.

Most of the books about the SAS and its leading figures are written by Brits who share their private school and Oxbridge background (Macintyre attended a private school, then Cambridge) and so buy into their values, assumptions and banter – so they tend to be eulogies which draw you into that world.

I wonder if an account exists written by a complete outsider, say an American, which doesn’t buy into the self-reinforcing mythology surrounding this group, and gives a more objective and possibly critical account of their actual military achievement?


Credit

SAS: Rogue Heroes by Ben Macintyre was published by Viking in 2016. References are to the 2022 TV tie-in Penguin paperback edition.

Related reviews

Alamein to Zem Zem by Keith Douglas (1946)

Alamein to Zem Zem is a shortish memoir of the Second World War, covering three months at the end of 1942 and start of 1943 which Keith Douglas spent as a tank captain in a tank regiment engaged in North Africa as part of the Eighth Army fighting against the Germans and some Italians.

Its clarity, honesty and sometimes brutal descriptions have made Alamein to Zem Zem a classic text from the Second World War, but Douglas is just as well known as a war poet as a writer of prose. Many critics consider him the finest English poet of the Second World War. Although he wrote over 100 poems only a handful really rise to the top rank, but those 3 or 4 are breath-taking.

Douglas’s motivation

But to focus on this memoir, let Keith explain (with typical forthrightness) his motivation:

I had to wait until 1942 to go into action. I enlisted in September 1939, and during two years or so of hanging about I never lost the certainty that the experience of battle was something I must have. Whatever changes in the nature of warfare, the battlefield is the simple, central stage of the war: it is there that the interesting things happen. We talk in the evening, after fighting, about the great and rich men who cause and conduct wars. They have so many reasons of their own that they can afford to lend us some of them. There is nothing odd about their attitude. They are out for something they want, or their Governments want, and they are using us to get it for them. Anyone can understand that: there is nothing unusual or humanly exciting at that end of the war. I mean there may be things to excite financiers and parliamentarians — but not to excite a poet or a painter or a doctor.

But it is exciting and amazing to see thousands of men, very few of whom have much idea why they are fighting, all enduring hardships, living in an unnatural, dangerous, but not wholly terrible world, having to kill and to be killed, and yet at intervals moved by a feeling of comradeship with the men who kill them and whom they kill, because they are enduring and experiencing the same things. It is tremendously illogical — to read about it cannot convey the impression of having walked through the looking-glass which touches a man entering a battle.

‘Exciting and amazing’. If anyone ever asks why there are wars and why men fight, there’s one of your answers: because it’s an exciting and amazing experience. A little later he describes how happy he and members of his squadron when they capture an Italian hospital packed with goodies.

Tom was in high spirits; he and Ken Tinker had found an Italian hospital, and their tanks were loaded inside and out with crates of cherries, Macedonian cigarettes, cigars and wine; some straw-jacketed Italian Chianti issue, some champagne, and a bottle or two of brandy, even some Liebfraumilch. We shared out the plunder with the immemorial glee of conquerors, and beneath the old star-eaten blanket of the sky lay down to dream of victory…

And there you have another reason: ‘the immemorial glee of conquerors’. As Elizabethan playwright Christopher Marlowe puts it in Tamburlaine:

Is it not passing brave to be a king,
And ride in triumph through Persepolis?

And loot. Whenever they take enemy territory, come across enemy tanks or other vehicles or bases or hospitals the first thing on the minds of Douglas and his colleagues is ransacking them for a) classy food and drink to augment boring army rations b) more enduring souvenirs, the favourite of which is guns because they are stylish and, by design, portable. Thus Douglas at various points finds a German Luger and an Italian Beretta, the latter of which he sells on in a town for money to buy luxury foods.

  1. excitement and amazement
  2. the glee of conquerors
  3. loot

That’s before you get to what you might call the ‘higher’ motivations. Lots of war memoirs all too vividly describe the author was lost in life, directionless, unsure what to do next – and a just war 4) gave them an immense purpose which stifled all their anxieties and doubts. Then, of course, the socially acceptable indeed praiseworthy motives, in their various forms, of 5) honour and patriotism. For religious believers 6) God is on your side and your religious training teaches you that this is a Holy War. For the religious or non-religious there’s patriotism and a sense of duty that you must 7) defend your country and those you love against an aggressor. And more broadly, 8) defending the wider world against demonstrable evil (in this case, the Nazis). Lastly, for quite a few men, whether poor working class and illiterate or upper class and well educated, 9) the army offers a career, job security, a regular salary, training, respect, and a pension. For many the army is a career like the civil service or medicine.

So next time you read or hear someone asking why there are wars and why men fight, here’s at least nine explanations to be going on with.

Potted biography

Douglas came from a middle-class family in Tunbridge Wells, which fell on hard times, his dad’s business went bust, his mother became seriously ill, the pair divorced and Douglas spent most of his boyhood and teens at boarding schools. He was a loner, an outsider who got into trouble with the authorities for his stroppy attitude. He was nearly expelled from Christ’s Church school for ‘purloining’ a rifle.

Born in January 1920, Douglas was 19 when war was declared on 3 September 1939 and immediately reported to an army recruiting centre. However, like many he had to wait, in his case until July 1940 that he started his training. After attending Sandhurst he was commissioned in February 1941 into the 2nd Derbyshire Yeomanry and posted to the Middle East in July 1941 where he was transferred to the Nottinghamshire (Sherwood Rangers) Yeomanry.

Posted to Cairo then Palestine, Douglas found himself stuck at headquarters working as a ‘camouflage officer’ as the Second Battle of El Alamein (23 October to 11 November 1942) began. His regiment had been ordered to advance and taken casualties in the opening days of the battle while Douglas chafed back in the rear.

On 27 October, with typical insubordination (or bravado, depending on point of view), against explicit orders, Douglas commandeered a truck and drove to the Regimental HQ in the field. This is the point at which the text of Alamein to Zem Zem opens.

The battle of Alamein began on the 23rd of October, 1942. Six days afterwards I set out in direct disobedience of orders to rejoin my regiment. My batman was delighted with this manoeuvre. ‘I like you, sir,’ he said. ‘You’re shit or bust, you are.’ This praise gratified me a lot.

Douglas and batman reported to his Commanding Officer in the field, Colonel E. O. Kellett (nicknamed ‘Piccadilly Jim’ in the text), lying that he had been instructed to go to the front. Short of officers, the CO accepted his arrival and posted him to A Squadron, and gave him the wonderful opportunity of taking part as a fighting tanker in the Eighth Army’s victorious sweep through North Africa. The text of Alamein to Zem Zem is a detailed and precise description of what he saw and felt over the next three months.

Zem Zem is the name of the wadi in Tunisia where Douglas was wounded in early 1943.

Plot summary

  • Douglas deserts his Cairo post to join his regiment in the field
  • quick introduction to key personnel in the regiment
  • a series of small scale engagements which bring out the confusion of battle, before his section is withdrawn for rest
  • lengthy profiles of key figures in his part of the regiment, from the colonel downwards, giving a sense of the importance of personality and temperament to a fighting unit
  • second and more intense description of combat over a number of days, bringing out the confusion of war: Douglas’s tank gets lost in the maze of canyons around Zem Zem and takes a direct hit; he stumbles out of it and discovers quite a few wounded colleagues in the vicinity, carries a badly wounded man on his back as far as the nearest first aid post, promising to return and collect colleagues in a jeep, but just he is just trying to convey to the medics that there are badly wounded men further forward, he snags a tripwire setting off a mine, receives multiple fragment wounds and collapses
  • there follows a lengthy description of the long complex journey by ambulance, plane and train back to Cairo a thousand miles away, with detailed descriptions of the medical care and personnel who administer it, of other injured soldiers he travels with all the way back to an officers’ ward in Cairo, complete with pretty nurses and his first full English breakfast in months, and it is here that the main narrative ends
  • a coda, a completely separate section, which skips Douglas’s treatment and recuperation and finds him back, reunited his regiment right at the end of the North Africa campaign; now there is no fighting and he is tasked with collecting supplies and spare parts from liberated towns in Tunisia, which mainly involves getting very drunk with the French forces and French inhabitants of the region

Highlights

Douglas’s writing is so straightforward, clear, honest and vivid that summarising it seems counter-productive. Big quotes best give you a sense of the man and his approach.

Being in a tank

The view from a moving tank is like that in a camera obscura or a silent film — in that since the engine drowns all other noises except explosions, the whole world moves silently. Men shout, vehicles move, aeroplanes fly over, and all soundlessly: the noise of the tank being continuous, perhaps for hours on end, the effect is of silence. It is the same in an aircraft, but unless you are flying low, distance does away with the effect of a soundless pageant. I think it may have been the fact that for so much of the time I saw it without hearing it, which led me to feel that country into which we were now moving was an inimitably strange land, quite unrelated to real life, like the scenes in ‘The Cabinet of Doctor Caligari’. Silence is a strange thing to us who live: we desire it, we fear it, we worship it, we hate it. There is a divinity about cats, as long as they are silent: the silence of swans gives them an air of legend. The most impressive thing about the dead is their triumphant silence, proof against anything in the world.

Observations

Douglas not only wrote poems but made sketches of life in a tank regiment, a lot of which are so-so, but some of which are vivid and inspired. This eye for detail informs his prose.

One gun which appeared to be firing more or less directly overhead sent a shell which whistled. Possibly at some part of the night there was some German counter-battery fire, or some heavier guns of our own joined in. At all events, there was every variety of noise in the sky, a whistling and chattering and rumbling like trains, like someone whispering into a microphone, or like the tearing of cloth.

A moment before the tank struck him I realized he was already dead; the first dead man I had ever seen. Looking back, I saw he was a Negro. ‘Libyan troops,’ said Evan. He was pointing. There were several of them scattered about, their clothes soaked with dew; some lacking limbs, although no flesh of these was visible, the clothes seeming to have wrapped themselves round the places where arms, legs, or even heads should have been, as though with an instinct for decency. I have noticed this before in photographs of people killed by explosive.

Presently an infantry patrol, moving like guilty characters in a melodrama, came slinking and crouching up to my tank.

Only human

On the occasions when Douglas comes across ‘the enemy’ he is struck by how pathetic and human they are and forgoes several opportunities to shoot them. The reverse:

In the evening I was sent down the road to Brigade in a Marmon Harrington Armoured Car which had been found at Galal. On the way down the dark road we came upon six Germans plodding along by themselves. I sat them on the outside of the car and very reluctantly got out and sat outside with them in the rain. They were dejected and said they had had nothing to eat for two days. I gave them some tins of bully which I had put in my pocket from my tank’s ration box, and some sodden pieces of biscuit. We plunged off the road according to our directions, to find Brigade, but were pixy-led by a number of distracting lights and would have spent the night in a weapon pit into which we fell and got stuck, but for the opportune appearance of a stray tank, which obligingly pulled us out. The jerk of being hauled clear threw all the prisoners on the ground, and one of them lost his kitbag, to which he had been clinging as something saved from the wreck. He asked permission to look for it, in a hopeless tone of voice; the tank crew were indignant when I helped him find it and roared off into the murk again. It was difficult to get rid of the prisoners, but I was determined to find them some food and blankets, because the few people in the regiment who had been taken prisoner and recaptured during the first days at Alamein had been well treated by the Germans. Eventually I dumped them on a guard in the Brigade area whose sergeant had been a prisoner of the Germans for two months and was also well disposed to them.

Only people like us. The whole thing ridiculous.

The new type of pistol had jammed; the moving parts had somehow seized up, and we could not make out how to strip it, so I called to four German soldiers who were walking past. They all lifted their heads in apprehension to endure something more. A corporal walked across to them holding the revolver; he could not make them understand what he wanted. When I crossed over and spoke to them in halting German they smiled in huge relief. Only to tell us how to strip the pistol; they had it in bits in a moment, but advised us to prefer the old type of Luger, which was much more reliable. I asked their spokesman, a corporal with two medal ribbons, if they had had anything to eat. He said yes, they had chocolate, and offered us some; they all had ten or more of the round packets of plain chocolate whose empty cartons we had seen so often. We exchanged some tins of bully for some of the chocolate, and stood about munching chocolate while the Germans opened the bully and passed it round. A general conversation began. The corporal pointed to the Crusader and enquired: ‘Der Panzer ist kaput?’ We explained vaguely what was wrong with it; we argued over the relative merits of some Spitfires which roared low over us, and the 110. Photographs were produced. The Corporal had been in France: in Paris — postcards from Paris; in Greece — pictures of the Parthenon. In Russia? No. And how long in Afrika? Vier Monate.

The fighting

The main thing about the ‘fighting’ is how bewilderingly confusing it is, with Douglas losing track of his regiment, of nearby tanks, blundering into a forward position, mistakenly thinking the enemy are in flight, mistakenly lining his tank up to shoot a German tank side on before realising it was a gun emplacement, and then taking his Crusader tank behind a smoking Grant tank where it promptly took a direct hit from a shell.

He finds other comrades from the regiment in various states of injury, like Robin with his mangled foot. He vows to return with help but blunders into a minefield and snags a tripwire. He’s not killed or badly wounded but receives shrapnel in both legs, calves, thigh, lower back, the hair of half his face singed off.

The last 20 pages or so are a precise, detailed description of the very long, complex journey he and other wounded took by lorry, plane, train and more lorries via umpteen transit hospitals, eventually back to a luxurious officers’ ward in Cairo. And it is here, pleasantly sedated, with his wounds being addressed, with some pretty nurses to cheer him up and savouring his first full English breakfast in months, that the ‘Alamein’ part of the narrative concludes.

The dead

A standout feature is the number of dead people he observes and the repeated oddity of their postures, appearance and, above all, their eerie silence, which really obsesses him.

About two hundred yards from the German derelicts, which were now furiously belching inky smoke, I looked down into the face of a man lying hunched up in a pit. His expression of agony seemed so acute and urgent, his stare so wild and despairing, that for a moment I thought him alive. He was like a cleverly posed waxwork, for his position suggested a paroxysm, an orgasm of pain. He seemed to move and writhe. But he was stiff. The dust which powdered his face like an actor’s lay on his wide open eyes, whose stare held my gaze like the Ancient Mariner’s. He had tried to cover his wounds with towels against the flies. His haversack lay open, from which he had taken towels and dressings. His waterbottle lay tilted with the cork out. Towels and haversack were dark with dried blood, darker still with a great concourse of flies…

The bodies of some Italian infantrymen still lay in their weapon pits, surrounded by pitiable rubbish, picture postcards of Milan, Rome, Venice, snapshots of their families, chocolate wrappings, and hundreds of cheap cardboard cigarette packets. Amongst this litter, more suggestive of holiday-makers than soldiers, there were here and there bayonets and the little tin ‘red devil’ grenades, bombastic little crackers that will blow a man’s hand off and make a noise like the crack of doom. But even these, associated with the rest of the rubbish, only looked like cutlery and cruets. The Italians lay about like trippers taken ill…

The petrol lorries had arrived beside a derelict fifteen-hundredweight truck, the driver of which lay half in, half out of it, with one leg almost entirely torn off. The battledress serge had peeled away, showing a wreckage of flesh and the ends of bones.

Understatement

The presence of so much death triggerlly English understatement:

That night we were issued with about a couple of wineglasses full of rum to each man, the effect of which was a little spoiled by one of our twenty-five-pounders, which was off calibration, and dropped shells in the middle of our area at regular intervals of seconds for about an hour. The first shells made a hole in the adjutant’s head, and blinded a corporal in B Squadron. I spent an uncomfortable night curled up on a bed of tacky blood on the turret floor.

Arguably, this ‘top hole, chaps’ attitude was created at Victorian and Edwardian public schools expressly designed to turn out unquestioningly loyal and patriotic chaps who could administer the largest empire the world has ever seen and engage in battles large and small without losing their stiff upper lips.

We came up to the line of the high ground without further excitement, though we put a six-pounder shell across the bows of one of the 11th Hussars’ armoured cars, which had moved out well ahead of us, and was under suspicion of being an enemy vehicle. We had aimed well ahead of it, and the effect was immediate. It came tearing towards us like a scalded cat and drew up alongside. Its commander, a sergeant, leaned out and said ‘Was that you firing at us?’ We admitted it, and apologised. ‘With that?’ pointing to the long snout of our six-pounder. ‘Well, yes,’ we admitted. ‘Phew!’ he said. ‘Don’t do it again, please.’ He moved out ahead of us again.

‘Would you be so frightfully kind as not to kill us, please. Thanks awfully.’ Douglas is well aware of the comedy and enjoys satirising and caricaturing many of the jolly chaps he meets around the regiment, for example in the extended portrait of the regiment’s second in command, ‘Guy’:

He was fantastically rich and handsome, and appeared, as indeed he was, a figure straight out of the nineteenth century. He was charming and entirely obsolete. His ideas were feudal in the best sense — he regarded everyone in the regiment as his tenants, sub-tenants, serfs, etc., and felt his responsibilities to them as a landlord. Everyone loved him and I believe pitied him a little. His slim, beautifully clad figure remained among our dirty greasy uniforms as a symbol of the regiment’s former glory. He seldom, if ever, wore a beret — on this particular occasion I remember he had a flannel shirt and brown stock pinned with a gold pin, a waistcoat of some sort of yellow suede lined with sheep’s wool, beautifully cut narrow trousers of fawn cavalry twill, without turn-ups, and brown suede boots. On his head was a peaked cap with a chinstrap like glass, perched at a jaunty angle. His moustache was an exact replica of those worn by heroes of the Boer war, his blue eye had a courageous twinkle, and he had the slim strong hands of a mannered horseman.

Douglas describes the dichotomy between the original members of the Yeoman regiment, nicknamed the ‘Yeo-Yeo boys’, who were wealthy landowners born and bred to ride and hunt and shoot and fish and loftily ignored the ‘riff-raff’ who had come into the regiment since it was mechanised.

At some point during yet another description of the relaxed, confident, philistine upper-class cavalry officers I realised the stereotypical form of address, ‘old boy’, was no more than the truth. They were all overgrown schoolboys.

Germans and Italians

The Germans are efficient, the Italians are a pathetic joke:

The side of the road was still littered with derelict vehicles of all kinds, interspersed with neat graves bearing crosses inscribed with the names and rank of German officers and men, and surmounted by their eagle-stamped steel helmets. More hastily dug and marked graves were those of Italians, on some of which was placed or hung the ugly green-lined Italian topee. There is something impressive in the hanging steel helmet that links those dead with knights buried under their shields and weapons. But how pathetically logical and human — one of those touches of unconscious comedy which makes it difficult to be angry with them — that the Italians should have supplemented the steel cap with a ridiculous battered cut-price topee. The steel helmet is an impressive tombstone, and is its own epitaph. But the cardboard topee seemed only to say there is some junk buried here, and we may as well leave a piece of rubbish to mark the spot.

Soldier slang

At one point he tells us every single sentence of dialogue must be understood as littered with the universal swearword used by everyone all the time in the army, by which I take him to mean the ‘f’ word.

  • muckin’ and blindin’
  • brew up = tank being hit and exploding or bursting into flames; because this takes place in a confined metal space it is metaphorically compared to brewing up tea in a kettle
  • canned to the wide = drunk
  • Monkey Orange = radio code for medical officer

The silence of the dead

Gradually the objects in the turret became visible: the crew of the tank — for, I believe, these tanks did not hold more than two — were, so to speak, distributed round the turret. At first it was difficult to work out how the limbs were arranged. They lay in a clumsy embrace, their white faces whiter, as those of dead men in the desert always were, for the light powdering of dust on them. One with a six-inch hole in his head, the whole skull smashed in behind the remains of an ear — the other covered with his own and his friend’s blood, held up by the blue steel mechanism of a machine gun, his legs twisting among the dully gleaming gear levers. About them clung that impenetrable silence I have mentioned before, by which I think the dead compel our reverence…

Douglas returned from North Africa to England in December 1943, trained for and then took part in the D-Day invasion of Normandy on 6 June 1944. On 9 June Douglas’s armoured unit was pinned down on high ground overlooking Tilly-sur-Seulles. Concerned by the lack of progress, Douglas dismounted his tank to undertake a personal reconnaissance during which he was killed by a German mortar. He had joined the silent dead.

Poems

But his words weren’t silenced. A collected poems was published and then this memoir, and his reputation has remained steady, among those interested in war memoirs and poetry, up to the present day. Talking of memory and reputation, these are the subjects of one of Douglas’s three great poems.

Remember me when I am dead
and simplify me when I’m dead.

As the processes of earth
strip off the colour of the skin:
take the brown hair and blue eye

and leave me simpler than at birth,
when hairless I came howling in
as the moon entered the cold sky.

Of my skeleton perhaps,
so stripped, a learned man will say
‘He was of such a type and intelligence,’ no more.

Thus when in a year collapse
particular memories, you may
deduce, from the long pain I bore

the opinions I held, who was my foe
and what I left, even my appearance
but incidents will be no guide.

Time’s wrong-way telescope will show
a minute man ten years hence
and by distance simplified.

Through that lens see if I seem
substance or nothing: of the world
deserving mention or charitable oblivion,

not by momentary spleen
or love into decision hurled,
leisurely arrive at an opinion.

Remember me when I am dead
and simplify me when I’m dead.


Related links

Related reviews

The Last Enemy by Richard Hillary (1942)

They would say, ‘I hope someone got the swine who got you: how you must hate those devils!’ and I would say weakly, ‘Oh, I don’t know,’ and leave it at that. I could not explain that I had not been injured in their war, that no thoughts of ‘our island fortress’ or of ‘making the world safe for democracy’ had bolstered me up when going into combat. I could not explain that what I had suffered I in no way regretted; that I had welcomed it; and that now that it was over I was in a sense grateful for it and certain that in time it would help me along the road of my own private development.
(The Last Enemy, page 166)

Potted biography (from Wikipedia)

Born in April 1919, Richard Hillary was 20 when the Second World War broke out. He was the son of an Australian government official and his wife, and attended one of the UK’s top public schools, Shrewsbury School, before going on to Trinity College, Oxford (‘a typical incubator of the English ruling classes before the war’).

At Oxford he was a fit, handsome man who devoted all his energy to rowing, hoping to achieve a ‘Blue’ (‘Unfortunately, rowing was the only accomplishment in which I could get credit for being slightly better than average.’) His memoir contains some very funny rowing stories, particularly the tour of German and Hungarian regattas he went on with seven fellow rowers who wangled free tickets and hotel rooms on false promise that they were the ‘official’ Oxford Eight, which they very much weren’t.

But at the same time as rowing, he joined the Oxford University Air Squadron and the Royal Air Force Volunteer Reserve. The undergraduates all knew war was coming.

Hillary was called up to the Royal Air Force in October 1939. He was sent for training in Scotland then, in July 1940, was posted to B Flight, No. 603 Squadron RAF, located at RAF Montrose, still in Scotland but, for the first time, flying Spitfires.

On 27 August the Squadron was moved south to RAF Hornchurch, in Essex, and immediately saw combat in the Battle of Britain (10 July 1940 to 31 October 1940). In one week of combat Hillary personally claimed five Bf 109s shot down, claimed two more probably destroyed and one damaged.

On 3 September 1940 i.e. seven days into his new posting, Hillary had just made his fifth ‘kill’ when he was shot down by a Messerschmitt Bf 109. He describes vividly the key mistake he made. After getting an enemy plane in his sights he let off a 2 second burst of machinegun fire which he saw hit the machine. But instead of breaking off and wheeling away, he let off another 3 second burst to make sure and that was long enough for another Messerschmitt to get on his tail and hit him.

Trapped in his cockpit while the Spitfire burst into flames Hillary was badly burned, then passed out, then literally fell out of the plane as it tumbled down towards the sea. The cold air revived him, he deployed his parachute and landed in the North Sea, where he was rescued by a lifeboat from the Margate Station.

If school and university were part 1 and combat flying was part 2, now began the third part of Hillary’s short life, an extended period of medical treatment for his appalling burns.

Hillary was first treated at the Royal Masonic Hospital, Hammersmith and then at the Queen Victoria Hospital in Sussex. Here he came under the direction of the plastic surgeon Archibald McIndoe and endured three months of repeated surgery in an attempt to repair the damage to his hands and face. Pioneer patients were known as McIndoe’s ‘Guinea Pig Club’. It was a painful and psychologically devastating period.

The Last Enemy

The Last Enemy is a carefully crafted text. I’ve copied the outline of Hillary’s life from Wikipedia in order to show how he treats it in The Last Enemy. The Last Enemy is in three parts:

  1. The proem (‘a preface or preamble to a book or speech’)
  2. Book One – his life up to the shooting down, focusing on Oxford then his RAF training
  3. Book Two – medical treatment, plastic surgery, return to a semblance of civilian life

1. Proem

A short 6-page Proem, an intense description of the day he took off with the rest of his squadron, engaged in a dogfight, was hit and his cockpit immediately burst into flames, how he struggled to open the hatch, tumbled through the air, and then the long, long time (four hours) he spent in the cold North Sea, entangled in the straps and ropes of his parachute, the tortured thoughts that went through his head, his feeble attempts to deflate his life jacket and drown himself, which turns out to be harder than he expected. It is told with the winning, upper-class sang-froid of his class.

There can be few more futile pastimes than yelling for help alone in the North Sea, with a solitary seagull for company, yet it gave me a certain melancholy satisfaction, for I had once written a short story in which the hero (falling from a liner) had done just this. It was rejected.

Then willing arms are pulling him up, his parachute is cut free, brandy, a blanket and the long chug back to Margate, ambulance, hospital, anaesthetic. Blimey. It’s harrowing stuff. But what led up to this fatal moment? How did we get here?

2. Book One

Book one contains five chapters. He skips past his parents and childhood and boyhood and school, and the text opens with young Richard a bright young undergraduate at Oxford University, and this is where we get introduced to the book’s style and purpose.

There’s a lot of facts about Oxford and undergraduate life, as there will later be a lot of facts about the different planes he trained and flew in. It is all told in the bright and breezy style of the confident English upper class, with lashings of self-deprecation and irony.

The press referred to us as the Lost Generation and we were not displeased. Superficially we were selfish and egocentric without any Holy Grail in which we could lose ourselves. The war provided it, and in a delightfully palatable form. (p.24)

But what sets it apart from other memoirs of bright young things is Hillary’s earnest, if rather immature, young mannish attempts to make sense of it all, to make sense of his life, how it fit into his generation’s attitudes and experiences.

On the face of it this gives rise to a number of descriptions of how he and his generation felt about, say, international politics, English society, the British Empire or the writers of the 1930s, the poets of the generation just before them, all of which give rise to quotable soundbites (which are often included in social histories of the period).

On politicians

We were convinced that we had been needlessly led into the present world crisis, not by unscrupulous rogues, but worse, by the bungling of a crowd of incompetent old fools.

Class consciousness and the 1930s poets

Despising the middle-class society to which they owed their education and position, they attacked it, not with vigour but with an adolescent petulance. They were encouraged in this by their literary idols, by their unquestioning allegiance to Auden, Isherwood, Spender, and Day Lewis. With them they affected a dilettante political leaning to the left. Thus, while refusing to be confined by the limited outlook of their own class, they were regarded with suspicion by the practical exponents of labour as bourgeois, idealistic, pink in their politics and pale-grey in their effectiveness. They balanced precariously and with irritability between a despised world they had come out of and a despising world they couldn’t get into… (p.13)

The post-war future

Was there perhaps a new race of Englishmen arising out of this war, a race of men bred by the war, a harmonious synthesis of the governing class and the great rest of England; that synthesis of disparate backgrounds and upbringings to be seen at its most obvious best in R.A.F. Squadrons? While they were now possessed of no other thought than to win the war, yet having won it, would they this time refuse to step aside and remain indifferent to the peace-time fate of the country, once again leave government to the old governing class?…Would they see to it that there arose from their fusion representatives, not of the old gang, deciding at Lady Cufuffle’s that Henry should have the Foreign Office and George the Ministry of Food, nor figureheads for an angry but ineffectual Labour Party, but true representatives of the new England that should emerge from this struggle?

(Partly this passage stood out for me because of his use of the phrase ‘the old gang’ referring to the corrupt old aristocrats and public school johnnies who run everything, because it copies the phrase from an Auden poem:

We know it, we know that love
Needs more than the admiring excitement of union,
More than the abrupt self-confident farewell,
The heel on the finishing blade of grass,
The self-confidence of the falling root,
Needs death, death of the grain, our death.
Death of the old gang…

From The Destruction of Error by W.H. Auden, 1929)

There’s a lot of stuff pitched at this level, undergraduate generalisations about society and it’s very readable and interesting, as far as it goes. It took me a while to realise that Hillary has a deeper, sometimes quite buried, purpose to all this. And this is to describe how the narrator matures and grows up, so that the book could have been titled The Socialisation of an Egotist. Or maybe, How The Egotist Grew Up.

I read a commenter on Amazon saying they disliked Hillary because of his sense of entitlement and arrogance, but I take that as being precisely the point of the book, to show the reader that that’s how he started off and to take you on his journey of maturing. It is a Bildingsroman. It is a coming-of-age story. The whole point is to start with the hero being immature, rootless, drifting and fantastically self-absorbed. He lives for the moment. He lives to express himself and fulfil himself. Rowing’s what he’s good at and partying and being handsome and witty with other gilded, witty, athletic posh types, and so this is how he spends his time.

And so this is the attitude he brings to fighting the war: he laughs at all the ‘rot’ about the Empire and patriotism and the great this, that or the other. He doesn’t give a stuff for any of that grand talk. Keith Douglas, in Alamein to Zem Zem, sees the advent of war as a personal challenge, and that’s just how Hillary sees it:

For myself, I was glad for purely selfish reasons. The war solved all problems of a career, and promised a chance of self-realisation that would normally take years to achieve. As a fighter pilot I hoped for a concentration of amusement, fear, and exaltation which it would be impossible to experience in any other form of existence. (p.24)

It’s a point he rams home with repetition, convinced most of his peers feel the same:

We continued to refuse to consider the war in the light of a crusade for humanity, or a life-and-death struggle for civilization, and concerned ourselves merely with what there was in it for us… (p.46)

He gives us good pen portraits of his undergraduate friends and then he enlists and is whisked off to Scotland for training. Here we are introduced, once again, to quite a large number of chaps, some of whom are really very well off: a son of Lord Beaverbrook, several landed gentry who invite them to go grouse shooting on their vast estates. (It’s notable that Hillary positions himself as very much not part of the huntin’, shootin’ and fishin’ set; he describes at least two separate shooting invitations at length and each time makes it clear he hates stomping through wet heather and mud in order to stand around on a windswept hillside shooting at a few wretched pheasants. He dips into that world, but he is not of it.)

But the point I’m making about the fairly large cast of other characters (for example, all the pilots he trains with and then in his squadron – I counted 32 named individuals in all) is that although we get their height and hair colour and university background and everything, there’s a persistent thread of Hillary considering them as psychological types, and measuring them against his own, very well expressed egocentricity. Take what he says about his fellow pilot Peter Howes:

The change in Peter Howes was perhaps the most interesting, for he was not unaware of what was happening. From an almost morbid introspection, an unhappy preoccupation with the psychological labyrinths of his own mind, his personality blossomed, like some plant long untouched by the sun, into an at first unwilling but soon open acceptance of the ideas and habits of the others. (p.45)

He sees in others the maturation process which the book ends up being about. This comes into focus in the character of one of the young flyers he meets, a chap named Peter Pease, who is a devout Christian.

Peter was, I think, the best-looking man I have ever seen. He stood six-foot-three and was of a deceptive slightness for he weighed close on 13 stone. He had an outward reserve which protected him from any surface friendships, but for those who troubled to get to know him it was
apparent that this reserve masked a deep shyness and a profound integrity of character. Soft-spoken, and with an innate habit of understatement, I never knew him to lose his temper. He never spoke of himself and it was only through Colin that I learned how well he had done at Eton before his two reflective years at Cambridge, where he had watched events in Europe and made up his mind what part he must play when the exponents of everything he most abhorred began to sweep all before them.

Many, many things happen. They train, they fly, they fight, they go dancing and drinking. There is an interlude where we discover some of the pilots have been using their spare time to entertain small children who have been evacuated from urban centres to the small hamlet of Tarfside (pages 78 to 79). There is a lot of detail and incident and character, all described in a winningly confident pukka style.

But at the core of Book One is the longest chapter in the book (26 pages in the Penguin edition) titled ‘The World of Peter Pease’ for it contains a prolonged debate between Richard the selfish atheist and Peter the quietly spoken, selfless Christian. Richard volunteered for the RAF because he selfishly wants the experience of flying a Spitfire and shooting down enemy fighters. Peter is serving because has observed events across Europe and come to the conclusion that the Nazis represent real Evil, Biblical Evil, created by the Devil. What they are doing is Devilish and must be combated by all good Christians.

Hillary isn’t Dostoyevsky or Sartre. Their debate isn’t pitched in sophisticated theological or philosophical terminology. And it doesn’t last that long, pages 82 to 91. But you have the sense, the dramatic literary sense, that although he’s writing the account, Hillary himself knows he’s on quicksand. There’s an old saying that you know you’re losing the argument when you resort to insults, as Hillary finds himself doing:

‘You are going to concern yourself with politics and mankind when the war is over: I am going to
concern myself with the individual and Richard Hillary. I may or may not be exactly a man of my time: I don’t know. But I know that you are an anachronism. In an age when to love one’s country is vulgar, to love God archaic, and to love mankind sentimental, you do all three.’

But the more fiercely Hillary argues that nothing matters except the self, that he’s only fighting for the experience, that life is about self expression and getting as much out of it as you can, the more you can feel him beginning to doubt himself:

I’m not concerned with genius. I’m concerned with my own potentialities. I say that I am fighting this war because I believe that, in war, one can swiftly develop all one’s faculties to a degree it would normally take half a lifetime to achieve. And to do this, you must be as free from outside interference as possible. That’s why I’m in the Air Force. For in a Spitfire we’re back to war as it ought to be–if you can talk about war as it ought to be. Back to individual combat, to self–reliance, total responsibility for one’s own fate. One either kills or is killed; and it’s damned exciting. (p.85)

‘Exciting’, the same word Keith Douglas uses in Alamein to Zem Zem:

It is exciting and amazing to see thousands of men, very few of whom have much idea why they are fighting, all enduring hardships, living in an unnatural, dangerous, but not wholly terrible world, having to kill and to be killed… (Alamein to Zem Zem)

Interesting coincidence as this may be, it doesn’t strengthen Hillary’s case. A close reading suggests the quietly spoken Christian, Peter Pease, is on the solider ground. I couldn’t say whether Hillary intends the reader to take his side, but I think he intends it to be a close-run thing.

(It might be worth mentioning in passing that Auden felt the same. After he had emigrated to America in 1939 her came to realise that all the so-called ‘political’ poetry he wrote in the 1930s was, deep down, motivated by personal needs and urgencies and that, if it came right down to it, why were we fighting the Germans? If everything is personal and psychological, then maybe it’s possible to change your personality, or in a different mood, support the Nazis. Where was the solid, objective basis on which to found your belief that the Nazis were wrong, not a matter of taste or scruple, but the conviction that what they were doing was simply wrong and anti-human? Arguments like this were part of Auden’s process towards readopting the lapsed Anglican Christianity of his boyhood. You cannot allow the fight against the Nazis to depend on your vacillating mood, on personal preference. There must be an objective truth outside yourself. There must be a God who underpins a universal moral order, who underpins Human Morality. This is the conviction expressed in different styles by Auden, T.S. Eliot, C.S. Lewis and many other writers of the age, and explains why the Second World War saw an upsurge in Christian faith, from a wide range of people asking themselves this question: ‘Why am I so sure the Nazis are wrong? Because there are universal moral standards external to me, there is a Moral Law, there is a timeless Creator who underpins them.’)

In the moral or philosophical terrain (i.e. not the fighter pilot or medical parts) of the narrative, Peter Pease is triangulated with another character, David Rutter, a convinced pacifist. It is worth quoting Hillary’s description of Rutter at length for what it tells about the ideas floating around in 1939:

‘Modern patriotism,’ he would say, ‘is a false emotion. In the Middle Ages they had the right idea. All that a man cared about was his family and his own home on the village green. It was immaterial to him who was ruling the country and what political opinions held sway. Wars were no concern of his.’ His favourite quotation was the remark of Joan’s father in Schiller’s drama on the Maid of Orleans, ‘Lasst uns still gehorchend harren wem uns Gott zum Köng gibt,’ which he would translate for me as, ‘Let us trust obediently in the king God sends us.’

‘Then,’ he would go on, ‘came the industrial revolution. People had to move to the cities. They ceased to live on the land. Meanwhile our country, by being slightly more unscrupulous than anyone else, was obtaining colonies all over the world. Later came the popular press, and we have been exhorted ever since to love not only our own country, but vast tracts of land and people in the Empire whom we have never seen and never wish to see.’

So he’s not just a pacifist but has clearly thought-out views about the meretricious role of the popular press and the bogusness of the British Empire (something Hillary isn’t very impressed by, either). Rutter is only one among many named characters in the book, but Hillary explicitly links him to Pease by virtue of his thought-through, principled stance.

3. Book Three

As mentioned above, book three starts with Hillary recovering in hospital and follows the long, gruelling process of the treatment for his burns and then the plastic surgery designed to give him a semblance of a face and of hands (at one point the surgeon taps the shiny white part of his knuckle – which Hillary can’t feel – and points out it’s raw bone; he was burned to the bone).

This is very gruelling for the reader because in each of his hospitals Hillary, of course, meets and finds out about patients in much worse plight than himself. Worst of all is the burns hospital in Sussex which includes a 15-year-old girl who was totally burned by molten sugar on her first day in a factor, and who screams in agony all the time. God.

He has umpteen hallucinations under the influence of heavy painkillers for months. In one he is in the cockpit with his friend Peter Pease when he is shot down and killed. (This chimes eerily with the Roald Dahl short stories of close relatives, mothers or wives or friends, witnessing at first hand the deaths of their loved ones miles away in bombers or fighters. Was it a very common hallucination or intuition, one wonders.) The nurses are almost universally excellent and there are many little examples of their kindness and tact when dealing with the devastatingly injured, and the towering example of Sister Hall, who is a firm but compassionate ruler of the burns ward at the Queen Victoria Hospital, Sussex.

Peter’s wife, Denise, comes to visit and, when he is well enough to leave hospital, Richard often goes to stay at her house in Eaton Place. In fact it’s one of the mild surprises of the book that he is allowed to leave hospital and travel to London, to meet old friends for drinks etc, even while his treatment continues. It’s because each of the skin grafts to give him new eyelids or new lips, takes months to ‘take’.

The climax of the book comes quickly and I found overwhelmingly moving, if for reasons I don’t fully understand. It is in two parts. One day Hillary accepts an invitation from his old friend David Rutter, the pacifist, and takes the train out to his cottage in Norfolk. The door is opened by David’s wife, Mary, who is visibly shocked at Hillary’s appearance. They shake hands, make a pot of tea, sit down to chat but Hillary finds Mary quite aggressive. After a while Rutter intervenes to explain that she is over-compensating, because so many of their friends in the Forces end up berating Rutter for being a pacifist. OK, Hillary processes this fact, but senses there is a deeper reason for Mary’s unhappiness.

Then it comes out. David has lost his pacifism. As the war has continued he has come to doubt his stance. The Nazis have emerged as not just another enemy in another war, but the most evil force history has ever thrown up and this is a war to preserve not just democracy but all human decency. And so David has come to doubt his contented pacifism.

As country after country had fallen to Hitler his carefully reasoned arguments had been split wide open: it was as much the war of the unemployed labourer as of the Duke of Westminster. Never in the course of history had there been a struggle in which the issues were so clearly defined. Although our peculiar form of education would never allow him to admit it, he knew well enough that it had become a crusade. All this he could have borne. It was the painful death of his passionate fundamental belief that he should raise his hand against no man which finally brought his world crumbling about his ears. (p.168)

And so his wife Mary is distraught. She thought she knew where they stood. She thought they shared common values and now she doesn’t know any more. I thought this was all beautifully sense, imagined and described.

In the climax of their conversation, David asks Richard what he should do and Richard suddenly feels like a fraud, a fake. He has no principles of his own beyond seeking self-fulfilment and adventure. He has no moral ground on which to stand, from which to give David the certainty he has lost and wants to find again. They shake hands and Richard catches the train back to London feeling like a fraud.

This is what I mean by Bildungsroman. Remember the Amazon commenter who said they disliked Hillary’s arrogance and elitism. Well, this scene exemplifies my point that the initial arrogance is calculated; it is part of a calculated literary strategy, to follow the journey of cocky, handsome, privileged young public schoolboy on his journey to shame and humility. And the interesting thing is that it is not the shooting down, the burning or the terrible pain which does it; it is the example of the other people around him, it is Peter Pease and Denise and David and Mary.

Psychological climax

All this prepares us for the climactic last few pages of the book. His train from Norfolk pulls in to Liverpool Street Station during a German air raid. A taxi picks him up but then the driver says they’d better take cover, so Richard tells him to pull over at the nearest pub and they both duck inside. Here the atmosphere is febrile as the bombs fall all around. Then they hear a series of bombs coming closer and closer and everyone throws themselves to the ground. Is this it? the reader wonders.

No. There’s an almighty explosion, the floor jumps up, the windows shatter and so on, but they stagger to their feet alive. The bomb fell next door. An air raid warden opens the door and asks for help digging through the rubble, Richard volunteers. After a while of removing rubble they come to a bed, and slowly disinter a little girl who is stone dead. She was being held and protected by her mother, pinned by rubble to the bed, her leg broken under her. Richard has a flask of brandy and pours a little into the woman’s mouth and she opens her eyes to weakly thank him and then, seeing his melted face, says ‘I see they got you too’, and then she died.

I’m crying all over again as I write this. Richard struggles to screw the lid of the flask back on, gets to his feet and pushes past the other rescuers on the rubble, into the street and struggles with all his strength not to start screaming, to start running as fast as he can and screaming at the top of his voice. Something inside him has finally, totally, utterly snapped. Forgive me for quoting it at length, but its power lies in the thoroughness and cumulativeness of the horror;

Someone caught me by the arm, I think it was the soldier with the girl, and said: ‘You’d better take some of that brandy yourself. You don’t look too good’; but I shook him off. With difficulty I kept my pace to a walk, forcing myself not to run. For I wanted to run, to run anywhere away from that scene, from myself, from the terror that was inside me, the terror of something that was about to happen and which I had not the power to stop.

It started small, small but insistent deep inside of me, sharp as a needle, then welling up uncontrollable, spurting, flowing over, choking me. I was drowning, helpless in a rage that caught and twisted and hurled me on, mouthing in a blind unthinking frenzy. I heard myself cursing, the words pouring out, shrill, meaningless, and as my mind cleared a little I knew that it was the woman I cursed. Yes, the woman that I reviled, hating her that she should die like that for me to see, loathing that silly bloody twisted face that had said those words: ‘I see they got you too.’ That she should have spoken to me, why, oh Christ, to me? Could she not have died the next night, ten minutes later, or in the next street? Could she not have died without speaking, without raising those cow eyes to mine?

‘I see they got you too.’ All humanity had been in those few words, and I had cursed her. Slowly the frenzy died in me, the rage oozed out of me, leaving me cold, shivering, and bitterly ashamed. I had cursed her, cursed her, I realised as I grew calmer, for she had been the one thing that my rage surging uncontrollably had had to fasten on, the one thing to which my mind, overwhelmed by the sense of something so huge and beyond the range of thought, could cling. Her death was unjust, a crime, an outrage, a sin against mankind — weak inadequate words which even as they passed through my mind mocked me with their futility.

That that woman should so die was an enormity so great that it was terrifying in its implications, in its lifting of the veil on possibilities of thought so far beyond the grasp of the human mind. It was not just the German bombs, or the German Air Force, or even the German mentality, but a feeling of the very essence of anti-life that no words could convey. This was what I had been cursing — in part, for I had recognised in that moment what it was that Peter and the others had instantly recognised as evil and to be destroyed utterly. I saw now that it was not crime; it was Evil itself — something of which until then I had not even sensed the existence.

And it was in the end, at bottom, myself against which I had raged, myself I had cursed. With awful clarity I saw myself suddenly as I was. Great God, that I could have been so arrogant!

In the final pages Hillary reviews the entire narrative in a new light, his cocksure self-centredness destroyed for good. Why did he enjoy bating Peter Pease, so obviously right about the moral aspect of the war? Why had he quietly mocked the selfless determination of Peter’s widow, Denise? Why had he failed to acknowledge the deaths, the sacrifices of all his flying colleagues, ‘the Berrys, the Stapletons, the Carburys’ who instinctively honoured the dead? And all the people with terrible burns and amputations who he met in hospital, in his self-centredness, he had seen them only as objects of interest and then irritation.

Even David who he had gone to see earlier the same day, when he needed help, advice, some kind of guidance, Hillary had recoiled into his smart and aloof self-centredness, because his philosophy of life – that life is entirely and only about Self Fulfilment – could provide no guidance, no basis for helping anyone else.

Again memory dragged me back. It had been this very day who had sat back smoking cigarettes while David had poured out his heart, while his wife had watched me, taut, hoping. But I had failed. I had been disturbed a little, yes, but when he was finished I had said nothing, given no sign, offered no assurance that he was now right. I saw it so clearly… ‘Do you think I should join up?’ On my answer had depended many things, his self-respect, his confidence for the future, his final good-bye to the past. And I had said nothing, shying away from the question, even then not seeing. In the train I had crossed my legs and sat back, amused, God help me, by the irony of it all.

Now the enormity of the pointless, cruel death of the woman in the bombed house finally breaks his reserve, smashes the smooth, protective arrogance which has been his carapace all his life. He has lived in a trivial world of ‘nice comfortable little theories’ (p.176), protected by his ironies and his detachment. All his life he has refused to embrace the reality of the world.

Stricken with guilt, Hillary spends a sleepless night agonising over his hundred and one failures and only in the last two paragraphs does some kind of way forward appear to him, a way to atone for his shallowness, his heartlessness, his failure to help. He will write. He will write it all out.

I would write of these men, of Peter and of the others. I would write for them and would write with them. They would be at my side. And to whom would I address this book, to whom would I be speaking when I spoke of these men? And that, too, I knew. To Humanity, for Humanity must be the public of any book. Yes, that despised Humanity which I had so scorned and ridiculed to Peter.

If I could do this thing, could tell a little of the lives of these men, I would have justified, at least in some measure, my right to fellowship with my dead, and to the friendship of those with courage and steadfastness who were still living and who would go on fighting until the ideals for which their comrades had died were stamped for ever on the future of civilization.

Those are the last sentences. Reader, you hold in your hands the fruit of Hillary’s decision to help in the wider struggle, to honour his comrades, dead and still living, and to redeem himself. It is, I think, an incredibly powerful ending.

Epilogue

What follows isn’t in the book; it’s the rest of Hillary’s biography as copied from Wikipedia:

In 1941 Hillary persuaded the British authorities to send him to America to rally support for Britain’s war effort. While in the United States, he spoke on the radio, had a love affair with the actress Merle Oberon (!), and drafted much of this book, which was to make him famous.

Hillary managed to bluff his way back into a flying role even though, as was noted in the officers’ mess, he could barely handle a knife and fork. He returned to service with No 54 Operational Training Unit at RAF Charterhall, for a conversion course to pilot light bomber aircraft.

Hillary was killed on 8 January 1943, along with Navigator/Radio Operator Sergeant Wilfred Fison, when he crashed a Bristol Blenheim during a night training flight in adverse weather conditions, the aircraft coming down on farmland in Berwickshire, Scotland.


Credit

The Last Enemy was published by Macmillan and Co in 1942. All references are to the 2018 ‘Centenary Collection’ Penguin paperback edition.

Related links

Other war flying memoirs

Second World War 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.

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