Graham Greene reviews

Graham Greene (1904 to 1991) was an English writer and journalist who came to dominate his age. Over a 60-year career he wrote over 25 novels, novellas, scores of short stories, masses of journalism, and was heavily involved in film, adapting many of his novels for the screen (such as the classic ‘Brighton Rock’), or converting screenplays into novels (as in the case of the wildly successful ‘The Third Man’).

He dominated the British literary scene of the 1950s, 60s, 70s and 80s, producing a steady stream of high quality fictions, often set in wartorn troublespots (the Congo, Vietnam, Haiti) thus doubling up as a kind of foreign correspondent for the literary world. By sheer dogged determination, he turned his personal demons and suicidal depression into a compelling worldview, combining despair with a relentless focus on the seedy aspects of human existence, all clothed in a personal brand of nihilistic Roman Catholicism, which critics came to call ‘Greeneland’.

Most of his books are good, some are very good, but I’m not sure any individual one is great: the closest one is ‘The Heart of the Matter’ which is often held up as his masterpiece but which George Orwell rightly ridiculed for its suburban Angst and Catholic self-dramatisation. ‘The Unquiet American’ may be his best straight novel, with ‘The End of The Affair’ packing a genuinely terrifying punch right at the end. ‘A Burnt Out Case’ was a pleasure to read.

Being strongly allergic to the Catholic despair which characterises almost everything he wrote, I prefer his surprisingly funny comedies, such as ‘Our Man In Havana’ and ‘Travels With My Aunt’.

Fiction

  • The Man Within (1929) One of the worst books I’ve ever read, a wretchedly immature farrago set in a vaguely described 18th century about a cowardly smuggler who betrays his fellows to the Excise men then flees to the cottage of a pure and innocent young woman who he falls in love with before his pathetic inaction leads to her death. Drivel.
  • The Name of Action (1930) (repudiated by author, never republished)
  • Rumour at Nightfall (1931) (repudiated by author, never republished)
  • Stamboul Train (1932) A motley cast of characters find out each others’ secrets and exploit each other on the famous Orient Express rattling across Europe, climaxing in the execution of one of the passengers, a political exile, in an obscure rail junction, and all wound up with a cynical business deal in Istanbul.
  • It’s a Battlefield (1934) London: a working class man awaits his death sentence for murder while a cast of seedy characters, including a lecherous H.G. Wells figure, betray each other and agonise about their pointless lives.
  • England Made Me (1935) Stockholm: financier and industrialist Krogh hires a pretty Englishwoman Kate Farrant to be his PA/lover. She gets him to employ her shiftless brother Anthony who, after only a few days, starts spilling secrets to the seedy journalist Minty, and so is bumped off by Krogh’s henchman, Hall.
  • A Gun for Sale (1936) England: After assassinating a European politician and sparking mobilisation for war, hitman Raven pursues the lecherous middle man who paid him with hot money to a Midlands town, where he gets embroiled with copper’s girl, Anne, before killing the middle man and the wicked arms merchant who was behind the whole deal, and being shot dead himself.
  • Brighton Rock (1938) After Kite is murdered, 17 year-old Pinkie Brown takes over leadership of one of Brighton’s gangs, a razor-happy psychopath who is also an unthinking Catholic tormented by frustrated sexuality. He marries a 16 year-old waitress (who he secretly despises) to stop her squealing on the gang, before being harried to a grisly death.
  • The Confidential Agent (1939) D. the agent for a foreign power embroiled in a civil war, tries and fails to secure a contract for British coal to be sent to his side. He flees the police and unfounded accusations of murder, has an excursion to a Midlands mining district where he fails to persuade the miners to go on strike out of solidarity for his (presumably communist) side, is caught by the police, put on trial, then helped to escape across country to a waiting ship, accompanied by the woman half his age who has fallen in love with him.
  • The Power and the Glory (1940) Mexico: An unnamed whisky priest, the only survivor of the revolutionary communists’ pogrom against the Catholic hierarchy, blunders from village to village feeling very sorry for himself and jeopardising lots of innocent peasants while bringing them hardly any help until he is caught and shot.
  • The Ministry of Fear (1943) Hallucinatory psychological fantasia masquerading as an absurdist thriller set in London during the Blitz when a man still reeling from mercy-killing his terminally ill wife gets caught up with a wildly improbable Nazi spy ring.
  • The Heart of The Matter (1948) Through a series of unfortunate events, Henry Scobie, the ageing colonial Assistant Commissioner of Police in Freetown, Sierra Leone, finds himself torn between love of his wife and of his mistress, spied on by colleagues and slowly corrupted by a local Syrian merchant, until life becomes intolerable and – as a devout Catholic – he knowingly damns himself for eternity by committing suicide. Whether you agree with its Catholic premises or not, this feels like a genuinely ‘great’ novel for the completeness of its conception and the thoroughness of its execution.
  • The Third Man (1949) The novella which formed the basis for the screenplay of the famous film starring Orson Welles. Given its purely preparatory nature, this is a gripping and wonderfully-written tale, strong on atmosphere and intrigue and mercifully light on Greene’s Catholic preachiness.
  • The End of The Affair (1951) Snobbish writer Maurice Bendrix has an affair with Sarah, the wife of his neighbour on Clapham Common, the dull civil servant, Henry Miles. After a V1 bomb lands on the house where they are illicitly meeting, half burying Bendrix, Sarah breaks off the affair and refuses to see him. Only after setting a detective on her, does Bendrix discover Sarah thought he had been killed in the bombing and prayed to God, promising to end their affair and be ‘good’ if only he was allowed to live – only to see him stumbling in through the wrecked doorway, from which point she feels duty bound to God to keep her word. She sickens and dies of pneumonia like many a 19th century heroine, but not before the evidence begins to mount up that she was, in fact, a genuine saint. Preposterous for most of its length, it becomes genuinely spooky at the end.
  • The Unquiet American (1955) Set in Vietnam as the French are losing their grip on the country, jaded English foreign correspondent, Thomas Fowler, reacts very badly to fresh-faced, all-American agent Alden Pyle, who both steals his Vietnamese girlfriend and is naively helping a rebel general and his private army in the vain hope they can form a non-communist post-colonial government. So Fowler arranges for Pyle to be assassinated. The adultery and anti-Americanism are tiresome, but the descriptions of his visits to the front line are gripping.
  • Loser Takes All (1955) Charming comic novella recounting the mishaps of accountant Bertram who is encouraged to get married at a swanky hotel in Monte Carlo by his wealthy boss who then doesn’t arrive to pick up the bill, as he’d promised to – forcing Bertram to dabble in gambling at the famous Casino and becoming so obsessed with winning that he almost loses his wife before the marriage has even begun.
  • Our Man In Havana (1958) Comedy about an unassuming vacuum cleaner salesman, Jim Wormold, living in Havana, Cuba, who is improbably recruited for British intelligence and, when he starts to be paid, feels compelled to manufacture ‘information’ from made-up ‘agents’. All very farcical until the local security services and then ‘the other side’ start taking an interest, bugging his phone, burgling his flat and then trying to bump him off.
  • A Burnt-Out Case (1960) Tragedy. Famous architect Querry travels to the depths of the Congo, running away from his European fame and mistress, and begins to find peace working with the local priests and leprosy doctor, when the unhappy young wife of a local factory owner accuses him of seducing her and fathering her child, prompting her husband to shoot Querry dead.
  • The Comedians (1966) Tragedy. Brown returns to run his hotel in Port-au-Prince, in a Haiti writhing under the brutal regime of Papa Doc Duvalier, and to resume his affair with the ambassador’s wife, Martha. A minister commits suicide in the hotel pool; Brown is beaten up by the Tontons Macoute; he tries to help a sweet old American couple convert the country to vegetarianism. In the final, absurd sequence he persuades the obvious con-man ‘major’ Jones to join the pathetic ‘resistance’ (12 men with three rusty guns), motivated solely by the jealous (and false) conviction that Jones is having an affair with his mistress. They are caught, escape, and Brown is forced to flee to the neighbouring Dominican Republic where the kindly Americans get him a job as assistant to the funeral director he had first met on the ferry to Haiti.
  • Travels With My Aunt (1969) Comedy. Unmarried, middle-aged, retired bank manager Henry Pullman meets his Aunt Augusta at the funeral of his mother, and is rapidly drawn into her unconventional world, accompanying her on the Orient Express to Istanbul and then on a fateful trip to south America, caught up in her colourful stories of foreign adventures and exotic lovers till he finds himself right in the middle of an uncomfortably dangerous situation.
  • The Honorary Consul (1973) Tragedy. Dr Eduardo Plarr accidentally assists in the kidnapping of his friend, the alcoholic, bumbling ‘honorary consul’ to a remote city on the border of Argentina, Charley Fortnum, with whose ex-prostitute wife he happens to be having an affair. When he is asked to go and treat Fortnum, who’s been injured, Plarr finds himself also taken prisoner by the rebels and dragged into lengthy Greeneish discussions about love and religion and sin and redemption etc, while they wait for the authorities to either pay the ransom the rebels have demanded or storm their hideout. It doesn’t end well.
  • The Human Factor (1978) Maurice Castle lives a quiet, suburban life with his African wife, Sarah, commuting daily to his dull office job in a branch of British Security except that, we learn half way through the book, he is a double agent passing secrets to the Russians. Official checks on a leak from his sector lead to the improbable ‘liquidation’ of an entirely innocent colleague which prompts Castle to make a panic-stricken plea to his Soviet controllers to be spirited out of the country. And so he is, arriving safely in Moscow. But to the permanent separation with the only person he holds dear in the world and who he was, all along, working on behalf of – his beloved Sarah. Bleak and heart-breaking.
  • Monsignor Quixote (1982) Father Quixote is unwillingly promoted monsignor and kicked out of his cosy parish, taking to the roads of Spain with communist ex-mayor friend, Enrique ‘Sancho’ Zancas, in an old jalopy they jokingly nickname Rocinante, to experience numerous adventures loosely based on his fictional forebear, Don Quixote, all the while debating Greene’s great Victorian theme, the possibility of a doubting – an almost despairing – Catholic faith.
  • The Captain and The Enemy (1988) 12-year-old Victor Baxter is taken out of his boarding school by a ‘friend’ of his father’s, the so-called Captain, who carries him off to London to live with his girlfriend, Liza. Many years later Victor, a grown man, comes across his youthful account of life in this strange household when Liza dies in a road accident, and he sets off on an adult pilgrimage to find the Captain in Central America, a quest which – when he tells him of Liza’s death – prompts the old man to one last – futile and uncharacteristic – suicidal gesture.

Short stories

  • Twenty-One Stories (1954) Generally very short stories, uneven in quality and mostly focused on wringing as much despair about the human condition as possible using thin characters who come to implausibly violent endings – except for three short funny tales.

Travel

  • The Lawless Roads (1939) Greene travels round Mexico and hates it, hates its people and its culture, the poverty, the food, the violence and despair, just about managing to admire the idealised Catholicism which is largely a product of his own insistent mind, and a few heroic priests-on-the-run from the revolutionary authorities.

Biography

My essays

Cecil Beaton’s Fashionable World @ the National Portrait Gallery

From the Sitwells to the Rolling Stones…

Introduction

Cecil Beaton (1904 to 1980) was a phenomenon. He made himself into the leading fashion photographer of his day, but that was far from being his only achievement: he was also a fashion illustrator, a painter, a writer of fashion essays and books (34 books in total), a social caricaturist, a serious wartime photographer, a costume and set designer for theatre and the movies, while all the time keeping one of the classic celebrity diaries of the century (at his death he left no fewer than 143 diaries which were published in 6 handsome volumes).

But the core of his achievement was the forty years he spent as a leading figure in fashion photography and that’s what this grand exhibition at the National Portrait Gallery focuses on. Aptly titled ‘Cecil Beaton’s Fashionable World’, it is the first exhibition to exclusively explore Beaton’s pioneering contributions to fashion photography.

It’s designed to be a landmark show, with some 250 items on display, mostly wonderful photos but also including Beaton’s:

  • drawings
  • illustrations
  • magazine covers
  • a youthful home movie he and friends made of fooling around
  • several painted portraits of him by artist friends
  • and, in display cases:
    • a handsome collection of first editions of 20 or so of his books
    • the actual Kodak camera he did his early work on
    • the Oscar he won for ‘My Fair Lady’

1920s and ’30s

After the Second World War Beaton spent more time doing set and stage design, and in America working in Hollywood. It’s from this period that date the many classic portraits of notable actors and artists and, in particular, of Hollywood stars from the 1950s and ’60s, which many of us are familiar with. These are regularly shown in exhibitions with titles like ‘Cecil Beaton: Portraits’ but that’s not what this one is about. This one really does focus on his fashion photography and related work (illustrations, covers, books) and so has lots of his photos for Vogue magazine from 1927 to 1937, depicting upper-middle class debutantes and society ladies in wonderfully elaborate outfits against ornately staged backdrops, none of whom we’ve heard of and will ever hear of again.

Princess Emeline De Broglie by Cecil Beaton (1928) Gelatin silver print, The Cecil Beaton Studio Archive, London

Thus the very first room hosts 16 very big silver gelatin prints which survive from the landmark exhibition of Beaton portraits which the National Portrait Gallery held back in 1968. The curators point out that it was the first such show accorded a living photographer and helped to cement his reputation as ‘the finest arbiter of taste of the twentieth century’. And these 16 big black-and-white portraits are, indeed, stunning in composition and execution. But what I’m saying is they’re all of people you and I have never heard of: society figures from the 1920s and ’30s who are long forgotten. For example:

  • Sita Devi, Princess Karam of Kapurthala, 1935
  • The Honourable Mrs Richard Norton (Jean Norton), late 1920s
  • Paula Gellibrand, the Marquesa de Casa Maury, 1928
  • Mrs Harrison Williams (Mona Williams), 1936
  • Hazel, Lady Lavery, late 1920s
  • Mrs Robert H. McAdoo (Lorraine McAdoo), 1934
  • Lady Sylvia Ashley, 1934
  • Mrs Allan Ryan, Junior (Janet Ryan), 1929
  • Doris, Viscountess Castlerosse, 1932

A few leading actors are included (the beautiful young Vivienne Leigh) but the Hollywood celebs, for the most part, come a lot later.

Installation view of ‘Cecil Beaton’s Fashionable World’ at the National Portrait Gallery showing three portraits from the first room recreating of the 1968 show: note the elaborate paper-cut roses on the wall, echoing Beaton’s classic floral backgrounds (photo by the author)

Beaton’s beginnings

After this introductory room of greatest hits from the 1920s, The show is laid out in a straightforward chronological order. It starts with Cecil being born the son of a prosperous timber merchant in Hampstead. He had two sisters (Nancy and Barbara aka ‘Baba’) who appear in his earliest photos, as well as photos of his mother, Etty. After prep and public school, he got a place at Cambridge, where he studied history, art and architecture but wasn’t very academically minded and put most of his energy into theatre and the Footlights Revue.

The early rooms contain photos of his two glamorous sisters, Cambridge friends and society contacts. These include a wonderful picture of the artist Rex Whistler posing as a character from a Watteau painting. We learn that this was one of a series of tableaux en fête champêtre (‘pictures from a country festival’), a homage to the stylised paintings of Lancret, Watteau and Fragonard held at Wilsford Manor, Stephen Tennant’s family home, which Cecil organised in the summer of 1927. Next to it is a large portrait of Stephen Tennant, brightest of the Bright Young Things.

Installation view of ‘Cecil Beaton’s Fashionable World’ at the National Portrait Gallery showing the big portrait of a young Stephen Tennant

It’s in this room that the home movie is showing. It was made at Weirbridge Cottage near Savay Farm, Denham, in Buckinghamshire, the country home of the Mosley family and featured Bright Young Things such as Teresa ‘Baby’ Jungman, Georgia Sitwell, John Strachey, and the ubiquitous Tennant.

The point is Beaton’s ambition and determination. His parents were affluent enough to send him to private school and Cambridge but the rest was up to him and so he became a networker of genius. He managed to be taken up by all the important cultural circles of the day, namely: 1) Lady Ottoline Morell, the famous hostess of artists and writers at her country house, Garsington Manor, 2) the Sitwells, led by the poetess Edith Sitwell.

Charming, clever, charismatic, ambitious, talented, Beaton made friends and contacts wherever he went and people were flattered to be photographed by him. So in this room are photos of Lady Ottoline and some of her circle, of Edith and her brothers Sacheverell and Osbert. He is quoted as saying he learned an immense amount about posh upper-class manners and taste from his stays at Sacheverell’s country house at Weston Hall, Northamptonshire. Study, copy, rise.

Originally taken for the larks, Beaton’s photographs of Tennant and his circle now have considerable historical value, being considered some of the best representations of the Bright Young People of the twenties and thirties.

What comes over from all these wonderful black-and-white shots is the extent to which modernist art had been assimilated into the culture, especially in the 1920s. The tranquil rural settings of the Watteau homages are the exceptions because most of the photos are highly stylised interiors, taken against often striking Art Deco backgrounds, which make the photos works of art in themselves, as in the striking polka dot backdrop for Princess Emeline De Broglie, above. Here’s an installation view showing half a dozen of his wonderfully stylised 1920s and ’30s portraits. Note the striking modernist backdrops, the lovely outfits and the dramatic poses.

Installation view of Cecil Beaton’s Fashionable World at the National Portrait Gallery

One modernist technique he used to dramatic effect was deploying multiple exposures. There are one or two examples here, although not the famous masterpiece, his portrait of Nancy Cunard.

Cecil’s self-creation

Part of Beaton’s ambition to get into the best social and artistic circles of the day was the drive to invent himself, to curate, mould and promote his own image. One result was that, over the years, a huge number of photos were taken of Beaton himself, a large number of artful self portraits but also portraits by other snappers, especially in his post-war celebrity period. The curators boast that the National Portrait Gallery alone holds 360 portraits of Beaton, by some of the most celebrated practitioners ranging from Man Ray to Richard Avedon, Dorothy Wilding to David Bailey, Henri Cartier-Bresson, Irving Penn and Arnold Newman. And so the exhibition includes photos of:

  • Cecil play-acting as King Cnut
  • Cecil outside the Excelsior Hotel, Venice
  • Cecil in Room 1806 at the Ambassador Hotel, New York
  • Cecil dressed up as the popular novelist Elinor Glyn
  • Cecil on the Menai Suspension Bridge
  • Cecil in RAF photographer’s uniform, the Western Desert
  • Cecil and Truman Capote in Tangier
  • Cecil and Audrey Hepburn on the set of My Fair Lady
  • Cecil looking grand in a cloak by the great American photographer Irving Penn in 1950

And many more.

Cecil’s stagings

I thought the single most important piece of information in the exhibition was the curators’ own observation that Beaton was never known as a highly skilled technical photographer. Instead, he focused on staging a compelling model or scene.

At school, university and after there’s plenty of evidence that he loved the theatre, loved staging plays and performances (the home movie, the Watteau series), loved not just acting in them but costume and set designing. Indeed, it was not just photography alone but his ability to make designs for the charity galas staged by fashionable London society, which boosted his reputation among the rich and titled. Here’s an installation view showing three of his photo portraits from a 1930s charity ball, which demonstrate just how elaborate these settings could be, almost dwarfing the human subjects. Note the mad profusion of flowers.

Installation view of ‘Cecil Beaton’s Fashionable World’ at the National Portrait Gallery (photo by the author)

Once this talent for dressing a set is explained you see it everywhere. We are told that Beaton owned a couple of trunks full of props and spent a lot of time dressing and arranging the set or backdrop before he got around to the person or model to be shot. In so many of the shots it’s the dress and costume the sitter is wearing (this is fashion, after all) that has a lot to do with it – but what made it so Beaton would be the elaborateness or artfulness of the backdrops.

And so this is what a lot of the photos here consist of: classic debutante and society shots from the ’20s and ’30s – tall, elegant ladies in stunningly beautiful dresses, against stylishly imaginative backdrops. Here’s a photo which demonstrates both his flair for self-presentation and an example of his elaborate and stylish backdrops, in a self-portrait from the 1930s. See what I mean by ornate and elaborate backdrops. And flowers. Lots of cut flowers.

Cecil Beaton (c.1935) The Cecil Beaton Studio Archive, London

The sources of Cecil’s style

Almost entirely self-taught, Beaton established a highly distinctive photographic style which combined 1) Edwardian stage portraiture, 2) hints of contemporary European surrealism, 3) the more modernist approach of the great American photographers of the era, all filtered through 4) a pointedly English sensibility. The more I looked the more this ‘English sensibility’ could be summarised as lots of flowers.

Once you’ve recognised these elements, you can see how the mix varied in different shots or periods. For example, the portraits of his arty friends (the BYTs, the Sitwells) use a European modernist sensibility, all Art Deco lines and geometric backdrops, whereas the debutante balls are all English roses (lots and lots of roses). When, in the 1950s, he did Hollywood film stars, there are a few staged settings but most are shot in a more American, democratic, unstaged way. The famous portraits of Elizabeth Taylor or Marilyn Monroe are all about capturing (supposedly) unstaged and natural moments.

Elizabeth Taylor by Cecil Beaton (1955) The Cecil Beaton Studio Archive, London

Reflecting on this, you realise that being invited to do the costume and set design for the Broadway musical, and then for the movie version, of ‘My Fair Lady’ was a dream come true for Beaton, because it is a costume drama, a period piece, set in his beloved Edwardian era, but heightened and stylised through a 20th century sensibility. The outfit and backdrop in the photo below, for instance. They have the feel and apparent shape of an Edwardian outfit, but the details of the dress design, and especially the receding square of the backdrop, owe more to the 1960s Op Art of Bridget Riley than the 1900s world of Edward Elgar.

Audrey Hepburn in costume for ‘My Fair Lady’ by Cecil Beaton (1963) The Cecil Beaton Archive, London

Beaton and British Vogue

Cecil managed to sell his first photo to British Vogue while still an undergraduate and signed a contract with them in 1927. For the next decade he worked as a staff photographer for Vogue and the core of the exhibition is lots of work from this period. This includes not just fashion shoots but illustrations and covers.

Regarding the illustrations, about half a dozen are on show here, all of them are good, and some of them are sublime. Obviously it’s fashion with its eternal body fascism, so all the women are immensely tall with unfeasibly long necks but, if you enter that world, those are the rules.

Installation view of ‘Cecil Beaton’s Fashionable World’ at the National Portrait Gallery showing one of Beaton’s many fashion drawings: note the extreme thinness and elongation of the models;  in fashion, everything changes and yet nothing changes

Vogue covers

More light is shed on Beaton’s strengths and weaknesses in the matter of magazine covers. You’d have expected the young genius to have supplemented his elaborate fashion shoots with umpteen cover shoots for Vogue but, surprisingly, no. Very few of his classic shots made it onto the cover of Vogue. This was, apparently, because he was too opinionated to submit to the requirements of art directors who needed to arrange images to have lots of text imposed over them. Cecil wouldn’t play ball. So surprisingly few covers.

Installation view of ‘Cecil Beaton’s Fashionable World’ showing the display case of holding some of his (relatively few) magazine covers (photo by the author)

Cecil’s antisemitism

Then disaster struck. In 1937, for reasons he could not immediately explain, as he put the finishing touches to a finely-detailed decorative border to a double-page illustration for Vogue, Beaton added in tiny writing an antisemitic slur – basically, he used the k word. Though almost microscopic, it did not go unnoticed. 130,000 copies of the early February 1938 edition were pulped as the magazine’s editors fielded a backlash from  advertisers who threatened a boycott. Condé Nast forced Beaton’s resignation from Vogue. Beaton’s humiliation was sudden and total. Then again, this is the world of fashion. Two years later, partially rehabilitated by the seriousness of his war photography (see below), Vogue rehired him.

The Royals

In 1939, much to his own surprise, Beaton was invited to Buckingham Palace to photograph Queen Elizabeth, wife of the reigning monarch, George VI. Only two years earlier he had potentially alienated the Royals by doing portraits of the two figures at the heart of the scandal which rocked the family, the 1936 Abdication Crisis, namely Edward Prince of Wales and the American divorcee he fell in love with, Wallis Simpson. His 1937 portraits of them are here and very impressive, too, especially Wallis in a striking black and white Schiaparelli jacket.

But despite having taken stylish photos of the Royals’ enemy, he was now invited into the heart of the establishment, to take photos of the loyal Royals, and this was to open up a whole new aspect of his career. Queen Elizabeth (who was to become the Queen Mother) was charming, her husband mild and unassuming, and he took various sets of them. But over the  next decade or more it was their daughter, the young Princess Elizabeth, who stole the show, who emerged from girlhood into young maturity and be captured in a series of photoshoots. Beaton was the official photographer for her coronation (2 June 1953), and captured the growth of her young family. There’s a great shot of her with the toddler Prince Charles.

Meanwhile, her sister, the more fashionable and flirtatious Princess Margaret, was also given the Beaton treatment, but in a more stylish and elegant manner than her more homely sister. Beaton’s long association with the Royals, during which he helped to mould their public image, has been the subject of more than one exhibition and numerous books.

War photographer

If Beaton’s reputation was dented by the antisemitism scandal, it was in part rehabilitated by the advent of war in September 1939. He was recruited into the Ministry of Information and tasked with creating propaganda photos. At first these focused on the Home Front, especially during the Battle of Britain (10 July until 31 October 1940) and the Blitz (7 September 1940 to 11 May 1941). This section of the show features a fashionably dressed young woman set against a completely bombed-out London building.

But the star of the section is the iconic photo Beaton took of 3-year-old Blitz victim Eileen Dunne recovering in hospital, clutching her beloved teddy bear. When the image was published, America had not yet joined the war, but images like this did much to create the climate of public opinion in the States favourable to lending Britain arms and materiel.

The Men Who Fly Planes by Cecil Beaton (1941) The Cecil Beaton Studio Archive, London

I haven’t really brought out Beaton’s work rate. You don’t become the leading fashion photographer of your age by accident. It took a lot of hard work, ambition and commitment, honing your craft, maintaining contacts and delivering the goods. And the point of mentioning this now is that when the war came, Beaton applied the same commitment and work rate to his war work. At first on the domestic subjects of the Blitz and air battle but, once it was possible, he travelled beyond Britain to other theatres of war, to document all aspects of the war effort: from the shipyards of Tyneside to the Middle East and then the Far East to record the war against Japan.

In total Beaton took some 7,000 photographs for the Ministry of Information covering all aspects of the Second World War, and produced an impressive ten books with titles like ‘History Under Fire’ and ‘Air of Glory’. Like so many other aspects of Beaton’s career this one, too, has been the subject of an exhibition, held, appropriately enough, at the Imperial War Museum.

So much so that I wondered: why is there a whole section devoted to Beaton’s war photography in an exhibition about fashion?

Two country homes: Ashcombe and Reddish

The exhibition takes another digression away from purely fashion shoots to devote a room to Beaton’s two homes. From 1930 to 1945, Beaton leased Ashcombe House in Wiltshire. It was a small, elegant house, undisturbed for years and Beaton lavished years of care, decorating and adorning it with tasteful theatricality, and it became a venue for hosting his many friends in the arts.

Unfortunately, when the lease expired in 1945 it couldn’t be renewed, so he was bereft for a few years. Then, in 1947, he discovered Reddish House, a ‘miniature Queen Anne jewel-box of a house’, set in a couple of acres of gardens, a few miles east of the village of Broad Chalke.

Here he transformed the interior, adding rooms on the eastern side, extending the parlour southwards, and introducing many new fittings. Once again, it became a venue for visitors, friends and celebrities, not least his sometime inamorata, Greta Garbo (the very improbable affair between Beaton and Garbo lasted from 1946 to 1960). Grand personages for a quiet English backwater. Beaton remained at the house until his death in 1980 and is buried in the parish church graveyard.

State and film design

In Britain, the end of the war saw a continuation of rationing and austerity. The most obvious change in Beaton’s world was the advent of colour photography. During the 1930s colour image making was a labour-intensive exercise and Beaton wasn’t fond of it. Technological advancements in colour reproduction had been led by The Condé Nast Publications at its state-of-the-art printing works outside New York so that Vogue was at the cutting edge. The curators claim that Beaton made some of his most
impressive fashion photographs in colour, usually within his trademark stylised format. Frankly, I’m not so sure.

The room of post-war colour photos seemed to me by far the weakest. His colour photos lack the style, precision and thrilling modernity of the black and white ones. I can think of no better way of saying it than that the subjects in the 1920s and ’30s black-and-white images look like flawless gods and legends whereas the people in his colour photos look like people, freckles and skin blemishes and all. Here’s one of his solo colour portraits from just after the war. Nicely staged and lit and everything, but… plain. Amazing dress, lovely little bouquets etc… But lacking any oomph.

At the Tuxedo Ball (Nancy Harris) by Cecil Beaton (1946) The Condé Nast Archive, New York

He’s a lot better when he can arrange his figures into the kind of idealised, stylised Edwardian drawing room ambience which became his post-war brand, as here, less close-up, more stylised. Like a set design.

Worldly Colour (Charles James evening dresses) by Cecil Beaton (1948) The Cecil Beaton Studio Archive

Designer for stage and screen

Possibly this is why his post-war career took a detour away from photography back towards his first love of the stage, costumes and theatrical design. Immediately after the war, in 1946, he designed sets, costumes and lighting for a 1946 revival of Lady Windermere’s Fan, in which he also acted. Eight years later, in 1956, he won plaudits for the costumes he designed for Alan Jay Lerner (lyricist and librettist) and Frederick Loewe (composer)’s musical play ‘My Fair Lady’. The association led to the invitation to be designer to the Lerner and Loewe film musical, ‘Gigi’, in 1958. And then, the climax of his career, to design costumes for the award-winning movie version of the play, ‘My Fair Lady’, released in 1964. Astonishingly, Beaton won an Academy Award for Best Costume Design for both these movies.

The last room in the exhibition is devoted to Beaton’s designs for and photos of the stars of ‘My Fair Lady’, not least a montage of shots of the incomparable Audrey Hepburn, along with a couple of the original star of the stage production, Rex Harrison, and the young actress who made the part onstage but was dropped in favour of Hepburn, Julie Andrews (note the roses).

Celebrities

As mentioned, before the war it’s mostly debutante and fashion photos of the 1920s and ’30s are of people we’ve never heard of (apart from the Royals). It’s after the war, when he went to work in America, that Beaton started shooting celebrity actors and performers in large numbers. Thus the exhibition includes memorable portraits of:

  • John Wayne
  • Gary Cooper
  • Fred Astaire
  • Katherine Hepburn
  • Buster Keaton
  • Johnny Weismuller
  • Marlon Brando
  • Yul Brynner
  • Joan Crawford
  • Elizabeth Taylor
  • Marilyn Monroe

Artists:

  • Salvador and Gala Dali
  • Lucien Freud
  • Francis Bacon

Comments

1. Absence of analysis

Exhibition curator Robin Muir is quoted as saying ‘Beaton’s impact spans the worlds of fashion, photography and design.’ OK. Why? How? Explain what lasting impact he had on 1) fashion, 2) photography, 3) design. What, exactly, were his, say, three major innovations in photography?

I was surprised at the lack of analysis of any of this. Blank assertion a-plenty – he was ‘one of the leading visionary forces of the British twentieth century’, he ‘made a lasting contribution to the artistic lives of New York, Paris and Hollywood’ and so on. Yes, but how exactly? In what way did he ‘mould the visual style between the wars’? Why exactly was he called ‘the King of Vogue’? What was it about his compositions or lighting, his arrangement of models and so on, that defined the age?

The wall captions overflow with names of all the sitters, who they were and who they married or divorced – there’s no end of celebrity tittle-tattle, so that much of the exhibition reads like a society gossip column from a hundred years ago:

Marjorie Seely Blossom (1890-1969) divided her time between New York, Palm Beach and Biarritz, where she cultivated a much-admired rose garden. In a letter to Beaton, Diana Vreeland praised Mrs Wilson as ‘the most divinely beautiful woman that ever was’.

Or:

Lady Mendl, the former Elsie de Wolfe (1865-1950), was married late in life and to the surprise of friends, to Sir Charles Mendl, press attaché at the British Embassy in Paris. They kept separate
residences but entertained together. An interior decorator of influence, Lady Mendl sits in the circular hall of her Paris home in a blue taffeta dress by Mainbocher. Beaton considered her ‘a woman of unquenchable vitality… a living factory of chic.’

There’s hundreds of miles of this stuff. But insights into the precise nature of Beaton’s innovations and discoveries, what his look consisted of and why it was so influential, or indeed an outline of the main developments in fashion during the 1920s and ’30s – disappointingly little.

2. Comparison with Lee Miller

It’s a happy coincidence that the Beaton exhibition (ends January 2026) is running in parallel with Tate Britain’s exhibition of another pioneering twentieth century photographer, Lee Miller (running until February 2026).

In a nutshell, I think Miller is incomparably the greater photographer and artist. While Beaton had a good eye as a photographer, Lee was a genius. Presumably the Beaton has been carefully curated to be the best of the best and so I was very surprised that quite a few of the photos were actually poor. Some seemed to fail the elementary test of being in focus. Many of the post-war colour images seemed to me clumsy and graceless.

Installation view of Cecil Beaton’s Fashionable World at the National Portrait Gallery showing four of Beaton’s colour photos from the 1940s

Many of the debutante photos and, of course, the Royal portraits, are nice. Nicely composed, chaste and demure, cascades of roses complementing billowing dresses etc. I take the point that the style he developed took a lot of effort and flair and so on but they are all, essentially, conservative, in subject matter (all those posh debutantes) and feel and style. Beaton adapted the feeblest British aftershocks of surrealism into his vision, tame and well mannered.

By contrast, Miller went to the heart of the Parisian avant-garde, tracking down and buttonholing Man Ray and forcing herself to become his collaborator and lover. With him she developed dazzling new ways of seeing and using photography (notably the famous solarising technique). The nudes she did in the studio with Man Ray invented new types of beauty, took the concept of the nude to new places. Her surrealist shots of Paris street scenes are inspired. Her war photography was inspired. She not only had a dazzlingly good eye but was brave in the face of actual combat in a way most of us can’t imagine.

For all that Beaton is photographed smiling and larking around, his humour comes over very little in his actual work, whereas Lee Miller’s quirky surreal take on the world comes over in scores of her images.

Maybe Beaton’s concoction from various elements of a sort of modernised Edwardian elegance for the ’20s, ’30s and ’40s was very influential in his day, in fact for a generation – but it is, all of it, tame and contained and good mannered. While Miller blew the lid off photography not once but several times, with the searing intensity of genius.

I know they come from different worlds and are doing different things. ‘Cecil Beaton’s Fashionable World’ is a very good, very interesting and very entertaining exhibition. But almost anything by Lee Miller blows it out of the water.


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Lee Miller @ Tate Britain

This is a quite amazing exhibition, a complete eye-opener not only regarding Lee Miller’s extraordinary range and ability as a photographer and her staggering achievement in so many different fields – but at the same time a portrait of an astonishingly blessed and yet, in parts, harrowing life.

This is the largest retrospective of Miller’s work ever staged and easily fills 11 decent-sized rooms. It features 230 vintage and modern prints, many (especially her wonderful Second World War shots) on show for the first time. You might think that’s a lot of items to take in but if anything it’s not enough. I could easily have lapped up more.

The show also includes a wide range of supporting material, including original copies of the many magazines her work appeared in, numerous copies of Vogue as well as wartime publications.

Quick overview

A quick overview would refer to Miller’s success as:

  • a fashion model
  • a muse and icon for avant-garde photographers
  • an actor in an avant-garde film
  • a core member of French surrealism
  • a collaborator with the great Man Ray
  • a travel photographer in the Middle East
  • a fashion photographer for Vogue in the 1930s and through the first years of the Second World War
  • a war photographer, at first in Britain among air crews and suchlike, before being early on the scene at the D-Day landings and at the liberation of Buchenwald and Dachau concentration camps
  • in post-war life hosting her artist friends at the country house in Sussex she shared with husband Roland Penrose
  • a late-blooming interest in cordon bleu cookery

In room after room, in one area after another, the visitor comes across amazing photos in a wide range of genres. It’s a staggering achievement and this is a thrilling, mind-boggling exhibition.

The exhibition

As I mentioned the exhibition is in 11 rooms. I’ll give a quick summary of each, with an indication of favourite photos.

Room 1. Fashion model

Miller was born in 1907 in Poughkeepsie, New York State. Her father was a keen amateur photographer and she posed frequently for him from early childhood. She began modelling professionally in New York City in 1926 (aged 18) while studying painting at the Art Students League. In March 1927, aged just 19, she appeared on the covers of British and American Vogue, drawn in pearls and furs against a glittering city skyline. She was photographed by celebrated figures like Cecil Beaton and Edward Steichen and room 1 is full of wonderfully atmospheric 1920s photo shoots.

Installation photo of Lee Miller at Tate Britain showing Miller in 1920s cloche hat and furs © Lee Miller Archives, England 2025. All rights reserved. Photo © Tate (Sonal Bakrania)

The photos bring out her height, her strikingly long neck, the rather big nose which gives her a slightly tomboy, androgynous look, which perfectly suited the 1920s era of slender flappers.

The experience of being a model inspired her to become a photographer herself, declaring she would ‘rather take a picture than be one.’ Not only that, but she wanted to be at the cutting edge of photography, which was Europe. So in 1929 she moved to Paris.

Room 2. Association with Man Ray

With extraordinary courage, ambition and chutzpah, Miller tracked down Paris’s leading avant-garde photographer, (the American) Man Ray and announced that she was to be his new student. ‘I told him boldly I was his new student. He said he didn’t take students and anyway he was leaving Paris for his holiday. I said, I know, I’m going with you – and I did.’

Impressed by her looks, confidence and evident ability, Man Ray took her not as a student but as an active collaborator, both a model for many of his most famous photos and a photographer in her own right, and then lover.

The famous photo of a woman’s bottom as she kneels forward, revealing her feet, that’s Miller, along with scores of other striking and iconic images.

This room explains how they jointly stumbled across the process of solarisation, the process where a negative or print is partially re-exposed to light during development, leading to a tone reversal effect where bright areas become dark and vice versa. You can see an example on the left in this photo.

Installation photo of Lee Miller at Tate Britain © Lee Miller Archives, England 2025. All rights reserved. Photo © Tate (Sonal Bakrania)

The Blood of a Poet

Very quickly Miller was established at the centre of Paris’s surrealism circle. In her role as model, she was invited by Jean Cocteau to star in his ground-breaking surrealist film, Le Sang d’un poète, 1930. In it she appears as a classical statue which comes to life. In a darkened room off to one side, you can watch a 3-minute excerpt.

Room 3. The surreal streets of Paris

By the early 1930s, Miller was fully embedded in Paris’s avant-garde circles, in particular befriending artists associated with surrealism, the movement that rebelled against convention and advocated an aesthetic of chance, randomness and the uncanny.

Having established her own studio, Miller took to photographing the City of Light and created a dazzling series of images. Using the avant-garde strategies of photographing everything from above, from an angle, incorporating disorientating reflections – she rendered everyday sights in the city mysterious and surreal.

My favourites were a pair of bird cages set against the ornate metalwork of a shop window. Or the really surreal one of a woman reaching her hand up and behind her to touch her hairdo in a hairdressers’ but which makes the hand look like an alien creature. Tate press give us this one to use, of a sheet of semi-congealed tar oozing across the pavement towards a pair of anonymous feet. All of them weird and wonderful and inspiring.

Untitled, Paris 1930 by Lee Miller. Lee Miller Archives © Lee Miller Archives, England 2025. All rights reserved. leemiller.co.uk

Returning to New York in 1932, she set up Lee Miller Studios Inc. and opened her first solo exhibition. In both the United States and Europe, Miller exhibited regularly alongside fellow pioneers of modern photography and her work was published in numerous artistic journals and magazines.

Room 4. Egypt and other destinations

By 1934 Miller had spent two years running a commercial studio in Depression-era New York and felt burnt out by the repetitive demands of high-profile clients and brands. In that year she met the Egyptian businessman and engineer Aziz Eloui Bey, who had come to New York City to buy equipment for the Egyptian National Railways, and they were married.

At first Miller renounced photography entirely. thanks to her rich husband she no longer needed to earn a living. But a trip to Jerusalem in 1935 reignited her creative spark, and she returned to the camera as a tool of experiment and exploration. Over the next four years, Miller made regular expeditions across remote Egyptian deserts, as well as through Syria, Palestine, Lebanon, Cyprus, Romania and Greece.

This room contains lots of stunning images from these trips, images of the desert, tracks in the sand, decrepit cars, a pile of sandals made from car tyres, the strange and disorientating architecture of the desert world.

Portrait of Space, Al Bulwayeb near Siwa 1937 by Lee Miller. Lee Miller Archives © Lee Miller Archives, England 2025. All rights reserved. leemiller.co.uk.

In Cairo Miller took a photograph of the desert near Siwa that Magritte saw and used as inspiration for his 1938 painting Le Baiser. Miller also contributed an object to the Surrealist Objects and Poems exhibition at the London Gallery in 1934. There’s a great one of bleached snail shells on an old tree.

The room also includes striking black-and-white images of peasants in Greece, Albania and the other ‘exotic’ countries she visited during this period. All of them are good, some are outstanding. I particularly liked the one with the three Albanian peasants and their two bears.

By 1937, Miller had grown bored with her life in Cairo. She returned to Paris and went to a party the day she arrived, where she reconciled with Man Ray, and met the British surrealist painter and curator Roland Penrose who she would marry in May 1947.

Room 5. Arty friends

Charismatic, creative and intelligent, Miller befriended many of the leading artists and intellectuals of her day and throughout her carer created striking, candid, intimate portraits of them.

‘It takes time to do a good portrait … [and] find out what idea of himself or herself he has in mind.’

There’s a set of entertaining ones of Charlie Chaplin, who claimed the shoot was one of the most entertaining days of his life, and best of which appeared in a popular French cinema magazine as well as in modernist photography exhibitions on both sides of the Atlantic.

With Picasso Miller had a long and fruitful relationship, taking over 1,000 photos of him during their lives.

Having returned to Paris in 1937, she took intimate portraits of the surrealists in the troubled period of the late-30s, many of them jolly snaps of larky group holidays. These include Eileen Agar, Max Ernst, Paul Eluard, Leonora Carrington and many more.

Room 6. Vogue and war

Miller moved back from Paris to London to join her lover, Roland Penrose, in September 1939, just as World War Two kicked off.

As a US citizen, Miller was ineligible for war work in the UK and so she offered her services to British Vogue. Before long, with more established figures tied up, she was the magazine’s leading photographer, and this room contains some of her wonderful, inspired photoshoots in wartime London, including shots of the editorial staff busking it after the offices were Blitzed.

Room 7. Photographing the Blitz and women’s war

From 7 September 1940 to 11 May 1941 London was blanket bombed by the Germans. Some 30,000 people were killed during the Blitz but Miller wasn’t the only one to notice the bizarre and surreal imagery produced by intensive bombing of urban landscapes. Placing pristine, beautifully dressed models in tailored outfits against the rubble created jarring but striking images. The Blitz was a whole new look.

Model Elizabeth Cowell wearing Digby Morton suit, London 1941 by Lee Miller. Lee Miller Archives © Lee Miller Archives, England 2025. All rights reserved. leemiller.co.uk

All aspects of wartime life inspired Miller, from a documentary news-style photo like:

To consciously surreal compositions like:

Fire Masks by Lee Miller (1941) Lee Miller Archives © Lee Miller Archives, England 2025. All rights reserved. leemiller.co.uk

And a great one of a melted typewriter, titled Remington Silent to jokily echo the Remington typewriter company’s advertising claim that their typewriters were very quiet. Well, this one’s never going to bother anyone again.

Her sense of humour was never far away.

David E. Scherman dressed for war, London 1942 by Lee Miller. Lee Miller Archives © Lee Miller Archives, England 2025. All rights reserved. leemiller.co.uk

Many of Miller’s Blitz photographs were published as a book, Grim Glory: Pictures of Britain Under Fire (1941). Although intended primarily for a US audience, it proved highly popular on both sides of the Atlantic, and there are several copies open to various pages here in a display case.

At least ten of her photographs were also included in ‘Britain at War’, an influential exhibition at the Museum of Modern Art in New York. Touring North and South America over the next three years, these works shaped international perceptions of the Blitz.

Women’s war

Several walls here hold photos describing women’s lives in war. British women, conscripted for the first time from 1941, poured into the workplace. Miller took inspiration photos of women working as mechanics, journalists and searchlight operators, a striking photo of a woman fighter pilot in her cockpit, her photos were a vital contributions to the war effort.

Room 8. In warzones

Once the USA had joined the war (Japan. Germany and Italy declared war on the United States on December 11, 1941) Miller was able to apply to become an accredited war correspondent with the US Army. This she did in late 1942. She continued to take photos of war work in Britain. it was only after the Normandy landings of June 1944, that she – like most correspondents – was able to follow the army into combat.

This room contains vivid photos of the Normandy beaches still littered with wreckage, and then a series depicting the claustrophobic lamplit environment of army field hospitals, and then photos of sometimes grossly injured soldiers in their makeshift beds.

Most of these stories were produced for Vogue with whom she’d kept all her contacts. She produced a regular supply of not only photos but reporting to accompany them. Up till now she hadn’t written much but she proved a natural journalist, producing vivid first-hand descriptions of what she saw as she followed the US Army in its fiercely contested progress across Europe.

Installation photo of Lee Miller at Tate Britain showing the case containing Miller’s war correspondent uniform and, at the left hip, her lightweight Rolleiflex camera (photo by the author)

She turned out to have the journalist’s fundamental skill, being in the right place at the right time. In France, Belgium, Luxembourg, Germany, Denmark, Austria, Hungary and Romania she produced a range of images: some, as mentioned, of field hospitals, others artillery exploding on nearby buildings. In many of them she drew on the surrealist aesthetic to bring out the absurdity as well as the stupid cruelty of war.

Room 9. The Holocaust

The war thread reaches a peak of horror in room 9. This displays the photos Miller took after entering Buchenwald concentration CAMP on 16 April 1945, soon after it had been liberated. Two weeks later, on 30 April, she visited Dachau, a concentration camp near Munich. Thirty-five years later I went to Dachau.

Most of these photos have never been seen before. They show piles of bones or prisoners so starved they were little more than skin and bones.

The trains pulling cattle wagons which used to be packed full of victims, now bestilled in the summer heat with just a few corpses lying around on the gravel. There’s a sequence showing Nazi camp guards who have been soundly thrashed. And one which really stuck in my mind, a discomfortingly idyllic one of a dead German camp guard floating in a ditch or canal – a kind of mid-twentieth century version of Millais’s Ophelia, which hangs not far away in Tate Britain.

Miller’s Rolleiflex camera had no zoom lens and so, in order to get the shots, she had to get very close to the subjects, to all those piles of corpses, to the starved inmates dying of disease in the barracks. Up close with the worst evil in history.

This is a devastating subject, Miller captured images with her usual skill and eye for detail, but the experience marked her for life.

Months later, she was among the first to reach Hitler’s weekend retreat at Berchtesgarten just as American GIs began to loot it. In images overflowing with historical irony, she and her war photographer comrade David E. Scherman photographed each other taking baths in Hitler’s own personal bath The sight of the enemy cavorting in the most private inner sanctum of the great Leader rammed home the message of total defeat. It also represented the par washing off the filth and grime of months living through the apocalypse which the deranged leader started. And, for Scherman who was Jewish, a particularly sweet and apposite revenge on the Antisemite-In-Chief.

Unbeknown to Miller and Scherman as they set up these shots, just a few hours later Hitler and Eva Braun would commit suicide in their bunker in Berlin and the war in Europe would soon be over.

Room 10. War’s aftermath

But the suffering wasn’t over, not for tens of millions of people, not by a long chalk. The war left unthinkable devastation all across Europe.

Miller continued photographing and reporting into 1946 and recorded how the euphoria of liberation gave way to disillusionment. Her images and writing show people facing mass displacement, starvation and disease. Much of this is covered in Keith Lowe’s harrowing history of the war’s aftermath:

She travelled in eastern Europe, capturing the poverty of really dirt-poor peasants. There’s an extraordinary photo of the public execution of László Bárdossy, the fascist ex-Prime Minister of Hungary, on 10 January 1946.

Throughout she maintained her eye for the surreal detail, the sur- in the real.

She went out of her way to photograph children, believing they represented the future everyone now had to build towards, but this quote shows her acrid realism:

‘I’m taking a lot of kid pictures, because they are the only ones for whom there is any hope … And also we might as well have a look at who we’re going to fight twenty years from now.’

Room 11. At home in Sussex

Happily married Finally it was over, Miller quit being a correspondent and returned to England. After she discovered she was pregnant by her long-time lover, the artist Roland Penrose, she divorced her Egyptian husband Bey and, on 3 May 1947, married Penrose. Their only son, Antony Penrose, was born on 9 September 1947.

Happy home In 1949 the couple bought Farley Farm House in Chiddingly, East Sussex. During the 1950s and 1960s Farley Farm became a popular resort for visiting artists such as Picasso, Man Ray, Oskar Kokoschka, Henry Moore, Eileen Agar, Jean Dubuffet, Dorothea Tanning, Max Ernst, Yves Tanguy, Humphrey Jennings and many more…

Cookery In the 1950s Miller drifted away from photography and became increasingly interested in cordon bleu cookery, developing her own eccentric and humorous recipes. But her mental health was problematic. What she’d seen so close-up during the war cast a shadow over the rest of her life.

In this final room are many of the photos she took of the artistic giants of the twentieth century who were also her friends, as well as a charming display case showing magazine features about her staid, domestic home life.

Installation photo of Lee Miller at Tate Britain showing a photospread in a 1973 edition of Home and Gardens featuring the interior of her Sussex home complete with some of her cooking (photo by the author)

Sometimes Miller claimed that her photographic archive had been destroyed. The true extent of her work was only discovered after her death in 1977. The roughly 60,000 negatives, prints, journals and ephemera uncovered in the family attic now form the basis of the Lee Miller Archives and this exhibition represents a dazzling opportunity to delve into those archives and savour their countless treasures.

Summary

What an amazing life! What a prodigious, multifaceted talent! And what a brilliant exhibition!

Promo video


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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).

Anne Desmet: Kaleidoscope/London Exhibition @ Guildhall Art Gallery

This is a lovely exhibition of the popular, accessible and inspiring artist Anne Desmet – imaginative, decorative, beautiful to look at, civilised, teasingly clever and FREE.

British Museum Great Court by Anne Desmet @ in Kaleidoscope/London at the Guildhall Art Gallery

From the website and the press release I hadn’t really grasped the scale of the exhibition. With over 150 works this is a major retrospective, which features series of works from as far back as 1990 right up to the present day, including 41 London-themed kaleidoscopic prints created exclusively for this new exhibition.

1. Wood carver par excellence

Born in 1964, Anne Desmet is a well-established artist and member of the Royal Academy who specializes in wood engravings, linocuts and mixed-media collages.

Desmet is a highly skilled carver in wood and creator of dazzling woodcuts. She is only the third artist to be elected to the RA for working in the medium of wood engraving. The exhibition includes a fascinating 6-minute film shot at her studio in Hackney which follows the entire process through, from starting with an endpiece bit of wood, then showing the various sharp carving tools she used to get her effects, through to rolling the print ink flat, inking the cut and then making the print.

There are also four display cases showing the raw wood piece, the tools she uses, the final engraved wood blocks, her notebooks, sketches and so on.

Display case in ‘Kaleidoscope/London’ at the Guildhall Art Gallery, showing, from left to right, a sketchbook, a virgin block of end-grain wood with some of her carving tools, and a finished engraving block (photo by the author)

Most of these woodcuts are in black and white. Some are coloured in but colour isn’t her thing: shapes and patterns are her thing. She can do astonishingly realistic depictions of Italian or London landmarks, gardens and buildings, but its the way she then mashes up these images which get her juices flowing (see below).

2. Architecture

Desmet is strongly attracted by architecture and in particular architecture with strong mathematical lines and geometric shapes. There are three rooms and the first one contains cityscapes and townscapes, depictions of Rome, rooftops of Italian provincial towns, scenes from Oxford (the Radcliffe Camera, Balliol College) and, in a surprise, a piece I really liked, a fantasia of Tudor chimney stacks as she observed them when she was, believe it or not, artist in residence in Eton, in 2016.

‘Urban Jungle’ by Anne Desmet (2016) in ‘Kaleidoscope/London’ at the Guildhall Art Gallery

3. Fantasias

As you can tell from the Eton picture, this is a fantasia made up of lots of chimneys combined together into an improbably dense and overloaded image. She does the same to her Oxford landmarks, moving beyond the obvious aesthetic appeal of the colleges and instead creating fantastical images of, for example, the Radcliffe Camera, whose mighty dome appears ten or more times in a mashed-up fantastical image.

These clear crisp but fantastical images reminded me a little of the woodcut covers Scottish artist and novelist Alisdair Gray made for the covers of his books and short stories and John Lawrence’s illustrations for some of Philip Pullman’s fantasy stories, also set in Oxford. Also, the most fantastical of them are strongly redolent of Maurits Escher‘s optical illusions.

There are a handful of works from the 1990s which are completely fantastical, showing piles of household bric-a-brac (scissors, tape measure) mingled with learned tools such as you might find in a 17th century engraving depicting science (protractors and compass), with the image of Peter Breughel’s version of the Tower of Babel in the background and, snuffling in the foreground, miniature bulldozers and tiny people.

‘Wood Engraver’s Tower’ by Anne Desmet (2020) in ‘Kaleidoscope/London’ at the Guildhall Art Gallery

This image, Breughel’s tower, recurs throughout all of her work, sometimes centre stage, sometimes cropping up as an unexpected detail. It speaks to her interest in architecture, in large buildings, but also to the passage of time, and inevitable decay and collapse. Decline and fall. Ruined cities, empty streets, abandoned buildings…

My favourites in the first room were a series of images made by cutting up original prints and remaking them as collages. In particular I liked this one which takes is inspiration from Antoine de Saint-Exupéry’s children’s story, ‘The Little Prince’, which I liked for its sci fi vibe but mainly for its shape and design and feel. Note the tiny photo of the Radcliffe Camera floating incongruously at the top right.

‘Out of This World’ by Anne Desmet (2022) in ‘Kaleidoscope/London’ at the Guildhall Art Gallery

4. Mashing

So far so fairly realistic and there’s ample evidence that Desmet she can do breath-takingly realistic renderings of buildings and views. But the central concept is that Desmet chops up her work. It is sliced and diced, filleted, repeated, duplicated and recombined in a myriad ways, and it’s these processes which create her really stunning works. I made a list of the treatments she subjects her works to:

  • basic realistic engraving
  • fantasias – Tower of Babel, Eton chimneys, multiplying Radcliffe Cameras
  • collages
  • the same scene with variations – Urban Development or St Paul’s
  • mounted on razor shells – cityscapes, Olympic buildings
  • mounted on squares – Olympic Site A to Z
  • mounted on slate – Perimeter Fence
  • tall images – the angel tower
  • sliced as by a paper shredder – the British Museum Grand Court sliced vertically, horizontally and diagonally
  • hangings – British Museum
  • cut-out illuminated by an LED light – St Paul’s
  • behind glass cubes
  • behind convex clock glass circle
  • on crockery fragments – angels
  • kaleidoscope

Kaleidoscope

The technique central to maybe half of these works is the simple but surprisingly effective technique of using a kaleidoscope.

The exhibition quote Desmet’s own explanation, which I’ll quote in full:

‘Many of the collages were made in 2022 while I was undergoing treatment for breast cancer and consequently, they reflect something of a wild scattergun of thoughts that were running through my mind at that time, such as escape, possible new worlds, and the climate crisis.

‘The framework for those thoughts was inspired by a kaleidoscope toy that I had bought at the Sir John Soane’s Museum some years ago, which breaks up whatever view you’re looking at into extraordinary triangulated repeat-patterns.

‘I set about applying a kaleidoscope lens to my London imagery to create new work for the exhibition at Guildhall Art Gallery. By seeing the city anew and with a sense of its unexpected possibilities, I hope that my work will inspire optimism and constructive thinking in our uncertain times.’

Sky Windows

And so she set about reviewing prints from her earlier wood-engravings, linocuts and hand-drawn lithographs, and kaleidoscoping them. The most comprehensive example is the piece titled ‘RA: Sky Window’. In 2017 the Royal Academy was undergoing a refurbishment and Desmet made some beautifully realistic paintings of the building.

‘RA Revolution’ by Anne Desmet (2017) in ‘Kaleidoscope/London’ at the Guildhall Art Gallery

Then, as explained, in 2023, she returned to the image armed with her kaleidoscope and realised that she could manipulate the skyline of the building so as to place the blue of the sky at the centre of a surprising variety of shapes.

Installation view of ‘Sky Windows’ by Anne Desmet (2023) in ‘Kaleidoscope/London’ at the Guildhall Art Gallery (photo by the author)

And then she realised the blue sky could itself be changed to reflect, among other things, the changing seasons. And so she made versions featuring, for example, fireworks, snowflakes, pumpkins and so on, and the thought, why stop there? Why not be frivolous and whimsical, so there are ones with a rainbow, hot air balloons and helicopters, airplanes high in the sky leaving vapour trails. Suddenly you realise how much goes on in the sky above us without our really noticing.

‘Sky Window 23: Stars and Satellites’ by Anne Desmet (2023) in ‘Kaleidoscope/London’ at the Guildhall Art Gallery (photo by the author)

There are 24 in total, building up into a beguiling, entrancing series. I realised it’s much like the idea of a theme and variations, a stock genre of classical music: first state the theme, then work through a host of inventive variations (Beethoven’s Diabelli variations. Elgar’s Enigma variations spring to mind).

So self-contained and neat is the idea and the execution that a) the entire series of 24 is assigned a room of its own off to the side of the main gallery and b) you can buy the box set!

Installation view of the Sky Windows box set in ‘Kaleidoscope/London’ at the Guildhall Art Gallery (photo by the author)

London Gardens

She does the same thing but with a different visual result in a series called ‘London Kaleidoscope’. Here she starts with totally realistic (and wonderfully vivid and detailed) engravings of a) a London garden, in fact the view from her house and b) a pub down the road with a red phone box outside.

‘QEH’ by Anne Desmet (1998) in ‘Kaleidoscope/London’ at the Guildhall Art Gallery

She collages the original prints, to include the red phone box and greenery from the garden, and then takes her kaleidoscope to the original works and comes up with a (small) set of really vivid, beautiful images, arguably the best in the exhibition. They are London but seen in an entirely new, novel, fun and beautiful way.

‘London Gardens Kaleidoscope 1’ by Anne Desmet (2023) in ‘Kaleidoscope/London’ at the Guildhall Art Gallery (photo by the author)

The same scene with variations

Depicting a scene over time. Thus one of my favourites, the lovely ‘Urban Development’, depicts the front of a London house at seven times of day, showing the sun rising and its light slowly revealing more and more details of the scene.

‘Urban Development’ by Anne Desmet (2023) in ‘Kaleidoscope/London’ at the Guildhall Art Gallery (photo by the author)

Mounted on razor shells

There are at least three pieces which consist images of buildings carefully cut out and stuck onto razor shells. These are all exquisite and the fragility of the process and the end result gives you a fantastic sense of fragility and delicacy.

Installation view of ‘Fragile Earth’ by Anne Desmet (2022) in ‘Kaleidoscope/London’ at the Guildhall Art Gallery

In this piece fragments from prints she’s made of London, Rome, New York, Venice are collaged to produce an international skyline with the natural pink/purple colouring of the shells giving the sense of sunset over this megalopolis.

As good or better is the smaller series made using images she drew, carved and printed of the build-up to the London Olympics in 2012. Here is a finely detailed view of the Olympic velodrome cut up and pasted onto six razor shells. Amazingly powerful, the exquisite detailing of the original image then cut up onto these very fragile artefacts from a fragile, damaged natural world.

‘Fragile Hope’ by Anne Desmet (2012) in ‘Kaleidoscope/London’ at the Guildhall Art Gallery (photo by the author)

The third razor shell work is ‘Fires of London’, created using 18 razor-clam shells to dramatise the many historic fires of London over the last 1,500 years. The work has just been acquired for the Guildhall’s permanent collection.

‘Fires of London’ by Anne Desmet (2012) in ‘Kaleidoscope/London’ at the Guildhall Art Gallery (photo by the author)

Mounted on squares

There’s some example of another type of mounting, chopping an image up into small, mounted squares. In this example a wood engraving of the Olympic site is collaged / mixed into the relevant A to Z map of the same location, and then diced up into 75 small squares.

Olympic Site Map Metamorphosis by Anne Desmet (2010)

I love collage, pieces and fragments and, because I live in London, the A to Z map has an additional frisson or connotation. It is also a fairly obvious meditation on the dichotomy between map and world, which always fascinated me.

Towers

A number of the works are tall and narrow, mimicking the tall chimneys or towers she’s interested in – I’ve shown the Eton chimneys, above. There’s a similar series showing a ‘tower of angels’.

‘Tower of Angels’ by Anne Desmet (2020) in ‘Kaleidoscope/London’ at the Guildhall Art Gallery

The angel tower is one of a set of works inspired by Victorian bas-relief decorative angel sculptures near the ceiling in the Royal Academy’s Gallery 3. She created individual prints, this tower, and a work in ceramics (see below). The theme of angels (sometimes used as a nickname for nurses) seemed appropriate when she was making them, during the first year of the pandemic lockdown. You can tell these are more modern works because they have more edge. In particular, in some of the works the angels are wearing protective face masks. COVID art.

‘Triptych for Our Times’ by Anne Desmet (2020) in ‘Kaleidoscope/London’ at the Guildhall Art Gallery (photo by the author)

Sliced as by a paper shredder

She feeds versions of her lovely print of the British Museum Grand Court through a shredder. One sliced vertically, one horizontally, one diagonally. This image doesn’t do it justice. Only in the flesh can you see the fineness of the very thin paper shreds, curling slightly at the corners, which convey a powerful sense of evanescent fragility, a continuous theme throughout her work.

‘British Museum Diagonals’ by Anne Desmet (2005) in ‘Kaleidoscope/London’ at the Guildhall Art Gallery

Mounted on slate

This was another of my favourites. Only 2 or 3 of the works were mounted on slate but it’s a powerful material and it seemed, to me, strongly appropriate for the subject. It’s a depiction, a dramatisation, of the forbidding metal fences erected all around the Olympic site in East London in the years while it was being built.

‘Perimeter fence’ by Anne Desmet (2012) in ‘Kaleidoscope/London’ at the Guildhall Art Gallery (photo by the author)

I went for a walk around the area during that time and was intimidated, indeed slightly scared, and irked, by the way these ‘games for the people’ involved shutting off vast areas which had previously been free to roam, for years and years. In this piece the shredding technique a) re-enacts the look of the vertical metal fences b) enacts the way you could only glimpse fragments of what was going on on the sites through the slats and c) the slate mounting conveys the adamantine, hard, take-no-prisoners high security vibe which was imposed across the whole area.

Hangings

Closely related are a couple of hangings applying the kaleidoscope technique to the British Museum Grand Court image, rearranging details into immensely pleasing geometric patterns. From a distance they look like abstract geometric shapes but when you go up close you can see the architectural details of the Museum walls and ceiling. Magical!

Two hangings by Anne Desmet (2012) in ‘Kaleidoscope/London’ at the Guildhall Art Gallery (photo by the author)

Cutout illuminated by an LED light

There’s a series of six pictures of St Paul’s cathedral, taken from the identical same sport but showing it at different times of night, and in history, so with some scenes depicting the Blitz, enemy planes overhead and searchlights.

‘St Paul’s: Dance’ by Anne Desmet (2002) in ‘Kaleidoscope/London’ at the Guildhall Art Gallery

One of these has been reworked so the white parts of the image are made translucent (by a laser, apparently) and has been attached to an LED light box so as to create a little son-et-lumiere. To be honest, this felt a bit gimmicky and was one of the very few pieces which didn’t work for me.

‘London’s Secret Stars’ by Anne Desmet (2002) in ‘Kaleidoscope/London’ at the Guildhall Art Gallery

Behind glass cubes

Like one of her engravings of the Olympic velodrome, cut into squares and smoothly rounded glass cubes set over each square.

‘Olympic Memory’ by Anne Desmet (2010) in ‘Kaleidoscope/London’ at the Guildhall Art Gallery

Interesting experiment but a bit self-defeating as it was hard if not impossible to make out the original image, which explains why it only occurs once.

Behind a convex clock glass circle

Speaking of glass, another image manipulation she’s experimented with is placing a collage or print behind a convex glass circle such as you find on the front of old grandfather clocks. An interesting idea but, in my opinion, this blunted your reading of her finely drawn, detailed images, working against her strengths and so this was the one format which didn’t really light my candle. This flat photo of one doesn’t at all convey the shiny bulbous effect of the work.

‘Constructed Space III’ by Anne Desmet (2013) in ‘Kaleidoscope/London’ at the Guildhall Art Gallery

The curators point out how the use of convex glass, as used in old-style clocks, strongly references the notion of Time, linking up with the passage of time indicated, in different ways, by other series (St Paul’s at night; Sky Windows; Urban development and so on). So a clever-clever idea, but I don’t think works in practice, as actual artefacts.

On crockery fragments

On the other hand, I love fragments, wrecks and ruins, bits of industrial detritus, which is why I love the Arte Povera movement, minimalism, the wonderful photos of Jane and Louise Wilson, the great Cornelia Parker and so on. And so I loved the handful of places where she’s laminated her lovely images into fragments of crockery, as with this striking dismantling of one of the angel images.

‘Angel Fragment 2’ by Anne Desmet (2021) in ‘Kaleidoscope/London’ at the Guildhall Art Gallery (photo by the author)

Again, this speaks to the recurrent them in her work of large buildings or neo-classical architecture or Victorian art (as here) degraded, broken, fragmented by the passage of time.

Thoughts

Delightful, inspiring, endlessly inventive, beautiful images and, in the shape of the video and the display cases, very informative about the craft of wood engraving. And it’s FREE. Go and see it.


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

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

Summary

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

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

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

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

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

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

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

Ledwidge’s qualifications

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

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

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

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

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

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

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

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

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

1. Basra

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

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

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

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

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

Numbers

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

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

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

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

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

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

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

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

The Geneva conventions

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

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

Rotations and reconstruction

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

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

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

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

Jaish al-Mahdi

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

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

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

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

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

Operation Sinbad

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

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

Withdrawal

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

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

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

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

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

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

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

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

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

2. Helmand

History

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

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

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

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

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

Situation in 2007

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

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

Bosnia and a proper force

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

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

Deposing the one man who held the province together

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

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

Heroin

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

SAS advice

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

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

Platoon houses under attack

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

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

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

3 Para

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

Testing new kit

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

Dispersing our forces

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

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

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

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

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

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

Only tiny numbers were actual fighting troops

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

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

The Taliban return

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

Sangin and the drugs trade

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

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

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

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

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

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

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

Cause of the destruction

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

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

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

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

Six months rotations

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

Allying with a corrupt government

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

Allying with criminal police

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

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

The appeal of the Taliban

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

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

Legacy

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

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

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

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

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

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

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

The weak point of counterinsurgency theory

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

Sucking up to the Yanks

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

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

3. Libya

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

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

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

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

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

Ledgewick’s thematic critique

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

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

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

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

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

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

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

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

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

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

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

Red teaming

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

Clear thinking about counterinsurgency

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

Divided aims

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

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

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

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

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

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

The importance of intelligence

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

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

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

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

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

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

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

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

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

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

Spiralling costs

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

Better education

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

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

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

Ledwidge’s recommendations

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

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

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

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

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

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

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

Conclusions (mine, not Ledgwidge’s)

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

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

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

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

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

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

One-sentence conclusion

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

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


Credit

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

New world disorder reviews

The Big City @ the Guildhall Art Gallery

What’s the largest painting you know? What’s the biggest picture you can think of? Monet’s huge water lilies? Mark Rothko’s Seagram murals at Tate Modern? Juan Miro’s huge canvases of biomorphic shapes? These canvases are so big that if you ever find yourself sitting on an exhibition bench in front of a trio of them, as I have done with Monet and Miro, you realise entire field of vision is filled with them. It is an immersive experience. You are in Miroworld or Monetland.

Is size important? When it comes to art? Does a big painting really do a lot more than a medium-sized one? What, exactly? At what size does a big painting become an immersive one? Have psychologists or art colleges done research into viewers’ psychological and aesthetic responses to size? Is there a recognised point at which a painting goes from ‘big’ to ‘massive’ or is it subjective i.e according to the viewer’s physical size and visual range?

Do artists, collectors or galleries categorise paintings by size? Have there been fashions for huge canvases? Or historical periods particularly associated with them? Are there particular artists famous for their monster canvases? Is there a record for the biggest painting ever made? By who? Why?

These are some of the questions raised by ‘The Big City’, an exhibition at the little known but well-worth-a-visit Guildhall Art Gallery, a hop, skip and a jump from Bank tube station.

The gallery is owned by the Corporation of London, which possesses some 4,500 works of art. Fifty or so of these are on display in the gallery’s permanent exhibition, itself packed with gems, and then the gallery runs rotating exhibitions of selections of the others, alongside exhibitions of new, original art works.

The Big City

This exhibition is titled ‘The Big City’. It is housed in three rooms, respectively small, medium and large. The small room, the third one you come to, houses a display which comes first in terms of chronology:

Sir James Thornhill

Sir James Thornhill (1676 to 1734) was the premier exponent of the Italian Baroque style in Britain in the early 1700s. Much of this took the form of site-specific allegorical murals for public or grand buildings. He supervised large painting schemes in the dome of St Paul’s, in the hall of Blenheim Palace, at Chatsworth House.

In the early 1720s Thornhill was commissioned to create an Allegory of London for the ceiling of the council chamber at the Guildhall where the Lord Mayor and aldermen held their meetings. He used the established style of Baroque allegory to create a central image of London, represented by a topless woman, being advised by the goddess of wisdom, Pallas Athena, and women symbolising Peace and Plenty. It features putti or podgy winged toddlers who often flit around Baroque paintings. Here they are depicted at the bottom right among images of: the City insignia, the sword bearer’s fur cap, a pearl sword and the City mace.

Allegory of London by Sir James Thornhill (1725) © Guildhall Art Gallery, City of London

This oval painting was fixed in the middle of the ceiling and was accompanied by four smaller pieces, one in each corner of the ceiling, depicting flying cherubs or putti representing the four cardinal virtues: Temperance, Prudence, Fortitude and Justice.

We know what the whole design looked like because there’s a painting of the room by John Philipps Emslie showing how it looked in 1886. The story is that the centrepiece and four smaller parts were dismantled and stored during the Second World War. The building was damaged in the Blitz and the original decorative scheme destroyed but these individual pieces were saved, along with some preparatory sketches by Thornhill. All of this is on display here.

It would be easy to say the figures ‘looked down’ on the City officials meeting below but a glance at the image shows they’re not looking down at all, they are tied up in their own conversations in their own world.

The piece’s content, size and position are obviously connected with values – moral and social values. The size not so much of the individual elements, but the way they were arranged over the entire roof, were designed to act as a constant reminder to the officials below, of the longevity and depth of the values associated with the City and its officials and business. This is what we stand for: commerce and prosperity, bringing justice and peace.

So the images aren’t instructive, they are aspirational. It wasn’t a case of the gods looking down but of ordinary mortals looking up and, whenever they did, being reminded of the traditions and values they were meant to be aspiring to. (Also, a point often not made about Baroque painting – they’re quite playful.)

Prudence from The Allegory of London by Sir James Thornhill (1725) © Guildhall Art Gallery, City of London

Grand occasions

Before you get to the Thornhill room you walk through the medium-sized first room in the show. This has a completely different look and feel. It contains nine big paintings of ceremonies associated with the City of London from the late Victorian period through to the 1960s. They depict lots of old white men wearing formal clothes, gowns and regalia, chains of office, wigs and so on.

The paintings depict different types of event which the curators usefully itemise: civic, royal, state, ceremonial, funeral.

They are big, and their size is more obviously connected to notions of power than the relatively benign Thornhill. By power I don’t mean images of solders or Big Brother looming threateningly, not direct power. But the soft power implicit in grand occasions which serve to bolster and underpin ideas of hierarchy. The pictures are big because the event was big.

Take ‘Queen Victoria at St. Paul’s Cathedral on Diamond Jubilee Day 22 June 1897’ by Andrew Carrick Gow, completed in 1899. The painting was commissioned to capture the magnificence and the magnificence is exemplified in the extraordinary scene of the packed steps of St Paul’s. Not just packed but, as you look closer, you realise arranged in a highly structured way, as was the event, to include representatives of the army, the Church, politicians and academics, arranged in groups and hierarchies. The crème de la crème, the top figures in all the important fields of state.

Queen Victoria at St. Paul’s Cathedral on Diamond Jubilee Day 22 June 1897 by Andrew Carrick Gow (1899) © Guildhall Art Gallery, City of London Corporation

The curators point out that a massive royal state occasion like this transformed the centre of London into a stage, a set on which the thousands of figures here, and lining the route of the royal procession to the cathedral, were arranged – and which the painter then has to capture as best he can. Put this way I sympathise with the scale of the challenge the artist faced. He had to be in complete control of the old values of structured composition and extremely detailed naturalism.

There’s another super-simple way to categorise the paintings on display here, which is: inside or outside. The Gow is a good example of outdoor magnificence; ‘The Coronation Luncheon to Her Majesty Elizabeth II in the Guildhall, London, 12 June 1953’ by Terence Cuneo is a good example of magnificence in an indoors setting.

The Coronation Luncheon to Her Majesty Queen Elizabeth II in the Guildhall, London, 12 June 1953 by Terence Cuneo. © Guildhall Art Gallery, City of London Corporation. Image © Terence Cuneo

Once again the size of the painting is an attempt to match the scale of the actual event and, as you can see here, the size of the actual banqueting hall which is, as it is intended to be, awesome. And, leaving aside the ostensible splendour of the occasion, it’s hard not to be awed by the photographic realism of Cuneo’s painting. There’s a ‘Where’s Wally’ element to looking closely at the hundred or more individual guests, how they’re sitting, what they’re going (eating, talking, turning to their neighbour and so on).

(It might be worth pointing out that the word ‘magnificence’, like so many English words used to describe this kind of thing, has a Latin root, and so carries with it the connotation of learning and cultural capital which Latinate words always bestow. It derives from magnus meaning big or great [the Roman general Gnaeus Pompeius Magnus is translated into English as Pompey the Great] and facere meaning ‘to make or do’. So at its root ‘magnificence’ means ‘to make big’. At its origin, it is about size. During 2,000 years of evolution through medieval Latin, French and into English it has come to mean ‘splendour, nobility and grandeur’, themselves all Latinate words.)

Terence Cuneo OBE (1907 to 1996) was a prolific English painter noted for his scenes of railways, horses and military actions. He was the official artist for the coronation of Queen Elizabeth II in 1953 and the Queen’s favourite portraitist. Including ceremonial occasions he painted her no fewer than 17 times. He’s represented by two works here, the coronation lunch (above) and:

Frank O. Salisbury (1874 to 1962) was an English artist who specialised in portraits, large canvases of historical and ceremonial events, stained glass and book illustration. In his heyday he made a fortune on both sides of the Atlantic and was known as ‘Britain’s Painter Laureate’. He painted over 800 portraits (!) and painted Churchill more times than any other artist.

What you’ll have realised by now is that most of these works are, by modern standards, barely what we’d call art at all. Sure they’re well composed, efficiently worked paintings, but they are in a style that was old fashioned by 1900 and completely moribund by the 1960s.

In this respect, despite their size and detail and polish, they epitomise the opposite of what was intended; rather than impressing with awe and magnificence they tend, to the modern viewer, to emphasise how remote and out of touch these figures of power were with the wider world of the 40s, 50s and 60s.

You could argue that the grand old panelled rooms in which they suited old boys had their gala dinners protected and insulated them from a world moving beyond their grasp and even their understanding.

Churchill, who features in two of the paintings here (one alive, one dead) fought the Second World War to preserve the empire. Fifteen short years later he lived to see it being dismantled and the influx of immigrants from the former colonies who would bring new voices and new perspectives to Britain. None of that historic change is even hinted at in these old-fashioned depictions of old-fashioned institutions carrying out their time-honoured ceremonies.

There are some older paintings on the same type of subject. These, as it were, have permission to be dated, or are easier to take ‘straight’ because they are in styles appropriate to their day.

In this latter painting, apparently Paton, a noted painter of maritime scenes and naval occasions, did the composition and painted the main scene while Wheatley, famous for a series of paintings called ‘The Cries of London‘, did the figures in the foreground.

Contemporary art

The third and biggest room contains the biggest variety of paintings and the biggest single works. Size is not the only factor for their inclusion here, since each of the paintings also has a specific setting or story and these to some extent represent different aspects of life in the city.

I counted 18 paintings in this big room. I won’t list them all but will select some highlights and themes.

Ken Howard’s ‘Cheapside 10.10 am. 10 February 1970‘ is big and sludgy. It shows the north side of Cheapside looking west on the kind of cold overcast February morning typical of London. This reproduction softens the impact of the paint which Howard has laid on in thick dollops, makes it look a much cleaner, slicker object than it is in real life. A reproduction also brings out instantly what is less obvious in the flesh, which is the fact that it’s a painting about a mirror, namely the way St Mary le Bow church on the left is reflected in a shop window on the right.

Howard is quoted as saying that urban landscapes give more scope for an artist interested in shape, tone and colour than the countryside. This is exemplified in the next work, which is a splendid depiction of Fleet Street in the 1930s.

Fleet Street, London, 1930s by unknown artist © Guildhall Art Gallery, City of London

There’s quite a backstory to this painting. It was commissioned by Viscount Rothermere, owner of the Evening Standard and Daily Mail, to depict the hustle and bustle of Fleet Street, then centre of Britain’s newspaper industry. But the artist intended to include portraits of real Fleet Street luminaries down at the bottom right, and one of the first to be completed was a portrait of Rothermere’s rival press baron, Lord Beaverbrook, owner of the Express group. At which point Rothermere took the painting from the artist, which explains why, if you look closely, you realise it is unfinished, many of those figures without faces and some little more than ghosts. Which in its own way, makes the image quite haunting.

What is finished is the central vista along the ‘Street of Shame’ and, in particular, the gleaming Art Deco glass and steel building on the left. This was the newly opened Daily Express building (1932) which features, thinly disguised, in Evelyn Waugh’s great satire on the 1930s newspaper industry, Scoop.

What does size have to do with it? Well, at 2.13 metres tall this is a big painting, but clearly the scale doesn’t aim to do the same as the Thornhill (embody inspiring moral values) or the civic paintings we saw earlier (impress the viewer with rank and hierarchy).

I suggest its implicit aim is to do with modernism whose fundamental driver is excitement about life in the modern city, in this instance the new technologies and new designs and new architecture represented by Art Deco. It is an image of hustle and bustle and energy. Since it was commissioned by a multi-millionaire media baron I suppose you could also say it represents a capitalist’s, a plutocrat’s view of the city, full of folk hustling and bustling to make him money for him, his class, society at large. It is a celebration of the system.

This enjoyable work was succeeded by a sequence of paintings which I didn’t like at all, in fact actively disliked.

1. Walk by Oliver Bevan (1995) is certainly big (2.29m high, 2.13 m wide). It is a depiction of the pedestrian crossing in front of the Barbican tube station. Apparently Bevan specialises in the depiction of ‘non-personal urban spaces’. Actually, the tiny reproduction I’ve linked to makes it look a lot better than it does in real life. Confronting the 2 metre high thing in real life makes you all too aware of the crudity of the painting and the unsatisfying randomness of the arrangement of the people. I know people mill about randomly all the time but this has been carefully arranged to look gauche and clumsy.

I’m guessing the intention of doing such a humdrum scene on such a large scale is somehow democratic, to say that size isn’t limited to the high and mighty but that any moment in our everyday lives is worthy of record and depiction, can be made ‘monumental’ in scale and implication.

Maybe. But in this instance the size of the piece did the exact opposite of almost all the earlier works, which was impress me with its graceless lack of design and poor finish. Its size worked against it.

2. Jock McFadyen is represented by a work called Roman (1993). McFadyen depicts scenes around his flat and studio in Bethnal Green. This murky painting is of a block of flats in Roman Road nearby. It’s horrible. Again, the tiny online reproduction intensifies and clarifies the image. In reality it’s 2 metres square and an offence to the eye. Everything possible has been done to make it feel shitty. The left vertical of the flats is wonky, which is upsetting. The flats themselves are depicted with wobbly lines which completely fail to capture the hard geometric shape of such blocks which is their only redeeming feature. The human figure on a balcony is poorly drawn. The red VW in the street is appallingly badly drawn. And the decision to paint railings across the bottom spoils the entire composition even more and made me turn away quickly. I actively like scenes of urban devastation, graffiti and whatnot. But this just felt shoddy and amateurish.

3. Worse is to come. Flyover St Peter’s (1995) by Paul Butler is a whacking 2.74 metres wide and a big donkey turd of a painting. Regular readers of my blog know I actively like pictures or sculptures to be textured or incorporate detritus like dirt, wood, glass or whatever (see Hepher, below); but that I fiercely dislike the paintings of Frank Auerbach and Leon Kossof with their inch-deep sludges of filthy puddle-coloured oils.

They seem to me to do dirt on the entire idea of painting. They deny clarity, structure, composition, delicacy, skill, light, everything which makes painting worthwhile. The Ken Howard painting, earlier on in this room, was well on the way to achieving Auerbach levels of sludge, but Butler goes full throttle and annihilates the human spirit in a disgusting refuse tip of stricken oil spillage. Again, the reproduction you’re looking at flattens and clarifies the image so that it almost becomes appealing. In the flesh it’s like someone has spent a year blowing their nose and menstruating on a canvas to produce a thick layer of rotting mucus and menses. Yuk.

(All three of these works, plus a few others nearby, are, in their different ways, poor. This in itself is quite interesting. Most exhibitions you pay to go to in London represent the best of the best – tip-top Surrealist works at the Design Museum or Cezanne’s greatest hits at Tate Modern. You don’t often get to see a collection of art works that are average or plain bad, and it was interesting to dwell on what made all these works so sub-standard or actively objectionable.)

Anyway, this little set of poor works contrast dramatically with the series of paintings on the opposite wall, which are much cleaner, airier panoramas of London. Indeed, the canvas of London as seen from the top of the Shell Centre by David Thomas (1968) is the widest painting in the show, at a whopping 4.88 metres.

London from the top of the Shell Centre by David Thomas (1968) © Guildhall Art Gallery, City of London Corporation. Image © David Thomas

But it’s not this that impresses; it’s the lightness and the clarity of the image, which was like walking out of a dark room (Bevan, McFadyen, Butler) into the light and clarity of a lovely spring day. The painting feels wonderfully lucid, with all the buildings lining the Thames in central London depicted with thrilling geometric accuracy, almost like an architect’s conspectus come to life.

For people who like a bit of gossip or social history with their art, the label tells us that the picture shows at the centre bottom the Royal Festival Hall – the most enduring legacy of the 1951 Festival of Britain – to its right the daring Hayward Gallery which had just opened, and to the right of Waterloo Bridge a brown open space which had just been cleared to make way for construction of the new National Theatre.

What size does here is introduce the notion of the panorama, a particular genre of art which has reappeared in urban centres over the centuries. It embodies the pleasure of being up at a viewing platform looking over a city we mostly only get to see from ground level. The same kick which has people queuing up to buy tickets to the (disappointing) London Eye.

It begins a little series of urban panoramas which include a view over Clerkenwell by Michael Bach. The thrill or bite in something like this has to come from the architectural accuracy of the depiction. Bach, like Thomas’s, is very accurate and it’s big (2 metres wide) but…something (for me) is lacking.

Possibly that something is demonstrated in a much older work, the classic ‘Heart of Empire’ by Niels Moeller Lund. Though born in Denmark (hence the name) Lund grew up in Newcastle-upon-Tyne before moving to Paris to study painting. He is best known for his impressionistic paintings of England, particularly London and the North-East and ‘The Heart Of The Empire’ is his best-known painting.

The Heart of the Empire by Niels Moeller Lund (1904) © Guildhall Art Gallery, City of London Corporation

The view is taken from the roof of the roof of the Royal Exchange looking west across London. There are several obvious points to be made: I suppose the most obvious one is that panoramas over cities taken from up high, like this, give the viewer a sense of freedom, as if we can fly, as if we are gods flying above the mob and the crowd, freed from the cramped dictates of the busy streets, the traffic, the jostling with strangers, flying free. There’s a kind of psychological release.

Second and allied with it is some kind of sense of power. I don’t mean direct power like we’ve been elected president, I mean a kind of psychological empowerment, a sense of somehow owning what we survey. We know we don’t but it feels like it. This is my city with all its awesome hustle and bustle, its millions of lives, its buying and selling and wealth and poverty.

Why, then, do I get that feeling about this painting but not when looking at the view from the Shell building or over Clerkenwell? It’s something to do with the composition and, especially, the style. Lund’s work is described as ‘impressionist’ though it’s nowhere near as hazy as the classic French impressionists.

What he achieves is a soft focus, gauzy effect. The light isn’t champagne-clear as in Thomas’s bright somewhat clinical treatment; it creates a softening, blurring effect. This is evidenced in numerous ways, for example the buildings shimmer and face into the distance.

And after looking at it for a while I noticed the smoke issuing from chimneys across the vista and especially in the foreground. These may or may not be contributing to the blurry hazy effect, but they epitomise another aspect of the painting which is that it is anecdotal. What I mean is there are things going on in the painting. To be precise, note the flight of white birds (presumably pigeons) in front of the neo-classical Mansion House in the lower left. Once you’ve seen them your eye is drawn past them to the blurry throng of horses and carts and red omnibuses below.

The life of the city is dramatised. Because I happen to have watched the Robert Downey movie recently, it makes me think of Sherlock Holmes and a million details of late Victorian London life. When I look at the Thomas painting I get absolutely no sense whatever of the life of London 1968, there don’t appear to be any people in it at all.

So these are preliminary suggestions about how the same type of painting – the big urban panorama – can have dramatically different impact on the viewer depending on the sense of composition and painterly style.

David Hepher

I’ve left the best thing about the exhibition till last. The main room in the exhibition space is a kind of atrium in the sense that the ceiling has been removed to create a hole which lets you see into the floor above. Or, conversely, the floor above requires a modern glass railing to stop people falling down into the floor below, a railing which allows them to look down into the room below and view the artworks from above.

Anyway the point is that this removed ceiling has allowed the curators to place here a big wooden block supporting the three biggest paintings in the exhibition, three fabulous and very big paintings depicting modern brutalist blocks of flats by artist David Hepher.

Born in 1935, over the past 40 years Hepher has established a reputation for painting inner city estates of the 1960s and 70s. The three works here are 3 metres high. They’ve been attached to a wooden display stand to create an enormous triptych which dominates the room and is the biggest and most convincing thing in the exhibition. It’s worth making the journey to the gallery just to see this.

Gordon House East Face; Gordon House Nocturne; Gordon House West by David Hepher (2013) © Guildhall Art Gallery, City of London Corporation. Image © David Hepher

I loved these works for half a dozen reasons. For a start this it the real London, the appalling 70s tower blocks which millions of Londoners are forced to live in every day and which enables London’s intense population density: one seventh of the UK’s population lives in London, the most populous city in Europe, which has a population density of 145,000 per square mile, and it feels like it.

Secondly, tower blocks, like much modern architecture, is a fantastic subject for composition, because it comes ready-made with grids, squares, geometric shapes, which can either be dealt with in an arty modernist style (for example, photographs of their many motifs from unexpected angles as in lots of 20s and 30s photography) or dealt with straight-on, as here. They are just thrilling artefacts – or thrilling to those of us who like lines, symmetries, geometric regularities and angles.

Thirdly, there’s a fabulously dystopian vibe to them. You don’t need to be familiar with J.G. Ballard’s depictions of urban collapse and psychic displacement (Crash, Concrete Island and High Rise‘) to see, realise and feel concrete tower blocks as powerful symbols of social collapse and anomie. You don’t need to know much about the Grenfell Tower disaster to learn that tower blocks have become the cheap, under-maintained dumping ground for the poor, immigrants and the powerless.

They’re real world equivalents of the tower atop Mount Doom in Lord of the Rings, real world sentinels of poverty and deprivation. The broken lifts and urine-stained stairwells and broken pavements littered with dog turds and broken glass, the whole ensemble liberally decorated with impenetrable graffiti create an overwhelming sense of a society which has given up on itself.

The people who designed, built and shunted the poor into these cheap, shoddy death traps are obviously war criminals but in a special kind of war, a kind of below-the-radar class war which has been going on for decades and has become increasingly mixed up with institutional racism and the war on refugees to produce a toxic, and at Grenfell fatal, brew.

In their betrayal of the art, design and architectural utopianism of the 50s, 60s and 70s, in their magical transformation into symbols of social apartheid, exemplifying the scapegoating of the poorest in society, tower blocks like this are absolutely central to the urban experience in cities all around the western world.

The logistics of their size meant they had to be placed in the centre of the atrium, but the positioning also has a deeply symbolic meaning: all the other images, swish modernism of the 1930s, of flyovers and pedestrian crossings, of slick aerial panoramas, are all spokes rotating round the axle of these monster images.

To zero in on the works, another crucial and thrilling aspect of them is that they aren’t just paintings. Hepher has incorporated all the tricks of modern painting to make them rough textured objects. They aren’t flat paintings, they use wood and PVA to give texture to the surface. The graffiti symbols have genuinely been spraypainted over the images. He has dripped green slime down the front of the images to represent the unstoppable decay, concrete cancer and dilapidation which turned out to be a central aspect of these buildings. And most importantly of all he’s used actual concrete to produce rough-hewn, raw grey sections to either side of the central images. I couldn’t resist touching it, as cold and unyielding, as thrillingly alien as the raw concrete in the National Theatre or Barbican centre, as cold as the touch of the devil.

These three huge paintings strike me as classics of their type, of their subject matter and style. On the wall nearby is the Lund ‘Heart of Empire’ painting which I also really liked for its depth and evocative power. It seemed to me they form two ends of a spectrum: London traditional and London modern, London as romantic fantasy and as brutal reality, bourgeois London and chav London, the sublimely uplifting and the sordidly degraded, flying and falling.

I felt a kind of electrical energy crackling between the two completely different imaginative spaces they inhabit which was utterly thrilling. I found it hard to leave. I kept walking back into the room, walking round the stand, viewing these great looming canvases from different angles, drawn back to their thrilling, angry, visionary dystopian energy.


Related links

Other Guildhall Art Gallery reviews

To Hell and Back: Europe 1914 to 1949 by Ian Kershaw (2015)

This is volume seven in the eight-volume Penguin History of Europe and it is very good. It has to cover a lot of ground and Kershaw does it clearly and authoritatively. He does this more by focusing on broad themes and issues, than getting snarled up in details. It is a high-level overview.

Contents

The period

In Kershaw’s opinion the 20th century is characterised by wars, immense wars, and falls naturally into two halves – the period of the two world wars 1914 to 1945, and then the Cold War, 1945 to 1990.

The Cold War will be dealt with in the ninth and final volume of the series. This volume covers the earlier period but Kershaw makes the point that, as the violence and chaos of the Second War continued after its official end, and that it took a few years for its repercussions – and the shape of the post-war world – to fully emerge, so his account ends not on VE or VJ Day 1945, but goes on till 1949, the year the Berlin Airlift ended (12 May) and the Federal Republic of Germany was created (20 September).

The themes

In Kershaw’s view the 20th century to 1949 was characterised by four large themes or issues:

1. An explosion of ethno-racist nationalism

The collapse of the Austro-Hungarian, Ottoman and Russian Empires both ‘liberated’ a lot of peoples who now set up independent nations (Hungary, Czechoslovakia, Poland, Ukraine, Yugoslavia, Turkey) – but also confirmed the trend whereby these new nations defined themselves ethnically.

In the big rambling empires all sorts of religious and ethnic groups may have resented each other but managed to live alongside each other, in part because they were all subjects of the emperor or sultan. Ethnic nationalism destroyed this tolerance. At a stroke, if you didn’t speak the national language of the national people who the new nation was set up for, you were an outsider and, by implication and sometimes even by law, a second-class citizen. The Jews were outcast everywhere.

2. Bitter and irreconcilable demands for territorial revisionism

Before he brought America into the war, Woodrow Wilson had declared certain principles, namely that America would be fighting for 1. a peace without conquest (i.e. in the final peace deals, conquerors wouldn’t get to keep the land they’d acquired) and that 2. oppressed peoples would be liberated and given their independence / own nations.

In practice this second one proved tricky because centuries of living under rambling empires had resulted in a tremendous mixing-up of populations. To give an example, a large area in the east of Anatolia was known as Armenia and was the traditional homeland of the Armenian people – but there were large Armenian populations scattered all over the rest of the Ottoman Empire, not least in the area known as Cilicia, at the other end of Anatolia from Armenia proper: so what happens to them?

The victors in the war laboured long and hard over complicated treaties (Versailles, Trianon, Saint Germain), drawing lines on maps and creating new nations states. But it proved impossible not to include in almost all of them large ethnic minorities a) who resented not living in their nation b) who were resented by the majority population for not speaking the national language, having the correct type of name or religion.

And it proved impossible to do this without creating a burning sense of grievance on the part of the nations who lost territory: Germany lost 13% of its pre-war territory and 10% of its population (p.119); Russia lost control of the Baltic states and Finland; Bulgaria also lost some territory, but Hungary lost a whopping 75% of its former pre-WW1 territories so that some three and a half Hungarians found themselves living outside Hungary, many of them in the new enlarged Romania which became nearly twice the size of its 1914 embodiment.

Kershaw gives the chapter where he describes all this the title ‘The Carve-Up’.

3. A prolonged crisis of capitalism, which many thought was terminal, and needed to be replaced by new social structures

The First World War left economic wreckage at every level, from devastated agricultural land through ruined industrial sectors. This was a lot more true in the East where entire regions such as Ukraine, Belarus and Galicia were devastated, than in the relatively static West, where only a relatively small zone about 50 kilometers wide had been devastated by the trench warfare.

At a higher level, all the combatants had had to borrow vast sums to fund their war efforts, and this left many on the brink of bankruptcy. The Western nations had borrowed heavily from the USA. To repay its debt France insisted on huge reparations from Germany. When Germany defaulted on the payments in 1923, France occupied the industrial Ruhr area of Germany, the German government told the workers to go on strike in protest, and the fragile German economy collapsed leading to the famous hyperinflation where you needed a wheelbarrow full of cash to buy a cigarette.

This situation was sorted out at an international conference which enacted the Dawes Plan, a simple triangle whereby America lent money to Germany to rebuild her economy, the German government used the tax revenue generated from its growing economy to pay reparations to France, and France used the German reparations to pay back its immense war loans to America and pledged to buy American products.

This elegant plan underpinned the brittle prosperity of the years 1924 to 1929, the Jazz Era, the Roaring Twenties, the Weimar Years. But, as we all know, it collapsed with the 1929 Wall Street Crash which not only led to prolonged Depression in the States, but demolished the Dawes Plan and plunged Europe into depression, triggering the mounting unemployment and renewed inflation which set the scene for the rise of the Nazis.

Throughout this period, many thinkers and commentators thought the capitalist system was doomed. It seemed to be failing efore their eyes, in America, Britain, France and Germany. Many thought Western civilisation could only survive by mutating into new forms, by evolving new social structures.

4. Acute class conflict, given new impetus by the advent of Bolshevik Russia

There had been class-based uprisings and revolutions throughout the 19th century (maybe the brutal Paris Commune is the most extreme and clearly class-based example) and a wealth of thinkers, not only Marx, had interpreted the grotesque inequality between the new factory and business owners and the deeply impoverished industrial proletariat as a clash of classes.

But the Bolshevik seizure of power in Russia transformed the situation. The Bolshevik regime became a symbol and lightning rod for class antagonisms all round the world. It appeared to offer a working example of a genuinely alternative social system, one in which the government sequestered all the means of production and distribution and ran them for the good of the entire people, not just a wealthy few.

But it had two baleful consequences:

1. The Russian Revolution split the Left

From the establishment of the Communist International (or Comintern) in 1919 until the collapse of the Soviet Union in 1991, the forces of the Left in every country in the world would be divided between communist parties taking direct orders from Moscow, and all the other forces of the Left who, quite often, the communists undermined and sabotaged (see the Spanish Civil War). This was a fatal division of the forces opposing the Right and Fascism, which Kershaw describes as occurring in country after country throughout the period.

2. The Russian Revolution was a galvanising force in the rise of the Right

Right-wing parties everywhere reached out to the newly-enfranchised masses (all European nations expanded their voting base after the war, for the first time creating really mass democracies), especially the large numbers of middle and lower-middle-class voters, and terrified them with visions of blood-thirsty revolutionaries taking over their town or country, lining all ‘class enemies’ (i.e. them) up against the wall, confiscating their businesses and hard-won savings.

One way of looking at it was that, without the very real existence of the Bolshevik regime and the threat from growing communist parties in every country in Europe, there would have been no Fascism.

And the closer you were to Bolshevik Russia, the more pressing the conflict seemed – from Poland which was actually invaded by the Red Army in 1920, to countries like Romania, Bulgaria and Hungary where initial dalliances with left-wing governments quickly gave way to right-wing authoritarian regimes (the Iron Guard in Romania, the royal authoritarian dictatorship of Tsar Boris III in Bulgaria, the right-wing administration of admiral Miklós Horthy in Hungary).

All these trends were exemplified by the central and most important European state, Germany, whose Weimar regime tried to follow Western norms of governance, but was undermined 1) by the extreme social divisions sparked by recurrent economic crises, 2) by the immense and widespread resentment created by the punitive Versailles Treaty, and 3) by a culture of subversion and street violence which the Right, eventually, was to win.

Conclusion

All four elements (nationalism, economic crises, left-wing politics, squabbling over territory) had of course pre-existed all across Europe. But they were driven to new heights of intensity by the First World War and the widespread chaos which followed. And then combined like toxic chemicals, catalysed by the series of political and economic crises, to create unprecedented levels of bitterness, hatred, anger and social division all across Europe between the wars.


The origins of the First World War

There are as many opinions about the origins of the First World War as there are grains of sand on a beach. Kershaw emphasises the folly of the German government sending Austro-Hungary, as it pondered how to punish Serbia for the assassination of Austrian Archduke Ferdinand, a ‘blank check’, promising to support them come-what-may. This encouraged the Dual Monarchy to outface the Russians, which of course prompted the Russkies to mobilise etc etc.

But reading Kershaw’s account what came over to me as the really decisive source of the crisis was the Austro-Hungarian slowness to act. Other heads of state had been assassinated in the decade leading up to 1914 without sparking a general crisis. The other powers expected Austria to attack Serbia and deliver a short sharp reprimand, maybe occupy Belgrade, demand some reparations before withdrawing etc.

But, as Kershaw puts it, the Austro-Hungarian Empire only had two speeds, very slow or stop, and it took them nearly four weeks to write and send their ultimatum to the Serbian government.

This appalling delay gave all the other European governments time to consider how they could use the crisis for their own ends, not least Germany, whose military leaders told the Kaiser this was a golden opportunity to thrash the Russians before the Russians completed their well-publicised plan to modernise and expand their army, which was due to be completed by 1917. The German High Command persuaded the Kaiser that it was now or never.

If Austro-Hungary had gone in hard and fast with a surprise attack into Serbia within days of the assassination, a conference would have been called among the powers – much as happened after the first and second Moroccan crises (1905 and 1911) or the two Balkan wars (1912 and 1913) – to sort the problem out, probably force Serbia to pay reparations, and defuse tensions among the powers.

So you could argue that it was the byzantine and elephantine bureaucracy of the unwieldy Austro-Hungarian state which caused the cataclysmic conflict which defined the entire 20th century.

This view gives edge to the reading of a novel like Robert Musil’s The Man Without Qualities with its sustained satire on the pompous ineffectiveness of the Austrian administration. Maybe not so funny after all…


Civilised Western and backward Eastern Europe

There’s a whole genre of books devoted to explaining ‘the Rise of the West’ i.e. how Western empires ended up by the early twentieth century ruling a lot of the rest of the world. Harder to find are books which investigate the simpler question: Why was Western Europe relatively ‘civilised’ whereas regimes got steadily more repressive, undemocratic and authoritarian the further East across Europe you travelled. Kershaw’s book suggests some answers.

1. Western Europe was more ethnically homogeneous than central or Eastern Europe. England, Scotland, Wales, Ireland, France, Belgium, the Netherlands, Denmark, Norway, Sweden – these were populated by homogeneous populations of people identifying with the nation, with only tiny, insignificant minorities (Belgium is the exception which proves this rule, with low-lying conflict between the Flemings and the Walloons). Therefore, one of the key triggers of post-war social tension – ethnically jumbled populations with conflicting claims – simply didn’t exist in Western Europe..

A notable exception was Spain where two large ethnically distinct groups, the Catalans and the Basques, combined with a backward, poverty-stricken population to make ruling the country problematic, as its slide towards civil war was to highlight.

2. Nation states in the West were long established. The French could trace their nation back to Charlemagne and the British to Alfred the Great, certainly to Magna Carta in 1216. Both nations had parliaments by the 1200s. That gave them 700 years experience of evolving laws and customs and strategies to manage social conflict. Compare and contrast with Germany, which was only unified in 1871 and whose experiments with self-governance over the next 70 years were not, shall we say, particularly successful. It was only after the British and Americans taught the Germans how to run a modern democracy in the post-war occupation that they finally got it right. Or compare with any of the ‘successor’ states to the collapsed empires – Hungary, Yugoslavia, Poland, which had barely any experience managing themselves. Spain, though it had existed as a political entity since the Unification of the 1490s, had only just ceased to be a monarchy. Only in 1931 did they expel their king and declare themselves a republic.

So all these nations or administrations had very shallow roots and little experience of self-government.

To put the same thing another way, Kershaw explains that in Western European countries (and the USA) the state had, over time shaped the nation – the institutions of the state had created a national consciousness which identified with these institutions. The institutions of state had become part of the populations sense of nationhood, for example, in Britain, the Queen, the Houses of Parliament, Black Rod, the Leader of the Opposition and so on.

It was the opposite in the new nations of central and eastern Europe. Here ethnically purist nationalisms predated any idea of what a nation was, and the new states were created in the name of ethnically limited nations: Poland for the Poles, Hungary for the Hungarians and so on. The precise political form the new states took was secondary; the aim was to promote the nation.

Thus the institutions of the new democratic states were mostly new and, as they proved themselves incapable of managing the political and economic crises of the 1930s, broad sections of the population had no qualms about overthrowing these institutions and replacing them with different ones. They didn’t have the national identification with Queen and Parliament or President and Congress that the British and Americans have. So they got rid of them and tried something new, which turned out almost always to be rule by the army or authoritarian figures.

Thus in the USA or Britain, most people thought of politics as a simple choice between Labour or Tory, or Republican or Democrat. Most people accepted ‘democracy’ and few people thought about overthrowing it. But the democratic state was such a new invention in the ten new countries of post-war Europe that plenty of politicians, intellectuals and activists could easily imagine overthrowing and replacing it with a different model more appropriate to the times, and almost always more authoritarian.

3. The further East you went, the less industrialised, the less ‘developed’ i.e. the more ‘backward’ countries became. It appears to have been a simple gradient, a line you could draw on a graph. In Britain at the end of the First World War only 10% of the working population worked on the land whereas 72% of the Romanians worked on the land. Rural workers tended to be illiterate and easy to sway towards simplistic, nationalistic regimes in a way the highly educated population of, say, Britain, would have found laughable. Thus Oswald Mosley’s high-profile British Union of Fascists caused well-publicised public disorders, but never had more than 50,000 members, far fewer than the National Trust or the Women’s Institute.

Of course the most easterly European nation was Russia, which – following the West-East rule:

  • had the highest proportion – 80% – of illiterate peasants
  • no tradition of elective democracy – the Tsar only set up a sort of parliament, the Duma, in 1905, but he and the ruling classes made sure it had no power
  • few if any of the institutions of civic society
  • and a ‘culture of violence, brutality and scant regard for human life’ (p.113) as my reviews of some of its classic fiction tend to confirm (Dr Zhivago, Tales From the Don, Red Cavalry, One Day In the Life of Ivan Denisovich)

The weakness of inter-war democracy

Kershaw has a fascinating passage examining the post-war political systems of every country in Europe (pages 123 to 133) which shows exactly why ‘democracy’ had such thin roots. Later on, a similar survey explains why these weak democracies almost all collapsed into authoritarian regimes by the time of, or during the second war (pages 183 to 192). European democratic systems during this period:

1. Used electoral voting systems which encouraged weak government. Many used variations of proportional representation, which may, on the one hand, have led to general assemblies which were accurate reflections of national views, but also led to weak governments which followed each other with bewildering speed:

  • Spain had 34 governments between 1902 and 1923
  • Portugal 45 administrations between 1910 and 1926
  • Yugoslavia had 45 political parties
  • Italy had 6 changes of government between 1919 and 1922
  • France had six different governments in just over a year, April 1925 to July 1926

2. All this disillusioned much of the population with their mixture of incompetence, endless squabbling, corruption, all too often giving the sense that politicians put party interest above national interest. This allowed right-wing extremists to tar all democratic politicians with neglecting The Nation, even accusations of treason.

3. This created what Kershaw calls a ‘political space’ in the newly-created countries – or countries with new political systems – into which broad sections of the populations were all-too-ready to let a Strong Man step and run the country properly:

  • Admiral Miklos Horthy in Hungary in 1920
  • Mussolini in Italy in 1922
  • General Primo de Rivera in Spain 1923
  • in Albania Ahmed Zogu seized power in 1924 and declared himself King Zog
  • General Pilsudski took control in Poland 1926
  • General Gomes de Costa took power in Portugal in 1926

On the eve of the Second World War only about eleven countries in Europe were functioning democracies and they were all located in the north and the west – Britain, Ireland, France, Switzerland, Belgium, the Netherlands, Denmark, Norway, Sweden, Finland and tiny Iceland; whereas about 60% of Europe lived in 16 countries under repressive, authoritarian rule with curtailed civil rights and minorities facing discrimination and persecution: in the South, Spain, Portugal, Italy and Greece; in the East, Hungary, Slovakia, Romania, Bulgaria, Albania, Yugoslavia, Poland, Lithuania, Latvia, Estonia; and slap-bang in the middle, the largest country in Europe, the nation that set the tone, Germany.


What is fascism and how does it take hold?

Kershaw is best known as a historian of Hitler and the Nazis. You can feel the depth of his knowledge when he comes to describe the situation in Germany after the First World War, during the boom years of the mid-1920s, during the Depression (1929 to 1933), and as he explains the reason for the Nazis’ appeal and rise in each of these periods.

All too often histories of the Nazis focus so exclusively on the uniqueness of the German context that the reader is hard-pressed to draw broader conclusions. An excellent thing about this book is that it is a conscious attempt to cover the history of all of Europe, so that in each of the micro-periods it’s divided into, Kershaw goes out of his way to explain the situation in most if not all of Europe’s 30 or so countries; how, for example, the onset of the Depression affected not only Britain, France and Germany (which you always get in the standard histories) but countries right across Europe, from Spain to Greece, Norway to Portugal.

This proves extremely useful when he gets to the rise of the Nazis and their successful seizure of power (Hitler became Chancellor of Germany in January 1933 and within 6 months had crushed all other rival sources of power, all other political parties, the parliament, trades unions, universities, professions, every aspect of a modern state had either been Nazified or abolished).

It’s useful because after explaining all this, he goes on to draw general conclusions, to define what Fascism is, to ask Why Fascism succeeded in Italy and Germany and Why Fascism failed everywhere else. This has all kinds of benefits; one is it allows him to draw a distinction between regimes which were right-wing and authoritarian but not actually Fascist, explanations which we can apply to our contemporary situation in 2024.

1. What is Fascism?

Kershaw says that trying to define Fascism is like trying to nail jelly to a wall because its core attribute is hyper-nationalism i.e. glorification of the nation with its special language and history and traditions – and the precise details of each nation’s history and culture will vary according to circumstances.

Thus an attempt to hold a pan-Fascist Congress in Geneva in 1934 failed because a) Germany didn’t bother to turn up and b) the other delegates couldn’t agree joint plans of action.

These caveats notwithstanding, Kershaw says Fascism includes:

  • hyper-nationalist emphasis on the unity of an integral nation which gains its identity from the cleansing of all who don’t belong – foreigners, ethnic minorities, undesirables
  • racial exclusiveness (though not necessarily biological racism of the Nazi type) with an insistence on the special, unique and superior quality of the nation
  • radical, violent commitment to the complete destruction of political enemies – communists, liberals, democrats, sometimes even conservatives
  • emphasis on militarism and manliness, usually involving paramilitary organisations, linked to worship of war as cleansing, purifying the nation etc
  • belief in authoritarian leadership

Some also had irredentist goals i.e. reclaiming lost territory. Some were anti-capitalist, reorganising economies along corporatist lines, abolishing trade unions and directing the economy through corporations of industries.

All these elements are not unique to fascist rule. They can be present in authoritarian, right-wing governments which want to overthrow or dismantle the existing state and replace it with nationalist, authoritarian rule. What distinguishes Fascism is its insistence on total commitment to bend the collective will of the entire population to the creation of an entirely new nation, expressed in ideas like the New Man, New Society.

Most right-wing authoritarian regimes (like all the South American dictatorships of the 1970s) essentially want to conserve the existing social order, and simply eliminate the left-communist, union elements which threaten it. Fascism goes much further. Fascism is a revolutionary movement because it seeks to sweep awaythe existing order and replace it with a new, totally unified society which will produce New Human Beings, a higher form of people who express the quintessence of the Nation and its epic national qualities.

2. Why does Fascism succeed?

1. Elites lose faith in, and control of, democracy The most important factor in the rise of Fascism – of the extreme, radical Right – is whether the forces of conservatism – business, military, financial and social elites – believe they can get their way through the existing political and social order, or not. If these powers in society retain the belief they can work through the existing system they will support it. Only when they have completely lost faith in the existing system, or believe they have lost the ability to control it, will the elites help to, or acquiesce in, overthrowing it.

In this interpretation, the key to avoiding Fascism is ensuring that all or most elements of these powerful elites believe the existing (parliamentary, democratic) system is the best mechanism for getting their way, or some of it. Only when the existing system has been completely discredited, and the elites feel they are losing control of it and look around for alternatives, does the space open up for radical political change.

Rule 1: Keep the ruling elites invested in the parliamentary system.

2. Fascists play up the threat of communism (and atheism) The second factor is the threat of communism as it affects two sectors of society, the elites and the middle classes.

The realistic prospect of a communist regime coming to power and implementing real communist policies (nationalising all industries, confiscating private property) obviously threatens the interests of the business, economic, class elites. If these interests feel that the existing parliamentary system really is going to allow hard-core Socialist or communist governments to administer Socialist policies, then they will intervene to prevent it.

But communism doesn’t just threaten the elite. It also directly threatens the jobs and livelihoods and cultural capital of a large part of the population, the so-called middle classes, which covers a wide range from the professions (doctors, lawyers) at the top through small businessmen, shopkeepers, small craftsmen and artisans and so on.

Historically, the majority of Fascist supporters have not been from the aristocracy or elites (who often look down on fascist vulgarity) but from the threatened and pressurised middle and lower-middle classes. The elites will have a large number of the population on their side if these people, too, feel threatened by radical socialist policies, not only by their economic policies but by their attacks on traditional culture and values, as progressive in our time have mounted a sustained attack on traditional beliefs (around family, gender, racial guilt etc).

Spain 1936 is an example where the newly elected, aggressively socialist government threatened not only the property and livelihoods of the big landowners and big business but a wide tranche of the middle classes, petit-bourgeoisie and so on. They also directly threatened the Catholic church and all its values, patriarchy, the traditional family, the sanctity of marriage and so on, not having calculated how many traditionalists and believers this would antagonise. They created, in other words, an impressively powerful coalition of enemies.

Kershaw has a section specifically addressing the role of the Protestant churches and the Catholic church during the crisis years of the 1930s and the war. What comes over loud and clear is that the Pope and the Catholic Church, although horrified by the Nazis, thought the communists would be even worse.

Same in Spain. It’s well known that Hitler and Mussolini gave material aid to General Franco, flying his troops in from their garrisons in Africa and bombing Republican strongholds. Less well-known that Britain and France, after some hesitation, decided to adopt a policy of strict neutrality.

Rule 2: Avoid the threat of genuinely socialist, let alone communist, policies. This won’t lead to socialist policies, it will trigger the fervent opposition of the majority of the population.

3. Widespread grievances, specially about lost wars or lost land Political parties don’t exist in a vacuum, they need supporters. Voters, populations, peoples don’t migrate to extreme parties without reason. Almost always it is because they feel threatened by loss or are aggrieved because they already have lost important aspects of their lives (jobs, money, status).

A very large number of people in Weimar Germany felt they stood to lose, or already had lost, jobs or status. Classic Nazi members were white-collar workers, small businessmen, former army officers or NCOs, shopkeepers, small craftsmen, farmers, a huge raft of people who had suffered monetary loss under the economic crisis, or loss of status (ex-army officers, unemployed white-collar workers).

The entire German nation was united by a sense of grievance at the unfair provisions of the Treaty of Versailles, the loss of large parts of territory and the punitive reparations.

The Nazis played on the widespread grievances of disparate sectors of the population and claimed to speak for them against a corrupt system which they promised they would sweep away, restoring everyone’s losses (of jobs and status), and restoring the losses of the entire nation.

Rule 3: Don’t give people and peoples long-running grievances.

4. National pride and national enemies The easiest way to address people’s grievances is to bundle them up into all-encompassing calls for a revival of the nation. Pretty much all Germans felt humiliated by the terms of the Treaty of Versailles, so it wasn’t rocket science for the Nazis to make one of the main planks a call for National Revival and throwing off national humiliation.

And the easiest way to rally national pride, national revival, national rebirth, is to identify some kind of internal enemy who stands in the way. For the Nazis it was their mad irrational hatred of Jews (who, it is always shocking to recall, made up just 0.76% of the German population). Around the same time Stalin was uniting the mass population behind him by attacking ‘kulaks’, ‘saboteurs’ etc. All authoritarian regimes are quick to identify enemies and rally the majority of the population against them.

It’s tricky because calls for national revival are an extremely common tactic of all politicians, and many people are patriotic in a relatively harmless way. It obviously becomes toxic when it becomes mixed with calls to defeat ‘enemies’, either internal or external. ‘Make America Great Again’ is fine in itself, until you start blaming the Mexicans or the Chinese for the fact that it isn’t, currently, great. Or the Jews. Or the Liberals or the Socialists etc.

Rule 4: Be wary of calls to national pride, nationalism and national revival which rely on demonising an ‘enemy’.

5. Economic crisis Implicit in the above is the context of the economic or social situation becoming so extreme and dire that a) the large percentage of the population cease to have faith in the system b) parties of the extreme Left or extreme Right can come into existence, get a purchase on the population, and get into the political system.

Rule 5: Avoid extreme economic or social failure.

6. Unstable political systems Political systems like proportional representation, which cater to every political element in a society, allow the proliferation of small, often extreme parties. Once established, extreme parties have the potential to grow quickly and challenge the status quo. This is what the Nazis did in Germany.

This is less likely in ‘mature’ democracies with winner-takes-all systems like Britain and the USA. Our systems are dominated by two main parties, which are themselves flexible and changing coalitions of interests, which ensure that most views have a political ‘home’ and give a broad spectrum of beliefs at least the possibility of seeing their views and policies implemented.

Even in a stable democracy like Britain’s, it is still possible for new parties to erupt and threaten the status quo if the social movement/mood they reflect is powerful enough. This is what UKIP did to the British political system in the lead-up to the Brexit Referendum. What Boris Johnson then did was in line with the long tradition of mature Western democracies, he incorporated most of UKIP’s policies (‘Get Brexit Done’) into one of the two mainstream parties (the Conservatives) thus drawing its teeth, neutralising it, and maintaining the stability of the two-party system. If it resulted in the Conservatives moving to the right that in fact reflects the wishes of a large part of the UK population who voted for Brexit and voted for Boris.

Mature democracies incorporate and neutralise radical elements. Immature democracies allow radical elements to establish themselves and attract support.

Rule 6: Incorporate potentially disruptive movements into the existing system – don’t keep them outside to become a focal point for destabilisation.

Kershaw summarises:

Fascism’s triumph depended upon the complete discrediting of state authority, weak political elites who could no longer ensure that a system would operate in their interests, the fragmentation of party politics, and the freedom to build a movement that promised a radical alternative. (p.232)

3. The difference between fascism and authoritarianism

Authoritarianism – authoritarian dictatorships – generally want to keep things as they are or turn the clock back. They all share a loathing and fear of socialism or communism not only because it’s a direct threat to their wealth and power but because it threatens change, threatens to sweep away old values and traditions. Authoritarians want to save the nation by preserving its (conservative) traditions from change.

Fascism, on the contrary, is a revolutionary and dynamic ideology which seeks to sweep away time-honoured and conservative institutions. It seeks a comprehensive rebirth of the nation, freed from the shackles of the past, liberated to fulfil its historic destiny (power, land, international respect), but also to create New People in a New Society.

Thus Kershaw is at pains to point out that, although most European nations became dictatorships on the brink of or during the Second World War – most of these were not fascist. They were military dictatorships first and foremost, which may have used this or that aspect of ‘fascist’ ideology or trappings as suited them, but without the fundamental fascist attribute of wanting to transform society.

  • When General Ioannis Metaxis established his dictatorship in Greece in 1936, his avowed intention was to save the nation from communism, and he tried to set up ‘fascist’ organisations but failed to secure anything like the total social control of a Hitler or Mussolini.
  • When General Edward Smigly-Ridz took control of Poland in 1937 as ‘Leader of the Nation’, the country became more nationalistic and more antisemitic but ‘there was nothing dynamic about this form of authoritarianism. No major attempt was made to mobilise the population. The regime was content to control the society. It had no ambitions to change it’ (p.262).
  • Even General Franco, after his military coup of July 1936, took a year to sort out the political aspects of what was essentially a military project. He co-opted the ideology of the banned Falange Party and coerced all the other right-wing organisations into joining it (p.240), but the party was only ever a political aspect of what remained a military rule. This was the polar opposite Germany, where a fanatically organised, civilian political party controlled the military as just one of the many levers of its total control over society.

Another fairly obvious difference is that some of these authoritarian regimes locked up fascists as well as communists, socialist, liberals, journalists etc. For example, the Polish and Portuguese dictatorships (pages 262 and 264) or Admiral Horthy’s authoritarian regime in Hungary, which banned the genuinely fascist Hungarian National Socialist Party and imprisoned its leader, Ferenc Szálasi (p.263).

In other words, for many authoritarian dictatorships, real hard-core fascism was just one more subversive or disruptive element which needed to be controlled.

One way of thinking about this is the contrast between merely authoritarian regimes and totalitarian regimes. Totalitarian regimes want your soul as well as your body, your mind as well as your vote. They insist on total control of every aspect of their citizens lives in order to create a new type of human being.

Everything within the state, nothing outside the state, nothing against the state. (Mussolini)

Another way of thinking about the difference between authoritarian dictatorships and genuinely fascist regimes is that none of the dictatorships threatened the peace of Europe – the Western democracies didn’t lose any sleep about the foreign policy of Hungary, Bulgaria, Poland, Portugal. Even Spain, whose drawn-out civil war was violent and traumatic, never threatened to spill beyond its borders, never threatened the peace of Europe.

Unlike the irredentist and imperialist ambitions of the true fascist regimes, Italy and, most of all, Germany.


The rise of the Right and collapse of the Left in the 1930s

Putting the usual culprits Italy and Germany in the context of the wider, in fact of the complete European scene, brings out a fact I had never fully grasped before.

I suppose I knew that the 1930s were the era of The Dictator – although Kershaw’s review of every dictatorship in Europe really rams this fact home. The deeper point is that the catastrophic economic collapse of the early 1930s, which devastated nations, threw millions out of work, and led many to think capitalism was failing – did not produce a shift to the Left, in favour of thinkers and politicians who’d spent a lifetime criticising capitalism and supporting workers movements – it resulted, all across Europe, in a seismic shift to the Right.

The 1930s was the decade of the failure of the Left.

Why? Because despite its appeal to the kind of intellectuals whose works survive and are studied to this day, for the majority of the population the Left, in either its socialist or communist form, threatened the interests of:

  • most of the ruling class
  • most of the middle class
  • most if not all of the peasants – some may have heard rumours about Stalin’s forced collectivisation in Soviet Russia, all knew that the Left wanted to destroy the Church and traditional religion
  • even a portion of the skilled working class who stood to lose their perks and privileges
  • not to mention the large number of criminals and dossers who are generally left out of sociological calculations, the kind of people who fill the pages of novels like Alfred Döblin’s Berlin Alexanderplatz

In other words, the hard, radical Left always represents a minority of a society, and is always opposed by a majority in that society.

Which makes it all the more striking that such a disproportionate majority of the intellectuals of many of these societies moved to the Left. Kershaw has a chapter giving a tourist’s-eye view of the ‘intellectual life’ of Europe in the 1930s and 40s (which jumps around superficially, as historians’ quick compliance with the need to mention something about ‘culture’ so often do) – but the general drift is that from Gramsci through Orwell, Sartre to the Frankfurt School, the majority of Europe’s significant intellectuals took a left-wing, often out-and-out communist, view of the continent’s problems.

In other words, a high proportion of the intellectual class of Europe was profoundly out of step with the majority of their populations.

That’s one rather crude interpretation, anyway. The deeper reasons for the shift to the Right bear investigating and pondering. A deep analysis would give insights into why, in our time, years of austerity, uncertainty and economic stagnation since the 2008 Crash have resulted not in a mass outpouring of socialist idealism but, once again, led to the rise of right-wing leaders around the world. At the same time the intellectual and academic classes remain securely embedded in their progressive and left-wing ghettos (universities), out of touch with the populations they claim to interpret, and blankly incredulous of the leaders who keep getting elected (Trump, Johnson).

To return to the period under consideration, Germany’s dynamic Nazi ideology is in fact the exception that proves the rule to most of Europe during the period. So much ink has been spilt about Hitler and the Nazis but they were the product of a very distinctive set of circumstances – to take two of them, the fact that they were in Europe’s largest and most powerful nation, and that the entire nation felt huge grievance over the Versailles Treaty.

Focusing so much on bloody Hitler and his Nazi Party, whose historical situation was unique and so whose precise brand of turbo-charged Fascism is never going to recur, has distracted historians from the much more practical task of analysing the reasons for the rise of right-wing authoritarian regimes in general – which do recur with worrying regularity, which were widespread during the 1930s and 40s, which dominated Latin America and southern Europe in my boyhood (Portugal, Spain, Greece and Turkey all had military dictatorships in the 1970s), and which people worry are now reappearing in the guise of various ‘populist’ leaders.

Historians’ focus on one unique event (the Nazis) is, in my opinion, a distraction from analysing and thinking about how to prevent the far more common (almost mundane) phenomenon of military coups and authoritarian dictatorships.

The accidental rise of Adolf Hitler

As anybody who’s read about the period knows, Hitler didn’t storm to power, he was appointed by political elites who thought they could manipulate and control him to get their way. They did so because in late 1932 the Nazis had secured the largest share of the election vote and so had to be included in whatever government was set up – but, when they finally decided to appoint the vulgar little corporal Chancellor, the behind-the-scenes wheeler-dealers made sure to pack Hitler’s ‘cabinet’ with members of other parties. They thought that would moderate his policies. None of them had any idea how utterly ruthless Hitler would turn out to be in eliminating all these restraints on his power.

So possibly the key fact about Hitler’s rise to power is that it was the result of a mistake in political calculation by Germany’s political elite which had, by late 1932, lost all confidence in the ability of Weimar parliamentary democracy to deal with the country’s severe economic crisis.


Conclusions

Avoiding Fascism

What this analysis suggests is that avoiding Fascism is nothing to do with the Left-wing obsession with promoting workers rights, women’s rights, minority rights and so on. It involves ensuring that the powerful economic, social and military elites of a country continue to have faith in some form of parliamentary democracy as the best mechanism of protecting their interests.

Any political moves which threaten or jeopardise their interests, in effect, open the door to right-wing coups and worse.

Of course you probably require a number of other factors and preconditions, at the very least a) a political culture which accepts or has a tradition of coups, such as Spain’s with its long tradition of pronunciamentos, and b) a really severe economic or social crisis which the parliamentary system manifestly fails to manage.

Avoiding Europe

If you were American or Chinese or anyone looking at Europe from the outside it would be hard to avoid the conclusions that a) Europe is incapable of governing itself, and b) Europe is the most savage, bestial continent on earth.

For all their instability, nothing on the scale of either the First or Second World Wars took place in Latin America, Africa or the Indian sub-continent.

One way of looking at the Cold War is that, at the same time as the Soviet Union acquired a deep buffer zone to protect its western border (i.e. the Eastern Bloc countries) it was also taking control of the very region which contained the most ethnically mixed populations, had shown the most political instability, had been the location of terrible ethnic cleansing and enormous deaths.

In a sense the Soviet occupation of Eastern Europe liberated Western Europe from the burden dragging at its heel and, along with massive American financial and military aid, freed it (Western Europe) for the 30 years of economic growth and prosperity which followed.

It was Cecil Rhodes who made a speech in which he told his audience to remember that they were English and so had won first prize in the lottery of life. Obviously, at the time he was referring to our membership of the biggest empire the world had ever seen – but reading accounts of the twentieth century like this give the idea a whole new meaning.

Put simply, being born in England in the twentieth century meant you weren’t born on the continent of Europe which, as Kershaw vividly emphasises, between 1939 and 1945 descended into hell, real hell, the utter collapse of civilisation, mass slaughter, death camps, mass imprisonment and torture, gas chambers, the endless rape and murder of civilians, displacement and starvation.

In the entire catalogue of destruction, devastation and misery that made up the Second World War, the murder of Europe’s Jews was the lowest point of mankind’s descent into the abyss of inhumanity. The fires of the death-camp crematoria were almost literally the physical manifestation of hell on earth. (p.369)

Both my parents lived through the war as children, experiencing the Blitz and then the V-bombs, which wasn’t pleasant. But nonetheless they both had the immeasurable good fortune not to have been born on the Continent of Atrocity, and in the terrible middle years of the 20th century, that really was like winning a prize in the lottery of life.

Understanding Europe

Which leads to a final thought, which I’ll keep brief: maybe it is impossible for an English person to understand Europe. We were never invaded, devastated, forced to collaborate with the conqueror, to round up and deport English Jews, to execute our own socialists and liberals, and then reduced to starvation and chaos amid the smoking ruins of our cities.

The extremity of the experiences of every other nation in continental Europe during the war years (and described by Kershaw in gruelling detail) are beyond our experience or imagining. And so we never experienced anything like the same cultural or political extremity which wartime conditions produced. In the first post-war election in France, the Communist Party won 26% of the vote, in Britain 0.4%, reflecting the two nations very different recent experiences (p.488).

The great thoughts of Gramsci, Benjamin, Horkheimer, Adorno, Sartre and so on have dazzled generations of British students but bear no relationship at all to the history, culture and politics of the UK and its population. Which is why all those humanities students, drilled in their Benjamin and Lukacs, who voted for Jeremy Corbyn, helped him lead Labour to its most crushing electoral defeat in 50 years.

Brexit

It also explains something about Brexit. The ideal of a European Union has a real meaning for hundreds of millions of Europeans, raised for generations to believe it is better to be politically and economically united than to fight each other to the death as their grand-parents and great-grand-parents did.

But Britain really was an exception to the history of this terrible period, and that ‘exceptionialism’, for better or worse, was, during the period Kershaw describes, and obviously still is, a strong thread in British culture and population.

(I’m not shoehorning Brexit and ‘Europe’ into this review: the last 20 pages of Kershaw’s book explicitly discusses these issues. He describes the descent of the Iron Curtain across Europe, the continent’s division into two blocs being crystallised by the Marshall Plan, announced in June 1947. He quotes several Americans involved in co-ordinating Western Europe’s recovery from the war, not least George Marshall himself complaining that the British wanted to keep aloof from Europe, that the British wanted to benefit from a scheme designed to create an economically unified Europe ‘while at the same time maintaining the position of being not quite a European country’ – quoted page 516.)

I’m not approving or disapproving of Brexit, just pointing out that a book like this, which doesn’t hold back when it comes to describing the terror, murder, torture, holocausts, purges, massacres, reprisals, ethnic cleansing, mass deportations, executions and rapes which took place all across continental Europe during these years, can’t help but make you reflect how lucky we were to escape almost all of it, and how the cultural and political consequences of that very real ‘exceptional’ destiny have shaped our politics right down to the present.

Random facts

The books is full of hundreds of facts, figures and anecdotes. A few grabbed my attention:

In Britain just short of 70,000 civilians were killed by all German bombing in the entire 6-year war. In one night the firebombing of Hamburg killed some 34,000 civilians. The Hiroshima atom bomb is estimated to have killed about 66,000 people on the day, from the blast and fires, although many more died in the weeks and months that followed.

At their core, both world wars were wars between Germany and Russia. I knew the German High Command in 1914 knew they had a window of opportunity to attack Russia before its army came up to full strength, therefore they had an incentive to attack Russia while they still could. I didn’t realise the Germany High Command felt exactly the same in the late 1930s. Thus in both world wars, a – if not the – fundamental factor was the German gamble to take on Russia, and do it in a hurry.

The Irish taoiseach, Éamon de Valera, was one of a very few politicians who sent the Germans a formal note of condolence on the death of Adolf Hitler, 30 April 1945 (p.387).

Hitler loved Disney movies. He was delighted when Goebbels gave him 18 Mickey Mouse cartoons for Christmas 1937 (p.465).

The Venice Film Festival was founded in 1932 in Mussolini’s Italy. Winners of Best Italian Film and Best Foreign Film were awarded ‘Mussolini Cups’ (p.466). I think they should revive that tradition.


Credit

To Hell and Back: Europe 1914 to 1939 by Ian Kershaw was published by Allen Lane in 2015. All references are to the Penguin paperback edition.

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