An Ice-Cream War by William Boyd (1982)

Nothing today had been remotely how he imagined it would be; nothing in his education or training had prepared him for the utter randomness and total contingency of events.
(Gabriel Cobb reflecting on the chaos of the Battle of Tanga, An Ice-Cream War, page 172)

This is a long, deeply researched and immaculately described historical novel, set during the Great War in British East Africa, filling 383 densely printed Penguin pages.

Boyd is a lovely writer. His style is clear and polite, in a very English way. It’s obviously less funny than ‘A Good Man in Africa’, which is a full-on comedy, but it also feels more formal, somehow more old fashioned, appropriately for its historical setting. There are moments of psychological acuity or observational detail or deft phrasing to give pleasure on every page.

Part 1. Before the war

Chapter 1. 6 June 1914, Dar-es-Salaam, German East Africa

Introduces us to Temple Smith, ‘a very fat man with a thick black walrus moustache’ (p.310), the American owner of a sisal plantation in the south of British East Africa (what will later become Kenya). Smith has travelled down to Dar es Salaam, which is in the adjoining colony of German East Africa, in order to collect a consignment of coffee plant seedlings. He is ambitious and wants to expand his farm from just growing and processing sisal

Through his eyes we see Dar as it was in 1914 and the arrival of several German ships at the harbour. Smith is greeted by his nearest neighbour from across the border in the German colony, one Erich von Bishop. An efficient crop-haired man, Bishop is here to greet his wife, Liesl, who has been on an extended holiday to her relatives in Europe (where she has put on a lot of weight).

(There’s a bit of backstory, which is that we learn why Smith is in Africa. He was bored being manager of an iron foundry in Sturgis, New Jersey, and had applied to an advertisement to be the manager of a big game hunt to Africa, in this case for the ex-US president Theodor Roosevelt and his son Kermit when they came on a big game safari back in 1909. When he questioned the need to massacre quite such huge numbers of wild game he was sacked but had come to like Africa and decided to stay on and try to make it as a farmer.)

There is an odd, apparently inconsequential episode, when Smith visits a local prostitute in a bordello. She is rake thin, covered in bangles and ointment and smells. When she spits something out the window which lands with a clatter on some nearby roof he chickens out and doesn’t go through with it…

Chapter 2. 8 June 1914, The Northern Railway, German East Africa

Bishop invites Smith to share the train journey from Dar back inland to the nearest station to their farms. We see the long uncomfortable railway journey through the eyes of Liesl von Bishop who is not happy to be back in Africa and, as angry women do, finds both the men pitiful and pathetic. Smith alights at Moshi station where he is met by his native foreman, Saleh.

Chapter 3. 10 June 1914, Taveta, British East Africa

Smith’s farm (which he has named Smithville) with its acres of sisal plants, barns, warehouse to house the massive decorticator machine, some tramlines. His placid wife, Matilda, and two yapping little boys, Glenway and Walker (p.45).

Chapter 4. 24 July 1914, Ashurst, Kent, England

Long chapter introducing us to the Cobb family through the eyes of the spoilt younger son, Felix, who’s just left private school before going up to Oxford next term. Felix has come under the influence of a charismatic boy called Holland, at school, and so fancies himself as a fashionable, progressive intellectual.

Holland’s sway over Felix had been established in their final year at school, and Felix had accepted it with the zeal of a disciple acknowledging the messiah. (p.189)

With the result that Felix finds his family, and everything about the impressive country estate in Kent, unbearable – his father the permanently bad-tempered retired Major Hamish; his sisters Cressida, Yseult and the twins Albertine and Eustacia; his conventional mother and his various male in-laws, namely:

  • Lieutenant Nigel Bathe married to Eustacia
  • Sammy Hinshelwood
  • the honourable Greville Verschoyle married to Albertine
  • Lt Col. Henry Hyam, married to Yseult (who, when war starts, bags a job in the Committee of Imperial Defence)

The only person he likes, adores even, is his older brother, 27-year-old Captain Gabriel Cobb who collected him from the station and with whom he goes for a swim in the old willow pool while filling him in on the latest family gossip. As part of their banter Gabriel chats about his time in the army in India where he hasn’t seen any fighting but he has stuck a few wild pigs. Felix is disgusted and asks whether they squeal. Well, you’d squeal if you were stuck with a spear, laughs Gabriel. This is a characteristically clever piece of prolepsis by Boyd for Gabriel will, himself, be stuck like a pig in the upcoming war (in Part 2, chapter 6).

This grand country pile is, we learn, the reward from a metal company in Wolverhampton which produces items like Felix’s electro-plated nickel-silver cigarette case (pages 52 and 209).

Chapter 5. 25 July 1914, Stackpole, Kent, England

Felix’s jaundiced jealous view of his brother’s marriage to Charis. He is mightily pissed off because at the last minute brother Gabriel told him he was being replaced as best man by Sammy Hinshelwood, Felix being downgraded to chief usher.

Chapter 6. 26 July 1914, Trouville-sur-mer, France

Gabriel and Charis’s honeymoon, filled with details about hotels and seabathing in 1914, but centring on Gabriel’s inability, on two successive nights, to get an erection, despite clambering on top of Charis and sort of rubbing his groin against her (still in his pyjamas) to her complete bewilderment. It’s only on the third night that he bangs his knee, navigating across the bedroom in the dark, she loses her temper and tells him to ‘come and let mummy rub it, you silly boy’ when, to both their surprises, he suckles her like a baby and gets a proper erection, which is a definite improvement, even if he then ejaculates prematurely before he has penetrated her. Sigh. A vivid imagining of the bad old days of total ignorance about almost every aspect of sex.

Next morning he reads a French paper and announces to an astonished Charis that Austria has declared war on Serbia and they must return to Britain immediately, that same day.

Part 2. The war

Chapter 1. 9 August 1914, Smithville, British East Africa

Officious army and customs officer Reggie Wheech-Browning – ‘a ludicrous beanpole of a man’ (p.338) – drops by to tell Smith that war has broken out and to leave his farm immediately. Smith thinks it’s stuff and nonsense and doesn’t budge.

A week later a force of German askaris (African soldiers) led by two German officers marches onto his land and up to his beloved factory. It is von Bishop who he met in the opening chapter. Very politely von Bishop announces he is commandeering Smith’s farm, as his men set fire to his sisal crop and start pulling up the short length of tram track he had lain down. It’s all he can do to prevent von Bishop from vandalising his precious decorticating machine. When asked, von Bishop very politely signs an affadavit itemising all the things he’s burned or is confiscating, but insists he will also be commandeering the farmhouse. Smith has one hour to pack his belongings, wife and two small boys into a mule-drawn buggy, and told to shamble off down the track towards Voi.

On the outskirts he is, ludicrously, fired on by the ramshackle force of askaris led by Wheech-Browning. Once he’s yelled who he is he’s allowed to proceed to Voi where he puts his family up at the government dak, with a view to himself journeying on to Nairobi to establish who’s going to pay him compensation.

Chapter 2. 20 August 1914, Nairobi, British East Africa

Ensconced in snobbish, pretentious, half-built Nairobi, Smith discovers that well-heeled Brits and various foreigners have set up a volunteer defence force while they wait for the relief force to arrive from India but have become disillusioned by two weeks of inactivity. In Voi he’s been greeted by Matilda’s father i.e. his father-in-law the slope-shouldered Reverend Norman Espie.

Smith goes to see his insurance company, the grandly named African Guarantee and Indemnity Company which is in fact a small office above a butcher’s shop on Sixth Avenue run by one immigrant Indian, Goolam Hoossam Essanjee Esquire. Essanjee explains that Smith’s claim of theft of his farm and equipment will have to be confirmed the company’s assessor who is also Goolam Hoossam Essanjee Esquire.

Chapter 3. 30 August 1914 ,Voi, British East Africa

10 days later. Wheech-Browning drives Smith and Essanjee in an early motorbike with sidecar out of Nairobi, past Voi. They stop in the open scrub an hour or so from Smith’s farm when they suddenly come under fire from Germans hiding in a rocky hill 600 yards away. As the reader anticipated, the Indian, Essanjee – the lieutenant dispensable of the situation – is hit twice and dies. Wheech-Browning and Smith bundle his body into the sidecar, and hightail it away from the ambush.

Chapter 4. 26 October 1914, SS Homayun, Indian Ocean

56 days later, and we join Gabriel aboard a tramp steamer sailing from Bombay to British East Africa. He had hung around in Britain waiting for news, then been sent out to India, to Bombay then up to Rawalpindi to join his regiment, the West Kents. But then to his disgust he was separated from them and posted to a subaltern regiment, the 69th Palamcottah Light Infantry, part of Indian Expeditionary Force B, and has to entrain all the way back down to Bombay and then board the smelly old SS Homayun for a hot slow boring voyage across the Indian Ocean.

Everyone is seasick. Incidents including a concert party interrupted by a rainstorm and the flogging of a mutineer. Sammy Hinshelwood distinguishes himself by his coarse stories about sex which, of course, embarrass but also arouse the only recently blooded Gabriel. He becomes friendly with the eccentric, intense Dr Bilderbeck who gives him the best advice for life in the front line: always have a pillow and a basin.

Chapter 5. 2 November 1914, Tanga, German East Africa

Tanga was a major port on the northernmost part of German East Africa, close to the border with British East Africa. Description of Gabriel and his troop loading into a lighter, being towed to the beach, jumping into the neck-high water, making their way to the beach and a little inland. Then the confusing long delay as they wait all through a hot day for instructions, their air of chaos when Gabriel goes up to the ‘red house’ on a hill which is staff headquarters. The constant sound of gunfire from ahead of them. Initial intelligence said the town had been abandoned. Now they realise the Germans have heavily fortified it and are fighting off all attacks.

Chapter 6. 3 November 1914, Tanga, German East Africa

Plausible sounding account of the battle Tanga in that it’s mostly Gabriel stuck in charge of his 70 or so scared Indian soldiers with a cheerfully naive number two, Gleeson. When they are told to go forward they blunder through dense undergrowth, are dispirited by a flight of Indian troops running back from the front, then blunder into an area of bees nest which attack and sting them very severely. At one point in the sequence of events he bumps into Bilderbeck again, who orders the handful of remaining Indian sepoys to advance. When they don’t move Bilderbeck calmly shoots one in the head at point blank range, a spatter of fresh brain landing on his boot.

Eventually it’s just Gabriel and Gleeson left as they make their way forward, are shot at by people with northern accents who they realise are the Lancashire regiment, identify themselves and discover the Lancs are pinned down by a load of Indian soldiers who take shots every time they try to retreat. Gleeson can speak Hindi so he is sent to the side of the house facing the Indians and starts shouting to them that they’re British.

Around then Gabriel sees a German officer emerge from a house a few hundred yards away, leading his men, in plain view and takes the opportunity to fire a shot. It completely misses but triggers an immense fusillade on the house they’re holed up in. When it dies away Gabriel turns to escape the house and comes across Gleeson lying on the floor with his lower jaw show away to reveal the enormous human tongue, glugging down his own blood and still blinking and moving his eyes.

Dazed with horror Gabriel leaps out the back window of the house and runs for the tree cover, telling himself all the time that he’ll come back to rescue Gleeson which we know he won’t. En route back to the beach he stumbles across a troop of German askaris who chase him, (grotesquely enough, through a graveyard), catch up, then slash at him with bayonets, one severing a thigh muscle so that he falls to the ground, taking two other severe stab wounds in the abdomen before he passes out. I assumed he was dead.

Chapter 7. 6 November 1914, Tanga, German East Africa

The Germans win the Battle of Tanga i.e. repulse the British attack. Bilderbeck is the British representative sent to supervise the handing over of British stores to the victorious Germans and ferrying the British wounded back to the ships, liaising with a German officer named Hammerstein, assisted by von Bishop whose eyes we see everything through. After the British had been forced to flee from the beaches, their battleships subjected the town to a heavy barrage. A shell landed near von Bishop giving him loud tinnitus so he asks the German medic Dr Deppe to examine him. Bilderbeck discovers Cobb is still alive though severely injured from the pig sticking he got from the bayonets and has a few words with him, in his hospital bed, before he returns to the beach and thence the British ships.

Chapter 8. 16 March 1915, Oxford, England

Six months later. Cut back to Felix who is now in his second term at Oxford. Things are not well. He continues to copy his hero, Holland, but neither of them make much impact in wartime Oxford. All the able-bodied students have volunteered and gone off to war. Felix has a slight astigmatism, Holland an unspecified ailment. Both are regularly handed white feathers by old Edwardian ladies in the street for being cowards. Felix is horribly embarrassed by this and has taken to wearing an eye patch to visibly excuse himself; Holland, true to his provocative aesthetic attitude, wants to be given white feathers and is jokily jealous because Felix has more than him. It’s that kind of jokey, studentish relationship.

But other things about Oxford are disappointing, too. Felix is at war with his scout, a wizened con-man named Sproat and his mute son, Algy. And his tutor is an ancient decrepit don named Jock Illiffe whose overheated rooms pong of cats. Once Felix read him the same essay that he’d read the previous week and Illiffe, sitting back in his chair with his eyes closed, didn’t even notice. With the result that he’s failed his Moderations or ‘Mods’ in History.

To cap it all he’s developed a cold sore at the corner of his mouth, the size of a sixpence, which refuses to go away, which solidifies into a scab, which breaks when he smiles and bleeds. Very unsightly.

So this chapter is a successfully evocative painting of Oxford in the first year of the Great War. It also gives us a Felix-eye view of the Cobb family. The splenetic Major has pinned up a big map of northern France in the study and forces the entire family and all the servants to attend a daily update on the progress of the war. The family have, of course, taken the news about Gabriel being severely wounded, very badly. There’s also news about the various other brothers-in-law and family hangers-on.

Holland has acquired a mistress in London, an artist’s model named Enid who takes morphine and makes his life hell, so he’s writing some jolly good poetry about it. Felix, very much still the shy virgin, has a crush on Holland’s sister, Amory, who’s at art school, and is invited to a party she’s giving.

Chapter 9. 18 March 1915, Stackpole Manor, Kent

Felix catches the train back to the family home in Kent. Charis is living there, now, in the former servant’s cottage, which was to have been her and Gabriel’s newlyweds home. She keeps bursting into tears about Gabriel. His father is still short and angry, but his flesh hangs off him. He looks like a demented Victorian cleric.

What a horrible old man, Felix thought. (p.199)

The Felix chapters are drily comical, with overtones of Aldous Huxley and Evelyn Waugh. Cyril, the sweary working class man Felix liked, his son now tells him has been killed on the Western Front. Felix is genuinely shocked and upset. Then Charis springs it on him that the family have arranged a birthday party for her on 29 March, he’s invited, in fact everyone’s expecting Felix to ‘squire’ Charis. But it clashes with Amory’s party. Family duty or the (remote) possibility of sex. Decisions decisions for a young man.

Chapter 10. 29 March 1915, Café Royal, London

We meet Felix and Holland in the stylish Café Royal, whence they catch a cab to Cheyne Walk in Chelsea and upstairs to a sordid flat where Amory lives and which is hosting a very bohemian party, packed with artists and models, all smoking and drinking heavily, a girl playing guitar to an adoring coterie etc. Felix is introduced to Pavelienski or ‘Pav’, the east European model Amory models for. Amory herself is a thing chestless woman who almost completely ignored Felix and is irritated when Holland insists he accompanies them to the famed bohemian nightclub, the Golden Calf, as Amory had booked a table for 16 and Felix is supernumary.

(The Cave of the Golden Calf was a real nightclub, a consciously bohemian creation decorated by leading artists of the time – Wyndham Lewis, Charles Ginner and Spencer Gore – praised by Ezra Pound and frequented by Katherine Mansfield, Ford Madox Ford, and Augustus John. Wikipedia)

Anyway, Felix’s attempts to seduce Amory go disastrously awry as she shakes him off and calls him a ‘silly boring little boy’, getting up to go and dance with Pav. Suddenly sober and realising what a fool he’s made of himself, Felix goes wandering through the dark streets of London feeling poetic and soulful till he comes to a baked potato stand, buys one, is propositioned by an old prostitute, taken back to her squalid digs, is fleeced £2 for a horrible experience, unable to get an erection (like his brother Gabriel, in Trouville) so the hooker starts to masturbate him and he climaxes almost immediately (like his brother in Trouville), ejaculating over the sheets, prompting the outraged prossie to tell him to ‘fuck orf out of it’. Felix stumbles into his clothes and down the steep stairs and out into the bleak streets. Sex, eh.

Cut to Felix having taken the milk train back down to Kent and, having been cleaned out by the whore, forced to walk through the dew-drenched countryside to Stackpole. Here he’s surprised to see the light on in the cottage, knocks and is admitted by Charis who is still wearing her gown from the night before, the night of her party, the party Felix rudely missed in order to undergo his series of humiliations in London, as he now ruefully thinks. Sitting in her small front room in front of the fire sipping tea he suddenly feels intimately close to her, his brother’s wife, and tries to stifle the thoughts. The reader wonders whether they’ll end up becoming an item, two damaged ingenues…

Chapter 11. 17 June 1915, Nanda, German East Africa

Three months later. We discover that von Bishop’s wife, Liesl, has been nursing the injured. Kicked out of her house on the border with the British colony, she spent a few months in Dar until, out of boredom, she volunteered to help at the hospital but was then evacuated with all the long-term patients to a hospital far in the south and inland, at a place called Nanda.

A new clutch of patients arrived along with their doctor, Dr Deppe. One is Captain Gabriel Cobb. He is still alive, recovering from severe wounds, learning to walk with crutches. Liesl is a bad-tempered fat woman. So pale and freckled, she sweats continually. Her only pleasure is the brief shower at the end of the day when her maid, Kimi. pours several buckets of water over her head. Then she dries on a frayed towel, slips into casual clothes, eats and goes to bed early. Teutonic joylessness.

Chapter 12. 21 November 1915, Voi, British East Africa

Back to Temple Smith. It’s about a year after he was evicted from his farm. He joined the East African Mounted Rifles but has done nothing except practice drills and acquire more bits of uniform which barely cover his fat frame, while Voi expands into a vast armed camp containing Indian force B, South African coloureds and whites, Kings African Rifle blacks, a huge heterogeneous force.

He’s been called in to meet the head of this force, Brigadier-General Pughe. He’s s short pompous man who turns out to be drunk on brandy and promptly ignores his advice about the lie of the land. Serves the stupid British right.

Talking of which Smith walks back towards the enormous camp, past the fenced areas for donkeys and horses (dying by the dozen due to tsetse fly) to the aerodrome which amounts to a big area of flat, cleared scrubland and a couple of warehouses made out of canvas awning. The entire presence of the Royal Air Force is just two BE2C biplanes.

To Smith’s immense irritation the officious twerp Wheech-Browning is dressed up in flying gear with a reversed cap and flying goggles and about to go for his first flight with flying officer Drewes. it’s a disaster. They bounce along the ‘runway’ but after lifting about 12 feet slowly sink back to the ground. It’s too hot, the air is too thin. But it carries trundling along towards a drainage ditch, pitches head first into it and Drewes is killed. Bystanders rush over to the wreckage to pull his body out but Wheech-Browning, indestructible, emerges as blithe and jolly as ever.

Chapter 13. 10 December 1915, The King’s Arms, Aylesbury, Buckinghamshire

Felix and Charis have ended up becoming an item. We find them in bed in a pub 30 miles or so away from Stackpole. They have had eight sexual encounters and are familiar with each other’s body. We watch Charis inset a tiny sponge dabbed in an unnamed solution attached to a fine thread into her vagina, the thread just sticking out. Contraception 1915. They both know the ghost of Gabriel hovers over their couplings but neither has the guts to raise the subject.

Nigel Bathe came back from Mesopotamia where he lost both arms in a bomb-throwing training exercise when one went off in his hand. Christ. The casual horror not of war but the incompetent preparations for it.

A recap of how Charis and Felix became lovers i.e. he repeatedly kissed her and wore down her rejections. In the end she’s lonely want wanted comforting. They devised stories about visiting distant relatives as excuses for meeting up in remote inns for weekends of love.

On the train back from Aylesbury to London Felix admits he feels dreadfully guilty. Charis reassures her that they have created their own bubble of love. But inside she is full of remorse and guilt. Humans and their ridiculous emotions. But then this is a novel. A verbal artifice created with the aim of describing extreme or complex emotions, all for our entertainment.

Chapter 14. 11 March 1916, Salaita Hill, British East Africa

Detailed description of the war in Africa. Temple Smith is obviously going to be our eyes and ears for this. On 12 February the Brits launch a headlong assault on Salaita Hill where 600 South Africans are mown down by German machine gunners. A second attempt finds the hill abandoned, the Germans have withdrawn from the town of Taveta to scrub country and two hills beyond General Smuts from South Africa is put in charge of the campaign. A month later, against Smith’s advice, the Brits insist on trying to storm the two hills. He watches the whole sorry fiasco and watches the obstinate stupid British officer in command, Colonel Youell, shot in the neck and quickly bleed to death.

Smith accompanies his body in a field ambulance back to staff HQ, reports to General Pughe who is completely drunk then, in utter disgust, goes into town, gets his mule-handler to saddle up his mule and heads off towards Smithville, his homestead which he hasn’t seen for 18 months.

First of all, there are no Germans there. After a lot of tense creeping towards the farmhouse in expectation of being shot he discovers that every surface in every single room has been covered in human faeces. Then he encounters Saleh, the old chief servant, Saleh shows him that a) the grave of his dead baby daughter has been opened and the bones scattered everywhere (they collect them together and rebury them) and b) the Germans have taken the decorticator – almost as soon as Smith left, according to Saleh. Smith vows revenge against von Bishop. The tone and intemperance of his vow reminded me fleetingly of Morgan Leafy’s tone of permanent rage in Boyd’s novel, ‘A Good Man in Africa’…

Chapter 15. 24 June 1916, Nanda, German East Africa

Back at the German hospital several things have happened to Gabriel. He has recovered enough to be able to walk around freely. The research base had been converted not only into a hospital but a prisoner of war camp. The British officer in charge had conceived a plan for Gabriel to keep infecting his thigh wound with dirt in order to remain an invalid and therefore outside the prison camp and in the hospital. He also suggested that Gabriel help out with basic nursing activities, for example washing German wounded or holding them as they evacuated their dysenteric bowels – because from this privileged position he was able to a) pilfer supplies and b) find out the latest military situation (which is that the Germans are slowly withdrawing along the railway line in face of solid British advances, towards Dar).

But the chapter starts a few weeks after all the British POWs have been evacuated to the coast. There is no military reason why Gabriel should continue malingering. The truth is he’s fallen in lust with Liesl. She doesn’t give a toss about him, is a big, solid, no-nonsense German Frau who goes about her duties with angry efficiency. but a few weeks previously Gabriel, dropping off some of the cigarettes he’s taken to rolling from local tobacco for both of them, glimpsed her stripped naked having her evening shower – and was seized with raw lust. Now he can barely be in her presence without trembling although she, of course, is completely oblivious to his behaviour.

Chapter 16. 25 June 1916, Stackpole Manor, Kent

Charis is finding the affair unbearable. She’s spent 18 months writing letters to Gabriel and never had a reply. She stops and feels dreadfully guilty, so guilty that she has a second wind and writes Gabriel a long letter explaining that she’s been having an affair and why – but not naming Felix as the lover, and posts it to the Ministry of Defence as usual.

As usual, Felix drops by the cottage late that night. He’s taken to doing this, taking Charis’s sexual availability more and more for granted. After their latest midnight sex and Felix has returned to his room, Charis writes Felix a simple note saying she is going away, she has written Gabriel telling him everything.

Except that she didn’t tell Gabriel everything in her letter to him, she didn’t identify Felix as her lover. I predict the discrepancy between the two letters will cause trouble. I predict Felix will think Charis has written to Gabriel about naming him and be stricken with panic.

Chapter 17. 26 June 1916, Stackpole Manor, Kent

Felix opens Charis’s letter at an otherwise typical family breakfast, reads its few lines, jumps to his feet yelling ‘Jesus Christ!’ and runs down to the cottage to find Charis long gone. Turmoil. Panic. He is of course distraught that she’s told Gabriel everything but something in the tone of the note makes him panic think she’s killed herself so her runs to the ornamental fish ponds they spent so much time mooning beside. Notices the big stone bust of the emperor Vitellius is missing. Leaps into the freezing water and discovers her body. She had tied round her neck with twine then tied it multiple times round the bust and chucked it in. She looks peaceful in submarine death, her hair floating calmly round her face. Well, this is a fine pickle!

Chapter 18. 1 July 1916, Sevenoaks, Kent

There’s an inquest. Felix lies his face off and claims to have lost the letter in the frenzy of searching for Charis, maybe in the pond. Everybody believes this except the local doctor who Charis had been doing refugee work with, Dr Venables. Venables asks him for a drink at a bar in a hotel not far from the magistrates’ court in Sevenoaks where the inquest is held. Here he asks Felix point blank if he was having an affair with Charis. It takes all Felix’s self possession to try and appear calm as he pretends to be outraged and deny it. Venables then asks whether Charis was having an affair with anyone else, which Felix says he doubts. Thoughts are rampaging through his head. The calm reader, used to this sort of thing, realises that Charis was probably pregnant.

Part 3. The Ice-Cream War

Chapter 1. 25 January 1917, Dar-es-Salaam, German East Africa

It is six months later. Unsurprisingly Felix has enlisted. Equally unsurprisingly, it’s in a regiment which is fighting in Africa and we now meet him on deck the troop ship as it steams into Dar es Salam harbour. He’s with the Fifth Battalion, the Nigerian Brigade, being cobbled together from African conscripts, not at all fashionable. But it is Africa. He is driven by guilt, the need to do something, out of which slowly formed the idea of a quest to find brother Gabriel.

Anyway, long uncomfortable train journey to a station in the middle of nowhere called Mikesse. He’s collected her by a Scot with an impenetrable accent named Gilzean. Five hours bumpy driving to a camp where he’s informed his regiment are the other side of the river Rufiji. Since the British invaded German East (as it’s known) at Kilimanjaro in the campaign Smith had witnessed the scrappy start of, they had driven the Germans steadily south and across the Rufiji river when the rains came and fighting stopped.

From this camp Felix has to continue riding a mule along muddy tracks alongside porters, sometimes through swamps, eventually reaching the wide Rufiji river, across which he is taken by ferry, then into his regimental camp, outside which porters are burning a huge mound of horses and mules which are killed off in epic numbers by tsetse fly. He’s arrived at the dump named Kibongo.

Chapter 2. 15 April 1917, Kibongo, German East Africa

Three months later it has rained every single day, food has run low because the trails to the river on the north side have been flooded and the ferry has been washed away. Felix and his battalion are stuck on the south side and on emergency rations. They’re all wasting away, reduced to eating the few monkeys they can shoot. Some black troops regularly die from eating the corpses of horses or mules. Wretched. Except for the ongoing comedy of Felix’s inability to understand Gilzean’s impenetrable Scottish accent.

Chapter 3. 15 July 1917, Nanda German East Africa

With Gabriel in Nanda. The Germans are losing the campaign. Gabriel is keeping a secret record of everything he hears. Dr Deppe has been moved on and Gabriel has stopped rubbing dirt in his wound to keep it infected. Deppe’s replacement tries to get Gabriel incarcerated with the new contingent of POWs but Liesl insists he is left free to carry on his medical assistance. Ongoing comedy because Liesl appears to have no idea that Gabriel burns with almost uncontrollable lust for her big full-breasted, thunder-thighed body.

The British have landed at Kilwa south of the mouth of the Rufiji so will be fighting their way towards Nanda. Something about the way the narrator keeps reminding us that Gabriel is keeping a secret record of everything he hears begins to make me suspect it will be found and Gabriel will be arrested and shot as a spy. Will he get to kiss Liesl before then or cup her huge breasts in his shaking hands? Doubt it.

Chapter 4. 19 October 1917, Lindi, German East Africa

The British advance, fighting increases, more Germans are taken prisoner, but it is the fate of Felix’s company to do peaceful duties far from the fighting, building latrines or walls, flattening land for airfields, accompanying supplies to supply depots near the front line etc. Felix gets time off from supervising the digging of latrines to go to HQ at Lindi on the coast to see if he can discover anything about Gabriel. Here he bumps into fat Smith and, in a coincidence, it turns out they’re both looking for Bilderbeck. And in an outrageous coincidence the first (unmarked) door Smith opens is to an office occupied by Reggie Wheech-Browning, his nemesis.

Wheech-Browning is able to inform Smith that von Bishop is still alive or that the British Army has no notification of his death (so Smith can continue his quest to kill him for despoiling his farm) and Felix that no news has been received of Gabriel’s death (so Felix can continue his quest to find him).

He tells them about Bildebeck’s end; he was in a siege of some German troop, went up onto the walls to harangue them every night, and one night snapped and charged the German lines shouting how they were preventing him from ‘finding his girl’, one of the many odd obsessions which made Bilderbeck such unnerving company for Gabriel and everyone else on the ship from India.

Chapter 5. 19 November 1917, Nanda German East Africa

Chapters 5 to 10 take place over the course of 6 days and form one continuous episode, the arrest, escape and trek of Gabriel Cobb.

The German army in German East has been commanded by Paul von Lettow-Vorbeck. Now his HQ has arrived at Nanda which is swollen with staff, soldiers and askaris. Liesl and Gabriel discuss the fact that the British are now only 50 miles away. In a few days, chances are, he’ll be liberated. Gabriel is surprised to discover this makes him unhappy. Here in the hospital, as a glorified orderly, he feels safe and secure. He decides to sneak round the back of Liesl’s bungalow for one last surreptitous look at her nakedness but when he sees it packed with German officers realises his folly.

He is caught, lightly interrogated, found guilty of spying but not shot as I expected. Instead he is locked in an old mealie sack shed for several days. On the first night Liesl comes to see him. She says they’re going to take him with them. He almost cries and begs her help. She comes back the next night with a metal hinge. It takes Gabriel ten minutes to dig a channel under one of the loose wooden walls.

He trembles with lust and fear and panic standing so close to that large body, those trembling breasts. Liesl, apparently still unaware of his feelings, gives him a sack containing food and water and tells him not to try to get through the lines to the British but hide somewhere for a couple of days till the Germans have left, then slip back into Nanda and find her.

Chapter 6. 22 November 1917, Nanda German East Africa

To his vast irritation von Bishop is tasked by Paul von Lettow-Vorbeck, head of the entire East German Army no less, with recovering the escaped prisoner. He says goodbye to Liesl and notices how big and manly she has become. He doesn’t know her any more. He chooses three of the ruga-ruga, natives with filed teeth reputed to be cannibals, and sets off north to find the fugitive.

Chapter 7. 22 November 1917, The Makonde plateau, German East Africa

Day one of Gabriel’s trek north. He is in poor shape generally, worse after three days locked in a shed. It’s hot, the thorn bushes scratch him, his injured leg starts to seize up. Locals in villages he passes notice him, the children throw stones. His plan is to press on across the wide flat plateau till nightfall.

Chapter 8. 22 November 1917, near Nambindinga, German East Africa

Unusually for once Felix’s company is in the vanguard of an advance. Much good it does them as one of his fellow officers, young Loveday with the irritating habit of peppering his conversation with French phrases, is blown in half by a landmine.

Anyway, suddenly arrives Wheech-Browning, that bad penny, ‘that ludicrous bean-pole of a man’, to inform Felix they’ve heard news of Gabriel. Smith was in an advance force which has taken Nanda, discovered the POW camp and some of the soldiers told them Gabriel had been there for years, had been arrested, had escaped just the day before.

Wheech-Browning drives Felix into Nanda, where they come across Smith questioning Liesl who, of course, he met right back at the start of the novel. He wants to know where Bishop is but now, as WB and Felix arrives, informs them of the enormous coincidence that von Bishop (who Smith is after) is chasing Gabriel (who Felix is after).

Felix introduces himself and asks the all-important question: Did his brother ever receive a letter from home? Liesl answers promptly and authoritatively NO, and Felix feels a wonderful sense of sweet relief flood his body. So Gabriel never learned about his affair with Charis. In fact, the reader knows he wouldn’t have in any case, as Charis never mentioned Felix by name. But Felix doesn’t know this.

He needs to go out into the bush to find Gabriel. Smith wants to find Bishop. They both ask WB but the latter says that if, as they claim, it’s a case of security / intelligence well, he’ll jolly well have to come, too. Is there no limit to the man’s irritatingness?

Chapter 9. 24 November 1917, The Makonde plateau, German East Africa

Exciting description of Bishop and the ruga ruga’s pursuit of Cobb across the plateau. They see a fire as dusk falls. They creep up but one trads on a stick, the mule hears and starts hee-hawing, and they see the figure flee. By the time they get there the small base by the fire is deserted, with Cobb’s sack of stuff, bread, a book, abandoned. Bishop sends the three natives to capture Cobb. Why does the book Cobb had belong to von Bishop. Mysteries. He falls asleep, wakes at dawn next morning. After some time the three natives return. One is carrying a sack. As Bishop sits with his rifle, one of them throws severed Cobb’s head into the dirt at his feet.

And that, children, is what you get for peeping at naked women having a shower!

Chapter 10. 25 November 1917, The Makonde plateau, German East Africa

Smith, Felix and Wheech-Browning come across the camp the next day. There’s a small burial mound. Half a mile away a business of vultures and big birds. When they ride over to it they see it’s a body without a head, already half eaten. Going back to the camp they dig into the mound and find Gabriel’s head buried wrapped in a blanket. Felix is convulsed with weeping. Both he and Smith are plain puzzled: who would do a thing like that?

Part 4. After the war

Chapter 1. 15 May 1918, Boma Durio, Portuguese East Africa

Six months later and the German forces have retreated into Portuguese east Africa but are still at large. Felix’s Nigerian regiment is decommissioned, the men sent back to Nigeria, but he wants to stay on and hunt von Bishop, so he takes up Wheech-Browning’s offer of a job in Army Intelligence. But, in the classic style, instead of being anywhere near the fighting he is turned into a supplies officer at a nowhere dump in the middle of rich agricultural land, Boma Durio, where he makes ragged friendships with some of the Portuguese officers

The chapter opens with the arrival of, you’ve guessed it, Intelligence Officer Wheech-Browning. He gets Cobb to give instruction to the Portuguese officers in how to use the (very simple) Stokes mortar. It doesn’t work very well so he goes to pace out the distance and is horrified when he hears the lick and sees a puff of smoke meaning a mortar has been launched. He yells at the Portuguese captain who’s accompanied him to run but the mortar detonates, ripping his clothes off, covering him in bruises and cuts. Dazed he staggers to the crater and realises it was a direct hit on Captain Pintao who has been vaporised.

Then appears Wheech-Browning who apologises profusely and explains that he had the lanyard in his hand when he sneezed. Terribly sorry, old chap. Wheech-Browning, his rise and rise, might, in a funny sort of way, be emerging as the central subject of the entire novel.

Chapter 2. 13 November 1918, Kasama, Rhodesia

Von Bishop is still with the German army commanded by Paul von Lettow-Vorbeck. After going south into Portuguese, capturing supplies, they’d doubled back north into the German colony then headed west into Rhodesia which is where they now are, having captured a town full of provisions.

Many men and some of the officers are coming down with and quickly dying from the Spanish flu. Von Bishop is still haunted by the horrible killing of Cobb on the plateau. The ruga ruga spoke no English and he didn’t speak their language. They did what they thought would please him (like Pharaoh beheading Pompey for Caesar). Next night the three natives disappeared, leaving von Bishop to rendezvous with von Lettow-Vorbeck’s main force at the river crossing into the Portuguese colony. He lied that they found Cobb’s body dead from exposure and buried it.

Von Bishop is strolling round town when a motorbike courier arrives. He is British so von Bishop informs him he is arrested while the courier gets out his case and hands von Bishop a note announcing that the war is over and hostilities have ceased. At last, he thinks, with huge relief.

Chapter 3. 2 December 1918, Nairobi, British East Africa

Felix is recuperating at a convalescent home for officers in Nairobi. He’s just received a letter from his mother telling him his father has been sent to a sanatorium, and that his friend Holland recently telephoned from Russia to announce that he’s joined a revolution there. Turns out Felix was hit in the occiput by shrapnel from the mortar and it badly affected his sight, which was fragmented but has, mercifully, almost completely recovered as the wound healed. He regrets not writing earlier to inform them of Gabriel’s death.

He had been reading a newspaper when the letter arrived. It had an account of the final surrender of Paul von Lettow-Vorbeck and his vexatious German Army. They had all been transported to Dar. It listed the 30 or so officers and included von Bishop’s name. At that moment Felix conceived a plan. He was going to travel to Dar, find von Bishop and shoot him dead in revenge for the gruesome murder of his brother.

Chapter 4. 5 December 1918, Dar-es-Salaam, German East Africa

Description of how von Bishop, along with the other captured officers, surrendered at Abicorn, were shipped up Lake Tanganyika to the port of Kigama and then the long train journey to the coast. Here they are greeted as heroes by the German community and von Bishop is reunited with Liesl who, he immediately notices, has lost a lot of weight, is back to the slim figure she had when he saw her off to Europe in 1913. They go to the small bungalow she is being allowed as a German civilian. The maid gets him a beer and almost immediately Liesl asks what happened to Gabriel.

Von Bishop tells the prepared lie, that he found Gabriel dead of exposure. Liesl apparently believes him. For a second she was going to say something – ‘Erich, I…’ – probably going to admit that she helped Gabriel escape, but Erich doesn’t want to hear it and talks over her. Liesl changes tack and goes on to say that she recognises one of the British men who came after von Bishop, saw him here in Dar just the day before. We know she’s referring to Felix.

Chapter 5. 9 December 1918, Dar-es-Salaam, German East Africa

The climax of the book. A few nights later Felix sneaks up on the bungalow now inhabited by von Bishop and his wife. He is full of confused moral contradictions like human beings so often are, at least in fictions. He has a great big service revolver. He climbs noisily in through an open window and sees a prone body on the bed and whispers, then pokes, then shouts at the unresponsive German. The door opens a light goes on and von Bishop’s wife tells him Erich is dead. Died three hours ago of Spanish flu.

Felix improvises an excuse for being there, something about wanting to talk to him about his brother’s death. He asks Liesl if Erich told her how Gabriel died and she says ‘Yes’ in a calm manner, so calm that Felix instantly realises she knows nothing about the beheading. Erich must have lied to her. She is ignorant. On the spot, he decides not to tell her. It doesn’t matter any more. Why carry on spreading suffering?

Epilogue

Epilogue. 3 January 1919, Mombasa, British East Africa

Felix and Temple Smith have met up and review the whole story. They’re on the quayside at Mombasa as Felix prepares to get his boat back to England.

Both smile wryly at the flu beating them to the revenge they wanted to wreak on von Bishop. The narrative ends on a comic note for while Felix is still puzzled by Liesl’s complete indifference to her husband’s death, Smith is vexed about the disappearance of his precious decorticator. He’s scoured the farms of the entire region round his homestead and never found it.

They wave him off as he gets the small lighter out to the steamer and he mounts to the railings. Then the decorative canon onshore fire a salute to a battalion of Indian troops preparing to embark on a steamer. The loud noise triggers Felix’s optical problem, the result of the mortar injury, his sight becomes fragmentary and patchy, the sea and sky, the land and the people on it, all reduced to jagged fragments.

Thoughts

English scenes

Of the 18 chapters in the section titled ‘The War’, no fewer than seven are set in England and feature Felix Cobb. Of the total 40 chapters, 10 are set in Britain (or Trouville). My point is there’s a lot of scenes and events set in England for a book supposedly about the war in Africa. Not complaining or criticising, just pointing out that a lot of these scenes are as – if not more – effective than the African ones. I felt I got to know Charis, Felix and Holland better than most of the African characters.

Conveying information

Giles Foden has written five novels set in Africa, each incorporating large chunks of history, including one set in the same region of East Africa during the Great War (‘Mimi and Toutou Go Forth’). So I’m able to do a direct comparison and say Boyd is much better at integrating lots of factual backstory with a complex plot. In Foden it feels like the plot stops while a character clumsily invokes the historical facts. In Boyd the third person narrator tells us everything we need to know then smoothly goes on with the plot. Boyd is a much smoother, more accomplished writer in this technical sense of arranging his plot and integrating factual material. His prose is also much more smooth and finished and not odd and cranky as Foden’s is. He also has a continual dry sense of humour which peeks out at all kinds of moments, unlike Foden who is heavy and humourless throughout. When Foden tries to be amusing, as in ‘Mimi and Toutou Go Forth’, it’s like watching Gordon Brown try to tell a humorous anecdote i.e. you feel embarrassed for him.

Comic coincidences

Stories need coincidence of a kind which don’t happen in real life: old lovers bumping into each other etc. In Foden’s stories the coincidences are unbelievable because he takes them, like everything else, with deadly seriousness. Boyd has a lovely sense of humour which helps you accept his coincidences. Thus, Smith’s life is bedevilled by a tall officious British officer named Wheech-Browning but the way they keep bumping into each other, instead of undermining the story (as it does in Foden), because Boyd plays it for dry laughs, somehow the comedy takes the edge off the improbability and laughs you into believing it. It has (it occurs to me) the same kind of comedy of coincidences Waugh deploys so well in his novels, with the same scapegraces popping up in unlikely places.

Influences and echoes

Isn’t there a scene in D.H. Lawrence where posh people die in the pond of their big posh house? I remember it from the movie version of ‘Women in Love’. The memory of this made me think of the English scenes as a kind of nexus of tropes from Lawrence (for the passion), Huxley (for the social comedy) and Waugh (for the withering satire). Boyd is a very good, very entertaining writer, but maybe the reason he’s never had a breakthrough work and never become a really big name is because what he’s good at is refreshing existing tropes and memes: the comedy of ‘A Good Man in Africa’ contained multiple echoes of English farceurs from Kingsley Amis to Tom Sharpe. I’ve mentioned the English writers who the English scenes in this book bring to mind. Even the war scenes, in their ridiculous futility, remind me of Evelyn Waugh’s (surprisingly numerous) war scenes.

So he’s a very good, very entertaining writer, full of echoes.


Credit

An Ice-Cream War by William Boyd was first published by Hamish Hamilton in 1982. References are to the 1983 Penguin paperback edition.

William Boyd reviews

  • A Good Man in Africa (1981)
  • An Ice-Cream War (1982)

Africa reviews

The Realist (1918) by Hermann Broch (1931)

Incapable of communicating himself to others, incapable of breaking out of his isolation, doomed to remain the mere actor of his life, the deputy of his own ego – all that any human being can know of another is a mere symbol, the symbol of an ego that remains beyond our grasp, possessing no more value than that of a symbol; and all that can be told is the symbol of a symbol, a symbol at a second, third, nth remove, asking for representation in the true double sense of the word. (p.497)

1. The cast
2. A more accessible layout
3. The plot
4. ‘Modernist’ techniques
5. Broch’s pseudo-philosophy
6. Humourless hysteria
7. Drawing strands together

The Realist (1918) is the third in Austrian writer Hermann Broch’s trilogy, The Sleepwalkers. At nearly 300 pages in the Vintage paperback edition it is almost twice as long as the first two novels put together.

The first two novels started out as realistic accounts of a handful of characters, featuring very vividly drawn settings and events, which slowly became more long-winded and hysterical, bloated with the religio-philosophical speculations of their chief protagonists which are mingled with their psychological obsessions and idées fixes into a complicated and sometimes confusing brew.

The Realist has more characters than the previous books, and more systematically deploys the different styles or registers of Broch’s writing, from the purely descriptive, through the psychological delineation of character, to – at the highbrow end – sections of pure philosophy and cultural critique. First, a look at the characters.

1. The cast

1. The Realist is Wilhelm Huguenau. He was approaching his thirtieth birthday when the Great War broke out. Quickly we skim over the years Huguenau spent waiting to be called up, then his conscription and training in 1917 and his first experiences in the trenches on the Western Front, lined with human excrement and flooded with rain and urine.

This is all dealt with briskly because the point is that on his first evening Huguenau promptly climbs over the lip of the trench and goes absent without leave. He is a handsome, smooth-talking man who grew up in Alsace on the border between Germany and Belgium and so is able to present himself to suspicious peasants and to a devout pastor who puts him up for a while, as an innocent man reluctantly dragooned into the army. He is a chancer with a beaming, friendly face and a ready smile on his lips (p.346). Surprisingly, though, he is stout and short (p.513), ‘a round, thickset figure’ (p.535). Possibly because Broch intends us to despise him as a symbol of the self-centred, go-getting corruption of the modern age.

2. Ludwig Gödicke is 40. He was a bricklayer before he was called up to the Landwehr. He was buried alive in a front line trench by shellfire. When the ambulancemen dug him out they couldn’t tell whether he was alive or dead and so had a bet on the matter, it’s only because of the random decision to have a bet that they didn’t fling him back in the hole but instead take him to a field hospital where he hovers between life and death as his soul slowly reconstitutes itself in anguish (p.351). (If this were an English novel he would recover from his ordeal; because it is a German novel by a German author, Ludwig has to reconstitute a soul which was atomised by his near-death experience and rebuild it fragment by fragment, a process described in immense detail.) For even though his body is repaired, it turns out that Ludwig’s soul is an unbuilt house which he must reconstruct one brick at a time. Meanwhile, in total silence he hobbles on crutches around the hospital grounds (p.383).

3. Lieutenant Jaretzki is in military hospital, almost the whole of his left arm swollen and infected by gas. The doctors discuss the need to amputate the arm before the infection reaches his torso, and then go ahead. Jaretski takes it pretty philosophically and discusses with one of the doctors whether to try and get a job in an engineering firm or simply volunteer to return to the front where he can be shot and get it over with.

4. Huguenau has by now travelled south away from the front and arrived at a sleepy little town in the valley of a tributary of the Moselle. He has spent the last of his money on smart clothes and a haircut and sets about coming up with money-making schemes. He visits the ramshackle office of the local newspaper, the Kur-Trier Herald, where the seasoned Broch reader has a surprise. For this ailing local paper is edited by none other August Esch, the former book-keeper who was the protagonist of this book’s prequel, The Anarchist (p.356). Esch inherited the newspaper and the buildings it occupies in a legacy, and it is 15 years since we last saw him (in 1903). But he is just as short-tempered and irascible, blaming the military censorship for preventing him publishing the truth, quick to take offence at anyone or anything. We meet his wife, one-time Mother Hentjen, who we last saw on the eve of their marriage, being joylessly ravaged every evening and who Esch occasionally beat when his anger got the better of him. He is tall and lean, with ‘long lank legs’ (p.513).

5. Later, at dinner in the hotel he’s staying in, Huguenau is promoted by devilry to approach the old, grey-haired Major dining nearby, who (he is informed) has authority for the region. For no particular reason, Huguenau finds himself denouncing Esch to the Major, accusing Esch of unpatriotic activities, and claims he’s been sent by higher authorities to carry out an investigation. Intimidated by this smart and confident young man, the old Major blusters and says he’ll introduce Huguenau to some of the local worthies who foregather in the hotel bar on Friday nights. Since Broch is obviously partial to reviving characters from the earlier novels, I immediately suspected that this white-haired and dim old military man might turn out to be Joachim von Pasenow from the first novel, thirty years later… And indeed this suspicion is confirmed in chapter 33 (p.418). Welcome back dim and confused old friend.

6. Hanna Wendler lazily wakes up in ‘Rose Cottage’, stroking her breast under her silk nightclothes before drifting off to sleep again and waking later. She imagines herself as the subject of a rococo painting, or like Goya’s painting of Maja. Presumably these references indicate her social class i.e. educated, upper middle-class. She has a son and several servants. We then learn that her husband, Dr Heinrich Wendling, is a lawyer, and that her listlessness is explained by the fact that he has been absent on the Eastern Front for two years (p.363).

7. Marie is a young Salvation Army girl in Berlin. Her sections are narrated by a first-person narrator who gives eye-witness descriptions of Marie’s life in Berlin in the final months of the war. In chapter 27 we learn that this narrator is Bertrand Müller, Doctor of Philosophy (p.403). That bodes badly. More philosophy, that’s the last thing we need.

8. Disintegration of Values And there’s a recurring section told by another first-person narrator which does nothing but lament the decline and fall of ‘our times’ and ‘the horror of this age’ (p.389) in an irritatingly ‘Disgusted of Tunbridge Wells’ sort of way. For this moany old devil ‘this age’ is ‘softer and more cowardly than any preceding age’ (p.373) and don’t get him started on ‘modern architecture’! Surely no former age ever greeted its contemporary architecture with such dislike and repugnance (p.389), the architecture of ‘our time’ reveals ‘the non-soul of our non-age’ (p.390).

I got the sense that this narrator or voice is not intended to be Broch’s, it is more self-consciously preening, exaggeratedly that of an aesthete who is happy rattling on about how this or that architectural style reveals ‘the spirit of the age’ etc. These passages might have been immensely useful if they had actually referred to specific buildings or types of architecture current either when the novel is set (1918) or when Broch was writing it (late 1920s). But they don’t. They are very long and curiously empty.

Anyway, we eventually learn that these passages are written by the character Bertrand Müller, and are part of an extended thesis he’s writing (p.439). That explains their über-academic style.

2. A more accessible layout

So that’s the main cast of eight or so characters who are each introduced in the first 20 or so pages, and the next 200+ pages tell us their stories as their lives unfold and, occasionally, intersect.

Apart from being double the length of its predecessor novels, the other immediately distinctive physical thing about The Realist is that it has chapters – lots of them, about 90 chapters, often only a few pages long.

This is in striking contrast to the previous books which were divided into just a handful (4 or 5) of very long acts or divisions. Admittedly these were then broken up into ‘sections’ indicated by breaks in the text, but The Realist is something new. The chapters consciously cut between the characters with each chapter focusing on a different character and on a specific action (or specific topic of waffling burble, in the case of the Disintegration of Values chapters) and is short and focused.

This makes The Realist infinitely more readable than its predecessors with their pages after pages after pages of solid text, sometimes disappearing into such extended passages of religio-philosophy that the reader gets lost and confused.

By contrast, in this book you are never more than a page away from a new chapter and, because they mostly focus on short sharp scenes, the result is much more vivid.

Also, whereas in the previous two novels almost all the dialogue was buried in huge blocks of undifferentiated prose, here the passages of dialogue are broken up so that each new bit of the dialogue, even if it’s only a sentence long, has a new paragraph – the standard way of laying out dialogue in most novels.

Sounds trivial but just these two typographic changes make The Realist look and feel much, much closer to the ‘normal’ type of novel you and I are used to reading.

3. The plot

Huguenau inveigles himself with Esch and gets the local worthies to form a business consortium which partly buys Esch out of the newspaper, installing Huguenau as editor and giving him accommodation in Esch’s house where is daily fed by Esch’s wife, the shapeless, silent hausfrau Gertrud (Mother Hentjen of The Anarchist, 15 years on).

Despite this Huguenau also wants to suck up the local military authority, Major von Pasenow. Now we know, from having followed him for 150 pages in The Romantic that von Pasenow is a moron who consistently fails to understand everything around him and this is what happens when Huguenau writes a cunning clever letter to the Major accusing Esch of consorting with traitorous types i.e. going to a beer cellar with a few mates and discussing how the war is going badly and whether it’s likely to end. Huguenau miscalculates because von Pasenow is too dim to be suspicious of Esch but instead is (rightly) suspicious of Huguenau’s motives in sending the letter.

Ludwig Gödicke attends the funeral of a well-liked young soldier who’d been in the hospital as Gödicke. the funeral prompts Gödicke to utter his first words and he tries to climb down into the open grave. Huguenau attends the funeral so the reader begins to realise that all these characters are in the same town.

Huguenau is bored of editing the newspaper which, after all has little or nothing to put in it. He has a brainwave, which is to set up a patriotic charity. That Friday he corrals the local worthies into setting it up, naming it the Moselle Memorial Association. He also has the idea of setting up an ‘Iron Bismarck’ in the town square, the name Germans gave to blocks of wood they set up and then citizens hammered nails into, whilst making a contribution to the fund/charity.

Sucking up to the Major, Huguenau had invited him to contribute an article to the Kur-Trier Herald, so the Major wrote an extended sermon with many quotes from the Bible. This has a powerful impact on Esch, who sets up a Bible Study group and asks the Major to lead it. Here, as everywhere else in the trilogy, there is a complete absence of irony or wit or self-awareness or charity or sympathy or kindness. Esch and von Pasenow bark at each other like dogs.

The young soldier who died in the hospital, his brother is the meek and mild watch-repairer Samwald, who takes to visiting the hospital, repairing watches for the staff and inmates, and strangely drawn to the silent Gödicke. They often sit on a bench in the sun in silence. One day Samwald takes Gödicke by the hand into the town and to the editorial offices of the Kur-Trier Herald, up a ladder in a sort of farm courtyard. Samwald, it turns out, is part of Esch’s Bible Studies group.

A strange scene where the Major, Esch, Frau Esch and Huguenau sit round chatting, described in the format of a play script, in which the Major and Esch talk nothing but religious salvationism / theology, and all four end up singing a Salvation Army hymn.

A Celebration drink and dance in a biergarden, where many of the characters, plus the three or four named doctors who are treating Gödicke (doctors Kessel, Kühlenbeck, Flurschütz) and the nurses (Sister Mathilde, Sister Clara) mix and mingle. I wish I could say there was one shred of humour, banter, repartee or warmth in this scene, but there isn’t.

Major von Pasenow attends the Bible Group led by Esch. Like all the other religious meetings, it is hysteria-ridden, dominated by imagery of death, the grave, the Evil One and so on. Broch’s depiction of German religious believers is terrifying because they are constantly at an extremity of horror and terror.

Basically, Huguenau tries a variety of tactics to incriminate Esch in the eyes of the Major in order, I think, to have him locked up as a traitor so Huguenau can inherit the whole of the newspaper, printing press and buildings. However, this is never going to happen because Esch and von Pasenow share the same morbid, over-excitable morbid Christian hysteria. Here’s a brief look inside Major von Pasenow’s mind.

Yet strong as was the effort he made to bring his thoughts under control, it was not strong enough to master the contradictory orders and service instructions before him; he was incapable of resolving the contradictions. Chaos was invading the world on every side and chaos was spreading over his thoughts and over the world, darkness was spreading, and the advance of darkness sounded like the agony of a painful death, like a death-rattle in which only one thing was audible, only one thing certain, the downfall of the Fatherland – oh, how the darkness was rising and the chaos, and out of that chaos, as if from a sink of poisonous gases, there grinned the visage of Huguenau, the visage of the traitor, the instrument of divine wrath, the author of all the encroaching evil. (p.582)

Meanwhile, the stories of other characters advance. I found it hard to understand the Berlin scenes. The first-person narrator, Bertrand Müller, appears to be living in a boarding house with various Jews, old and young. He has an antagonistic relationship (as far as I can tell every single relationship in all three books is antagonistic; nobody seems to just get on with each other) with an elderly scholarly Jew, Dr Samson Litwak and also, in some obscure way, appears to be supervising or looking over a burgeoning relationship between the Salvation Army girl, Marie, and a young Jewish man Nuchem Sussin.

And Hanna Wendler’s husband, the long-absent lawyer and lieutenant in the army, Heinrich, turns up on leave. Here Broch is on form, describing the strangeness of her attitude to him, her sense of distance from herself, her sense that everything she experiences is somehow secondary. Plus, they appear to have a classy and erotic sex life (p.539).

History has been ticking along in the background. As in the other novels Broch has subtly indicated the passage of the seasons from spring through a glorious high summer and into autumn. Except this time the year in question is 1918 so we know that the year is not going to end well for the German side and the German characters.

In October Huguenau is finally caught out. His name appears on a long list of deserters distributed to local authorities which ends up on Major von Pasenow’s desk. Pasenow is dim and dense, which is why he is scared and overcome with horror much of the time – he just doesn’t understand the world. So it is characteristic that a) he’s not sure he’s read the list properly b) he is then crushed by indecision as to what to do about it during which – instead of acting decisively, he characteristically invokes the horrors of the universe and the terror of the Antichrist and sees Huguenau as a great devil and traitor who is responsible for Germany’s defeat – in other words exactly the kind of hysterical over-reaction we’ve come to expect from a Broch character.

When the Major finally calls Huguenau in to explain himself, the portly little man immediately goes on the offensive, making up a story that his papers were taken off him when he was chosen for intelligence work in this town and he’s been waiting ever since for them to catch up with him, you know what army bureaucracy is like.

The Major doesn’t really believe this brazen bluff, but he is so ineffectual that he doesn’t know what to do next. After Huguenau has strolled out, bold as brass, Major von Pasenow is so overcome with despair at his role in consorting with a traitor etc, that he gets his service revolver out of a drawer, with thoughts of shooting himself there and then.

This is the kind of hysterical over-reaction which is so typical of Broch’s characters throughout the trilogy.

Meanwhile, back at the printing press some of the workmen Huguenau employs to work the press are a bit surly and mumbling about the low wages he gives them. News of the Bolshevik revolution has of course been in the press for over a year, but now there’s talk of class war spreading among German workers. So that evening Huguenau makes the strategic move of going along to the local bierkellar and tries to ingratiate himself into the workers’ (Lindner, Liebel) good graces.

I think Huguenau is intended to be a cynical, amoralist whose ruthless concern for number one and paring away of all unnecessary moral restrictions is strongly to be deprecated, but I admire his inventiveness and his chutzpah.

Then the war ends and there is anarchy. Broch describes ‘the events’ of 2, 3 and 4 November in the little town, namely attacks by armed workers on the barracks and the prison. Huguenau had been deputised by the military authorities, handed a gun and told to defend a bridge but when a crowd of armed workers approaches, he quickly joins them and leads the attack on the prison. His euphoria turns to nausea when he sees one of the prison warders dragged out of hiding by the mob and set upon, pinned to the ground and beaten with an iron bar. He flees.

Down the pub the workers had mentioned a new lung disease which has carried off several friends. They joke about it being the Apocalypse. We, the readers, know it is the great Spanish flu pandemic of 1918. Now we see sexy and semi-detached Hanna Wendler in bed with a fever. The explosion in the barracks blows in the windows of her house and she takes shelter in the kitchen with the servants and her son.

Esch sets off with his gun towards the prison but sees the mob coming and hides. Then he hears a crash and returns to find the mob have made the Major’s car crash into a ditch, rolling on its side, killing the driver and a soldier. With another soldier he manages to lift the car and extract the body of the Major, still breathing but unconscious. When he comes too, he can’t move but babbles something about a horse which has fallen, broken its leg and needs to be shot. The reader remembers that this refers to an incident from von Pasenow’s boyhood when he had an accident with his brother Helmuth’s horse, which had to be put down (p.611).

Huguenau rushes back to the buildings with his precious printing press and finds it is solid and untouched, but the living quarters he shares with Herr and Frau Esch have been wrecked by the mob. She emerges weeping from the wreckage, they are both unsettled by the chaos around them and before they know it she is unbuckling her corsets and they fall onto the sofa and have sex.

Meanwhile Eash tends the semi-conscious Major, gets one of the soldiers who’d been in the car to help carry him back to his house, the printworks and his rooms in the courtyard. Here Esch carefully carries the Major into a basement, lays him on a rug, quietly closes the trapdoor and sets off back to the scene of the crash to help the other wounded soldier.

He doesn’t know that Huguenau has spied him from up in the house and now follows him silently through the streets of the town, garishly lit by flames from the Town Hall which the rioters have set on fire. Beaten survivors stagger past them. In a dark street Huguenau leaps forward and bayonets Esch in the back. The stricken man falls without a sound and dies face down in the mud.

Oh. Maybe I don’t admire Huguenau’s cheek and chutzpah. He was more sterotypically German than I had realised. He is a brute. He has turned into Mack the Knife.

A looter climbs the wall to break into Rose Cottage but is repelled by the ghostly sight of Hanna Wendler sleepwalking towards him. She is helped back into the house by the servants. Next day she dies of flu complicated by pneumonia (p.616).

Huguenau saw Esch place the Major in the potato cellar. Now Huguenau goes down into it and tends the Major. The latter can’t speak or move, but this doesn’t stop Huguenau delivering a lengthy diatribe about how badly he’s been treated, and tenderly caring for him by fetching milk from a distraught Frau Esch. The tender care of a psychopath.

The final Disintegration of Values chapter asserts that cultures are created out of a synthesis or balance of the Rational and the Irrational. When a balance is achieved, you have art and style (I think he thinks the Middle Ages was just such a period; the author of the Disintegration chapters appears to think the Middle Ages was the high point of integrated belief system and society, and the Renaissance inaugurated the rise of the Individual, individuals who tend to develop their own ‘private theologies’, and it’s been downhill ever since).

Then the two elements expand, over-reach themselves. The Triumph of the Irrational is marked by the dwindling of common shared culture, everyone becomes an atom. This three-page excursus leads up to presenting Huguenau as an epitome, an embodiment of the Disintegration of Values of Our Time.

As if to ram home the Author’s Message, the narrator then goes on to quote a letter Huguenau wrote some time later from his home town, in his ornate, correct and formal way bullying Frau Esch (whose husband he murdered, and who he raped) into buying the shares in the newspaper company which Huguenau had fraudulently acquired off Esch at the start of the novel. He is, in other words, a heartless swine.

And Broch rams home his Author’s Message by pointing out that none of his colleagues in the business community would have seen anything wrong with the letter or the scheming way Huguenau ran his business or married for convenience an heiress and promptly adopted her family’s Protestant beliefs.

Broch appears to think the worst thing about late 1920s Germany was slippery businessmen. Wrong, wasn’t he? Less than a year after this book was published, Hitler came to power.

And the book ends with a kind of 16-page philosophical sermon which, as far as I can tell, extensively uses Hegel’s idea of the Dialectic, the opposition of thesis and antithesis – in this case, the Rational and the Irrational – to mount a sustained attack on Protestantism, communism and business ethics as all fallings-away from the true teachings of the Roman Catholic Church, the One True Church, the home of all true values, from which man has fallen into a wilderness of alienation.

In other words, Broch appears to have been as Roman Catholic a novelist as Evelyn Waugh or Graham Greene, only – being German – his characters are much more brutish, angry and violent and – being German – his philosophical moments are couched in the extraordinarily bombastic and impenetrably pretentious verbosity of German Idealist philosophy.

In the last pages we don’t hear anything more about the various characters – Frau Esch, the Major, Ludwig Gödicke, Lieutenant Jaretzki, the doctors or nurses and so on. The novel ends on a sustained hymn to a kind of Hegelian Catholicism.


4. ‘Modernist’ techniques

All the commentaries on Broch associate him with the high Modernism of James Joyce, and emphasise that The Realist uses funky ‘modernist’ techniques such as having more than one narrative voice i.e. a few of the chapters feature a character speaking in the first person – and that in the classic modernist style it’s a collage including other ‘types’ of texts, including a newspaper article, a letter, all the Disintegrated Values chapters which are, in effect, excerpts from a work of philosophy, and excerpts from a long poem in rhyming couplets which pop up in the Marie in Berlin chapters, and at one point turns into a script with stage directions and only dialogue (pp.497-505).

This sort of thing happens a dozen times but, frankly, it’s chickenfeed compared to Ulysses, it’s barely noticeable as experimentation, since all these techniques were incorporated into novels generations ago – incorporating letters and journal entries was done by Daniel Defoe in the 1720s – a lot of the earliest novels were written entirely in the forms of letters – so we have read hundreds of novels which are at least if not more ‘hypertextual’ without any song and dance. Put another way, the reader barely notices these supposedly ‘modernist’ aspects of the text.

By far the more salient aspect of the book, as of its predecessors, is its inclusion of huge gobbets of religio-philosophical speculation.

5. Broch’s pseudo-philosophy

By this time I had formed the opinion that Broch is at his weakest when he launches into prolonged passages about human nature and the human soul and ‘the soul of the age’ and ‘the spirit of our times’ etc etc. In case you think I’m exaggerating, here’s a little taste of one of the Disintegration of Values chapters:

War is war, l’art pour l’art, in politics there’s no room for compunction, business is business – all these signify the same thing, all these appertain to the same aggressive and radical spirit, informed by that uncanny, I might almost say that metaphysical, lack of consideration for consequences, that ruthless logic directed on the object and on the object alone, which looks neither to the right nor to the left; and this, after all, is the style of thinking that characterises our age.

One cannot escape from this brutal and aggressive logic that exhibits in all the values and non-values of our age, not even by withdrawing into the solitude of a castle or of a Jewish dwelling; yet a man who shrinks from knowledge, that is to say, a romantic, a man who must have a bounded world, a closed system of values, and who seeks in the past the completeness he longs for, such a man has good reason for turning to the Middle Ages. For the Middle Ages possessed the ideal centre of values that he requires, possessed a supreme value of which all other values were subordinate: the belief in the Christian God. Cosmogony was as dependent on that central value (more, it could be scholastically deduced from it) as man himself; man with all his activities formed a part of the whole world-order which was merely the reflected image of an ecclesiastical hierarchy, the closed and finite symbol of an eternal and infinite harmony. The dictum ‘business is business’ was not permitted to the medieval artist, competitive struggle being  forbidden to him; the medieval artist knew nothing of l’art pour l’art, but only that he must serve his faith; medieval warfare claimed absolute authority only when it was waged in the service of the faith. It was a world reposing on faith, a final not a causal world, a world founded on being, not on becoming; and its social structure, its art, the sentiments that bound it together, in short, its whole system of values, was subordinated to the all-embracing living value of faith; the faith was the point of plausibility in which every line of enquiry ended, the faith was what enforced logic and gave it that specific colouring, that style-creating impulse, which expresses itself not only in a certain style of thinking, but continues to shape a style characterising the whole epoch for so long as the faith survives.

But thought dared to take the step from monotheism into the abstract, and God, the personal God made visible in the finite infinity of the Trinity, became an entity whose name could no longer be spoken and whose image could no longer be fashioned, an entity that ascended into the infinite neutrality of the Absolute and there was lost to sight in the dread vastness of Being, no longer immanent but beyond the reach of man. (pp.146-147)

The infinite neutrality of the Absolute. The dread vastness of Being. They’re certainly what you want to read about in a novel.

There’s more, lots and lots more, hundreds of pages more just like this. I can see four objections to the acres of swamp prose like this.

  1. Aesthetically, it is out of place to swamp a novel with tracts of philosophy. If you want to write philosophy, put it in a philosophy essay or book. In a sense putting it in a novel is cheating because here a) it’s not going to be judged as pure philosophy by your professional peers b) if there are errors or inadequacies in it you can always explain them away saying that’s a requirement of its fictional setting.
  2. It destroys the rhythm of the stories of the actual characters, you know, the things novels are usually written about.
  3. Most damning, it’s not very original. To say that society was more integrated and authentic in the Middle Ages is one of the most trite and hackneyed pieces of social criticism imaginable. Victorian cultural critics from Disraeli to Carlyle were saying the same sort of thing by the 1840s, 90 years before Broch.
  4. So to summarise, these are hackneyed, clichéd ideas served up in long-winded prose which translates badly into English, and interrupt the flow of the narrative.

In the second book in the trilogy, The Anarchist, I initially thought the religio-philosophical musing belonged solely to the character Esch, but then the narrator began launching into them unprompted and separate from his characters, and I began to have the horrible realisation that Broch himself appears to believe the pompous, pretentious, Christian pseudo-philosophy he serves up, hundreds of pages of it:

Is it this radical religiosity, dumb and striped of ornament, this conception of an infinity conditioned by severity and severity and by severity alone, that determines the style of our new epoch? Is this ruthlessness of the divine principle a symptom of the infinite recession of the focus of plausibility? Is this immolation of all sensory content to be regarded as the root-cause of the prevailing disintegration of values? Yes. (p.526)

Therefore I (initially) liked The Realist because these kinds of passages were hived off to one side in chapters which were clearly marked Disintegration of Values, so they were easy to skim read or skip altogether (after a close reading of half a dozen of them revealed that they had little or nothing of interest to contribute to the book).

6. Humourless hysteria

It is hard to convey how cold, charmless and humourless these books are. The tone is monotonous, departing from a flat factual description only to switch from brutal to homicidal, via paranoia and hysteria.

For example, Huguenau gets his new war charity to organise a drink and dance celebration at the Stadthalle. Most of the characters are present, plus local worthies and their wives, there is drinking, there is flirting, there is dancing. Now almost any novelist you can imagine might have made this the opportunity for humour, but not Broch. For him it is a trigger for the religious hysteria and psychopathic righteousness of Major von Pasenow.

Sitting at his table watching the dancers mooch around the dance floor, the Major has a nightmare vision. Filled with ‘growing horror’ he becomes convinced that the sight of people dancing and having a good time in front of him is a vision of ‘corruption’, every face becomes a ‘featureless pit’ from which there is no rescue. From these grotesquely adolescent immature thoughts arises the wish to ‘destroy this demoniacal rabble’, ‘to exterminate them, to see them lying at his feet’ (p.515).

And all this is prompted by a town dance, a relaxed and happy social event. But in this Broch character it triggers a kind of mad, religiose hysteria.

At times the madness of many of these characters is terrifying, not because they’re scary, but because behind them rise the shadows of Warsaw and Lidice and Oradour-sur-Glane and all the other places and populations which Broch’s humourless, hysterical, hell-bent fellow Germans set about destroying and exterminating just a few years later.

(And it’s a reminder why The Romantic, the first book in the trilogy which focuses on Joachim von Pasenow’s increasingly hysterical religious mania, is such a hard read. And also why these books are emphatically not ‘the portrait of a generation’ or an entire society, but cameos of a handful of religious nutcases and psychopaths.)

7. Drawing strands together

The volume containing all three novels is a long book. The reader has to process much information, and information of different types – from descriptions of individual landscapes and scenes, to the cumulative impression made by characters major and minor, through to the two major obstacles of 1. extended descriptions of the weird, deranged psyches of major characters e.g. both von Pasenow and Esch, and 2. in the Realist, extended passages of philosophical speculation and/or cultural criticism (about the artistic bankruptcy of ‘our age’).

I’ve tended to emphasise the problems and the longeurs, but there are many many pleasurable moments to be had, moments of subtle psychological insight and descriptions of rooms, city streets and landscapes.

And one of the pleasures is that Broch has gone to some pains to sew threads into the text, to litter it with reminiscences and echoes. Having slogged through all three books, recognising these is like seeing stars in the sky.

For example, at a musical concert, the elderly Major von Pasenow mentions the music of Spohr and we remember that it was a piece by Spohr which his wife-to-be, Elisabeth, played when Pasenow visited her and her parents in the summer of 1888 in the first novel (p.93)

In another fleeting moment Pasenow uses a phrase about love requiring a lack of intimacy and familiarity, which we recall his cynical, worldly friend Eduard Bertrand using in the first novel.

A little more than fleeting is the major echo event when the (as usual) confused and perplexed von Pasenow has his interview with Huguenau during which he fails to know what to do about Huguenau being a deserter, collapses in self-loathing and despair and gets out his service revolver to shoot himself. First he tries to write a suicide note but, characteristically useless even at this, presses the pen so hard he breaks the nib, and when he next tries to dip it in the ink pot, spills the pot releasing a stream of black ink all over his desk (p.585).

The reader remembers that this – trying to write a letter, breaking the nib and knocking over the ink pot – is exactly what his father did in his fury when Joachim refused to come back from Berlin and take over the running of the family farm in the first novel (pp.104-5). The echo extends even to the words: old Herr von Pasenow in the first book is found spluttering ‘Out with him, out with him’ about his son, while 500 pages and thirty years later his son is found spluttering exactly the same words, about Huguenau, ‘Out with him (p.584).

These moments remind you that, beneath the philosophical verbiage and tucked between the characters’ often hysterical over-reactions and blunt aggressive dialogue, there is actually a novel, a work of fiction about characters.

If Broch submitted this to a modern editor I suspect they’d tell him to delete all the philosophy. But the philosophical sections and the regular philosophical meditations on the thoughts and ideas of his characters, are largely what characterise the book.

The problem is that almost all the ‘philosophy’ is bunk. It rotates around ideas of God and the Infinite and the Absolute which might resonate in a country with a strong tradition of Idealist philosophy (i.e. Germany) but which means nothing to an Anglo-Saxon reader. E.g:

‘Hegel says: it is infinite love that makes God identify Himself with what is alien to Him so as to annihilate it. So Hegel says… and then the Absolute religion will come.’ (p.624)

I reread the novels of Jean-Paul Sartre not so long ago. Sartre starts from a not dissimilar position from Broch, his characters plagued with an unusual, hallucinatory, highly alienated relationship with reality. The difference is that out of his intensely alienated relationship with ‘reality’ and language, Sartre created an entirely new worldview, expressed in a difficult-to-understand but genuinely new philosophy.

Broch, through his characters and his long-winded investigations of alienated mental states, starts from a similar place but his philosophy reaches back, back, back, to the German Idealist tradition and, above all, to a kind of troubled Catholic Christian faith which he and his confused characters circle round endlessly, like moths round a flame.

Sartre is forward-looking, Broch is backward-looking. As a result, Sartre is still read, quoted and studied; Broch is largely forgotten.

Credit

The English translation by Willa and Edwin Muir of The Sleepwalkers by Hermann Broch was first published in 1932. All references are to the Vintage International paperback edition of all three novels in one portmanteau volume, first published in 1996.


20th century German literature

The Weimar Republic