His Lordship by Leslie Thomas (1970)

Sometimes, with all his uncertainties and outrageous misjudgements, he felt like a man destined to stagger through life weighed down by half a dozen heavy, free-swinging slop buckets.
(His Lordship, page 23)

‘It just seems to me that half the jokes in the world are on me. I’m always the one with his trousers down.’
(William Bridgemont Herbert expressing his loser complex, p.89)

‘I don’t know how any man can look so great and be so soft, so stupid.’
(Connie the American schoolgirl, not exactly helping Herbert’s self esteem, p.223)

This is an oddity, a comedy about under-age sex. But that’s not the only strange thing – it’s odd in all kinds of ways. From the title alone I expected it to be a satire about some doddery old member of the aristocracy, maybe comparable to the mad old geezers found in Tom Sharpe‘s savage farces. I wasn’t expecting ‘his lordship’ to be the nickname given by the girls at a posh boarding school (Southwelling School for Girls, Sussex) to their handsome if clumsy and tormented 35-year-old tennis coach, William Bridgemont Herbert.

Then the next surprise. The novel opens with William in police custody, on remand in Wandsworth Prison (3 miles away from where I live, whose open day museum I once visited and reviewed). The specific causes of this are that he was arrested for being drunk and disorderly at Victoria station and for being in possession, when his suitcase was opened, of a sports awards cup and five pairs of girls’ knickers which he has stolen from Southwelling School.

(It was only a third of the way into the book that it dawned on me that Southwelling might be a rude joke; if said fast enough it sounds like ‘sthwelling’, like ‘swelling’ with a lisp, maybe referring to the engorged condition of the penis which features heavily in the book’s later chapters.)

The novel opens with William, on remand, being questioned or interrogated, by Detective Sergeant Rufus, assigned to William’s case. I thought this might be a preliminary scene before the protagonist would get out and about but it’s not: it settled down to become the format of most of the book, with Rufus returning for renewed interrogations on a daily basis and most of the text consisting of dialogue, as Rufus asks questions and William answers them – then, in every chapter, the dialogue morphing into William’s memories of events as given by a third-person narrator.

In fact the whole thing turns into an extensive overview of the life and actions of this William Bridgemont Herbert and you wonder whether such a slender subject can really support an entire novel, especially when the narrative goes out of its way to emphasise what a boring, suburban non-entity William is.

His life story, as told to Rufus, features a whole series of failures and humiliations, not least his efforts to impress his unhappy wife, Louise (‘she told me she’d never enjoyed a single moment in bed with me’) which uniformly end in failure, so much so that she eventually leaves him for someone more interesting (Mr George Sherman, the deputy town clerk).

As William tells his life story to Rufus, his supposed crimes (drunk and disorderly, stealing a cup from his place of work) barely seem to justify the prolonged period of remand and the massive, extensive interrogation which the novel records.

But there are more surprises. The first is the very strange dynamic which develops between Rufus and William who enter into a kind of creepy friendship – calling each other by their first names, discussing Rufus’s wife’s pregnancy and then the delivery of his first child, it develops into an odd, unrealistic, eerie relationship. And it’s all given a peculiarly uncomfortable tone when Rufus assaults William. At one point, early on, Rufus reaches across the interview table and slaps William, and then grabs his nose and twists it, painfully. We only know this because of the spelling of William’s sudden, pained pleas for him to stop:

‘My nothe! Snnnnoppitt! Snnnoppitt, Rufuth! You’re bloody hurting…’ (p.35)

think this is meant to be funny, maybe in the knockabout comic tradition of Norman Wisdom or a Carry On film, but it mainly comes over as strange and creepy. Between the comedy world of the 1970s and the contemporary world of 2024 we’ve heard so many stories of police brutality, climaxing in the grotesque case of Sarah Everard and Wayne Couzens, that it’s hard to take the descriptions of a policeman slapping and twisting the nose of his interviewee with anything other than revulsion. It comes over as not funny but grim.

But all these other surprises pale before the big daddy of them all, the novel’s central theme, which is that William appears to be a pervert and a voyeur. I initially found him difficult to categorise because he’s not the modern idea of a paedophile: according to Wikipedia, a pedophile is someone who’s attracted to prepubescent children (‘psychiatric diagnostic criteria for pedophilia extend the cut-off point for prepubescence to age 13’). William is not this; his problem is he’s sexually attracted to post-pubescent schoolgirls from, say, 12 or 13 to 16 or 17. So he’s not a real monster but his obsession with schoolgirls is nonetheless uncomfortable and creepy.

This is what this novel is about – a 35-year-old, dim, hapless man who is overwhelming sexually attracted to schoolgirls and at the same times fights (or claims to fight) his obsession.

Because this is another odd thing about the narrative, which is William’s self-deception. He is a profoundly unreliable narrator. As I’ve mentioned, every chapter features interview scenes between him and Rufus which, at some point, cut away to a third-person description of what took place, generally inflected by or seen from, William’s point of view. Yet when the interview dialogue resumes we are often surprised to learn that the entire account we’ve just read is false and misleading.

A classic example is when we read William’s account of one of the many incidents that eventually drove him to leave the small town where he lived (Midford-Pallant) and look for another job, namely when he was driving his dad’s van in the high street and knocked over a woman. He himself admits, in his telling of it to Detective Rufus, to the sexualised sensation of picking the woman up to carry her to the kerb, one arm under her parting legs, the other round her torso enough to just touch the outline of her breasts. That’s pervy enough.

But William’s apparently candid account is interrupted by Rufus once again grabbing Herbert’s nose and twisting it hard because he knows that this whole account is a fib: the person William knocked down was a schoolgirl. William claims not to have noticed at which Rufus reminds him that she was wearing a school uniform and carrying a satchel, which William then, grudgingly, concedes.

This is not the only time when William tells a reasonably innocent version of an anecdote about women or girls which Rufus then violently corrects. I wondered whether this is how the novel started, with Thomas thinking it would be an interesting experiment to write a whole novel about a man who lies to himself, and others, and then cast around for the type of person who would do that, before settling on the idea of someone who is conflicted about their sexuality, specifically a man who is compulsively attached to ogling schoolgirls, but continually trying to fight the compulsion and lying to himself about it?

To recap: we are in a prison interview room where a pretend friendly, but occasionally violent police detective is interviewing, over a series of days, a thirty-something man, who’s separated from his wife, lost his job at a bank, taken another job as a tennis coach at a girls’ boarding school, and has been arrested for being drunk and disorderly at Victoria station.

Some of it is definitely funny, such as the description of William trying to make himself more ‘interesting’ to his bored wife by drinking too much at a tennis club party, winning the raffle, and barely being able to walk up to collect his prize. That’s the standard kind of ‘humiliate the pathetic anti-hero’ scene you find in novels by Kingsley Amis, Tom Sharpe or Howard Jacobson.

But the nervy atmosphere in the interview room is both boringly samey and unpleasant. That’s not at all funny.

And then there are all the pervy scenes. These come in at least two categories. 1) First there’s the dirty old man type, voyeur type scenes, such as the repeated description of William spying on the sports ground of his local girls school from a van with a hole cut in the side. The existence of the spy hole and William’s repeated denials of it until Rufus forces him to admit it, are these meant to be funny? They made my flesh creep. Is that the intention?

But 2) once William’s got the job at the girls boarding school there are, of course, many more encounters between him and teenage girls and the early ones of these are, I think, designed to titillate the (male) reader, while the later ones are straight out porn, designed to arouse.

For example, the scene which he and the copper both go over again and again, when William was called to the school swimming pool changing rooms because one of the girls was supposedly drowning, and thus finds himself, as in a dream, in a steamy room surrounded by young teenage girls wearing only loose towels. This feels like a scene from a soft porn movie.

Even more erotically charged is the scene where one of the girls comes to his study late one evening, ostensibly to confess to pushing another girl down the stairs, but a quite palpable sexual tension develops, at least on William’s side. He finds himself saying that, if they were at a boys’ school, he’d put her over his knee and spank her. To which this teenage girl replies, with deliberate erotic provocation, ‘Try me’. This feels like it’s intended to be titillating.

For the first half or so of the book what stops it being pornography is that there is no actual sex. In the scene I’ve just described William struggles to keep control of himself (as he knows he must) and eventually breaks the spell by grabbing the girl’s shoulders, turning her round, marching her to the door and bidding her goodnight, before getting into bed and hugging the pillow in frustration (at least that’s what he says he does).

These scenes might have a titillating front but they are more about the protagonist’s struggle with himself, his struggle to control his urges (‘You don’t know how I tried to fight it off,’ p.153), so is that what the book is about ? Is it intended to be a portrait of a man attracted to schoolgirls who gets his dream job at a girls’ school but then struggles every day to control and rein in his desires (‘I didn’t want it to happen. I did all I could,’ p.155)?

Having looked up the definition of pedophile and concluded that William is not one, I wondered if there’s a term for men who are attracted to high school aged girls and, of course, there is, in fact there appear to be two: Hebephilia is when adults are sexually attracted to people under the age of consent (generally between 12 and 15 years); but there’s an overlapping term, Ephebophilia, which is when an older adult is sexually attracted to post-pubescent teenagers, usually those in the age range 15 to 19.

Looking for clues to how to read it, I read the blurbs on the back of the ancient Pan paperback I own: ‘A girls’ school that makes St Trinian’s sound like a nunnery’ (The Listener), ‘Ripe comedy, very funny’ (Daily Express). But it’s nowhere near as funny as the St Trinian’s books or films, and there’s more of the strange and creepy about it than the humorous.

Am I misunderstanding it? Is it just a straightforward entertainment from a distant era, from the smutty innuendo-laden late 1960s and early 1970s, the era of the worst Carry On films and the Confessions of a Window Cleaner-type smut-fests?

(Right at the end of the text we learn that the final pages are set in November 1968, page 227. According to his court case he was arrested on 25 July (p.236), and the text describes most of the events at the school as taking place that spring and summer of 1968. We also learn that the police detained him for precisely 14 days, although it feels like much longer.)

Or is it something more literary i.e. complicated, intended to be a psychological portrait of a sad man who’s attracted to schoolgirls but tries to deny and/or control his urges? I admit to being confused all the way through as to how to respond to it.

Incidents

Even more confusing is the stream of bizarre or surreal incidents. One which has Rufus in stitches is the story about William, once established at the girls school, buying a scooter. Once morning he went shopping to the local town and some of the girls had a pass and were in town, too and they attached a condom to the exhaust of his scooter so that when he turned the scooter on the condom began to inflate, making passersby point and laugh. Then, as he scooted away, the condom inflated to ten feet or so in length, so that traffic stopped to see it, before it finally pinged free of the exhaust and went flying all over the high street, as released balloons do. From that point onwards, William was as much of a laughing stock in Southwelling as he had been in Midford-Pallant. The classic gormless twit of English comedy video almost all the films of Ian Carmichael.

The backdrop to the arrest and his present plight gets going when William describes being in Oxford Street on Christmas Eve (1967), caught in the mad shopping crowds (which brought to mind the cartoon depictions of exactly this scene in Posy Simmonds’ 2018 graphic novel, Cassandra Darke).

So William is hurrying through the crowd and next thing he knows he’s knocked over a dwarf, who lays floundering on his back – that’s odd enough. Panicking, William doesn’t help the poor man up but runs off and ducks into the first available dark doorway. This turns out to be into a dancehall where couples are half-heartedly shuffling the afternoon away – which all feels surreal enough. Then William confesses to Rufus that he at first danced with a 12-year-old girl – which definitely feels creepy. But he ends up chatting up some mature women, one of whom, Blanche, asks him to take her home and it’s only when they’re almost there that hapless William realises she’s a prostitute. Being typically ineffectual, he hasn’t got the guts to turn her down and so is forced to fork out the £5 price for sex, although, typically, he has to make the fifth pound up from of scattered silver and copper coins in his pocket.

So Blanche takes William up to her dingy flat which, as always in these kinds of stories, is dirty and ramshackle and where she disconcerts him, as always happens, by just stripping off, applying a condom to his member and telling him to hurry up and get it over with. So they have just begun to have sex when the door bursts open to reveal Blanche’s flatmate barging into the room, a massive tank of a woman who is blind drunk and starts shouting and singing, which in turn triggers the Asian man who runs the curry house next door to start banging on the wall, which triggers big Babs to start shouting back, while Blanche starts yelling at Babs, and poor William lies there stark naked, aroused and quivering with fear etc.

And all this is part of the narrative being told to Detective Rufus, who periodically interrupts with questions to clarify the details. Is it meant to be funny? Is it meant to be part of building up the character of William as naive and inept, an innocent in the ways of the world? Is it meant to explain why he is attracted to young girls – for the simple reason that he doesn’t know how to handle grown-up women, or sees them in terms of these grotesques?

In the middle of describing it all to Rufus, William mentions that he was still inside the prostitute as she started yelling at her drunk friend to shut up and that each time she yelled, it tightened her cervical muscle around his penis quite painfully. At which Rufus chips in that the same thing happens when women cough; his wife has a persistent cough so he’s often experienced it.

What are we to make of this? Was this acceptable lad talk in the late 1960s? It may indeed be the kind of thing which men might discuss, but in the context of this novel is it intended to be funny, or a little creepy?

Anyway the comic scene in the prostitute’s flat ends with them both discovering that he likes schoolgirls and so the massive woman, Babs, slips into a schoolgirl outfit and starts whipping him. Then she jumps on top of him to create a William sandwich, asphyxiating between two hulking women. Rufus is crying tears of laughter at hearing all this and I can see how all this fits certain antique comedy tropes, but I was more appalled than amused.

The only reason William’s in London is that the school broke up for Christmas and everyone just left, so he packed up and got a cab to the station with some of the girls and mistresses and since they were going to London so he went along with them, all the time lying his head off about the fabulous people he was going to parties with (the Prime Minister, actresses) and the great Christmas he was going to have.

Instead he checks into a cheap hotel, the Abbey Castle Private Hotel, in the Bayswater Road and has the miserable Christmas Eve I’ve just described, knocking down the dwarf, the sad dance hall, chaos with shouting hookers.

The next day the hotel are having a Christmas dinner for its guests, hosted by the ancient landlady. Characteristically, William attends the pre-meal drinks but then slips away, making excuses that he’s just popping out for a moment. And then spends all of Christmas Day walking lonely and sad round the empty streets of London and what is on his mind? Terror that he might have caught the clap off these two prostitutes.

His description of walking around London in the 3 o’clock darkness of Christmas Day is affecting and sad, especially when he walks into the grey muddy waste of Battersea Park:

Leaves were running in blind crowds, making a tinny sound, across the open spaces and huddling under canvas screens. (p.80)

William’s long, miserable Christmas walk includes playing in the tree walks in Battersea Park, then sitting in a deckchair on the grey muddy Embankment before he ends up at a Seaman’s Mission in the East End. Here, as usual, he lies about his origins, saying he’s a sailor from Antwerp and ends up becoming very popular by leading sing-songs of classic Gilbert and Sullivan songs, ones he’s learned from the operetta-mad headmistress of Southwelling school. It’s a rare moment when he feels liked and respected for being ‘Antwerp Herbert’.

This whole passage has got nothing to do with ‘St Trinians’ nor is it ‘Ripe comedy, very funny’. At best it’s bitter sweet, at worst quite grimly depressing.

What follows is farce. He had been invited to the Christmas party at his Bayswater hotel but told the agèd host he was just popping out, and had never gone back. Anyway, he had been missed and when one of the guests heard a knocking from under the floorboards, in a chaotic comic way, the senile guests became convinced William had gotten into the cellar and got locked in.

The comic upshot is that William arrives back at the hotel to discover the landlady has called the fire brigade who are in the middle of prising up the floorboards in order to get to the cellar and free him. When he walks into the building, everyone goes mental, shouting blame and recriminations at him. He packs his bags and leaves. Everywhere he goes he causes disaster and mayhem.

Walking the streets, he decides on a whim to buy some second-hand boots he sees in a shop window and walk from London to Derby. Why Derby? Well, earlier in the story, after his wife left him and he ran away from Midford-Pallant, he had ended up arriving in Derby where he got a job working in a post office. Here he was recognised by a tennis-mad upper-class lady, Mrs Ferber, as being a county tennis champion, because that’s one of the oddest and least plausible things about this character – a failure in absolutely every aspect of his life, he is, nonetheless, a champion tennis player.

Outraged that he’s working in a poxy little post office, Mrs Ferber invites him for tea at her posh mansion and she and her husband decide to give him a helping hand, telling him that there just happens to be a vacancy for a tennis instructor at the boarding school in Sussex which their twin teenage daughters attend. And that was how he got the job at Southwelling.

Anyway, he’s got three weeks to kill before the next term starts and doesn’t want to stay in London so…why not walk all the way to Derby to visit the Ferbers and tell them how their kindness is working out? So off he sets, amid improbable descriptions of the lovely scenery (no mention of A roads or motorways or endless juggernauts spraying him with diesel-infused puddles).

But his route takes him past his old town, Midford-Pallant, and when a bus comes along with that as its destination just as he’s passing a bus stop, he automatically gets in, unable to stop himself, he alights at the town centre, and then he finds himself outside the house where his ex-wife, Louise, lives with her new man, pacing up and down in his big hiking boots, trying to pluck up the nerve to go and knock.

Comically, it turns out that Louise has been observing William from the neighbour’s house across the street, both of them falling about laughing at his odd behaviour. In his mind William is a sensitive, tortured soul; to everyone else he is a plonker.

Anyway, it turns out that Louise is none-too-happy with her lover George Sherman, who claims to work late and is always going to ‘works parties’ which he doesn’t take her to, leading her to suspect he is being unfaithful. So Louise now plies William with sherry and then, to his astonishment, leads him upstairs to the bedroom where she strips naked and starts playing with her big breasts. William is half way through taking his clothes off when he suddenly remembers THE CLAP – his pecker is still really sore and he hasn’t had results back from the clap clinic which he visited on Boxing Day (all of this he blames on the two hookers, Blanche and Babs).

Long story short, he finds himself in the classic comedy scenario of being in a bedroom with a gorgeous busty woman stripped naked and gagging for sex and…having to turn her down. (As a comparison, this happens not once but twice to the hapless hero of William Boyd’s comic novel A Good Man In Africa).

William makes a stream of feeble excuses (he has holes in his socks) until Louise’s patience snaps and she switches from sex kitten to furious harpy, boxing him round the ears, throwing things at him, screaming him out of the bedroom, down the stairs and out of the house, where he stands doing up his trousers and tucking his shirt in while the neighbours watch from behind their net curtains, chortling at this latest episode in the silly life of William Herbert.

At moments like this William is the standard hapless loser antihero of a hundred English comic novels… except that the narrative keeps reminding us that he has this fetish for schoolgirls and that all these events are flashbacks from the core situation, which is him in prison being interviewed by threatening Detective Rufus.

After more minor mishaps en route, William finally arrives in Derby and is hanging round outside the Ferbers’ house when he’s discovered by the twins who are out cycling and it’s all hugs and kisses and invitations to their New Year’s Eve party. Anyone who’s read a comic novel knows this will go badly.

Leslie’s sentences

I read Thomas’s debut novel The Virgin Soldiers because it connected to my reading about the post-war Emergency in Malaya, itself part of a loose post-colonial reading project. But I discovered I enjoyed Thomas’s sense of humour, his coarse, non-middle-class worldview, but most of all his imaginative and entertaining way with the language – so I was prompted to buy the Virgin Soldiers sequels and then to explore some of his non-Virgin Soldier novels. About the characters and the plots of these I am a lot less sure, but I still enjoy the surprising quality of many of his sentences:

Louise’s hand came across the table and pulled at him roughly like a sergeant catching a sleeping sentry. (p.24)

He felt like a man in a midget submarine. (p.30)

It was a mute Midlands evening when he came out of the station and walked among the quiet shops and the dumb office fronts. There were a few entwined couples around, all arms and aimlessness, looking at the engagement rings in the windows of Bravingtons… (p.31)

There are few things so levelling as licking other people’s stamps. (p.32)

Curled leaves were lying in worried groups about the paths and lawns, waiting pessimistically for the wind or the broom. (p.37)

She wore a smirk as carelessly as she wore her clothes. (p.56)

Something strange and panic-stricken was running around inside him like a family of disorganised mice. (p.56)

She pulled her smirk in like someone tightening a string bag. (p.58)

The miniature days after Christmas were fine and cold-edged. (p.91)

He rolled into bed in his shirt, turned out the light and lay there with the flickerings of an indifferent moon entering through the low window and sharing his eiderdown. (p.94)

[In a library] there were old men crouched, as though in prayer, over the newspapers in the reading room, and a large young woman, so rounded she looked as if she’d been pumped up that morning, sat behind a desk. (p.117)

Second half

It’s only in the second half that the novel starts to pick up speed, becoming more genuinely comical and also, for the first time, featuring actual sex, not of the farcical romp style of Blanche and Babs, but described with sympathy and sensuality, genuinely erotic sex – first with one of the Southwelling girls and then, scandalously, with a whole roster of them!

To begin with, though, there’s more farce. The posh Ferbers have a big New Years Eve party. Feeling unsociable and conscious of the growing soreness of his penis (which he is terrified is caused by ‘a dose’) William loiters by the phone in the main room. Unable to bear his frustration he calls the clap clinic where he gave a urine sample on Boxing Day and begs them to tell him the result, even though, characteristically, the doctors at the other end are having their own party and are pretty tipsy.

They take his number and promise to ring him back which is when, of course, William finds himself being coerced by his hostess into taking part in some ridiculous game where the guests split up into two teams and each team runs a long ribbon with a spoon on down their trousers or down their skirts until they are all joined together on the one string. it is, of course, at this point that the phone rings and it’s the clinic ready to give him his results only he can’t make it to the phone. When he tries he drags the entire team of ten or so guests after him, falling over each other, collapsing in a heap which some find hilarious and makes some quite angry, but not before someone else has answered the phone, takes the message from the clinic and shouts out William’s test result to the entire roomful of laughing clapping guests.

Thomas manages this comic scene (pages 127 to 138) with great skill, totally involving the reader in William’s mounting, hysterical panic. In the event, the clinic give his result as a poem which is so cryptic none of the other guests understands what it means, which is just as well.

But the most important thing about the whole stay with the Ferbers is that he is hit on by the prettiest girl at Southwelling, Connie Rowan, a knowing 16 year old. Ostensibly she is being squired about by an eligible young American man, but in reality she and William keep finding themselves along together as her flirtation becomes more and more obvious.

After a few days more, William makes his excuses and leaves, declaring he will walk back to Surrey. In the event he’s picked up by a lorry whose rough working-class driver regales him with stories about picking up female hitch-hikers and rogering them in the bed at the back of the cab, although he also tells a sort of poignant story about a teenage couple he picked up, drove for a while, stopped at some services for a pee and, when he came back to the cab, found them going at it hammer and tongs. He was about to open the door and get angry, then he stayed still and watched for the porn value, but then he was overcome by a sort of fatherly feeling, jealous but also admiring of their energy and optimism and simple enjoyment. If only he was young again (sigh).

Anyway, he finds himself back at the school, weeks before the next term starts, with just the Gilbert and Sullivan-loving principal, Miss Smallwood, and the foxy American girl, Connie. Days of being nearly alone together, meaningful glances, they play tennis together and get hot and sweaty. Eventually she comes to his room, makes him close the curtains, strips to the waist, and that’s it. They make love. It is described at length, over several pages, with adult seriousness, with sensuality and sympathy. She’s a knowing, mature girl. It it nothing like pedophilia, and more serious and complex than anything in St Trinians.

His control had surprised him. He loved her so immensely; his concern, his anxiety was all for her. Her girl’s body took him and gave him the softest comfort he had ever realised. They made their love for a long period, laying across his bed in patterns, turning and trying, until they knew they could delay no longer… (p.160)

Next evening he goes to her bed where she rides him, at first in her pink nightdress etc. We have entered the full-blooded sexual part of the novel. Remember that all these scenes are interspersed with, or revert back to, the primary location which is William being interrogated by Detective Rufus, scenes accompanied by their own nexus of concerns about Rufus’s wife being heavily pregnant, then going into hospital and giving birth, then Rufus looking groggy because he’s being kept up all night be a crying baby etc.

Back at the school, the other girls return. William reverts to pervy voyeur mode when he discovers there is a hole in the ceiling of the dormitory where Connie and the other oldest girls sleep, so a couple of times he climbs up into the attic, using the indoor umpire’s stand as a ladder, and shuffles along the dusty rafters, dodging cobwebs and getting splinters in his knees, in order to peep down on the girls stripping off, changing into their pyjamas, sometimes oiling their nubile young bodies etc. We learn that William masturbates while he watches the girls because rude, rough Rufus tells him the pillow they found there was sent for forensic testing and revealed traces of semen. Some moments, like the lovemaking scenes, are described with real sensual care, and then here’s William wanking in the attic. I never figured how to settle and take this book, whether to be revolted or touched or amused, or bounce between all three reactions.

Long story short, Connie turns out to be more conniving and calculating than she seemed. For a start she sends four of the other girls in the dormitory along to take her place, each encounter being described in Thomas’s sensual mode, with farcical sidelights. At the same time she plays practical jokes on him and tricks him. On the occasion when he creeps through the loft space, she realises he’s spying on them and, while he’s busy masturbating as he watches the other girls, she sneaks off and silently wheels the umpire’s stand away from the entrance to the attic, so that, half an hour later, William, feeling blindly for it in the dark, falls fifteen feet to the hard corridor floor and twists his ankle. Connie makes him feel like an idiot and that is because he is an idiot.

There’s a long passage devoted to describing the annual school trip to an island, Downsley Island (p.190) off the Pembrokeshire coast with some of the women teachers and a dozen or so girls. Here William is propositioned by the ugly tug-like Jackie MacAllister who threatens to tell on him if he won’t have sex with her, which he proceeds to do to his own disgust. More intriguingly, he witnesses the really bizarre lesbian behaviour of Miss Tilling who gets her girls to strip down to their singlets and then re-enact battles in the exposed countryside.

Adding an extra level of weirdness, the frail headmistress suddenly stumbles and plummets down a chute of muddy shale into the sea where she nearly drowns until rescued by air-sea rescue and William forms the pretty clear idea that she was pushed by the vicious girls. Underlying all the sexy frolics is William’s dismay at discovering that the ‘innocent’ girls have agendas of their own, such as these acts of revenge on adults. They are, he comes to suspect, using him entirely for their own ends.

The main narrative builds, like so many comic novels, to a Grand Climax in the form of a formal, institutional event, a grand occasion or ceremony which, of course, ends in disaster. In this story it takes the form of the interschool tennis championship, the Clifton Cup, which school head Miss Smallwood wants to win, trouncing last year’s winners, her bitter rivals, St Margaret’s school (p.216).

After a lot of build-up, the actual tennis goes very well, the school’s best pair Connie and Susan Belling crushing the opposition. Things go wrong because William drinks too much sherry (a drink he becomes more partial to throughout the book, cf his wife Louise getting him drunk on sherry in order to seduce him, earlier on). He’s drinking because a) he’s devastated to realise that Connie, who he’s convinced is the love of his life, will be leaving at the end of this term i.e. in a matter of weeks, and also realises that b) the rate at which the 16-year-olds are throwing themselves at him isn’t sustainable. He needs to leave before someone finds out and he’s arrested.

The farcical climax feels contrived. At the last moment the headmistress asks him to play an ‘exhibition match’ against St Margaret’s coach, apparently ignoring the fact that his twisted ankle still hasn’t healed and that he’s roaring drunk.

When a teacher knocks on his door to tell him about the exhibition match, William is in fact having sex with Connie. She came to find him after her famous victory in the championship, discovers him drunk and maudlin, one thing leads to another and they have a glorious last bonk. They’ve more or less finished when the teacher knocks on the door and talks through it, while Connie stifles her giggles. When the teacher leaves William loses his temper and spanks her. Then he loses his self control and spanks her hard, again and again, until she wriggles free, furiously angry and upset. She quickly dresses yelling abuse at him, storms to the door and then yells that she’s pregnant before storming out and slamming the door.

This emotional tornado explains why William has a few more swigs of sherry, struggles into his tennis gear, staggers out onto the court, and is playing like a drunk man when, mercifully, the sky clouds over and the mother of all storms erupts, with forked lightning and everything. All the teachers, girls and parents flee indoors. William goes to jump playfully over the next, completely misjudges it, trips and falls flat on his face, knocking himself out.

When he regains consciousness some time later, all of him hurts and he is soaked through by the storm. In an alcoholic stupor he staggers back into the school, along to his room, throws his few measly belongings into his suitcase and calls a taxi to take him to the station. He changes trains at Lewes and catches a train to London with the drunken aim of finding Connie. It’s here that he drunkenly sits back on a table in a caff and sits on a tourist’s hamburger and fries, which leads to a quarrel, the police being called and him being arrested. And remanded to Wandsworth and to the series of interrogations by Detective Rufus which we’ve just been reading. I.e. the narrative has come full circle bringing us up to date.

With his interrogations complete, Rufus packs up his dossier and bids William farewell, pointing out he hopes he gets lucky at his trial given the appalling defence counsel he’s been awarded, one ‘Mr Decent’.

William’s ‘conquests’:

  • Connie Rowan
  • Susan Belling p.179
  • Jackie MacAllister p.204
  • Tina Ferber p.210
  • Pamela Watts aka Yum Yum p.215

Comic twists

At which point the setting finally cuts away from the claustrophobic interview room and reveals not one but a whole heap of comic twists. Once outside the interview room Rufus is referred to by other coppers by his real name and it’s not Rufus. We learn in quick succession that the detective’s name is not Rufus but Trevor, he is not married, so his wife has not had a baby and he has not been kept up all night by it.

So ‘Rufus’ is as big a fantasist and liar as William is. On the many occasions when Rufus twisted William’s nose in order to force the truth out of him, ‘Rufus’ himself was lying. Two levels of lying. Two lying liars lying to each other.

Trevor is called into his boss’s office and learns that William is not going to court after all, the case against him has been dropped. Apparently no witnesses can be found. None of the girls will own up to having under-age sex, the star witness Connie, has flown back to the States, the head mistress loves William for coaching her cup-winning team, all the other (female) teachers adored him. When pushed, some of the girls admit to making him the panties found in his suitcase as a present and one of them says it was Connie who put the cup in his suitcase, so they can’t get him for any kind of theft.

Not that it was ever a very serious case, but everything’s evaporated except the charge of being drunk and disorderly. In the event, we see a brief description of the trial in which Mr Decent, far from being a doddering incompetent, turns out to be a zip sharp lawyer who gets the judge to apologise to William for having him remanded for so long, which reduces his fine to 5 shillings, and he walks free.

The last chapter presents yet another twist. It opens with a bunch of middle-aged male perverts, lechers and voyeurs lined up along the fence of a school playing field watching a bunch of 14-year-old schoolgirls playing netball. Point is that among them is Detective Trevor. He’s one of them, too!

And he’s not surprised when William appears at his side, doesn’t bother to defend himself. Takes one to know one. The shoe is on the other foot now and William rattles off a list of issues Trevor is beset by. While William had been inside Trevor had gone down to Southwelling, confiscated William’s motorbike, brought it back to London, sold it and bought a very snazzy suit. But when William visited Trevor’s boss, along with his lawyer, they hurriedly said they’d restore his motorbike. The lawyer is also threatening to sue the police for wrongful arrest.

So the positions have been completely reversed – now Trevor is the shabby pervert and William is in the driving seat. On the last page he delivers an author’s message of sorts, weird and cranky though it seems:

‘The trouble with schoolgirls, you know, is once you get really interested in the creatures and start thinking about them it’s very difficult to remember what’s fact and what isn’t. Even some of the facts I told you in the cell may not have been absolutely right.’ (p.238)

So the text kind of autodestructs, in a very postmodern kind of way. We thought William had been lying because he was a shabby pervert ashamed of his lusts and honest Rufus had been correcting him. Now we are told that we have misunderstood the entire situation. Quite possibly William was making up a lot of the incidents the text has described in order to draw Rufus in, because he had spotted that Rufus was a fellow pervert. Maybe a lot of what he said was a lie. Maybe it all was.

Hard to credit that these were bestselling books in their day: sure they have lots of titillating schoolgirl sex and some scenes of broad farce and yet, they come over as so strange, on so many levels.


Credit

His Lordship by Leslie Thomas was published by Michael Joseph in 1970. Page references are to the 1970 Pan paperback edition. All quotations are used for the purpose of criticism and review.

Related (comic) reviews

Eastern Approaches by Fitzroy MacLean (1949)

The situation, I felt, was fraught with amusing possibilities.
(Fitzroy’s confidently aristocratic attitude in a nutshell, page 142)

Brigadier Sir Fitzroy Hew Royle Maclean, 1st Baronet (1911 to 1996) was phenomenally posh, came from a landed Scottish aristocratic family with a long history of service in the British Army, and had the very best education Britain could provide (Eton, King’s College Cambridge), before joining the Diplomatic Service in 1933.

This classic, awesomely impressive (and surprisingly long) memoir reeks of the confidence and privilege of the class and generation of British aristocrats who ruled a quarter of the world at the peak  extent of the British Empire between the wars, and then led Britain’s war against Nazi Germany.

The book covers the eight years from 1937 to 1945 and divides into three distinct periods of employment and adventure:

  1. serving in the British Embassy in Moscow from 1937 until late 1939
  2. as soon as the war broke out he enlisted (as a private in the Queen’s Own Cameron Highlanders, his father’s old regiment) but the adventure really kicks off when, in early 1942, he joined the newly formed Special Air Service and spent a year or so in the North African desert
  3. in summer 1943 Churchill chose Maclean to lead a liaison mission (‘Macmis’) to central Yugoslavia to liaise with Josip Broz (also known as Tito) and his partisan forces, the longest, most detailed part of the book

It’s a long book at 540 pages. With a few more photos and maps, it crossed my mind that these three quite distinct adventures could possibly have been broken up into three smaller, more focused books. Combined like this, the range of the three subjects gives it an epic, almost unmanageably vast reach.

(Incidentally, the chapters in each of the three parts each start again at number 1, so there are three sets of chapters 1, 2, 3 etc.)

Part 1. Moscow and Central Asia (pages 11 to 179)

Paris politics

Maclean joined the Diplomatic Service in 1933 and in 1934 was posted to the Paris Embassy. The book kicks off with a brief summary of his experiences at the British Embassy in Paris and French politics of the mid-1930s i.e. hopelessly divided and chaotic, at times almost verging on civil war. It’s important to bear these divisions in mind when considering 1) the creation of the Vichy regime and how the Vichy French fought the British, especially in the Middle East (see A Line In The Sand: Britain, France and the Struggle That Shaped the Middle East by James Barrine) and 2) the nature of the French Resistance which, as numerous eye-witness accounts in Ben Macintyre’s book about the SAS explain, was tremendously fractured and often bitterly divided, including everyone from right-wing monarchists to fiery communists who often fought each other as much as the Germans.

Moscow and the show trials

Anyway, after a few years Maclean bored of Paris and in February 1937 asked to be sent to the Moscow embassy. Here he discovers the small foreign diplomatic community lives very isolated from the ordinary Russian people who, he discover, live in terror of the regime, everyone scared of any contact with foreigners, repressed, tight-lipped because of the spies and informers everywhere.

He arrives at a fascinating moment, just as Stalin’s show trials are getting into their swing. For the political analyst this is the best part of this section. He describes how Stalin’s purges swept away huge swathes of the top leadership in the Red Army and Navy – notably the charismatic Marshal Tukhachevsky – and then leading figures in the Soviet administration – notably the trial and execution of Zinoviev, Kamenev and other Old Bolsheviks in 1936.

The purges created a climate of terror in which the ordinary round of diplomatic parties and receptions became painful as all the Soviet officials stood on one side of the room, all of them terrified that the slightest contact with a foreigner would be reported and doom them, literally, to death. The centrepiece of all this is his eye-witness description of the trial of a dozen or so key figures in the Party, centring on Nikolai Ivanovich Bukharin.

Bukharin was tried in what came to be known as the ‘Trial of the Twenty One’, which took place on 2 to 13 March 1938, along with ex-premier Alexei Rykov, Christian Rakovsky, Nikolai Krestinsky, Genrikh Yagoda and 16 other defendants alleged to belong to a so-called ‘Bloc of Rightists and Trotskyites’. The trial was designed to be the culmination of the previous show trials, a climactic Final Act. The prosecutor alleged that Bukharin and others had been traitors from the start, had conspired to assassinate Lenin and Stalin, had murdered Maxim Gorky with poison, and planned to overthrow the regime, partition the Soviet Union and hand her territories over to their foreign collaborators in Germany, Japan and Great Britain.

All this is given in great detail in the book’s longest chapter, chapter 7, ‘Winter in Moscow’, pages 80 to 121, with vivid portraits of the state prosecutor Andrey Vyshinski and President of the Court Vasiliy Ulrich.

The purpose of the show trials

To many in the West the grotesque aspect of the show trials – the ridiculously lurid accusations and the grovelling obeisance of the accused – confirmed that Stalin’s rule was a dictatorship of the crudest kind. The trial was a breaking point for many western communists, the moment they were forced to concede that the dream of a communist utopia was in fact a totalitarian nightmare.

But Maclean spends a couple of pages explaining not only why the accused were reduced to grovelling self-accusation, but also the purpose the trials served within the Soviet Union. You should never forget that the majority of any population is not very well educated and not very interested in politics and this was especially true of the USSR where the majority of the population was still illiterate peasants. That’s why the accusations had to be so lurid and extreme, to create cartoon images of total iniquity – that the accused had conspired to murder Lenin, conspired with foreign powers to overthrow the regime, had kidnapped, tortured and murdered people. Their villainy had to be caricatured enough to be understood by the most illiterate peasants and workers.

The extremity of the alleged crimes was designed to scare peasants and workers into thinking there was a relentless conspiracy against the regime, even at the highest levels, and this justified the atmosphere of fear, paranoia and suspicion which characterised Soviet Russia. Everybody should be on their guard all the time because anyone – even the highest in the land such as those on trial – could turn out to be wicked traitors.

This worked in Stalin’s favour because it universalised the climate of fear in which people would barely be able to think about questioning the regime, let alone organising meetings or planning anything.

Stories about foreigners bringing their foreign plans to overthrow the Workers’ Paradise would also make the entire population suspicious not only of foreigners and foreign ideas and the whole notion of outsiders. Good. This suited Stalin, too.

And the trials also provided scapegoats for the failings of the state. If there were famines, if there were shortages, blame it on the wreckers and the saboteurs. Papa Stalin is doing everything he can to combat the traitors and it’s a hard struggle but you can help him and help your comrades by reporting anyone you see talking or behaving suspiciously.

So the very grotesqueness and extremity and absurdity which broke the allegiance of western intellectuals like Arthur Koestler were precisely the qualities Stalin was aiming at in order to spread his message to the furthest reaches of the Soviet regime and its dimmest least educated citizens (p.118).

Travels in Central Asia

But the show trial, dramatic though it is, only takes up one chapter. The Russia section is better known for MacLean’s extensive travels to legendary locations in Central Asia, namely the romantic cities of Tashkent, Samarkand and Bokhara. Only a handful of Europeans had traveled to these places during the later Victorian period and then, with the war, revolution and civil war, then Bolshevik rule, they had been completely inaccessible under Soviet rule.

The chapters describing his attempts to visit them are, therefore, as much about his convoluted machinations to evade Soviet bureaucracy and play local officials and NKVD operatives as about the places themselves, with lengthy descriptions of the difficulties of travelling by Russian train, bus, lorry, horse or just walking, in his relentless odysseys around central Asia.

He undertook these epic journeys during periods of leave from the embassy.

Trip 1 – Baku

By train to Kharkov. Rostov on Don. Kuban Steppe. Baku. By boat (the Centrosoyuz) to Lenkoran. Boat back to Baku. Train to Tiflis, capital of Georgia, where he visits the British Military Cemetery and meets old English governess, Miss Fellows. By truck along the Military Road to Ordzhonikidze. Train back to Moscow.

Trip 2 – Alma Ata-Tashkent-Samarkand (September 1937)

Trans-Siberian train from Moscow. Alights at Sverdlovsk (former Ekaterinburg, p.54). Train to Novosibirsk. Changes to Tirksib railway (only completed in 1930) south towards Turkmenistan (p.56). The three categories of Soviet railway carriage: international, soft and hard. Alights at Biisk. Takes another train, south to Altaisk then onto Barnaul. Enter the Soviet Republic of Kazakhstan near Semipalatinsk. Alights and catches a lorry to Alma Mata ‘one of the pleasantest provincial towns in the Soviet Union’ (p.65), one of the first Russian towns built in Central Asia, in the 1850s, and which is ten miles from the railway. Lorry 40 miles to the village of Talgar in the foothills of the Tien Shen mountains. Dinner with locals then hitched a lorry back to Alma Ata. By dilapidated Ford motor car up into the mountains, to Lake Issik and magnificent view over the Steppe. Sleeps in a hut. Next morning bit of an explore then car back to Alma Ata.

Next day catches train the 500 miles south-west to Tashkent. It stops at Samarkand where he alights for a few hours and explores, seeing the domes of Shakh Zinda and the Gur Emir (p.73) then back onto the very crowded train. Extensive description of Samarkand pages 73 to 76. Tashkent, centre of the Soviet cotton industry (pages 76 to 78).

Having achieved his goals, by train back to Moscow, first across the Kazakh Steppe, then (in Russia proper) by way of Orenburg, Kuibyshev and Penza. But he had conceived two new goals: further south-west to Bokhara, and east across the Tien Shan mountains into the Chinese province of Sinkiang…

Trip 3 – Failing to get to Urumchi, capital of Sinkiang province (June 1938)

(Chapter 8) To Maclean’s delight he is given an official mission to travel to Urumchi, capital of Sinkiang, to ask the Chinese authorities for better treatment of Indian merchants. After comic wrangling with the Chinese embassy in Moscow he sets off on the 5-day rail journey to Alma Ata, two days across European Russia arriving at Orenburg ‘base of the imperial Russian forces in their campaign against the rulers of Tashkent, Samarkand and Bokhara during the second half of the last century’ (p.125). On past the Sea of Aral and along the course of the river Syr Darya, through Arys, Chimkent and Mankent to Alma Ata. Change rail lines to the Turksib line and head north and east 400 miles to Ayaguz, where starts the main road out of Soviet Russia and into Sinkiang.

At Ayaguz the Soviet officials and local NKVD are surprisingly helpful and lay on a bus (which quickly fills up) to take him to the border town of Bakhti. Overnight in the village of Urdjar, next morning arrive in Bakhti (p.130). Here a Sovsintorg official commandeers a lorry and they set off on the 48-hour journey to Urumchi.

However they barely get across the border with China, and arrive at the Chinese border post, when there are problems. His passport is taken off him and he is detained for hours. He discovers the passport has been sent by special messenger to the governor of the local area, Chuguchak, and they have to wait for a reply. Eventually a car returns from this mission and a sleek Chinese official informs Maclean the governor has received no information or authorisation about him and so, despite all his protestations, he must return to the Soviet Union, in fact all the way back to Alma Ata where he must contact the Chinese consul.

At the border Maclean gets the impression the Soviet officials knew all along this would happen and gently mock him. As it happens, one says with a smile, the same bus that brought him is still waiting. He can board it now and return to Bakhti. After driving all night he arrives at Ayaguz in time to catch the train back to Alma Ata.

Here there is more fol-de-rol between the Soviet authorities and the local Chinese Consul, a seedy man residing in a rundown building. The Soviet plenipotentiary instructs the Chinese to send a message to Urumchi. Next day the Chinese inform him that he is not allowed into the country, and an imposing NKVD officer tells him he must leave Alma Ata immediately, as it is a restricted area. The entire trip has been a complete failure (p.137).

It is interesting to read that Sinkiang was a rebellious troublesome province for the Chinese ever since it was incorporated into their empire and was in Maclean’s time because of course, it still is today:

Trip 4 – through Soviet central Asia to the Oxus and on to Kabul (autumn 1938)

(Chapter 9) He sets his sights on visiting Bokhara, former capital of the emirs, of reaching the fabled river Oxus, and crossing into Afghanistan. Leaves Moscow on 7 October on a train bound for Askabad. Third evening arrive at Orenberg ‘which for more than one hundred years marked the furthest point of Russia’s advance against the Kirghiz and Turkomans and the Khans of Bokhara and Khiva.’ Two more days the train passes through the Kara Kum or Black Desert past the bleak mud flats of the Aral Sea. On the fifth night reached Tashkent and woke not far from Samarkand but he decides not to revisit it, but to continue on the train, west, following the river Zaravshan, to Bokhara.

He alights at Kagan. He learns that the daily train to Bokhara has left so, on impulse, seeing a lorry laden with cotton bales just starting off down the road to Bokhara, he runs and jumps in the back. Unfortunately so does one of the NKVD minders who’ve been following him, and he’s been reported so after a short stretch a car packed with officials pulls the lorry over but by this time it is packed with Uzbeks who’d followed his example so Maclean is able to sneak off and hide behind a tree. Eventually, after the lorry has been thoroughly searched and no foreigner found it is allowed to continue on its way and the NKVD car turns back to Kagan. There’s nothing for it but to walk. It’s a very long walk, into the night, until he tops a slight rise and finds himself looking at the legendary city of Bokhara by moonlight.

(Chapter 10) Story of the Reverend Joseph Wolff. He explores Bokhara, finds no inn to take him so sleeps rough in a public garden, which irks the NKVD agents who he knows are tailing him. Next day he’s up and exploring again, seeing the ‘Tower of Death’, the principal mosques, the Kalyan, or Kok Gumbaz (Blue Dome), the grim thousand-year-old Ark or Citadel of the Emirs. He gives us a characteristically pithy historical summary.

With the capture in 1868 of Samarkand and the upper reaches of the Zaravshan by the Russians, who thus gained control of his water supply, the Emir of Bokhara was obliged to accept the suzerainty of the Tsar and Russian control of his relations with the outside world; but inside his own dominions he maintained his own army and enjoyed absolute power of life and death over his unfortunate subjects. The Russian population was limited to a few officials and merchants, while the Emir excluded other Europeans from his domains with a jealousy which has been emulated by his Bolshevik successors. Bokhara thus remained a centre of Mohammedan civilization, a holy city with a hundred mosques, three hundred places of learning, and the richest bazaar in Central Asia. It was not until 1920, three years after the downfall of his imperial suzerain, that the last Emir, after vainly invoking the help of both the Turks and the British, fled headlong across the Oxus to Afghanistan, dropping favourite dancing boy after favourite dancing boy in his flight, in the hope of thus retarding the advance of the pursuing Red Army, who, however, were not to be distracted from their purpose by such stratagems. (A leading part was played in these events by the same Faisullah Khojayev, whom I had seen condemned to death in Moscow six months earlier.)

He could have stayed a month but his leave is limited, so he catches a train back to Kagan, then another one south, heading towards Stalinabad, the capital of Tajikistan. The last section follows the course of the Oxus (Amu Darya) passing through eastern Turkmenistan. The far bank of the river was Afghan territory and that’s where he wanted to head next.

(Chapter 11. Across the Oxus) He alights at Termez, which he explores then seeks out the chief of police  and presents his diplomatic laisser passer which should allow him to the exit the Soviet Union anywhere, in this case crossing the river Oxus into Afghanistan. The chief of police gives him permission but when Maclean arrives at the actual frontier post at Patta Hissa, they haven’t been notified. By gentle persistence Maclean eventually persuades the officer in charge to arrange for the repair of one of the three paddle boats kept to cross the river but which had fallen into disrepair. Soldiers and engineers get the most viable steamer, ‘which rejoiced in the name of Seventeenth Party Congress,’ working and fix it up enough to put-put him across the river, it takes half an hour because of treacherous sand banks.

On the Afghan side some locals take his bags and him under their wing. They examine his passport without understanding it and he manages to convey he wants to head to Mazar-i-Sharif. Dinner and sleep. Next morning a horse is provided and he sets off under escort. the riverside reeds give way to desert. He is detained at a saria or mud fort by fierce locals before being grudgingly allowed to continue.

Off to the west are the ruins of Balkh, the ancient Bactria. The oasis of Seyagird. Tea with the headman who provides a cart for his baggage, then a further trek across desert eventually arriving at Mazar. He discovers a Russian couple who take him in but inform him of the cholera epidemic sweeping the area which means it is quarantined. He locates the local Director of Sanitation who agrees, after some negotiation, to sign a medical certificate declaring Maclean has had cholera and recovered. Portrait of Mazar, main point being it is the capital of what he calls Afghan Turkestan, which is cut off geographically and ethnically from Kabul and the south (p.164).

A truck was scheduled to drive the 300 or so miles to Afghanistan and the authorities assign him a seat. Tashkurgan and then up into rocky mountains to a place named Hai-Bak and, at 3 in the morning, to Doaba in the Andarrab valley, where he sleeps in a government rest house. In the way of British aristocrats, especially the Scots, he discovers ‘a fellow clanswoman’ Mrs Fraser-Tytler who, it turns out, he had known during his childhood in Inverness.

He takes a detour west to the Bamyan valley to see the two immense Buddhas carved in the rock. Then across the mountain which is the watershed between the Oxus and the Indus at a height of 12,000 feet and soon arrives at Kabul.

(Chapter 12. Homeward bound) He had hoped to head west to Herat and cross back into the USSR at Kershk and join the railway at Merv but none of this was to be. the Soviet consulate in Kabul made it quite clear that, because of the cholera epidemic, nobody was being allowed back into the USSR from Afghanistan.

Instead he is forced to head south into British India and fly. The route is: Kabul. Jalalabad. The Khyber Pass. Into British India and the town of Peshawar. Train to Delhi. As a pukka diplomat he meets the most senior British officials, dinner, good beds, a world away from his recent experiences. He obtains the visa he’ll need to exit Persia into the USSR.

From Delhi by plane to Baghdad, stopping over in Basra. After staying over in Baghdad, ‘a disappointing city’, he takes a car towards Tehran. Across the border into the Persia at Khanikin. Along a road built by the Brits to Kermanshah, and then to Hamadan, ‘the Ecbatana of the ancients’ (p.170). Changes car and car shares with four bulky Iranians driving north for the border with the USSR at Djulfa. Stops at Kavin (to eat), Zenjan (to sleep), through Mianeh, arriving at Tabriz the capital of Persian Azerbaijan.

Two days hobnobbing with the British Consul and haggling with the Persian governor about the validity of his exit visa. Eventually given permission to head north to the border, Djulfa in the valley of the Araxes. Comic scene where the Persian guards happily allow him onto the bridge across the river but the Soviet guard at the other end refuses to let him enter the USSR and when he turns to re-enter Persia the Persian border guard says this is impossible. Luckily a car arrives with a Soviet official who, reluctantly, accepts his diplomatic laisser-passer and lets him enter. He cashes money at the post office and checks into an inn.

Train to Erivan, capital of Soviet Armenia, running alongside the river Araxa which forms the border. Portrait of Erivan. Train to Tiflis, capital of Soviet Georgia, and so on to Batum, the second largest city in Georgia, on the banks of the Black Sea. He observes that so many of these central Asian towns were only conquered by the advancing Russian from the 1870s and many only began to be developed in a modern way after the Russian Civil War, so many of them have the same air of being half built, of having grand central squares full of vast totalitarian Soviet buildings, quickly giving way to a few streets of bourgeois wealth, and then extensive hovels and shacks.

He had hoped to sail from Batum but storms meant departures were cancelled. So by train back to Tiflis. It was 18 months since he was last there (on his first trip) and he finds it has been noticeably Sovietised and security tightened. He is arrested by the NKVD and spends a day arguing with NKVD officers until the commander returns and releases him back to his hotel.

Next morning he takes a lorry to Ordzhonikidze by the Georgian Military Road which is covered in snow; they regularly have to stop and dig the lorry out of drifts. From Ordzhonikidze he catches the sleeper train back to Moscow, arriving two days later in time to receive an invitation to dinner from the Belgian chargé d’affaires (see below).

What an extraordinary adventure! What a mind-boggling itinerary! It is a mark of how backward we have gone that Maclean was able to travel through all those countries in complete safety whereas now, in the supposedly enlightened and progressive 2020s, I don’t think any Westerner in their right mind would want to travel through central Asia, let along Afghanistan, or contemplate a jolly car trip across Iraq and Iran.

The glamour of central Asia

For those susceptible to it, all these places – Tashkent, Samarkand, the Oxus, western outposts of the legendary Silk Road – have a tremendous glamour and attraction. Reading his account you realise it’s  1) partly because they’re so remote and inaccessible and so simply to have visited them is an achievement which gains you kudos in a certain kind of upper-middle class circle; 2) partly because of the wonders and treasures when you arrive, such as the grand Registran in Samarakand; but also 3), as so often with travelling, because it is an escape from the humdrum modern world. A number of throwaway remarks indicate this, including one which leapt out at me: ‘Uzbek houses have changed very little since the days of Tamerlane‘ (p.143). These are places where you can, for long spells, believe that you have travelled back in time to the Middle Ages and not just of banal Britain, but to the glamorous days of Tamerlane and such legendary figures, or even further back, visiting the ruins of cities founded by Alexander the Great! It is, in a way, an escape back to the Arabian Nights wonderlands of childhood.

And picking up on the previous section, reading it now, in 2024, one can only marvel at the relative peacefulness and security and scope of where you could travel freely in the 1930s – albeit the entire system was about to be plunged into a global holocaust.

The methodology of Soviet imperialism

On a political level his travels in Central Asia give him an insight into the effectiveness of the Soviet empire:

As the basis for a policy of imperialism, this system has much to recommend it. Power is vested in the hands of a group of reliable natives, who are responsible for seeing that the wishes of the central authority are carried out. If they prove unreliable, they can be replaced by others, while, if the worst comes to the worst, an emissary of the central authority can be sent to put things right. By this means, no risks are taken and an appearance of autonomy is preserved. Moreover it is a system which is capable of application to any new country which happens to fall under Soviet dominion. Thus, more recently, in Estonia, Latvia and Lithuania Soviet Socialist Republics have been set up and politically reliable governments formed from members of the local Communist Parties. It is, we are now learning, a stereotyped pattern into which almost any people or country can be made to fit with a little squeezing and pushing. (p.35)

A German official predicts the course of the war

All this took place at the end of the 1930s as Europe hurtled towards war but there is surprisingly little about Hitler and the Nazis; in fact, given that MacLean was a diplomat, there’s surprisingly little about international affairs at all.

It’s only at the very end of the Asian adventures section, after he’s arrived back in Moscow exhausted, filthy and unshaven from his final trip to discover an invitation to a formal dinner being given by the Belgian chargé d’affaires that very evening, that there’s finally something about the broader international situation. And this is given as a prediction by a friend of his, his opposite number at the German embassy, Johnny Herwarth von Bittenfeld.

Herwarth (in MacLean’s account) makes a number of predictions which all were to come true. He thinks Britain backing down at Munich (September 1938) is a disaster because:

  • it will embolden Hitler to make more and more outrageous demands
  • it will weaken all voices within Germany calling for restraint
  • it will, thus, make war inevitable
  • war is only tenable if Germany can make peace with the Russians
  • if not, there will be a war on two fronts which Germany will lose and be utterly ruined

Part 2. War (183 to 299)

Coming from a long line of soldiers, when war breaks out Maclean wants to fight but discovers that it is impossible for someone serving in the Diplomatic Service to join the army. He is not allowed to resign in order join up. So he studies the Foreign Office rules intensely and realises there’s a loophole. He is allowed to resign from the service in one situation – if he wants to go into politics. So he contacts the Conservative Party who say they’ll be happy to have him as a candidate for the next constituency which becomes vacant and, armed with this, marches into his boss’s office (the Permanent Under-Secretary for Foreign Affairs, Sir Alexander Cadogan) and declares that he wants to go into politics, resignation in hand. As he predicts, his superiors are unable to stop him and so let him resign.

He promptly walks round to the recruiting office of his father’s regiment, the Queen’s Own Cameron Highlanders, where he enlists as a private soldier. (p.184). But, when the next by-election crops up he is  legally obliged, under the terms of his resignation letter, to stand and so finds himself the Conservative candidate and then wins the election to become Conservative MP for Lancaster in 1941 (p.189). He hadn’t hidden from the electors that he was in the Army and first duty was to serve and all through his subsequent service he remains, I think, Tory MP for Lancaster.

There are some pages about basic army life and training. As you might expect of someone so over-qualified to be a simple squaddy he is soon promoted to lance-corporal. Among other things he confirms that, in the Army, almost every other word is the F word which he demonstrates by quoting conversations or orders with the offending word bleeped out (pages 184 to 186).

Desert War

After two years of training and exercises he is, as you might expect, in 1941 commissioned as an officer and receives orders to fly to Cairo (p.189). After the retreat from Dunkirk, apart from a few abortive expeditions (a failed attack on Norway or on the French coast) North Africa was the main area of British overseas military activity.

Because I myself am not too clear about this and Maclean’s book refers only to some aspects, I’m going to cheat and quote Wikipedia’s summary of the entire Desert War:

Military operations began in June 1940 with the Italian declaration of war and the Italian invasion of Egypt from Libya in September. Operation Compass, a five-day raid by the British in December 1940, was so successful that it led to the destruction of the Italian 10th Army (10ª Armata) over the following two months. Benito Mussolini sought help from Adolf Hitler, who sent a small German force to Tripoli under Directive 22 (11 January). The Afrika Korps (Generalleutnant Erwin Rommel) was formally under Italian command, as Italy was the main Axis power in the Mediterranean and North Africa.

In the spring of 1941, Rommel led Operation Sonnenblume, which pushed the Allies back to Egypt except for the siege of Tobruk at the port. At the end of 1941, Axis forces were defeated in Operation Crusader and retired again to El Agheila. In early 1942 Axis forces drove the Allies back again, then captured Tobruk after the Battle of Gazala but failed to destroy their opponents. The Axis invaded Egypt and the Allies retreated to El Alamein, where the Eighth Army fought two defensive battles, then defeated the Axis forces in the Second Battle of El Alamein in October 1942. The Eighth Army drove Axis forces out of Libya to Tunisia, which was invaded from the west by the Allied First Army in Operation Torch. In the Tunisian campaign the remaining Axis forces surrendered to the combined Allied forces in May 1943.

North Africa was so important because of the Suez Canal in the heart of Egypt. If the Germans captured Cairo it would have at least three results: 1) they would cut off easy communications with India (a huge source of manpower) and with the entire theatre of war in the Far East (Burma). More importantly 2) the Germans would be able to push on through Palestine to Iraq and Persia, source of much of the oil which was fuelling the British war effort. 3) This oil would be sent to support the German war effort in Russia and German troops coming up from Persia through the Caucasus would open a new front against Russia leading, perhaps, to the decisive defeat of Russia and to Germany, in effect winning the war.

Those were the ultimate stakes behind the Desert War and explains the genuine concern and even panic when the Afrika Corps, at its furthest extent, got within 80 miles of Cairo, and that explains why the (second) Battle of El Alamein was so important, signalling the definitive end of German advances, the beginning of German defeats, and the widespread sense that the tide of the war was changing.

Chapter 1. Special Air Service

Maclean had been invited to join some sort of commando but this fell through. Instead he literally bumps into David Stirling (who he knows vaguely because he’s good friends with Stirling’s brother, Peter, and they’re both from another grand, ancient, noble Scottish family) who invites him to join the SAS.

Stirling explains that the idea is to parachute small numbers of men behind enemy lines in North Africa and cause as much mayhem as possible, thus drawing vital resources away from the front line. After various experiments they’ve discovered that attacking lightly defended airfields is the most destructive thing they can do. They use the Lewis Bomb, a clump of explosive with a pencil fuse developed by SAS founder member Jock Lewis (p.194). Profile of the dedicated fighting machine, Paddy Mayne (p.195).

Maclean describes the Free French who were part of the unit almost from the start. The physical training i.e. long hikes in the desert and practice parachuting. He has to make six jumps and hates it. All a bit futile seeing as by the time he joined, the unit had settled down to being taken and collected from missions by the Long Range Desert Group (p.196).

Chapters 3 and 4. Raid on Benghazi

May 1942: Detailed description of the build up to, and execution of a ‘daring’ raid against Benghazi led by Stirling, accompanied by Randolph Churchill (compare and contrast the account of the same farcical raid given in Ben Macintyre’s SAS: Rogue Heroes).

I have always found that in dealing with foreigners whose language one does not speak, it is best to shout. (p.221)

They manage to penetrate into the highly defended city and find a safe (bomb-damaged) house to hole up in but that evening both the inflatable dinghies they’ve brought to paddle out to enemy ships and attach limpet mines to them, turn out to have leaks and simply won’t inflate. Disheartened, they spend a tense day hiding out in this damaged house, petrified of discovery, before exiting the city in the same clanking car they’d entered by, bluffing their way past the Italian guards thanks to Maclean’s fluent demotic Italian and everyone’s (Maclean, Stirling, Randolph Churchill’s) aristocratic confidence.

Chapters 5 and 6

Having extricated themselves from this failed and farcical attempt, they withdraw to Cairo. He mentions the dinner he and Stirling were invited to which was given by Winston Churchill, Chief of the General Staff General Smuts and General Alexander, the first time he meets Churchill.

The strategic situation has deteriorated and Rommel is now at El Alamein just 90 miles from Alexandria. So the SAS’s plans for a second go at Benghazi escalate into a full-blown raid by some 200 men backed by aerial bombing. Trouble is so many people are involved that security is breached and word gets around. Thus, after a very long and painful 800 mile drive of a lengthy convoy across the desert, with many mishaps, our boys finally get to the very edge of Benghazi but are greeted by a hail of machine guns and mortars, are forced to make a hasty retreat, and are pursued up into the Gebel mountains by squads of Italian warplanes who strafe and bomb them. Several trucks full of explosives and stores are blown up and it’s a miracle they weren’t all killed.

There then follows the very long account of their perilous escape across the desert, driving by night, by day being seriously bombed and strafed by Italian planes, running so low on food that eventually the entire day’s ration was one spoonful of bully beef.

A number of good men are killed on this mission. Maclean initially thought it had been a futile waste of time but GHQ assured them that it had kept a lot of enemy resources tied up, extra men to guard Benghazi and then squadrons of airplanes to search for them which were, therefore, not at the front i.e. it had been useful (p.256).

Chapter 7. Persia

Maclean explains that the British now faced the threat of an enormous pincer movement, with German forces trying to take Stalingrad up in southern Russia and pushing forward in north Africa towards Cairo and, ultimately, the Suez Canal (p.263). If you look at a large-scale map you can see how, if the Germans were victorious, they would not only take the Suez Canal, lifeline to British India, but push on through Palestine to take Iraq and Iran, meeting up with their comrades who would have pushed on south through the Caucasus. And the point of Iran was the oil. Command of Persia, and to a lesser extent Iraq, would give the Nazi empire all the oil it ever needed to maintain its war industry.

Which is why Maclean found himself posted to the Middle East and Persia service. Here, conferring with the commanding officer, General Maitland Wilson, he discovered the problems facing the British occupation of the country, most obviously that there were very few British soldiers involved. He had been summoned to discuss with Wilson the possibility of setting up an SAS-style outfit to operate behind enemy lines if the worst came to the worst and the Germans conquered Persia (p.264).

Kidnapping the general

Out of this conference comes the specific idea of kidnapping a man named General Zahidi, an unpleasant type who had sway over the tribes of south Persia, was known to be hoarding grain to inflate the price but, most importantly, was thought to be in communication with the Germans and helping them make plans to conquer Persia.

This chapter describes in great detail the preparation and execution of ‘Operation Pongo’ which, despite all the hoopla, boils down to parking a lorryload of British soldiers out the front and back of the General’s house in Isfahan, and then Maclean accompanied by a few other officers walking in, insisting to see the General, then holding him up at gunpoint, walking him out to a waiting car, and driving him off to the nearest military airport where he was flown out of the country and interned under British custody in Palestine.

On searching Zahedi’s bedroom Maclean confirms British suspicions, discovering ‘a collection of automatic weapons of German manufacture, a good deal of silk underwear, some opium, an illustrated register of the prostitutes of Isfahan and correspondence from a local German agent’ (p.274).

Incidentally, remember how I suggested part of the appeal of the mysterious cities of Central Asia was the sense of stepping back in time into the Middle Ages or beyond, well the same goes for the Persian city of Isfahan, one of the few cities Maclean has been to which lives up to its reputation, and of which he writes:

Despite the hideous modern statue of the late Shah still standing there and despite his misguided attempts, fortunately abandoned by his successor, to bludgeon Persia into giving a half-hearted and entirely superficial imitation of a modern Western industrial state, Isfahan recalls the great capital city of the Middle Ages. (p.270)

And the whole notion of kidnapping an enemy general recalls the comparable exploit, the kidnapping of General Heinrich Kreipe, the German commander of Crete, by a group of super-pukka chaps, as described in Ill Met by Moonlight by William Stanley Moss (1950), albeit it considerably more fraught and dangerous for being carried out in enemy territory.

Chapter 8

The strategic situation changes. The Germans are checked in North Africa and at Stalingrad. The immediate threat to Persia has abated. After the capture of David Stirling in January 1943 the SAS had split up into different units (including a Special Boat Service run by George Jellicoe).

Maclean is summoned back to Cairo and told that, with North Africa on the verge of being secure, the Allied focus is turning to Italy. He is ordered to plan for SAS-style raids on Sicily but the mission is called off at the last moment. He’s at a bit of a loose end when he is summoned back to London where he meets Churchill for a weekend conference at Chequers (p.280). Here he is told he is going to be dropped into Yugoslavia (spelled ‘Jugoslavia’ throughout the book) to find out more about the partisans who have been fighting against the Germans and to contact their supposed leader, ‘Tito’. Nobody’s sure, at this point, whether Tito exists, whether he’s a man (or even a woman) or maybe the name of a committee of some kind?

Churchill tells him to establish the situation on the ground, find out whichever partisan group is killing most Germans, and help them to kill more. Churchill wrote that he wanted: ‘a daring Ambassador-leader to these hardy and hunted people’ (p.294).

What we knew for sure was that the partisans were communists and so likely to be in thrall to Soviet central control so Maclean asks Churchill directly, should he be worried about the political aspects of the situation. The straight answer is No. His mission is to find out who is killing the most Germans and help them to kill more (p.281), a point reiterated when he meets Churchill in Cairo (p.403).

He gives a detailed and very useful summary of the origins of Yugoslavia, going back to the conquest of Constantinople by the Ottoman Turks, and the long struggle of the Balkan Christian nations to free themselves, leading into a detailed description of the region before, during and after the Great War and leading up to the Nazi invasion (pages 279 to 293). He’s especially good on the deeply embedded enmity between Serbs (Orthodox Christians who fought hard against the occupying Turks i.e. have a paranoid embattled mindset) and the Croats (Catholic Christians who were part of the Austro-Hungarian Empire and so considered themselves civilised and superior to their barbarian neighbours) still a good read for anyone interested in the background to the ruinous civil wars of the 1990s. Right at the end of the Yugoslavia section he comments:

In the Balkans the tradition of violence is old-established and deep-rooted. (p.524)

Part 3. Yugoslavia

Zivio Tito. Smrt Fašismu. Sloboda narodu.
(‘Long live Tito. Death to Fascism. Liberty to the People.’ Partisan slogans, page 345)

Maclean is now aged 32. He selects a team of a dozen or so men who are trained, equipped and parachuted into Yugoslavia a week after the Italian capitulation i.e. early September 1943. They are met by Partisans and efficiently taken to Tito’s headquarters in an old castle. Maclean introduces himself and his team and makes it plain he is here on an investigation into the overall situation.

His description and analysis of the situation in Yugoslavia is fascinating and spread over many pages as new facts come in and shift his understanding. It contains many insights into the situation in Yugoslavia and of partisan fighting in general.

Occupation mentality Nobody who hasn’t lived under enemy occupation, specially Nazi occupation, can understand the bitter enmities, rivalries and retaliations it triggers.

For anyone who was not himself in German-occupied Europe during the war it is hard to imagine the savage intensity of the passions which were aroused or the extremes of bitterness which they engendered. In Jugoslavia the old racial, religious and political feuds were, as it were, magnified and revitalized by the war, the occupation and the resistance, the latent tradition of violence revived. The lesson which we were having was an object-lesson, illustrated by burnt villages, desecrated churches, massacred hostages and mutilated corpses. (p.338)

Tito’s intelligence and independence What makes Tito so impressive is his readiness to argue any point out with a completely open mind then make a decision, which is generally the right one.

Tito’s name derives from this quickness to make decisions. He so regularly said to his men ‘You will do this, and you will do that’ which, in Serbo-Croatian, is ‘Ti to; ti to’, hence his nickname (p.311).

– Maclean concludes that the partisans are so numerous (at least 100,000 under arms) and well organised that they will probably emerge as the major element in post-war Yugoslav politics. At which point the big question will be: Will Tito, a dedicated communist, fall into line behind Moscow as all other communist parties have? (p.339) But Maclean quotes a conversation he had with him where Tito emphasises that so many Yugoslavs have been killed or tortured that they won’t willingly throw away their hard-earned independence (p.316) and Tito himself has undergone the experience of building up and leading a national resistance movement from scratch, a position, Maclean thinks, he will be reluctant to surrender (p.340).

The Četniks The other resistance fighting organisation is the Četniks led by Draža Mihailović. Two points: 1) they were Royalists who took their orders from the king who was in exile in Italy and so fundamentally detached from the realities on the ground. 2) They were demoralised by the Nazis brutal reprisals for their activities (p.336). This contrasted with the Partisans who ignored Nazi reprisals and won a grudging admiration for fighting on regardless of how many men, women and children were murdered, tortured or burnt alive by the blonde beasts from Germany.

The Ustaše (also called Ustashas or Ustashi) was a Croatian racist, terrorist, and Nazi-like movement, active from before the war (1929) which during the war was allowed to implement a reign of terror. Their genocide of the Orthodox, murdering priests, locking villages in churches and burning them down (p.334). Events which shed light on or explained the brutality of the Bosnian war of the 1990s:

This kaleidoscope of heroism and treachery, rivalry and intrigue had become the background to our daily life. Bosnia, where we had our first sight of enemy-occupied Jugoslavia, was in a sense a microcosm of the country as a whole. In the past it had been fought over repeatedly by Turks, Austrians and Serbs, and most of the national trends and tendencies were represented there, all at their most violent. The population was made up of violently Catholic Croats and no less violently Orthodox Serbs, with a strong admixture of equally fanatical local Moslems. The mountainous, heavily wooded country was admirably suited to guerrilla warfare, and it had long been one of the principal Partisan strongholds, while there was also a considerable sprinkling of Cetnik bands. It had been the scene of the worst of the atrocities committed by the Ustase, of the not unnaturally drastic reprisals of the Cetniks and Partisans. (p.337)

The power of communism In guerrilla warfare ideas matter more than material resources (p.331). This is where the devoted belief of the communists comes in and Maclean’s analysis suggests a very profound historical point that he doesn’t quite articulate: that communism flourished in countries all round the world, and particularly among guerrillas, partisans and militias all across the Third World after the war, not because it was right, but because it was the most effective ideology for binding together and motivating those kinds of liberation fighters. Communism triumphed in the Darwinian struggle of ideologies for a number of obvious reasons:

  • it promises a better fairer world; if you care for humanity, you must be a communist
  • it is based on scientific principles and a teleological view of history which means it is inevitable, unstoppable
  • it transcends ethnic or national rivalries, purports to unite all people, races and creeds, in a transnational crusade for justice and equality
  • these and other considerations bred a fanatical adherence

(Seen from this strictly utilitarian point of view, communism’s modern equivalent would be militant Islam, extreme Islamic groups across the Middle East and North Africa being shown to create not only fanatical devotees but to unite fighters from all backgrounds and races (a theme mentioned in The World’s Most Dangerous Place: Inside the Outlaw State of Somalia by James Fergusson, 2013).)

He gives a good potted biography of Tito, son of a Croatian peasant (pages 310 to 313).

The epic trek to the Adriatic

The army engineer he’s brought with him supervises the flattening of a likely looking field to make a runway for the RAF to fly in much-needed supplies to the Partisans, but HQ back in Cairo make it clear the RAF aren’t keen on entrusting their pilots’ lives to amateur airfield builders. A new plan is suggested: that the Royal Navy brings supplies to a port on the coast of Dalmatia, until recently held by the Italians and not yet annexed by the Germans. In fact the Navy are wary, too, and prefer to drop supplies at an island off the coast.

Anyway, Maclean agrees a plan with Tito (impatient to get supplies anyway he can) who gives him Partisans to escort Maclean and a few of his team (Street, Henniker-Major and Sergeant Duncan) across country to the Adriatic coast, there to assess the situation and suggest the best island. Thus commences a long and arduous trek across mountains, through woods, crossing a German-patrolled road, fording a river, meeting all kinds of eccentric characters along the way and seeing for themselves the carnage meted out by the once-occupying Italians.

The itinerary is: Jajce (Tito’s base in Bosnia). Bugojno. Kupres. Livno (recently recovered from the Germans amid much fighting). Arzano (‘a few tiny white-washed houses, clinging to the side of a hill’). Zadvaije.

Then, at last, we heard the dogs barking in Baska Voda, were challenged once more, and, between high white-washed walls, found ourselves on a narrow jetty, looking out over a tiny harbour.

Then by local fishing boat out to the island of Korcula. They are treated royally, swim in the sea, taken round all the villages on the coast and greeted with acclaim. Trouble is, the bloody radio has stopped working so he can’t radio his whereabouts back to Cairo HQ. In the event a Navy motorboat turns up with, of course, an old chum of his from the navy and some tons of equipment.

Summary

An enormous amount happens in the next year and a half, described in 120 closely-written pages. Here are some highlights in note form:

The Germans consolidate their hold on the Dalmatian coast thus slowly squeezing off possible places for the Allies to land munitions for the partisans.

He is collected by Royal Navy motor boat and taken across the Adriatic to Allied HQ in southern Italy for orders. He is flown to Malta, then on across Libya to Cairo. Preparations are underway for a Big Three conference in the Middle East. Maclean submits his report, conclusion so far about the situation in Yugoslavia and the central importance of the partisans.

On return to Bari he finds the situation has deteriorated the Germans have seized more of the coastline. Repeated attempts to fly him back in are defeated by fog and snow. A captured German airplane is filled with top envoys from Tito to fly to Allied HQ but it has just loaded up when a German plane appears out of nowhere, attacking it with bombs and machine gun fire, killing some of Tito’s top lieutenants and some of Maclean’s British friends.

Finally he gets to land, drops some equipment and British officers, takes on board a new selection of Tito representatives, and flies back to Bari with a view to taking them on to Allied HQ in Egypt. Churchill and staff have returned from the Tehran conference with Stalin and Roosevelt (28 November to 1 December).

The central problem is that Britain has, up until now, been giving official support to the Royal Yugoslav Government in exile, appointed by King Peter, and sending arms to the Royalist Cetniks led by by Draža Mihailović. Now Maclean has to tell Churchill and other bigwigs that the Cetniks are not only not very effective on the ground but strongly suspected of acquiescing or even helping the Germans. Meanwhile, the real anti-German force is the partisans. So Maclean’s meetings with Churchill are designed to make him switch official British government support from the Cetniks to the partisans. But this leaves the  big problem that Maclean is reporting that Tito’s partisans will not only be the biggest force in post-war Yugoslavia but will probably form the government. Therefore British support for the King and the royal government in exile is increasingly irrelevant and backing the wrong horse. But how to switch British support without alienating the king, the Cetniks and the large proportion of the Yugoslav population which remains royalist? (Later on Maclean says that even the communists conceded that over half the population of Serbia was monarchist, p.490.)

This tricky diplomatic challenge runs throughout the rest of the Yugoslav part of the book and negotiations, between so many different parties, moving through so many different stages, are impossible to summarise. In a nutshell, young King Peter acquiesces in the decision but, as so often, it is his older advisors and other members of the royal family, who prove intractable and complicate the situation.

Maclean is flown back to Bari and then makes the dicey crossing back to an unoccupied Yugoslav port in a RN motor-torpedo boat. He reunites with his small staff and Tito’s staff and, after studying maps and latest German troop movements, they all agree the only viable island base for operations is the island of Vis. He then travels back to Bari to meet the Commander in Chief, General Alexander, to persuade him to assign the resources and troops required to convert Vis into a stronghold, for example building a large airfield and barracks for a permanent British force.

Yet another flight, from Bari to Marrakesh in Morocco where Churchill is recovering from flu, to persuade the great man to sign off on the Vis plan. they learn that Tito’s old headquarters in Jajce has fallen to the Germans and so, thinking they need some bucking up, Churchill writes a personal letter to Tito for Maclean to deliver by hand (p.413).

He is flown back to Bari and then parachuted into Bosnia to find and report the decision to Tito.

(Chapter 10) He is taken to meet Tito at temporary headquarters and discovers a Yugoslav Anti-Fascist Council has bestowed in Tito the rank of Marshall. Tito is delighted by the letter in which Churchill flatters him and readily agrees with the plan to make Vis a major support base for his partisans. They move about a lot and finally make a new HQ in caves overlooking a valley.

Chapter 11. New deal

Increasing air drops from the RAF and USAAF. Maclean is responsible for assigning officers to work with partisan units throughout the country.

Despite occasional stoppages, air-supplies were now arriving on a far larger scale. Air-support, too, was increasing by leaps and bounds….It was now possible, owing to the presence of my officers with Partisan formations throughout the country, to co-ordinate their operations with those of the Allied Armies in Italy. (p.429)

A Russian Mission arrives led by a Red Army general. This is the thin end of the wedge as East and West start to compete for the allegiance of Tito and his partisans.

A passage giving the decision, context and implications of the British government decision to stop supplying the Cetniks and diplomatic negotiations with King Peter (in exile in London) to see if he’s prepared to form a government of national unity i.e. let communist partisans enter his government in exile (pages 438 to 441). This would be best achieved if Maclean flies back to London to give advice, preferably accompanied by a representative of Tito.

Chapter 12. Change of scene

So he’s picked up by Dakota and flies to Algiers to meet with the new Supreme Allied Commander, General Wilson. Here, among many other decisions, it is decided to set up a Balkan Air Force which would train partisan volunteers and be responsible ‘for the planning, co-ordination and, to a large extent, execution of air operations in the Balkans’ (p.444). Long-distance phone call to Churchill with comedy because neither of them know how to use the newfangled scrambling equipment.

Next day he flies to London with the Tito delegate, Major Vlatko Velebit. It’s the spring of 1944 and England is overflowing with Americans and rumours of D-Day. He is summoned to a meeting with General Eisenhower, then to another one at Number 10. the military side – more supplies to the partisans – is easily agreed. The political negotiations with King Peter and the Royalists much more challenging. Peter has by now made an important public announcement telling his people to drop the Cetniks and support the partisans but this only has the effect of weakening his own support among disgruntled royalists without much increasing support for the partisans which was already strong.

Maclean receives a call from Buckingham Palace to go and brief the king who he finds to be surprisingly well-informed about the situation in Yugoslavia (p.449).

Then they get a radio message from Vivian Street, British officer with Tito HQ, that the cave hideout came under heavy attack from a co-ordinated German attack, many partisans were killed through Tito and senior officers made their escape. (Maclean gives a sustained description of the attack and gripping escape, pages 450 to 452.)

The HQ had been near the village of Drvar. In retaliation for supporting the partisans the Germans exterminate every man, woman and child in the village. That level of barbarism is what we were fighting to liberate Europe from.

The Germans pursue and harass Tito’s team who eventually radio for help. A date is made for a US Dakota to land at a cleared strip and Tito and key staff (and his dog Tigger) are loaded aboard and evacuated to Bari, the first time he’s been forced to leave Yugoslav soil since the conflict began (p.454).

Everyone agrees that, in order to continue functioning and provide a figurehead he must be returned to Yugoslav soil as soon as possible and the island of Vis, so long pondered as a new HQ, is agreed. Tito and his staff are taken there by Royal Navy destroyer, HMS Blackmore.

Chapter 13. Island base and brief encounter

Maclean drily observes that Tito likes caves. He makes his base on the island of Vis three-quarters up the side of Mount Hum. Since he was last there the island has been transformed with a huge Allied airfield built with as many as a dozen huge American bombers parked up.

The narrow roads were crammed with Army trucks and jeeps, stirring up clouds of red dust as they rushed along. Every few hundred yards dumps of stores and ammunition, surrounded by barbed wire and by brightly painted direction posts, advertised the presence of R.E.M.E., of N.A.A.F.I., of D.A.D.O.S., and of the hundred and one other services and organizations… Down by the harbour at Komisa was the Naval Headquarters, presided over by Commander Morgan Giles, R.N., who had what was practically an independent command over a considerable force of M.T.B.s and other light naval craft, with which he engaged in piratical activities against enemy shipping up and down the whole length of the Jugoslav coast… (p.458)

Also the establishment of the Balkan School of Artillery, set up on Vis as part of Maclean’s Mission under the command of Lieutenant-Colonel Geoffrey Kup:

whose life-work it became to instruct the Partisans in the use of the American 75-mm. Pack Howitzer. This was a light mountain gun, transportable on mule-back, if there happened to be any mules, and in general ideally suited to the type of warfare in which we were engaged. (p.459)

Also a partisan tank squadron being trained up in North Africa (p.464).

The Germans undertake another offensive, called the Seventh Offensive, against the partisans which starts with fierce fighting but then, like all the others, peters out.

The tide of the war is really turning. On 5 June 1944 Rome fell to the Allies. The following day saw the D-Day landings in Normandy. The Allies need to co-ordinate attacks on the Germans with the partisans; there needs to be discussion of the parts of northern Italy Tito wants to claim for Yugoslavia; plus the ever-intractable problem of the king and royalists. So it is that Supreme Allied Command in Italy ask for him to visit and Maclean organises the trip, accompanied by senior advisers, bodyguards and the faithful dog, Tigger.

It had been kept secret from Maclean, Tito and others that Churchill himself intended to fly in and meet Tito for the first time, and so the so-called Naples Conference came about. Churchill is fulsome in his praise, Maclean thinks Tito is amazed and pleased, the one-time peasant and revolutionary now sitting at the same table as one of the big three world leaders.

The high political problem is still how to reconcile with communist partisans with the royal government in exile, which has now crystallised round its prime minister, Dr Ivan Subasic. After ten days the Naples Conference ends and Subasic flies with Tito, his staff, Maclean etc back to Vis where the two Yugoslav parties hold a series of negotiations while the Brits sunbathe and swim in the beautiful aquamarine sea.

In the end a deal of sorts is agreed and Subasic flies back to London to put it to the king and his government.

Chapter 14. Ratweek plan

June 1944. Rumours that the Germans might retreat, withdrawing to a line they could better defend to the north of Yugoslavia. To do this they will need the central railway line from Belgrade to Salonika. Therefore it is the Allied aim to blow up the line and trap German forces in Yugoslavia.

The scheme was called ‘Operation Ratweek’. My proposal was that, for the space of one week, timed to coincide as closely as possible with the estimated beginning of the German withdrawal, the Partisans on land and the Allies on the sea and in the air, should make a series of carefully planned, carefully co-ordinated attacks on enemy lines of communication throughout Jugoslavia. This would throw the retiring forces into confusion and gravely hamper further withdrawal.

In drawing up these plans, we had recourse to all available sources of information concerning the enemy’s order of battle and the disposition of his troops, while at every stage we consulted by signal the British officers and the Partisan Commanders on the spot. Thus, the whole of the German line of withdrawal would be covered and every possible target accounted for. In the light of what we guessed the enemy’s plans to be the attack was fixed for the first week of September. (p.471)

Maclean decides to go from Bosnia to see for himself the situation in Serbia. Flies in and rendezvous with John Henniker-Major who’s been with the Serb Partisans since April. The Serb Partisans the Cinderellas of the movement, with less support from the local population, fewer rough mountains to hide in (unlike Bosnia), less successful against the Germans and so seizing fewer arms and so less well supplied than elsewhere. Lucky they have a good leader in Stambolic.

In April/May had come a change. The King announced his rapprochement with Tito and that led many to switch from supporting the passive Cetniks. Tito sent some of his best commanders to shake up the Serbian operation, notably Koca Popovic. And the Allies made a decision to stop supplying the Cetniks and supply the Partisans. As a result the latter began undertaking more operations and having greater success. Those who wanted to fight the invader went over to them, more successes, more seized arms and more prestige and respect, created a snowball effect. But still the deadly civil war between Partisans and Cetniks persisted.

So Maclean has been flown in to liaise with the Serb partisans. He is introduced to Koca, they pull out maps and have a comprehensive review of the situation, with Koca explaining where his forces can attack by themselves and where they’ll need air support, and what supplies.

Chapter 15. Ratweek fulfilment

He marches with partisans to Bojnik then onto the village where the Commander of the 24th Partisan Division, the formation responsible for the attack on the railway in the Leskovac area, had set up his Headquarters and where he finds Johnny Tregida, his liaison officer with the 24th Division. He kips in a courtyard full of Bulgarian prisoners. Next day they ride horses to Leskovac, where the attack on the railway is to take place. Information has found the town packed with German armour and motor transport and so HQ back in Bari had decided to send an unusually heavy fleet of bombers, some 50 Flying Fortresses. Maclean and his partisans watch from a nearby hill as these silver planes from high in the sky unload a huge payload on Leskovac and flatten it.

That night he observes the partisan attacks on the railway line, tackling enemy pillboxes while they set charges to blow up bridges and culverts, then tear up the railway itself and burn the sleepers. The idea is to delay or even trap the German forces in Greece and Yugoslavia, to prevent them being transferred to north Italy and Austria, to make the Allies job in those places easier.

All over occupied Yugoslavia similar attacks take place to destroy communications and bottle up the German forces. They notice enemy planes flying north and suspect they are carrying senior staff officers, communicate this to HQ who undertake attacks of these little convoys which promptly cease.

Maclean rides north to reunite with Boca, and is struck by the lush fertility of the Serb countryside and its rural prosperity, compared to rockier, poorer Bosnia. It’s a long journey over many days and Maclean gives a wonderful impressionistic account of the small villages of whitewashed houses, the locals bringing food, waking up in an orchard of plum trees, and so on. What experiences he had!

News comes through that the Bulgarians are negotiating an armistice and then that they have come in on the Allied side, with the result that Bulgarian forces throughout Yugoslavia switch sides. He meets up with Boca and Partisan headquarters which is itself riding north, now making a convoy.

They enter Prokuplje as liberators and are feted and feasted. He has just rigged up a bath and is having locals boil water when news comes of a German counter-attack, they have to quickly load their belongings and ride out.

He really enjoys life on the move in Serbia, the lush countryside and friendly villagers and wonderful food and so is annoyed when he receives a direct order from General Wilson. Tito has disappeared from Vis and Maclean is to report to the nearest partisan airstrip in order to be flown out of Serbia and find him.

Chapter 16. Grand finale

Tito has disappeared from Vis and his unexplained absence causes quite a bit of resentment among the British who had been entirely funding the partisans and lost good men among their liaison officers. After confirming his absence Maclean returns to Serbia, to hook up with the troops of Peko Dapcevic at Valjevo in time to see it fall to the partisans, helped by British Beaufighters. He finally locates Tito who’s in the Vojvodina and replies equably enough to a letter he sends him.

The second half of the chapter, pages 504 to 514, is devoted to Maclean being in at the liberation of Belgrade, the notable aspects of which are: 1) that the advance and battle are dominated by the Red Army which has crossed the Danube into Serbia – there’s lots of fraternising with Russians so lucky that Maclean speaks fluent Russian and also has received a Russian military medal which he dusts off and pins prominently to his uniform; and 2) the Germans put up a fierce resistance as they retreat, some of which Maclean witnesses at close quarters.

Chapter 17. Who goes home?

A few days after the conquest of Belgrade, Tito flies in and holds a victory march where Maclean is much moved by the ramshackle, dirty, patched-up appearance of the partisans, indicative of years of struggle, living off the land, guerrilla warfare. Now the partisans set about consolidating their grip on power. Tito negotiates a power-sharing deal with Royalists but it is plain this is only a temporary agreement.

On 27 October Maclean has his first meeting with Tito and conveys British irritation at his unexplained disappearance. In fact by this time the mystery has been cleared up because Stalin, at their most recent meeting, had told Churchill that Tito was visiting him in Moscow.

Maclean’s team of officers who had each been assigned to various partisan groups, now assemble in Belgrade and quickly convert themselves to a working British embassy. The last few pages describe this transition of the partisans from wartime guerrillas to peacetime administration. There is still fighting in the north but Tito has settled into the White Palace, Prince Paul’s former residence on the outskirts of the city (p.523). Maclean is still involved in negotiations with the king and royal government in exile, featuring Dr Subasic (who flies to Moscow to get Stalin’s blessing, p.520) which are detailed and complex but ultimately futile, for the partisans are solidly in power, with the numbers, the arms and the organisation to enforce it.

There is a lot of detail about the negotiations which dragged on until early March 1945 (p.530). But for Maclean the glory days of guerrilla warfare and living in the field were over and he asks to be transferred away from Yugoslavia. In mid-March he flies out after 18 months’ very intensive engagement, before the geopolitics and diplomacy get complex and messy. The book ends with his description of getting into the plane, taking off and watching the coastline disappear behind him. He had just turned 34. What an amazing series of adventures to have had by such a young age!

It’s very striking that the book ends with no summary, no conclusions, no Final Thoughts, no analysis of the political situation, let alone a retrospective description of how the war ended, how relations with Russia deteriorated, the start of the Cold War, Yugoslavia’s evolution under Tito’s rule or any of that – nothing, nada.

Maclean restricts himself very consciously to a first-person account of the immediate, of what he saw and thought and said and experienced. He gets on the plane and flies West and it’s over. It’s a very abrupt but totally appropriate ending.


In his father’s footsteps

Very slightly and subtly, Maclean’s father hovers in the background. Once or twice he casually mentions that some of the places he visits in Central Asia were visited by his father 30 years earlier. He enlists in the same regiment as his father. His father fought in the North African desert in the First World War and at some points MacLean passes through some of the same places e.g. Matruh (p.204). Living up to his father’s achievements.

Private school

Maclean’s aristocratic upbringing and bearing are present throughout, in his confidence and savoir vivre, in his practical skills (skiing, camping, hunting and shooting), in his urbane easiness in the company of filthy partisans or prime ministers and kings. Only once or twice does he explicitly refer to his privileged upbringing, but then in the same kind of way that all his generation and class did (the tones collected and defined by Cyril Connolly for so influencing the mindset and writing of the 1930s generations of poets and novelists):

The M.L. arrived that night and I went on board, as excited as a schoolboy going home for his first holidays.

Upper-class chums

A central characteristic of the posh, of aristocrats, of the landed gentry, reinforced by the network of private schools they attend, is that they all know each other, they are all ‘old friends’. Not only that but it only suffices to work with someone for a bit – in the Foreign Office or the Army, say – for them to be recruited into your cohort of ‘old friends’. And so these people move in a kind of gilded world filled with old friends and bonhomie.

And so, leaving them in the able and experienced hands of Jim Thomas, an old friend from Foreign Office days, I went…

In Mrs. Fraser-Tytler I found a fellow clanswoman with whom my friendship dated back to the days of my childhood in Inverness…

It was in this frame of mind that I went to see Rex Leeper, an old friend from Foreign Office days, and now His Majesty’s Ambassador to the Greek Government then in exile in Cairo… (p.278)

One of the sailors I recognized as Sandy Glenn, an old friend with a number of adventurous exploits to his credit… (p.373)

I recognized the work of my old friends Mark Chapman Walker and Hermione Ranfurly, the Commander-in-Chief’s highly efficient Military Assistant and Private Secretary… (p.401)

John Clarke and Andrew Maxwell were both old friends of mine… (p.432)

The problem which had been exercising me for some time, namely, how to get my old friend Sergeant (now Sergeant-Major) Charlie Button into Jugoslavia… (p.435)

Ralph Stevenson…British Ambassador to the Royal Jugoslav Government…was an old friend from Foreign Office days… (p.468)

The example of a partisan they worked with closely – ‘Brko, by now an old friend…’ (p.491) – indicates how it’s not length of time that makes someone an ‘old friend’, but depth of experience and closeness of companionship. Old friends need not, in fact, be old friends at all, just people you’ve gotten to know and trust, sometimes over comparably short periods of time.

This is a quality I commented on in my reviews of John Buchan, whose fabulously posh protagonists are continually bumping into ‘old friends’ whenever they need help. Not being plugged into a network of successful, well-connected ‘old friends’ in commanding positions across politics, business, the forces, the arts, I can only marvel at the ease and confidence with which these privileged creatures lived out their charmed lives. For example, take this profile of David Stirling’s Intelligence Officer, Gordon Alston:

By the time he reached the age of twenty-five Gordon had managed to have a remarkably full life. Having got off to a flying start when he left Eton at seventeen to become a racing motorist in Italy, he had later tried his hand at journalism in France and brewing beer in Germany. Since early in the war he had served in Commandos or Commando-type units. This varied experience had left him with a taste for adventure, a knowledge of foreign languages, and, most conveniently for us, an altogether remarkable flair for military intelligence.

How ripping! A big part of the pleasure of reading books like this is not only all the operational war stuff, but simply marvelling at the wonderfully varied, adventurous lives these privileged people seemed to live.

(And, as a digression, it crosses my mind that it’s the quality whose degraded, shabby, poor relation – a seedy, fake bonhomie – is satirised and ripped to shreds in William Boyd’s comic novel A Good Man in Africa.)

Upper-class manners

Being phenomenally posh, being a polished specimen of the British upper class, gives him the impeccable manners, savoir faire and confidence to meet and socialise with all ranks, from peasants to monarchs. The book invites us into this world, lends us the cloak of his manners and politesse, so that we are not as surprised as we maybe should be when Maclean calmly records being sent to meet the future leader of Yugoslavia, invited to spend the weekend with Churchill or to dine with exiled King Peter. Other countries will continue to have kings and emperors and aristocrats and leaders who reek authority and stickle for etiquette and procedure, so it makes sense that we should have a cohort of impeccably turned-out sophisticates who can match them at their game.

It is a symbol of how far Britain has fallen that the shambling liar Boris Johnson was Foreign Secretary from 2016 to 2018, embarrassing Britain at international events around the globe purely because Theresa May needed to keep a potential usurper and his faction in the ever-fractious Conservative Party onside. Shaming.

Roughing it

Aristocrats aren’t all floppy haircuts and parties in Chelsea, especially the Scottish variety. Instead, Maclean really loves roughing it, and takes to life on the road in Central Asia or on the run with partisans in the forests of Bosnia with equal alacrity. He likes the simple life.

Having eaten my breakfast, I cleaned out my mess tin and used it for boiling some snow-water on the stove, to shave in. It was an agreeably compact mode of life, with no time, space or energy wasted on unnecessary frills. (p.420)

Time after time he tells us that sleeping rough, bunking down in an orchard wrapped only in his greatcoat and with his backpack for a pillow, eating primitive food in a cave in Bosnia or bully beef in the Libyan Desert, this is what he wants, this is how he likes it, pure and clean and simple.

Lols

Maclean has a dry, understated sense of humour, the true aristocratic drollness, an unflappable ability to put up with discomfort and find the amusing in every situation. The book is studded with a number of comic setpieces.

Our short train journey had an improbable, dreamlike quality, which even while it was actually in progress, made it hard to believe that it was really happening. From the inside, Tito’s special coach was even more like a hut than from the outside, with an open stove in the middle and benches round the wall. The stifling heat of the stove induced sleep. The benches on the other hand were just too narrow to sleep on with any security. On the floor lay Tigger, in a bad temper and snapping at everyone’s ankles. At last, after a great deal of fussing and settling down, he went to sleep, only to be woken again almost immediately by a Cabinet Minister falling off one of the benches on top of him, whereupon pandemonium broke loose. It was not a restful journey… (p.421)

Also the story of the British officer, living and working with the partisans who, wherever he puts his sleeping bag and goes to sleep, always fidgets and ends up rolling yards, sometimes quite a distance away, one time being found wrapped round a tree stump, another time on the edge of a precipice, each time fast asleep and snoring his head off.

An eye for the ladies

There’s no mention of a girlfriend, lovers, no romance and certainly no sex of any kind. It’s part of the book’s tact and discretion. But Maclean does have what we used to call ‘an eye for the ladies’ and permits himself regular mention of particularly toothsome young women whenever he encounters them:

[In Korcula] a small crowd had soon collected to look at us. It included, I noticed with pleasure, one extremely pretty girl., (p.366)

From now onwards [Charlie Button] took charge of the Mission’s administrative arrangements, and ‘Gospodin Charlie’, as he was known, could be seen planning moves, negotiating for pack-horses, bartering strips of parachute silk for honey or eggs with buxom peasant girls… (p.435)

The technicalities involved were explained to me by an officer of the United States Army Signal Corps, while a pretty W.A.C. Sergeant prepared to take a recording of what was said. (p.444)

The Americans furnished me, in case of need, with a stenographer, a blonde young lady of considerable personal attractions wearing a closely fitting tropical uniform… (p.466)

Most of them [the population of the little Serbian town of Dobrovo] were rosy-cheeked, stolid-looking creatures, broad in the beam, with thick arms and legs, but amongst them, I noticed, was one exceptionally pretty girl, slim and dark, with classical features and a clear, pale skin, holding a little curly-haired child by the hand. (p.492)

And many more.

Upper-class tact

A crucial aspect of good manners, as of diplomacy, is tact. As the book progressed I became increasingly aware of the narrative’s tact. What I mean is that he is very discreet and polite about the many individuals named in it. About his army colleagues, first in the SAS then on location in Yugoslavia, he is uniformly full of praise, especially praising those who won medals. He has to use tact when dealing with all manner of Soviet officials and local peasants and brigands in Central Asia. He has to be tactful in his dealings with Tito, and in Yugoslavia has to train his officers in how to interact with the partisans tactfully i.e. show them how to use equipment without insulting their manhood or achievements. (Maclean has some comic stories about illiterate partisans eating various supplies such as plastic explosive, stories echoed in Ben Macintyre’s stories about the French Resistance.)

This quality comes out into the open, as it were, in the various descriptions of Winston Churchill, where Maclean allows himself to mention Churchill’s eccentricities:

  • at Chequers insisting on spending the evening with senior military staff watching Mickey Mouse cartoons in his private cinema
  • meeting underlings at his Cairo villa lying in bed in a silk dressing gown smoking a cigar (p.401)

But he only goes exactly to the same point as the common myth of Churchill’s whimsical personal style and no further. He tells humorous anecdotes about people but is never indiscreet. That would be bad form.

Once this had occurred to me I realised you could regard the abrupt ending of the book as itself an act of tactfulness. If he’d gone on to describe events after his departure from Yugoslavia in March 1945 (the final months of the war, conflict with Russia, the Cold War and scores of other issues such as the election defeat of Churchill) it would have stained and muddied the purity of the kind of narrative he wants to tell. Ending his text so abruptly is an aesthetic statement – less is more – and supreme act of tactfulness.

H.G. Wells

Happening to be reading a lot about H.G. Wells at the moment, I was struck when Maclean makes a reference to him, describing the American Lightning aircraft, with their twin tails and bristling cannon, as ‘like something out of H.G. Wells’ (p.393) – presumably he’s referring to Wells’s Edwardian novels about the war in the air, although also, maybe, to his description of apocalyptic war in ‘The Shape of Things To Come’ (1933) – either way, testimony to the grip on the popular imagination, about the future and disastrous wars, that Wells continued to exert.

Penguin are pants

I’m reluctant to buy new paperback books because they’re generally such poor quality. This book is a case in point. The typeface was degraded and poor quality on every page. Random words appear in lighter typeface than their neighbours. Random letters within words are partly effaced. Entire lines have either the upper or lower part of the letters distorted. You know when you make a photocopy of a document and position the original badly so that the photocopy misses off one side of the page? Like that, the final parts of letters are cut off all down the right hand side of the text. Some pages are in a different font from the main text (pages 152 to 153).

Precisely 24 hours after it arrived I noticed that, looked at side-on, the middle pages of this brand new book had ceased to lie flat but had become wavy. When I opened to these pages I discovered they were the ones containing half a dozen or so very very very bad quality reproductions of photographs, and something about reproducing these photos in plain ink on normal paper must have somehow made them absorb moisture from the atmosphere and become wrinkled and creased. They look like they’ve been dropped in the bath.

Only occasionally did all this make it impossible to actually read, but these marks of poor quality appeared on every one of the book’s 543 pages and were a constant distraction. They made me think what a mug I was to spend £12.99 on such a shoddy production. Never buy new Penguin books. Very poor print standards.


Credit

Eastern Approaches by Fitzroy MacLean was published by Jonathan Cape in 1949. All references are to the 2019 Penguin paperback edition – printed to a very poor standard.

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Half of a Yellow Sun by Chimamanda Ngozi Adichie (2006)

He felt a strange crushing weight in his head. Change was hurtling toward him, bearing down on him, and there was nothing he could do to make it slow down.
(Ugwu, sensing the force of History, Half of a Yellow Sun, page 175)

“Abu m onye Biafra.” [‘I am a Biafran’]
(White man Richard Churchill bravely declaring loyalty to the new state of Biafra, p.181)

This is a big, slow, novelish novel about family and relationships. It’s 433 pages long in the Fourth Estate paperback edition, and the print is relatively small, so there’s a lot of text, it’s a hefty work. Let me say right at the start that I think it’s a magnificent and hugely enjoyable novel. And that part of this is down to the clarity of Adichie’s imagining of scenes and feelings, and the wonderfully clear and lucid prose she expresses them in. I am a huge Adichie fan.

Subject matter

I knew from the blurb, from the Amazon summary, from Adichie’s Wikipedia page and from various other sources that this is Adichie’s big novel about the Biafran war, also known as the Nigerian Civil War.

The Biafran war lasted two and a half years, from 6 July 1967 to 15 January 1970. It was an attempt by the Igbo people of south-east Nigeria, after generations of animosity against them had broken out into open massacres and pogroms during 1966, to seek safety in a homeland by seceding from the Nigerian Federation and setting up their own independent state, called Biafra. Nigeria didn’t want to see them go and immediately launched military action.

The conflict dragged on for two and a half years, partly because both sides started off under-manned, inexperienced and under-resourced. After a military stalemate was reached, Nigeria blockaded all entry points to Biafra triggering one of the great famines of modern times, in which up to 2 million civilians starved to death.

Chimamanda Ngozi Adichie is an Igbo i.e. a member of the ethnic group which suffered from the outbreaks of violence in 1966, then the war, and then the horrifying man-made famine. Adiche was born in 1977 i.e. seven years after the war ended. But, as she explains in the dedication to the book and in an interview included as an appendix, the death and destruction her people suffered during the terrible struggle cast a long shadow over her childhood, not least in the fact that both her grandfathers were killed in it.

Adichie’s achievement is to cast this massive historical tragedy into fictional form on a very manageable scale. When I knew it was about a war, and realised how long and dense it is, I imagined it would be epic in size and tone, but it isn’t. It’s surprisingly domestic in scale and treatment.

In the first part, titled simply ‘The Early Sixties’, there is no hint of conflict or war and we are simply introduced to an extended group of Igbo families and friends, a few outsiders, a Brit or two, and watch them go about their everyday humdrum lives, worrying about work or relationships etc the stuff of everyday life. The aim is to get us thoroughly acclimatised to numerous normal peacetime existences. Only then do we go on to part two of the novel, titled ‘The Late Sixties’ at which point the characters, in their different ways, hear rumours about the coup (January 1966), the counter-coup (July 1966), the first massacres of Igbo civilians in the north and west of Nigeria, leading up to the declaration of an independent Biafra in May 1967.

I’m not sure whether to give the history of the war first, or the characters. Let’s do the war since it’s central to the narrative, then come back to the novel and the characters.

The Biafran War 1967 to 1970

Britain’s fault

The state called Nigeria was created by the British colonial authorities who, in creating it, yoked together over 300 tribal groups and peoples. The main ones were the semi-feudal and Muslim Hausa-Fulani in the north; the Yoruba in the southwest, also ruled by monarchs; and the Igbo in the south-east, arranged into autonomous, democratically organised communities.

The first coup, January 1966

Nigeria gained independence from Britain in 1960. In January 1966 a military coup (the ‘Coup of the Five Majors’) overthrew the democratically elected central government, the majors in question proclaiming that the country had had enough of corrupt and greedy politicians. The majors killed a number of leading politicians and army officers but failed to establish power themselves, instead creating a political vacuum. Into this stepped the head of the Nigerian army, Major General Johnson Aguiyi-Ironsi, made himself president of a military regime.

Northern elements within the military were unhappy with the coup, claiming it had been an ethnic power grab by Igbo officers (most of the majors were Igbo and most of the senior officers and politicians assassinated had been Northerners or Yoruba). They were further outraged that the majors who launched the coup were arrested but not brought to trial. The last straw was when Ironsi announced Unification Decree Number 34, which would have replaced the federation structure of Nigeria – under which the North enjoyed a disproportionate amount of power – with a more centralised system. This, also, was seen as an Igbo power grab.

The second coup, July 1966

So in July 1966 Northern officers launched a countercoup which saw the Ironsi and his senior officials killed. Through the media the Northern authorities encouraged the general population to seek out and kill Igbos wherever they could (in a premonition of the role played by government radio stations in the Rwanda genocide 30 years later).

Anti-Igbo pogroms, late summer 1966

The result was a wave of pogroms against Igbos throughout Nigeria, who were not only blamed for the original coup but had also been the targets of long-standing ethnic hatred for their independence and commercial success, a little like the Jews in Europe.

Comparison of the Igbo with the Jews

The comparison with the Jews was drawn by US Secretary of State Henry Kissinger, himself a Jew who escaped persecution in Nazi Germany and who compared the Igbo people to Jews in a memo written to U.S. President Richard Nixon, stating: ‘The Ibos are the wandering Jews of West Africa – gifted, aggressive, Westernized; at best envied and resented, but mostly despised by the mass of their neighbours in the Federation.’

It is also drawn by a character in this novel, admittedly the less-than-admirable Susan, representative of Western prejudices. She tells her boyfriend Richard:

“There are lots and lots of Igbo people here – well, they are everywhere really, aren’t they? Not that they didn’t have it coming to them, when you think about it, with their being so clannish and uppity and controlling the markets. Very Jewish, really.” (p.154)

Mass Igbo flight to Igboland

Up to 30,000 Igbo civilians were killed in massacres all across the country, crystallising the belief among their political leaders that they would never be safe in ‘Nigeria’ and led them to declare the breakaway state of Biafra in order to provide a permanent safe haven for Igbos fleeing from all other parts of Nigeria.

Declaration of Biafra

This new state was named Biafra and declared independent on 6 July 1967. This is the flag it adopted. According to the Flags online website the red bar represents the blood of the massacres in northern Nigeria, the black is for mourning the dead, the green is for prosperity, and the half of a yellow sun which the novel’s title refers to, represents the sun rising, as if on a new day and a new land and a new hope. (Olanna gives just this interpretation to the children in the refugee school, page 281.)

The flag of Biafra showing the half a yellow sun which the title of Adichie’s novel refers to

The phrase ‘half of a yellow sun’, describing the flag or the small version of it worn by soldiers, or copies of it sported by civilians, occurs 11 times in the text, though it seems more often, woven into the text like a musical leitmotif.

War, blockade and famine

The Nigerian army promptly attacked the forces of the new state and there was 6 months of bloody fighting with incursions into each other’s territory, but eventually led to a military stalemate. So the Nigerian government decided to starve the Biafrans out and imposed a blockade of all food and medicines. The blockade led to an entirely man-made famine in which up to 2 million civilians are estimated to have died.

Outside forces

After hesitating the UK government decided to back the Nigerian government, influenced by its commercial interests in the oil generated in areas controlled by Nigeria. Britain sent guns, ammunition and officers to train the Nigerian army. Like all wars, everybody thought it would be over by Christmas, nobody anticipated it turning into years of slog and then into the horrific suffering of the famine.

The British government which decided to back Nigeria was led by Harold Wilson. When women and children began to die of starvation, doctors filling in death certificates wrote under Cause of Death ‘Harold Wilson’. When more and more Biafran children fall sick with kwashiorkor (‘a form of malnutrition caused by protein deficiency in the diet, typically affecting young children in the tropics’) the locals rename it Harold Wilson disease (p.338). Wilson must have become deeply unhappy at being associated with what amounted to a genocide.

He and his cabinet thought that backing Nigeria was a humanitarian decision because it would bring the war to a swift end i.e. save lives. Nobody anticipated the stubbornness of Biafran resistance, how long the conflict would drag on, or that the British government’s decision would position them as backers of a genocide. (Wilson is mentioned five times in the text.)

Whatever Britain does, France can be counted on to do the opposite, so the government of General de Gaulle supported Biafra, supplying material and logistics and training. De Gaulle denounced the Nigerian government’s policy as a deliberate genocide.

The US government of Lyndon Johnson declared it was keeping a distance as Nigeria was a British sphere of influence, but in practice gave covert support to the Nigerian government, again influenced the importance of US business interests in the country. This was opposed by Republican presidential nominee Richard Nixon who throughout the presidential campaign of 1968 called for the US to support Biafra. However once in power in January 1969, Nixon found there was little he could do in practice apart from supporting the largely fruitless peace talks. Supporting Biafra would have alienated all the other African nations which were struggling with secessionist movements and also the Vietnam War was creating no end of geopolitical and domestic trouble, so best eave alone.

War’s end

The war ended with the Biafran government caving in and agreeing to be reintegrated into Nigeria. The Nigerian government made the concession of reorganising the country from four large monolithic regions into 12 more locally accountable states.

A documentary

Of the documentaries I’ve watched about the Biafra war, this is the best.

Half of a Yellow Sun, the characters

There are nearly 60 named characters in the novel but the narrative revolves around four main ones, Ugwu, Odenigbo, Olanna and Richard.

Ugwu

The novel starts and ends with Ugwu, a 13-year-old boy from the rural village of Opi who his auntie, a cleaner, wangles him a much sought-after job as a ‘house boy’ or all-purpose servant and cook to a figure who is initially referred to only as ‘Master’, in fact Master is the first word of the novel. Dependent or clustered around Ugwu are secondary characters:

  • his aunt, a cleaner at the university, who got him the job
  • his sister, Anulika, who grows to maturity during the novel and plans to get married till the war intervenes
  • Ugwu’s mother who is ill and Ugwu’s Master kindly intervenes to help and find medical care
  • Nnesinachi, Ugwu’s first love from back in the village, who he has vivid fantasies about when he masturbates
  • Chinyere, servant of the house neighbouring his Master’s, who often slips out at night and sneaks into Ugwu’s quarters so they can make love, though she remains eerily passive and silent throughout the process

Some of the chapters end with a bold heading The Book: The World Was Silent When We Died. It took me a while to realise these were clips or summaries of chapters from a book one of the characters will later write about the war. They are short, half-page, potted summaries of key events or aspects of Nigeria’s history and provide a counterpoint to the mainstream narrative they’re tacked onto. For most of the narrative I assumed this was the book that Ugwu would become educated enough to write. Only on page 374 are we explicitly told that it is the book which Richard will write about the war. And then, it is only right at the end do we learn that, typically, Richard hasn’t written a page, whereas Ugwu has been writing unstoppable for months a book he intends to give the title ‘Narrative of the Life of a Country’ but which, we realise, will use Richard’s title.

Odenigbo

Ugwu’s Master speaks in such pukka, jolly-good-chap tones (‘Excellent, my good man!’) that I initially thought he was white. Only slowly did I realise it is an African man named Odenigbo, Professor of Mathematics at Nsukka University. (Nsukka is a town and a Local Government Area in Enugu State, Nigeria i.e. in tribal Igboland and in what would become Biafra.)

As a thoughtful intellectual, Odenigba sounds off about the issues of the day, espousing socialism against capitalism and defending the importance of against the Pan-Africanism or African nationalism very popular in the first flush of African independence (as espoused by, for example, Kwame Nkrumah of Ghana) – As Odenigbo yells from the stage of an independence rally, ‘We will lead Black Africa!’

A ‘stocky man’ (p.257), Odenigba hosts dinner or drinks parties attended by other figures from the university who chip into these conversations. As the novel progresses and the situation deteriorates their conversations and arguments about what is right and wrong, what ought to be done, form a kind of chorus to the political and historical events. They include:

  • Miss Adebayo, Yoruba professor at Nsukka University, who fancies Odenigbo so creates tension with his fiancée, Olanna (see below); but her Yoruba ethnicity leads Odenigbo to accuse her of complicity in the pogroms
  • Dr. Patel, Indian Professor at Nsukka University
  • Professor Lehman, white American Professor at Nsukka University, irritating nasal voice , same fair hair as Richard, generally criticised by Odenigbo
  • Professor Ezeka, lofty fastidious professor at Nsukka University; in the fourth part of the book he becomes Director of Mobilisation in the Biafran Army (p.286 ff.) and helps Olanna
  • Okeoma, good friend, a renowned poet, at one point called ‘the voice of our generation’ (the kiss of death!), sample poem page 175
  • Edna, Olanna’s neighbor in Nsukka, an African-American woman with characteristically strong opinions about race and gender

Odenigbo is regularly harangued by his Mama who dislikes Olanna and is openly rude to her when she visits.

Olanna Ozobia

Daughter of Chief Ozobia and lover of Odenigbo, attended university in Britain. Beautiful and graceful, her relationship with Odenigbo is described lovingly, as are their numerous bouts of making love. The sensitive boy Ugwu falls deeply in love with her, devoting himself to serving her, and anxiously watching the changing fortunes of her relationship with his Master.

Olanna has a twin sister, Kainene, who is her opposite in every respect, being twig-thin, unromantic and business-minded. Right at the start is a scene where Chief Ozobia ‘offers’ Olanna to an important businessman, Chief Okonji, to secure a deal, an early indication of the corruption and the patriarchal assumptions suffusing every aspect of Nigerian life, but quite quickly Olanna moves beyond her parents’ control to become an entirely free agent.

Because of her not-great relationship with her parents, Olanna gravitates more towards her Aunt Ifeka and Uncle Mbaezi who live in the northern Nigerian city of Kano.

  • Uncle Mbaezi, Olanna’s uncle, brother of Olanna’s mother, founder of the Igbo Union Grammar School
  • Aunty Ifeka, Uncle Mbaezi’s wife, source of comfort and advice to Olanna
  • Arize, Uncle Mbaezi and Aunty Ifeka’s daughter and so Olanna’s cousin, eager find a husband and get married

It is a traumatic moment for her (and the reader) when Olanna comes across their slaughtered corpses as the pogroms and massacres kick off about 150 pages into the narrative.

Olanna’s relationship with Odenigbo is slightly problematic in the sense that he had many lovers before her, and she is still good friends with her former lover, Mohammed, a handsome Hausa man. (In a fraught scene it is Mohammed who saves her life by making her put on a veil and driving her through the mobs of machete-wielding murderers and to safety in riot-torn Kano yelling his way through them in the Hausa language which identifies him as one of them, pages 146 to 148.)

When the second part of the novel opens she is the adoptive mother of Baby, Odenigbo’s daughter by a village girl, Amara, who he slept with while theoretically going out with Olanna. When Amara said she didn’t want the baby, Olanna agreed to her and Odenigbo adopting it. Baby’s real name is Chiamaka, which means ‘God is beautiful’. Kainene suggested it (p.254) but it is rarely used. In 1967, when independence is declared, Baby is 4 (p.169).

Olanna only reluctantly agrees to marry Odenigbo and only under pressure of the war and their flight as refugees (p.187).

Kainene Ozobia

Olanna’s twin sister but very different from Olanna. She is the strong independent practical woman praised by feminists, ‘Kainene with her sharp edges and her bitter tongue and her
supreme confidence’ (p.218).

Kainene lives in Port Harcourt in the south of Nigeria, near the coast, where she runs her father’s business. In a quotable quote her father tells a friend that she is ‘not just like a son, she is like two’, showing what I suppose we would now describe as misogyny, sexism and the patriarchy. Kainene has a functional, cold relationship with the wet and ineffectual British writer, Richard Churchill.

Richard Churchill

Wants to be a writer and has come to Nigeria to explore Igbo-Ukwu art, but it’s a running joke that he struggles to write his book, in fact he can’t even decide what it’s meant to be about. At the start he hooks up with ex-pat Susan Grenville-Pitts, who spends her time with other ex-pats and plays the role of casually denigrating the locals, making casually racist or demeaning remarks (‘These people never fight civilised wars, do they?’ p.182) which Richard slowly comes to hate.

All of which explains why Richard dumps Susan and throws in his lot with the beguilingly cold and functional Kainene who he meets at a party Susan’s taken him to. Richard moves to Nsukka where he teaches at the university and so enters the social circle of Odenigbo and Olanna, taking part in parties, dinners, conversations about politics, colonialism etc. (This must be in 1963 because in the year independence is declared he is described as having been there for four years, p.169.)

Richard and Kainene’s relationship is a little tense not least because of her continuing affection for Major Madu, a lifelong friend of Kainene’s, who pops up from time to time to give us bulletins on the (generally worsening) military situation. (His perilous escape from the genocidaires during which he hides in a chicken house, pages 139 to 141.)

As the situation worsens Richard writes angry letters to the western press for their lazy coverage and racist stereotypes (‘what can you expect from such people?), pointing out that most of the ethnic hatred is the fault of Britain’s divide and rule tactics, but they are never published (p.166). He is a kind of epitome of ineffectualness.

He flies back in from London to Kano airport where he witnesses a squad of soldiers run in and shoot dead every Igbo they can find (pages 151 to 153).

Servants and class

There is a tremendous issue around class in these novels. it’s easy not to register the fact that both Adichie’s novels take place among the privileged bourgeoisie. It’s easy to overlook the way they casually talk about flying over to London on shopping sprees, buying new clothes and wigs (Olanna wears lots of wigs), enjoying fine European cuisine etc – living a high life undreamed of by the vast majority of the rural population.

Alice looked precise and petite in a neatly belted wool dress that Olanna imagined hanging in a London shop. Nothing like a Biafran woman in a forest market at dawn. (p.329)

There appear to be three classes:

  1. the privileged, comfortably off, intellectual and business class which Adichie’s first two novels are mostly set amongst
  2. the servant class
  3. the nameless masses who live in rural poverty and ignorance in countless remote villages

If there is an urban proletariat we never meet it.

The most obvious divide is between urban masters and servants. All the lead characters – Odenigbo, Olanna, Kainene and Richard – have ‘houseboys’, sometimes along with cooks and gardeners. Old, wizened Jomo works as the gardener at both Richard’s house and Odenigbo’s house in Nsukka. Jomo maintains an entertaining feud with Harrison, Richard’s houseboy. Kainene has three stewards, the head one being Ikejide.

I read somewhere that it is a working definition of the bourgeoisie that they are at ease commanding their servants. Well, that’s true of the four characters I’ve just listed: they expect to have servants to order around and the servants know their place. Here’s Kainene in ruling class mode.

She stood up. ‘Ikejide!’ she called. ‘Come and clear this place.’ (p.256)

Just as abrupt and imperious as the white colonials were blamed for being. Just as rude as bourgeois Beatrice is to her servant, Agatha, in Anthills of the Savannah.

All the more remarkable, then, that the ‘intellectuals’ among them, chiefly Odenigbo, spout on about socialism and tribal unity – so much so that business-minded Kainene mockingly refers to Odenigbo as ‘the revolutionary’ – while all the time enforcing a strict and unquestioned class and caste divide, as unquestioned and unexamined as medieval serfdom was in its day.

As to the rural poor, the really low uneducated peasant poor, what any urbanite no matter how poor refers to as bush people, bush man, bush woman – they are represented by Amala, the poor peasant girl who Odenigbo’s mother arranges to get pregnant by Odenigbo (see below). She has no agency whatsoever, is just a passive pawn of her betters. When she is forced by Mama into Odenigbo’s room, she has no choice.

She never once looked at Odenigbo. What she must feel for him was an awed fear. Whether or not
Mama had told her to go to his room, she had not said no to Odenigbo because she had not even considered that she could say no. Odenigbo made a drunken pass and she submitted willingly and promptly. He was the master, he spoke English, he had a car. It was the way it should be. (p.250)

The future of a developing country lies with its masses, its general population. As in Purple Hibiscus, the mass of the Nigerian population remains largely invisible, while the narrative is dominated by the confident, educated black bourgeoisie agonising over every little detail of their privileged lives.

University setting

Connected to this is the way most of the main characters are well-educated intellectuals who have had a university education (often in England), the notable ones of which (Odenigbo, Olanna, Richard) have carried on in the university-intellectual-writer milieu. The exception is Ugwu the illiterate young houseboy but even he, during the course of the novel, is encouraged by his employer to attend school, read widely, and so becomes a well-educated intellectual and writer, like his Master before him.

Maybe this is partly because Adichie’s own parents were both academics so it’s a world of cocktail parties and dinner parties and educated conversation which she knew well. But it’s also a handy milieu in which to create characters who are thoughtful and articulate and so can comment on political and historical events. The obvious alternative milieu would be the media i.e. TV, radio and newspapers, but this is fraught by endless stressful deadlines and so less amenable as a fictional setting for characters to ponder and pontificate; academia is the world Adichie knows best.

In this academic setting it’s immediately reminiscent of Chinua Achebe’s final novel, Anthills of the Savannah, which has a predominantly university setting and features an academic and a writer.

Developments

The novel is so long and complicated I’m not going to attempt to summarise it in prose. Maybe I’ll do a kind of timeline of the key moments (below). Just to recap, the first 150 or so pages establish all the characters I’ve listed above, and then history kicks in, with the coup, the counter-coup, the pogroms and then the outbreak of war following in quick succession.

In one way it’s like the Irwin Allen disaster movies of my youth, which used to spend the first half an hour or so introducing you to 20 or so passengers on the SS Poseidon (The Poseidon Adventure) or attending the opening party at the top of the Glass Tower (Towering Inferno) or preparing to catch flights at Lincoln International Airport (Airport). Half an hour of humdrum people going about their humdrum lives and then BAM! catastrophe strikes and the characters and the reader are swept away in an accelerating crescendo of death and disaster. Same here.

But Adichie is such a good writer that even what I’ve called the ‘humdrum’ opening scenes are worth reading. I’ve become a huge fan, I’d read anything she’s written for the pure pleasure of her smooth lucid prose style. The organisational or architectonic skill in the novel is the way she presents the impact not of one disaster, but a whole series of critical events, as the country descends from coup into civil war and then horror famine, through the eyes of all these well-established characters. This is a brilliant, brilliant novel.

Page by page summary

p.123 First coup announced on the radio

Details of pogroms i.e. systematic massacres of Igbos on pages 138, 142, 144,

Pages 146 to 148, Mohammed smuggles terrified Olanna through the riot-torn streets of Kano and gets her onto the last train out of town. It’s on this train full of injured, weeping people that the mother shows her the head of her daughter in a calabash.

p.156 First talk of an independent nation called Biafra to be led by Colonel Ojokwu.

p.162 Odenigbo and Olanna attend an independence rally on the university campus, where people wave the new flag and listen to speeches. Odenigbo gets onstage and declares: “Biafra is born! We will lead Black Africa! We will live in security! Nobody will ever again attack us! Never again!” which turns out to be the diametric opposite of the truth. The tendency of all these intellectual conversations to be hugely wrong and misleading, leading to a general feeling that intellectual analysis and opinions are worthless.

p.168 Kainene and Richard listen to Biafra’s independence being declared on the radio.

p.170 Colonel Ojukwo visits the Nsukka campus where Richard and Olanna watch him speak, a very softly-spoken man.

p.177 Ugwu hears the radio announcement that the Nigerian government will launch a ‘police action’ to return Biafra to the Nigerian Federation.

p.178 Vincent Ikenna, the university registrar, interrupts a calm domestic scene in Odenigbo’s house to warn them that ‘the Federals’ are on the edge of Nsukka and advancing, so they must grab what they can and leave right now! They flee to Abba. (‘During the height of the Nigerian Civil War in 1967, the capital of Biafra was moved to Umuahia from Enugu. Aba was a very strategic Biafran city and was heavily bombed and air raided during the civil war.’)

p.180 Richard, staying in Port Harcourt with Kainene, she tells him to move in and gets her driver to drive him to Nsukka to get his stuff (clothes, manuscript of the never-finished book) but they’re turned back at the city perimeter by soldiers, so he returns to Harcourt to hunker down for the duration.

p.185 Olanna, Baby and Odenigbo move to Abba where he has a second home

p.188 Olanna’s parents arrive, telling her they’re going to flee the country and have bribed their way to having 4 airplane tickets. Will she come with them? She says no.

p.190 Olanna is summoned to her grandfather’s community in Umunnachi to testify to what she saw in Kano i.e. the dead bodies of Mbaezi, Ifeka and Arize; how Ifeka’s sister, Dozie, refused to believe it, hysterically calling Olanna a witch.

p. 191 Refugees stream through Abba force Odenigbo to accept that he and Olanna will also have to flee, to Umuahia. Odenigbo’s mother refuses to leave. His voice sounds increasingly strained as if he’s beginning to suspect Biafra will lose.

p.197 Odenigbo, Olanna, Baby and Ugwu arrive in Umuahia to rent a shabby, rundown shack from one Professor Achara. Odenigbo takes up his job with the Manpower Directorate. Olanna tells Ugwu that it is here she and Odenigbo will get married. In this new place they make new friends such as:

  • Special Julius, a canny army contractor
  • Professor Ekwenugo, member of the science group of the Biafran army (p.198)

While the educated bicker and argue about what’s going to happen (almost always getting it wrong) Ugwu concentrates on the material actuality of the here and now and falls in lust with a neighbouring young woman, Eberechi, transfixed by her ‘perfectly rounded buttocks’ (p.199).

p.202 Odenigbo and Olanna’s wedding is interrupted by an air raid.

p.204 Radio news announcement that Biafra has lost all the territorial gains it initially made, has been pushed back to its borders, and Nigeria now considers this a war.

Part Three. The Early Sixties (pages 209 to 258)

Oddly, a flashback to the pre-war setting. The book’s in four parts 1) The Early Sixties, 2) The Late Sixties 3) The Early Sixties, 4) The Late Sixties. You’d have expected it to progress in chronological order. So why does part three jump back in time like this? The answer appears to be, in order to clarify certain key moments in the characters’ lives which the first go around missed out.

For example, I’d been puzzled why the text kept referring to Ugwu’s not liking the period leading up to Baby’s birth, when Odenigbo and Olanna’s relationship became tense and formal. I kept worrying that I’d blinked or fallen asleep late at night and missed something. Turns out that here is where we get the full story. Olanna goes off somewhere, on holiday or work, leaving Odenigbo with his mother who has brought a village girl named Amala to help her, and Ugwu watches Mama prepare his food, rub ointments into Amala’s back and begins to suspect she (Mama) is a witch preparing some spell on his Master. If so, it’s a pretty simple spell, because Mama gets Odenigbo drunk on strong palm wine and slips Amala into his room with orders to sleep with him. Why? To ruin her son’s relationship with Olanna.

It works because Amala gets pregnant, insists on having it but handing it over to Mama, who tells Olanna about it, which leads to some pretty frosty months between her and Odenigbo. So this part of the novel, part three, is where we get the full backstory.

In a similar vein, Olanna’s mother tells her about her father’s mistress and infidelities. Distraught at Odenigbo’s betrayal Olanna goes to stay with her auntie in Kano. To her dismay her auntie says she had the same problem with her husband, Uncle Mbaezi, who had numerous affairs till Ifeka threatened to ‘cut off that snake between his legs.’

Men, eh. Why can’t they keep their willies in their trousers? It should have been men who wore chastity belts. As Auntie Ikefa tells Olanna: ‘Odenigbo has done what all men do and has inserted his penis in the first hole he could find when you were away.’ (p.226)

p.227 On the plane from Kano to Nsukka Olanna sits next to a man who spouts a load of anti-Igbo slurs and propaganda, until she reveals that she’s Igbo. He has the good manners to look ashamed.

p.228 Olanna takes all her stuff out of Odenigbo’s flat and moves back into her apartment. Becomes friends with her black American neighbour Edna Whaler.

p.229 Olanna goes to consult Father Damien (so she’s a Catholic; this has barely been mentioned) who gives her the unexpected but sound advice to forgive Odenigbo, not for his sake, but to stop the anger eating away at her.

p.231 Unfortunately, Odenigbo then shows up at her apartment to explain that not only did he sleep with Amala but she is now pregnant!

p.233 In revenge and on the spur of the moment, after meeting him in a supermarket, Olanna gets Richard drunk (on ‘good white Burgundy’) and then seduces him, back at her place stripping off, touching his groin etc. Soon after having sex, Richard passes out on the floor, waking the next morning with a bad hangover.

Like Ugwu’s references to the ill feeling before Baby’s arrival, this bit of backstory explains another mysterious element in the previous two parts, namely why Richard had been nervous and twitchy around Olanna. Richard’s main concern is that Olanna will never tell Kainene about this infidelity. Men. Women. Sex. Eternal folly.

p.235 The radio news announces that Winston Churchill has died (this dates it to 24 January 1965). Richard attends a memorial service with Susan the ex-pat bigot (always referring to the locals as ‘these people’). Susan tells him she’s had a fling with the husband of her best friend. Richard reflects that all ex-pats do is sleep with each other’s partners.

p.238 Worry about his master and mistress gives Ugwu diarrhea. Mama leaves but refuses to take Amala with her. Ugwu comes across poor simple village girl Amala among his pepper plants, doggedly eating them in the hope they will trigger a miscarriage. Ugwu witnesses Olanna returning for a visit which features her yelling abuse and accusations at Odenigbo, which leads to them disappearing into the bedroom for make-up sex. But then she drives away.

p.244 Olanna goes to see Richard and tells him not to tell Kainene. But then she goes to Odenigbo’s, has sex with him again, and tells him she slept with Richard. This is borderline soap opera now.

p.245 Her American neighbour Edna knocks on the door in floods of tears and needs comforting after news that racist whites have combed a black church in the Deep South and killed four little girls.

(This is puzzling because the notorious 16th Street Baptist Church bombing in Birmingham Alabama took place on 15 September 1963 i.e. a year and a half before Churchill’s death. Conclusion: Adichie plays fast and loose with historical dates for dramatic purposes. Incidentally, I’ve mentioned this racist terrorist atrocity before in connection with the work of surpassing beauty which jazz saxophonist composed to commemorate it.)

Here, Edna’s grief at real tragedy helps Olanna put things in perspective, realising that out of the tangled sex mess she and Odenigbo have created, she must actively choose happiness and a positive path. She will move back in with Odenigbo.

p.246 Olanna has more sex with Odenigbo (she gives him a blowjob while he sits at the dining room table). They are reconciled, sort of. Odenigbo met Richard in the street and told him not to visit his house any more. Olanna phones Kainene to see if her tone and attitude towards her have changed i.e. whether Richard’s told her. Turns out, no. Everyone has secrets. Soap opera, but stylishly done.

p.247 Mama sends a message that Amala has had a baby girl. Odenigbo and Olanna drive in uneasy silence to Enugu. Amala is shamed and humiliated and takes no part in the conversations. She doesn’t want the baby. Then it emerges that Mama won’t take it, either. She wanted a boy. At which point Olanna makes the snap decision to adopt it. As soon as she does it feels right. She and Odenigbo have been trying to have a baby for years and it won’t come. Here is a gift from God. Olanna surprises Odenigbo and mama but sticks by her decision. She phones sister Kainene, who approves.

p.253 In conversation with Odenigbo, Olanna affirms that she does believe in God.

She was used to his gentle jibes about her social-service faith and she would have responded to say that she was not even sure she believed in a Christian God that could not be seen. But now, with a helpless human being lying in the cot, one so dependent on others that her very existence had to be proof of a higher goodness, things had changed. “I do believe,” she said. “I believe in a good God.” (p.253)

p.254 All this seems to be going well until Olanna’s next phone call to Kainene who angrily reveals that she knows that Olanna slept with Richard her (Kainene’s) boyfriend. Soap opera. Sex in the City.

p.255 It was Harrison, Richard’s servant, who let slip about Richard sleeping with Olanna, when Richard takes him along for a week-long stay with Kainene in Port Harcourt. Harrison didn’t know the details, just that he witnessed Odenigbo confronting Richard in the street and ranting and shouting at him (for sleeping with Olanna). When he mentions this while serving Richard and Kainene, the latter insists on knowing what it was all about, and Richard, feebly, confesses everything. Kainene is, as expected, coldly furious.

Part Four. The Late Sixties (pages 261 to 433)

Part four picks up exactly where part two left off to take us into the flashback of part three, namely with Odenigbo, Olanna, Ugwu and Baby living in a shabby shack in Umuahia, and recovering from the aftermath of the terrifying air attack on their wedding.

p.262 Baby gets a cold, Ugwu drives them to the hospital where Olanna speaks in her best English, holding herself erect like an educated lady, and thus gets seen ahead of peasant women who’ve been waiting since dawn. Power is everywhere. Dr Nwala apologises, the hospital is running out of medicine.

p.267 Olanna warns Odenigbo they are running out of money, even as all the prices in the market are galloping. She attends a relief centre along with primary teacher Mrs Muokelu, who is tough but limited and prejudiced. Baby will only eat dried egg from the centre, but they don’t always have it. Supplies are ambushed by soldiers. The queues of women desperate to feed their babies become rancorous.

The official in charge of the centre turns out to be a man whose mother Olanna comforted at an airport years ago when she, a simple country woman, was overwhelmed with anxiety in the arrivals lounge. Olanna held her hand till her grown-up son arrived. Now this son, Okoromadu, recognises her and slips her items of food.

p.272 When Okoromadu slips Olanna a tin of corned beef, soldiers see it and, on her walk home, surround and mug her, just for one tin. Starvation is coming.

More and more air raids. Olanna gets sick of grabbing Baby and running for the shelter. They say the Nigerians keep up the bombing to impress Harold Wilson into giving more war aid. The school where Olanna has been teaching, Akwakuma Primary School, takes a direct hit, though empty so almost no casualties.

p.285 Master and Special Julius say their forces will rebound and make ‘the vandals’, as they call the Nigerians or Federalists, pay. Professor Ekwenugu assures them his team are on the verge of creating a special Biafran superweapon. The primary school is turned into a refugee camp.

p.286 Professor Ezeka, a supercilious visitor in the old days in Nsukka has been made Director of Mobilisation, is driven around in a shiny Mercedes and has put on weight, looking sleek and well fed among the starving refugees.

p.287 Ugwu helps a mixed bunch of refugees repair the roof of the school, listening to their stories but mostly lusting after Eberechi.

Ugwu joins Olanna in giving lessons to the younger child refugees. He is immensely proud and copies Olanna’s bearing and pronunciation. These are clearly all steps from being a peasant houseboy to becoming an educated writer…

p.295 They all hear on the radio that Tanzania is the first country to recognise Biafra, which dates this moment to 13 April 1968.

p.300 News arrives that Odenigbo’s mother is dead, shot by the invaders in her town of Abba, which she refused to leave. Olanna is in tears but Odenigbo retreats inside himself, then insists he has to bury her himself and drives off towards enemy territory, leaving them all distraught.

p.304 Major Madu recruits Richard to write propaganda to be distributed to outlets abroad. They’ll believe him because he is white. Richard’s staying in Port Harcourt, at Kainene’s apartment, and is anxious about rumours that the Port is about to fall.

p.309 Richard visits Uli airstrip, Biafra’s surviving outlet to the world, to write a piece, and bumps into the remarkable Count von Rosen, who is flying bombing missions for Biafra.

p.315 Port Harcourt is attacked. Artillery shells blow out the windows in Kainene’s apartment. Their servants pack and hurry down to the car. Kainene’s steward Ikejide is decapitated by shrapnel. they hurriedly bury him, throw their bags in the back and drive out of the Port till they reach Orlu.

In Orlu Kainene throws herself into refugee work, helping with education and health, setting up workshops, ensuring regular visits from a doctor. The incident of the pregnant woman who spits in Dr Inyang’s face because she isn’t an Igbo i.e. is one of the minority ethnic groups.

Mama’s death breaks Odenigbo. He used to force himself to be optimistic. Now he’s given in. He leaves early for work and comes home late via the tavern where he gets drunk.

p.322 Their friend the former poet Okeoma comes to pay his respects. Back in peacetime he was a budding poet and ‘voice of his generation’. Now he is a hardened soldier who no longer writes poems.

p.325 The landlord kicks Odenigbo, Olanna and Ugwu out of the shack they’ve been living in so they’re forced to move to one room in a tenement with a bathroom and kitchen shared with eight other families. No electricity. They have to use kerosene lamps for light. New neighbours bad-tempered Mama Oji and desperate mother of a girl Baby likes playing with, Adanna.

Father Ambrose who makes a lot of noise with his open-air preaching but who everyone knows he is pretending to be a pastor to avoid the army.

p.328 Olanna meets Alice who plays the piano in her secret flat, is obviously educated, but avoids Olanna or anyone else. In Umahia she was tricked into having a relationship and then a baby by an army officer who it turned out, was married.

p.332 Odenigbo doggedly tells the other men in the block that they need to build a shelter and gets going with Ugwu, the others joining in. But in the evenings he is tired and unresponsive to Olanna’s kisses or caresses. He’s lost weight. He’s becoming a shell.

The children, namely Baby’s friend Adanna, start to get kwashiorkor, a form of malnutrition, widely called Harold Wilson’s disease. Olanna is amazed to receive a food package from Professor Ezeka. She gives some to Adanna’s mother.

Kainene pays a visit, coming from her base at Orlu. She’s brought a letter from their mother, now safely in England. She describes seeing her steward decapitated by shrapnel, obviously in shock. Brings her and Olanna closer.

Olanna pays Kainene a visit in Orlu in return. Harrison bows. All these people have servants. Kainene takes her to the refugee centre, introduces her to Father Marcel, shows her round (p.347). For the first time Olanna sees rooms full of dying people, women and babies with no fat, barely any flesh on their bodies, just skin and bone and huge vacant eyes.

p.350 Bored, Ugwu leaves the compound during the day and is promptly press-ganged by soldiers exactly as Olanna warned him countless times, and is tied by the wrists into a chain gang which is just being marched off when Olanna comes running up and bribes one of the soldiers to release him. Her fury knows no limit.

p.354 Ugwu suspects Master is having an affair with slight, secretive Alice. In fact, Odenigbo tells him that Professor Ekwenugo has been blown up along with some landmines he was delivering in a lorry. Ugwu is so upset he runs to the house of Eberechi, a girl his age with lovely round buttocks. They had argued when he saw her flirting with a soldier. Now, months later, all that seems trivial and she holds his hand while she cries.

One by one the central characters’ illusions and optimism are being crushed.

p.356 Ugwu and Eberechi have become an item, hanging out, holding hands. It’s returning from walking Eberechi home that Ugwu is caught by soldiers a second time, press-ganged and taken off to a miserable barracks along with other crying teenagers.

He finds an old copy of ‘Narrative of the Life of Frederick Douglass, An American Slave: Written by Himself’ and starts scribbling a diary on the blank bits of the pages.

Ugwu meets fellow boy sldier High-Tech, barely 13 (p.363) but an old hand in the army, a fixer, someone who always snaffles extra rations, knows the sneaks and dodges. The name derives from his ability to slip ahead of the lines and reconnoitre territory which led one of his commanders to describe him as more useful than ‘any high-technology spying gadget’ (p.358).

Compare and contrast Adichie’s descriptions of these boy soldiers with the child soldiers in The Night Wanderers: Uganda’s Children and the Lord’s Resistance Army by Wojchiec Jagielski or Moses, Citizen and Me by Delia Jarrett-Macauley. Odenigbo, like the protagonists of Chinua Achebe’s 1960s novels, thought independence would bring pan-African unity, peace and prosperity. Instead it brought civil war, poverty and child soldiers murdering their own families.

p.361 We see Ugwu in action, in a trench at night waiting for the Nigerians soldiers to creep forward and detonating a mine which kills a clump of them whose boots and ammo they then loot. Ugwu becomes a star in his barracks, nicknamed ‘Target Destroyer’.

One night he and older soldiers commandeer a family’s car to drive to a bar. The soldiers show the same amoral violence and lack of respect as all African soldiers show in these stories and all the histories of Africa I’ve read. As the boy soldier in David Van Reybrouck’s Congo: the epic history of a people puts it: ‘When you’re a soldier, women are free. Everything is free.’ That is the vast, unquenchable appeal of picking up a gun and joining a militia.

So the soldiers beat the man unconscious, steal his car, drive to the nearest bar, drink heavily and then gang rape the barmaid. Why not, they have guns, who is going to interfere? They taunt Ugwu into joining them and he does, briskly and effectively fucking the girl as the others hold her down. African unity. Black consciousness. Negritude etc. Empty words.

Ugwu’s battlefront experiences become a blur of mud, explosions, bullets, the sight of men dying in a hundred different ways.

p.366 They hear on the radio that Umuahia, Biafra’s capital, has fallen, dating this to 22 April 1969.

p.367 In their next operation a mortar lands in his trench, mangling the captain next to Ugwu and sending him flying as he passes out. Is he dead?

p.368 Cut to Richard in his role as Biafra press person meeting two American journalists at the airport and driving them into town. They smell really bad but they’ve also brought their sensationalist racist views. They bridle at the starving children but are full of excuses and explanations such as there need be no starvation of Biafran leader Ojukwu agreed to open an aid corridor. That remark momentarily reminded me of the talk about trying to open corridors for humanitarian aid into Gaza, now, February 2024, almost 60 years after the Biafra war. The fundamentals of war never change.

p.372 Richard drives the American journalists to the airport at Uli to catch a night flight out. It is bombed to the journalists’ amazement. Biafran trucks bring gravel for workers to fill in the craters, and three relief planes land, and are hurriedly unloaded.

p.374 We are finally told that ‘The World Was Silent When We Died’ is the title of the book which Richard will write about the war, a fact repeated on page 396.

The impact on Olanna of Ugwu’s disappearance i.e. she’s distraught, Baby is upset. Kainene writes to say Major Madu has written to all commands to look out for and release Ugwu. Mam Oji warns Olanna that pretty little Alice sits with Odenigbo whenever Olanna is absent. Rumours abound. Everybody is blaming saboteurs. Odenigbo returns from the bar drunk on gin which deadens his mind.

p.381 Kainene arrives to tell her that Ugwu is dead. Major Madu had it from his commander whose forces suffered a massive attack and wipeout. Olanna is distraught, moves in a daze, is suddenly furious with Odenigbo’s descent into a drunken stupor.

p.383 A man arrives with a message for Alice that her entire extended family has been wiped out along with the entire population of Asaba, massacred by Nigerian soldiers.

p.385 Suddenly there is artillery fire on the edge of Umuahia, and everyone panics, packs their bags and flees. Odenigbo struggles to start the car they’ve kept all this time and they are some of the last people to drive out of the town, heading north to stay with Kainene.

Very tense reunion scene and then dinner, because Odenigbo hasn’t forgiven Richard for sleeping with Olanna and Kainene hasn’t forgiven Olanna for sleeping with Richard etc. When the men have gone to bed, Olanna bursts into tears, telling Kainene she hates this war and what it’s done to her husband. Kainene comforts her.

Time passes. Hunger at the camp Kainene runs grows worse. Olanna tries to teach the children but they’re too weak to pay attention, Babies with swollen bellies, woman covered in bites and sores. Two or three die every day and are buried in shallow graves.

p.391 News arrives that ‘the voice of a generation’, Okeoma, has been killed. Olanna screams and screams as the whole world seems to be snapping. That night she and Odenigbo make love, both of them crying.

p.393 Back to Ugwu who is, as I suspected, not dead at all. But he is in agony as soldiers carry him over their shoulders back to the hospital, which is overwhelmed with the wounded and dying. After days of pain and painkiller dreams he realises the priest from the old days back in Nsukka is talking to him and then, days later, Richard is there.

This is all nicely done. Instead of the news that Ugwu is alive coming to Odenigba and Olanna with their predictable reactions, we see everything entirely through his eyes, as he is lifted out of the dirty hospital bed, and into Richard’s car and driven to Olu, to be made much of by Master and Olanna and Baby, all hugging and kissing him. They share the best of their food and nurture Ugwu back to health, but he is a man now, blooded, and keeps aloof.

It is now that Ugwu starts to write compulsively, covering every scrap of paper he can find with everything he can remember. Maybe the much-referenced book, ‘The World Was Silent When We Died’ is by him after all. Its precise authorship becomes a narrative puzzle and tug, pulling us on through the last 30 or so pages of the text.

Kainene announces she is going to cross the front line to barter with Nigerian peasant women. Everyone’s doing it. At the same time Richard will go to Ahiara to beg for food from relief headquarters. They witness the camp women beating a man on the ground. it is an 18-year-old soldier who stole half grown crops from their fields. Total starvation.

Kainene doesn’t return the next day, as day traders ought to, or the next day or the next. Richard alternates between despair and panic. Olanna takes control. But they are all terrified. The days drag into weeks. In the middle of this, Ojukwu makes a radio broadcast announcing he is going abroad to seek peace. Cynics say he is jumping ship and abandoning Biafra.

p.411 A few days later the radio announces that the war is over, 15 January 1970. And very quickly it is. Hostilities cease and charities can immediately enter Biafra with emergency food supplies. It takes a few days for the roads to officially open and then Richard drives off to search for Kainene and Odenigbo, Olanna, Baby and Ugwu set off back to Abba (where Odenigbo kneels beside his mother’s shallow grave) and then on to Nsukka.

p.416 They are stopped at a roadblock where the bully Nigerian officer insults them for driving with Biafra number plates. He forces them to get out of the car and then orders them to join a gang of labourers carrying planks and cement over to a half-ruined house. When Odenigbo demurs, the officer slaps him hard in the face, and then a second time, so that Olanna intervenes and says they’ll do it and they spend half an hour labouring. In that time they watch him stop another car with Biafran plates, haul the driver out, rip off his glasses, force him to the floor and then viciously cane him on the back and buttocks.

This, rather than all the guff about African nationalism and pan-Africanism and Black Consciousness and Black Pride spouted by Odenigbo and Kwame Nkrumah and countless other intellectuals, was to be the symbol of independent African nations, a furious soldier thrashing a helpless civilian at a roadblock, repeated in countries across the continent to this day. The climax of Achebe’s last novel, Anthills of the Savannah, is the book’s clever, articulate, intellectual protagonist being shot dead at point-blank range by a drunken soldier.

p.418 They arrive back on the campus at Nsukka to find their lovely house long ago ransacked then abandoned to the harmattan dust and the wild grass. Soldiers had carefully defecated in every room (as they do in William Boyd’s description of a war-ransacked home in An Ice-Cream War, as they do in the vandalised house left abandoned for a while by David Lurie in J.M. Coetzee’s novel, Disgrace – it is the standard vandal calling card).

Ugwu goes to visit his family. His mother died of illness during the war. His sister was gang raped and beaten. The pretty girl in the village he fantasised about has had a baby by a Hausa soldier. Everything has changed.

One day they are having dinner when soldiers burst in, force them to lie face down on the floor, search the house, threaten them with guns, then eat the still-hot dinner, belching, before leaving with some final threats. The wanton behaviour of security forces in any totalitarian state.

Richard drives to Kainene’s old house in Port Harcourt. it has a new owner who threatens to set her dog on him. He drives across to Lagos to visit Kainene’s mother and father who are back from London, who have had to spend all their money buying their old house back. Major Madu is there. Suddenly, after a civilised lunch, Richard is seized with longing to know whether Madu slept with Kainene. When he refuses to answer, Richard feebly slaps his face at which Madu, the soldier, punches Richard straight in the face, knocking him to the ground.

Food parcels arrive from abroad. Baby recovers her natural colour and hair. They’ve lost all their money and have to start anew. They search every hospital and mortuary, they put out ads and posters, they consult a witch doctor. But Kainene never returns.

The Book: The World Was Silent When We Died

Eight little bits of text tacked onto the end of some of the chapters, these amount to key moments from Nigeria’s history. At first I thought they were written by Ugwu. Then Richard came up with the title and claimed to be writing it. But, characteristically, he failed to write a word whereas Ugwu was seized with unquenchable urge to write, and so it is Ugwu’s book after all.

1. As prologue to Ugwu’s book the story of the woman fleeing Kano bearing a beautifully carved calabash bowl which contains the head of her lovely daughter, beheaded by northern killers (p.82). This incident is described in more detail on page 149 where it is Olanna sitting next to her on a train fleeing the killers, who shows what is in her bowl. The trauma leads Olanna to suffer psychosomatic illness and, for a while, not be able to walk. (And then Ugwu, after all his traumas, and entering his non-stop writing phase, gets her to relive and describe it in as much detail as she can, page 410.)

2. British soldier-merchant Taubman Goldie and his role in creation of a north and south Nigerian protectorate. The British preferred Northerners who practiced Islam and obeyed emirs and sheiks the British found easy to control and tax, compared to Yoruba or Igbo in the south, who lived in more fragmented communities and were harder to manage. (p.115)

3. How the constitutional arrangements at independence favoured the North, how the South didn’t think it mattered because soon everyone would have white jobs and wealth, how ‘At Independence in 1960, Nigeria was a collection of fragments held in a fragile clasp.’ (p.155)

4. Nigeria at independence didn’t have an ‘economy’, it had a bundle of raw materials and resources which the British exploited. Nigerian politicians had to create an interlocking economy from scratch and dismally failed for all kinds of reasons, including utopian fantasies, incompetence and corruption. (p.204)

5. How Nigeria used starvation as a weapon, making it an international issue, galvanising aid charities,  becoming an issue in the US presidential election, a warning parents in the western world used to cajole their recalcitrant children into finishing their meals (as my mum did to me). (p.237)

6. He blames Britain for inspiring a conspiracy of silence over Biafra and briefly lists the attitudes of the other powers i.e. France, America, Russia and China. But this claim, like the whole title of Ugwu’s book, seems clearly wrong. Far from being hushed up, Biafra dominated the headlines for two and a half years. There were widespread protests around the western world. Harold Wilson’s government was routinely denounced. Journalists like Frederick Forsyth and Don McCullin kept pictures of Biafra on newspaper and magazine front pages throughout the war. It became a leading issue in the US presidential election. This worldwide media blizzard was so much the exact opposite of ‘The World Was Silent When We Died’ that the naming of these sections is genuinely incomprehensible. The world was yelling its head off about Biafra! (p.258)

7. He writes a poem to serve as epilogue to his book (p.375).

8. Ugwu writes the dedication of his book last. For Master, my good man.

Last thoughts

I’ve read in several summaries that the novel opens and closes with Ugwu, which is sort of true, but the first word is Master and the almost last word is Master. So it opens and closes with Ugwu in relation to his master and you can interpret that as you please, as an image of servitude or of loyalty, of subjugation or apprenticeship. The novel has shown us how long and complex their relationship has been.

The loss of Kainene right at the very end leaves a note of desolation and loss appropriate in a novel about a devastating war. Yet in other ways I wasn’t sure it was devastating enough. There’s something floaty, calm and mellifluous about Adichie’s attitude and prose style and I wondered whether, in the end, her buoyancy, the supreme confidence of her style, doesn’t at some subtle level militate against all the horrors she describes.

Lastly, there is somehow not enough about the famine. There is one scene where Richard takes the American journalists to see starving babies, and also moments when Olanna and Kainene see the starving mothers and children in the camp Kainene runs. And we are told that the household of Odeigbo, Olanna, Baby and Ugwu run very low on food. And yet, as I said above, you never really feel this. Adichie’s style is never harrowed. Her style always feels well fed.

Lots of other books about wars or famines, about the Holocaust or the Rwanda genocide, have left me feeling gutted and traumatised. This book, although it does give descriptions which ought to be upsetting, just didn’t leave me feeling like that, didn’t leave me feeling grief stricken enough.

And something similar for the final collapse of the Biafran cause. It occurs as part of the day-to-day flow of events, and then the characters are on to the next worry, driving home, cleaning up their derelict houses, visiting family and so on. Nowhere is there a really powerful description of what it felt like to have lost, to be the losers in a harrowing traumatic conflict. Maybe there should have been a postscript describing the characters’ afterlives, somehow conveying the long-term psychological impact of having ventured all on a great political movement and being completely crushed.


Credit

Half of a Yellow Sun by Chimamanda by Chimamanda Ngozi Adichie was published by 4th Estate Book 2006. References are to the 2007 Harper Perennial paperback edition.

Related links

Surprisingly for a contemporary novel, the entire text is available online:

Related reviews

  • The Outsider: My Life in Intrigue by Frederick Forsyth (2015) contains a chapter describing Forsyth’s journalistic coverage of the Biafran War; intriguingly, in an interview Adichie revealed that the idea of the Richard Churchill character was inspired by Forsyth, not the details of his personality but just the idea of a white man who becomes a fierce defender of Biafra, as Forsyth did
  • Africa reviews

Purple Hibiscus by Chimamanda Ngozi Adichie (2003)

This is a staggeringly good novel. It is a vividly imagined, adult, clearly written, extraordinarily powerful, tremendously moving but – be warned! – deeply harrowing read.

Kambili Achike

Purple Hibiscus is narrated by Kambili Achike (with the emphasis on the first syllable, KAMbili). She is the chronically shy, sensitive 15-year-old daughter of a father who is a tyrannical wife beater, control freak, Catholic zealot and bully, a terrifying domestic tyrant named Eugene Achike (we only learn the family surname on page 48).

The book immerses us straightaway into a household admired for its cleanliness and godliness by the Eugene’s colleagues at the factories he owns and the newspaper he’s proprietor of (the Standard) – and by his co-religionists at the Church of Saint Agnes (not least Father Benedict, who lets him be senior celebrant and singles him out for mention in virtually every sermon). Everyone looks up to the public man, employer, philanthropist and pillar of the church.

But behind closed doors, Papa runs every detail of his household with obsessive strictness, timetabling every minute of his children’s, wife’s and servants’ time, expecting strict adherence to precise daily routines such as the 20-minute-long grace before meals, the prayers after meals, and a whole lot more.

Anybody who infringes any of the household’s countless regulations incurs, first the frosty silence of the father, then the ominously soft voice, and then the sudden outburst of violence, slappings, beatings and whippings. The result is that Kambili grows up in an atmosphere of strained tension you can cut like a knife and which Adichie depicts with asphyxiating power.

Silence hung over the table like the blue-black clouds in the middle of rainy season. (p.32)

She sat still for a long, tense moment, as still as Papa was, as still as we all were. (p.98)

For her entire young life Kambili has watched her mother, Beatrice, small and slight and totally cowed, quietly obey the master, gently limping around. Quite regularly he gives her a black eye, leaving it ‘the black-purple shade of an overripe avocado’ (p.190). From time to time her husband, much bigger and stronger than her, beats her unconscious. Then the two children know without needing to be told that it is their job to fetch cloths and water and clean up any bloodstains left on the bedroom or hall.

To say that Kambili and her brother, Jaja (that’s his nickname, his real name’s Chukwuka, p.143), are continually walk on eggshells is an radical understatement. Every memory, scene and dialogue is fraught with menace which grips the reader by the throat.

Love-fear

What gives the novel its twisted power is the way Kambili is both terrified of, but also absolutely in love with, her terrifying father. She wants to make her Papa proud, she wants it to be her who comes up with just the right religious reference, or pious platitude (‘I wished I had thought to say that’), and so earns the tyrant’s momentary ‘love.’ Desperate for his approval.

I wanted to make Papa proud, to do as well as he’d done. I needed him to touch the back of my neck and tell me that I was fulfilling God’s purpose. I needed him to hug me close and say that to whom much is given, much is also expected. I needed him to smile at me, in that way that lit up his face, that warmed something inside me. (p.39)

When Papa hands her the cup of tea Mama has just made for him, so Kambili can take a love sip, she does so even though the hot tea burns her tongue.

I held it with both hands, took a sip of the Lipton tea with sugar and milk, and placed it back on the saucer. ‘Thank you, Papa,’ I said, feeling the love burn my tongue.

So there is a very powerful conflict, not so much love-hate because she never hates her father; she reveres him. It’s more a case of love-fear. Fearful adoration. Here’s the adoration:

It sounded important, the way he said it, but then most of what Papa said sounded important. He liked to lean back and look upwards when he talked, as though he were searching for something in the air. I would focus on his lips, the movement, and sometimes I forgot myself, sometimes I wanted to stay like that forever, listening to his voice, to the important things he said.

And here’s the fear:

He knew. I wanted to shift and rearrange myself on the bed, as if that would hide what I had just done. I wanted to search his eyes to know what he knew, how he had found out about the painting. But I did not, could not. Fear. I was familiar with fear, yet each time I felt it, it was never the same as the other times, as though it came in different flavours and colours. (p.196)

Maybe as a result of the oppressive atmosphere Kambili reveals, from time to time, that she has a nervous stutter.

  • I stopped to take a breath because I knew I would stutter even more if I didn’t.
  • I looked away and inhaled deeply so that I would not start to stutter. (p.72)
  • I went over to join them, starting to pace my breathing so that I would not stutter. (p.141)
  • I took a deep breath and prayed I would not stutter. (p.239)

And she gives a description of what a stutter feels like:

How did Jaja do it? How could he speak so easily? Didn’t he have the same bubbles of air in his throat, keeping the words back, letting out only a stutter at best? (p.145)

The bond with her brother and fellow victim, Jaja, runs very deep:

It was only when I was alone with Jaja that the bubbles in my throat let my words come out. (p.155)

And gives a name to the way she and her brother communicate through looks, too terrified to verbalise anything in front of their father, or even if he’s not in the room in case he’s hovering nearby. She calls it their ‘eye language’ (p.108) which is later called, in Igbo, an asusu anya (p.305).

And it’s only puzzled feedback from her cousin Amaka that makes her realise that she whispers. She has been brought up so that everything she says, she says in a whisper (p.117).

Examples of Papa’s brutal corporal punishment

One day Kambili is late getting to the schoolgate at the end of the day. When the driver tells her father, he slaps her on both cheeks at the same time, leaving marks on her cheeks and a ringing in her ears which last for days (p.51). She is familiar with the sound her father’s hand makes slapping Jaja’s face, ‘like a heavy book falling from a library shelf in school. And then he would reach across and slap me on the face with the casualness of reaching for the pepper shaker’ (p.69).

When Eugene comes across Kambili eating a little cereal to accompany taking Panadol for stomach cramps of her period, just ten minutes before they are due to attend morning Mass, he undoes his belt and whips not only Kambili but his wife and son for aiding her sin. (p.102)

We learn that when he was ten, Jaja missed two answers in his catechism test and so, when he got home, Papa took him up to his room and deliberately broke the little finger of his left hand (p.145).

When they were small, Papa made them go and choose the stick which he would then beat them with (p.193).

Bastards can be heroes, too

This is compounded by another fairly straightforward duality, which is that her father is, in fact, in public, a brave man. ‘Brave’ because the main narrative gets going just as there is a military coup in Nigeria and Eugene, wealthy from his business interests, also owns what is made out to be more or less the only independent newspaper in Nigeria, the Standard.

The point being that when representatives of the new regime come calling and offer Eugene bribes to come over to their side, he sends them packing. When the editor of the Standard is abducted and held prisoner by the army for a week, undergoing torture, Eugene works behind the scenes to get him released and reinstated, and gives the editor his full support to carry on printing critical articles and exposés of the new rulers.

In other words, he is a genuinely brave and principled man; a man whose devout Catholic faith means that he genuinely believes in God’s Law and an afterlife and so has the courage and convictions to stand up to the military rulers he despises. And his stand offers succour to millions of others who disapprove of the regime. He is, actually, a brave and principled man. And a domestic tyrant.

Advantages of a child narrator

Solving the puzzle

A child overhears things in a house which it doesn’t understand. The adult reader enjoys the pleasure of piecing together what’s happening from the fragments the child observes.

Irony

This is connected to irony, specifically the occasions when the child narrator is still puzzled but the adult knows what’s going on, so the text has two levels of awareness running in parallel.

Wealth and poverty

There’s a sort of irony, or two levels, working in the way that Kambini doesn’t realise how wealthy and privileged she is. How could she? Kambini has been raised in a very wealthy family, her father the owner of numerous factories and a newspaper. They live in a gated compound with servants including a cook (Sisi), a driver (Kevin), a gatekeeper (Adamu) and a gardener. She goes to a very expensive (Catholic) private school (Daughters of the Immaculate Heart) where she is teased by the other girls for being so quiet and meek.

It’s probably not irony at all, I just mean the way we are from time to time reminded that the entire psychodrama of the novel is happening in an extremely wealthy, gated, privileged environment, completely cut off from the everyday realities of Nigerian life as lived by 99% of the population – as on the occasion early in the novel where she goes with her mother to the Enugu market, and a lot later, when Father Amadi takes her to Nsukka market to have her cornrows done.

Innocence

The way the story is narrated by a child can be very moving because the child’s innocence and sweetness keeps breaking through despite the terrible domestic environment she inhabits.

An example is the way that Kambini is rarely allowed out on her own but when she and her mother go shopping to the city’s market, she is always moved by the extreme poverty she sees there. A mad woman is rolling in the mud, her wrap undone to reveal her white underwear, and Kambini has a pure, fairy tale desire to run over and tie up her wrap and wash her muddy face and save her (p.44). She wants to save herself.

Clarity of observation

And the child narrator just notices things, dwells on details which an adult would be in too much of a hurry to observe or would overcharge with meaning.

Mama gave me the Panadol tablets, still in the silver-colored foil, which crinkled as I opened it. (p.101)

This is one of the basic functions of having a child narrator, to achieve a certain artlessness in the narrative style. I noticed how many times the text has sentences starting ‘I watched’, indicating Kambili’s role as acute but naive observer:

I watched Mama as we walked. Till then I had not noticed how drawn she looked. Her skin, usually the smooth brown of groundnut paste, looked like the liquid had been sucked out of it, ashen, like the colour of cracked harmattan soil.

I watched the sisters as we sang. Only the Nigerian Reverend Sisters sang, teeth flashing against their dark skins. The white Reverend Sisters stood with arms folded, or lightly touching the glass rosary beads that dangled at their waists, carefully watching to see that every student’s lips moved.

I watched Mama walk toward the kitchen, in her limping gait. Her braided hair was piled into a net that tapered to a golf-ball-like lump at the end, like a Father Christmas hat. She looked tired.

I watched their lips move as they spoke; Mama’s bare lips were pale compared to Aunty Ifeoma’s, covered in a shiny bronze lipstick. (p.74)

The Achebe influence

Quoting Chinua

The very first sentence contains a reference to the father of Nigerian literature, Chinua Achebe:

Things started to fall apart at home when my brother, Jaja, did not go to communion and my father flung his heavy missal across the room and broke the figurines on the étagère. (Opening sentence, p.3)

The reference being to Achebe’s first and most famous novel, which was titled ‘Things Fall Apart’. In the back of this paperback edition of the novel the publishers have included a profile of Adichie in which she mentions that, when just starting out as a writer, she sent some work to Achebe for his consideration and was amazed and heartened when he bothered to not only reply, but give her heartfelt encouragement.

Living in Chinua’s house

In fact Adichie’s Wikipedia page tells us that, when she was small, Adichie lived in a house on the campus of the University of Nigeria which had previously been occupied by Achebe. From her earliest years she had a kind of physical as well as literary attachment to him.

Obviously the 1990s setting is very unlike the setting of Achebe’s classic novels of Igbo tribal life (Things Fall Apart), or of the years just around independence in the 1960s (A Man of the People). Another obvious difference is that it’s about a schoolgirl not a young man, as most of Achebe’s fictions are.

Useless fathers, angry sons

But more than one scene reminded me very strongly of Achebe’s works. There’s an extended scene where the tyrant father Eugene berates Kambili for not working hard enough, upset that she only came second in her class at school. He proceeds to lecture her about how he had none of her advantages, nobody paid for his schooling, he had to walk 8 miles to school his father, Papa-Nnuku, was a pagan who worshipped fetishes and mocked his son’s Christian faith.

All this reminded me of the central figure of Things Fall Apart, Okonkwo, who also worked his way up to eminence despite being the son of a poor, useless father. Okonkwo, like Eugene, then projected the strict self-discipline which had got him to his place of eminence onto his family, in the form of ferocious bursts of bad temper and the routine beating and whipping of his numerous wives and children.

So both Achebe and Adichie’s novels are about the incandescent anger and domestic violence of a fundamentally angry self-made man, operating on a very tight spring.

Revisiting the ancestral village

A bit later, Eugene takes his family from the city back to the village of his father, where he grew up. Here Eugene, typically, has a grand house and is greeted as a benefactor and patron. But when Kamibili and Jaja visit their grandfather, he is still living in a much more basic hut, still eats yam, still worships the old gods, still speaks in proverbs.

In other words, this grandfather comes over very strongly indeed like a figure from one of Achebe’s tribal-period novels. The whole idea of going back from the metropolitan city to visit parents living in the old way in the old village is also a recurring scene in Achebe’s novels set in contemporary Nigeria, No Longer At Ease and A Man of The People.

Folk stories

Similarly, when he comes to stay with Aunty Ifeola, old Papa-Nnukwu tells old folk stories which have exactly the same flavour as the folk stories which litter Achebe’s novels (pages 157 to 161).

Proverbs

Even small details echo, for example Eugene has an old man thrown out of his compound because he is an infidel, as he’s being bundled out the oldster calls out imprecations and proverbs. One, ‘You are like a fly blindly following a corpse into the grave,’ appears in at least one Achebe novel, Arrow of God (where it takes the form: ‘The fly that has no one to advise him follows the corpse into the ground.’)

Titles

Anthills of the Savannah takes its name from a natural phenomenon, that disastrous fires sometimes sweep across the savannah, destroying all the vegetation but leaving the anthills as striking survivors. Whimsically, Achebe’s character sees them as repositories of history which survive a disastrous fire in order to tell succeeding generations about life in the former times. It is implied that books are like this, novels like Achebe’s, their purpose to survive in the fierce times of Nigeria’s military dictatorship, to preserve history and stories for later generations.

Well, Adichie’s title is also taken from a natural phenomenon which is made to be heavily symbolic. Among her other talents Aunty Ifeoma is a gardener and, being at a university, has gotten friendly botanists to do a bit of experimental horticulture, coming up with new varieties for her, among which are a new strain of purple hibiscus, and this, like Achebe’s anthills, is then laden with symbolic meaning.

Jaja’s defiance seemed to me now like Aunty Ifeoma’s experimental purple hibiscus: rare, fragrant with the undertones of freedom, a different kind of freedom from the one the crowds waving green leaves chanted at Government Square after the coup. A freedom to be, to do.

Plot overview

The text is divided into four parts. Chronologically the central event in the story is the big blow-up on Palm Sunday when the teenage son Jaja abruptly rebelled against his father, breaking all the rules and refusing to go to Church, and on Palm Sunday of all days!

This prompts his father to white-hot rage in which he throws his missal (‘a book containing the texts used in the Catholic Mass throughout the year’) across the living room and demolishes a fragile étagère (‘a set of open shelves for displaying small objects’) on which had been displayed a collection of delicate porcelain miniatures of dancers. These small, delicate objects are precious possessions of the frail wife and mother, Beatrice, so when they’re smashed to pieces by Eugene’s rage, it feels heavily symbolic.

Anyway, in a tried and tested narrative tactic, the brief (14 pages) description of this climactic event is repositioned from the middle of the series of events covered by the narrative, to the beginning of the text in order to provide a dramatic opening scene.

Then, as in a million movies, we flashback in time to understand the context and build-up to the event, in the longest, central, part of the book (235 pages).

Then, having described the climactic event in the history of this horrible family, and provided a detailed background and build-up to it, the final two parts are much shorter: 1) showing the immediate consequences of Jaja’s rebellion (35 pages), with 2) a brief epilogue looking back at it all from the present day (13 pages).

Part 1. Breaking Gods: Palm Sunday (14 pages)

As mentioned, this is the description of the teenage son, Jaja, refusing to go to the Palm Sunday service and his enraged father, Eugene, throwing his missal across the room and shattering his wife’s collection of delicate figurines.

Part 2. Speaking with our Spirits: Before Palm Sunday (235 pages)

Background on the family. We learn that Eugene has an agèd father, Papa-Nnukwu (aged 80, p.82), living in a place called Abba Town. But because he is not a Christian and remains faithful to the old gods, Eugene allows Jaja and Kambili to visit the broken-down old man in his traditional mud-and-thatch-enclosed (p.81) compound for precisely 15 minutes and forbids them to sully their Christian tongues with pagan food or drink.

By contrast Eugene liked his wife, Beatrice’s, father, who died five years ago, because he was a Christian, in fact one of the first to convert under the guidance of the early white missionaries.

But this central section is dominated by Eugene’s sister, Aunty Ifeoma. She is an immense relief to the reader because she is the opposite of her brother: she is fun and carefree and unaffected by religious bigotry and her brother’s insane obsession with discipline and control.

Her whisper was like her – tall, exuberant, fearless, loud, larger than life. (p.95)

She’s a lecturer at the university who wears bright clothes and make-up, laughs and jokes unaffectedly and is a thrilling breath of fresh air whenever she visits the terrified Achike household.

I watched every movement she made; I could not tear my ears away. It was the fearlessness about her, about the way she gestured as she spoke, the way she smiled to show that wide gap. (p.76)

It is only on page 79 that we learn the rather staggering fact that the narrator, Kambili, is 15 years old. The impression everything gave up to that point was of someone much younger, 11 or 12.

Aunty Ifeoma is a widow. Her husband, Ifediora, was killed in a car crash. She has three children, Kambili’s cousins, Amaka (a girl, 15), Obiora (boy, 14), Chima (boy, 7). They all laugh and talk in a free, unconstrained way which Kambili can only wonder at.

Lots more detail on Eugene’s repressive regime: although they have satellite TV the children are never allowed to watch it. They have a record player/stereo but never ever use it. She doesn’t own any trousers as Eugene considers women who wear trousers to be ungodly.

Christmas celebrations which, for Eugene’s family, mean a welter of Masses, penances, confessions and so on. The key event is that Aunty Ifeoma comes to stay and brings a thrilling air of freedom. And then invites Kambili and Jaja to come and stay with her at her home at the university where she teaches, to get to know their cousins. And not just a day visit, but come for a week, some of which they’ll spend on an outing to a village where there’s allegedly been a religious apparition of the Virgin Mary, Aokpe.

Papa very grudgingly allows this visit. It is the first time 15-year-old Kambini has stayed a night away from home in her entire life.

Ifeoma’s flat is in a block. It has low ceilings and concrete floors rather than the high ceilings and marble (!) tiled floors of Eugene’s house. BUT it is liberty, freedom. During these crucial five days Kambili is introduced to an entire new world of freedom and happiness and laughter.

I had felt as if I were not there, that I was just observing a table where you could say anything at any time to anyone, where the air was free for you to breathe as you wished. (p.120)

Not only is Ifeoma’s apartment shabby but everything about the university, and indeed the country, comes over as rundown. There’s a petrol shortage so she can’t run her car. The running water is cut off. The electricity keeps cutting out. The doctors are on strike. And so on. All of this is obviously an eye-opening contrast with Kambili’s household where everything works and there is food galore.

In the relaxed if poor and shabby Ifeoma household Jaja flourishes. Within days he appears to have grown into a confident young man, bigger, broader in the shoulders, offering to do chores like wash the car, relishing the freedom of conversation and laughter.

Kambili struggles much more. She observes the freedom and laughter around her but cannot join in. In particular she is criticised by Ifeoma’s daughter, Amaka, to a level which might qualify as bullying. She speaks in a whisper, she stutters, she often says nothing at all, so Amaka forms the completely incorrect opinion that she is stuck-up and aloof, a ‘backyard snob’ (p.205). the opposite. Kambili is desperate to join in but doesn’t know how.

Stuff happens. A neighbour phones up Aunty Ifeoma to tell her that Papa-Nnukwu is unwell. Petrol is hard to get so she is grateful to the local Catholic priest, Father Amadi, loans her a gallon. She drives off and later that afternoon returns with the grandfather, who the family proceed to fuss and pet. Ifeoma had hoped to get him diagnosed and treated at the campus surgery but it, like all the doctors in the country, are on strike. A family friend, Dr Nduoma, prescribes medication, which Ifeoma rolls up in the cassava flour dumplings for Papa to eat at mealtimes.

Early one morning Kambili watches Papa-Nnukwu says his morning prayers and blessings. It leaves her impressed (me too), and:

He was still smiling as I quietly turned and went back to the bedroom. I never smiled after we said the rosary back home. None of us did. (p.169)

Also, Kambili falls in love, more accurately develops a fierce unspoken crush on the priest Father Amadi. She longs for him to mention her name or look at her, but when she does is rendered speechless, looks down at her feet, feels a wild burning inside. Father Amadi takes her to a football pitch to play with a group of boys. In the event she just watches but with quite a lot of lust in her heart for the nimble, fit, smooth-skinned priest.

After a few days Eugene discovers that his pagan father is staying in the same house and rings up Aunty Ifeoma, furious. Kambili is petrified of what he will do to her and Jaja. But these concerns are trumped when Papa-Nnukwu is found dead in his chair. Much lamenting, everyone is in tears, the family doctor comes and confirms and a few hours later cemetery men come to take away the ozu or corpse.

But then Papa turns up, outraged that neither of his children had told him, in their daily call, that a heathen had moved in with them. He orders them to pack up, say quick goodbyes and drives them off. When they arrive home it’s to find their mother with a purple black eye.

Then comes the most searingly memorable scene in the book. Eugene makes the terrified Kambili stand in their expensive bath tub and holds on to her while he pours scolding water over her feet. This is for wilfully knowing it was a sin to be in the same house as a heathen and yet not tell him. It was for deliberately walking into sin. It is for her own good and he cries, himself, as he explains why he is doing it.

Her mother carries her sobbing to bed, they lay a mix of salt and cold water on the roasted feet, she has to wear oiled socks for days.

But in parallel to this horrifying moment, there’s a political crisis. The editor of the Standard arrives, telling Papa that the new military ruler, Big Oga, has offered an exclusive interview for them if they will spike a story about the disappearance of a noted dissident, Nwankiti Ogechi. Papa insists the paper reject the interview and run the story. Later, soldiers arrive in trucks and their leader offers Papa a large bribe, which he rejects, angrily throwing them out of his house (p.200).

In the following days more and more visitors arrive, members of the opposition, the democratic coalition, warning Papa that he might be assassinated and giving a list of other government critics who had been bumped off.

In fact his editor, Ade Coker, is assassinated, blown up by a parcel bomb he opened at the breakfast table. For the first time Kambila and Jaja see their father crying, small and vulnerable, being consoled by their mother.

And this breaks him. He is slower, heavier. Soldiers close down his factories. He spends all day praying. At night they hear him shouting incoherently from the balcony.

Eugene discovers a watercolour painting Amaka had made of their grandfather and given as a parting gift to Kambila. Predictably infuriated, he grabs it, tears it into pieces but is bewildered when Kambila shrieks ‘No’ and throws herself onto the fragments. And Eugene stars to kick her, losing control of himself and kicking her repeatedly till she passes out.

She wakes up in hospital where she is so seriously injured – broken rib, internal bleeding – that the priest arrives to deliver the last unction. Drifting in and out of consciousness, she wakes to find Aunty Ifeoma at her bedside and telling her Mama that this cannot go on, that she, Ifeoma, will take the children away for their own protection.

Cut to Kambili recuperating at the shabby but happy apartment of Aunty Ifeoma. Snarky Amaka has accepted her now. She also mentions that Father Amadi was especially worried and insisted on driving all the way to Enugu to see her in hospital. Amaka reveals that all the girls in her Catholic school have crushes on the handsome young priest, but that he himself seems to have an extra soft spot for Kambili. He takes her to another evening of football practice with boys and she chokes with adoration.

He picked up the water bottle, drank deeply from it. I watched the ripples in his throat as the water went down. I wished I were the water, going into him, to be with him, one with him. I had never envied water so much before. His eyes caught mine, and I looked away, wondering if he had seen the longing in my eyes. (p.226)

There’s trouble at the university, though. Ifeoma has a visit from a colleague who says she’s on a government blacklist and is likely to get fired or worse. A week or so later, the students riot. It’s a bad one, they burn down the administrator’s house and he only escapes in the boot of a car. (This reminded me very powerfully of the extended student riot scene in William Boyd’s debut novel, A Good Man in Africa, and of the student riots which trigger a murderous response from the police in Achebe’s novel Anthills of the Savannah.)

Soon afterwards, the security police force their way into Ifeoma’s apartment, throw their weight around, empty all the drawers and cupboards, accusing her of helping incite the students to riot, before leaving with a menacing warning – rather like the security police bursting into the rooms of the protagonists of Anthills. In a spectral kind of way the final passages of the two novels overlap in hyperspace.

Father Amadi takes Kambili to have corn rows done by her Aunt’s hairdresser in the market. Poverty and peasant simplicity. She also snails collected by her children. She shrewdly points out that Father Amadi likes her which makes Kambili almost faint with pleasure.

A few evenings later Aunty Ifeoma and a university colleague review the situation: a military dictatorship, galloping inflation, power cuts and no fuel, the university shut down and half the faculty denouncing the other half. Ifeoma has contacted her relative in America to see if she can get a job. But the colleague replies:

‘The educated ones leave, the ones with the potential to right the wrongs. They leave the weak behind. The tyrants continue to reign because the weak cannot resist. Do you not see that it is a cycle? Who will break that cycle?’ (p.245)

God it keeps on being horrible because out of nowhere Mama arrives in a taxi. She’s come all the way from hospital in Enugu and tells a horrified Ifeoma and the kids that Eugene, in his latest rage, broke a coffee table over her stomach and triggered a miscarriage. She was only 6 weeks or so along and hadn’t told him. She slumps on the floor and cries and cries until she passes out.

And yet the next day, Papa calls and, although Ifeoma puts down the phone on him, Beatrice insists on calling him back and, after a long private conclave, emerges as if in a trance and announces that she and the kids were going home. Eugene will come to collect them tomorrow. Nothing anyone can say can talk her out of her conviction.

Next day the monster arrives to collect them all. Mama sinks into the arms of her beater. Kambili is shocked that her father has lost so much weight. Also that his face is entirely covered in a rash which rises to countless spots with white pussy heads.

In the car the tyrant recites the rosaries he always says when he’s driving and the two children look out of their windows, blank with horror and fear and despair.

Part 3. The Pieces of Gods: After Palm Sunday (35 pages)

The next day is Palm Sunday, the day on which Jaja refuses to go to Mass and Eugene throws his missal across the room, as described in part one. And then this section describes the aftermath.

The whole atmosphere of the house changes. Mama doesn’t sneak about but takes Jaja’s dinner up to him on a tray. Jaja moves his desk against his bedroom door when Papa tries to get in.

Yewande Coker, widow of the editor who was blown up, pays a visit with her daughter who had not spoken since the assassination, and who Eugene had paid to be seen by the best therapists in Nigeria and abroad. She gets down on her knees to thank Eugene but he insists she gets up and says it is all God’s work, everything come from God. He is not corrupt. He doesn’t do things for the power or money or flattery. He does an awful lot of charity because he believes it is right.

Surprisingly, maybe, the whole family goes to Mass on Good Friday. Then Aunty Ifeoma phones. When Kambili answers she tells her she’s been sacked from the university for subversive activities. She’s applied for a visa to travel to America. And Father Amadi is leaving for missionary work in Germany.

Jaja decides on the spot that they are going back to Nsukka, today, right now. He marches into Papa’s bedroom to tell him. Papa is clearly fading. He is a shadow of his former self. He protests but Jaja won’t take no for an answer and tells Kambili to pack her things.

They settle right back into life at Aunty Ifeoma’s apartment. There’s an argument because Amaka is scheduled to be confirmed but refuses to take a British confirmation name such as Mary or Veronica. There are several scenes where Father Amadi really does seem to be falling in love with Kambili, swatting a mosquito on her thigh, easing a flower she’s holding off her finger and onto his. I expected them to kiss at any moment (p.269).

They finally go on the pilgrimage to Aokpe which has been bruited for so long, but only a page is spent describing it. Basically a slight young girl dressed in white appears to a credulous crowd who believe trees start to shake and the face of the Virgin Mary appears in the sun. In fact this is what happens to Kambili but we have seen what a deeply damaged young woman she is.

A day or two later she and Father Amadi are driving round the parish as he says goodbye to his flock. At one point Kambili finally blurts out ‘I love you’. To my slight surprise they don’t kiss, but the Father talks her down and reassures her that she will one day find true love with an eligible man.

In the parallel storyline, Aunty Ifeoma finally gets her American visa after a tense interview in Lagos.

Father Amadi’s last day arrives and she is angry with him, won’t reply. He hugs her and drives away. that’s it.

The university authorities have given her 2 weeks to vacate the apartment, The children help her pack till it’s empty apart from boxes. She says they should all go and stay in Enugu while she asks Eugene for money for the tickets to America, and Father Benedict works on Eugene to let Kambili and Jaja go to boarding school.

But all best are called off when Mama phones up to say Eugene is dead. He was found slumped at his desk at one of his factories. Jaja’s only response is he feels guilty that he didn’t do enough to protect their mother. he should have stood up to the tyrant.

The climax of the plot is very sudden. Jaja and Kamili return to their compound. Mama is taking control for the first time in her life, issuing orders, refusing to let mourners into the compound. At one point she answers the phone, listens, puts it down and very calmly tells her children that the autopsy has found the poison. She has been adding poison to his tea for months.

Shortly afterwards the police arrive to ask questions and Jaja makes a confession, saying it was he who poisoned his father. And they arrest him and take him away (p.291).

Part 4. A Different Silence: The Present (13 pages)

I’m still reeling from this sudden turn of events when we have fast forwarded several years. During that time Jaja was convicted and sent to gaol, despite Mama telling everyone she did it, writing letters to the newspapers, lobbying ministers and so on. Everyone thought she was a grief-stricken widow driven mad by grief over her husband and son, and so they forgave her not attending to the niceties of widowhood etc. Mama has gone downhill. Now she sits rocking backward and forward in a chair, oblivious of most things people say to her.

But now all that is in the past. The military leader of the country has died suddenly and the newly empowered opposition is calling for the release of all political prisoners among whom, rather puzzlingly, Jaja is included.

Now the narrative opens with Kambili and Mama being driven to the prison for their weekly visit (by the new chauffeur, Celestine, Mama having sacked Kevin). Jaja has suffered. Mama and Kambili have spent a lot of Papa’s money bribing guards and warders and the prison authorities but Jaja has still been whipped and forced to stay in a cell so crowded they have to take it in turns to stand or lie down and the floor is covered in human faeces. He’s been in prison for 31 months.

As to Aunty, her whole family write letters to Kambili who now details the kinds of things written to her by Ifeola, feisty Amaka and intellectual Obiora who’s got a scholarship to a private school.

As to her love for Father Amadi, he writes regularly from Germany and Kambili carries his letters around with her. She has found peace. She loves him even if he can’t love her back. For a while she thought she was competing with God for the priest’s affection. Now she knows they are sharing it and that’s fine.

I don’t think the details of any of this are particularly important. it’s a tying up of all the loose ends. But above all it indicates that Kambili is, as Sylvia Plath put it, through. She has come through. She has survived. She is no longer a mute, stuttering, backward girl, but an expressive, fully alive, woman in control of her own life.

Jaja looks awful when he is brought to the meeting room. they have brought freshly cooked jollof rice and meat and he stuffs his face. They tell him the lawyers assure them he will be freed in a week. Then they will take him to Nsukka first and then to America to visit Aunty Ifeoma.

‘We’ll plant new orange trees in Abba when we come back, and Jaja will plant purple hibiscus, too, and I’ll plant ixora so we can suck the juices of the flowers.” I am laughing. I reach out and place my arm around Mama’s shoulder and she leans toward me and smiles.’ (p.307)

And on this bright and happy note the novel ends. Who knows whether any of that came true, whether Jaja was released, whether they went to Nsukka or America – but at this moment, as the image freezes and the credits start to roll, Kambili is hopeful and happy, and so is the reader.

Thoughts

A child’s-eye view

In this kind of fiction the child’s-eye view of things allows for, or requires, a kind of wide-eyed innocence of tone. Part of this is the dwelling on pregnant details. The novel’s packed with them, scores of images described in detail, like the children’s running round catching flying ants in the rain, or the worms they find in Aunty’s bath, or the cricket Obiora holds in his cupped hands or the persistent snail which keeps escaping from the basket of the hairdresser in Nsukka market.

The child’s eye approach allows the prose to operate more closely to poetry than a more adult with its attention to meaningful details.

My critique of this would be that, like all styles which claim to be simple, it is in fact extremely contrived. A superficial reading might be tempted to describe the entire novel as a wonderful recreation of a child’s point of view, but is it? It bears no relation to my own children who I watched growing through the age depicted here (about 15). In my opinion the text conforms to a literary stereotype of how wide-eyed and innocently observant children ought to be. Praise for its creation of a child’s point of view is, in my opinion, praise for its conformity with a widely accepted stereotype of how children ought to see and think.

My own children were much more strange and unpredictable and unexpected, much more savvy, confused, anxious, clever, funny and exasperate, than the smoothly even tenor of Kambili’s consciousness as portrayed in this text. It’s a literary artifice.

Feminism

Obviously the text massively lends itself to feminist interpretation. Papa Eugene embodies The Patriarchy, a big toxic male who has acquired power and money in a man’s world but dominates his family with twisted, righteous sadism. He is at one pole of values, associated with obsessive control, stifled emotions, strict timetabling and physical punishment.

At the other pole is Aunty Ifeola representing freedom, happiness, spontaneity, laissez-fair household management (i.e. once the kids have done their chores, they’re free to watch TV or play), some rules about attitude and behaviour but which mostly involve gentle chiding rather than Eugene’s barbaric corporal punishment.

Man bad, woman good. It’s a striking fact that the symbol of happy domesticity and independent femininity, Ifeoma, has the same name as the author’s own mother, mentioned in the book’s dedication, Mrs. Grace Ifeoma Adichie.

The colonial legacy

Apart from all his other issues, Eugene is in thrall to the British colonial legacy. The Christ on the cross in their church is white. The family priest, Father Benedict, is white. Kambili has grown up watching her father, commanding and dominating in all other areas, submit to priests, especially white priests.

Papa changed his accent when he spoke, sounding British, just as he did when he spoke to Father Benedict. He was gracious, in the eager-to-please way that he always assumed with the religious, especially with the white religious.

In thrall to this whiteness, in a giveaway moment Kambili quite naturally imagines that God is white, that his hands are white. And:

Sometimes I imagined God calling me, his rumbling voice British-accented… (p.179)

It is a measure of her fast-growing maturity that in the final passages of the book she takes part in conversations about the racism of the British rulers, the demeaning attitudes of the American visa people, and understands the bits of Ifeola’s letters which describe how Africans are patronised in America.

When the text begins she thinks God is white and has never heard of these issues. By the end she is reading and processing and discussing them like an adult.

Igbo vocabulary

Adichie has all her characters speak both English and Igbo so the dialogue contains many Igbo terms, casually spoken. Most of them go unexplained and so remain a mystery to the non-Igbo speaker:

  • abia
  • aja – sand or oracle
  • akara
  • akwam ozu – funeral?
  • aku na-efe – the winged termites (aku) are flying
  • amarom
  • anam asi
  • annara
  • atulu
  • biko
  • chelu nu – wait
  • chelukwa
  • chi m! – an exclamation
  • Chima – name meaning ‘God knows best’
  • Chiamaka – name meaning ‘God is beautiful’
  • Chiebuka – name meaning ‘God is the greatest’
  • chukwu aluka
  • ebezi na
  • ehye
  • ‘Ekene nke udo – ezigbo nwanne m nye m aka gi’ – ‘The greeting of peace – my dear sister, dear brother, give me your hand (song lyric)
  • ekwerom – I don’t agree
  • ekwuzina
  • ezi okwu
  • fiam – just like that
  • fufu – dumplings made by stirring, pounding, or kneading starchy vegetables like cassava till it has a dough-like consistency
  • garri – the flour of the fresh starchy cassava root, in this case moistened and shaped into balls to be dipped in soup
  • gbo
  • gi – singular ‘you’
  • gini?
  • gini mezia? – what happened next?
  • gwakenem
  • icheku – some kind of fruit growing on trees
  • igasikwa!
  • imana
  • inugo
  • itu-nzu – morning declaration of innocence to the traditional gods or ancestors
  • ka
  • ke kwanu? – how are you?
  • kpa
  • kunie
  • kwusia
  • maka nnidi
  • makana (p.191)
  • mechie onu – shut up (p.224)
  • mgbalu
  • mmuo – traditional masquerades with figures wearing masks and costumes representing gods
  • nna anyi
  • nna m o – my father (p.183)
  • ndi
  • nee anya
  • neke!
  • nekwanu anya
  • ngwa
  • ngwanu
  • ngwanu
  • njemanze!
  • nna anyi
  • nna m – my father
  • nne
  • nno
  • nno nu
  • nodu ani – sit down (?)
  • nwoke – man of the house (p.184)
  • nwanyi oma – pretty woman (p.239)
  • nwunye m
  • nzu – chalk used for drawing lines on the floor as part of ancestor worship (p.167)
  • o bugodi
  • o di egwu – an exclamation
  • o di mma
  • o gini
  • o ginidi
  • o maka – so beautiful
  • o nkem
  • o zugo – it is enough
  • oburia
  • ofe nsala – some kind of dish
  • okada – motorcycles
  • okpa – foodstuff made from mixing cowpea flour and palm oil and steam cooking
  • okwia
  • onugbu soup
  • orah leaves – prepared as a foodstuff, for soup
  • ozu – corpse (p.185)
  • oyinbu – white people (p.244)
  • sha
  • ube
  • uchu gba gi! – a curse (p.189)
  • umu m – welcome (p.190)
  • umunna – local community
  • uni – plural ‘you’
  • yeye – an adjective

Patriotism and emigration

It amused me that Chinua Achebe is routinely hailed as the father of African literature and the father of Nigerian literature and lauded by Nelson Mandela and numerous other big names, for his depiction of African roots and culture – but that, as soon as the opportunity presented itself, in the 1970s he went to America to teach (at the University of Massachusetts Amherst from 1972 to 1976). And that, after his car crash in 1990, Achebe went back to the States and never returned to Nigeria, dying in Boston in 2013.

His writings praised Africa and lambasted colonialism but Achebe spent the last 23 years of his life in the world’s only superpower and the epicentre of western neo-imperialism, America. Follow the money.

So when I read more about her, I was struck to learn Adichie did the same. It’s worth copying out Wikipedia’s account because it really brings home the American-ness of her education and writing career:

At the age of 19, Adichie left Nigeria for the United States to study communications and political science at Drexel University in Philadelphia, Pennsylvania. She transferred to Eastern Connecticut State University (ECSU) to be near her sister Uche, who had a medical practice in Coventry, Connecticut. She received a bachelor’s degree from ECSU, summa cum laude, in 2001. In 2003, Adichie completed a master’s degree in creative writing at Johns Hopkins University.

Adichie was a Hodder fellow at Princeton University during the 2005 to 2006 academic year. In 2008, she received a Master of Arts degree in African studies from Yale University. Also in 2008, she was awarded a MacArthur Fellowship. She was awarded a 2011 to 2012 fellowship by the Radcliffe Institute for Advanced Study, Harvard University.

Adichie’s story ‘Ceiling’ was included in the 2011 edition of The Best American Short Stories.

Her third novel, Americanah (2013), an exploration of a young Nigerian encountering race in America, was selected by The New York Times as one of ‘The 10 Best Books of 2013’. The book went on to win the National Book Critics Circle Award and was picked as the winner for the 2017 ‘One Book, One New York’ program.

In 2015, she was co-curator of the PEN World Voices festival in New York City. She delivered the festival’s closing address, which she concluded by saying: ‘I will stand and I will speak for the right of everyone, everyone, to tell his or her story.’

Just an observation; that both Achebe and Adichie are lauded as Nigerian and African writers and yet spent a good deal of their adult lives living and working entirely in the USA. Writers write, but money talks.

It’s an dilemma she’s well aware of. In the novel Aunty Ifeoma has a relative who’s gone to teach in America and her children wonder when she, too, will emigrate, a dilemma embodied in more than one exchange with her children.

‘We should leave,’ Obiora said. ‘Mom, we should leave. Have you talked to Aunty Phillipa since the last time?’
Aunty Ifeoma shook her head. She was putting back the books and table mats from the sideboard drawers. Jaja went over to help her.
‘What do you mean, leave? Why do we have to run away from our own country? Why can’t we fix it?’ Amaka asked. (p.232)

And also the exchange I quoted above between Ifeoma and a university colleague. Should you stay and make your minuscule contribution to trying to fix a broken country, or do the best thing for your family and leave?

Enugu

The novel is set in Enugu, the capital city of Enugu State in south-eastern Nigeria, where the family home and the kids’ schools are, with a few outings to a) Abba to see grandpa and b) the trip stay with Aunty Ifeola at Nsukka. I was curious to see how easy it is to get to Enugu from the UK, idly wondered if it would be worth visiting, and thought I’d check advice about travelling there.

‘Widespread terrorist activity, inter-communal violence, and kidnapping’, the ‘heightened risk of kidnapping, violent civil unrest, and armed gangs.’ I can see why Adichie prefers to stay in the safety of New York, building up her collection of honorary degrees.

Commitment

At some level, you have to like an author, you have to get on with the worldview and stories and prose style and the whole Gestalt that they present. As negative examples, I had an allergic reaction to the patronisingly smug tone in Mary Beard’s history of Rome, and went slowly off Giles Foden as his novels became more and more like dramatised versions of Wikipedia articles with increasing amounts of woke virtue signalling chucked in. They’re negative examples.

By contrast, this book made me a huge Adichie fan. When Eugene kicked his daughter almost to death and then she lay semi-delirious slowly recovering in hospital, something inside of me snapped. Tears came to my eyes and I was transported to a whole other level. I became a massive Adichie fan. This is a masterpiece.


Credit

Purple Hibiscus by Chimamanda Ngozi Adichie was published by Algonquin Books in 2003. References are to the Harper Perennial 2005 paperback edition.

Related link

Surprisingly for a contemporary novel, the entire text is available online:

Africa reviews

An Ice-Cream War by William Boyd (1982)

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

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

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

Part 1. Before the war

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Part 2. The war

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Chapter 8. 16 March 1915, Oxford, England

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

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

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

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

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

Chapter 9. 18 March 1915, Stackpole Manor, Kent

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

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

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

Chapter 10. 29 March 1915, Café Royal, London

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Chapter 16. 25 June 1916, Stackpole Manor, Kent

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

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

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

Chapter 17. 26 June 1916, Stackpole Manor, Kent

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

Chapter 18. 1 July 1916, Sevenoaks, Kent

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

Part 3. The Ice-Cream War

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

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

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

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

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

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

Chapter 3. 15 July 1917, Nanda German East Africa

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

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

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

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

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

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

Chapter 5. 19 November 1917, Nanda German East Africa

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

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

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

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

Chapter 6. 22 November 1917, Nanda German East Africa

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Part 4. After the war

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

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

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

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

Chapter 2. 13 November 1918, Kasama, Rhodesia

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

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

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

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

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

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

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

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

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

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

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

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

Epilogue

Epilogue. 3 January 1919, Mombasa, British East Africa

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

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

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

Thoughts

English scenes

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

Conveying information

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

Comic coincidences

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

Influences and echoes

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

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


Credit

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

William Boyd reviews

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

Africa reviews

A Good Man in Africa by William Boyd (1981)

It was a full time job getting your own back on the world, he reasoned; you couldn’t afford to weaken…

It made him sick, he hated every fucking one of them…

His scalp crawled with hatred…
(Morgan Leafy, the comic antihero of A Good Man in Africa, in characteristically misanthropic mode, on pages 51, 72 and 236)

This was Boyd’s first novel, published in 1981. Since then he’s gone on to write an enormous amount – 17 novels, five short story collections, three plays and an impressive 16 movie screenplays. His novels have been translated into 30 languages and he was awarded a CBE in 2005. This, ladies and gentlemen, is what success looks like for a British writer.

Public school

Like so many Brits who write about the British Empire, Boyd was born in a then-imperial colony (Gold Coast/Ghana) where he spent his boyhood, before being packed off to one of the best public schools back in Blighty, and then on to Oxbridge. Let’s just quote his Wikipedia article to get the facts out of the way:

Boyd was born in 1952 in Accra, capital of the Gold Coast, (present-day Ghana) to Scottish parents, both from Fife. His father – Alexander, a doctor specialising in tropical medicine – and mother – a teacher – moved to the Gold Coast in 1950 to run the health clinic at the University College of the Gold Coast, now the University of Ghana. In the early 1960s the family moved to western Nigeria, where Boyd’s father held a similar position at the University of Ibadan. Boyd spent his early life in Ghana and Nigeria but, at the age of nine, went to a preparatory school and then to Gordonstoun school in Scotland; after that, to the University of Nice in France, followed by the University of Glasgow (where he gained an M.A. in English and Philosophy) and finally Jesus College, Oxford.

A Good Man in Africa

A Good Man in Africa is a comedy, in the tradition of Kingsley Amis and the umpteen other British comic writers who specialise in novels about bumbling, fat, drunken, lecherous English plonkers. The book’s comic antihero, Morgan Leafy, is a fat (15 stone), bumbling drunk with a chip on his shoulder against the whole world, who gets into all kinds of comic scrapes.

Leafy works for the Foreign Office’s Diplomatic Corps and has been posted for nearly three years to a city called Nkongsamba, the only town of any size in a small state of a fictional West African country named Kinjanja, ‘a godforsaken, insignificant spot’ (p.27). All the serious embassies and consulates are in the capital, four hours’ drive away ‘on a deathtrap road’ (p.35).

Leafy is consumed by anger, hatred and vengeful thoughts against everyone. He dislikes his immediate boss at the British Deputy High Commission, the Deputy High Commissioner Arthur Fanshawe (I think Deputy High Commission indicates that it’s not the main High Commission, which is off in the capital), and absolutely loathes his immediate junior, Secondary Secretary Richard ‘Dickie’ Dalmire. The latter because he has enjoyed all the advantages in life which Leafy didn’t, namely: public school, Oxford, owns a property in the UK (inherited), was given a place abroad immediately after passing the Foreign Office exams, unlike Leafy who had to repeatedly retake the exams, eventually only scraping through, and then being allotted a godawful job in Kingsway.

The novel opens with Leafy’s resentful anger reaching nuclear proportions, because his enemy, ‘Dickie’ Dalmire, has just popped into his office to casually tell him that he, Dalmire, is engaged to the lovely Priscilla, daughter of their boss, Fanshawe. Leafy had taken Priscilla out a few times and thought he was still in a chance for her hand, so his resentment and jealousy goes off the scale. While trying to appear calm during the conversation, he imagines a nuclear bomb falling on Nkongsamba and incinerating everyone (p.19). He even hates the sun because all the other Brits develop lovely, even tans, but the tropical sun just brings Leafy out in thousands of disjointed freckles and a rash (p.19).

Date

At one point Leafy says his widow’s peak risks making him look like one of those ‘demented American marines, currently wasting the inhabitants of South-East Asia’ (p.43); later he picks up a magazine at the airport which contains photos of GIs in Vietnam (p.96) and mentions how the Americans are tied up in Vietnam (p.184). Now, since the last American soldier left Vietnam in March 1973 the novel must be set before then, in the early 1970s (?)

Cast

Page references are either to where a character first appears or, more often, to a page with a good first description.

  • Morgan Leafy, First Secretary at the High Commission in Nkongsamba, comic antihero, failure, inadequate, seething with anger and frustration at the endless humiliations he seems to be subjected to – ‘scathing misanthropy’ (p.19), ‘selfish, fat and misanthropic’ (p.66)
  • Richard ‘Dickie’ Dalmire, his junior at the High Commission, mid-twenties (p.51)
  • Deputy High Commissioner Arthur Fanshawe (p.29)
  • Priscilla Fanshawe, the Deputy High Commissioner’s attractive daughter (p.32), first impressions (p.98), Leafy is obsessed with her magnificent pert breasts which compensate for her ‘ski lift nose’
  • Denzil Jones, the (Welsh) Commission accountant, shiny fat face, pale sickly wife and two pale sickly kids, Gareth and Bronwyn (p.52)
  • Dr Alex Murray, Head of the Nkongsamba University Health Service and physician to the Commission (pages 47 and 58)
  • Sam Adekunle, Professor of Economics and Business Management at the University of Nkongsamba, and leading figure in the Kinjanjan National Party (KNP), a big man given to wearing traditional costume, perfect English tinged with American from Harvard Business School (p.56) owner of muttonchop whiskers (p.116), beefy, he looks like an African Henry VIII
  • Kojo, Leafy’s secretary/assistant, a small Roman Catholic with three children (p.23)
  • Peter, Commission driver
  • Mrs Bryce, wife of a geologist at the university who acts as Fanshawe’s secretary
  • Chloe Fanshawe, wife of the Deputy High Commissioner
  • Moses, one of Leafy’s two servants, his ‘aged cook’ (p.63)
  • Friday, Leafy’s servant (p.35) from Dahomey (modern-day Benin), early 20s, speaks French and erratic English (p.50), ‘hopelessly inept’ (p.64)
  • Hazel, Leafy’s Black mistress (p.39)
  • Selim, the Lebanese boutique owner who Leafy rents a very basic flat from as accommodation for his mistress, Hazel (p.38)
  • Geraldine Jones, friend of Priscilla Fanshawe (p.53)
  • Innocence, Fanshawe’s servant who is killed by a freak bolt of lightning
  • Isaac, Commission’s doorman and general factotum (p.73) involved in the Innocence fiasco
  • Lee Wan, Malay, now a naturalised British citizen and bar buddy of Leafy’s (p.87)
  • Femi Robinson, angry little Marxist and representative of the People’s Party of Kinjanja (p.113)
  • Chief Mabegun, governor of the state and head of the local branch of the United Party of Kinjanjan People, the party in government (p.113)
  • Celia Adekunle, Sam’s sullen wife (p.114)

Leafy overflows with inappropriate thoughts: he’s continually wondering what people look like when they have sex. Or fantasising about a nuclear bomb falling on Nkongsamba and incinerating everyone. When the Deputy High Commissioner’s wife calls, announcing herself as Chloe, Leafy is momentarily at a loss placing her:

The mental lapse came about because Morgan never thought of her as Chloe, and only seldom as Mrs Fanshawe. Usually the kindest epithets were the Fat Bitch or the Old Bag. (p.24)

Or his feelings for his boss:

He found it hard to fix or even identify his feelings about Fanshawe: they wavered between the three poles of nostril-wrinkling contempt, total indifference and temple-throbbing irritation… (p.27)

You can see how the comedy is based on the principle of exorbitance, defined as: ‘excessiveness, a situation when there’s an unreasonable amount of something, or when a person acts outrageously’ – the excessiveness being Leafy’s continual, overdriven anger and irritation at everyone and everything.

  • Morgan agreed, thinking: the conniving covert little bastard. (p.32)
  • The stupid mad shit, he thought wrathfully (p.67)
  • Fine, Morgan thought blackly, well, you can stick your advice up your tight Scottish arse… (p.95)
  • What in hell’s name, he asked himself, was the old goat bleating on about? (p.101)
  • … thinking that Fanshawe was a stupid, meddling old berk (p.115)
  • Shut up you stupid Welsh git, Leafy swore under his breath (p.117)
  • That stupid old fool Fanshawe, he railed to himself… (p.143)
  • Bloody rude black bastard, Morgan seethed to himself… (p.143)

Mind you, the universal rage this kind of personality vents at everybody is often rooted in anger and disappointment against themselves and Leafy is just as prolific with self-hatred:

  • Why did he have to sound so cretinous, he wondered. (p.30)
  • Why did Murray bring out the arsehole in him? (p.48)
  • It [Murray’s voice] made Morgan feel a fool, cretinous. (p.80)
  • He felt a complete fool… (p.94)
  • He felt ashamed at his ineptitude, his clumsy inability… He shook his head in despair… He gritted his teeth with shame and embarrassment… (p.117)
  • He had been made to look a complete fool (p.144)

According to Freud depression is a kind of anger against the self for failing to live up to the impossibly demanding ideals of the superego set for us by our superegos. Leafy seems a textbook example.

He’d handled everything so badly, misjudged and miscalculated all round. Par for the course, he thought cynically, no point in breaking the pattern. (p.82)

He is either seething with out-of-control rage against everyone else (‘he fumed inwardly’, p.29), or redirecting that rage against himself, triggering inconsolable depression, a leaden moroseness:

  • He stared morosely at the dragon-patterned rugs on the Fanshawes’ floor (p.30)
  • Morgan walked morosely back to the Commission (p.34)

He is constantly telling himself to calm down and get a grip. In one way the novel is a series of incidents strung on a spectrum between Rage and Calm. It records the hopeless quest for calm by an irredeemably angry man.

Morgan could hardly breathe from the effort he was making to stay calm. (p.149)

Physicality

About half way through the book I realised that what makes Boyd’s antihero stand out in a crowded field of British comic antiheroes is that he not only makes a fool of himself and overflows with frustrated anger, it’s the physicality of his responses, an almost continual heart attack-level of strangulation and collapse:

  • He could feel huge sobs of frustration and despair building up in his chest, crushing his lungs against his rib cage, making it increasingly hard to breathe. (p.150)
  • Panic fluttered for a moment in his belly like a trapped bird. (p.155)
  • The familiar suffocating feeling established itself in Morgan’s chest; it was like having your lungs stuffed with cotton wool. (p.156)
  • He felt his head was about to explode (p.159)

Maybe it’s just me but at various moments I, the reader, had sympathetic physical twinges, I felt premonitions of the same physical sensations Morgan experiences, so convincing and compelling does the fever-wracked character become. For example here he is having just read about the symptoms of gonorrhoea:

Morgan closed the book and thought he could actually hear blood draining from his face. He leant against a nearby wall and felt a tremor of blind fear run through his body. (p.168)

In fact it sometimes feels like you’re reading a kind of encyclopedia of stress symptoms, an extraordinarily imaginative and vivid variety of ways of expressing the physical symptoms of stress and rage and frustration.

Doing the wrong thing

Leafy has a talent for doing the wrong thing. In this respect he comes from a long line of comically bumbling English nincompoops. For some reason the figure of gauche young Ian Carmichael in countless 1950s movies comes to mind, but a closer analogy would be hapless Henry Wilt from Tom Sharpe’s series of novels about him, or any number of raging boobies from the comic fiction of Evelyn Waugh, Kingsley Amis, Lesley Thomas, David Lodge or Howard Jacobson.

For example, when he sees a deeply mad derelict standing at a busy road junction, shuffling and dancing, he suddenly feels an overwhelming identification with the man and, on impulse, gives him a pound note … which the madman proceeds to scrunch up and eat (p.18).

Or the time he took Priscilla home to her parent’s house and, noticing a grand gong in the corner of the living room, a relic of Fanshawe’s time in the Far East, impulsively hit it with the padded gong beater while mimicking the grand movie voiceover: ‘J. Arthur Rank presents…’ to be greeted with complete silence from Priscilla’s appalled parents (p.28).

He realises this about himself; he is self aware

Murray – like young Dalmire – was simply a handy scapegoat, a useful objective correlative for his own stupid mistakes, his fervent pursuit of the cock-up, the banal farce he was so industriously trying to turn his life into. (p.16)

No wonder, then, that he needs his Black mistress, Hazel, to shore up what’s left of ‘his tottering ego’ (p.39), despite the strong sense that she’s the one exploiting him. It is entirely characteristic that when he has sex with Hazel, he struggles to keep a ‘flagging erection’ (p.41). He’s pretty sure she left her two illegitimate children back in the village to become a prostitute in the big city. He strongly suspects she’s using the flat he’s renting for her to sleep with other men. But, damn! she arouses him instantly and happily has straightforward, uncomplicated sex. But the reader already senses the potential for humiliation if word gets round the pompous, pukka Commission that he has a paid African mistress.

And so his standard behaviour is muttering threateningly but impotently at everyone in his life, seething inwardly, physically shaken by anger, hatred and mortification.

The novel is cast in three parts:

Part 1 (pages 11 to 83)

It’s one of those comic novels which is packed with incident – from Leafy’s point of view, embarrassing humiliating incidents – but which has certain basic plotlines.

Adekunle blackmail

Most important is that he is being blackmailed by Professor Chief Sam Adekunle, head of the Kinjanjan National Party (KNP). The Chief studied at Harvard Business School and is a smooth operator. He is blackmailing Leafy by threatening to report to all and sundry that he has a Black mistress who was formerly a prostitute. In return, at the end of Part One, Adenkunle reveals that he wants Leafy to cosy up to the starchy Dr Murray and, when the time is right, offer him a huge bribe, because…

Adekunle has bought a plot of land on which the city university is planning to build a massive extension of its campus (a hall and cafeteria, p.230). He aims to sell it to the university for hundreds of thousands of pounds. Murray is chair of the Building Committee who need to sign off on the deal. But the conscientious Murray has rooted around in the civil planning department and discovered that the plot of land right next to Adekunle’s has been scheduled to become the city dump, and what a giant festering, poisonous dump it will become! So – Adekunle wants Leafy to cosy up to Murray and, when the time is right, offer him a whopping £10,000 to suppress his knowledge about the dump and sign off on the land sale.

Getting Priscilla back

The novel opens with the scene in which Dickie Dalmire swankily tells Leafy that he’s engaged to the gorgeous Priscilla, who Leafy used to go out with and who he had sex with on one glorious, never-to-be-forgotten occasion. But this just triggers a determination in Leafy to, in some specified way, get Priscilla back, seduce her away from Dalmire, rub his nose in it – all part of Leafy’s manic determination to get his revenge on the entire world. But you can see how Leafy’s sweaty obsession with Priscilla, and his determination on all occasions to remind her of their one night of passion a) provides a continuous running comic theme and b) promises disaster.

Father Christmas

Christmas is coming and Leafy finds himself bullied into playing Father Christmas for the local kiddies by the not-to-be-denied Chloe Fanshawe, imposing wife of his boss. This plays to the common comic trope of the man overflowing with homicidal rage forced to play nicely-nicely to a bunch of screaming kids and, inevitably, blowing his top.

Royal visit

In this kind of ‘Brits abroad’ fiction there’s often a visit by an official from back in Britain, in which everyone has to be on their best behaviour and which, of course, turns into a disastrous fiasco. Compare and contrast the visit by the Defence Secretary to the Hong Kong army barracks in Lesley Thomas’s Onward Virgin Soldiers (1971) or the Royal visit to the fictional colony of Samolo in Noel Coward’s ‘Pomp and Circumstance’ (1960).

In this story, it is the visit of the Duchess of Ripon, third cousin twice removed the Queen (p.103). The fact that she’s not that eminent a royal is itself comic bathos, deflating.

Election

And then there is going to be a general election, in which Chief Sam Adekunle, head of the Kinjanjan National Party (KNP), is standing.

Mother-in-law

Chloe Fanshawe, wife of Leafy’s boss, is not technically Leafy’s mother-in-law but is the butt of mother-in-law tropes i.e. Leafy instinctively hates her and she despises him. This animosity is demonstrated in his fascination with her anatomy, and especially her prodigious embonpoint. Finding mature women’s bodily shapes funny is, I imagine, nowadays effectively banned. Not so back in 1981.

Mrs Fanshawe had risen to her feet and was belting her dressing gown tightly about her waist, thereby crudely accentuating the body-forms which bulked beneath the candlewick shroud. Morgan inwardly remarked on the prodigious humps that defined her chest and how, curiously, they wobbled transversely as she marched over to her husband. (p.70)

And description of her ‘huge bosom’ (p.29).

So in part one we are introduced to all the key characters, the diplomats ‘at work’ i.e. bantering in their offices, or pretending to chummy at ‘the club’, Leafy’s beloved Priscilla, his mistress Hazel, Sam Adekunle and the blackmail plan.

Part one ends on a bizarre note with an extended sequence where Leafy is woken up after he’s gone to bed and requested by his boss to come over to their house where their maid, Innocence, has been killed by a freak bolt of lightning in a heavy storm. Fanshawe orders him to sort it out and then goes back to bed (the sanctimonious, middle-class bastard, thinks Leafy). This turns into a nightmare because none of the Black servants or staff will touch the body out of fear of the lightning god, Shango. Not even the Black undertakers will remove the body. Only the family can hire a voodoo priest to perform a ritual to cleanse the body, but that costs up to £60 if you throw in the funeral and entertainment costs. Innocence’s daughter doesn’t have that kind of money.

Then Leafy has a brainwave: Dr Murray and his team and the University Clinic. But when he phones Murray the call goes disastrously wrong: Murray refuses point blank to come out or have any of his team touch the body, since university and Commission rules insist they only treat Commission staff. Leafy has been up all night suffering successive setbacks in this stupid bloody task and finally loses it, effing and blinding at Murray who slams the phone down. At which point Leafy realises he has incredibly pissed off the one man he’s meant to be chumming up to and so has, once again, shot himself in the foot, so his chagrin, rage and self-hatred go off the scale.

He threw back his head and bared his teeth in a silent scream of pent-up anger, frustration and hostility at the universe. (p.81)

Slowly Leafy is overcome by a passionate desire to bribe Murray, to take him down a peg or two, to tarnish his saintly self-image, and so he coldly sets himself on revenge. To the reader, this seems a catastrophically bad conclusion to draw, but with immense comic potential.

Part 2 (pages 87 to 206)

Part 2 opens with a surprise – it jumps back in time to 2 or 3 months earlier, to September of the same year when the Fanshawes arrive back from their summer break with their daughter Priscilla. We see Fanshawe very excited about the upcoming national elections and the face that Adekunle, a big cheese in the Kinjanjan National Party (KNP) happens to live in the same town. The point is it’s an opportunity for Fanshawe to cosy up to the people likely to win the election and influence them towards British interests i.e. an opportunity for some real diplomatic work. Fanshawe hopes this brilliant achievement will earn him a better posting as his career comes to an end.

Fanshawe asks leafy to squire Priscilla

As a side note he explicitly asks Leafy if he could take his daughter Priscilla out, as she is feeling low on the rebound from being jilted by a pukka fiancé.

Leafy meets Dr Murray

We also watch the scene where Leafy first introduces himself to Dr Murray, bullying reception, refusing to see the other (coloured) physicians, trying to pull rank, sweaty and smelling of booze – you can see why the tidy, sober, rule-following Dr Murray would despise him.

Leafy snogs Priscilla

Then excruciatingly funny descriptions of his attempts to seduce the emotionally vulnerable Priscilla, lying that he went to a (minor) public school, lying about his dad’s profession, even saying yah instead of yes, to try and raise himself to her posh social stratum.

Cocktail party and film

Fanshawe rather absurdly names the plan to cosy up to Adekunle Project Kingpin. Leafy organises a cocktail party for local notables and we are introduced to Femi Robinson, angry little Marxist and representative of the People’s Party of Kinjanja, and Chief Mabegun, governor of the state and head of the local branch of the United Party of Kinjanjan People, the party in government. The cocktail party is a fiasco for Leafy who can’t cope with Adekunle’s suave sophistication and ends up looking like an idiot following him round the room. At one point Leafy passes on to him Fanshawe’s offer of first class flights to London and a room at Claridge’s but, to Morgan’s horror, Adekunle merely bursts out laughing at the crassness of this offer, as if it was still the days when the natives could be overawed with the offer of a trip to London (p.142). Even when the film projector gets going showing the new film about the Royal Family, Leafy finds himself still standing blocking everyone’s view, feeling yet again, chagrined with humiliation.

(Incidentally, if this is the famous film about the Royal Family directed by Richard Cawston, it was first shown in 1969. Is that the date of the events described in the novel? That would explain all the Vietnam references. And why, when the Black radical turns up to confront Leafy, he does so wearing a black leather jacket, black glasses and Afro, ‘every inch the black power activist’, p.215.)

Fishing trip

Priscilla is irritated that Morgan ignored her at the cocktail party-film show so to make up he takes her on a fishing trip to the river Olokomeji which is, of course, a fiasco, because Morgan inadvertently catches a huge fish which he has to bash against a rock so many times to kill it that it’s reduced to a pulp and he is covered with blood and scales. At which point he tries to seduce Priscilla, telling her he loves her, and she, very understandably, freezes up and asks him not to. He drives her home, she announces she’s going to stay with an American diplomatic family, the Wagners.

Leafy drives on to the hotel where his Black lover, Hazel, stays but she hasn’t been home. Which is when he decides to instal her in a flat.

Adekunle’s birthday party

Leafy is invited by Adekunle’s bored white wife, Celia, to Adekunle’s birthday party at the Hotel de Executive. He bumps into the German businessman and attaché George Muller who briefs him about Adekunles’s business interests and makes Leafy (and the reader) realise what an ignoramus Leafy is: he knows nothing not only about Adekunle, but about the ethnic, religious and political make-up of the state he’s living in. When Leafy makes what he thinks is a subtle approach he is disconcerted that Adekunle bursts into laughter, and says he’s already been approached by America, France and West Germany. Thoroughly humiliated, he rushes to see Hazel at her seedy hotel, and has sex so vigorously he makes his penis sore. At least he thinks that’s the cause. The reader realises he’s picked up a sexually transmitted infection. The comic potential is that he gives it to someone (Priscilla)?

Murray’s clinic

Only when his servant Friday says he’s stopped washing Morgan’s pants because they are soiled with a nauseating discharge is Morgan horrified into making an emergency appointment with Dr Murray, a classic example of the anxious-man-having-penis-examined trope.

Club party

The horribly provincial club dance night with dreadful jazz or loud rock music. Morgan takes Priscilla who is duly disappointed. But in the car there and on the dancefloor she had been surprisingly kissable and biddable. Morgan thinks tonight is the night he’s going to bed her. Until he bumps into Dr Murray in the corridor to the lavatories, who informs him, in a confidential whisper, that he has gonorrhoea. It is a very funny moment when, a few minutes later, Priscilla returns from her trip to the loo and remarks that Morgan is looking very red. Does he feel alright?

Humiliation with Priscilla

There follows an agonisingly embarrassing scene in which drunk Priscilla insists on being taken back to Leafy’s flat, kisses, grabs him, starts stripping off in the darkened living room, drunkenly preparing for an orgy, while Leafy comes up with a flurry of implausible excuses before he’s driven to leap up and turn the main lights on. At which point, Priscilla, seeing her state, stalks off to the bathroom to get dressed then insists on being driven home in silence. When Leafy tries to make excuses she delivers a speech describing him as a pitiful worm. Driving home, then in bed alone, his chagrin and frustration knows no bounds.

More Murray

Opens with a very funny scene of Leafy consulting a medical encyclopedia in the university library and nearly fainting as he reads about the horrifying complications of gonorrhoea. Then onto a formal consultation with Murray who confirms the diagnosis but says all it requires will be two injections with penicillin and total abstinence from sex and alcohol for four weeks. And inform all your sexual partners. When he tells his Black mistress, she admits to having three other part-time lovers.

Dickie Dalmire arrives

Leafy is at the airport to greet the ‘new man’ sent out to the Commission, and take him for lunch at the Fanshawes’ (his new boss) where, Leafy is chagrined, as usual, to see Dalmire’s pukka public school confidence putting him instantly at home with Arthur, Chloe and Priscilla in a way grammar school, suburban Leafy never achieved in three years.

Adekunle stuns Fanshawe by accepting the offer of a visit to Britain but demanding a) two weeks at Claridge’s b) an official reception at the airport c) open-ended return tickets for two. Fanshawe is dumbfounded at the reversal of the power dynamic, with the Black man now setting the terms. Trouble is more and more oil deposits are being discovered in the country and HM govt want the new Kinjanja govt to give Britain preferential treatment. Adekunle’s party aren’t a dead cert to win the upcoming election, but are the favourites.

Celia

Morgan gets accustomed to meeting Celia Adekunle almost every morning at ‘the club’ for swimming and sunbathing. She’s hard and cynical and small and bony, not at all his type, yet they have an instant rapport. She admits hers is an empty token marriage. She’d run away if she could.

Hazel’s flat

Leafy hires the seedy shabby flat where we find Hazel ensconced in part one.

Celia

Morgan and Celia are now driving to rendezvous in the country and having lovely carefree sex. They stop for a drink at a bar on the way back into town and she persuades him to come back to the house – her husband’s away and she dismisses the servant and sex in a proper bed takes on a whole new dimension.

Caught

Outside Celia’s house, fumbling for his car keys, Leafy is terrified to be buttonholed by Adekunle who proceeds to tell him he knows all about his affair with his wife, and about his Black woman in town (Hazel). Would he like his boss to find out about this, how Morgan has screwed up Fanshawe’s precious Kingpin project? No. Therefore Leafy is going to do everything Adekunle tells him to, right? Fearing he may pass out with terror or throw up, Leafy agrees and is amazed when the upshot of all this terrifying is imply that…Adekunle wants Leafy to become friends with Dr Murray. Oh and end the affair with his wife, without letting her know that Adekunle knows about it.

The engagement

The short scene ending part two turns out to lead directly into the opening of part one. It’s where Dalmire pops into the office of a Leafy who has turned into a depressed recluse, drinking heavily to compensate for the abrupt ending of the affair with Celia, and announces that he’s just got engaged to Priscilla.

This is very clever. The opening of the book put me off a bit because I didn’t understand what was going on. But anyone who persists this far, to page 204, now has an infinitely deeper grasp of the events which lay behind Leafy’s desperate, raging emotions, the way the entire universe is conspiring to frustrate his every wish and desire.

In fact it would be tempting to reread all of part one in the light of the extensive and thorough backgrounding part two gives you, to read it a second time with a much deeper understanding of all its resonances and meanings.

Part 3 (pages 209 to 312)

Part 3 opens exactly where part 1 ended, with Leafy weeping tears of frustration at the refusal of all the Black servants or public services to remove the body of Innocence, struck dead by lightning. In other words, part 2 might at one stage originally been the opening and first hundred pages of the novel but Boyd or someone had the bright idea of lifting and shifting it completely to become part 2, changing what was originally the next section, part 2, into part 2. So the narrative starts in media res (‘in the middle of things’) as the critics of ancient Greece and Rome recommended. The effect is to cleverly create all kinds of unexpected resonances and explanations. Very artful, very clever.

Leafy’s ignorance

Alongside Leafy’s overactive sex drive, his alcoholism and his shambling ineptitude goes a stunning ignorance of almost every aspect of the country he’s working in and the people he’s supposed to be studying. So, for example, he knew nothing about Adekunle’s business interests until the German, Georg Muller, told him, and various other characters tell him that this or that piece of information is ‘common knowledge’, all of which come as complete news to dim Leafy.

I suddenly realised how important this is when the Marxist leader Femi Robinson comes to see him to protest about newspaper photos of Adekunle being greeted by Foreign Office officials in London. He’s protesting because these photos give the impression that London is supporting Adekunle’s party, the KNP, in the soon-to-be-held elections. But it’s not just that which is a problem. The real issue is that this support from the old imperial power will discredit the KNP in the eyes of the army who are already disgusted with the corruption of the ruling party. There have already been small army mutinies. The risk is that the army will step in and stage a coup. Leafy asks, ‘Are you sure?’ Robinson replies: ‘Everybody knows it,’ (p.217) except, of course, dim Leafy (and, to be fair, his equally dithering boss, Fanshawe).

In this final act, Leafy’s universal ignorance has serious consequences.

Christmas fitting

To Leafy’s surprise, Mrs Fanshawe takes him upstairs to the attic but it turns out to be to try on a boilersuit she’s dyed red as part of the Father Christmas outfit she’s making up for him. She briskly tells him to strip down to his undies to try it on but when he hands it back turns a funny colour, makes excuses and rushes off. Odd, thinks Leafy, till he looks down and sees his penis has flopped out of the slit in his boxer shorts. For some reason this sexual embarrassment reminds me of the endless humiliations suffered by the Ben Miller character in the TV series ‘The Worst Week of my Life’.

It’s now the day before Christmas Eve and Leafy has two massive problems. Adekunle simply won’t accept that Leafy’s fallen out with Murray and insists, if he doesn’t want his career ruined, that he offer him the bribe. And the body of Innocence is still lying on a bench in the servants’ quarters of the Commission steadily decomposing because no Africans will touch it till the juju priest has performed his ceremony, with his boss Fanshawe becoming apoplectic that it be removed before the bloody Duchess of Ripon arrives for her two-day visit the next day.

So Leafy bullies his servant Friday into joining him at 3am to secretly carry the rotting putrid corpse to his car. Half way through a white ghost appears in the nearby trees but an unimpressed Leafy rugby tackles him only to discover he’s the poet sent by the British Council, one Greg Bilbow from Yorkshire. Leafy tells him to wait, goes back and he and Friday drag the corpse the last few yards to his car and heave it into the boot. Then he drives Friday back to his house and Bilbow back to his (Leafy’s) apartment where he’s promised to put him up. It has just turned Christmas Day.

Tribulations

He is astonished to get a call from a livid Fanshawe. Turns out when the Commission’s staff found the body of Innocence gone, they went on strike. Obviously this is a disaster what with the Duchess about to arrive, let alone the following day when there’s a massive party scheduled for 200 local dignitaries. Leafy must smuggle Innocence’s rotting body back to where it was.

He’s barely coping with this information before he has to dress up as Father Christmas and dole out presents to the kiddies at the Commission’s Christmas party. The Duchess has arrived and watches him entertain the kiddywinks.

Returning Innocence

After surviving the Father Christmas ordeal, Leafy spends the rest of the evening getting completely pissed at the Commission bar, dressed as Santa, the butt of many jokes. It’s here that a way of solving the Innocence problem comes to him. So it is that, sometime after midnight, utterly hammered, Leafy drives round to the staff accommodation, pours petrol all over the rubbish dump, lights it with a great whoomph of flame in his own face, then runs back to the car. As all the servants wake and run to tackle the fire and so are distracted, Leafy then drives further round the accommodation block, opens the boot, yanks the rotting corpse of Innocence back to more or less where he found it, leaps back into the car and drives round the perimeter road back to the Commission.

The duchess in the bathroom

He imagines the bathroom will be empty at this time of night so slips inside with a view to cleaning up. He is stunned when he sees his own reflection in the mirror, his face blackened with the flames, one eyebrow burned off, his face lined with the white tracks of his tears. But not as stunned as when he hears footsteps coming up the hallway and, to cut a long story short, it turns out that he’s using the bathroom assigned to the Duchess of Ripon. Leafy hurriedly hides in the shower but can’t help overhearing as the Duchess strips off, has a hearty dump, then whisks the shower curtain back to reveal…a mad burned Santa! Stunned into immobility, the Duchess watches as Bad Santa climbs out of the bath, opens the bathroom window and climbs out. Laughing manically, he scampers across the grass to his car, drives back to the apartment where the Yorkshire poet takes the mickey out of his ridiculous appearance, washes his burned face and collapses into bed.

The golf tournament

The Commission are hosting a golf tournament. Leafy had asked Adekunle to work behind the scenes and get him paired with Murray so he can make his move. But, to his dismay, as they stroll and chat round the course, Leafy discovers that he likes Murray.

Finally he nerves himself to make his pitch and offers Murray the £10,000 bribe. Leafy handles it in a characteristically cack-handed way, and ends up telling Murray everything about Adekunle, that he owns the land the new buildings would be built on etc and how he’s been blackmailed into making the bribe. Murray says no to the bribe and that he must report it. Leafy reaches the end of his tether and physically collapses and passes out.

When he comes round, Murray is concerned and says OK he won’t report him, but the answer is still no. He’s recommending the Committee reject the application simply because he doesn’t want corrupt operators like Adekunle to win. Leafy gives up. It’s all over. Adekunle will tell Fanshawe about his shame, his career will be over, he might as well book his flight back to London now.

Hazel’s

Once he can walk, Leafy drives to Hazel’s and holes up there for days, including during the important general election. He periodically phones his apartment where the affable Yorkshire poet tells him Adekunle has been trying to contact him for days. Eventually Adekunle tracks him down to Hazel’s and tells him he has changed his mind and doesn’t want him to offer Murray the bribe after all! What!?

Innocence solution

Convinced he’s going to be sacked, in a new mood of fatalistic resignation, Leafy tells the servants protecting Innocence’s now-restored corpse that he’ll pay for the priest and the funeral. The price goes up to £80 but Leafy doesn’t begrudge it. What the hell. His career is shot. His time here is over.

Election victory

When Adekunle rang Leafy he sounded happy and generous because the votes are in and his party, the KNP, has won a majority. They will be the new government. Adekunle invites Leafy to the victory party. As he leaves for it, his man Friday tells him to avoid the town tomorrow as ‘the soldiers will come’. He repeats the motif: ‘Everybody knows’. Everybody except Leafy, that is.

Adekunle’s victory party

Adekunle explains that he was constantly phoning Leafy in order to tell him not to offer Murray the bribe. Turns out that Adekunle has made a contact within the planning department and has made sure that, even if Murray signs off a negative report, it will be ‘lost’ by his (Adekunle’s) contact and never registered. So all the heartaching and the humiliation of offering Murray the bribe was for nothing. Leafy is gutted.

Celia

Leafy drinks himself silly all evening, eventually staggering upstairs to the loo to throw up. When he’s quite finished, he grabs a random toothbrush to clean his teeth. He’s barely staggered out onto the landing before Celia pounces and drags him into a spare bedroom. Here it becomes clear that she’s decided to leave Adekunle but needs him to get her a British visa. In a flash Leafy realises she’s been using him, the entire affair was to seduce him into providing the visa. One more delusion, one more bitter let-down. He is heartbroken and just walks away, leaving Celia still crying for his help.

The siege

But something massive is about to happen, a massively violent event which forms the climax of the book.

On his way to Adekunle’s house Leafy had seen the wizened old Marxist Femi Robinson clutching a load of placards on his way to a student sit-in and protest at the university administration buildings. With typical lack of tact and awareness Leafy had mentioned that he and Fanshawe and other officials would all be at Adekunle’s party which was by way of being a victory party. Well, we know that Robinson considered all the press photos in the papers of Adekunle being greeted by top officials on his recent trip to London had been a conscious attempt by Britain to influence the election which, in the event, Adekunle and his KNP had won.

Now, completely unexpectedly, Robinson brings a contingent of protesting students from the main building over to Adekunle’s grand home. Adekunle had invited important dignitaries, the Kinjanjan press and had planned to make a grand victory speech. Instead he finds his house surrounded by furious students throwing stones and bricks and, most incongruous of all, chanting ‘FAN-SHAWE FAN-SHAWE.’ This is because Leafy had incautiously told Robinson that Fanshawe was the brains behind Adekunle’s visit to London, and that Fanshawe would be at Adekunle’s party – and also because it’s easier to chant than Robinson’s long doctrinaire slogans (which he nonetheless valiantly yells through a loudhailer).

Luckily, Adekunle’s place is protected by a tough security fence, but the protesters are still managing to lob bricks and stones with accuracy through the windows and the guests are taking cover behind makeshift barricades of furniture. In this highly stressed situation, both Fanshawe and Adekunle turn to Leafy to do something and, surprisingly, Leafy comes up with a plan! This is to pretend to be Fanshawe and make an escape to distract the protesters.

So he and Fanshawe swaps clothes, the idea being he’ll run for the Commission’s distinctive official car dressed as Fanshawe, get Adekunle’s (reluctant) security people to open the front gate as he drives through it at top speed and so distract them. At which point tubby old Chloe Fanshawe, the Deputy Commissioner’s wife volunteers to come with him. As soon as she does that I knew they were going to have sex.

Freud somewhere says the traditional dislike between son and mother-in-law is actually a taboo designed to prevent its opposite, which is inappropriate sexual attraction between these roles. This had been palpable ever since we first met her and Leafy combined a detailed description of her physique with wonder at the tension and dislike between them.

The escape

It all goes to plan. Leafy-dressed-as-Fanshawe makes a break through the hail of stone for the car, hand in hand with the distinctive, party-dress-wearing and very plump Mrs Fanshawe. they jump in, drive at the gates which Adekunle’s security men open at the last minute, race through as protesters throw themselves out the way, then charge after them still throwing stones. There’s a hairy moment when the car careers into a shallow ditch and won’t move as the protesters come charging at them but this just makes the distraction tactic more successful, as the back wheels finally get traction and it roars free.

The riot police

But Leafy and Chloe’s night is far from finished because the authorities have called in the riot police to deal with the student protests and things have turned really nasty. The admin block of the university looks like a warzone with windows shattered, groups of burning cars, and row upon row of helmeted, shielded riot police approaching the building and firing rifles at the students throwing bricks, stones and office equipment at them from the windows, the whole scene drenched in stifling teargas. All this is blocking the main road out of the campus. Leafy and Chloe can get no further in the car and have gotten out to try and sneak round the warzone on foot.

A Murray moment

On the way there, still in the car, leafy had spotted a solitary figure standing by the road and screeched to a halt. It’s Dr Murray. He gives more detail about the extent of the rioting. Leafy offers him a lift. Murray says no, he’s waiting for the university ambulance to come pick him up then will be treating the injured. Leafy lingers unnecessarily because he wants, somehow, to express the complicated feelings he’s come to have for Murray, who’s gone from figure of unmitigated hatred to someone who was kind to him (when he fainted on the golf course) and whose integrity he’s come to respect. The best he can do is warn him that Adekunle has dropped the bribe offer because he has a contact in the building office who will ‘lose’ Murray’s report, so Leafy warns him to make copies and distribute them widely. Murray thanks him, there’s an awkward pause, then our man jumps back in the car and heads off with Mrs F.

(It’s worth remembering that Boyd’s own father was Scottish and served as head of the health clinic at the University College of the Gold Coast. Is this a portrait of his father, strict, stern and worthy of respect? A filial compliment?)

Escape from the campus

Long story short, Leafy and Chloe manage to escape the campus but not before having a very hairy moment when they set off running across open ground and a detachment of riot police spot them and chase them, firing their guns at them, Leafy hearing the bullets whining past his head. I thought at this point that maybe Chloe would be shot and injured, certainly this all feels too serious for them just to get away. It’s not funny any more.

But they do get away, just, running through the maze of back alleys and gardens of the university’s residential quarter until the police have obviously given up chasing. Exhausted, filthy, bleeding from wounds caused by stones and thorny bushes, they find the perimeter fence and climb it, emerging on a normal road not far from a normal cheap bar. Here Leafy offers the owner £10 if he’ll drive them out of there.

Empty Commission

When the taxi driver brings them to the Commission, Leafy and Chloe find it locked up but a note from Fanshawe saying a) the guests escaped from Adekunle’s b) Fanshawe has accompanied the daughter, Priscilla, and Dalmire into town, to the airport, where the young couple had been planning to go on holiday anyway, c) that Denzil Jones has offered Chloe accommodation for the night.

At Leafy’s

Chloe asks if she can come back to Leafy’s house to clean up so he gets the waiting taxi driver to take them there, and pays him his £10. She has a bath, he pours himself a stiff (i.e big) whisky, she emerges in a big towel and sets about darning her ruined dress so as to be as respectable as possible when she goes to stay with Jones except that…she now tells him huskily…she doesn’t want to go to the Jones house. She wants to spend the night here. Aha. As I predicted.

Remember that moment when she was measuring him up for his Father Christmas suit and, unintentionally, his limp penis flopped out of his boxer shorts not very far from her face and she flusteredly looked out the window, made an excuse and left. Well, it turns out she’s been thinking about Leafy’s penis – ‘a lot’ (p.309).

Leafy for his part feels himself strangely attracted to his one-time putative mother-in-law (paging Dr Freud), has a thorough shower, then they are in bed naked together, she stroking his growing arousal, he nuzzling her huge breasts etc, when…the phone rings.

Death of Dr Murray

It’s Inspector Gbeho from Nkongsamba police headquarters. He is duty bound to report the death of any Brits to the Commission and can’t get hold of his boss, Fanshawe (who we know is at the airport). Dr Murray is dead. He was in an ambulance carrying students to the clinic and it skidded on the wet road and, well, he was killed in the crash. Just like that.

The good man

Leafy thanks the inspector, puts the phone down and (rather like the reader) is overcome with a whirligig of images and emotions. Above all the sense of futility. Murray was a genuinely good man, probably the only good man in the story – efficient, professional and with clear moral values – unlike any of the bumbling British diplomats, let alone an out-and-out crook like Adekunle. Naked, enormous Chloe Fanshawe is calling him from the bed where she wants Leafy to ‘make their night complete’. Leafy ponders what Dr Murray would make of him bedding his boss’s wife. Wouldn’t have approved, would he?

The news of Murray’s death evaporates Leafy’s erection and arousal. He tiredly pads down the hall to the bedroom and starts to make his apologies. ‘Listen Chloe, I’ve been thinking…’ This is mostly comic, but also genuinely sad and poignant.

The difference between farce and comedy is that the former pushes beyond the limits of plausibility into the absurd, delighting in far-fetched coincidences and hair’s-breadth escapes for their own sake, the more wildly improbable the better. Farce revels in deliberately contrived plots, plots which emphasise their own structures, playing with repetition, inversion, variations.

Thus Leafy’s last-minute change of heart about sleeping with Chloe Fanshawe makes a neat parallel with the buttock-clenchingly embarrassing scene where he was forced to refuse to have sex with her daughter, Priscilla. The turn of events is humorous in its own right but also gives the reader a pleasing sense of structure and contrivance. Boyd is a technically adept author.

The coup

And while Leafy is miserably apologising to Chloe, the perspective of the narrative pulls back to pan across the campus, revealing the burned-out cars and trashed offices, and on into the city itself as the army mounts the coup which everyone, certainly all the ordinary locals, knew about well in advance, everyone except Britain’s blinkered, drunk, snobbish, self-obsessed diplomats, experts in disaster and humiliation, utter fools when it comes to understanding the country they’re posted to.

‘Good man’

The phrase ‘good man’, like the main theme in a piece of classical music, is stated right at the start, in fact make up the novel’s first two words, as spoken by lucky Dalmire announcing his engagement to Priscilla to a mortified Leafy, who pretends to take it on the chin but inside is anything but a ‘good man’, seething with rage and hatred of Dalmire.

In other words, the phrase is used ironically right from the start, Dalmire being too obtuse to realise that Leafy, at that moment, wants to kill him and blow up the entire town i.e. he is quite possibly the opposite of a good man, he is a very bad man.

Thereafter the phrase is repeated, slowly accumulating resonances and layers of irony, not least because all the people who use the expression ‘good man’ wouldn’t actually recognise a good man if he bit them on the bottom.

On page 32 Leafy’s boss, Fanshawe, fatuously calls Leafy ‘a good man’ for reluctantly acquiescing to dress up as Father Christmas, something Leafy a) hates having to do b) is only doing because it will get him closer to the superb breasts of Fanshawe’s daughter, so the phrase implicates both the sayer (obtuse, conventionally minded Fanshawe) and the addressee (lustful seething Leafy).

On page 51, Leafy is at the bar with Dalmire and Jones who is very drunk and drunkenly calls Leafy ‘a bloody good man’, slapping him hard on the back, and Leafy, to his credit, fumes at how much he hates this ‘ghastly rugger-club expression’ (p.51).

On page 89 Leafy gets drunk in a bar with the disreputable, seedy Lee Wan, a Malayan who’s secured British citizenship and uses all manner of pukka phrases to burnish his Britishness. When Lee Wan bursts out laughing at an off-colour joke Leafy makes about importing condoms, Leafy drunkenly considers him ‘a good man to have around’. Again, irony, because Lee is a creepy sycophant.

On page 192 Fanshawe calls Leafy a ‘good man’ in an unstated recognition that Leafy has been schmoozing up to, maybe even having an affair with, Adekunle’s wife Celia. No-one acknowledges it, maybe Fanshawe doesn’t really appreciate it, but that’s the point. Don’t ask questions. Leave things unsaid. Gloss over difficult realities. The English way. Leafy is, in fact, being praised for being a sneak.

As I’ve explained, part two in fact gives the 3-month backstory leading up to the opening scene of the book, which opens with Dalmire calling Leafy a ‘good man’ for accepting the news about his and Priscilla’s engagement so calmly (p.206). Having heard the full backstory we now realise that Leafy is very far indeed from being a good man in at least two senses:

a) we’ve seen what an out-of-control drunk he is, how he’s set his Black mistress up in a love nest, contracted gonorrhoea from her and came within an ace of passing it on to Dalmire’s fiancée, Priscilla;

b) far from accepting the news with equanimity as Dalmire thinks, displaying the obtuseness typical of all the characters, internally Leafy is seething with homicidal rage

So it’s another example of the complete failure of the English characters to understand the first thing about what’s going on or achieve even the simplest communication.

At the climax of the novel, when Adekunle’s luxury compound is under attack from the protesting students, useless old Denzil Jones calls Leafy ‘a good man’ for bravely volunteering to impersonate Fanshawe to draw off the protesters ( p.297).

This is a more equivocal example because, although Jones is trapped in the machine of his own predictable behaviour (he slaps Leafy on the back exactly as he did all the way back on page 51) Leafy has, in fact, and to the reader’s surprise, actually volunteered to do quite a heroic thing to save other people. It’s effective and it is heroic. For once, maybe for the first time in his life, he isn’t secretly motivated by sex or drink or promotion. It is as if he is struggling to emerge from the chrysalis of his terrible personality and, for once in his life, do the right thing.

Looking back over the whole narrative, it feels as if Dr Murray’s influence is working, fermenting a new Leafy from the shambles of the old. Everyone else remains stuck in their fixed attitudes and characters, but this, the final use of the phrase in the book, indicates that change is possible.

Four conclusions:

1. I’ve shown how the phrase ‘good man’, right from the start of the novel, more often than not has connotations diametrically opposite to its literal meaning i.e. is used to describe all kinds of dodgy characters (Lee Wan, p.89) or is applied by the English characters to each other in the deepest ignorance or bad faith, glossing over characters’ bad behaviour, or concealing raw hatred for the person talking, or is motivated by the crudest motives.

2. All of which made me come to realise how the phrase ‘good man’ is like a sticking plaster designed to cover over things that would rather not be discussed or made explicit. The British stiff upper lip is related to a cultural insistence not to delve too deep below the surface, an attitude which prefers to paper over unpleasantness with stock public school phrases.

3. The thoughtless bandying about by the English of this clubroom phrase is directly linked to their wider obtuseness and ignorance of what’s going on right under their noses. The English diplomats are depicted as a snobbish shower of incompetents, meddling with forces way beyond their comprehension, but bolstering each other’s morale with this kind of self-congratulatory clubroom catchphrase.

4. Only at the very end of the novel (presumably as intended) did I realise that there is, in fact, only one good man in the book and it is Dr Murray. He is principled and professional in a way none of the other men in the book are. It is symptomatic of Leafy’s degraded condition that he develops such a pathological hatred for a man who is simply following the rules and regulations and then, when offered an enormous bribe, briskly turns it down and insists on doing what he regards as the right thing. This itself has two sub-aspects:

a) Murray isn’t English, he is Scottish. There is a stark distinction between the bumbling incompetent English Commission staff (pompous Fanshawe, out-of-control Leafy, insufferably successful Dalmire) and Murray, who comes from a completely different tradition, of stern Scottish professionalism and moral fibre.

b) From this point of view, taking Murray as the central figure in the book and removing for a moment all the comedy and farce, the narrative could be read as Morgan Leafy’s moral education by Dr Murray, Leafy’s slow, chaotic coming-to-realise that Murray represents an alternative way of being, selfless and noble and professional. Murray is clearly intended to be the Good Man of the title.

And, as I’ve mentioned before, seeing as how Boyd’s own father was a Scottish head of medicine in a West African university, this amounts to quite a tribute from a son to a father, quite a moving gesture of filial loyalty.

Objectifying women

1981. Long time ago, wasn’t it? And most of the book probably written well before then, getting on for 50 years ago. Its age shows, maybe, in some of the disrespectful language used about the Africans (I doubt if it’s nowadays acceptable to call older Black women ‘mammies’). And also in the underlying assumption that only white people are important enough to be treated in detail while most of the Black characters are poverty-stricken, lazy, useless and inarticulate. That’s bad enough.

But I think the main problem a young modern reader would have with this novel is the objectification of women. Boyd has Leafy itemise the appearance of all the women in his life (Hazel, Chloe and Priscilla Fanshawe, Celia Adekunle) in minute, unforgiving detail. The repeated references to Chloe Fanshawe’s huge bosoms is the stuff of traditional mother-in-law jokes but the description of her white blue-veined legs or ‘the large turquoise globes of her buttocks’ (p.223) less so. Leafy pays close attention to, and describes in detail, all women’s breasts.

In a sort of exception, the repeated descriptions of Leafy’s African mistress, skinny, brown Celia Adekunle, with a wattle of loose tummy skin from her two children and her appendectomy scar, this came over to me as surprisingly tender and accepting. But, stepping back a bit, even this is still part of the minute scrutiny of women’s bodies which, I think, would offend the modern female reader.

Boyd’s prose style

Boyd’s prose is extremely smooth and effective, clear and sensible and expressive. I came to ‘A Good Man’ from reading several novels by Giles Foden who wields a complicated mosaic of registers and tones, whose prose is characterised by unwieldy sentences, odd phraseology, clunky positioning of prepositions – numerous quirks and oddities which continually draw attention to themselves.

Absolutely nothing like that with Boyd: his prose is clear, modern, flowing, albeit put in the service of describing a kind of comic psychopath. But you rarely if ever notice Boyd’s prose, just register the comic extremity of Leafy’s volcanic eruptions of rage and frustration, panic and horror. A Good Man in Africa is a well-constructed, clever and very, very funny book.


Credit

A Good Man in Africa by William Boyd was published by Hamish Hamilton in 1981. References are to the 1983 Penguin paperback edition.

Related links

The Last King of Scotland by Giles Foden (1998)

‘I should have known’, that is the phrase of my life, its summing up, its consummate acknowledgement.
(The narrator of The Last King of Scotland, Nicholas Garrigan, looking back over the sorry series of events depicted in the book, page 119)

Giles Foden

Giles Foden was born in 1967. When he was 5 his parents moved from Warwickshire to Malawi and he spent a lot of his early years in Africa, although he was sent back to Britain to be educated at public school (the very posh Malvern College) then Cambridge.

Foden has written six novels but is still best known for this one, his first novel, which won a clutch of prizes (the Whitbread First Novel Award, a Somerset Maugham Award, a Betty Trask Award and the Winifred Holtby Memorial Prize). It gained a significantly greater prominence when it was made into a powerful movie, in 2006, starring Forest Whitaker and James McAvoy, himself just about to be propelled to superstar status in the X-Men movies.

The Last King: premise

The premise of the novel is simple: it’s a first-person narrative told by young Scottish doctor, Nicholas Garrigan, who goes to Uganda in 1971 on secondment from the British government’s Overseas Development Agency, to see something of the world and, through a chance encounter, is selected by the country’s new military dictator, Idi Amin, to become his personal physician.

Over the next 200 pages Garrigan witnesses Amin’s descent into psychopathic dictatorship, the ethnic killings, the arrests and tortures, mysterious disappearances, the expulsion of Uganda’s Asian community, the humiliation of the white community, the rising body count – he witnesses much of this in person, up close and personal, yet fails to intervene, at various key moments, to save friends and colleagues from horrendous fates, becoming more and more morally compromised and implicated in the process.

The reader accompanies Garrigan as he is dragged deeper into an inferno of violence, cruelty, torture, murder and terror until the narrative feels like it’s inhabiting a different kind of reality, one of endless melodrama and horror, war, destruction, evisceration, terrorism, random killings. The narrative turns into a gruelling nightmare.

It’s a solid book at 345 pages but I found it easy and pleasurable to read (at least to begin with) because of the narrative voice Foden creates. Garrigan’s narrative has a relaxed candid manner conveying an appealingly easygoing but observant, slangy but perceptive worldview. Basically, it’s enjoyable being in his company for a couple of days. (Compare and contrast with H.E. Bates’s classic ‘Fair Stood The Wind for France’ which I just finished reading and found a metallic, alienating, cold and heartless ordeal. By contrast, Garrigan is fun, chill and interesting.) Here’s what I mean by casual tone and easy-to-read style:

On the way back, after we’d poured Ivor into his bungalow, Sara invited me in for a whisky. Her place was even more sparsely furnished than mine: not much more than a desk, a chair and a sofa. And a bed, I supposed, though I didn’t get to see that. (p.100)

Apart from ‘sparsely’ it’s pretty much how someone would speak. Sometimes Garrigan’s tone can be consciously entertaining:

She turned a knob and a wave of white noise came out. On top of it or behind it, or wherever things happen in radio world, was an eerie electronic neighing, going up and down jaggedly, and a deep squelchy voice choppily declaiming in a foreign language some repetitive sounding set of orders or other permutation of words and numbers. Altogether, it was as if the football results were being read by one of the prophets. In a snowstorm. On a runaway horse. (p.101)

One of the ways the book challenges the reader is the way this easygoing attitude and approach, which we are encouraged to identify with from the beginning, turns out to be hopelessly inadequate for coping with the increasingly fraught situations Garrigan finds himself in.

Part 1

The narrative starts with a frame. Garrigan explains that he is back in Scotland, safe and sound, looking back over his mad time in Uganda as physician to Idi Amin and is determined to write a history of this period of ‘blood, misery and foolishness’ despite the fact that he seems to be the subject of scandal and criticism, for he tells us the newspapers ‘continue to execrate me’ (p.19). What for? We don’t know, it’s a teaser for what will emerge in the main narrative.

Very briefly Garrigan describes his boyhood and upbringing in the Scottish suburb of Fossiemuir, West Fife, his years as a student doctor. His father, George (p.41) was a stern presbyterian minister: ‘religion covered our family like a fine soot’ (p.19). But after just a few pages we’re on to him graduating as a doctor, to escape his parochial background and see the world, taking the civil service exam.

The narrative slows down to give more detail about his flight to Kampala, meeting the Embassy people (Nigel Stone and the eccentric Major Weir, intelligence officer, who builds model helicopters). He stays at the rundown Speke Hotel while he gets used to the heat, the street life, the food. Meets fellow guest Freddy Swanepoel.

He is posted to assist a Dr Alan Merritt at his hospital in the West Ugandan town of Mbarara. He takes an overcrowded minibus or matatu there, helped and advised by friendly local Boniface ‘Bonny’ Malumba (p.49). Soldiers stop the bus at a makeshift roadblock to demand bribes. When a Kenyan diplomat refuses to pay, the soldiers smash him in the face with a gun. After they’ve gotten off Nicholas goes to help him and is surprised when the Kenyan is very angry, saying ‘where were you when I needed you to stand up for me?’ (p.153) Why does this passage exist? Is it intended to be an early indicator of Nicholas’s cowardice or, to be more fair and accurate, his not knowing what to do in confrontation situations?

So he arrives at Mbarara, some kids guide him out to the medical compound, and we are introduced to Dr Merrit, his tutting wife Joyce (who calls her husband ‘Spiny’) and the servant Nestor. More importantly to the sprawling ‘hospital’ with its primitive facilities. Garrigan gives us an overview of the kinds of patients and diseases they’re called on to treat, which is very interesting (machete wounds, elephantiasis, vaginal fistulas in women caused by giving birth at home in primitive conditions, malaria etc pages 74 to 77).

Earlier Garrigan told us he arrived in Uganda on Sunday 24 January 1971 (p.21). The precise date is important because Amin carried out his military coup, overthrowing the government of President Milton Obote, the very next day, on 25 January 1971.

Why did Amin overthrow Obote? Because he learned that Obote was planning to arrest him for misappropriating army funds and, more generally, threatened the army’s lucrative corruption. In the words of Wikipedia:

The 1971 coup is often cited as an example of ‘class action by the military’, wherein the Uganda Army acted against ‘an increasingly socialist regime whose egalitarian domestic politics posed more and more of a threat to the military’s economic privileges.’

Of course none of this is clear to any of the characters because it’s only just happened, although Dr Merritt gives Harrigan the view of a jaundiced old hand:

‘It’s very simple. This place – chaos, you just have to expect the worst. You think it’s a matter of it having to get worse for it to get better, but actually it just gets worse and worse. Take this new business with Amin. I hear they’re all happy as sandboys right now up in Kampala, but it’ll end in tears, I promise you.’ (p.60)

This little remark obviously plants a seed of expectation of the horrors that will come later. Prolepsis or the anticipation of something that comes later in a story.

Garrigan is introduced to Sara Zach, on secondment from a hospital in Israel, to two Cuban surgeons, and to a ravaged Englishman, Ivor Seabrook, with the ‘destroyed features of the long-term tropical alcoholic’ (p.71) and closet homosexual who seduces the various serving boys. He is taken on field trips by Merritt’s assistant, William Waziri, vaccination and anti-mosquito spraying (pages 79 to 80) on one occasion being stopped at another army roadblock by drunk soldiers demanding a bribe (p.81). Africa.

Altogether this first hundred pages or so give a vivid, fascinating and totally believable picture of an outback medical practice in rural Uganda, packed with fascinating details? How on earth did Foden find out all this stuff?

The new president, Idi Amin, comes to Mbarara to make a speech to an excited crowd. Garrigan records his incoherent thoughts about God, the crowd lap it up, Sara makes notes and hustles them off, scared of being attacked because they’re white.

Cut to a year later, so must be 1972, and he mentions June as the month, when he’s getting used to conditions and has, rather inevitably, started an affair with the tough, no-nonsense, attractive Israeli doctor, Sara, descriptions of picnics in the foothills of the Ruwenzoris mountain range, making love, spotting exotic flowers and birds.

There’s an attack on the barracks in town. The doctors learn that troops were sent from the north and massacred all the Langi and Acholi soldiers, supposedly because they’re from a different tribe than Amin (p.106). Some Americans came snooping round, supposedly journalists, and are themselves killed and buried.

A few months later there’s a mortar attack on the barracks which misses and kills a lot of civilians. Merritt and Sara tend to them. Garrigan’s friend Bonny, and his mother and father, are among the dead.

Garrigan and Sara take in Bonny’s kid brother, Gugu, but he is mute and never speaks again. Eventually his extended family come to collect him. His relationship with Sara breaks down: Garrigan is prone to psychoanalysing everything and comes to realise he and Sara liked having Gugu with them because it created a family feel, gave them both security. With Gugu gone Sara moved back to her own bungalow. The radio reports weirder and weirder speeches by Amin.

Garrigan describes Operation Mafuta Mingi, the name Amin gives to his campaign to intimidate and eventually expel the entire Asian population of Uganda, around 50,000 people. Garrigan watches them being rounded up, their belongings impounded, bullied by soldiers, then driven to the airport deprived of all their belongings.

He records the effects of the expulsion: shops closed because many of them operated on lines of credit from India which terminated overnight. Basic items like salt, matches, sugar or soap became scarce. The army slaughtered a dairy herd for beef and so milk disappeared. This happened in August 1972. Sara had been increasingly distant and one day in October she simply leaves, without telling anyone (p.119). It’s because Amin had also been making speeches attacking the Israelis in Uganda, mostly working on development projects, about 600 of them and so, overnight, they left.

A few weeks later Garrigan has his first personal contact with Amin, being fetched by soldiers because the great leader had driven his Maserati into a cow and sprained his wrist. Garrigan is bowled over by his primeval physical presence. Amin has a soldier pour them brandy which, on the hot day, makes Garrigan light-headed.

And so it is that a letter arrives from health minister Wasswa requesting that Garrigan becomes Amin’s private physician. By this time he’s fed up of the Mbarara hospital which reminds him of the sad affair with Sara so he’s happy to go.

Ominousness

As it progresses the text drops references to Garrigan’s current position, contrasting the time of writing (now) with the events he’s writing about (then) and emphasising how something has made him re-evaluate everything. The technique adds an air of ominousness, the sense that something dreadful happened in the interim:

  • I realise now that… (p.116)
  • Or so I thought back then… (p.118)
  • Bewildered in Uganda, and not for the last time… (p.128)
  • Looking back, it seems crazy… (p.144)

Part 2 (p.131)

Part 2 opens with a recap of Amin’s birth, boyhood, young manhood, rise in the colonial army, rise in the post-independence army of President Obote, his involvement in smuggling from Congo, his overthrow of Obote in January 1971.

The strange thing about this section is that it seems to be told in a completely different narrative voice from part one. It is mannered and strange in a style so different from the laid-back casualness of part one that I thought it must signal the arrival of a completely new narrator.

I have been able to find out little of the history by which Amin is come to us. After all, who knows where any of us is come from, who could go to the cause?

This unusual phrasing, and the present tense, persist throughout this chapter (chapter 16), throwing me completely off-kilter, wondering if it was a different person talking, or a different type of text, like maybe the transcript of a recording. But no, chapter 17 returns to the normal voice of Garrigan, now installed in Kampala as Idi Amin’s personal physician and with very little to do. Odd.

Anyway, back in the narrative, every encounter with Amin is hair-raising. He is a big man, he dominates his courtiers who laugh with him, applaud his every word, out of obvious terror. He is painted as deeply stupid and illiterate but loving the sound of his own voice, capable of speaking at great length.

For it is true, also, out of my nature, I love to rule! (p.148)

Garrigan is mesmerised and hypnotised by Amin, like the rest of his retinue. The narrative continues to emphasise Garrigan’s gaucheness and insecurity – worry about what he looks like, what he says, how others perceive him, rising to stammering terror when faced with Amin. He is, after all, only a few years out of university. The book is a study in callowness.

After the weird opening chapter part 2 settles down into a series of brilliantly imagined scenes: Amin phones Garrigan to tell him his son is ill, come over immediately; Garrigan hurries over to discover the boy has put a piece of Lego up his nose, pulls it out and anti-bacs the nose (p.153). The wife is delighted and Amin sends him a Toyota van as reward (admittedly, still painted with the logo of the Asian fashion shop it was confiscated from).

As doctor to the Prez, Garrigan is now living in a bungalow in the State House compound, near Entebbe, a suburb of Kampala. He attends to Amin at the so-called ‘Command Post’, in fact a large suburban villa, or Nakasero Lodge where he spent most of his time (p.155), then at Cape Town, a property on Lake Victoria he awarded himself (p.165).

Garrigan works at the city’s main hospital, Mulago, filling us in on the kinds of patients you get in a big city compared to the countryside (car accidents), working alongside a fellow Scot, senior surgeon Colin Paterson, makes friends with a local surgeon, Peter Mbalu-Mukasa (p.157). The hospital is big enough to have foreign teams, from China, Algeria, Vietnam, Russia, and to be carrying out serious medical research. How did Foden get to know so much about tropical medicine? And not just knowledge but a feel for all the spin-offs and insights of doctoring:

Hospitals are like people, they grow, they develop, they learn. And they decay too, and die. (p.163)

He and Mbalu-Mukasa cruise the bars of Kampala and bump into the meaty, dodgy South African Freddy Swanepoel, Garrigan permanently afraid that Swanepoel’s outspokenness about the regime will get him into trouble.

Right from the start Amin had a bonkers fondness for Scotland, having spent some of his military training in Britain there, but it becomes ever more surreal, him outfitting regiments in kilts and making them learn the bagpipes; making booming speeches about how the Scots were like the Ugandans in having suffered from English imperialism. Now Amin invites Paterson and Garrigan for tea and tells them he is going to punish the English community in Uganda for its imperialism. As a local had told him back in Mbarara, ‘First wahindi, then muzungu’ (p.172). He forces some Brits to carry him in a litter through the streets, others to kneel and take an oath of fealty.

Stone, from the Embassy, invites Garrigan for a chat and works the conversation round to asking Garrigan to take advantage of his position to administer Amin with calmatives, tranquilisers, to try and bring him to his senses.

Merritt, his boss at the Mbarara hospital is kicked out, visits Garrigan on the way, says he if he’d stayed at the hospital it might have saved it. He is not the last to blame Garrigan for cowardice or failing to do the right thing.

In another demonstration of his gaucheness Garrigan takes Marina Perkins, wife of the British Ambassador, Robert Perkins, who he’s been chatting up at the swimming pool, on a fishing trip. All goes well till he makes a move to kiss her at which she is shocked and horrified, sits bolt upright and insists he take her home (p.177). He has completely misjudged the situation.

The famous scene (well, a centrepiece of the movie) in which Garrigan is summoned at night to Amin in his bedroom (carefully described) because he is in great stomach pain which, after extensive examination, Garrigan determines to be wind, and helps Amin into a position where he can release a great fart, thus relieving the pain, and overjoying the dictator.

Amin takes Garrigan into his confidence and talks about the burdens of office. He makes a feeble attempt to ask Amin to stop the army killing people which Amin swats aside.

Brief review: he tells us he was in Uganda for eight years in all, two in Mbarara, six in Kampala (p.191). A general overview in which he describes their many meetings, tea and conversation, naively thinking he’s getting to know him. The narrative begins to feel like summaries of a series of episodes:

There’s an attempt to assassinate Amin at an army review, which fails but kills the driver of his jeep. (In fact Amin survived eight attempted coups.)

In 1972 Amin gets married, to wife number four, and the text gives a detailed description of the ceremony and pen portraits of the previous three (chapter 24).

Amin phones Garrigan at all times for confidential chats and to let off steam. In public press conferences he announces he is training to be an astronaut. Also that he is assembling a pan-African army to attack South Africa. An excuse to quote (presumably actual) press meetings and outrageous quotes.

Amin sends inappropriate letters to world leaders, for example Mrs Thatcher on her election as leader of the Conservative Party (February 1975). He publicly states that Hitler had the right idea about the Jews. he did a deal with Colonel Gaddafi and Libyan businesses and soldiers become seen on the streets of Kampala. A lot later, after he’s escaped, in the novel’s aftertime, his sister Moira asks him why he stayed on so long, and let himself be portrayed as being close to such a lunatic. Garrigan can barely understand it himself. He was hypnotised. He’d fallen under Amin’s spell. He knew he was a monster but sometimes thought he loved him. Psychology of a dictator’s minions.

The closer I got to him, the fewer my illusions about him – and still I stayed, more fascinated than frightened. (p.213) (cf his ‘reluctance to get the hell out of there,’ p.222)

One stormy night his friend from the Kampala hospital, Peter Mbalu-Mukasa, turns up. Tells him he’s been having an affair with Amin’s second wife, Kay, and has got her pregnant. Since Amin hasn’t been having sex with her, he’ll know she’s been unfaithful and murder her and any lover he can track down. The man is understandably terrified and asks Garrigan if he can perform an illegal abortion on Kay. Garrigan lets himself be driven to Mbalu-Mukasa’s apartment, encounters the terrified moaning woman, but realises he can’t do it. Not only is he also terrified of being discovered, but he’s never actually performed an abortion and will likely make a mess of it. With all kinds of excuses, he refuses, backs out, and makes his way home.

It’s the last time he sees either. Rumour had it that Mbalu-Mukasa botched the abortion, Kay died of blood loss, and Mbalu-Mukasa committed suicide (August 1974). Worse, Garrigan was invited by the mortuary assistant who shows him Kay’s body and how all four limbs and the head had been detached from it, then clumsily sown back on.

In a bar Garrigan is appalled to see fat oafish Freddy Swanepoel putting his paw on the knee of the trim woman who rejected him, Marina. Chagrin. Worse, at their next meeting Amin tells him Nicholas knows all about his attempts to seduce Marina, about her affair with Swanepoel, and his poor opinion of the South African pilot, who he thinks is a spy.

Stone calls Garrigan back to the Embassy. He makes clear that the Ambassador is just a front man, it’s he, Stone, who pulls the strings. He shows Garrigan a series of photos of Amin taking part in executions and torture. Hundreds of people are dying every day. Stone accuses Garrigan of being complicit in this mass murder. Then he asks Garrigan to murder Amin. Use whatever is necessary, poison, adrenalin or inject air into his heart, whatever it takes. Garrigan refuses, a) because he’s a doctor but b) because, on some level, he likes the man:

There was, I conceded it to myself again, something in me that actually liked the man, monster though he was. (p.231)

To his amazement, Stone tells him the authorities have placed £50,000 in his bank account, with more to come when he achieves the murder. Garrigan turns him down. Next week Amin expels Stone, Perkins, the entire British Embassy.

Then Garrigan’s bungalow is burgled and his journal disappears, the one he’s been keeping notes in on all the events and all his opinions. He gets a midnight call from Amin to go see him immediately. Amin pulls a gun and terrifies a sweating Garrigan who grovels on the floor. Amin tells him that Weir, from the Embassy, told him about Stone’s request that Garrigan murder Amin! Then Amin summarises the contents of Garrigan’s journal and is disappointed at his lack of loyalty.

Then, in a scene which crosses the line from mundane reality into horror, Amin opens a secret door (in his bookshelves) and takes Garrigan deep into the cells and torture chambers which are just a short walk away, along dim concrete passages.

Here he is shown his colleague from the Mbarara days, William Waziri who used to take him on medical tours of local villages. He is pinned down, tied and gagged. Amin says he is associated with enemy guerrillas. Garrigan is forced to watch as soldiers press him to the floor, one stepping on his head, as they use a kitchen knife to saw open his throat, and Waziri’s eyes meet Garrigan’s as they do it.

Garrigan passes out and regains consciousness to discover he, also, is in a prison cell where he stays for a day, being insulted by the jailer who comes to deliver the disgusting food. Obviously all the worst thoughts in the world go through his mind, maybe he’ll be there forever, or be tortured or murdered. In fact, only a day later the door opens and the health minister, Wasswa, is there with clean clothes. He hustles Garrigan along the corridor, telling him he’s lucky to be alive. From the cells they pass along the corridor where prisoners shout at him to help them. Garrigan hesitates but Wasswa tells him there is nothing he can do. Along some more corridors and then through a concealed entrance and, bizarrely, back into Amin’s bedroom where the dictator is resplendent in an electric-blue safari suit and greets him like an old friend.

Amin tells Garrigan he has to renounce his British citizenship and become a Ugandan citizen. Then orders him to come back soon. Amin disapproves of Garrigan’s journal because it is informal and unofficial but approves the fact that he’s a writer. And so he orders Garrigan to come back so that Amin can dictate to him his Life and Achievements.

Next day Garrigan drives straight to the airport to discover Fate is against him. It is July 1976 and terrorists have hijacked a civil airliner and rerouted it to Libya, then Uganda.

Which is why Garrigan is an eye witness to the hostage crisis, and to the arrival of Amin at the airport where he congratulates himself on persuading the terrorists to release the non-Jewish hostages. The captain of the plane refuses to leave without the 40-something Jewish hostages who are being held in a separate room. There is an implied contrast between the professionalism and responsibility of this plane captain, and Garrigan’s shuffling out of all his responsibilities.

That night he is amazed to get a phone call from his Israeli lover Sara, the one who left without saying goodbye. She now reveals she’s a Colonel of the Israeli Defence Force and insists that he describes the layout of the airport at Entebbe, where the hostages are, how many terrorists are guarding them etc. She is obviously laying the groundwork for the famous Israeli raid which frees the hostages.

(The present: slowly we have been drip-fed details about where Garrigan is writing all this. We learn it is in the bothy (‘a basic shelter, usually left unlocked and available for anyone to use free of charge’) left to him by a great-uncle [Uncle Eamonn, p.336], on a remote Scottish island. It’s from the peace and quiet here, that he is looking back, and trying to patch together, these last horrific months. Pages 249, 256, 263, 266)

As the Ugandan economy collapses, conditions at the Mulago hospital collapse with it. Garrigan continues to work, he considers he has no alternative. One day, during one of their tape recording sessions, Amin gives him a package contained a stuffed mounted lion’s head to deliver to a small plane at Entebbe airport, to the chairman of Rafiki Aviation who will be waiting for it. Garrigan nervously does so, handing it over to this man who gets into a small plane piloted by Freddy Swanepoel, and off it flies. Garrigan later finds out that the plane exploded and crashed for unknown reasons. He’s pretty sure there was a bomb in the package he gave.

It’s only 6 months later that he plucks up the guts to ask Amin about the package. By now their recording sessions have become well established. Garrigan comes close to witnessing examples of Amin’s cannibalism (p.260). Once or twice he has opportunities to kill Amin, one in particular when he is in reach of his holster and pistol. Something always holds him back.

Garrigan has of course been thinking about fleeing the country for years but doesn’t see how he can, now that the airport is tightly watched. His plans are paralleled by Amin’s increasing rhetoric about war with neighbouring Tanzania.

The escape attempt

Garrigan finally packs his necessaries in the van and heads off for the southern border, hoping to cross south into Rwanda via some remote mountain road. Unfortunately he runs into an army checkpoint. When he begins reversing, an army Land Rover comes charging towards him. Mad with panic he drives back the way he came and then wildly off into a road through the jungle which comes to a dead end at a deserted cabin. He leaps out of his van but has no idea what to do till he sees the cabin is slightly raised and wriggles under it. From here he watches the Land Rover arrive, the soldiers inspect the empty cabin, loose off some gunfire, then drive off with the Land Rover and his van, leaving him stranded.

He’s just wondering what to do when a huge snake rears up and bites him in the calf. He stumbles into the jungle and passes out. He comes round in a native village where the villagers have been feeding him and nursing his wound. Lying sick and delirious in a native hut he reflects on the long series of decisions which have brought him, an uptight, callow Scotsman, a ‘casket of emotional defects and diffident, inward-turning passions’ to this catastrophic situation (p.275). When he’s recovered a man indicates that he should follow him along a jungle track.

Obviously Garrigan hopes this will come out at some highway where he can hitch a lift back to civilisation. Instead it’s a further step in the descent into barbarism. they come to a road alright, where there’s a huge pile of corpses, twenty feet high, many still showing the gunshot wounds that killed them.

Feeling like he’ll vomit, Garrigan goes blundering down the road and soon, to his amazement, realises he’s in the vicinity of Mbarara. He carries on to discover a great crowd of locals. Pushing through he sees soldiers beating a figure tied to a chair. Pushed towards the front of the crowd, Garrigan finds the soldier turning and swinging his rifle butt into Garrigan’s ribs. To his absolute horror he realises it’s Gugu, the orphan boy he and Sara took in all those years ago. Now he has become a sadistic boy soldier in Amin’s deadly army.

But even as the boy stands above him, gun pointing towards him, there’s an explosion, presumably from artillery fire, and he sees the boy blown backwards, his chest opening in a splurge of blood.

The Tanzanian invasion

This summary has gone on long enough already. Long story short, Garrigan is rescued by / comes into the custody of Colonel Armstrong Kuchasa of the Tanzanian Defence Forces. In response to a feeble mini invasion of their land by Amin, Tanzania has repulsed the Ugandans and is no only invading, but on a mission to overthrow Amin.

Garrigan is bundled into an armoured personnel carrier (APC) and accompanies the Tanzanian Army, seeing action, coming under fire, seeing soldiers killed around him, protected and fed by the Colonel once he’s understood that Garrigan is a trained doctor, who he gets to tend to his wounded.

So Garrigan accompanies the Tanzanian army all the way to Kampala and is eye witness to its capture (and to the vignette of the destruction of the Volkswagen fleeing from the Embassy quarter across a golf course, which was carrying Dr Gottfried Lessing, East German ambassador and husband of Doris Lessing.)

He is with Tanzanian soldiers when they enter and ransack Amin’s formal residences. He realises he won’t be safe in the streets and makes it across town to the Mulago Hospital. Here it is chaos with the surgeons giving emergency care to all-comers. The head of surgery, Dr Paterson, barely contains his anger at him: ‘How very nice of you to join us, Nick’ (p.299). He, like everyone else, simply thought Garrigan had run away with Amin. Once again he seems to have done utterly the wrong thing at the wrong time. He scrubs up and helps out.

Later, out in the streets he sees rioting followed by looting, alongside bizarre victory marches. He follows the flow of the crowd towards one of Amin’s residences at Nakasero.

Amin redux

The novel builds up to a really weird climax. Garrigan follows the local mob into Amin’s residence, noting how everything has been smashed and looted, following them up to Amin’s bedroom where all portables have been pinched and his big waterbed exploded. But nobody knows about or has opened the secret doorway in the bookcase. So Garrigan does.

And once again, as in a horror movie, relives the experience of walking down the dank concrete corridor. And then, just as in a horror movie, he sees Amin. Standing in one of the chambers which controlled the electricity supply to the torture instruments. Amin is addressing a surreal monologue to a severed head on a plate. Only as he moves around does Garrigan realise with horror that it is the severed head of the Archbishop of Uganda, the same diminutive churchman we met conducting Amin’s fourth marriage way back earlier in the text. The horror.

And then Amin addresses Garrigan. He’s seen him hiding. They have a bizarre dialogue, Amin as relaxed and confident as ever. Amin is made to implicate all the western countries who helped train his army, and train and equip his dreaded security police, the State Research Bureau (p.312).

Finally, unbelievably, Amin asks Garrigan a favour. Turns out that one of the maze of tunnels from his residences comes out at a landmark on the way to the airport. There he has a plane waiting for him. Could Garrigan go to the landmark and collect him and drive him to the airport? Amin comes and stands over him and Garrigan experiences a dizziness and a complexity of emotions which is like drugs or arousal or love – and agrees.

In the event it takes him so long in the general chaos to get hold of a vehicle that he gets to the landmark and waits and waits but Amin never appears. Eventually he drives on in the vague direction of the compound and his bungalow, passes a lake, stops, notices a number of boats moored at the quay, gets down into one, kickstarts the motor and heads off north, casual as that.

It takes 6 or 7 hours, chuntering away all night till he arrives at a quayside in Kenya and quickly makes himself known to the police.

In fact his travails are far from over as a curt Foreign Office official informs him that a) he no longer has British citizenship so might easily be turned away from Britain b) he is universally thought to have been one of Amin’s closest henchmen, so is very unpopular in the press c) he might be charged for murder for his part in planting an explosive device on that small plane that blew up.

Stone forces him to sign a document swearing to be silent about all activities of the British government in Uganda i.e. the offer of payment to murder Amin, but other things as well. In return for signing these non-disclosure agreements, Stone says he will be reassigned his British citizenship.

Lastly, Garrigan has to go through the ordeal of being interviewed by a handful of chosen journalists in a hotel at Heathrow under the supervision of a PR ‘handler’ named Ed Howarth, who is there to ensure the interviews are a one-off event and that Garrigan says nothing which will compromise the British government – an illuminating process for Garrigan and the reader.

Then he is free to go and catches a train north to Scotland, then travels by hire car, then ferry, over to this little island where…he has been holed up in the bothy writing this long account and trying to exorcise his demons.

At the very very end of the narrative the phone rings in the little cottage and…he hears Amin’s voice, friendly and coaxing as ever, tutting about his treatment in the papers and telling him how much he is enjoying his quiet retirement in Saudi Arabia. Is this real? Can this be happening? Will he never be able to escape from dreams and phantasms of the monster? Either way, Garrigan puts the phone down and that’s the end of the narrative.

Summary

Amazing

This is a mind-bogglingly brilliant achievement, an awesome historical novel which not only recreates life in Uganda and Kampala with superhuman accuracy and vividness, but is also a searing insight into the twisted mentality of a psychopathic dictator and, above all, into the psychology of an educated Westerner who lets himself be manipulated into becoming complicit and acquiescent in horrifying atrocities. A terrifying but profound novel which leaves you reverberating with horror for weeks afterward.

Zelig

The main criticism of the novel would be that at some stage, maybe from the incident of Kay’s botched abortion, Garrigan begins to feel like a Zelig character who keeps popping up at key moments during Amin’s career: the death of Kay, then the Entebbe hostage situation, and then the Tanzanian invasion, Garrigan increasingly happens to be at the right place at the right time, with mounting improbability.

I think credibility snaps when he finds himself on the receiving end of Gugu’s rifle butt. That’s just one coincidence too far. From that point onwards Garrigan becomes less like a character and more like a cipher with which to dramatise a checklist of incidents during the invasion. And that realisation feeds backwards, making you think the same about the Entebbe terrorist situation, and other incidents, too.

Maybe it sort of has to be like this – in order to have a dramatic fiction Foden has to make Garrigan part of all these real historic events – but in doing so the story leaves behind plausible realism and becomes something else: first, in the torture cells beneath Amin’s residence, into a genuinely hair-raising horror story; and then follows the delirious sequence of his Land Rover escape, his bite by a snake, his recovery in a native village, his being taken to a huge pile of corpses, and then stumbling across Gugu beating a prisoner to death and, at that very moment, an artillery attack blowing Gugu to pieces etc. By this time the whole thing has become more of a hallucination than a narrative, piling agony on agony, one vivid hyper-violent scene after another, until the reader’s imagination is shredded.

Comparison with William Boyd

William Boyd is another Englishman brought up in Africa by ex-pat parents, sent to a pukka public school then Oxbridge, who also became a novelist tackling African themes. His first novel, ‘A Good Man in Africa’, is about another Englishman completely out of his depth in a dire African country, who drinks too much, makes a fool of himself with women, and completely fails to understand what’s going on around him, leading up to a violent climax in riots and a coup.

So these are two books about useless Brits caught up in violent events in Africa, the difference obviously being that in Boyd’s books it’s played for laughs (‘A Good Man’ is a very funny farce) while in Foden’s the same basic subject is played for tragedy and horror.

Given the grim times we live in, I’d recommend people read the Boyd for its many hilarious scenes and smiling memories although, at the very end, it too has a bitter denouement.

Wikipedia on Idi Amin

The opening summary of Idi Amin’s Wikipedia article:

Idi Amin Dada Oumee (c. 1925 to 16 August 2003) was a Ugandan military officer and politician who served as the third president of Uganda from 1971 to 1979. He ruled as a military dictator and is considered one of the most brutal despots in modern world history…Amin’s rule was characterised by rampant human rights abuses, including political repression, ethnic persecution, extrajudicial killings, as well as nepotism, corruption, and gross economic mismanagement. International observers and human rights groups estimate that between 100,000 and 500,000 people were killed under his regime.

Foden takes a middle estimate, that Amin’s regime killed 300,000 Ugandans (p.133).

Africa words

muzunga – white people

musawo – a doctor

Chapter 9, pages 84 to 90, gives an extended explanation of various Swahili terms

the wananchi – ordinary citizens


Credit

The Last King of Scotland by Giles Foden was published by Faber Books in 1998. References are to the 1999 Faber paperback edition.

Giles Foden reviews

Related reviews

Blood River: A Journey To Africa’s Broken Heart by Tim Butcher (2007)

I walked inside [the former Belgian restaurant in the Congo town of Kalemie] to find a wreck. A wooden bar ran along one wall and a Congolese lady stood behind it.
‘Do you have anything I could drink?’
‘No.’
‘Do you have anything I could eat?’
‘No.’
(Blood River: A Journey To Africa’s Broken Heart, page 103)

In the 1960s it was in Maniema that thirteen Italian airmen of the United Nations were killed and eaten, their body parts smoked and made available at local markets for weeks after the slaughter.
(Blood River: A Journey To Africa’s Broken Heart, p.134)

The Congo river system is potentially one of the most valuable assets in all of Africa, but in recent years it has been choked to a standstill by war and mismanagement.
(Blood River: A Journey To Africa’s Broken Heart, p.295)

As the lurid title suggests, Butcher is a journalist, not a historian or scholar. He was appointed Africa correspondent of the Daily Telegraph in 2000 and this book is a colourful description of his self-appointed task of repeating Henry Morton Stanley’s famous expedition across central Africa, from Kalemie on Lake Tanganyika, across country for 500 kilometres until he hit the River Congo, and then 3,000 or so kilometres down Africa’s second longest river, right down to the sea, beyond Boma – a journey he undertook in August 2004 (just as the Athens Olympics were about to start, p.322).

Limited use as a reference

Early on, Butcher inadvertently indicates the limits of his journalistic style or knowledge or interest or research, when he knocks off a description of the Rwanda genocide and how it unravelled into the two Congo Wars, which themselves degenerated into the Great War of Africa, in a mere two pages (13 to 14).

As it happens I’ve read about six book-length or chapter-length accounts of the Rwandan genocide and the wars which followed, all of which go into vastly more detail about this complicated and terrible sequence of events, and so I flinched a bit at the superficiality and, in my opinion, errors in Butcher’s brief summary. He has an interviewee say that Mobutu ‘invited’ ‘the Hutu gunmen’, the interahamwe, to flee into Zaire. He writes that ‘the Tutsi-dominated Rwandan government’ then sent troops to support Laurent Kabila’s insurgency (p.13).

This is not only very simplified but, in my opinion, actively misleading. It wasn’t just the interahamwe that fled into Zaire but the entire Hutu government and administration which had planned and carried out the appalling genocide of the Tutsi minority. Justifiably terrified of being captured and punished for their crimes, the Hutu administration terrified millions of Hutus into thinking the invading Tutsi-dominated Rwandan Patriotic Front would take revenge on them for the genocide, and so it turned into a mass exodus of a large part (about a quarter) of Rwanda’s population across the border into Congo.

It’s true that Mobutu had a long-standing close relationship with the Hutu leadership of Rwanda, but he didn’t ‘invite’ the fleeing génocidaires nor their million peasant compatriots into his country, they just crossed the border and presented Mobutu with a crisis (and an opportunity).

Butcher skips any explanation of the pre-existing civil war in Rwanda which was the context for the genocide and helps to explain it. Nowhere in the book does he mention the Rwandan Patriotic Front (RPF), or its leader and still the current president of Rwanda, Paul Kagame, or the key role the RPF played in ending the genocide when the entire international community (the UN, Britain, America, France) was standing by and letting it happen (to our eternal shame).

He nowhere explains that the Hutu génocidaires established an iron control of the vast refugee camps just inside the Zaire border and used them as bases to launch attacks against Tutsi villages inside Rwanda, continuing the genocide on a small scale while marshalling their resources to launch a re-invasion with the aim of completing the job of exterminating all the Tutsis.

He nowhere explains that the new Rwandan government of national unity repeatedly complained about the Hutu exiles to the Congo government of Mobutu, and begged the UN and international partners to step in and stop the raids and to rein in the Hutu génocidaires but that, once again, the international community did nothing.

He doesn’t explain that this was why, after a year of putting up with this destabilising presence on its western border, the RPF-backed Rwanda government decided to do something about it: to send its army into the Congo, dismantle the refugee camps, force the Hutu population to return to their country with promise of safe passage and that they would be unpunished if they just returned to their villages, while at the same time chasing the genocidal Hutu leaders and their mass-murdering militia, the interahamwe, deeper into Congo with the aim of killing them and putting an end to their genocidal plans once and for all.

He doesn’t explain how Kigali found a willing partner in the government of Uganda, which contributed its own forces, and suggested they use as a fig leaf and front man for their invasion, the drunken, womanising guerrilla leader Laurent-Désiré Kabila, who had been ‘fighting’ a small-scale insurgency against the Mobutu regime for 30 years and who they now put at the head of a new rebel force concocted for the purpose (the Alliance of Democratic Forces for the Liberation of Congo). Nor that the initial operation was so successful that Rwanda and Uganda decided to send their forces on right across Congo to the capital, Kinshasa, forcing the ageing ailing dictator Mobutu to flee the country (May 1996) and  installing their puppet, Kabila, as new president of Congo.

Butcher’s narrative gives the rough shape of these events but is, on my reading of the sources, wrong in most of its details, for example claiming that Rwanda and Uganda ‘backed’ a pre-existing military campaign by Kabila rather than Kabila being a convenient front man for an armed group invented for the purpose to cover an invasion entirely planned and led by Uganda-Rwanda.

It was when Kabila, safely established in power as the new president of Congo in 1997, began attacking his own Rwandan and Ugandan backers, ordering their troops to leave the capital, refusing to obey their orders any more, that Uganda and Rwanda, infuriated that their puppet had turned against them, mounted a second invasion, in 1998, to overthrow him.

This is why people refer to two Congo wars. The First Congo War, from 1996 to 1997 was the Rwanda-Uganda invasion to a) empty the Hutu refugee camps and b) overthrow Mobutu. The Second Congo War started in 1998 and was Rwanda-Uganda’s attempt to overthrow Kabila and impose a regime more friendly to them. It was this second invasion which got seriously bogged down because many of Congo’s neighbouring countries sent forces to support either the Kabila government or to ally with Uganda-Rwanda. Generally the alliances were influenced by deals to get their hands on Congo’s mineral resources. Thus Zimbabwe’s Robert Mugabe supported Kabila in exchange for access to minerals in Congo’s south-east, and so units of the Zimbabwean army found themselves fighting units from other nations in the tropical jungles of Congo, an expensive and bewildering waste of men and resources which distanced the Zimbabwe army from the regime (as described in Douglas Rogers’s account of the coup which eventually overthrew Mugabe).

This second conflict unravelled as not only forces from ten or so neighbouring countries got involved, but as regional warlords arose and seized control of different parts of the huge country. This is the complicated, multi-party conflict which is sometimes referred to as the Great War of Africa. Theoretically it ended with a peace treaty in 2003 but, on the ground, much violence continued in the form of roving bands of ‘soldiers’ or warlord-led militias, who emerged from the jungle, massacred villages, terrorised towns, looted all the food, raped all the women, murdered the men, then disappeared back into the jungle.

This, then, was the deeply insecure and scary environment in which Butcher planned to stage his recreation of Henry Morton Stanley’s epic journey down the Congo river. In the event, although he hears many rumours of roving warbands, although he hears from inhabitants of towns and villages of past attacks, and although he and his travelling companions race past small guard posts, he never in fact meets or has any encounters with any of the terrifying army, militia or tribal warriors.

I’ve summarised the events of the Congo wars in such detail because they are the vital backdrop to Butcher’s adventure, and because he refers to them again and again throughout the book, but mostly in what I regard as a misleadingly simplistic way. In particular I went from being puzzled to feeling a bit disturbed by his complete omission of the context of the genocide (i.e. the Rwandan civil war) and its cause (a deliberate policy of mass extermination in the name of Hutu Power), by his systematic downplaying of the genocide itself, by his complete omission of the name of the key organisation in both the civil war, the ending of the genocide, and the Congo wars i.e. the Rwandan Patriotic Front, and his preference for using the phrase ‘the Tutsi-dominated’ Rwandan government. The repeated use of this phrase cumulatively gives the impression that the source of all the disruption and violence in the region was the RPF-backed government in Kigali.

Now it is definitely true that the two Rwanda-Uganda invasions of Congo, first to overthrow Mobutu, and then to overthrow Kabila, massively destabilised the whole centre of Africa. But you have to understand that the RPF’s aim was to dismantle the Hutu regime which had just carried out the worst genocide of modern times, and then to overthrow the génocidaires’ main supporter, Mobutu, and install a government which would ensure that such a genocide never took place again. Unless you grasp that underlying motive for their actions you make it seem as if the Tutsi government was the unmotivated source of the disorder in the region. It certainly evolved into that situation, especially once all Congo’s neighbours piled in, but that wasn’t their initial motive.

The general thrust of Butcher’s account is correct and he repeats the outline of events several more times throughout the book, but almost all the fine details and the deeper background, which would help you make more sense of these tumultuous events, are either wrong or just missing.

In particular I found Butcher’s underplaying of the genocide (he mentions it but never dwells on what a truly horrific and regionally seismic event it was), his casting of the Hutus as helpless victims, and his continual nudging references to the violence across the region being caused by the ‘Tutsis-dominated’ government in Kigali, build up into a misleadingly incomplete and worryingly biased account of events. A casual reading of the book would lead you to believe that the Tutsis are the bad guys in the story and behind all the violence.

What I’ve just written is based on the following sources:

And, of course, Wikipedia:

But the same goes for Butcher’s versions of earlier events. On pages 58 to 59 he gives a brisk summary of the murder of Congo’s first president, Patrice Lumumba, which is heavy on gruesome detail (the acid used to dissolve the corpse) but very light indeed on the complex international and domestic crises Lumumba found himself facing and made considerably worse by his own troubled character and his chaotic and rash decisions, alienating the Americans who found him impossible to work with, then inviting the Soviet Union to send armed forces to help him put down secessionist movements, which alarmed all the Western powers, the Americans and the UN.

Again, Butcher’s account isn’t wrong, as far as it goes, but by focusing narrowly on Lumumba’s murder and heavily blaming the colonial power, the Belgians (Belgian army officers helped kidnap Lumumba then fly him to a remote part of the country, were present when he was badly beaten, then shot dead and buried in a shallow grave) Butcher’s account omits the six months of hectic crises which preceded it, and Lumumba’s role in exacerbating it.

He gives no sense of how Lumumba’s difficult character worsened the crises and, eventually, led everyone concerned (including many of his own ministers and his army) to believe that Congo would be better off with him out of the way and replaced by someone more stable and predictable.

I’m not defending these events. I’m just pointing out that Butcher’s zippy two-page account, focusing (like a thriller) on the gruesome events of the murder itself, omits the complexity of the context and so militates against a proper understanding.

For all these reasons I would actively advise against reading this book as any kind of authoritative source for the geopolitics of the region and the period. For that, the best place to start would be the outstanding ‘Congo: The Epic History of a People’ by David Van Reybrouck (2010).

Chaps in Africa

So, having established Butcher as a poor source of historical description or analysis, I was, in a sense, freed up to read the book for what it really is: a boy’s own adventure story, a ripping yarn, a white man’s tale of derring-do in the heart of Africa etc.

The ripping yarn tone of the story explains the praise on the cover from an impressive list of white, public school-educated, male Africa hands who recognise one of their own. These include: Alexander McCall Smith, Giles Foden, John le Carré and William Boyd. Boyd is quoted as saying: ‘The day of the intrepid traveller is not over’, which can be translated as: ‘White chaps can still have ripping adventures in the jungle’, a slice of cheery public school optimism which, once you’ve actually read the book with its bleak descriptions of super violence, social collapse and cannibalism, you might come to regard as pretty inappropriate.

Look at me, I’m woke

Butcher is at pains to stay on the right side of the reviewers and modern woke opinion by lambasting the wicked colonialists who exploited Africa during the wicked colonial period (the evils of wicked colonialism are described or referred to scores and scores of time) with a vehemence typical of a certain sort of middle-aged, middle-class, literary white man.

But I found the same is true of his dogged insistence on the evils of colonialism as of his references to the origins of the Congo wars, namely he’s not wrong, but, after a while, you start to realise he’s not describing the issue in its full complexity. He is, after all, a journalist, and so he’s writing in catchy headlines and peppy phrases.

For example, in several places he elides the truly evil, wicked, genocidal regime of the disgusting King Leopold in the 1880s and 1890s with the much more benign rule of the Belgian colonialists after the Second World War. OK, maybe they still had the same racist, white supremacist beliefs, but, as his actual narrative makes abundantly clear, they no longer massacred entire villages and cut people’s hands off; instead the post-war colonial regime built airports and railways and roads, and ports and docks, and ran mines and plantations and businesses and, above all, maintained the peace, creating the basis of a potentially prosperous country. Eliding the two eras and their policies into one thing struck me as morally dubious but also historically and politically misleading.

At one point, in a typically jeering throwaway remark, Butcher says it was one of Belgium’s most notable blunders that they didn’t train up a cohort of educated native politicians and administrators to take over the running of the country when they left. This sounds fine but it’s really a cheap shot because the Belgian colonial authorities, just like the French and British ones, thought they would be running Africa for decades to come and so had plenty of time to create an infrastructure and slowly train up the indigenes.

None of them anticipated the sudden rush for independence which was triggered by the independence of Ghana (in 1957). In particular none of them anticipated a key factor, which I’ve highlighted in my reviews of, for example, Martin Meredith’s bleakly hilarious book, ‘The State of Africa: A History of the Continent Since Independence’, which was that, once negotiations started, the African nationalist parties tried to outdo each other in demanding independence, soon, sooner, NOW!

With the result that the fiery nationalists at the conference called to discuss the future of the Belgian Congo demanded they be given independence within three months of the conference ending. Many commentators at the time thought this was wildly rash but they were, of course, all denounced as racist imperialists.

Ronan Bennett’s novel The Catastrophist is set against the backdrop of the crisis of 1960 and gives a lot of  factual detail about the lead-up to Lumumba’s murder. Some of the secondary characters who the impeccably liberal protagonist meets at cocktail parties etc point out that the Africans are nowhere near being able to run a country, that handing over rule to them will lead to massacres, white flight and the collapse of the country into civil war and…they are treated as racist bigots, disliked by the woke hero, ignored by the politicians. Trouble is, those racist bigots turned out to be 100% correct and then some. Rushed independence turned out to be an unmitigated disaster for the people of the Congo.

White privilege

Butcher takes every possible opportunity to slag off the wicked Belgian colonialists, but he is considerably less attuned to the way that he, a middle-class, well-connected white westerner, with thousands of dollars stashed in his kit, along with zippy technology (laptop and satellite phone) and possessor of tiptop connections to government authorities, numerous non-governmental organisations (NGOs) and the press (his employer, The Telegraph newspaper) is only able to undertake the journey because of his (relative) wealth, his white privilege and his western privilege.

Quite a few times he walks into the offices of bureaucrats or confronts African officials who are notably more respectful of him than of their fellow Africans who they’ve just been bullying, simply because he is a white man. The entire journey is only possible because he is, by Congo standards, rich, because he has thousands of dollars stashed in his clothes and so is able to pay Africans hard cash to drive him through the jungle, canoe him down the river, and generally bribe his way out of trouble.

That William Boyd quote could more accurately be rewritten as: ‘The day of the intrepid [western white male] traveller [with lots of cash and connections] is not over’.

In the footsteps of Stanley

Butcher’s entire expedition is an attempt to recreate Henry Morton Stanley’s great expedition across country to, and then down, the mighty Congo River, in which he was accompanied by three white companions and over 300 African porters, and which took three long gruelling years, from 1874 to 1877.

As you might expect, this inevitably entails several summaries of Stanley’s biography and character, of the great expedition (pages 44 to 49), and Stanley’s narrative (and illustrations) are referenced throughout the book, in particular whenever Butcher arrives at a place which Stanley first visited, or a town he in fact founded (for example, the settlement of Stanleyville which he founded at the end of the series of treacherous rapids which he modestly named, the Stanley Falls). Inevitably, Butcher also references Stanley’s central role in opening up central Africa for the murderous genocidal regime of the truly evil King Leopold of Belgium.

But again, I found Butcher’s account good as far as it went, but it never goes much beyond the stereotype of the wicked, brutal racist Victorian explorer. Butcher takes the standard journalistic view that Stanley was a wicked, violent, racist who treated his hundreds of native porters with appalling brutality and didn’t hesitate to open fire on tribespeople who got in his way. All the subtlety and complexity about the man and his achievements to be found in the (obviously much longer) biographies like that of Tim Jeal (2007) are simply absent. Jeal doesn’t gloss over Stanley’s brutality, but places him in the context of his time, compares him with other explorers, and explains the challenges he faced, from the treacherous Arab slave traders who dominated the region, to the often violent and sometimes cannibal tribes Stanley had to deal with.

I’m not in the slightest exonerating Stanley: the work he went on to do for King Leopold, systematically swindling scores of tribal leaders out of their ancestral lands by making them sign contract with Leopold which they obviously didn’t understand and had no legal validity, was obviously wicked and inexcusable. I’m just saying that, as with the Congo wars and Lumumba’s murder, Butcher’s journalistic summaries of Stanley gloss over the far more complex, more fascinating and therefore more useful facts.

Butcher’s mum

The blurb, the preface and much of the text all emphasise that Butcher is setting out to recreate Stanley’s epic voyage of explanation down the Congo – but on pages 8 to 11 we learn of a much more homely, domestic motive for his trip. His mother did it.

Butcher’s mum was a jolly hockey sticks daughter of the empire who, aged 21 in 1958, was packed off to southern Africa, with a friend, as a sort of finishing school. She travelled from Cape Town to Salisbury (modern Harare in Zimbabwe). It was the very end of the colonial era and so all the countries she travelled through – South Africa, Rhodesia – were still run by white colonial administrations, and so there was law and order and a good travel infrastructure: planes and trains and ferries ran on time and regularly.

This applied just as much to the 1958 Belgian Congo which the two young gells crossed as the final part of their journey. Leopoldville was the hub of one of Africa’s largest airline and the Congo’s chief port, Matadi, was served by a fleet of ocean liners. Everything – trains, planes, ferries – worked like clockwork , staffed by polite porters and obliging stewards – and so Butcher’s mother, when he used to question her, had little or no memory of it.

Now, 45 or so years later (2004), the countries she travelled through have collapsed into dictatorship (Zimbabwe) or chaos (Congo), most of the infrastructure of the latter having collapsed and disappeared back into the jungle (railway lines and railway sleepers long ago dismantled and sold for scrap or burned as firewood; stations derelict; docks abandoned, as in a dystopian sci fi movie).

Butcher’s mum kept brochures and posters and timetables from her trip which Butcher describes poring over lovingly as a boy and young man. And so Butcher’s adventure has this second level, not only retracing the steps of the man who ‘discovered’, mapped, named and revealed central Africa to western readers in the 1870s and 80s – but at the same time moving through the surreal ruins of what had once been the thriving and efficient colonial infrastructure remembered by his mum and recorded in the various brochures and timetables she kept, circa 1958 (plus other 1950s documents and guides he acquired in preparation for his trip).

So: two sets of ghosts, and that’s just the white ghosts. Obviously Butcher discovers, once he enters the country, that he is also moving among spirits of all the African tribes who lived and died, fought and were enslaved, and, more recently, burned and looted, their way through the same terrain. (See Ryszard Kapuściński’s excellent book, The Shadow of The Sun, for extended descriptions of how belief in the spirits of the dead continue to saturate African culture.)

So Butcher’s trip is alive with resonances and echoes.

Kalemie

Butcher starts his journey in the port of Kalemie on the west bank of Lake Tanganyika, which is where Stanley arrived with his huge expedition of over 300 porters, after having crossed country from Zanzibar and then crossed the lake from east to west. Instead Butcher kicks off his journey by flying there, direct from South Africa. I thought this was a slightly odd decision. To fully recreate the Stanley expedition he ought to have travelled overland from the Tanzanian coast to Lake Tanganyika, as Stanley did. It would have been interesting to have his description of modern-day Zanzibar and Tanzania, and would have maybe provided a useful contrast between one African country and another.

So anyway, Butcher flies direct to Kalemie on the western, Congo, side of Lake Tanganyika and it’s here that, after quite a few digressions about Stanley, his mum, the contacts he has drummed up in preparation for the trip, and the briefings he’s had, that he finally gets the journey started.

Kalemie straightaway provides a good example of the decline and decay all of Congo has fallen into, after 32 years of Mobutu’s systematic looting of his own country, zero investment and appalling corrupt local administration, followed by seven years (1997 to the time of his visit, 2004) of increasingly chaotic and widespread conflict. From a distance it looks like a modern town but once he’s landed and looks more closely:

What I had taken to be an estate of factories, damaged in the recent war in the Congo, turned out to be a ruin dating from a much earlier age. Faded advertisements could just be made out on the walls…Grass grew long and untroubled through the railway sleepers on the approaches to the disused station…An old railway carriage…stood rusting in the tropical heat. In one of the compartments someone had made a small cooking fire on the floor, now surrounded by various dirty pots…Instead of a functioning high street what I found was a dusty space filled by gaggles of meandering locals…Of the buildings themselves there was little beyond the fronts. Rust had not just coloured the roofs but eaten out huge holes through which tropical rain had flooded for countless rainy seasons…Pipes that once brought mains water to each building lay broken and there was not one working lightbulb…Without cobalt or diamonds or gold to draw outsiders’ interest here, Kelamie had been hollowed out by the years. Where there had once been a substantial settlement, nothing but the husk remained. (pages 85 to 85)

And this in ‘one of the biggest towns in the Congo’, a town with no state radio or TV, no newspaper, no landline phones and no internet, no petrol stations or cars, where the 1950s airport the Belgians built has become a bullet-riddled ruin (p.88).

This is what decades of neglect, lack of investment, lack of law and lack of local government produce, in a place ‘run by’ officials and administrators who do nothing but loot and steal and demand bribes for every transaction, a place where the state fails to provide either teachers or doctors or police (p.105). A key word or theme or image which threads through the text is ‘ruin’, along with its cousins, ‘derelict’, ‘wreck’, ‘decline’, ‘decay’ and ‘abandoned’.

Going backwards

Butcher hires some guys to take him by motorbike (two bikes and their owners for security’s sake, and because they know the route) inland from Kalemie. The key fact to grasp is that there are no roads any more, let alone railways. In the 1950s guides and the memory of his mother (and other accounts from the 1950s, which he cites) the major cities and many of the towns were connected by good asphalt roads which the Belgians built. Every single one of these has disappeared and been swallowed back into the jungle. Several times he comes across vehicles buried under decades of tropical foliage and realises that the narrow track through the jungle where he’s standing was, 50 years previously, an open, asphalt highway busy with cars and lorries. Now all gone, disappeared.

Similarly, Congo’s main cities were joined by railway lines and all of these have disappeared. In some cases the metal rails have been removed along with the sleepers and all that’s left is a track worn flat by the trudging of African feet. In town after town he comes across derelict, abandoned railway stations. In one particularly vivid moment he’s struggling through thick tropical forest, the sky blocked out by interlocking trees swaying high above him, dense foliage pressing right up against the narrow path he’s pushing his motorbike through when his boot clunks against something metallic. When he squats down and scrapes away at the thick soil and undergrowth at his feet he is stunned to reveal a metal rail. Beneath his feet and completely swallowed up by raw jungle is a railway which was part of thriving, developing country just 40 years previously. He is staggered by how quickly, and how totally all these infrastructures have been utterly lost, by how swiftly the country has unravelled and gone backwards.

Butcher’s journey

So Butcher rides pillion on the back of a motorbike from Kalemie heading directly west, roughly following the old abandoned overgrown railway line which once ran alongside the River Lukuga and linked Kalemie on Lake Tanganyika to join the River Lualaba between Kabalo and Kongolo. But after a 110k or so they take an abrupt right turn, heading north towards Mukumbo, then onto Kabambarre, and then to Kasongo, a now-ruined port on the River Congo.

This journey doesn’t look much on the (very good) map in the book, but it was in fact a mind-boggling 500 kilometres. (The book contains one master map of the entire route, done in a professional cartographic style, and then each chapter of the actual narrative starts with a charming hand-drawn map of that particular leg of the journey, complete with hand-drawn dotted lines, place names, and distances. Sweet. And handy.)

Anyway, Butcher covered this awesome 500k on the back of a motorbike! Along rutted, narrow, earth tracks bounded by tropical rainforest and continually littered with tree roots, bumps and ravines, streams, gulley and occasional rivers. No wonder he got a sore bum!

He takes a (very basic) ferry across the river and, on the other side, contracts more motorcyclists to drive him through 200km more narrow winding jungle paths, via the (ruined) town of Kibombo and on to another riverside port, Kindu. It’s on this leg that he comes across the wreckage of an armoured car which was shelled and destroyed during a firefight on a major road paralleling the river. Now the road has completely disappeared and all that’s left is a rusting metal hulk, almost completely overgrown by jungle.

In Kindu he contacts the local UN station (‘Hi, I’m a white jounralist’) which agrees to convey him in one of their river patrol boats 150k north, to the riverside settlement (not a town, just a few huts on the muddy bank) of Lowa. Here the friendly, civilised UN sailors set him ashore, with much shaking of heads over his folly, and Butcher, very scared, approaches some local Congolese lounging near huge wooden canoes. He is greatly relieved when one of them agrees to take him by canoe, or pirogue, the 200k by river further north to the town of Ubundu. This man, Malike Bade, quickly recruits three other oarsmen and off they set.

Ubundu, the ruined town which had once been the thriving Belgian port of Ponthierville, marks the start of the 150k or so of rapids and waterfalls collectively (still) named the Stanley Falls. Butcher has to transfer from the river to dry land and hitches a ride with some motorcyclists who work for a western charity (‘Hi, I’m a white journalist’), who have just delivered supplies to Ubundu and are now returning to their base at Kisangani, the big settlement which marks the end of the Stanley Falls.

It’s on this leg that he has the haunting experience of stumbling across a rail from the railway the Belgians built running north-south parallel to the river, now not only abandoned but completely buried by the tropical jungle (pages 248 to 249).

It was one of the defining moments of my journey through the Congo. I was travelling through a country with more past than future, a place where the hands of the clock spin not forwards, but backwards. (p.249)

Kisangani is the first town in nearly 1,000 kilometres which has proper roads, car, electric power, hotels worth the name, and running water, and bed with clean sheets, so he has an orgy of showers and sleeping and eating proper food, and then more showers and more eating and sleeping.

He discovers Kisangani may look like a big functioning town but most of the infrastructure here, as everywhere else in Congo, is in ruins – the ruined railway station and the ruined harbour, the riverside cranes which look so impressive from a distance but haven’t worked for decades, broken beyond repair:

a shell, prone to spasms of political anarchy and chaotically administered by inept, corrupt local politicians…It owed what little stability it had to the artificial props of a large UN force and foreign aid workers. (p.255)

And the local politicians do everything they can to undermine even these fragile elements of stability. A few months before he arrived in Congo there had been conflict in the profoundly unstable Bukavu region far to the east on the Rwandan border, with reports of Rwandan forces massacring Congolese. Instead of calming opinion, Kisangani’s officials inflamed it and blamed the deaths on the UN for failing to protect the Bukavese, with the result that angry mobs went on the rampage, looting then setting fire to UN buildings, ransacking aid organisations’ offices and warehouses, while the so-called police stood by or even joined in.

When you read of events like this you wonder, why are we bothering to give money to help people who are so absolutely determined to ruin themselves?

I heard heartbreaking stories about corrupt Congolese officials pocketing aid money intended for local public-health workers, and local soldiers not just looting aid equipment, but brazenly asking for cash to hand it back to its rightful owners. Many in the aid community spent their time counting the days until their contracts were up and they could go back to the real world. (p.285)

A Catholic missionary, Father Leon, tells him about the notorious massacre of monks and gang rape of nuns which took place here in 1964 (24 November 1964, to be precise), was widely reported, and helped crystallise world opinion that Congo was slipping back into Stone Age barbarism (pages 270 to 274).

After five days Butcher moves out of his hotel and into the last large mission being run in the city, by the Missionaries of the Sacred Heart of Jesus. After two weeks of sounding out local ship crews and NGOs, trying to find a boat which will take him down the river, after numerous disappointments, Butcher eventually secures a ride on a UN patrol boat (‘Hi, I’m a white journalist’) which will take him the 1,000 kilometres down the river to the port of Mbandaka.

On the way he becomes ill and weak with fever so that by the time he arrives at Mbandaka, he just can’t face another week or two or three hustling for his next ride down the river. Mbandaka is much smaller and more ruinous than Kisanagani was, so there isn’t even a hotel. God knows where he’d stay. Whereas the UN riverboat captain had told him that a UN helicopter service left the following morning for Kinshasa.

Reluctantly, but with great relief, Butcher travels the 600k from Mbandaka to the country’s capital, Kinshasa by helicopter. Here he is put up in the amazingly luxurious gated compound owned by a major international mining company, which won lucrative contracts by helping with the smooth transition of power after wily old Laurent Kabila was unexpectedly assassinated (16 January 2001) and succeeded by his completely inexperienced son, Joseph Kabila, aged just 30 at the time.

Only after days of showers, lots of sleep, taking a variety of medicines, eating proper food and drinking clean water in this rich, privileged western enclave, does Butcher feel human again, and in a position to decide what to do next. He consults with the senior guy minding the mining company compound who explains that there are no buses or taxis in Kinshasa. The only possible option is to pay to have one of the mining company’s cars and driver drive him along the only remaining road in the entire country (recently refurbished with foreign aid money) the 350k to the Atlantic port at Boma. So that is what he does.

In total the journey took him ‘six harrowing weeks’, 44 days, and was a dazzling, deeply depressing insight into the state of contemporary Africa.

Butcher’s bleak view of Africa

As the Telegraph‘s Africa correspondent, Butcher is amusingly blunt: Africa is fucked, that’s his basic position. African nations were screwed by the colonial powers from the Congress of Berlin to independence (the 1880s to the 1960s); then suffered epic civil wars and/or the extended rule of vicious kleptocrats; and have now mostly fallen into states of disrepair, degradation, police states, autocracies, characterised by epic corruption, horrible everyday violence, and the regular occurrence of coups or civil wars.

The one constant through all these episodes was the heavy undertow of human suffering. It gnawed away at every African epoch I read about, no matter whether it was caused by nineteenth-century colonial brutes or twenty-first century despots. Generations of Africans have suffered the triumph of disappointment over potential, creating the only continent on the planet where the normal rules of human development and advancement simply don’t apply.

It was this sense of stagnation that troubled me most as I worked my way through my reading list. Sub-Saharan Africa has forty-one separate countries of stunning variety – from parched desert to sweaty rainforest, from wide savannah to snow-tipped volcano – and yet as I did my background research, the history of these varied countries merged into a single, pro forma analysis…as crude as the underlying assumption: that African nations are doomed to victim status.

By the time I started working in Africa as a journalist in 2000, its patina of despair had thickened to impenetrability… (p.4)

Certainly, when it comes to Congo, Butcher regards it as a country which has comprehensively gone to ruin, a place which has not only ceased developing but is actively undeveloping, moving at speed back into pre-20th century, pre-industrial times.

The failure of the Congo is so complete that its silent majority – tens of millions of people with no connections to the gangster government or the corrupt state machinery – are trapped in a fight to stay where they are and not become worse off. Thoughts of development, advancement or improvement are irrelevant when the fabric of your country is slipping backwards around you. (p.289)

Butcher has a map from 1961 which shows all the railways, roads, airports, mines and towns built by the Belgians. Now almost all of them are abandoned and have faded back into the jungle. The Great War has left the huge territory divided between regional powers, armies and militias or just local bandits, any of whom might stop and shoot you for no reason.

Butcher is continually, vehemently rude about the white man, about colonialists, about outsiders who came into Congo, and is much consumed by the white supremacist, racist, arrogance which thought it knew what was best for the Congolese. Again and again he makes the same point.

And yet very often, in the very next paragraph, he goes on to describe at great length, and very upsettingly, just how completely Congo was devastated by its kleptocratic rulers, by Mobutu and his clique in faraway Kinshasa, who developed the cult of the leader of the nation while all the while stealing every last dollar from their people, building grotesquely luxurious palaces and villas, buying scores of properties around the world, while the infrastructure of entire provinces such as Katanga collapsed and disappeared back into the jungle.

And then he goes on to describe the work of the United Nations which strives hard to bring the warring sides in Congo’s endless conflicts to the negotiating table, which expends a small fortune trying to police the ceasefire at locations all across this country as large as a continent. For example, the story of Kisangani which saw horrific levels of violence in various civil conflicts, whose infrastructure and economy collapsed, and is nowadays only just about propped up by the UN and western NGOs, when the local population aren’t ransacking them.

The point being that, no matter how woke, anti-colonial and politically correct Butcher tries to be in his editorialising, the blindingly clear conclusion from his long, gripping narrative is that the Congolese simply cannot rule themselves. (p.319).

As soon as they tried to (June 1960) the place collapsed into a series of civil wars along with tribal massacres on a hair-raising scale, and now, as he writes (2004), 43 years after independence, Butcher’s journey amounts to an odyssey through a country which has not only failed to develop but is, to use his powerful neologism, undeveloping, with communities all across the country deprived of the clean water, electricity, communications, industry, travel infrastructure, even minimal education, even the most basic medical facilities, all things they took for granted under the Belgians.

Now it’s all gone, decayed, corroded, overgrown, crumbled to dust, and the country has reverted to its African origins: impenetrably difficult to travel across, riddled with disease (cholera from the water, malaria from the ubiquitous mosquitos) and infested with blood-thirsty, savage warrior bands, who arrive out of nowhere, kill all the men, rape all the women, burn the village to the ground, then disappear back into the jungle.

It’s a tropical hell. It’s Hieronymus Bosch in the jungle.

Summary

As I’ve probably stated at too great a length, I was unhappy with Butcher’s journalistic and rather superficial descriptions of many key aspects of Congo’s modern history. And I am gently mocking of the contradiction that, despite his insistent criticism of colonialism and white racism and imperial exploitation etc, it is only because he is a white westerner and (relatively) rich that he can pay the locals to ferry him wherever he wants, waltz into UN offices anywhere in the country and not only get their attention but persuade them to help him out (by boat, by bike, by helicopter). He’s a white man. Of course they’ll help.

But what I haven’t emphasised enough is that Butcher is also a cracking writer, with a great eye for detail. His descriptions of the jungle, the ruined settlements, primitive villages or scary cities (like Kisangani) are vivid and compelling. It’s a gripping, exciting read.

And also, Butcher has a knack for interviewing people or getting them to tell him about themselves and stories about their trade, village, town, or local history. Obviously these stories are tidied up and made fit for western consumption, he’s a journalist, that’s what he does. But he talks to a wide range of people who begin to build up a sense of opinions and experiences from right across this vast country.

(There are obvious omissions: he never speaks to anyone from any of the armed militias which, according to his interviewees, roam so much of the jungle, emerging to carry out unspeakable atrocities, but then journalists rarely do. They’re not the kind of people who make for compliant and articulate interviewees and so their voices are consistently absent from most western accounts.)

So although there are better books to go to in order to to understand the recent political and military history of the Congo, Butcher’s sweaty, fearful, sleepless, buttock-bruising account gives you a really vivid feel for what the country and its actual population – thousands of miles from the slick government spokesmen and official narratives of downtown Kinshasa – are really like. And a vivid and almost overwhelming sense of the dreadful fate, almost complete social collapse back into the Stone Age, which so much of it has undergone.

On the long slow journey down the river aboard a UN patrol boat (more accurately, a primitive tug or ‘pusher’) Butcher finds himself audience to an impassioned diatribe by the Malaysian captain, Mohammed Yusoff Sazali, who explains that Malaysia, like Congo, was colonised for centuries; Malaysia like Congo was subject to a cruel racist colonial masters (the British); Malaysia gained independence about the same time as Congo (1957 and 1960); Malaysia like Congo was dragged into Cold War conflicts. And yet, 50 years later, Malaysia is part of the world, has achieved great things in education and health, has a booming economy, they even host a Grand Prix every year. While Congo is collapsing year by year into pre-industrial, Stone Age poverty. Why? Why has Malaysia stormed ahead and Congo fallen so far behind? The skipper:

had distilled the quintessential problem of Africa that generations of academics, intellectuals and observers have danced around since the colonial powers withdrew. Why are Africans so bad at running Africa? (p.310)


Credit

Blood River: A Journey To Africa’s Broken Heart by Tim Butcher was first published by Chatto and Windus in 2007. References are to the 2008 Vintage paperback edition.

More Africa reviews

Mimesis: African Soldier @ the Imperial War Museum

Making a new world

For the past year or so, Imperial War Museum London has given over its third floor to four related but very different exhibitions marking the end of the First World War a hundred years ago.

They come under the overarching title of Making A New World, and have been accompanied by a programme of live music, performance and public debates, all addressing aspects of the aftermath of the conflict. Here’s the promotional video.

I’ve reviewed three of the four already:

Across the corridor from these two spaces is a door opening onto a darkened corridor leading to a blacked-out screening room in which is being shown a new art film by John Akomfrah, titled Mimesis: African Soldier.

John Akomfrah

Akomfrah was born in Accra, Ghana in 1957. His mother and father were both anti-colonialist activists. His father served in the cabinet of Ghana’s first post-independence Prime Minister, Kwame Nkrumah. When the latter was overthrown in a coup in 1966, his mother fled the country with young John. Surprisingly, maybe, they fled to the epicentre of the colonial oppressor, to the home of racism and imperialism, to Britain, where John became a British citizen, trained as an artist and went on to become a famous and award-winning maker of art films.

John Akomfrah in front of Mimesis: African Soldier, co-commissioned by 14-18 NOW, New Art Exchange, Nottingham and Smoking Dogs Films, with additional support from Sharjah Art Foundation. Photo © IWM / Film © Smoking Dogs Films

John Akomfrah standing in front of a screen showing Mimesis: African Soldier, co-commissioned by 14-18 NOW, New Art Exchange, Nottingham and Smoking Dogs Films, with additional support from Sharjah Art Foundation. Photo © IWM / Film © Smoking Dogs Films

So prestigious has Akomfrah’s career been that in 2008 he was awarded the Order of the British Empire (OBE) and in 2017 appointed Commander of the Order of the British Empire (CBE). Also in 2017, Akomfrah won the biennial Artes Mundi prize, the UK’s biggest award for international art, having been chosen for the award for his ‘substantial body of outstanding work dealing with issues of migration, racism and religious persecution.’

It is a story in itself, and one not without irony – how the son of vehemently anti-British anti-colonial activists went on to become a lion of the British art establishment.

Purple

I first heard Akomfrah’s name when I came across the massive multi-screen installation of his film Purple at the Barbican a few years ago.

In the long darkened space of the Barbican’s Curve gallery, Purple projected onto a series of massive screens a combination of historic archive footage of industrial life in the West – coal mines, car factories, shopping centres and street scenes from the 1940s, 50s and 60s – and stunningly beautiful modern footage shot at remote and picturesque locations around the planet with pin-prick digital clarity.

The purpose of Purple was to inform its viewers that humanity’s industrial activity is polluting the planet.

As a theme I thought this was so bleeding obvious that it made no impact on my thinking one way or the other: I just sat entranced by the old footage, which had its own historic interest, the 1960s footage in particular, tuggingly evocative of my own distant childhood – and enjoying the aesthetic contrast between the historic footage and the stunning landscapes of, for example, Iceland – which made me desperately jealous of the lucky researchers, camera crews and prize-winning directors who get to fly to such breath-taking destinations.

Mimesis: African Soldier

Visually, Mimesis: African Soldier does something very similar.

There are three big screens instead of the six used by Purple (the screening room at the IWM is a lot smaller than the long sweeping Curve space at the Barbican where Purple was screened).

Once again the screens intercut creaky old archive footage with slow-moving, almost static ‘modern’ sequences shot in super-bright digital clarity at a number of remote locations – both of which are fascinating and/or entrancing in their different ways.

The vintage black-and-white footage shows black African and Indian soldiers, labourers and carriers at work during the First World War. There’s a lot of footage at docks where all manner of goods are being unloaded by black labourers and heaped up into enormous piles of munitions and rations. Other footage shows Indian troops on parade, marching – and then footage of what appear to be black soldiers going into battle.

Installation view of Mimesis: African Soldier at the Imperial War Museum, London

Installation view of an ‘archive’ segment of Mimesis: African Soldier at the Imperial War Museum, London

The modern sequences are completely different in every way. For a start they are in colour. They are shot with stunning digital clarity. But most of all they are very, very slow.

For, as with Purple, the visual contrast is not just between the black and white and modern colour footage – there’s a rhythm thing going on, too, in that the old footage has that speeded-up, frenetic quality (due to the discrepancy between the speed of the cameras it was shot on and the different speed of the projectors we now play it on) which brings out even more the hauntingly slow, almost static nature of the modern sequences.

In the colour sequences which I saw, a black soldier is walking through a jungle, very, very, very slowly, until he comes upon a skeleton hanging from a tree, and stops dead. Different screens show the static scene from different angles. Pregnant with ominousness and meaning.

Installation view of Mimesis: African Soldier at the Imperial War Museum, London

Installation view of a ‘modern’ segment of Mimesis: African Soldier at the Imperial War Museum, London

In another ‘modern’ sequence a handful of black men in uniform are on a wet muddy beach. The beach is dotted with flags of many nations, and also random crates. The men stare out at sea. They turn. One picks up a crate. Another takes off his helmet and wipes his forehead. All very slow.

In another sequence an Asian man in army uniform and wearing a turban is standing in a landscape of dead and fallen trees, and slowly chopping a piece of wood with an axe. Very slowly. The ‘bock’ sound of each blow of the axe is amplified on the soundtrack which, from amid a collage of sounds, sounds of docks, works, men, soldiers, guns going off.

By and large the loudness and business of the audio track contrasts eerily with the Zen slow motion movements of the black and Asian actors.

Installation view of a 'modern' segment of Mimesis: African Soldier at the Imperial War Museum, London

Installation view of a ‘modern’ segment of Mimesis: African Soldier at the Imperial War Museum, London

Mimesis: African Soldier is 75 minutes long – long enough to really sink back and become absorbed and entranced by this audio-visual experience.

The message

So much so that it’s easy to forget Akomfrah’s message. This is that some three million African and Asian men served on the Allied side during the Great War, as labourers, carriers and soldiers, and their story – indeed their existence – is rarely if ever acknowledged.

This is spelled out in the wall label outside the gallery, in the wall label in the corridor leading to the screening room, in the ten-page handout to the exhibition, and in the extended prose descriptions about the film on the museum’s website:

And in the interviews Akomfrah has given about the work:

But having read all these sources and listened to all the interviews, none of them get me much further than the basic idea. All these texts just repackage the same basic fact:

Between 1914 and 1918, millions of African and colonial soldiers served in long campaigns that spanned the whole of the African and European continents, contributing to victories throughout the First World War. These soldiers from British and French African territories were brought to Europe’s western front, where hundreds and thousands lost their lives alongside unknown, unheralded and undocumented African labourers and carriers. Mimesis: African Soldier seeks to commemorate these Africans and colonial soldiers who fought, served and died during the First World War.

This information takes less than a minute to process and understand – in much the same way as I have in the past processed all manner of obscure or (to me) unknown aspects of this war, of the other world war, and of countless other historical episodes.

It was, after all, a world war. It had a global reach and consequences which are almost impossible for one person to grasp. A few months ago I was reading about the Mexican Revolution and the role played in it by the notorious Zimmerman Telegram in which the Germans promised to give Mexico back large chunks of Texas and other neighbouring states, if only Mexico would come in on the side of the Allies.

You could argue that Mexico thus played a key role in the First World War. Who knew?

To take another example, not so long ago I made a conscious effort to break out of the straitjacket of always viewing the war through the experiences of the British on the Western Front, and read two books to try and understand more about the war in the East.

Who in this country knows anything about the course of the First World War in Galicia or Bulgaria or Romania, let alone the vast battles which took place on the huge eastern Front? Who is familiar with the ebb and flow of fighting in little Serbia, which caused the whole damn thing in the first place?

Or take the example of another First World War-related exhibition I visited recently: I knew nothing about the role played by the Canadian army, which not only supplied cavalry on the Western Front, but also proved invaluable in setting up lumber mills behind the Front which supplied the millions of yards of planking from which the trenches and all the Allied defences were built. I had never heard about this until I went to the Army Museum’s exhibition about the painter Alfred Munnings who documented their contribution.

For me, then, the message that some three million Asians and Africans fought and supplied invaluable manual labour to the Allied side is just one more among a kaleidoscope of aspects of the war about which I freely admit to being shamefully ignorant.

Not being black, and not coming from one of the colonies in question, it doesn’t have a salience or importance greater than all these other areas of which I know I am so ignorant. Why should the black dockers have more importance than the Canadian lumberjacks? And why do their stories have any more importance or relevance than the millions of Russians, and Poles, and Romanians and Hungarians and Ukrainians and Jews who died in fighting or were massacred in the ugly pogroms and racial violence which characterised the war in the East?

Surely all human lives are of equal value, in which case all deaths in massacre and conflict are equally to be lamented and commemorated.

Art film as a medium for education

As it stands, the mere presence of Mimesis: African Soldier at the Imperial War Museum as part of this year-long commemoration means that all visitors to this part of the building will read the wall labels explaining the importance of the millions of Africans and Asians who aided the Allied war effort.

And since the IWM gets around two and a half million visitors, that’s potentially a lot of people who might have their minds opened to this overlooked aspect of the war.

But I’m not sure the film itself does very much to educate and inform. It’s an art film. It moves very, very slowly. The soundtrack is a disorientating mash-up of what is presumably the sounds of ships and docks and workmen with what seem to be African tribal music, chanting and so on. I get that this is the aural equivalent of the mash-up we’re seeing on-screen, but I’m not sure it really adds anything to anyone’s understanding.

In a nutshell, I’m not sure art films are an effective way to convey information about anything, apart from the film-maker’s own aesthetic decisions.

Comparison with Bridgit 2016

I had much the same response to Charlotte Prodger’s film, Bridgit 2016 which won the 2018 Turner Prize. It was intended to be a lecture about LBGTQ+ rights and gender and identity, but I found all the information-giving parts of it boring and sanctimonious (where they weren’t factually incorrect).

Instead, what I responded to in Bridgit 2016 was not the right-on, politically correct sentiments but the haunting nature of some of the shots, especially the sequence I saw (like every other visitor, I didn’t stay to watch the whole thing) where the camera was pointed at the wake being made in the grey sea by a large ferry, presumably off the Scottish coast somewhere.

The way the camera didn’t make any kind of point, and the way that, for at least this part of the film, Prodger wasn’t lecturing me about LGBTQ+ rights, meant that, for that sequence at least, the film did what art films can sometimes do – which is make you see in a new way, make you realise the world can be seen in other ways, make you pay attention enough to something humdrum in order to let the imagination transform it.

Which has a liberating effect, far far from all political ideologies, whether conservative or socialist or politically correct or politically repressive. Just that long shot of the churning foaming wake created by a big ship ploughing through a cold northern sea spoke to me, at some level I can’t define.

Which is better at conveying information – art film or conventional display?

Similarly, like Bridgit 2016Mimesis: African Soldier comes heavily freighted with the moral earnestness of a Victorian sermon (and it’s as long as a Victorian sermon, too, at a hefty 75 minutes).

Akomfrah wants ‘Britain’ to ‘acknowledge’ the contribution of these millions of colonial subjects who fought and died for their imperial masters.

OK. I accept it immediately without a quibble and I can’t imagine anyone anywhere would disagree. Isn’t this precisely what visiting museums is all about? That visitors are bombarded with all kinds of information and facts about the subjects of exhibitions they have chosen to visit? That people visit museums to learn.

And if the aim of the film is to educate, you can’t help wondering whether the point wouldn’t have been better made, more impactful, if it had been replaced – or maybe accompanied – by a more traditional display of hundreds of photos of the time accompanied by wall labels giving us facts and figures and, maybe, the stories and experiences of half a dozen African and Asian soldiers.

The rise and rise of the ‘forgotten voices’ trope

But as I reread the text around the film asserting that its aim was to restore an overlooked aspect of the history of the war, to rediscover ‘lost voices’, and restore people to their rightful place in history, I found myself more intrigued by this aspect of the display – the claim to be rediscovering, reclaiming and restoring – rather than its actual content.

Each era gets the history it requires

History is written for its times, responding to the cultural and economic needs of its day.

Machiavelli wrote his histories of Rome as warnings to Renaissance princes. Carlyle wrote a history of the French Revolution to thrill Victorian society with a vision of how Great Men direct the course of events.

The often-ridiculed ‘Whig’ historians reassured their liberal-minded readers by writing British history as if the whole thing, from Magna Carta to the reform acts of the 1800s, demonstrated the inevitable rise of the best and fairest possible liberal democracy.

Tougher minded Edwardian historians set out to show their readers that the British Empire was a force for peace and the enlightened development of the colonies.

The historians I read as a student (Eric Hobsbawm, E.P. Thompson, Christopher Hill) were Marxists who showed in their particular areas (the long nineteenth century, the Industrial Revolution, the British Civil War, respectively) that history consisted of class struggles which confirmed Marx’s underlying theory of a dynamic and the forward march of history which would inevitably lead to a proletarian revolution.

And so they were very popular among students as the Cold War 1950s turned into the heady student revolutions of the 1960s and on into the strike- and violence-soaked 1970s and 1980s.

But, as I understand it, during the 1970s and 80s there was also a reaction against these grand, high-level (and very left-wing) narratives among a younger generation of historians who decided instead to specialise in provincial studies of particular localities (I’m thinking of John Morrill’s studies of Chester or David Underdown’s studies of the West Country during the Civil War). These tended to show that events at a local level were much more complicated than the lofty, and dogmatic, Christopher Hill-type versions suggested.

And it’s possible to see these reactions against the Marxist historians as a symptom of the way that, throughout society, the old communist/socialist narratives came to be seen as tired and old fashioned, as Mrs Thatcher’s social revolution changed British society and attitudes in the 1980s.

But another trend, when I was a student in the 1980s, was a growing move towards apolitical oral history, with a rash of books telling the ‘untold stories’ of this, that or the other constituency – generally the working classes, the class that didn’t make policies and diplomacy and big speeches in the House of Commons, the ordinary man or woman throughout history.

I’m thinking of Lyn MacDonald’s accounts of the key battles of the First World War in which she relied heavily on letters and diaries with the result that her books were marketed as telling ‘the untold stories of…’, ‘giving a voice to…’ the previously ignored common squaddie.

This ‘popular’ approach prompts pity and sympathy for ‘ordinary people’ of the past without being overtly left or right-wing, and it is an approach which hasn’t gone away, as these recent book titles indicate:

  • ‘Forgotten Voices of the Somme’ by Joshua Levine
  • ‘Forgotten Voices of D-Day’ by Roderick Bailey
  • ‘Forgotten Voices of the Holocaust’ by Lyn Smith
  • ‘Forgotten Voices of the Second World War’ by Max Arthur
  • ‘Forgotten Voices of Burma’ by Julian Thompson
  • ‘Forgotten Voices of the Falklands’ by Hugh McManners
  • ‘Forgotten Voices of Mao’s Great Famine’ by Xun Zhou

To bring us up to date, the end of the Thatcher era coincided with the collapse of the Soviet Union and the end of communism as a viable political theory. I’ve watched as over this period, the past 30 years, increasing numbers of progressive thinkers, writers, historians, artists and so on have become steadily more in thrall to questions of identity – especially the twin issues of race and gender – which have spread out from academia to become two of the broader, defining issues of our time.

And watched as a new generation of historians, including many women and black and Asian historians, has arisen which has packed bookshelves, magazines, radio and TV programmes with new interpretations of history which ‘restore’ the place of women and non-white figures in British and world history.

Combining all this, we arrive at the present moment, 2019, where there is:

  1. more cultural production than ever before in human history, with an unprecedented number of poems, plays, radio programmes, TV documentaries, films and art works ranging over all of recorded history in search of subjects and people from the past to restore, revive and reclaim
  2. and this unprecedented output is taking place in an age obsessed by identity politics, and so is ever-more relentlessly conceived, produced and delivered in terms of identity, specifically the two great pillars of modern progressive ideology, race and gender

Adding the ‘forgotten stories’ trope to the inexorable rise of identity politics helps to explain the explosive proliferation of books, plays, movies, documentaries and radio programmes which use the same rhetorical device of reclaiming the stories of unjustly forgotten women and unjustly forgotten people of colour from pretty much any period of the last 3,000 years. Thus, to give just a few examples of each:

Forgotten Women

  • 52 Forgotten Women Who Changed the World
  • The Forgotten Tudor Women: Anne Seymour, Jane Dudley & Elisabeth Parr
  • Ladies of Lascaris: Christina Ratcliffe and The Forgotten Heroes of Malta’s War
  • Sounds and Sweet Airs: The Forgotten Women of Classical Music
  • The Forgotten Tudor Women: Margaret Douglas, Mary Howard & Mary Shelton
  • Daughters of Chivalry: The Forgotten Children of Edward I
  • Roaring Girls: The forgotten feminists of British history
  • Charlie Company’s Journey Home: The Forgotten Impact on the Wives of Vietnam Veterans
  • Invisible Women. Forgotten Artists of Florence
  • War’s Forgotten Women
  • Forgotten Desert Mothers, The: Sayings, Lives, and Stories of Early Christian Women
  • When Women Ruled the World: Six Queens of Egypt

Forgotten people of colour

  • Forgotten: The Untold Story of D-Day’s Black Heroes
  • Black and British: A Forgotten History
  • The Forgotten Black Cowboys
  • Forgotten black TV and film history
  • 5 Forgotten Black and Asian Figures Who Made British History
  • Black on the battlefield: Canada’s forgotten First World War battalion
  • The Forgotten Black Heroes of Empire
  • Black servicemen: Unsung heroes of the First World War
  • Forgotten? : Black Soldiers in the Battle of Waterloo
  • The Forgotten Black Soldiers in White Regiments During the Civil War
  • Black Athena: The Afro-asiatic Roots of Classical Civilization

My point is that the whole notion of listening to ‘forgotten voices’ and restoring ‘forgotten histories’ has become a central trope of our times, and moreover it is, a moment’s thought suggests, a potentially bottomless well of material.

Once you have accepted the premise that we need to hear the voices of everyone who has ever lived, then there is potentially no end to the number of forgotten women whose voices we need to hear and whose stories we need to be told, just as there is no end to the number of forgotten black slaves, entrepreneurs, soldiers, heroes, scientists, writers, pioneers, cowboys, immigrants, poets and artists whose voices need to be heard and whose stories need to be told.

A flood of forgotten voices

To return to Akomfrah’s film, what I’m trying to do is understand the times I live in, and understand how a politically-committed work of art like Mimesis: African Soldier fits into it. My view is that the Imperial War Museum commissioning this piece, and John Akomfrah making it, are very much not ground-breaking or innovative.

The opposite. Mimesis: African Soldier is smack bang in the centre of the cultural mood of our times. We are in the middle of an absolute flood of such productions:

I’m not saying any of this ‘forgotten history’ is untrue or unworthy. I’m just pointing out that each era gets the ‘history’ it asks for and, on some level, needs. That societies write history not to reveal any ‘truth’ (there is no fixed historical ‘truth’) but to manufacture the stories they need to sustain their current social and cultural concerns.

For reasons which are a little too deep to be tackled in this blog post, our culture at the moment is undergoing an obsessive interest in identity politics, focusing in particular on the twin issues of race and gender. ‘Diversity’, already a major concern and ubiquitous buzzword, will only become more and more dominating for the foreseeable future.

And so history retold from the perspectives of race and gender, history which perfectly reflects the concerns of our day and age – is what we’re getting.

And, of course, it’s popular and fashionable. And lucrative.

History retold from the perspectives of race and gender is the kind of history which historians know will get them academic posts and high student approval marks from their evermore ‘woke’ pupils, the kind of history TV companies know will get them viewers, which publishers know will get them readers, and which artists know will get them museum commissions and gallery exhibitions.

Summary of the argument

All of this is intended to show that, if I have a relaxed approach to the political content of Akomfrah’s film, if I read that millions of Blacks and Asians laboured and fought for the European empires and accept it without hesitation, filing it next to what I’ve also recently learned about Canadian lumberjacks, or about the troops who fought and died in Palestine or East Africa – it is not out of indifference to the ‘issue’. It is:

1. Because, on a personal level, there are hundreds of aspects of the First World War which I don’t fully understand or comprehend, and all kinds of fronts and campaigns which I am pitifully ignorant of – and I am pretty relaxed about living with that ignorance because life is short and I have umpteen other calls on my time.

2. Because, on a cultural level, Mimesis: African Soldier can be seen as just one more artifact in the tsunami of cultural products in our time which all claim to be unearthing ‘the untold story’ and restoring ‘the forgotten voices’ and putting the record straight on behalf of neglected women, ignored people of colour and any number of other overlooked and oppressed minorities.

I am trying to understand my complete lack of surprise at finding the film on show here, or at its subject matter, and the complete lack of factual or historical illumination I felt when watching it.

Summary on the film

The political motivation behind Akomfrah’s piece is worthy, if entirely uncontroversial.

And because it has no voiceover or captions and because it relies for understanding and meaning on the introductory wall labels, the film is not that effective as purely factual information. A conventional display would have been infinitely more informative. In fact, in his interviews, Akomfrah emphasises the enormous amount of research which went into the making of the film. Well, following that line of thought, I couldn’t help thinking the whole project would make significantly more impact if it was accompanied by a book which dug really deeply into the subject, with maps and figures and deeper explanations, explaining just how many people came from each colony, willingly or unwillingly, how they were deployed, the special conditions they worked under, and so on, all liberally illustrated with – that favourite trope of our times – the actual stories of African and Indian soldiers in their own words. Ironically, there are no voices in the film: just silent and slow moving actors.

But quibbles about its meaning and purpose and its place in broader cultural movements aside, there is no denying that, as a spectacle, Mimesis: African Soldier is wonderfully hypnotic and tranquilising. The archive footage is artfully selected, the contemporary sequences are shot in stunning digital clarity, the two are edited together to make entrancing viewing.

And, just as with Purple, Mimesis allows the viewer’s mind to take the archive footage and modern scenery (its foggy jungles and muddy beaches and lonely Asian chopping wood) as starting points from which to drift off into reveries of our own devising, making our own connections and finding our own meanings.

Installation view of the 'beach' sequence of Mimesis: African Soldier at the Imperial War Museum, London

Installation view of the ‘beach’ sequence of Mimesis: African Soldier at the Imperial War Museum, London


Related links

More Imperial War Museum reviews

World War One-related art reviews

World War One-related book reviews