The British historian Eric Hobsbawm popularised the idea of the ‘long nineteenth century’ in European history, the notion that starting historical accounts of the nineteenth century precisely at 1800 and ending them on the dot at 1900 is inadequate; you have to start at 1789 with the outbreak of the French Revolution to understand everything which followed, and you have to continue the era on until 1914 and the outbreak of the Great War, which marked the true end of the century and all its assumptions.
The curators of this sumptuous, fascinating and beautifully designed exhibition at the British Museum have done something similar to Chinese history, extending their definition of China’s long nineteenth century – what they’re calling ‘China’s Hidden Century’ – to start in 1796 and to end in 1912.
The dates
Why start at 1796? Because that’s the year a new emperor came to the throne, the Qianlong Emperor. It didn’t mark the start of a new dynasty; the Qianlong Emperor was the fourth in the well-established Qing dynasty which had started in 1644. But the start of his reign arguably marked a high tide mark of China’s power and confidence. In that year the empire contained over 300 million souls, an estimated third of humanity, and the total territory ruled by the emperor exceeded the area of Europe.
This map from his reign is a political map in the sense that it doesn’t strive for geographical accuracy but marks places by importance. So it’s amusing to learn that Europe is shown as a small border area at the top left and that Britain is one of the tiny insignificant islands indicated by white-lined blobs off the blue coast at the very top left.
Why end the period in 1912? Because that’s the year when, following the revolution of 1911, the last Qing emperor, the Xuantong Emperor, commonly known as Puyi, was forced to abdicate, bringing to an end over 2,000 years of imperial rule.
Why the ‘hidden’ century? Because the long century between these two dates has conventionally been seen by Western historians as an era of steady decline, a sunset period after the artistic glories of the 17th and 18th centuries, leading inexorably down to the empire’s final collapse at the start of the 20th century. The curators’ aim is to question and reverse this preconception, to rehabilitate China’s long nineteenth century.
Nineteenth century wars
When describing the nineteenth century in China, Western historians all too often focus on the series of wars which China fought and consistently lost, notably the two Opium Wars (1839 to 1842 and 1856 to 1860), the catastrophic Taiping Rebellion (1850 to 1864), the Sino-Franco War (1884 to 1885), the First Sino-Japanese War (1894 to 1895), the Boxer Rebellion (1899 to 1901).
But despite these various disaster, in China, like everywhere else, people continued to live and love, marry, have families, make homes, work or run businesses, hustle for money or places in the bureaucracy, buy clothes and furniture and toys and household implements, shop and cook and eat, wear fine clothes and jewellery, write letters and contracts and wills and poems, decorate and draw and paint beautiful things.
And that is what this exhibition is about. Wars and emperors are covered, but what it’s really about is Chinese social history, about uncovering the lives and lifestyles of the widest possible range of Chinese people – a people steeped in tradition and religion and rituals and business and art – through a dazzling collection of objects.
The exhibition contains 300 objects brought from over 30 lenders, public and private, around the world. It’s taken four years to assemble and involved over 100 scholars from 14 countries. The result is not only the exhibition and the typically sumptuous catalogue which accompanies it, but a related book by a team of scholars which details the lives of 100 Chinese citizens chosen from all across ‘China’s Hidden Century’.
Seven rooms
The exhibition has been organised into seven rooms, each addressing an aspect of Chinese life, being:
Introduction
Court
Military
Artists
Urban life
Global China
Reformers and revolutionaries
Representative figures
Each room also features one particular individual who typifies or epitomises the theme under consideration. There are an unknown woman courtier; an empress; a soldier; an artist; a businessman’s wife; a merchant; and revolutionary poet.
In a lovely piece of design these personages are threaded through the show’s iconography by shadows, life-sized outlines of these fugitive figures from history. The Museum commissioned the London College of Fashion to create silhouettes of these figures, which are projected on delicate white fabric or gauze hangings throughout the beautifully laid-out show.
In fact the first thing you see when you enter the Sainsbury Wing where the exhibition is being held is an opaque screen with life-size silhouettes of 7 mysterious figures cast on it. These shadowy figures, from a distant country, from a vanished past, will hover over and guide the visitor through their treasure and marvels.
Shadows of the past – screen designed by the London College of fashion in ‘China’s Hidden Century’ @ the British Museum
1. Introduction – women’s voices
The map (above), a bilingual document in both Manchu (language of the ruling dynasty) and Chinese (language of the majority Han people), and an imperially commissioned dictionary indicate some of the scope and scale of the multilingual, multi-ethnic empire at the exhibition’s start point. But the most significant object here is a portrait of an unknown woman.
As Chairman Mao said a century later, ‘Women hold up half the sky’, but women’s lives were very circumscribed in traditional China. As well as bringing the story of a neglected century into the light, the exhibition is very committed to giving women’s stories and women’s experiences their due. This picture of an unknown woman from the Qing court sets the tone or announces this intent.
Accompanying the picture is a 1-minute audio of her imagined thoughts and feelings, read in both English and Chinese. All of the seven figures have an audioscript like this, in which they describe their lives and experiences.
On a more specific level, if you look very closely you can see that she has three earrings in each earlobe, something Manchu women did to as a marker of their ethnicity i.e. belonging to the ruling caste. Ethnicity was important. The introductory section also contains a map of Peking, which was sharply divided by ethnicity. The imperial palace complex and immediate environs were reserved for Manchus. Han residents lived to the south in the walled part of the city. Foreign diplomats and business people were confined to a quarter in the north-east.
2. The court
Six emperors ruled in succession between 1796 and 1912 and a lovely scroll on the wall gives their names and dates and a one-phrase description. They were:
1. Underestimated emperor: The Jiaqing emperor (ruled 1796 to 1820)
2. Emperor forced to open China: The Daoguang emperor (1821 to 1850)
3. Witness of Qing decline: The Xianfeng emperor (1851 to 1861)
[Power behind the throne: Empress Dowager Cixi (1835 to 1908)]
4. Puppet emperor: The Tongzhi emperor (1862 to 1874)
5. Reforming emperor: The Guangxu emperor (1875 to 1908)
6. Last emperor: The Xuantong emperor (Puyi) (1908 to 1912)
The last three of these came to the throne and their reigns were dominated by the great power behind the throne, the Empress Dowager Cixi, the de facto ruler of China from 1861 to 1908: her son became the Tongzhi emperor and her nephew ruled as the Guangxu emperor.
Cixi is centre stage here, the Representative Figure, a life-sized silhouette of her caught on a hanging gauze, while all around her are clothes and objects indicating the luxury of the imperial court. As with all the other representative figures, there’s an audio playing of some of the Empress Dowager’s words, in this case an amusingly immodest claim:
“I have often thought that I am the cleverest woman that ever lived… I have heard much about Queen Victoria…her life was not half as eventful as mine.”
Objects include a sumptuous imperial blue gown (above). This features a swooping phoenix amid lush chrysanthemums and wide sleeve bands and is a gorgeous combination of Manchu, Chinese and Japanese motifs, in purple, gold and turquoise. The Empress Dowager’s wardrobe contained hundreds of such dazzling items, which she would accessorise with grandiose, jewelled headpieces, some of which are on display.
But there’s also an abundance of other objects, from the sublime to the ridiculous. At the everyday life end of the scale there’s a collection of snuff boxes. Before 1860 snuff-taking was the preserve of high-status bannermen, government officials and wealthy merchants; after 1860 these stylish little boxes became more widespread as fashionable male accessories.
The most impressive display is of a huge monumental hanging. Dramatic textiles such as this are thought to have served as backdrops for operatic performances but originally derived from hangings for religious festivals or banners in ritual processions. In the centre of this one is a theatrical warrior figure with a yak hair beard and padded-out face. The colours and method of depicting the figures is similar to woodblock printed images of popular deities. In front of it is an elaborate theatrical costume.
Monumental hanging made from silk and metallic thread embroidery on plain-weave wool with animal fibres (nineteenth century) Lent by The Metropolitan Museum of Art
There are thumb-rings used by Manchu archers and cavalrymen, an informal robe made for the Guangxu emperor, ritual vessels used as part of state religion, the portrait of a Daoist priest and a Buddhist figure (Buddhism was an important component of the Qing court’s belief system, with Mongolian and Tibetan lamas (teachers) and monks conducting services at court). There’s a woman’s court vest and robe and a photo of court women wearing such clothes. There’s hairpins and fingernail guards; glassware and lacquerware. In short, a wealth of beautiful evocative objects.
Most incongruous objects is the pair of enormous, highly decorated cloisonné vases which were a diplomatic gift from the last Qing emperor Xuantong (also called Puyi) to King George V and Queen Mary for their coronation in June 1911.
Two Chinese vases, cloisonné enamel on copper with carved wooden stands (1908 to 1911) Lent by His Majesty The King
Photography
Something that’s always puzzled me about Chinese art from this period is the odd dysjunction between traditional forms and styles and hyper-realistic faces. The curators explain it was the advent of photography. Western photography, as it developed and spread throughout the nineteenth century, strongly influenced non-Western artistic traditions and in China led to a fashion for hyper-realistic faces, derived from photos, but embedded in traditional clothes, in traditional scroll format, with traditional writing still written on the painting – something we see striking examples of later in the show.
Film
Moving pictures were first publicly presented in 1895 and quickly spread as the technology developed at lightning pace. In an alcove to one side there’s rare, silent black and white film of a dancer, Yu Rongling, daughter of a Qing diplomat, who studied traditional dance in Japan, then, when her father was posted to Paris, studied Western dance and with the dance pioneer Isadora Duncan. She returned to China in 1903 and was asked to perform for the empress. This rare footage of her performing a sword dance is from 1926, after the exhibition’s time limit, but indicating the kind of performance which would have been staged for the last emperors. She is also, of course, part of the exhibition’s foregrounding of women’s achievements.
3. The military
As mentioned foreign and domestic wars ravaged Qing China throughout the 1800s. Civil conflicts including the White Lotus Insurrection (1796 to about 1806), the Xinjiang wars (1820s and 1860s) and the ruinous Taiping Civil War (1851 to 1864), and then wars with imperialist powers such as the two Opium Wars with Britain (1839 to 1842 and 1856 to 1860), the Sino-French War (1884 to 1885), the Sino-Japanese War (1894 to 1895) and the Boxer War (1899 to 1901).
This section is dominated by the impressive figure of a bannerman. We see an impressive soldier’s uniform from mid-century and hear an audio of General Mingliang (1735 to 1822), spoken in Manchu and English, recounting his life and experiences. What is a bannerman?
Bannermen were elite hereditary soldiers who commanded divisions called the Eight Banners, identified by eight coloured flags. They were mostly Manchus, Mongols and some Chinese whose ancestors fought against the Ming dynasty in 1644. Most bannermen lived in the region around Beijing. In provincial garrisons they lived apart from the local population, often in walled sections of major cities. Bannermen were paid a state salary and enjoyed preferential treatment under the law and in the national and regional exam system, success in which led to a government post.
Installation view of ‘China’s Hidden Century’ @ the British Museum, showing Qing army uniform, shield, musket and banner
Illustrating the role of the Chinese army during the long nineteenth century are an album recording the postings of an unknown military official; the diary of Wanyan Linqing, a Manchu bannerman and high-ranking official which contains lovely ink line drawings by contemporary artists. There’s examples of military uniforms and flags along with images of weapons such as double swords, trident, swallowtail shaped shield, infantry archery, sword with shield, long spear, long sword with curved blade and muskets.
From a naval perspective there’s a map of China’s coastline indicating islands, reefs and sandbars. Most poignantly or pointedly of all, there’s a physical copy of the actual Treaty of Nanjing which ended the First Opium War, signed on 29 August 1842. It was the first of the ‘unequal treaties’ which were imposed on the weak Qing Dynasty by arrogant Westerners and, as such, the source of burning resentment for over a century. Its provisions forcibly opened up coastal cities like Shanghai to European and American merchants.
The First Opium War
In the early 1800s, ships began smuggling opium (an illegal narcotic) from British India into south China. As opium consumption increased, the Daoguang emperor banned the trade. The British surrendered 20,283 chests of British-owned opium, promising compensation to the merchants concerned. Lin Zexu, the emperor’s special commissioner, confiscated and destroyed it all. The British government sent a fleet of ships to recoup compensation of lost opium profits.
By the treaty the Qing were ordered to pay an indemnity of $21 million over three years and relinquish Hong Kong to the British. There is absolutely nothing to redeem Britain’s bullying, extortionate and immoral behaviour. In ironic counterpoint to Britain’s bullying, there’s a delicate portrait of Queen Victoria made in 1842 by an unknown artist looking as if opium wouldn’t melt in her mouth.
The Second Opium War
Britain began the Second Opium War to force China to legalise the opium trade and to secure profits from it. The 1858 Treaty of Tianjin opened 11 further ports to Western trade. In 1859, the Qing military defeated an Anglo-French fleet sent to Beijing to ratify the treaty. In 1860, more Anglo-French forces marched on Beijing. They looted the Summer Palace, home to the emperor. Prince Gong, the emperor’s brother, signed the Convention of Beijing, bringing the war to an end. Reformers subsequently began to strengthen and modernise Qing rule.
So the British burned the emperor’s summer palace to the ground as punishment for disobeying our imperial commands. Apparently, the brick and stone ruins have been left to become the defining symbol of European violence against 19th-century China. (Other areas of the site have been built on to form parts of the campuses of Peking University and Tsinghua University.) There are some sad relics from the palace on display, namely a couple of broken glazed turquoise architectural tiles.
The Taiping rebellion
One of the weirdest but at the same time most destructive conflicts in human history. Schoolteacher Hong Xiuquan (1814 to 1864), a small town schoolmaster exposed to Christian teachings through a missionary pamphlet, had a nervous breakdown as a result of which he became convinced that he was the younger brother of Jesus Christ!
He appointed himself ‘Heavenly King’, first emperor of the new dynasty of Taiping. Mind-bogglingly he attracted hosts of followers, amassed an army and by the late 1850s his ’empire’, the Taiping Heavenly Kingdom, occupied much of China. With about 200 million people under its control, the Taiping had its own rulers, officials, civil service exams, calendar, currency and laws.
Qing dynasty forces fought back and the conflict turned into a full-blown civil war. Amazingly, it resulted in an estimated 20 million dead, making it the deadliest conflict in human history. Western mercenaries fought on both sides. Foreigners protected their interests by supplying both the Qing and Taiping with weapons.
Relics or indicators of this vast catastrophe include an embroidered jacket from the Taiping court, a portrait of Hong, a notice to be placed on European’s homes sparing them from Taiping violence, Taiping coins and a seal, a hand-written letter from Hong and a copy of the Taiping Bible which was amended to insert Jesus Christ’s brother.
The Taiping made Nanjing their capital in 1853, fortifying the former Ming capital with an outer wall. This was where they made their last stand in summer 1864, surrounded and under siege by the Hunan army led by Zeng Guofan – as depicted in this contemporary woodcut.
Despite the disruption and huge death toll of China’s nineteenth century wars, life for most people carried on, with many people prepared to pay for luxury objects and works of art. The century saw continued production of China’s classic media and genres, landscape paintings, fans and albums and there are rare and beautiful examples here.
But the century saw the slow steady introduction of western techniques such as lithography, which was combined with traditional woodblock printing design. Cheaper printing technology allowed cheaper magazines and newspapers to be produced such as the weekly pictorial magazine, Dianshizhai huabao, on display here – which included western style images and spread a new Western aesthetic. New artistic and literary groups were set up. Artist Ren Xiong was a member of this new generation and is represented by this fine painting of his patron’s wife.
There are examples of works by other artists from the period including Xugu, Sun Mingqiu, practitioner of bapo art, as well as some beautiful examples of traditional calligraphy by Yi Bingshou and Huo Ziye.
The commonest and most impactful form of art was mass-produced religious art, especially images of gods and goddesses depicted in woodblock prints and there are striking examples here, notably a painting representing the Daoist goddess Magu, protector of women.
Women’s art tended to be exchanged within closed networks and so tends to be under-represented in modern collections. The exhibition tries to redress this by displaying works by Cao Zhenxiu and Ma Quan.
Album of Insects and Flowers by Ju Lian (1865) Lent by the Metropolitan Museum
5. Everyday urban life
This feels like the biggest and fullest room and, insofar as the exhibition’s aim is to show the continuity of everyday life during the period, is arguably at the core of its mission.
By the 1850s China’s population had reached a staggering 450 million. Average life expectancy was just forty years but despite this cities grew rapidly as people migrated from war-torn areas. A growing body of entrepreneurs developed businesses using new technologies and materials. Handicrafts were industrialised and commercialised. Wealthy people’s homes and fashion reflected these political, cultural, technological and environmental changes. Newspapers and magazines showed their readers middle class lifestyles to aspire to.
Installation view of the urban life room in ‘China’s Hidden Century’ @ the British Museum
This room is packed with stuff, with objects from everyday life, life on the street, ordinary people’s lifestyles. There’s a baker’s shop sign, a cook’s jacket and trousers, a picture of a weaver. There’s a great portrait of an itinerant dentist holding strings of teeth dangling from her advertising placard.
There’s carved portraits of gods, side-fastening jackets in eye-catching colours, brightly coloured leggings, silk and leather shoes, a child’s jacket and hat, examples of men’s fashion. There’s winter wear, a woman’s sleeveless jacket, an amazing hood decorated with dragons, detachable collars of different shapes and sizes, elaborate head dresses for wear on special occasions. Loads and loads of things.
Elaborate headdress with peacock and bee motifs (1800 to 1900) Lent by the Teresa Coleman Collection
There are everyday objects and tools, including sewing tools such as needles and thimbles, sleevebands and accessories. Earmuffs. Hair extensions. A mahjong set and objects from games and sports, cricket cages and a shuttlecock, glove puppets and marionettes. Traditional musical instruments such as a pipa (pear-shaped lute) and a dizi (transverse flute). A charming set of miniature furniture as for a doll’s house.
I didn’t know whether to be charmed or appalled when I learned that bannermen in Beijing often kept pigeons, releasing them into the sky twice a day to watch them fly and listen to the music created through their whistles. There are depictions of theatre and opera indicating popular and middle-class entertainments, a woodblock showing a troupe of jugglers, a watercolour depicting a wealthy merchant from Hangzhou surrounded by his courtesans.
There’s a bizarre-looking water-proof cape made entirely from stalks of straw for a street worker, farmer or fisherman. Conservators have painstakingly restored it to its former strangeness.
The Representative Person here is Madame Li. She was a Buddhist and married to Lu Xifu who ran a successful business in the Foshan area near Guangzhou (Canton). She and her husband are represented by ancestral portraits painted in the new realistic style inspired by photography and commissioned by their nephews. In their business success, in their bourgeois self-image, in their family piety, in their easy incorporation of Western styles into a traditional format, they epitomise the later Chinese nineteenth century. Like all the other representative figures, Madame Li has a one-minute audio describing her life, in English and Chinese.
Portraits of Lu Xifu and his wife, Mrs Lu by an unknown artist (about 1876) framed hanging scroll with ink, colours and gilding on paper. Lent by the Royal Ontario Museum
6. Global Qing
We’ve seen how foreigners triggered war with Qing China and how foreign styles influenced some artists. This section looks at the increasingly international nature of trade and the cosmopolitan nature of the objects being traded.
Until the 1840s, Guangzhou (Canton) was the only place in China where trade with Europe and the USA was legal and where foreigners could live and work. The Treaty of Nanjing of 1842 forced the government to open up more ports to foreign trade, which became known as ‘treaty ports’, most successful of which was to become Hong Kong.
With trade came new materials, styles and technologies. In the second half of the century modern technology revolutionised industry and changed people’s lives. Inventions such as electricity and the new postal system transformed the way people worked and communicated.
So this room contains a painting of the waterfront at Guangzhou; a portrait of Sir Jamsetjee Jejeebhoy, a Bombay-born Parsi merchant and philanthropist who made a fortune trading with Qing China in commodities including opium; a portrait by a Qing artist named Lamqua of a British East India Company Midshipman; a book belonging to Silas Aaron Hardoon, once one of the richest men in Asia who made his pile in Shanghai selling opium, renting out properties and investing in the new stock exchange.
Luxury objects include a cream silk parasol with multicoloured knotted tassels; a carved ivory basket with handles carved like dragons; a beautiful painting of crabs done by a local Guangzhou artist; luxury objects such as a fan, a lacquer bracelet and a gaming chest.
There’s a set of ‘reverse glass paintings’ and a treaty port silver punch set made from ‘export silver’ and consisting of a punchbowl, six beakers, a sugar bowl and tongs. tongs. It has applied dragons, the initials of its British owner, John Penniall, and the date 1905.
There’s a folding screen which was exhibited at the 1867 International Exposition in Paris; a fashionable round fan with a map of the Eastern and Western hemispheres, a fan portraying the Tianjin incident.
It’s an old curiosity shop, a rummage sale, an Antiques Roadshow of all kinds of accoutrements and impedimenta. There’s a beautiful silk robe embroidered with images of the new steamships plying China’s rivers, a poster for a Shandong line train.
I especially liked the travelling medicine chest of Ida Kahn (1873 to 1931), a pioneering female doctor. Kahn was the adopted daughter of an American missionary in southeast China, studied medicine in the USA and England. Returning to China in 1896, she was hailed as a ‘modern woman’, gaining the support of the local gentry and foreign missionaries alike. But as well as Western medicine, Ida had knowledge of Traditional Chinese Medicine (TCM). Hence this travelling chest filled ointments, powdered plants, dried insects and written charms to speed recovery. I particularly liked the dried lizard.
Traditional Chinese Medicine chest (1890 to 1910) Lent by the Natural History Society of Northumbria
The Representative Person here is Lu Guangheng, also known as Mouqua (1792 to 1843) who organised trade with foreign merchants in Guangzhou, serving as head merchant of the ‘Hong’ – a guild with the exclusive right to trade with foreigners – from 1807 to 1811. He suffered severe financial losses in a fire in the city in 1822. In his portrait he is dressed in the robes of a high official which, however, he paid for rather than passing the difficult public exams. Mouqua was unusual for his time in speaking English.
Mouqua, also, has a one-minute audio-recording, telling his story in both Cantonese and English.
7. Reformers and revolutionaries
The last room concerns the political disruption which eventually led to the overthrow of the last emperor in 1912. A good deal of the final collapse was caused by foreign interventions. Qing China was shocked by its defeat to Japan in the Sino-Japanese War of 1894 to 1895. In response to this humiliation Chinese patriots pressed for sweeping reform of the administration and the need to modernise all aspects of the country. The old Empress Dowager Cixi reluctantly permitted some reforms when the country was rocked by the Boxer War of 1899 to 1901.
The Boxer War
Anti-Christian militants supported by Qing troops against foreign residents of China and Chinese Christians. In summer 1900 Beijing’s foreign community was trapped in a 55-day siege in the capital’s walled diplomatic district. Qing and Boxer armies were eventually defeated by a joint expeditionary force from Austro-Hungary, the British empire, France, Germany, Italy, Japan, Russia and the USA. The war is represented by a striking colour woodblock illustration. There’s a copy of the reformed military flag which was adopted by the Qing government.
North China was plundered by foreign troops and the foreign governments in yet another humiliation forced Qing China to pay reparations amounting to about £67 million over 39 years.
Intellectuals searched for ways to revive China’s administration after the 1895 defeat by Japan. In 1898 a reform movement to radically modernise China was launched, which came to be called the Hundred Days’ Reform movement because it was opposed by conservatives at court and shut down by the all-powerful Empress Dowager Cixi. Two leading reformers, Kang Youwei and Liang Qichao, were forced into exile where they wrote doleful poetry.
However, pressure for reform continued and in 1905 the imperial exam system which focused on knowledge of Confucian philosophy was abolished. A revised curriculum for schools was introduced, including new subjects such as Western sciences and languages. Across China, new universities were founded.
Revolution
Many educated men and a few women left China for Japan, where some were radicalised. Pockets of resistance were established across China, but ultimately an uprising in Hubei on 10 October 1911 was the catalyst for change. The last emperor, Puyi, abdicated in February 1912, bringing to an end 2,000 years of imperial rule.
Qiu Jin
The exhibition ends, as it started, with a woman’s voice. Qiu Jin (1875 to 1907) was a revolutionary, feminist and poet. Qui travelled to Japan where, like many of her generation, she was radicalised i.e. saw that an Asian country could modernise without losing its traditional values. She returned to China where she was involved in revolutionary movements. She was arrested on trumped-up charges and executed aged just 31.
Apparently, she remains a celebrated figure in China to this day. Not only a political figure, she was a noted poet. A line of her poetry is written over her display:
‘As my heart shatters with rage over my homeland’s troubles, how can I linger, a guest abroad, savouring spring winds?’
The exhibition ends with a whole wall devoted to a slowly rotating sequence of photos of Qiu and, in a striking achievement, a recording of a song written by Qiu Jin performed by the London Chinese Philharmonic Choir (!) And with this rousing performance, this remarkable, overwhelming, encyclopedic journey through an alien culture and distant time, comes to a vivid and moving conclusion.
Reflections by Qiu Jin
The sun and moon without light. Sky and earth in darkness.
Who can uplift the sinking world of women?
I pawned my jewels to sail across the open seas,
parting from my children as I left the border at Jade Gate.
Unbinding my feet to pour out a millennium’s poisons,
I arouse the spirit of women, hundreds of flowers, abloom.
Oh, this poor handkerchief made of merfolk-woven silk,
half stained with blood and half soaked in tears.
Summary
Everything about this exhibition is carefully considered. The design, with its hanging gauzes, is lovely. The structure feels logical and inexorable. The representative figures reach out from the past to speak to us. The objects are uniformly fascinating or exquisite.
And through it all Chinese culture and society, its mores and values, shimmer and hover on the brink of our understanding. At moments it veers into our frame of reference and understanding. I understand cups and plates and furniture. Business is business everywhere and war is universal. And yet just as you think you can relate to these distant people, the Chineseness of Chinese art and design and life and war arise as impenetrably other. Take the paintings: their concern with exquisite landscapes or photographic portraits obviously overlap with our interests, and yet derive from thousands of years of a completely different way of looking at the world and recording it, from a tradition it’s hard for us to relate to. We can really like it, but it’s always as outsiders.
At some moments the exhibition brings us really close to named individuals and their thoughts and concerns and, for a moment, we have the pleasing sensation that we understand these people. But the next moment the exhibition goes on to explain something about Chinese opera or art or poetry or politics or religion or social customs or traditions which seem utterly alien, and we are all at sea again.
I completely understand why the American Civil War was fought, the motives of the opposing sides and why it dragged on for so long. Whereas the Taiping Rebellion, which was ten times larger and one of the most catastrophic events in human history, remains incomprehensible.
I understand that Qiu Jin was a revolutionary, feminist and poet and yet, on closer examination, those very Western concepts don’t quite capture her, don’t quite map onto her actual words and concerns as recorded here. There’s something else. Something escapes. The fugitive Chinese quality of her thought and the lovely allusive quality of her poetry.
This feeling of shimmering closeness and then slipping out of reach, of the subject being wonderful and familiar yet utterly strange, and at the same time, is the delicious feeling this exhibition delivers.
[The Bosnian War] was a playground of the mind where the worst and most fantastic excesses of the human mind were acted out.
(My War Gone By, I Miss It So, page 172)
‘Do not chase the war. Wait, and it will come to you.’ (Croatian saying, p.220)
You can only argue so far with armed men. (p.27)
This is a gripping, searing, addictive book, a record of the three years (1993 to 1995) which the author spent covering the civil wars in the former Yugoslavia, first in Croatia, then in Bosnia. Loyd gives the reader a hundred and one insights into the nature of modern warfare, into brutality and ethnic cleansing, along with explanations of the political and sociological causes of the wars, the terrible descent into internecine conflict which spread like a zombie plague across Bosnia, and descriptions of the horrific barbarities the Balkan peoples carried out against each other. Some of it will give you nightmares.
All this I expected from reviews and summaries. What I hadn’t expected was the depth and power of the autobiographical content which is woven into the narrative. This comes in two flavours. 1) First, there is a lot about Loyd’s heroin addiction, snippets and interludes woven in between the war scenes which describe the start and slow growth and then heavy weight of a serious smack habit, and his numerous attempts to go cold turkey.
2) The second autobiographical strand is the surprisingly candid and detailed descriptions (‘black childhood memories’, p.135) of his miserable childhood and seriously dysfunctional family. These only crop up a couple of times and make up only 5% of the text, but in a sense they are key to the whole narrative. Both the heroin and the compulsion to travel to the worst war scenes he could find – ‘the sensation of continuous exile’ which he’s constantly trying to escape (p.57) – stem from the deep misery of his broken family and, above all, his appalling relationship with his controlling, vindictive father.
I feel sane as anything in war, the only one there earthed to rational thought and emotion. It is peace I’ve got a problem with. (p.186)
War and heroin, in their different ways, were both for Loyd what another depressive posh man, Graham Greene, called ‘ways of escape’, refuges from his sense of unbearable unhappiness.
War and smack: I always hope for some kind of epiphany in each to lead me out, but it never happens. (p.58)
Poshness
I started off disliking Loyd because of his privileged, posh background. He comes from a posh cosmopolitan family (his great-grandfather was Lieutenant General Sir Adrian Carton de Wiart who was not only a highly decorated British soldier but also one of the most wounded. p.60). Loyd was sent to prep school, then Eton (p.64), then on to the poshest army training available, at Sandhurst Military Academy. This was followed by five years in the Army, mostly in Northern Ireland, and then his freelance trips to Bosnia during which he wangled a gig as war correspondent with the poshest newspaper in Britain, The Times, a job he still holds. As the cherry on the cake, in 2002 Loyd married Lady Sophia Hamilton, daughter of James Hamilton, 5th Duke of Abercorn, at Baronscourt, the Duke’s 5,500 acre ancestral estate, near Omagh, County Tyrone, Northern Ireland. Peak posh.
Why am I bringing this up? Well, because everything I’ve mentioned (bar the marriage, which took place after this book was published) is described in the book itself, which contains a surprising amount of autobiographical material. For example, Loyd tells us a lot about his great-great-grandfather the war hero (p.60-61), about his grandfather who was a navigator in an RAF bomber (p.62), and his great-uncle who died leading a British offensive during the Great War (p.66). He comes from a family of war heroes.
But he goes to great pains to tell us he doesn’t come from a posh, successful and happy background. No. Almost everything from his boyhood and teenage years is misery and unhappiness. He describes the very negative impact of his parents splitting up when he was six (p.60). He tells us that he was miserable and lonely at prep school, and then really miserable at Eton, where he was one of the youngest in his year and felt bullied and subject to cruelty and humiliation.
Escaping poshness
How do you escape from this kind of stifling background? By being naughty. Loyd tells us that in one of the half-yearly drug sweeps through Eton the authorities found some hashish in his possession (p.65). He was sent down for a month during which he pleaded with his mother and estranged father (who was paying the bills) not to be sent back. His parents acceded to his wishes and sent him to a 6th form college in Guildford (p.65).
Here he managed to disappoint again by being determinedly unacademic and leaving with poor A-levels. Having hated the entire education system up to this point the last thing he wanted to do was go on to university so he bummed around a bit, as posh 18-year-olds confidently can, in his case working for a spell as a ‘jackaroo’ in the Australian outback, before travelling back through South-East Asia, where he had the standard adventures i.e. smoked dope in exotic settings and tried to get laid (p.65).
But the weight of family tradition began to bear down. His great-grandfather, grandfather and numerous great-uncles and cousins had all served in the military, so… He joined up. Being posh (solid family, Eton) he was readily accepted for officer training at the Royal Military Academy Sandhurst.
My own path was obvious: I wanted to go to war so I joined the army. There had never been any family pressure upon me to sign up. There never had to be. From my earliest recall I had wanted only to be a soldier. The legends of my own ancestors were motivation enough. (p.63)
Loyd joined the Light Division and deployed to Northern Ireland. He doesn’t say a lot about the four years he spent there, but does have a couple of vivid pages about his relatively brief time in Iraq. Basically, he was just about to leave the army at the expiration of his five year contract, when Saddam Hussein invaded Kuwait in August 1990. Wanting to see action, Loyd extended his contract for the duration, underwent quick desert training and then was shipped off to Kuwait, joining the 700,000 or so troops of the 35-country military coalition which was assembled in the desert and then swiftly expelled Saddam during Operation Desert Sabre in February 1991 (pages 131 to 133).
His experience was disappointing. He never saw any action, never fired a shot in anger. The Iraqi troops just surrendered, in their tens of thousands, without a hint of a fight. Saddam’s threat to unleash ‘the mother of all wars’ turned into ‘the mother of all surrenders’.
I had left my beloved Light Division and come a very long way for a war that did not happen, not to me anyway. The closest I got to killing anybody was a moment when I considered killing one of our own sergeants in a fit of rage at his ineptitude. (p.132)
Disillusioned, Loyd returned to London and quit the Army for good. But he didn’t know what to do next. He became depressed. He drank all day, barely bothering to open the curtains. He became suicidal (p.133). Eventually he went into therapy and found the discipline of turning up, once a week, looking reasonably presentable, at the therapist’s, was the start of recovery (p.134).
He signed up for a post-graduate course in photojournalism at the London College of Printing, located in the Elephant and Castle, and completed it in the summer of 1992 (p.135). It was during these months, in the spring of 1992, that the political situation in Yugoslavia began to unravel. Slowly the idea formed of heading off for this new war, using his experience as a soldier to understand the situation, hopefully using his recently acquired photography qualification as some kind of ‘in’ into journalism. For months he sent off his CV to newspapers and magazines but this led to exactly zero replies, so he decided, ‘fuck it’ (p.14) – to head off for the Balkans anyway, to see the war for himself and see what happened. His therapy had helped to some extent but also:
in many ways only fuelled an appetite for destruction. I wanted to throw myself into a war, hoping for either a metamorphosis or an exit. I wanted to reach a human extreme in order to cleanse myself of my sense of fear, and saw war as the ultimate frontier of human experience. (p.136)
Structure
Loyd’s narrative has been very carefully chopped up and rearranged to create maximum dramatic and psychological impact. If it had started the way I have, with the autobiography of his life up to the moment he decided to go to the Balkans, it would have been pretty boring. Prep school, Eton, screwing up his A-levels, Sandhurst – makes him sound like tens of thousands of nice but dim sons of the aristocracy who ended up in the Army for lack of any other career options and were packed off to run some remote province of the Empire. A time-honoured story.
Instead, the text opens with a preface of eight pages describing the scene and, more importantly, the very spooky atmosphere, inside the forest outside the Bosnian town of Srebrenica, a year after Serbian paramilitaries carried out the genocidal killing of more than 8,000 Bosniak Muslim men and boys there in July 1995.
In other words, the reader is thrown right into the heart of darkness, and to the end of Loyd’s odyssey through the Balkan Wars, a moment of grim reflection which allows him to reminisce about the people he’s met, the horrors he’s seen, the things he’s learned about human nature and himself – and then we’re off into a sequence of places and dates which have been very cannily arranged so as to build up an immensely powerful, persuasive and addictive collage.
It’s these vivid impressions and experiences, first in Sarajevo and then at villages close to the front line of the three-way Bosnian war between Croats, Muslims and Serbs, which make up the bulk of the narrative.
Sarajevo, spring 1993
While he was planning his trip, Loyd rang the Serbian restaurant in Notting Hill asking if anyone could teach him Serbo-Croatian. A woman called Mima replied and gave him lessons. She also introduced him to her friends Omar and Isidora. They had fled to London from Sarajevo, leaving Isidora’s parents behind in the besieged city. Loyd offered to take them a parcel of food and letters. He hitched a ride with two friends who were driving to Moldova and dropped him in Budapest. Then he took trains and buses to Split on the Dalmatian coast. Here he flashed an official-looking letter from a well-placed friend (posh connections) claiming he was a photojournalist and so managed to blag a UN press pass, and then onto the next flight into Sarajevo. After finding a hotel room and acclimatising himself to the siege conditions (map of danger areas, which streets not to cross), he made his way to the flat of Isidora’s parents, delivered the parcel and letters, and was welcomed into their extended social circle. He was in.
He begins to make local friends – Momcilo, Endre – and get to understand the realities of modern militia war. The eerie way you never see enemy. The first thing you know there’s a deafening racket of the shellburst or ‘the fluttering zings, smacks and whistles’ of machine gun fire (p.23). The anecdote of two old ladies pulling a trolley of potatoes across a gap between buildings, who are shelled but, miraculously, survive. ‘Fuck your mother,’ seems to be the universal expletive.
His first encounter with what passes for authority in the chaos of war. The key point is how erratic and unpredictable ‘authority’ has become in a war zone. He’s getting on well with the soldiers hunkered down in the Bosnian parliament building when some fat guy in a pink t-shirt and slippers starts throwing his weight around and comes up and confronts Loyd. When Loyd tells him to ‘fuck off’, he finds himself being escorted by reluctant soldiers to the local police station.
For a start the route takes them via sniper alley, which they have to run across as bullets zing around then. After surviving this few seconds of madness, the soldiers and Loyd break out in hysterical laughter of relief, hand round fags and are all very pally. When they arrive at the police station the head cop turns out to have a daughter in Islington so they chat about London for a bit until he’s told he’s free to go. When he asks for some kind of document authenticating his release or which he can use against future fat men in pink t-shirts, the cop laughs out loud. Loyd still hasn’t grasped the logic of a war zone.
It is amazing how quickly you get accustomed to saying nothing when dealing with Bosnian authority. Very soon you realise that it is a waste of time trying to explain anything. (p.45)
Mafia groups had been quick to grasp the new realities of life in a war zone. As the Bosnian police chief tells him, ‘Some of today’s heroes were yesterday’s criminals’ (p.28). The black market, smuggling, illegal channels – all these are now good things which enable ordinary citizens and even the state, to carry on.
We meet Darko the 24-year-old sniper, smart, well educated and a slick assassin, member of the HOS, the extremist Croatian militia. Darko takes Loyd with him on a night-time excursion to a ridge overlooking Serb positions. Darko lets him look through the rifle’s night sight where sees human shapes moving and feels an overwhelming urge to pull the trigger – not to kill, exactly, but to complete the process, ‘to achieve a conclusion to the trigger-bullet-body equation’ (p.34).
From now on the narrative is full of descriptions of corpses in all kinds of postures and conditions. He sees civilians killed, shot, eviscerated by shrapnel. The recently killed. A mother wailing over the body of her beautiful daughter, shot dead only moments earlier. The sense of universal randomness and pointlessness.
Herzegovina, summer 1993 (p.38)
Feeling too much like a tourist, bereft of a really defined role (he was neither a soldier, nor a journalist, nor a photographer – what was he?) Loyd decides to leave Sarajevo. Word is coming in that the war in wider Bosnia is taking a new direction. Three months after he left London, he takes the UN flight out of Sarajevo, and another plane which lands him in the coastal city of Split which, after Sarajevo, seems ‘a lotus fruit to the senses’ (p.42).
He meets Eric, deserted from the French Foreign Legion’s parachute regiment and a mercenary (p.49). He learns about the HVO, the Bosnian Croat army. In 1991 the Bosnian Croats and Muslims fought side by side against the nationalist Serbians. But in 1992 this alliance began to fall apart and Croats and Muslims turned against each other, creating a three-way conflict. He sees a platoon of HVO back from a sortie, lounging in the sun, swigging plum brandy.
Their leering faces and swaggering shoulders were the first examples of the porcine brutishness I was to see so much of in the months ahead. (p.46)
Central Bosnia, summer 1993 (p.69)
In Tomislavgrad he meets a soldier who is unashamedly Ustashe i.e. invokes the name of the Second World War Croat fascist party backed by the Nazis. This soldier calmly tells Loyd that he cuts the ears off dead Muslims.
Loyd hitchhikes to a place called Prozor and then beyond, till it’s dark and he’s walking along a scary road and comes to an outhouse which contains HVO troops. They welcome him and it’s all fags and plum brandy till their commander turns up and insists on interrogating Loyd, cocking a pistol in his face, convinced he’s a spy. Rather bathetically, Loyd says, deep down, it wasn’t much different from the grilling he got at Eton when he was caught in possession of drugs (p.79).
In Stara Bila he rents a room in a house owned by Viktoria and Milan, which was to turn out to be his home for the next two years. The barbecues, the parties, his mates, including a pair called Boris and Wayne.
The Bosnian war, a brief introduction
In June 1991 the Croatian government declared independence from Yugoslavia. But the eastern parts of the country had large Serb minorities which promptly rose up to defend themselves from what they feared might be a revival of the wartime fascist Croatian rule. In particular, they feared their language and positions in society would be threatened. And so towns and villages all across eastern Croatia were rent by ethnic division. They were backed by the predominantly Serb Yugoslav national army and the Serb government in Belgrade.
In 1992 the Serbs in neighbouring Bosnia also rose up to defend their communities and then went on the offensive against what they saw as the threat from the Bosnian government. The Yugoslav National Army, predominantly Serb, surrounded the Bosnian capital, Sarajevo, for a siege which turned out to last for nearly four years, from 5 April 1992 to 29 February 1996.
Inside Sarajevo many Croats and Muslims still believed in the liberal multi-ethnic state that Yugoslavia had once been and believed it was what they were fighting for. But outside the city, in the towns and villages of Bosnia, the fragile alliance between Croats and Muslims began to crumble. This was the cause of the Bosnian War – that Croats and Muslims, initially united in opposition to the Serbs, began to fall out among themselves.
Loyd paints the breakdown in relations between Croats and Bosnian Muslims as coming from the Croat side. War in Croatia against the Serb insurgents had hardened Croat hearts and led to a flourishing of take-no-prisoners Croatian nationalism. Loyd describes the process whereby paramilitary emissaries of this new, crude and violent nationalism were sent into Bosnia where they set about terrorising the Muslim population.
Time and again Loyd hears of villages where Croat and Muslim had lived alongside each other as friends and neighbours for centuries, but then the militias arrived – outsiders, merciless and cruel – and set about massacring the Muslims, and everyone in the community was forced to take sides. Whether you wanted to or not, you were forced back on your ethnic ‘identity’. It was like a plague that spread from valley to valley, from village to village.
Loyd meets Croatian nationalist fanatics who want to annex all of Bosnia as far as the border with Serbia, in order to create a Greater Croatia. To do that they have to either exterminate the Muslims or so terrorise them with exemplary massacres that they voluntarily flee the country.
Central Bosnia, autumn 1993 (p.137)
Brutal description of the rape of a young woman while her incapacitated father watched, in Vares, an ugly mining town north-west of Sarajevo. The Serb warrior who had the skull of an imam mounted on his jeep. Back to the Middle Ages, back to the Mongol hordes.
Swedes operating as UN soldiers try to force a confrontation with murderous HVO troops in Vares but are forced to back down. The UN prevents them shooting unless definitely fired upon, which means they have to stand by passively while atrocities are carried out under their noses.
He, Corinne and others go to Stupni Do to survey the scene of a massacre, the entire civilian population of the village having been executed, tortured, burned to death. Some very upsetting sights, the work of Kresimir Bozic and the Bobovac Brigade, themselves under the control of Ivaca Rajic. Loyd uses it as a case study of the complexity of the Bosnian War, the conflicting motivations of many on all sides, the brutality of the most brutal, and the complete inability of the UN to stop it.
Central Bosnia, winter 1993 (p.164)
Novi Travnik. The disgusting story of the three Muslim soldiers who are mined by the HVO and then forced to walk back towards their lines as human booby traps until they were close enough for the Croats to detonate them, leaving nothing but stumps of legs in boots. This introduces a chapter about the tides of war in the small area known as ‘the Vitez pocket’.
The Fish-Head Gang, lawless guardians of the long narrow ravine leading from Gornji Vakuf to Vitez (p.175). Why the name? They were based on the corner of the main road through the valley where it came close to a ruined fish farm in a lake. Loyd and Corinne survive an encounter with them, but other journalists weren’t so lucky.
Back in Sarajevo for a visit, Loyd is reunited with local friends only to find them all more impoverished, stressed and desperate. The story of his friend Momcilo who is desperate to be reunited with his wife and child in Croatia and so pays people smugglers to get him out, with predictably dire consequences.
In the spring Croat authority in the pocket collapses and the area disintegrates into firefights between rival warlords, little more than gangsters fighting for control of the black market. Darko, who had risen to become a crime boss, is victim of an assassination attempt, shot three times in the stomach, helicoptered out and disappears.
Weeks later Loyd needs a break and flies back to London. He is astonished to meet Darko at the airport (p.199). By the time he arrives back in Bosnia peace has been imposed on Croats and Muslims by outsiders, mainly America, via the Drayton Accords. The fighting stops (p.197).
But peace between Croats and Bosniaks didn’t mean the joint conflict against the Serbs was over, it was merely in abeyance. In the spring of 1994 the war against the Serbs stagnated. The Croats used the time to re-arm. He’s back in Bosnia, touring quiescent front lines when he gets a letter from his mother telling him his father’s dying. Comparison of what one personal death means amid so many slaughters.
Everything I had seen and experienced confirmed my views about the pointlessness of existence, the basic brutality of human life and the godlessness of the universe. (p.207)
An extended description of the garbled messages he receives in Bosnia, his hasty flight back to England, but too late, his father’s dead. His rage, his well of resentments, he attends the funeral but finds no peace. His unassuaged anger fuels his determination to return to the war, suck deep of its horrors, and blast them in his readers’ faces.
Western Bosnia, summer 1994 (p.214)
After all the bitter emotions stirred by his last communications with his dying his father, and his alienated, unwanted attendance at his father’s funeral, Loyd finds solace in the fact ‘that at least I had a war to go home to’ (p.214). War is his cure. War is his solution to his intractable personal demons.
He travels to Bihac, jumping off point for Velika Kladusa, capital of a self-styled statelet set up by Fikret Abdic, known as ‘Babo’. Loyd calls his followers ‘the autonomists’. Insight into how quickly and totally a society breaks up into warlord-led fragments. Against him is General Atid Dudakovic, known as Dudo, commander of the 5th Corp, who was to become the most renowned Bosnian government commander. Assisted by the Bosnian 502 brigade, known as the ‘Tigers’, led by Hamdu Abdic.
Loyd arrives in Bihac, with two colleagues, Robby and Bob, seeking an interview with Dudo which they eventually carry out. Then they wangle their way into Velika Kladusa, just a day or so before Dudo’s 5th Corp attack. In the attack Loyd and colleagues see a carful of civilians raked with machine gun fire and discover a three-year-old, Dina, who has somehow survived a bullet wound to the head. With considerable bravery, he and his colleagues drive the injured child and distraught mother through the fighting to a French UN camp on the outskirts of town.
Chechnya, new year 1995 (p.234)
The thirty pages describing his weeks in Chechnya reporting on the Russian invasion are a kind of interlude in the mostly Yugoslav setting of the book, and require such a long complicated prehistory, such a completely different setting with different rules, causes and consequences from Bosnia, that to summarise it would confuse this review. Suffice to say that the destructiveness and barbarism of the Russian army put what he saw in Bosnia in the shade.
Northern Bosnia, spring 1995 (p.278)
The absolutely disgusting story of the lone Serbian shell which landed in Tuzla old town square on 25 May 1995, leaving 71 people killed and 240 wounded. The experience of two freelance friends of Loyd’s, Wayne and Boris, who get spat on and kicked when they arrive at the square soon after the disaster to film the blood and guts and bone and brain splatted all over. Loyd attends the funeral and is awed by the dignity of the coffin bearers and relatives.
How Loyd learns through hints and tips that the Bosnian army in Sarajevo is finally going to attempt to break the 3-year-long siege, agonises about whether to report it to his newspaper but decides he needs to sit on it, to prevent the Serbs preparing – only to watch a puffed-up Canadian press officer spill the beans at a press conference. Didn’t matter. The Bosnian offensive quickly bogged down. Now as for the previous 3 years, because of the arms embargo enforced by the West, the Bosnians lacked the heavy heavy weaponry and ammunition available to the Serbs.
Zagreb, autumn 1995 (p.289)
Description of going cold turkey in the Hotel Esplanade in Zagreb, the dreams of corpses coming to life and talking, the sweats, the diarrhoea.
July 1995 the Srebrenica Massacre: more than 8,000 Bosniak Muslim men and boys were rounded up and murdered by units of the Bosnian Serb Army of Republika Srpska (VRS) under the command of Ratko Mladić, alongside the ‘Scorpions’, a paramilitary unit from Serbia. Loyd doesn’t see it, none of the press see it because the town was hermetically sealed by the Serb forces.
The international community’s patience finally snaps. NATO launches co-ordinated attacks against Serb infrastructure and supplies. Loyd checks out of the Esplanade and drives to Bihac where he hooks up with the 5th Corps of the Bosnian army, and with the 502 Tiger Brigade, led by Hamdu Abdic, ‘the Tiger’ who we met at the siege of Velika Kladusa.
Bosnians are sweeping back through Serb-held areas but Loyd dwells on the failed offensive at Sanski Most which he observed at first hand.
What does a man want?
‘Every man thinks meanly of himself for not having been a soldier.’ (Samuel Johnson)
Loyd’s account contains blistering scenes. He is frequently disgusted, sometimes traumatised, has a whole, gripping, passage about being possessed by sudden panic fear in the midst of battle. When he flies back to London he finds he can’t connect with his old friends, his relationship with his girlfriend falls apart. He is caught between ‘irreconcilable worlds’ (p.44). He feels burned-out, jaded. He cannot convey what he’s seen, even to his closest friends.
What is really, really obvious is that this is what he wants. His ostensible aim is to ‘see the war for himself’ but it is blatantly obvious that his deeper aim is to achieve precisely this cynical, world-weary, war-torn position/feeling/character. This is how he wants to end up, jaded, cynical and burnt out.
Why war?
Why do men want to fight? Pacifists and progressives the world over ponder this question as if it is a deep mystery, but it isn’t deep at all. Back when he applied for Sandhurst Loyd wanted to tell the recruiting officer the simple truth that he just wants to go to a war, any war, anywhere. 1) He wants to see what it is like. And once he joined up he discovered that most of his fellow officers felt the same. As one of them tells him, ‘We want to know what killing is like.’ (p.67)
So there’s one positive motive, to see and find out what war and killing are like. There’s a second incentive: 2) to get your kicks, because it looks like a laugh. For the lolz.
I had come to Bosnia partially as an adventure. But after a while I got into the infinite death trip. I was not unhappy. Quite the opposite. I was delighted with most of what the war had offered me: chicks, kicks and chaos; teenage punk dreams turned real and wreathed in gunsmoke. It was an environment to which I had adapted better than most, and I could really get off on it. I could leer and posture as much as anyone else, roll my shoulders and swagger through stories of megadeath, murder and mayhem… (p.207)
In other passages he describes how incredibly cool it is to be driving with buddies wearing leather jackets and aviator shades yelling your head off as mortar shells explode all around and the bullets zing and chatter. Early on he visits an underground nightclub in Sarajevo where all the men are festooned with guns and ammo and the chicks are hot and sexy. Teen punk fantasies indeed. Later he makes it through heavy incoming fire to the wrecked Hotel Ero in Mostar:
The scene was chaotic. The floor was a skidpan of congealing blood, broken glass and spent bullet casings, while through a haze of smoke and dust HVO troops fired Kalashnikovs in random bursts from the edge of windows on the other side of the foyer to unseen targets beyond. Every few seconds a round would smack back through the windows into one of the walls around us, sending everybody ducking in unison. It was obviously the place to be. (p.51)
In another passage he speculates that this is what unites all the outsiders who, these days, flock to war zones.
Men and women who venture to someone else’s war through choice do so in a variety of guises. UN general, BBC correspondent, aid worker, mercenary: in the final analysis they all want the same thing, a hit off the action, a walk on the dark side. It’s just a question of how slick a cover you give yourself, and how far you want to go. (p.54)
Arguably, he is here expanding his own personal motivation out to fit quite a wide range of people (war correspondents). But then again, he’s been there and he’s met these types. Is this a fair summary?
Anyway, matching the positive incentives to go to war, there’s a pair of distinct and negative motivations as well. 1) The first, overarching one is to escape from normal civilian life. Repeatedly, Loyd believes he is expressing the feelings of all bored, frustrated young men who can’t find a place in the dull routines of civilian life.
… If you are a young man of combat age frustrated by the tedium and meaninglessness of life in twentieth-century Europe, you may understand them [his fellow officers at Sandhurst]. (p.67)
So on the one hand, the quest for the extreme edge of human experience; on the other, the obsessive need to escape the humdrum boredom of bourgeois existence.
The oppressive stagnation of peacetime, growing older, of domestic tragedy and trivial routine. Could I accept what to me seemed the drudgery of everyday existence, the life we endure without so much as a glimpse of an angel’s wing. Fuck that. Sometimes I pray for another war just to save me (p.186)
He despises and wants to escape from:
the complacency of Western societies whose children, like me, are corrupted by meaningless choice, material wealth and spiritual emptiness. (p.261)
This sounds fine but, on reflection, is surely a very immature attitude. Loyd’s descriptions of the scenes he witnessed in Bosnia are almost all handled brilliantly and written in a vivid, sometimes florid style. But when he comes to consider his motivation and psychology, he risks slumping into cliché. For example, this talk about ‘spiritual emptiness’ sounds like some Anglican bishop or the padre at Eton; it’s the kind of pompous waffle a certain kind of pundit has been spouting for half a century or more about the ‘moral decline of the West’.
Also, seeing the world as a place of ‘meaningless choice, material wealth and spiritual emptiness’ hugely signposts his own privilege. It is (as he acknowledges) the view of a comfortably off, middle-class person, as he is well aware:
We were all consumerist children of the Sixties with an appetite for quick kicks without complications. (p.123)
Back in the real world, there are over 2,800 food banks in the UK and about 2.2 million people use them. In 2021/22 over 1.89 million schoolchildren were eligible for free school meals in England. According to the Rowntree Foundation, in 2020/21 around one in five of of the UK population, some 13.4 million people, were living in poverty.
Loyd’s is the voice of a particular type of posh waster. He may have gone through a few periods without a job or much money, but his posh family, his posh friends and his posh contacts, meant he was never in much danger of going hungry. (His friends being, as he writes with typical self-dramatisation:
a talented, incestuous band of West London hedonists with leanings towards self-destruction. (p.120))
He got on well with his colleagues at Sandhurst because they were all Ruperts like him (my understanding is that ‘Rupert’ is working class squaddie slang for the officer class in the British Army, populated as it apparently is by chinless wonders named Rupert and Jeremy and Sebastian.)
He got the gig of war correspondent with The Times, not because of any qualifications or experience (which he conspicuously didn’t have), but because Eton and Sandhurst meant that he understood the tone of voice, the attitude and the good manners required for the job. He fit right in. ‘Good to have you aboard, old chap.’
If the first negative motivation is to escape the ennui of being a posh waster, the second negative motive is 2) to escape from his family.
Loyd’s family romance
Early on we learned that his parents divorced when he was just 6, he was sent to boarding school etc. It’s only a lot later, two-thirds of the way through the 321-page text, that we are given a second, far deeper and more disturbing portrait of his family. His father moved some distance away and lived on a farm with his new wife and her son. We hear in some detail how awful young Anthony’s visits to his father were, how everything was regimented and controlled, of his ‘abusive and intimidating behaviour’ (p.190). So awful that on one occasion young Anthony threw himself down the stairs of his mother’s house in Berkshire in a bid to injure himself so he wouldn’t have to go.
Most of the time I hated him. He was a selfish and damaging bastard. (p.213)
As he became a teenager he rebelled against the visits and his conversations with his cold father became more and more cruel and damaging. But the situation held two secrets which his vindictive stepmother enjoyed skewering him with. One was that his beloved younger sister might not have been his father’s child at all; that his mother had an adulterous affair way before his parents split up. And a lot later, when his father was seriously ill and dying, he’s told that he has an older sister he’s never met; that his mother had by a relationship before her father, and who she was forced to give up for adoption.
There’s an extended passage describing his father’s illness and death (pages 206 to 213). He was in Bosnia when he learned of this, and there’s an agonising tap dance of whether he should return immediately, there are exchanges of letters, but his father continues in the same style, insisting that Anthony ask for forgiveness before he grants him a visit. Messages back and forth and the spiteful interferences of his stepmother, what a snakepit of poisonous emotions. And then came the news that his father had died. And his reaction?
I had wondered whether his death would end the anger inside me, so much of which was responsible for motivating me in war. But I had nothing to fear there. The embers of resentment glowed with a new intensity…I went back to war wanting to suck deeply on the pain out there and blow it back in the faces of people like my father: the complacent, the smug, the sardonic. (p.213)
Doesn’t need much interpretation or analysis. Loyd lays out his motives as clinically as a post mortem dissection.
Not rocket science, is it? Probably most men do not want to fight in a war, but some do, and the ones that do, really really want to – and, in generation after generation, they are enough to bring down death and destruction on all around them. Middle-aged men in power want more power and glory (for example, Vladimir Putin) and enough young men want to see and experience war for themselves, to make it happen – and this explains why wars will never end.
Peace? It was a hideous thought. (p.198)
So, that’s about 4 reasons, two positive, two negative, why Loyd himself was motivated to go and suck on the tit of war. That’s what it means to be a highly educated Englishman, raised in the bosom of a liberal democracy, pampered and bored and seeking out the most extreme environment imaginable.
But the book also mentions the motivations of the actual warriors for going to war, and the chief reason is that some people do very well out of war. Some people make a terrific living. It suits some men down to the ground. Take Darko the sniper. He has found his vocation:
Darko exuded a hypnotic charisma common among those who have found their vocation in killing…Darko was one of the many in Bosnia who had tapped into their own darkness and found there bountiful power. (pages 169 to 170)
War has helped Darko find his vocation, his purpose in life. Some men are born to kill, most never get to express this side of themselves, but in war, many, many of them can. Thus:
The war with the Muslims had given him power, freedom and prestige. While it continued he had been a hero… (p.199)
And the book is sprinkled with descriptions of the various other gangsters, crooks and petty criminals who seized the opportunity to raise themselves to positions of power, power over life and death, for example, the notorious Arkan, a one-time petty criminal who war empowered to become head of the Serb paramilitary force called the Serb Volunteer Guard and then an influential politician.
And then there are the mercenaries, people who’ve travelled from all over the world to take part in the fighting. He meets quite a few of these and Peter the Dutchman speaks for all of them when he says:
‘We don’t fight for the money and we’re not in it for the killing. It’s about camaraderie and, sure, it’s about excitement’. (p.54)
Clichés of the genre
Alongside these extensive meditations on his own motivations and other people’s, for going to war, there are passages describing classic wartime experiences and the emotions they trigger. These are covered so systematically that I wondered whether he had a bucket list of must-have war experiences and then ticked them off, one by one, in the course of the narrative. They include:
the first time you see a dead body, fascinated, repulsed – then, the more you see, the more numb you become – until eventually the sight of corpses loses all emotional impact and it becomes a subject of purely intellectual interest, a collector and connoisseur’s interest
the first time you’re under fire you don’t even realise it – the next few times you wet yourself or freeze – eventually you learn to control your panic
the sensation of powerlessness when you see the wounded and dying
the first time you look through a sniper rifle sight at an enemy and feel a tremendous urge to pull the trigger
trying to reason with the fighters, discuss the issues, enquire into their motivation – but it is a chilling discovery to learn that some people just enjoy killing – that’s all there is to it
being pulled over by local police / militia, hauled off to jail, interviewed by suspicious cops, scary the first time it happens and then settles down to become part of the black pantomime of a disintegrated society
Eventually he becomes so detached from his own feelings that he can’t begin to communicate with his girl at home and his family. But, as I said above, all of this has a studied, practiced feel to it. It isn’t happening to a naive ingenu, a wide-eyed innocent out of All Quiet on the Western Front; it’s happening to an educated young man who’s read his Graham Greene and his Michael Herr (Herr is namechecked on page 66), and wants it. He actively wants to achieve this state of jaded numbness.
When the likes of Martin Bell and John Nichol queue up to load the book with praise with blurbs on the cover, it is partly because it is a most excellent book and contains searing descriptions and penetrating insights. But it’s also because it’s all so recognisable. The tough guy who’s also really sensitive and carries deep hurt (his miserable childhood) inside is as clichéd a literary figure as the hooker with a heart of gold.
It’s as if the actual chaos and the bestial atrocities Loyd witnessed can only be contained within a straitjacket of clichés. As if, if one part of your life is completely deranged, all the other parts must be sentimental stereotypes. In many ways the book is an interesting reflection on the nature of writing itself, or of this kind of writing.
Tall, beautiful, unobtainable women
Take the way that all the women he knows or meets are stunningly beautiful:
After Sarajevo, Split seemed like a lotus fruit to the senses, a blast of waterfront restaurants, light, space, wine and beautiful, unobtainable Dalmatian women. (p.42)
I was with Corinne at the time. An American a few years older than me, she combined feminine compassion with a high tolerance for violence and a fine temper. (p.95)
Alex’s beautiful honey-blonde wife, Lela, tempered his excesses with an often intuitive insight and gentleness. (p.121)
Stella was one of the most striking women in West London, an actress with a gymnast’s body. (p.121)
I spotted a small buzz of activity in the square…two Europeans heading towards the hotel….The first was a girl of exceptional beauty…She must have been close to six foot, moving fast with the swivel-hipped arm-swinging assurance of the very beautiful. (p.129)
Sandra paid us a visit, stepping shyly into the flat on the finest pair of legs in central Sarajevo. (p.180)
We enjoyed half a party with the attractive Red Cross girls before a Bosnian soldier walked in and stole the sound system at gunpoint… (p.220)
A Red Cross girl who had heard of the incident with the wounded children approached me…She looked good, smelled good; I had just come out of the war and could have done with a fuck. (p.232)
I looked around. A very tall, very beautiful girl stood at the reception desk (p.295)
This roll-call of tall, attractive women comes direct from the conventions of the airport novel, from paperback thriller territory, more worthy of Frederick Forsyth than the alert perception Loyd shows whenever he describes the actual fighting or his encounters with swaggering militias or weeping civilians. As I mentioned above, it’s as if the fresh and insightful parts of the text need the foil of cliché and stereotype to set them off.
The United Nations
It’s worth recording the view of someone who’s seen the UN in action on the ground. Suffice to say that Loyd expresses repeated contempt for the cowardice and inaction of the UN at all levels, failures which, in his view, only prolonged the war:
the impotent moral cowardice of an organisation that only perpetuated the war with its hamfisted ineptitude and indecision [shaming] officers of every nationality on whom the UN’s blue beret was forced. (p.92)
The blame lay with the organisation that put them [peacekeeping troops] in that situation – the UN. (p.100)
[The UN] could not decide if the troops it sent to Bosnia were part of a trucking company or a fighting force, and was prepared to go to almost any length to preserving inaction at the cost of lives. (p.205)
Mind you, the UN are merely reflecting the criminal inaction of the Western powers in general.
What good did reporting in Bosnia ever do anyway? By that stage of the war it was obvious that, despite our initial optimistic presumptions to the contrary, West European powers were prepared to tolerate the mass slaughter and purging of Muslims regardless of the reporting. (p.228)
By contrast, Loyd celebrates and praises the values of the British Army who he sees doing the best job possible of safekeeping unarmed villagers (p.195). Some people might say he is biased, but obviously he’s aware of this and consciously reflects on his own attitude.
Writing as therapy
Maybe Loyd’s therapist suggested he write this powerful and emotional autobiography as therapy. It would make sense of the extended passages of autobiography, which go into unnecessarily bitter detail about the terrible relationship he had with his father.
Although the majority of the content and the eye-catching descriptions are all of war, and that’s how the book is packaged and marketed, the personal, family bleugh is, in one way, the core of the narrative. It explains Loyd’s near death wish, his need to escape the unbearable tedium of the workaday world of peacetime Britain. He has to force himself to travel to wherever there’s news of atrocities and horrors, because he is on an unending mission to blot out his own psychological pain with even greater, maximal, real-world horrors.
He thinks about suicide a lot, has ‘narcissistic death dreams’ (p.194) but he keeps to this side of them by always having somewhere even worse to travel to, and a ready supply of colleagues to accompany him in the endless quest to spend the days recording atrocities and the nights getting off his face. But try as he might, he can never escape himself. Hence his deep sense of the endless recurrence of the ‘goldfish bowl war’ he finds himself in (p.194).
And writing? Not only is writing a form of therapy, an exorcism, meant to get it all ‘out of your system’. It’s also a reliving and a memento and a tribute. This is one of the deep pleasures of the book, that so much is going on in it, at so many levels.
Credit
My War Gone By, I Miss It So by Anthony Loyd was published by Doubleday in 1999. References are to the 2000 Anchor paperback.
OK, so what is the Solander Collection? In its own words:
Dedicated to the enjoyment and understanding of photographic art in all its forms, the Solander Collection has a special emphasis on international traditions, under-represented and forgotten artists, ethnic diversity, and women. The aim of the collection is to broaden the understanding of photography as inclusive and democratic.
Nearly all works are vintage (made within a few years of the negative) and include many rarities and ‘firsts’. It is a working collection, intended to be shared through exhibitions and publications. The collection is based in Oregon and California and is available to view by appointment, when it is not on public view. (About the Solander Collection)
It’s named after the Solander Box, the cloth-covered black box that museums use to store flat works in.
This exhibition
This exhibition at the Photographers’ Gallery displays over 130 works from the Solander Collection. They’ve been selected to make visitors “look again at well-known works by major artists, alongside forgotten greats, regional champions and unknown artists”. Here are curators Graham Howe and Phillip Prodger explaining.
Keywords are:
“feminist photography…connections between things that don’t always get connected…more inclusive, more welcoming…never meant to be a chronology…pockets of thought, ways of seeing, ways of thinking of photography…you’re meant to feel how organic everything is and the connections that exist between different time periods…a wider view, a more diverse pluralistic approach to looking at photography…as rich and diverse and interesting as the people of the world…”
Does it match up?
Does this exhibition match up to these brave words about diversity and inclusiveness? Well, yes and no. On the No side:
Still chronological
Although the curators claim to be eschewing chronology, the exhibition is still very chronological in feel. It starts with works from the very dawn of photography in the 1840s, when people used photos as the basis for fine art and painted over prints, or used the camera lucida as an aid to drawing, or when subjects were chosen to match the subjects of fine art and sculpture, for example the striking male nude included here by Charles Nègre.
It starts with the usual early pioneers such as William Henry Fox Talbot, Julia Margaret Cameron, Roger Fenton and Eadweard Muybridge. And then moves slowly forward through the decades of the nineteenth century before arriving at the explosion of Modernism around the time of the Great War.
So this is all reassuringly chronological and follows the same timeline as umpteen other history of photography exhibitions I’ve been to. The very fact that the curators feel compelled to call the exhibition ‘An alternative history‘ indicates how far they are from throwing off the shackles of chronology and arranging works by some other method. Why not call it ‘Selection from the Solander Collection’ and arrange the pieces in a genuinely non-linear, themed, or free associative manner?
Still very American-centric
Of the 130 or so pieces I counted 24 by American photographers, or about a fifth. There are also a lot from Europe, obvz, and then only a handful each from China, Japan, a few each from some south American countries, and about a dozen in total from Africa. So it may be more geographically diverse than your standard history of photography, but not as diverse as the actual world, the real world out there beyond Galleryland. In the real world the top half dozen nations are currently ordered by population thus:
China 1.5 billion
India 1.4 billion
Africa 1.3 billion
America 335 million
Indonesia 280 million
Pakistan 240 million
So, to be strictly ‘representative’, there ought to be four times as many photos by Chinese, Indian or African photographers as Americans. Another statistic is that America makes up 4.25% of the total world population so to be utterly ‘representative’ exhibitions of global art like this ought to have that amount of representation – whereas, of course, it’s nothing like that. America, with the imperial reach of its technological and commercial supremacy, is still the single most represented country.
The fact that Americans think it is an impressive achievement to feature handfuls of photographers from other countries tells you just how deep-grained American parochialism and chauvinism is, and how slavish the obeisance of British art and culture gatekeepers to American culture is that they unquestioningly, enthusiastically go along with America’s ongoing dominance.
Obscure photographers?
Well, yes, up to a point but maybe a third of the 100 exhibits were by famous photographers – the Victorians ones I’ve mentioned above, plus ‘legends’ like Ansel Adams, Diane Arbus, Robert Frank, Man Ray, Edward Weston, Rodchenko, and the fairly well known African studio photographer, Malick Sidibé.
On the Yes side:
More nationalities
Yes, there are works from Poland, Uzbekistan, Mali, Cameroon, as well as East Germany, Australian, Chile, Jamaica, Mexico, Singapore, Ukraine – nations you rarely see represented in any Anglo art exhibition. It does feel as if more nationalities are represented, albeit in nothing like the proportions they ought to be.
More obscure works
There are a number of anonymous works (particularly from the early period), odd or unexpected works like the studies using native peoples of John William Lindt; and, in the later part of the show, quite a few photos from what feel like obscure and overlooked photographers, from the under-represented countries mentioned above, Poland, Mali and so on.
The Western Gaze
More important/significant/telling is the curators’ inability to escape Anglocentric or Western notions of beauty or quality or the notion of ‘interest’ which they mention in the video. On my trips to Muslim countries, in my engagement with Chinese or Indian or Japanese art, I’ve realised that many other regions of the world have traditions and definitions and canons of ‘art’ utterly different, alien from, the Christian, white western ones I was brought up in.
Feminist curators and critics go on rather a lot about ‘the male gaze’. The phrase often appears on wall labels of numerous exhibitions. But I’m not sure I’ve read so much about ‘the Western gaze’, the way all western people bring very Western values and aesthetics and judgements to bear on all the art forms – music, sculpture, photography – we encounter outside our culture. Often it’s not even clear whether it is art, as we understand it; or some part of what we’d categorise as religious artifacts or cultural traditions or traditional practices.
The mindset whereby we want to take objects from their original location and categorise and label them and put them behind glass cases in antiseptic museums and galleries, that’s quite a Western way of thinking, specific to certain locations and times in Europe then America, and not necessarily fund in other cultures. (Rooms 1 to 5 at the British Museum, the long wood-panneled room on the right of the big central atrium, are devoted to describing the invention of the Western tradition of collecting, categorising and displaying precious artefacts. Visually, it’s the least sexy part of the British Museum but conceptually, maybe the most important: it’s an exploration of the origins of the entire concept of The Museum and The Collection.
In my opinion the curators of this exhibition have obviously made an effort, and have included works from a few more countries than you might expect; but they have come nowhere near throwing off the shackles of the Western Gaze and Western aesthetics, and so barely engaged with other ways of seeing.
The narrowing effect of photography
Then again, when it comes to photography, this may be because the technology and the form themselves such Western creations. Cameras, film and all the rest of the paraphernalia were invented, developed and improved in the advanced industrial nations of Europe and America (and Japan), and exported to other countries.
Maybe photography itself is an imperialist form, colonising the minds of everyone who uses it, co-opting them into modes of observation, alienation, categorisation and detached gazing, which are intrinsically Western.
Maybe to pick up a camera (or a phone with a camera in it i.e. pretty much every smartphone in the world) is to adopt an entirely Western technology and take on Western blinkers. Maybe, on this reading, it’s impossible for photography to be truly ‘diverse’ because, even though the person taking the photograph may be from Jakarta or Kinshasa or Shanghai, or an aborigine or native American, as soon as they pick up a camera they are infected, taken over, co-opted, colonised by the Western controlling, objective, alienating way of seeing. Just a thought…
Commentaries
Arguably, the single most important thing about this exhibition is the commentaries. The Solander Collection maintains a network of contributors in countries around the world, photographers but also critics and writers, and well over half (not all) of the photos in the exhibition are accompanied by fairly long wall labels, four or five thick paragraphs long, short essays –giving detailed information about how each photo was made, the photographer, the subject matter and so on.
if you read all of these commentaries it makes progressing around the two rooms which host the exhibition quite a slow business.
Selected works
So what did I like or what stood out for me? I’ll make a personal selection i.e. create my own networks of connections through the very varied corpus or body of work they’ve selected. To give it some structure I’ll base it on topic or subject matter.
African studio photography
Several African studio photographers are represented including the famous Malick Sidibé from Mali. Apparently the golden age of studio photography in West Africa was during the 1960s and early 70s i.e. the decade following independence from colonial rule.
Studio photographers used the conventions inherited from the West (the very idea of a studio; deeper than that, the very idea of a photograph) but gave it a style and swing, matching the newfound confidence of young urban types dressing according to new Africanised forms of fashion.
I’ve selected a pic by the less well-known Michel Kameni (1935 to 2020) from Cameroon. Apparently his photos are that bit less flamboyant than Sidibé’s, which you can see in the exhibition where examples of each guy’s work are place side by side. This example uses technical tricks to create a mirror image of the same woman, momentarily appearing as her own twin. Thus it is more mysterious and strange than Sidibé’s generally cool and confident but straightforward portraiture. What is the woman looking at us thinking? She’s a kind of African Mona Lisa.
Oscar Gustave Rejlander (1813 to 1875) spent much of his own life in poverty and set out to document the lives of the poorest in society. But that’s not the most interesting thing here. The interesting thing is that this photo was constructed. Not just staged – as the girl in the foreground standing on a suspiciously clean street sweeping broom is – no, the entire backdrop, a waybill publicising an 1871 rally in Trafalgar Square against the match industry – was added to the photo of the girl. Or the photo of the girl was superimposed onto the background. Fascinating that right from the start photographs were subject to artificial intervention.
Match Girl, 1871 by Oscar Gustave Rejlander
Documentary photography
Meaning recording the lives and practices of ordinary people. Or as the Tate website puts it:
a style of photography that provides a straightforward and accurate representation of people, places, objects and events, and is often used in reportage.
This is an apparently simple documentary photograph taken by Emilio Amero (1901 to 1976) recording a moment in a wedding celebration in Mexico. But this is a carefully curated photograph so it has depths which become clearer the longer you look.
Obviously, the woman is beautiful with a beguiling spiritual beauty which becomes more entrancing the more you look. But her dress is wonderful too, particularly the concatenation of metal necklace, pendant and ear-rings. And the bracelets on her right wrist. How beautiful she looks! And then – this is all happening in the street, far different from an English wedding in a crabbed and constricted English church. This is happening outside and, you realise, there seem to be loads of people in the background, some milling about but a row of figures on the left sitting down. Are all of these people here just for her wedding? How wonderful and sociable! How communal and shared and happy it looks. Which makes the look of concentration and seriousness on the young bride’s face all the more sweet, touching, foreboding, intense and magical.
John William Lindt (1845 to 1926) was an interesting character (Wikipedia article). Born in Germany he travelled to Australia where he built a reputation as ‘a landscape and ethnographic photographer, early photojournalist, and portraitist’. This is one of 31 photos Lindt took of Gumbaynggirr and Bundjalung people in a book titled ‘Australian Aboriginals’ in 1874. There are all kinds of things going on in this charged image. Most obvious is the clash or tension between the staged background and props and the vivid presence of the woman and child. And cross-threading against that, the similarity to the great Christian image of the madonna and child which he’s posed them in.
The early photographers saw the technology as a way to copy, re-enact, reproduce the poses and subject matter of the fine arts, of the Old Masters of the European visual tradition. One of the most interesting things about photography is how long it took for its practitioners to realise it could represent the world in ways not limited to fine art precedents, it could depict the world as it is, and then the development by Modernist practitioners of realising photography was susceptible to techniques which broke with reality altogether to create forms unique to the technology, such as photomontage, solarisation and so on.
Young Woman with Sleeping Child, Clarence Valley (1870 to 1873) by John William Lindt
Feminist photography
The whole point of ‘feminist photography’ is it has many strands and many meanings. Here are two quotes which indicate what they have in common, namely the quest to overthrow gendered stereotypes and expectations.
Feminist photographers turned a medium used traditionally to reinforce gender norms into a powerful tool of transformation and emancipation, reimagining not only the possibilities of photographic self-expression, but also the kinds of subjects and environments thought to be deserving of aesthetic representation.
(Beyond the Male Gaze: Photography and Feminist Theory)
Photography became an important tool of second-wave feminism to critique the established visual conventions through which gender, sexual, racial, and class identities have been constructed.
(Women and photography)
This pair of photos by German photographer Annegret Soltau (b.1946) were made in 1975 and have no written commentary, leaving us free to interpret or make up our own meanings. I’d have thought the place to start is the way the myriad fine threads covering her face in the left-hand picture have been snapped in the one on the right. But it’s not as if this has been caused by her, for example, opening her eyes to symbolise awakening from her heteronormative slumber or opening her mouth to break the silence and express her truth etc. It’s less predictable than that. Something has snapped, but what has caused it, and what it means remain suggestive but mysterious.
Not exactly a happy couple, but the main thing about this photograph is that it was hand coloured, which explains the bright but somehow aged and faded tone of the pink shawl and yellow blouse. In one way this image links to the studio photos of the Africans, Malick Sidibé and Michel Kameni, displayed on the wall opposite – but it also links to the painted photo of the maharajah with tiger (see below) raising interesting questions about tradition and continuity.
‘Laugh, and the world laughs with you.’ Hard not to find these girls’ innocent mirth infectious. People from sometime in the 1970s and yet you feel an immediate deep contact with them, they could be a couple of girls giggling in gallery right next to me. Photography can do that, make unnerving links with people you know are long dead in places and cultures which have long ago vanished. If you’re feeling robust this can be wonderfully life-enhancing, expanding your sense of humanity. If you’re feeling tragic, it can give you a bad case of Weltshchmerz and loss. Où sont the giggling girls of yesteryear?
Two girls in Kingston, Jamaica by Unknown, possibly Ernesto Bavastro (1870s to 1880s)
Historic photography
This is the first known photograph of a Chinese police unit, which began serving in Hong Kong shortly after its establishment as a British colony in 1841. The tut-tutting wall label reminds us that colonial police forces like this were strictly hierarchical, with British officers in charge, then Indians who could serve as sergeants or inspectors, then local, in this case Chinese people who could serve as constables or sergeants but weren’t allowed to rise higher.
This wasn’t a one-off by the photographer, Lai Fong (1839 to 1890). Lai “created a body of work that laid the foundation for the art of photography in China”. The wall label optimistically declares the Lai “offered a window into the pictorial traditions, history and social structures of the late Qing dynasty” but it’s not obvious that there’s anything particularly Chinese about this photo: the staging of the men and the draped curtains to either side strongly suggest the European, semi-classical visual conventions. This is what I meant, above, when I said that, possibly, photography is an intrinsically imperialist form. If Lai indeed did lay the foundations for photography in China he appeared to do so by importing entirely Western visual conventions.
A Group of Hong Kong Native Police, 1870s, by Lai Fong
Humorous photography
This piece by Austrian artist Valie Export (b.1940) is the biggest thing in the show and more or less the only one which made me laugh. I suppose it’s straight satire, 1970s satire on the identification of women with housework, using the cut-up collage techniques which people like George Grosz pioneered in the 1920s. Obviously it’s taking the mickey out of a thousand renaissance paintings which show a Madonna holding the Christ child, satirically replacing the baby with a hoover, symbol of 1970s women’s greatest care/oppression.
It is an example of photomontage which wasn’t that represented in the show. I can imagine a section of it could have been devoted to this technique, alongside works by Grosz or John Heartfield or other photomontageurs from other traditions making political/satirical points.
Or, at the same time or alternatively, it’s also possibly an example of ‘sculptural photography’ because the silhouetted 70s woman and hoover aren’t laid flat on the surface of the painting but are attached so as to be raised and physically distinct from the backdrop. Which is why the thing requires not a flat frame but more like a glass case to cater for the depth of the effect created.
Anyway, the classical painting in the background is Botticelli’s ‘Madonna of the Pomegranate’ (1487).
Modernist photography
Double exposure became a standard Modernist device. Mark Neven DuMont (1892 to 1959) was born in Germany but emigrated to England. His friend, the avant-garde painter and provocateur George Grosz, was a leading exponent of photomontage so the curators reckon that’s where DuMont got the idea to experiment with it himself. The wall label tells us that photomontage – using two or more camera negatives to create a composite image – is as old as photography; but the striking make-up of the female model and the geometric shape of the palm tree give it a very modernist, Art Deco feel.
Patricia by Mark Neven DuMont (1930s)
If modernist visual forms (sculpture, painting, drawing as well as photography) have one thing in common it’s a love of sharp lines and geometric shapes. In contrast with gauzy impressionism, gloomy symbolism or scratchy expressionism, modernism loves slick lines and sharp angles. Almost everything in this photograph by the Brazilian photographer German Lorca (1922 to 2021) is precise and geometric: from the tiny regular squares of the paving to the straight seams of the concrete wall behind the two figures; the neatly pressed seams of the two men’s suits to the super-precise outline of the shadows behind them thrown by the hot tropical sun. It’s part of the hyper-modern effect that we don’t see the men’s face, which are turned away or hidden behind a newspaper, thus increasing the sense that this sidewalk drama is not about people but about the lines and energies of the modern city.
Looking for a job by German Lorca (1948)
Motion photography
Eadweard Muybridge (1830 to 1904) is the famous pioneer of ‘motion photography’ which caught the imagination of artists and scientists around the (developed) world. In his studio he set up series of cameras in the same position or staggered along the course of the action he wanted to record, and then fired them off at intervals, experimenting with doing it closer or further apart.
The result was his famous sets of photos showing successive stages in dramatic actions. Once he’d nailed the technique he went mad and, between 1884 and 1886, produced 781 new sequences! The art of fencing is peculiarly suited to this process because it involves dramatic gestures and physical postures while the body itself doesn’t actually change position very much.
Fencing by Eadweard Muybridge (1887) collotype
Naked photography
Lots of women artists and photographers in the 1970s and 80s thought it was a radical and subversive act to take their clothes off and stage happenings or interventions or performances featuring themselves naked, and record themselves for posterity. No doubt this was a radical, subversive and so on gesture in Russian-controlled communist Poland back in 1980. Forty-three years later it looks like a naked young woman in heels confronting a woman cop. What’s not to love?
It is a little disappointing, then, to learn that this scene never took place, but that the piece is in fact a photomontage, combining a shot Ewa Partum (b.1945) took of herself nude in the studio, superimposed on a straightforward snap of a cop in the street.
Döppelgängers always fascinate us and so we are taken by the dualistic oppositions suggested here, between the naked and the clothed, between authority and submission, between the ‘authenticity’ of the artistic naked woman with nothing to hide and the overdress authority figure encumbered with all the rigmarole of legal and physical repression (radio, handcuffs, baton, gun?)
(I appreciate this photo could also come under ‘feminist photography’ or ‘political photography’. But I’m enjoying making up frivolous headings and my own connections.)
Self and policewoman by Ewa Partum (1980)
Nature photography
Possibly my favourite photo of the 130 on display. I myself have taken lots of photos of trees, flowers, plants, lichen on stones and so on, but trees are special. I think trees are talking to us but so slowly, so very slowly, that we can’t slow down enough to hear what they’re saying. And so we chop them down and burn them, over vast areas, and will end up burning the entire planet in the process. Tant pis.
Meanwhile, this is just one of many studies the American photographer Paul Strand (1890 to 1976) took of driftwood, showing a profound feel for the shapes and twists and knots and gnarls which are created by this most beautiful of life forms. Although hyper-naturalistic in feel, capturing every fibre of the gnarled old wood, Strand’s studies like this at the same time suggest flowing zoomorphic forms and, if you’ve smoked a little dope, are gateways almost into another world, enabling the viewer to immerse themselves in the non-human world around us. Entirely naturalistic they are also like meditative states of mind.
Believe it or not this is a photo, taken about 1890 by an unknown photographer. It looks like a painting because the entire surface has been covered with a thick layer of pigment, so it is a painting: a photo-painting. Apparently this kind of embellishment or overwriting of a factual photographic base with an extravagantly idealised and Romantic backdrop and details was very common. It has a floridness we don’t associate with the European tradition and feels genuinely ‘other’.
This image links to the portrait of a couple from the 1970s shown above. Was this a distinctively Indian approach to photography? Did other cultures do the same kind of thing? Does it persist to this day? Be interesting to know more.
Maharaja with Tiger, possibly Duleep Singh, after a hunt (about 1890) vintage gelatin silver print with hand painting. Maker unknown (India)
Soviet photography
In the heyday of the 1920s and early 1930s Soviet artists made some of the boldest, most radical art of the century in the name of the new society they were building. Alexander Rodchenko (1891 to 1956) specialised in taking photos from experimental and unconventional angles. This was called rakurs in Russian. The most powerful, impactful of these is looking up at the subject from below. This conveys a string sense of dynamism and energy which, when combined or attached to an image of a youth, conveyed just the sense of forward-looking, visionary, striding-into-the-future energy which Stalin and his commissars wanted. As the commentator points out, it also makes the figure look monumental, a photographic equivalent of all those huge statues of working men and women striding boldly into the brave Soviet future which used to litter communist cityscapes.
Pioneer girl (1930) by Alexander Rodchenko
Street photography
Harold Cazneaux (1878 to 1953) became known for naturalistic studies of children, often taken outdoors. During and after the war there was an explosion of technical experimentation associated with modernism, plus a great surge in popular magazines which relied on evermore photos. Thus this photo was taken for a spread in The Home magazine. It’s what you could call soft modernism or popular modernism, in the sense that a) the focus is on the children’s faces, not the ostensible subject (the Punch and Judy show); b) it’s taken from a relatively low angle, a characteristic modernist trait, but not actually down on the ground. So it’s assimilated enough modernist tricks to be considered ‘modern’ and not rattle any cages.
Image after image. Image after image. As the vulture
Circled.
(Prometheus on his crag, Poem 20, by Ted Hughes)
This overview of Ted Hughes’s career is by way of preparing for a review of Ted Hughes’s volume of translation, Tales from Ovid, in the next blog post.
Ted Hughes (1930 to 1998) was one of Britain’s best poet-war poets. Born in 1930 in Mytholmroyd in Yorkshire, Hughes was a countryman through and through, brought up as a boy ranging over the rainswept moors and farms of his home region, coming across the bones of dead sheep or birds, ranging over a landscapes of ferns and thistles, bracken and broom, and harsh northern birds – crows, hawks – flinging themselves into the wind over his head.
Early career
Hughes went to Cambridge to study English but found its traditionalism stifling and switched to Anthropology and Archaeology, developing an interest in shamen and the supernatural which would last his career. He had the usual scattering of odd jobs until his first volume, The Hawk in The Rain, published in 1957, won prizes and his literary career was launched. There followed an infrequent but extraordinary series of volumes:
1957 The Hawk in the Rain
1960 Lupercal
1967 Wodwo
1970 Crow: From the Life and the Songs of the Crow
1975 Cave Birds
1977 Gaudete
1979 Remains of Elmet
1979 Moortown
1983 River
1986 Flowers and Insects
1989 Wolfwatching
1997 Tales from Ovid
1998 Birthday Letters
The early books are full of poems about otters, hawks, ferns, thistles, thrushes, pike, the kind of animals he grew up observing, fishing or hunting, all described with a feral brutality and supernatural ability to inhabit their lives, all glinting eyes and tearing talons:
As Wikipedia says, ‘The West Riding dialect of Hughes’s childhood remained a staple of his poetry, his lexicon lending a texture that is concrete, terse, emphatic, economical.’
Intermixed are other subjects, the Great War (Bayonet charge, Wilfred Owen’s photographs), animals in the zoo, like the Jaguar. The early poems in their concern for standard stanzas and his occasional bathetic lapses of subject matter, sometimes remind you that he wasn’t born fully formed but emerged from the very traditional 1950s, from John Osborne’s 1950s of angry young writers raging against the dead hand of the older generation. The early poems, trailing traces of traditionalism, often indicate the effort required to break free of black and white, provincial Englishness and find his voice.
Hence a poem describing a DH Lawrence-style argument between a miner and his wife or the poem taking the mickey out of a retired colonel or satirising a Famous Poet – these satires or kitchen sink dramas seem a bit, well, obvious and trite, placed next to the more mind-bending visionary poems. Somehow unworthy of his extraordinary gift.
The Great War
His obsession with the First World War apparently derived from the fact his father fought in it. Hence:
the three-part poem, Out, about his father’s wounds and ominous silence
reference to the Battle of the Somme in ‘Crow improvises’
But nevertheless the subject feels a little, well, obvious, compared to the visionary poems. And the anti-war sarcasm of Scapegoats and rabies feels, despite the fancy phrasing, straight out of Siegfried Sassoon. Old.
When he writes that war is sweat and terror it is what thousands of others have written; but nobody else had realised that November is ‘the month of the drowned dog’, that the attent, sleek thrushes on the lawn are terrifying in their single-minded obsession with bouncing and stabbing and dragging some writhing thing out of the wet earth; or that thistles are a fistful of splintered weapons thrusting out of the grave of a rotting Viking. This was, and remains, news from another dimension.
Books for children
In another mode it’s surprising, given his reputation for searing descriptions of the harshness of nature, how very sensitive some of the poems are, first dew on fresh cobwebs:
A reminder that alongside his harsh and symbolical works for adults, Hughes wrote no fewer than 16 books for children, some of them very successful, for example the tale of the Iron Man. But the delicacy of those two poems and a handful like them, when it appears is marvellous but is comparatively rare.
Extraordinary intensity of vision
The weakness of Hughes’s adult style was that he started off at such full throttle, with maximum brutality, animals killing each other, young men blown to smithereens in the Great War, God invoked as a helpless witness of the universal bloodshed, that is was hard to know where to go next. Right from the start the human mind (well, Hughes’s mind) is under relentless attack, assaulted by the bestial savagery of the natural world.
Dead and unborn are in God comfortable.
What a length of gut is growing and breathing –
This mute eater, biting through the mind’s
Nursery floor, with eel and hyena and vulture,
With creepy-crawly and the root,
With the sea-worm, entering its birthright.
In small doses, an individual Hughes poem is like an icepick to the imagination. Over any length, the relentless extremity becomes pretty wearing and, worse, begins to lose its impact. There is a staggering visionary power to his imagery and phrasing, again and again, which feel like they’ve been ripped out of the windswept landscape of the North:
The farms are oozing craters in
Sheer sides under the sodden moors…
Or see deeper into reality, expressing levels of perception most of us didn’t know existed:
The pig lay on a barrow dead.
It weighed, they said, as much as three men.
Its eyes closed, pink white eyelashes.
Its trotters stuck straight out.
Such weight and thick pink bulk
Set in death seemed not just dead.
It was less than lifeless, further off.
It was like a sack of wheat.
‘It was less than lifeless’, what a dynamite idea, what an insight. There are hundreds of moments like this in Hughes’s oeuvre, which take you beyond the horizon of your thinking, yanking together worlds of perception, brilliant.
His earliest poems in the 1950s followed traditional poetic forms, employed regular stanzas and rhymes and all, although always pushing at them with half rhymes and embedded rhymes and assonance. By 1967’s Wodwo he was using a lot more free verse, the individual line getting the space and impact its utterance deserved rather than following the same metre as all the other lines in the poem, some only one word long if that was what was required, others becoming very long indeed, all of them unfolding a science fiction, otherworldly intensity of vision:
I listened in emptiness on the moor ridge.
The curlew’s tear turned its edge on the silence.
Slowly detail leafed from the darkness. Then the sun
Orange, red, red erupted
Silently, and splitting to its core tore and flung cloud,
Shook the gulf open, showed blue,
And the big planets hanging—
‘Horizon’ is a favourite word in the early poems, the narrator’s spirit flying off over the edge of normal perception, spinning into the prophetic otherworld inhabited by his killer animals.
… He meant to stand naked
Awake in the pitch dark where the animal runs,
Where the insects couple as they murder each other,
Where the fish outwait the water.
I agree. As a Darwinian materialist I see a vast universe of complete indifference, on one tiny planet of which life forms have evolved through a never-ending cycle of relentless competition and mass murder. And we humans are unavoidably part of the choiceless animal kingdom – as portrayed over and over again in Hughes’s oeuvre, for example in Crow Tyrannosaurus, where Crow disgustedly sees all other life forms condemned to eat screaming victims, then finds himself unable to avoid doing the same.
Myth making
But, having established this territory of panic-stricken intensity, where was there to go next? Hughes’s answer was to double down on the anthropological aspect of his work, increasingly turning the animals he described with such staggering vividness in the early poems into heavyweight symbols in a symbolical mindscape:
The bear is digging
In his sleep.
Through the wall of the universe
With a man’s femur.
The bear is a well
Too deep to glitter
When your shout
Is being digested.
The bear is a river
Where people bending to drink
See their dead selves.
The bear sleeps
In a kingdom of walls.
In a web of rivers.
He is the ferryman
To dead land.
The trouble with this kind of writing, innovative, mind-opening, astonishing as it first appeared in the 1960s, is that it can quickly come to seem too easy, too glib. Replace ‘bear’ with any other big mammal you can think of, tiger, bison, rhino, whatever. I admit it does make a bit of difference, but not enough. And Hughes wrote scores of poems like it, outlandish, fluent, increasingly pretentious but, worst of all, with whole stanzas or passages which were interchangeable. Identikit. Rentamyth.
Somewhere Al Alvarez commented that Hughes’s poems rarely present an argument but leap from one dazzling image to the next, and you can see it in action in ‘The Bear’. Each of those little sections isn’t a stanza in the traditional sense of a unit with a predictable number of lines, with a predictable metre and system of rhyme – they’re more like items on a list, each little unit a miniature parable clustered round one of Alvarez’s dazzling images, each one lasting exactly as long as it takes to express that image.
Too much pretentious abstraction
You can trace this runaway fluency in Hughes’s increasingly casual use of the word ‘God’. To begin with it has some vestige of Christian meaning and therefore feels transgressively powerful when mentioned in the early, pagan beast poems. However, the term soon becomes something more like an anthropological abstraction, as much a part of the merciless world as the howling wind and biting rain, equally as driven and powerless. And then, as Hughes became more prolific and apocalyptic and symbolical, the word ‘God’ is thrown around with increasing abandon, losing some of its poetic charge with each iteration.
When Hughes ended his poem about the terrifying crabs which emerge clattering from the sea at night by calling them ‘God’s only toys’, it is not as powerful as it ought to be because of so many other animals or experiences which have, by now, been associated with this ‘God’. Ultimately, the word becomes somewhat cartoony.
When I was a young man bursting with hormones, ‘A childish prank’ struck me as a profound insight into the bittersweet world of sex. Now it strikes me as on a level with a roadrunner cartoon. Too often in the mythological poems everything is everywhere all the time – terms like the universe, infinity, God, Death become increasingly empty counters. His mythological character Crow:
peered out through the portholes at Creation
And saw the stars millions of miles away
And saw the future and the universe
And:
The body lay on the gravel
Of the abandoned world
Among abandoned utilities
Exposed to infinity forever
And:
Crow looked at the world, mountainously heaped.
He looked at the heavens, littering away
Beyond every limit
And:
There was this terrific battle.
The noise was as much
As the limits of possible noise could take
And:
So the survivors stayed.
And the earth and the sky stayed.
Everything took the blame.
Not a leaf flinched, nobody smiled.
And:
Crow roasted the earth to a clinker, he charged into space –
Where is the Black Beast?
The silences of space decamped, space flitted in every direction.
And:
He sees everything in the Universe
Is a track of numbers racing towards an answer.
And:
People were running with bandages
But the world was a draughty gap
The whole creation
Was just a broken gutter pipe.
And:
Without a goodbye
Faces and eyes evaporate.
Brains evaporate.
Hands arms legs feet head and neck
Chest and belly vanish
With all the rubbish of the earth.
And the flame fills all space.
The same kind of extremity and exorbitance, the same kind of phraseology about ‘the universe’ and ‘space’ and ‘Death’ in every poem. Gets a bit boring.
The same could go for the word ‘crucifixion’. When it first appeared in one of the 1950s poems it had a shocking impact appropriate to an era when the Church of England was still a power in the land. It crops up more and more regularly as Hughes moved into the 60s. And by the time of Crow (1970) it had become just one more of his pseudo-mythological reference points, appearing on pages 35, 36, 63, 68, 77, 82 of the book. It had become routine. ‘God’, ‘crucifixion’, ‘space’, ‘Death’, ‘infinity’ – all became steadily overused.
Having invented a searingly intense new way of seeing the world, perhaps it was inevitable that Hughes would go on to flog them to death and, in doing so, turn his dazzling insights into a new set of stereotypes and clichés.
(The way Hughes burst on the scene with a radically violent and personal vision, tinged with unhinged psychosis, in the late 1950s, flowered in the 60s, decayed in the 70s and then became a prolix echo of himself from the 1980s onwards, is strongly reminiscent of the identical career arc of the visionary novelist, J.G. Ballard, born in the same year, 1930.)
Crow
1970’s Crow saw Hughes give full throttle to his anthropological interests. It consists of 89 pages of poems devoted to the figure of ‘Crow’ seen as a nature god, a shamanistic figure who caws and pecks his way through a series of bleakly powerful fables and parables. A disenchanted, non-human observer of the disasters of Creation. The creation of a new mythic character, and the abstract flinty style of the cosmic parables, is an extraordinary achievement,
But from a technical point of view, even if, as a poet, you reject conventional forms and stanzas, you still have to find some way organise your lines on a page and it turns out one of the most basic ways to do that is with repetition, the basic forms of incantations, spells and liturgies. Look at the obsessive use of repeated phrases in these poems from Crow:
Even simpler than variations on the question and answer format, the easiest way to create a poem is simply to line up a sequence of images and just put ‘And’ at the start of each of them:
When the owl sailed clear of tomorrow’s conscience
And the sparrow preened himself of yesterday’s promise
And the heron laboured clear of the Bessemer upglare
And the bluetit zipped clear of lace panties
And the woodpecker drummed clear of the rotovator and the rose-farm
And the peewit tumbled clear of the laundromat
This isn’t ‘about’ anything: it feels like a dazzle of images. It may be aiming for the fake sonority of an Old Testament genealogy, but it is just a glorified list with smart variations. And once you get started with this kind of thing, it proves difficult to stop. The ‘and’ thing becomes addictive, leading to a fluency which starts off impressive but ends up becoming steadily more meaningless:
While the bullfinch plumped in the apple bud
And the goldfinch bulbed in the sun
And the wryneck crooked in the moon
And the dipper peered from the dewball
Wodwo
1967’s Wodwo had expanded the notion of a collection of verse by including a set of short stories and a play wedged between two suites of poems i.e. as soon as he could, Hughes was interested in experimenting with other forms. Crow is a collection of invented folk tales or parables. 1975’s Cave Birds continued this interest in playing with forms, Hughes himself describing it as ‘an alchemical drama’.
Gaudete
1977’s Gaudete took this a step further, creating a innovative hybrid form of narrative, a sort of novella told entirely in highly charged poetic prose, or in lines of verse so free they range from one-word lines to lines which contain entire paragraphs.
Gaudete is a deeply weird book. The plot, such as it is, concerns an Anglican clergyman named Lumb (with his ‘long-jowled monkish visage,’ p.87) who is abducted by spirits and replaced by an identical copy of himself. This changeling is driven like a machine to tup every woman in their little village, maybe in a bid to conceive the next Messiah (at least that is the explanation given by Evans the blacksmith’s girlfriend on page 113).
The 200-page text describes the last day of fake Lumb’s existence in the village as he drives from manor, to farmhouse, to open field, in order to service women who are all mindlessly infatuated with him, gagging for abandoned sex.
In the second half their various husbands and boyfriends all tumble to the fact that their women are being tupped by this relentless shagger (helped by 18-year-old poacher Joe Garten who take incriminating photos of couples in the act or, at the very least, of Lumb’s distinctive blue Austen van outside everyone’s houses while the husbands are away).
The cuckolded men meet to drum up Dutch courage in the local pub and decide to confront Lumb at that evening’s women’s meeting in the church, which is in fact some kind of black magic coven wherein the women strip naked, take magic mushrooms, wrap themselves in dead animals skins and lose themselves in primitive drum music, before performing The Ritual.
It’s like The Archers remade by the director of Emmanuelle, except in a tone of relentless hysteria – part 70s soft porn, part Peckinpah’s Straw Dogs. The key words are ‘scream’ and ‘skull’, ‘dead’ and terror’. Blood and guts spill across every page:
But already hands grip his head,
And the clamp of tightness, which has not shifted,
Is a calf-clamp on his body.
He can hear her whole body bellowing.
His own body is being twisted and he hears her scream out.
He feels bones give. He feels himself slide.
He fights in hot liquid.
He imagines he has been torn in two at the waist and this is his own blood everywhere.
The retired naval commander Estridge’s daughter, Janet, hangs herself when his other daughter, Jennifer, tells her that she, too, is in love with Lumb and is carrying his child. Dr Westlake, tipsy after a pub lunch, confronts Lumb in his wife’s bedroom and tries to shoot him with a shotgun. The young architect, Dunworth, discovers Lumb in flagrante with his wife and, after failing to shoot either of them with his handgun, puts it into his own mouth but also fails to pull the trigger, and is left a broken shell of a man as Lumb drives off and his wife ignores him. Young poacher Joe Garten spies Lumb tupping Betty the barmaid from the local pub (the Bridge Inn) among the bluebells, and gets home to find his mum adjusting the rabbit cages which she has upset during her just-completed coition with Lumb – at which point he sets out to gather as much incriminating evidence against the vicar as he can. Maud gets fucked, Felicity gets fucked, Mrs Holroyd too, in a delirious merry-go-round of rural rumpy-pumpy.
It sounds ridiculous and it ought to be, but the whole thing is told in fast-moving 1-, 2- or 3- page sections of extraordinary, hallucinatorily intense prose poetry.
It is a very long poem on acid (in fact, in the climactic black magic scene in the crypt of the church, the women are dosed with magic mushrooms, p.140). But no drugs are needed for most of the characters to be continually in the grip of wildly extreme emotions, and the poetic prose to be off-the-scale in over-vivid intensity.
Commander Estridge’s arrival at the Bridge Inn could have been described in a matter-of-fact, realistic style, whereas Hughes gives us a charged, symbolical description of how triggers psychological impact on the other men already gathered and grumbling.
His arrival
Is like permission: it flings open all limits.
His ferocity, concentrated in that bulbous hawk’s eye,
Delegates, as in a battle,
A legitimate madness to each member. (p.143)
Although the characters go about often recognisable activities – poaching, shopping in town, sunbathing, idling away the afternoon looking through a telescope – and there is more than enough precisely observed detail to fill a novel, yet the inflamed prose poetry conveys a continual sense of unreality and weirdness.
All over her body the nerves of her skin smoulder.
The cream suit is an agony.
A lump of boiling electricity swells under her chest.
Wild cravings twist through her
To plunge to the floor
As if into a winter sea
And scour her whole body’s length with writhings. (p.38)
As a student I read it in one all-night sitting, too terrified to get out of bed to go for a pee or put it down. I distinctly remember the moment when Lumb is driving his blue Austen van round the curve of a hillside when out of nowhere two hairy arms reach over his shoulders, grab the wheel and wrench it to the side, sending his van tumbling down the hillside and hurling Lumb into another of the terrifying Samuel Beckett-type nightmares which punctuate the main narrative. (He has a vision of all the women he’s tupping buried up to their necks in mud and screaming in terror as some underground monster approaches to tear and shred their trapped bodies. The muddiness of this mud world reminded me very powerfully of Samuel Beckett’s 1964 text, ‘How It Is’, depicting a man out of his mind crawling through a world of mud).
Now, rereading it 30 years later, I noticed two things:
1. That in such a long book, effectively a novel in poetic prose, there isn’t a scrap of dialogue. Odd. Eeerily so. Some of the characters, especially towards the end as the husbands band together, are described as talking, but we never hear any actual dialogue. I think this was a deliberate choice because nothing anyone could say could match the delirious intensity of the narrative voice.
2. Second thing: it is a very great relief to be out of Hughes’s head. Ok, so all the character experience life in a very Hughesian way, drowning in extreme emotions, are shaken with terror, clutching their skulls and silently screaming etc. But actually a) there is a range of human characters unprecedented in his oeuvre, and b) there is more effort than in any other Hughes work to differentiate between the characters, in terms of names, professions, activities, descriptions of their homes, their attitudes and experiences.
[Mrs Davies having sex p.93, Mrs Walsall having sex p.96.]
Sylvia?
After the main narrative is over, if you have any mental energy left, Gaudete presents 20 pages of short fragmented poems, supposedly from the notebook of the real Reverend Lumb, supposedly addressed to some kind of female deity, but which are obviously fragments which have no place in the main story.
Only one of them made any impression on me, but really stood out. I wondered if it was a veiled memory of Sylvia Plath. Here it is in its entirety:
Once I said lightly
Even if the worst happens
We can’t fall off the earth.
And again I said
No matter what fire cooks us
We shall be still in the pan forever.
And words twice as stupid.
Truly hell heard me.
She fell into the earth
And I was devoured.
Moortown
Like a lot of creative people who took things to the limit and beyond in the 1960s and on into the long hangover of the 1970s, it feels like Hughes eventually exhausted the vein of his own weirdness, burst the bubble of mythographic pretentiousness, and reverted to a more sober, factual style. Up to a point, anyway.
Thus 1979’s Moortown contains a sequence of 34 poems describing his work on a sheep farm in Devon. They have his characteristic brutal honesty about the blundering cruelty of nature – the poem about the bloody process of dehorning cows is particularly stomach turning, in fact it is such a traumatic procedure that he had already spent a couple of pages of Gaudete describing it in unnecessary detail – but are nonetheless a reversion back to the more naturalistic subject matter of his early period (albeit with cosmic burps). It opens with a brilliantly vivid description of rain in the countryside.
Mist-rain off-world. Hills wallowing
In and out of a grey or silvery dissolution. A farm gleaming,
Then all dull in the near drumming. At field-corners
Brown water backing and brimming in grass.
Toads hop across rain-hammered roads.
The recurring descriptions of the bloody process of cows or sheep giving birth and the many calves or lambs which are born dead or get stuck halfway and strangled so their heads have to be sawn off etc are grimly, sadistically naturalistic, and often deliberately repellent. With the result that my favourite poem is the one about a tractor frozen in the deep winter.
The tractor stands frozen – an agony
To think of. All night
Snow packed its open entrails.
I love that when they finally get the frozen tractor to start, it abruptly bursts:
with superhuman well-being and abandon
Shouting Where Where?
‘Where Where?’ Even Hughes’s most ‘adult’ poems often come perilously close to his children’s poems in their wide-eyedness.
Reading ‘Moortown’ made me realise Hughes is not such a Darwinian materialist as I had thought. In fact he’s more like a Platonist. His poetry believes there are huge primeval forces, universal abstract forces, continually at work in the world and that individual entities – foxes, hawks, cows, ewes, humans – are pathetic tatters which get caught up in the maelstrom of these forces, treated like puppets, tortured, thrown away once they’re used up.
Animals, and especially people, are only really interesting for Hughes insofar as they embody or trigger these eternal forces – in humans the embodiment coming via the primal experiences of sex, death, rage, despair and so on.
And the landscape only appears to be made up of trees and fields and hedges because beneath it all Hughes’s imagination sees archetypal science fiction forces, ‘the earth’s furnace’, the snow is ‘star dust’, ‘space’ is continually entering the woods or pressing onto the grass, the sun is eating the moon, the moon drinks the sea, the wood disappears over the edge of the world, and so on.
In this vein Hughes uses the term ‘radioactive’ twice in the sequence, not because there is any radioactivity anywhere but as a 1970s symbol for the enduring, invisible, science fiction forces which underpin the mess of living and dying things.
Orf
The poem ‘Orf’ maybe demonstrates the four levels of Hughes’s cosmology. Level one is naturalistic descriptions of nature, in this case a sickening description of the illness and sores which plague a lamb and refuse to get better (which I won’t trouble you with). So Hughes shoots the lamb in the head, at which point we get level 2, a kind of detached and carefully alienated vision of what follows, observation of nature as by a robot, by someone completely outside the normal frame of human and humane reference. He shoots the lamb and then:
He lay down.
His machinery adjusted itself
And his blood escaped, without any loyalty.
This is a brilliant mentation of the act of dying, only a little undermined by the fact that this trope, of comparing a living thing to a machine, is a very common Hughes tactic; it occurs throughout Hughes’s oeuvre. Just a few pages later, here’s a newborn calf learning to suckle at the udder:
He got going finally, all his new
Machinery learning suddenly.
Anyway, back to ‘Orf’, Hughes then moves the narrative to level 3, to the shaman-pagan plane, as he imagines the dead lamb’s soul standing up in front of him and asking permission to be dismissed.
But the lamb-life in my care
Left him where he lay, and stood up in front of me
Asking to be banished.
OK. I get this as a transformation of the lamb into a mythological figure. Because I’ve read the visionary weirdnesses of Crow and Gaudete this doesn’t surprise me as much as it might someone new to Hughes.
And so, finally, to level 4: ‘Orf’ is useful because it is a little more explicit than most of the poems about where all this is taking place i.e inside Hughes’s deeply fevered imagination. It happens:
Inside my head
In the radioactive space
From which the meteorite had removed his body.
Thousands of lyric poets talk about their feelings, go on at great length about their feelings, about their lady love or a Grecian Urn or Tintern Abbey or whatever. Not many poets describe their own minds as ‘a radioactive space’ which has been hit by a meteorite. I find this brain damage aspect of Hughes’s verse is often overlooked. Critics analyse the obvious subject matter but overlook the obvious fact that the poet frequently refers to himself as deranged.
Hughes’s science fiction vibe
Also: surfing the internet for essays and reviews and notes on Hughes, I’ve come across plenty of critics who point to his interest in black magic, the Kabbala and whatnot. This is a relatively easy subject to discuss because a) Hughes himself frequently mentioned it, b) it’s at the centre of Gaudete and other works, and c) magic it has its own texts for critics to plunder and quote and juxtapose with similar passages by Hughes. Essays on a plate. By contrast, I haven’t seen anyone pointing out the persistent theme of science fiction imagery in his poetry. Sure, the sun and the moon might be interpreted as basic symbols found in primitive writing around the world or pagan religions etc. But not radiation or meteorites.
Prometheus on his crag
Next to the vivid descriptions of the farm poems, the ‘mythological’ sequences ‘Prometheus on his crag’ (21 poems) and ‘Adam and the sacred nine’ (12 poems) seem like a throwback to the Crow period but without the cocky swagger of Crow; they come over as forced and pretentious.
‘Prometheus’ is all babies being dragged out of wombs, exploded heavens, screaming entrails, insane laughter, the sea retching bile and so on – so hyperbolical and inordinate it’s quite an effort to take seriously or care. (And includes a few more references which support my science fiction thesis: Hughes mentions ‘one nuclear syllable’ (17) and ‘atomic law’ (20), and the buzzword ‘space’ has a little splurge in poem 19:
So speech starts hopefully to hold
Pieces of the wordy earth together
But pops to space-silence and space-cold
Emptied by words
Scattered and gone.
And the mouth shuts
Savagely on a mouthful
Of space-fright which makes the ears ring.)
The sequence titled ‘Orts’ contains 22 poems, none of which meant very much to me, which I skimmed because they all sound the same.
Adam and the Sacred Nine
But for me the utter nadir of meaninglessness, the point at which Hughes’s endlessly repeated schtick of screaming universes reached absolute rock bottom, was in poem 8 of ‘Adam and the Sacred Nine’.
The nine in question turn out, rather disappointingly, to be common or garden English birds.
There’s a poem about the wren which I thought was rubbish; I have a jenny wren nesting in my garden that I love to watch flitting about among the ivy and and bushes, and Hughes’s cosmic bullshit completely failed to capture the look and feel and activity of an actual wren, at all.
But the rock bottom of his cosmic style arrives in the poem about the owl. Here it is in its entirety:
And Owl
Floats. A masked soul listening for death.
Death listening for a soul.
Small mouths and their recriminations are suspended.
Only the centre moves.
Constellations stand in awe. And the trees very still, the fields very still
As the Owl becalms deeper
To stillness.
Two eyes, fixed in the heart of heaven.
Nothing is neglected, in the Owl’s stare.
The womb opens and the cry comes
And the shadow of the creature
Circumscribes its fate. And the Owl
Screams, again ripping the bandages off
Because of the shape of its throat, as if it were a torture
Because of the shape of its face, as if it were a prison
Because of the shape of its talons, as if they were inescapable
Heaven screams. Earth screams. Heaven eats. Earth is eaten.
And earth eats and heaven is eaten.
For me, by this stage, Hughes had destroyed his own gift. He had turned his style into a cupboard of clichés – the same ludicrously hyperbolic cosmic vision, the same handful of key words (universe, scream, torture, death, birth, heaven, earth, blah blah blah) repeated with minor variations, everything turned into everything else which is probably having its womb ripped open or its skull staved in, blood weltering, with lots of screaming all round. The one good line:
Nothing is neglected in the Owl’s stare
tells you how crisp and precise his writing had once but it’s in fact a repetition of lines and attitude first and best expressed in ‘Hawk roosting’ from 1960:
The sun is behind me.
Nothing has changed since I began.
My eye has permitted no change.
I am going to keep things like this.
Some of the same brilliant intensity is here, obviously, but a) it’s a repetition of something he did better 30 years earlier and then b) it collapses into the ludicrous morass of overblown tripe of the poem’s final lines.
Depression and confessional poetry
There’s a case to be made that Hughes’s entire oeuvre amounts to the author struggling with depression and worse, with recurrent feelings of howling despair, or whatever the technical term is for a continual, hallucinatory over-intensity of perception and feeling directed in an unremittingly negative, death-obsessed direction.
The 1960s saw an increasing number of artists in all media letting it all hang out. The phrase ‘confessional poetry’ was coined in 1959 and applied to a number of American poets (notably Robert Lowell, Anne Sexton) and to Hughes’s ill-fated wife, Sylvia Plath (who committed suicide in 1963).
You could argue that his most memorable poems are the ones which maintain a precarious balance – containing his violent feelings and endless visions of pain, screaming skulls, flames crashing through space etc within a framework of detailed real-world observation. Certainly that’s why I love the early poems about the pike, otter, thistles, pig, bull, hawk, thrushes and so on – the dominant element is the wonderfully observed real-world imagery, behind which the shamanistic, universal anthropological vibe provides the fuel, supercharging the details, making them luminescent.
In the increasingly anthropological poems of the 1960s Hughes doesn’t exactly bare his soul – he rarely if ever speaks in his own character, rarely if ever about his own emotions per se. But he uses his animals to convey very strong emotions indeed, murder, rape, sexual disgust, despair. I thought Crow was the peak of this process, a great primal scream of a book, for example:
in ‘Crow’s account of St George’, which is a horrifying bad acid trip nightmare description of a man hacking his wife and children to pieces
‘Criminal ballad’, where the man looks at his children playing in the garden and can’t hear them for machine guns and screaming
A bedtime story about a man who can never manage to do or be complete
But in retrospect a lot of the Crow poems still maintain a kind of balance, a sort of restraint and so command respect, because the mad intensity is contained within the form of parables or fables or lessons.
Similarly, hundreds and hundreds of lines in Gaudete although they contain a relentless bombardiment of hysterical extremity are, nonetheless, contained and controlled by the requirement of telling a narrative, the need to describe actual real-world incidents and to depict the large cast of actual human characters. This serves to rein in Hughes’s derangement and limit and focus his hysteria.
By contrast, the other sequences contained in Moortown (beside the title series which is avowedly naturalistic in intent) abandon any restraint, like a fat man taking off his belt, and the result is the great splurge of cosmic diarrhoea which characterise ‘Prometheus on his crag’ and ‘Adam and the sacred nine’.
I thought these poems were so drainingly absurd, such repetitive drivel, that I gave up buying new Ted Hughes books after Moortown. I thought his appointment as poet laureate in 1984 was a bizarre decision and read his laureate poems with dismay, as he struggled to reconcile his mythological blah with the modern world of tiaras and royal receptions.
Hughes seemed to be sinking into irrelevance until the sudden publication, right at the end of his life, of Tales from Ovid (1997) and Birthday Letters (1998), which changed everyone’s perception of what had come before.
The great Anglo-American poet, playwright and critic T.S. Eliot (1888 to 1965) came from America to England just before the First World War, published a small number of sensuous, ‘modernist’ poems displaying a sensibility in debt to French Symbolism. Soon after the Great War ended he published the seminal modernist poem, The Waste Land (1922), but also established a reputation as a deeply insightful and intelligent critic of much earlier English literature, particularly the Jacobean playwrights and metaphysical poets of the early 1600s.
His reputation was enhanced and his influence steadily spread, especially among the younger generation of writers and critics, due to his editorship of a literary and philosophical magazine, The Criterion, which he edited from 1922 to 1939. Readers of The Criterion came to realise that, far from being a youthful revolutionary who was set on overturning literary values, and despite the radical format of The Waste Land (collage, fragments, quotes from multiple foreign languages), Eliot was, in fact, a profoundly conservative thinker.
This was made explicit when in 1928, in the foreword to a book of essays titled ‘For Lancelot Andrewes’ (the Jacobean bishop and writer) Eliot ‘came out’, declaring himself ‘a classicist in literature, royalist in politics and Anglo-Catholic in religion,’ committing himself to hierarchy and order in all three fields.
He had already taken British citizenship. In the later 1930s he attempted to revive the verse drama of the Elizabethans which he had spent so much time analysing, on the modern stage, writing a series of plays in verse, starting with Murder in the Cathedral (1935).
During the Second World War Eliot worked as a reader for the publishers Faber & Faber during the day and a fire warden at night. The masterpiece of his maturity was the set of four longer poems collectively titled the Four Quartets (Burnt Norton, 1936, then East Coker, The Dry Salvages, and Little Gidding, published in 1940, 1941 and 1942, respectively).
After the war, Eliot settled into the position of Grand Old Man of Poetry, with a leading role at the leading publisher of poetry, Faber. He continued to write essays and make broadcasts on the radio. With his public conversion to Anglicanism he had achieved an ideological and psychological stability.
Having lived through two ruinous world wars, a lot of Eliot’s effort was now devoted towards helping to define and preserve the best of European civilisation. His early essays had been offshoots of a poet working through his own problems and interests; the later essays are a conscious effort to establish a canon of classic literature, trying to formulate universal categories to define and preserve it.
It is in this spirit that in 1951 he delivered a lecture on BBC radio titled ‘Virgil and the Christian World’, which was then printed in The Listener magazine and collected in the volume On Poetry and Poets.
Virgil and the Christian World
As befits radio this is not an address to a specialist audience of literary scholars but a more broad brush approach for a general audience. Eliot explains that he is not setting out to assert Virgil’s special value as a poet or moralist, but to pay attention to ‘those characteristics of Virgil which render him peculiarly sympathetic to the Christian mind’.
Straight away he addresses the notorious issue of the Virgil’s Fourth Eclogue. This, the fourth and final of Virgil’s set of lengthy poems about the countryside or ‘eclogues’, contains extravagant praise of the forthcoming birth of a special child, who, the poet claims, will bring a new golden age, the return of Saturn and the Virgin, the gift of divine life etc.
As early Christianity established itself, early Christian apologists ransacked all available texts, from old Jewish scriptures to the entire literature of the ancient world, looking for proofs and prophecies, any text anywhere which could be made to prefigure and predict the arrival of their messiah.
Thus the Fourth Eclogue was quickly adopted by these apologists and Virgil was made an honorary Christian before the fact because Christians claimed he had been gifted with spiritual prophecy to foresee the coming of the Christ. Throughout the entire Middle Ages and well into the Renaissance scholars and theologians genuinely believed that Virgil had predicted the coming of the Christ child.
Eliot makes clear right at the start that he in now way thinks that Virgil foresaw the birth of Christ (some 19 years after he himself died). Rather, Eliot thinks the Fourth Eclogue was written to a friend of his, Pollio, whose wife was expecting a baby.
[In fact, the notes to the OUP edition of the Eclogues which I recently read, suggest that this passage of the Fourth Eclogue was describing the hoped-for son of the recent marriage of Antony and Octavius’s sister, Octavia (in 40 BC), because contemporaries devoutly hoped that their union would usher in a final end to Rome’s endless civil wars.]
Eliot then ponders the meaning of the words prophet, prophecy and predict. He himself has no doubt that Virgil had no inkling of the coming of Christ. On the other hand, he suggests that if the word ‘inspiration’ means writing something the poet himself does not completely understand, and which he or she may themselves misinterpret once the ‘inspiration’ has passed, the maybe Virgil was ‘inspired’.
This is by way of preparing the way for some autobiography, for Eliot then paints an obvious portrait of himself and how his most famous poem, The Waste Land, which arose out of his purely private concerns, amazed him by going on to become the rallying cry for an entire generation of writers.
A poet may believe that he is expressing only his private experience; his lines may be for him only a means of talking about himself without giving himself away; yet for his readers what he has written may come to be the expression both of their own secret feelings and of the exultation or despair of a generation.
A poet need not know what his poetry will come to mean for others just as a prophet need not understand the meaning of their prophetic utterance. Thus there may be any number of secular, historical explanations for the Fourth Eclogue; but he repeats his definition of ‘inspiration’ as tapping into a force which defies all historical research.
Anyway the point is that the existence of the Fourth Eclogue which so many Christians mistakenly thought was divinely inspired, gave Virgil and his writing a kind of free pass into the new Christian order, opening ‘the way for his influence in the Christian world’, something mostly denied to other explicitly ‘pagan’ authors. On the face of it this is a lucky accident but Eliot doesn’t believe it was an ‘accident’.
Eliot anticipates Jackson Knight’s view, expressed in his Penguin translation of the Aeneid from a few years later (1956), that Virgil was the poet of the gateway, looking both back to the pagan world and forwards to the Christian dispensation.
So after these preliminaries, Eliot gets to the meat of his essay: In what way did Virgil anticipate the Christian West? Eliot tells us that, to answer his question, he is going to rely on a book by a German scholar, Theodor Haecker, titled Virgil: The Father of the West.
Before he gets started though, Eliot rather surprisingly devotes a page to autobiography, telling us that as a boy learning the Classics he much preferred Greek to Latin (and still does). However he found himself immediately more drawn to Virgil than Homer. The main reason was that the gods in Homer are so capricious, selfish and immoral and all the so-called ‘heroes’ are in fact coarse ruffians. The only decent character in the entire book is Hector.
Nowadays, if forced to explain his preference, he’d say he prefers the world of Virgil to the world of Homer: it was ‘a more civilised world of dignity, reason and order’. Eliot goes on to compare the Greek and Roman worlds, saying the culture of Athens was much superior in the arts, philosophy and pure science. Virgil made of Roman culture something better than it was. Then he quietly makes a very big leap in the argument, claiming that Virgil’s ‘sensibility was more nearly Christian than any other Roman or Greek poet’. How so?
He says he is going to follow Haeckel’s procedure of examining key words in the poem and highlights labor, pietas and fatum. However, he immediately drops this plan and veers off into a consideration of the Georgics. What Virgil really intended the Georgics for remains a bit of a mystery: they’re not particularly useful as a handbook to farming, and they contain many digressions completely extraneous to their ostensible subject matter. After pondering Virgil’s motivation, Eliot concludes that Virgil intended to affirm the dignity of agricultural labour and the importance of the cultivation of the soil for the wellbeing of the state, both materially and spiritually.
The Greeks may have perfected the notion that the highest type of life is the contemplative life (Plato et al) but they tended to look down on manual labour. For Eliot the Georgics affirm the importance of manual labour on the land. Then he makes a leap to talk about the monastic movement which grew up within medieval Christendom and how the monastic orders combined both aspects, combining a life of contemplation with quite arduous labour, as both being essential for the life of the complete man.
It may be that the monks who read and copied Virgil’s manuscripts recognised their spirit in the Georgics.
Now onto the Aeneid. Eliot says this epic poem is:
concerned with the imperium romanum, with the extension and justification of imperial rule.
(quite unlike W.A. Camps with his silly claim that the Aeneid is not a work of propaganda.) But Eliot claims that Virgil’s ‘ideal of empire’ was founded on a devotion to the land, to the region, village, and family within the village. This brief explanation is his discussion of labor because Eliot now turns to the more important concept of pietas.
In English someone is called ‘pious’ if they make a great show of their religious faith. Eliot says that pietas for Virgil had much wider associations: it implies a respectful attitude to the individual, the family, the region, and towards ‘the imperial destiny of Rome’. Aeneas is also ‘pious’ in his respect towards the gods and punctilious observance of rites and offerings.
Eliot delves further into the meanings of the word. Piety to a father can, for example, mean not only affection for an individual but acceptance of a bond which one has not chosen. Piety towards the father is also an acceptance of the correct order of things, and so, obliquely, respect of the gods. After some shilly-shallying Eliot gets to the point he wants to make: all these forms of piety involve some form of humility and humility is a professedly Christian virtue. Aeneas is, in this respect, the polar opposite of Achilles or Odysseus, who have not a shred of humility about them.
[Interestingly, given the date of the essay, written soon after the end of the Second World War, Eliot describes Aeneas as the original Displaced Person, a fugitive from a ruined city and an obliterated society.]
Odysseus endures ten years of exile but eventually returns to his home hearth, to a loyal wife, a dutiful son, his slaves and faithful dog. Whereas Aeneas can’t go home: he is a man on a mission and accomplishing that mission, the poem makes repeatedly clear, is only the very beginning of the long history of Roman origins and rise. Odysseus’s story ends when he gets home (and kills the suitors); Aeneas’s entire journey is itself only an episode in the much larger history of Rome.
Therefore, Eliot asserts (with a bit of a stretch, in my view) Aeneas is ‘the prototype of a Chistian hero’. He accepts the duty laid on him by the gods regardless of the price to himself. He subjugates his own will and desires to his god-given task.
This brings Eliot to fatum (so, OK, we are proceeding via the key word process). There is an excess of words to cover this concept. Eliot says maybe the best translation is ‘destiny’ but then makes the polemical point that you cannot have ‘destiny’ in a purely mechanical universe.
Eliot then tries to give a Christian interpretation to Aeneas’s ‘destiny’. It is a burden and a responsibility rather than a reason for self glorification. It happens to some men and not others because some have the gifts and the responsibility but they did not make these; something external made these and the humble man accepts the gifts and the responsibility. Who made them? Not the anthropomorphised pagan gods who behave so selfishly and vulgarly in the poem. Some power much deeper.
He zeroes in on the entire Dido episode (book 4) in particular Aeneas’s shame at abandoning Dido, shame which is revived when he meets her shade in the underworld in book 6 and she refuses to look at him or speak. This, for Eliot, more than personal shame, symbolises how much Aeneas suffered to carry out his god-given destiny. Making his point completely explicit, he says: ‘it is a very heavy cross to bear.’
Eliot can think of no other pagan poet who could have created this situation with its emotional, psychological and philosophical subtlety.
What does this ‘destiny’ mean? For Virgil’s conscious mind, and his contemporary readers, not least the all-powerful Augustus, there’s no doubt it means the imperium romanum. But Eliot then makes some dubious and sweeping generalisations. He claims that Virgil proposed for his contemporaries a noble ideal of empire – personally, I don’t see that in the poem. There are Anchises’ lines reminding Romans they must rule well and there’s praise of Augustus for bringing peace and order, but that’s about it. Eliot stretches it by claiming that Virgil’s work proposed ‘the highest ideal’ for any secular empire. Personally, I just don’t see that. In my view what the Aeneid praises is military conquest, might and power. There might be a strong thread of regret and sadness running through it, but that is the poem’s overt message.
Eliot proceeds to claim that ‘we are all, so far as we inherit the civilisation of Europe, still citizens of the Roman Empire’. Is that true? I can see strong points on either side of the argument.
But he then goes on to claim that the Roman Empire Virgil imagined was ‘greater’ than the actual one of generals and proconsuls and businessmen. Eliot claims that Virgil invented this ideal and ‘passed [it] on to Christianity to develop and to cherish.’ I disagree on a number of levels.
First, I find the actual process of creating empire, as described in the Aeneid, to be hyper-violent and destructive, flagrantly contrary all Christian morality.
Second, part of the ideal which Eliot is describing must include the idealisation of the first Roman emperor Augustus. I can see why Virgil a) pinned his hopes for peace on b) sucked up to, the most powerful man in Rome, but in the end the entire poem amounts to the propagandistic adulation of a mass murderer, a man who achieved supreme power by liquidating all his enemies and then ensuring nobody could threaten his unique rule for the next 40 years. The Aeneid defends a military dictator.
So I just don’t agree when Eliot claims that it passed onto its Christian heirs any kind of noble model for how to run a spiritual empire. The exact opposite.
Eliot reiterates his claim that we are all still citizens the Roman Empire. Well, there are arguments both ways but ultimately I think he is incorrect. The state we inhabit in England in 2022 owes more to the non-Roman traditions of the pagan Danes and Anglo-Saxons and feudal Normans who each conquered this country, than to the Roman civilisation which they eclipsed. Our democracy owes nothing to Rome; it developed out of medieval feudalism, itself an import from Normandy, itself a colony of Vikings.
I think Eliot’s vision of a total European civilisation is erroneous and that his claim that this civilisation was in part inspired by Virgil is wrong.
Moreover, there is a blindingly obvious problem here, which is that Eliot is defending empire as an ideal form of government. Obviously this was considerably easier to do in 1951 than it would be nowadays. Millions of inhabitants of the former British Empire have immigrated to Britain and their children, in politics, in culture and in academia, have enthusiastically set about damning the British Empire, rubbishing any claim that it ever had anything positive about it. So just the sound of Eliot defending empire as a ‘noble ideal’ sounds badly in our time.
As to whether Virgil’s ideal of a suprahuman noble empire actually did inspire church authorities in the Middle Ages, I think you’d need a book examining the impact of the Virgilian ‘ideal’ on theologians, political thinkers, churchmen and statesmen throughout the Middle Ages and that would be a vast undertaking. I bet one exists, though. I’d love to read it.
This was, after all, only a half-hour radio lecture. Eliot’s sensitivity and insight and intellect bring out all kinds of aspects of Virgil’s achievement. And his thesis – that Virgil’s achievement of creating the notion of an ideal empire was to haunt the European imagination – is one of those ideas which is itself so big and vague that you can’t really prove or disprove it. But it’s an interesting perspective to add to the hundreds of other perspectives with which we can view Virgil’s epic poem.
Eliot concludes his essay with a page about a word which is missing from Virgil which is ‘love’. Amor does crop up, especially in the story of Dido and Aeneas. But it has nowhere near the force and central importance that it has for a Christian poet like Dante. It never has:
the same significance as a principle of order in the human soul, in society and in the universe that pietas is given.
Thus Eliot agrees (no surprise) with Dante’s positioning of Virgil in the Divine Comedy as an inspired teacher and guide right up to the barrier of belief, which he is not allowed to cross. In Eliot’s view Virgil mapped out a universe which in many ways anticipated the Christian universe, and handed many of its values onto later generations of Christian thinkers (and poets). But there is a line and Virgil doesn’t cross over into being a Christian. He can’t.
Instead, Virgil was limited by his position in history: the highest value he can conceive of, the value which underpins so much of the character and action of the Aeneid, was pietas, respect for father, family and fatherland.
But the highest value for the Christian poet Dante was love, the love which has created the entire universe and moves the sun and the stars and which we can all aspire to. Next to the gorgeous rose of Dante’s universe of love, Virgil’s pietas is a hard, iron sword, the colour of Roman imperialism.
sunt lacrimae rerum et mentem mortalia tangunt.
(‘There are tears of things and mortal things touch the mind’) (Aeneid Book 1, line 462)
The Aeneid’s structure
The first six books describe wandering, the second six books describe war.
The first six books are set on or near the sea, the second six books are set on land.
The first six books copy a lot from Homer’s Odyssey, the second six books copy a lot from Homer’s Iliad.
The first half focuses on Carthage, leading to the death of Dido, the second half focuses on Latium, leading to the death of Turnus. (In fact, it’s not quite as neat as that because Dido dies at the end of book 4, leaving book 5 to describe the funeral games for Anchises and book 6 the journey to the underworld, so the deaths of Dido and Turnus don’t perfectly bookend each half.)
Historical background
Virgil lived through stormy and decisive political times. He was born in 70 BC only 15 or so years after the end of the Social War, a 4-year-long bitter and needless fight between Rome and various tribes and peoples of Italy who demanded full Roman citizenship. In the end Rome acquiesced and gave it them. The precise relationship between Rome and the other local tribes is implicit in the whole idea of Aeneas coming as an immigrant and stirring up a huge ruinous war between its existing inhabitants, and then is specifically addressed right at the end of the Aeneid when Juno demands equal rights for the Latins vis-à-vis the newcomers from her husband Jupiter, as a condition of giving up her vicious vendetta against the Trojans.
Then Virgil was 21 when civil war broke out in 49 BC between Caesar and Pompey. He saw what it was like for the Roman ruling class to be split right down the middle and many men die pointlessly, as, arguably, all the terrible deaths in the second half of the Aeneid are, ultimately, pointless and unnecessary.
Then Virgil was 26 when Caesar was assassinated and Rome plunged into a further 15 years of instability and recurring civil wars, before Octavian finally brought peace by defeating Antony in 31 BC, as Virgil turned 40.
The price of peace
Virgil composed the Aeneid over the 10 or so years from 29 BC to his premature death in 19 BC. After a life lived against a backdrop of unending civil strife you can see why Virgil would desperately have wanted peace and order to be restored and pinned his hopes for that outcome on the new rule of Augustus. But you can also see why one of the Aeneid‘s main themes is the price that has to be paid for the final arrival of peace and order, and it is a very, very high price in tragedy and bloodshed. Hecatombs of the dead. So many brave young lives cut short. Aeneas wins his place in the promised land of Hesperia, but my God what a trail of death and destruction he leaves behind him.
Aspects of patriotism
All elements in the poem are multi-levelled and dense with allusiveness. Thus the poem’s patriotism is plain for everyone to see, and yet is effective because it works at so many levels. Central is the plot itself, Aeneas’s journey to Italy to found a new city and new people. The gods repeatedly reassure him of the future greatness of the Roman people. He sees a procession of eminent Romans in the underworld at the end of book 6. The figure of Augustus appears here, and as the central figure on the shield his mother gives him at the end of book 8, as well as being invoked several other times, crystallising the hopes of the world.
But it also works in a host of other ways. Most poignantly and hauntingly when we discover that King Evander’s little township is built on the site of the future Rome and that he and Aeneas are walking through the landmarks of the greatness that is to come. But also in the mention throughout the poem of beliefs and customs which first came with the Trojans or, conversely, are already practiced by the Arcadians or the Latins:
they Latins are referred to as ‘the people of the Roman gown’
the Roman custom of covering the head at sacrifice is enjoined on Aeneas by the seer Helenus before his arrival in Italy (3.403)
the exhibition of horse drill known to the Romans as lusus Troiae is demonstrated by Ascanius and the young horsemen during the funeral games for Anchises (5.596)
Aeneas promises to inaugurate the tradition of the Sibylline Books (6.71)
the practice of opening or closing the doors of the temple of Janus in times of war already exists in Latium (7.601)
the worship of Hercules at the great altar in the cattle market which existed in Virgil’s time is said to already exist when Aeneas arrives in Latium (8.268)
So the poem’s patriotism is shouted from the rooftops in the shape of the plot and in the multiple predictions but also threaded subtly into a fabric of hints and allusions.
A political poem?
Camps surprises me by claiming the Aeneid is not a political poem. He deploys the kind of sentimental humanism found throughout post-war Anglophone literary criticism, deflecting analysis off into fancy fondling about morality or spirituality:
The Aeneid is in no sense political propaganda, for it is not in its nature a political poem. The Rome that is its inspiration is not conceived in terms of a political system; and the background against which the humans in the story act and suffer is provided not by contrasting political ideas but by the working of the historical process and the conflict of spiritual powers. (p.2)
This is plain wrong, isn’t it? It’s as if someone who wrote a long poem in praise of Nazi rule over occupied Europe claimed that it wasn’t a political poem because the Nazi rule it praises ‘is not conceived in terms of a political system’. Well, it doesn’t need to be. If politics in the broadest sense is defined as how a society chooses to run itself, then this poem explicitly says that Rome will reach its height when it is ruled by the enlightened dictator Augustus, and that the Roman people are destined to rule the entire known world – and are justified in doing so because of their unique skill at ruling justly.
Roman, remember by your strength to rule
Earth’s peoples — for your arts are to be these:
To pacify, to impose the rule of law,
To spare the conquered, battle down the proud.
(6.1,151 to 1,154)
This prophecy of Anchises is only the most famous of several passages which justify Roman conquest and rule over the entire world. The Aeneid is a hymn to Roman hegemony. Nothing could be more political. Claiming it is ‘not in its nature a political poem’ because it doesn’t go into the nitty-gritty of the constitution or describe any particular ‘political system’ or discuss political parties is being disingenuous or naive. Try telling any of the peoples Rome had conquered, whose towns they had destroyed and populations they’d sold into slavery (read Caesar’s Gallic Wars) that writing an elaborate poem justifying Rome’s eternal rule over the entire known world was not a political statement and watch them laugh in your face.
Clearly your answer to the question, ‘Is the Aeneid a political poem?’ depends on how you define ‘politics’, but there’s also another level or type of definition of politics in play here: this is the issue of taking sides during a civil war. This, also, is a glaring ‘political issue’: whether one is on the side of, say, the nationalists or the republicans during the Spanish Civil War could hardly be a more political and politicised decision.
Well, in the civil war with Antony, Virgil hugely comes down on the side of Augustus and writes it into his poem. In the epic scene where Vulcan forges a mighty shield for Aeneas he depicts on it the Battle of Actium where Augustus defeated Antony and Cleopatra, and the narrator throws in criticisms of the doomed lovers. And the shield then goes on to celebrate Augustus’s unprecedented three triumphs over his political and military opponents.
It beggars belief that Camps thinks that this hugely committed work of propaganda is ‘in no sense political propaganda’ solely because it ‘is not conceived in terms of a political system.’ As I’ve been writing this I’ve realised I myself am missing another way to argue against him, which is to point out that he is wrong even on his own terms: that the entire poem is ‘conceived in terms of a political system’, namely – the imperial rule of Augustus. Rule by an emperor emphatically is a political system and this poem consistently and repeatedly predicts and celebrates this political system.
Copying the Greeks
Virgil wrote three great works. In each of them he copied Greek originals. The Eclogues copy the Idylls of Theocritus, the Georgics copy the Work and Days of Hesiod, the Aeneid very closely copies the Iliad and Odyssey of Homer. Camps claims Virgil is not stealing – he is reconciling the two cultures.
Camps lists some of the major plot devices he is indebted to Homer for:
an extended sea journey packed with adventures – the Odyssey
enmity of a god who hates the hero drawing out the journey to extended length – the Odyssey
councils of the gods in heaven – both Odyssey and Iliad
descent to the underworld – the Odyssey
funeral games – the Iliad
massive, sustained war featuring a siege and many detailed battle scenes – the Iliad
the aristeia in which a warrior reaches the peak of their excellence before being cut down – the Iliad
the blacksmith god creating a suit of armour and a shield decorated with emblematic events for the hero – the Iliad
strong female warrior (Camilla) – the Iliad
a foray into the enemy camp by night – the Iliad
retirement of the protagonist in whose absence the other army comes right up to the allies’ base and threatens to storm it and win the war – the Iliad
hero’s beautiful young friend killed by the main antagonist, a loss which drives the hero to psychopathic vengeance – the Iliad
climactic single combat between two epic heroes – the Iliad
(Camps gives a much longer list of direct copying on page 81.) Camps says that Virgil used Homer to supply ‘a deficiency in the possibilities of his own imagination’ (p.9) but it’s bigger than that: the Aeneid doesn’t borrow elements from Homer’s epics, it couldn’t have existed without them. They provide the entire historical background, the entire worldview of gods interfering in the lives of mortals, the entire concept of a long poem focusing on an epic hero, and almost all the significant events. ‘Borrowing’ or ‘copying’ aren’t adequate enough words for the wholesale reincarnation of Homer’s epics in Virgil’s work, and in a later chapter Camps seems to acknowledge this:
To a very large extent the story told in the Aeneid is made by remoulding Homeric materials, as well as owing to Homer the broad motifs which govern its design. (p.82)
The process of composition
Camps devotes an appendix to describing some of the short biographies of Virgil which were written after his death. Suetonius wrote one, now, unfortunately, lost. The best early one which survives is by Aelius Donatus and Camps presents a translation of the full text (6 pages long).
Donatus and fragments from other biographies tell us that Virgil’s method in composing poetry was to make a complete prose summary of the entire story before he began writing any verse. Donatus says that every morning Virgil dictated some verses to a secretary for as long as inspiration lasted, then, after lunch, spent the afternoon working over what he had dictated, sometimes whittling a mass of verses down to just a handful of lines, sometimes just one. Apparently, Virgil compared the process to the ancient folklore notion that a mother bear gave birth to formless lumps of life and then literally licked them into shape (p.117).
(In fact, Donatus describes this as Virgil’s method in writing the Georgics but everyone has silently agreed that this is probably how he composed the Aeneid as well.)
Crucially, Donatus says that Virgil did not compose the poem by starting at the beginning and working through. Instead, he was inspired to versify particular ad hoc scenes as the inspiration took him, sometimes composing later scenes years before earlier ones. This explains all sorts of discrepancies which a close reading of the poem brings to light, notably the lack of linking and smoothing passages, for example the abrupt ending of the famous book 6, and the even more abrupt ending of the entire poem.
Moreover, Donatus tells us that the poem contains many lines of poor quality, as well as lines which are metrically incomplete which Virgil deliberately left in because he needed the padding and structure to get onto the more finished sections, but would have returned to improve had he lived.
The violence
I think my view of the poem has been very strongly skewed by the hyper violence of the second part of the poem. The orgies of testosterone-fuelled slaughter which it describes with such relish strongly affect my impression of the first half, so that I remember mainly the violence – for example, the extended description of the fighting at the sack of Troy. Camps wants us to feel soft and sentimental about the book-long love affair with Dido but what I mainly remember from book 4 is:
the murder of Dido’s husband and the unhappiness of his ghost
the self slaughter of Dido, who does it in the Roman way, falling on her sword
Dido’s extended curse on the Romans and getting her people to swear eternal enmity, an enmity which will lead to three ruinous wars and then the eventual sack of Carthage, the killing of tens of thousands of soldiers and the selling of her entire people into slavery
Similarly, I take the point that the journey to the underworld is genuinely weird and spooky, and Aeneas encounters many strange sights, that his pity for suffering humanity especially aroused by the sight of the pitiful shades waiting to be ferried across the river Styx and then his doleful reunion with the shade of his father.
But for me this all tends to be eclipsed by the shiny vision of the procession of his Roman descendants and, when you look at this list of Great Romans, what are they famous for? What all Romans are famous for, their military victories. David West in his 1991 Penguin edition has a handy little appendix which lists the figures Aeneas sees in the procession of Great Romans:
Silvius the warrior king
Brutus, famous for expelling the last kings and executing his two sons when they tried to restore them
the Decii, father and son, famous for giving their lives to win victory in two wars
Torquatus, led an army against the Gauls and executed his own son for disobeying orders
Lucius Mummius who not only sacked Corinth in 146 but utterly destroyed it as an example of Roman power
Aemilius Paullus credited with the conquest of Greece for defeating Pyrrhus king of Epirus
Cornelius Cossus defeated a foreign king in single combat
Tiberius Gracchus and Gaius Gracchus, the reforming tribunes, both of whom were murdered in the streets of Rome along, in the latter case, with thousands of their supporters
Scipio Africanus Maior defeated Hannibal at the Battle of Zama
Scipio Africanus Minor leading the army which sacked, utterly destroyed Carthage and sold its 50,000 inhabitants into slavery
Fabricius who led an army against Pyrrhus
Fabius Maximus Cunctator, the general who delayed and delayed confronting Hannibal in Italy
M. Claudius Marcellus killed a Gaulish chieftain in single combat
This is (not quite all) the people who feature in Aeneas’s vision of his glorious descendants, and what do they all have in common? Violence and killing. Slaughter. Rome was hyper-violent state, engaged in almost non-stop war (the Gallic Wars) and when they weren’t destroying other peoples’ cities (Corinth, Carthage, Gaul) they fought with terrible ferocity among themselves (Pharsalis, Philippi, Actium).
If any contemporary Roman set out a pageant of their glorious history, what would it consist of? Except a litany of wars and battles. It was a phenomenally militaristic state. Even the humanist’s favourite, Cicero, not only went to serve as governor on Cilicia but led his army in a siege and battles. Even the sternly principled Cato sided with Pompey in the civil war and was made governor of north Africa where he managed the military campaigns. Holding a senior magistracy at any time in Roman history almost inevitably entailed leading a Roman army.
Camps’s attempts at a moral interpretation undermined by the violence
Maybe I’m getting this way wrong, but I read Camps’s introduction from end to end and I think it gives a deeply misleading impression of the Aeneid. He devotes a chapter to Aeneas, then one to Dido and Turnus, and these overflow with sensitive empathy for their sufferings and the deeply ‘moral’ choices which they face.
But the poem I read venerates power, might, military strength, masculinity, supreme ability in battle and its centre stand two awesome killing machines, terminator-figures, Aeneas and Turnus who rampage across the battlefield beheading, belimbing, skewering and butchering anyone who stands in their way.
This is one of the reasons I dislike the moralising tone of humanist literary criticism, because it distorts the facts, it deceives and lies. You can read Camps’s book from end to end and get no sense of the piles of bodies, bloody gore and funeral pyres which clot the poem, and end up thinking it’s a Henry James novel making sensitive discriminations about moral scruples. It really isn’t.
At the end of Camps’s chapter about Aeneas, he does, eventually, concede, that there is a bit of fighting, and, OK, Aeneas is a bit brutal. He lists some examples. On the battlefield at the height of his rage Aeneas taunts a victim with the thought that his body will lie unburied; he consigns some of the prisoners they’ve taken to be executed in cold blood to adorn Pallas’s funeral.
There’s more like this but Camps deliberately omits it. Instead he goes out of his way to exonerate his vision of a caring, sharing, sensitive hero, these brutalities:
are altogether at variance with the hero’s usual humanity, and indeed with the standards of the poet’s civilised contemporaries.
Rubbish. A quick checklist of Augustus’ behaviour refutes this, not to mention a scan of Caesar’s record in Gaul, Roman behaviour in Carthage or Corinth or in the Wild East of Asia Minor. Camps limply goes on to concede that ‘the Roman world was not a gentle one’ [sic], and then devotes a paragraph to trying to justify Aeneas’s brutal, bloody execution of an unarmed prisoner on his knees at the end of the poem. He claims that this execution ‘would seem to Virgil’s readers poetically just’. Right at the end of his introduction, he returns to the fact that the entire poem builds up to this ominous and disturbing conclusion, the enraged murder of Turnus, and finds it:
strangely discordant with the normally disciplined humanity of Aeneas (p.142)
But reading Camps’s efforts to explain away this glaring, brutal event I thought: ‘But what if…what if the brutal killing, maiming and taunting, the sending for execution and murderous mayhem Aeneas enacts at the end of the Aeneid is NOT the temporary aberration Camps tries to explain away? What if it is the real Aeneas coming through and showing his “civilised contemporaries” what the real Rome is really like and it is – a killing machine?’
To be really crude, Camps is an apologist for a poem glorifying a mass killer and a violent empire.
The animal sacrifices
You don’t have to be a vegetarian to be disgusted by the vast number of animals who are ritually slaughtered on almost every page of the Aeneid, led to the place of sacrifice and having their throats cut so their hot blood splashes over the altar by the gallon. Thousands and thousands of animals are butchered in the name of religion, in fact, in practical terms, animal butchery is their religion, both Trojans and Latins.
You know the line they’ve been putting on movie credits for decades, ‘No animals were harmed in the making of this movie’? Well, thousands of animals were slaughtered, had their throats slashed while they were alive and fully conscious, in the making of this poem.
Two points. 1. Again, this is the kind of really obvious in-your-face aspect of the text which a ‘moralising’ critic like Camps completely ignores. It’s just not there for him, because his ideology that literature must be about humanistic morality and sensibility simply prevents him from registering what is in front of him. As soon as I see a critic (of literature or art or film or whatever) mention the words ‘moral’, ‘morality’, ‘moral choices’ etc I know they are going to give a distorted and inaccurate account of the work under consideration, because their obsession with ‘moral values’ restricts them to just one narrow aspect of the characters and the text and blinds them, like the blinkers on a carthorse, to everything else which is going on around them, to the totality of the work.
Anyway, Camps doesn’t have the ‘moral’ awareness to even register that the cruel slaughter of thousands of sentient animals might be wrong.
But 2. The relentless animal slaughter plays a really important role in the fabric of the poem by making the human slaughter seem natural. It desensitises you. If you’ve already waded through lakes of animal blood, spurting from slashed throats, it makes the butchery of human beings just that bit more assimilable. The entire poem becomes a welter of blood and gore.
As I said, I’m aware that this is also a biased and partial view and that there are plenty of passages of delightful description, Aeneas’s sensitivity and sea nymphs frolicking in the waves etc. I am just pointing out what Camps’s supposedly thorough introduction to the poem completely omits from its account.
Virgil’s multi-levelled and holey theology
Christian theology has spent 2,000 years trying to reconcile the paradox that, while on the one hand God is all-knowing and so knows the future as well as the past, on the other hand, the theology of reward and punishment only makes sense if humans have free will. If everything is foreordained, then I have no free will, and therefore cannot be guilty or innocent of my actions. Therefore cannot be sent to hell or heaven. Whereas Christian theologians and hierarchies and organisations, very much do want to emphasise our free will precisely in order to threaten us with punishment in the afterlife and keep us in line.
Now the same problem is raised by the Aeneid only in a much more intense form because at every step of the way, at almost every decisive moment, it is the gods’ interventionwhich makes things happen. Venus makes Dido fall in love with Aeneas, going to some lengths to do so, luring Aeneas’s son into a copse where she puts him asleep and replacing him at Dido’s reception feast for Aeneas with her other son, Eros god of love, assuming the form of Eros entirely to soften her spinsterhood and make her fall for the Trojan. And then it is Venus who, at the end of their affair, comes to Aeneas in a dream and tells him he must get up and rouse his companions and load his ships and leave Carthage right now.
Similarly, the entire action of the second half of the book, the entire war between the Trojans and the Latins, with the enormous destruction and loss of life on both sides, only takes place solely because Juno makes it happen, commissioning the Fury Allecto to fire up the Latins against the peace treaty with the Trojans.
And yet, throughout the poem, the narrator also assigns praise and blame to individual actors, and they themselves debate their guilt and responsibility. For example, Aeneas tells Dido it is not his fault that he is running off and abandoning her: sed me iusa deum – the nasty god made me do it.
It would be interesting to read a clever analysis which explained what we know of Roman theology and sets Virgil’s depiction of the issue within that framework of belief. Camps sketches out the issues in his chapter 5 but doesn’t tell us anything which wasn’t already obvious from the poem.
For me the key to thinking about this problem is suggested by something Camps explains at the start of his book, which is to do with Virgil’s method of composition. Namely, it was episodic. (Camps uses the Latin word particulatim which means ‘piecemeal’, p.125). According to Donatus’s Life of Virgil, the poet first wrote out a prose version of his story but then chose not to work through it in order, but to work up particular ad hoc scenes from different parts of the narrative into verse.
And in doing so, he focused on producing as intense and vivid a scene as possible for the scene’s sake and we know that this sometimes led to discrepancies between episodes; characters behave inconsistently or say one thing in one scene, another in another; characters are introduced who we have already met and so on.
(Camps mentions the two apparently different deaths of Palinurus, who, at the end of book 5, plunges down into the sea, drowning, but in book 6 is said to have swim to shore, p.125. Or there are the two completely different versions of how Helen reacts to the sacking of Troy a) hiding in terror 2.567, or b) out confidently leading the Greeks around the city in book 6. He gives more examples of this kind of contradiction in appendix 4.)
Well, Virgil’s theology can be thought about in the same way as his method of composition, namely that he is not expounding a consistent and thought-through theology in the manner of Tertullian or Augustine; rather he is writing a dramatic poem and all that matters is the intensity of particular episodes. The momentary impact is the thing. Therefore it creates a great dramatic effect to show Juno or Venus interfering almost all the way through the narrative. But at other moments, on the human plane, mortals may discuss their decisions and implications in human terms of agency and responsibility. And because Virgil is concerned with creating whatever is most effective at any particular point, he isn’t concerned with trying to reconcile the theological contradictions thrown up by these different approaches.
In fact there are at least three levels at work in the poem, because above the continual interfering of the gods, which is continually described, sits another force – this is the power of fate or the Fates. This isn’t described but referred to at various points, mainly by the gods themselves. Nothing at all, not even Jupiter, can change what is destined and fated. He and the other gods can only interfere with what, in the end, are details, but the overall Fate and Destiny of everyone is fixed and unalterable.
Thus Juno herself is made to admit that she cannot change Aeneas’s ultimate destiny to settle in Italy and found the Roman race; she can only delay it. Which she does, at the cost of thousands of needless deaths including, ironically, that of her own favourite, Turnus.
On this view, you can pray to the gods, and the gods are depicted answering some (though not all) prayers (mortals can never be sure which ones will be answered and which ones won’t). But no prayers can alter the fixed outlines of Fate.
Fate has built the matrix with bands of steel. Nothing can change or alter them. But within the matrix, individual gods are free to mess about with details, to delay, to alter, to bend – but never to change the fundamental ends.
It’s in this context that Camps makes the shrewd point that the gods themselves pursue their own ends. The gods are as selfish as mortals, maybe more so. Only Jupiter rises above their endless squabbles and tries to adjudicate fairly but, as many readers have observed, he is only an intermittent presence in the poem: Juno and Venus are much more prominent, Juno most of all. The Aeneid could accurately be called the Book of Juno, or The Book of Juno’s Anger.
To anyone who takes this mirage, ‘morality’, seriously, the gods in Virgil are quite demonstrably monsters of immorality, cruel, thoughtless, heartless, irresponsible – like children. Any real consideration of the pagan gods of antiquity eventually suggests why they had to be superseded by the Christian god. They were just not worthy of serious intellectual consideration. And they are fundamentally indifferent to human life, breath-takingly callous. Serious consideration of the pagan gods led philosophers to sets of beliefs like Epicureanism or Stoicism, very different ideologies but alike in their aim of trying to eliminate the role of the gods in human life. Paganism tends towards a brutal indifference to human existence.
Compare and contrast that with the intense feeling of personal salvation which Christianity offered its believers. As Camps puts it, ‘the promise of the new kind of religion is evidence of the terrors of the old’ (p.49).
Anyway, the existence of these three levels of action allows Virgil to switch between them as it suits his narrative ends. Jupiter apologises to Juno, saying his hands are tied by Fate. Aeneas apologises to Dido, saying his hands are tied by the gods, and so on.
How are humans meant to know what the devil is going on? Via the welter of omens, signs and prophecies which the text is full of. These are the channel of communication between the three levels.
Sometimes a god personally explains something to Aeneas, but far more often it is the shade of a dead mortal (Hector or Anchises) who can explain things up to a point but not the full picture. This up-to-a-pointness is really striking: ghosts and spirits are continually telling Aeneas just so much of his future and, when he wants to know more, fading into smoke.
At other times it is the mute symbolism of some sign or portent like a comet in the skies or a swarm of bees or the eagle carrying off a swan who is beaten off by all the other birds – in other words, portents which mortals are forced to interpret and guess at.
My position is that none of this amounts to a worked-out theology on the analogy of Christian theologies. The opposite. Although these elements fill the text to bursting, they don’t indicate a coherent worldview, but one that is cheerfully incoherent: one which is ragged and flexible enough for the characters and narrator to switch between at least 3 levels of belief: belief in a Fixed and Unchangeable Fate, belief in the continual intervention of the gods, and belief in man’s free will which is sufficient to allow him to carry out free actions which can, accordingly, be judged within a ‘moral’ framework.
The overlap and interplay of the different systems is one of the things which keeps the poem dynamic and varied, keeps the reader in a continual sense of flux and uncertainty.
Furens
Alongside the multiple levels of destiny, goes a kind of dualistic theory of human nature. Dido and Turnus have two modes of being: their ‘normal’ selves and themselves possessed. In their states of possession they are associated with a range of frenetic adjectives, to wit: amens, turbidus, fervidus, ardens, furens, trepidans, in a state of inania, furor and violentia.
Furor in particular is applied to Dido a dozen times and Turnus half a dozen times. And Aeneas, after the death of Pallas, becomes a man ‘possessed’ on the battlefield. If you felt so inclined you could read the entire poem through the vector of frenzied possession just as much as by Camps’s limp metric of ‘morality’.
The poetry
It’s difficult to follow Camps’s chapter about the verse itself (chapter 7) unless you can not only read Latin but have a good feel for it as a medium of expression. I did Latin GCSE but have nowhere near the ability to judge it as poetry. Some key points which come over from Camps’s account are:
Vocabulary Virgil used a consciously ‘poetic’ diction, on the model of Milton in Paradise Lost or Tennyson in Idylls of the King, with a sprinkling of words from earlier poetry and archaic forms to give it sonority and authority.
Syntax Flexible, sometimes an adjective whose meaning attaches to one noun is grammatically attached to another; two nouns related by a verb have their normal relationship inverted; a phrase is compressed by omitting a term of meaning, letting the reader supply it; sometimes grammar as well as meaning is understated or omitted and the reader needs to supply it, too. These and other tactics create:
flexibility in writing lines and passages
compactness
But Camps says that, more distinctive than either of these is Virgil’s coining of highly expressive original phrases out of very basic words. Alongside their power goes a certain ambiguity. This has meant that many phrases of Virgil’s can be extracted from their original context and acquire new, more powerful meanings. Take lacrimae rerum.
Aeneas has been washed up on the coast of Africa and welcomed into the new city of Carthage and now he is looking at a mural in a Carthaginian temple dedicated to Juno that depicts battles of the Trojan War and the deaths of his friends and countrymen. He is moved to tears and says ‘sunt lacrimae rerum et mentem mortalia tangunt’.
Apparently, even in the original Latin, this phrase is grammatically ambiguous and can equally mean, ‘There are tears for things and mortal things touch the mind’ or, ‘There are tears of things and mortal things touch the mind.’
Either way, the phrase went on to have a tremendous afterlife, being widely quoted in later writers as pithily summing up the sadness of human existence. Then, in the early twentieth century, it began to be used on Great War memorials, thus entering wider consciousness. It’s one example of the way Virgil’s just-so selection of very ordinary words was done in such a way as to pack an eerily powerful – and enduring – punch.
Pederast
The single most striking thing in Camps’s book is not by him but is in Aelius Donatus’s short Life of Virgil which Camps includes in its entirety in an appendix. In the early section about his appearance and nature, Donatus writes:
He was somewhat inclined to pederasty, [his particular favourites being Cebes and Alexander, whom he calls Alexis in the second Eclogue. Alexander was given to him by Asinius Pollio. Both of them were well-educated and Cebes wrote poetry himself.] (p.115)
Donatus then goes on to report the rumour that Virgil had a relationship with an apparently notable woman named Plotia Hieria, but that she denied it in later life. Apart from that ‘his conduct and demeanour were so respectable’ that at Naples he acquired the nickname Parthenias, an adjective applied to Athena and meaning chaste and virginal.
Three points. 1. This entirely chimes with several of the Eclogues which describe passionate love between some of the poems’ idealised young shepherds and are plainly homoerotic. 2. The fact that ‘Alexander’ was a gift shows that the young men in question were slaves. Virgil had gay relationships with his male slaves. Slavery.
3. It’s interesting how Donatus’s description moves easily from describing his fondness for male slaves to his rumoured affair with a Roman matron. I.e. the homosexuality had the same kind of value or scandal value as a rumoured ‘straight’ affair i.e. merited a sentence or two, but not worth making any fuss over.
It’s a demonstration of the point made in M.I. Finley’s essay about women and marriage in ancient Rome, that what mattered more than anything else was the legal integrity of the official family, and in particular the legal status of sons and daughters to ensure the efficient heritance of property, titles and lineage. As long as these legal forms were observed, then there was considerable leeway in how citizens (mostly men) (mis)behaved.
Credit
An Introduction to Virgil’s Aeneid by W.A. Camps was published by Oxford University Press in 1969. All references are to the 1984 paperback edition.
At Archie Schwert’s party the fifteenth Marquess of Vanburgh, Earl Vanburgh de Brendon, Baron Brendon, Lord of the Five Isles and Hereditary Grand Falconer to the Kingdom of Connaught, said to the eighth Earl of Balcairn, Viscount Erdinge, Baron Cairn of Balcairn, Red Knight of Lancaster, Count of the Holy Roman Empire and Chenonceaux Herald to the Duchy of Aquitaine, ‘Hullo,’ he said. ‘Isn’t this a repulsive party? What are you going to say about it?’ for they were both of them, as it happened, gossip writers for the daily papers.
I tend to prefer older novels to contemporary novels and poetry because they are more unexpected, diverting, free from our narrow and oppressive modern morality and better written. Go any distance into the past and the characters will have better manners and the narrator write a more grammatically correct English than you get nowadays. There will also be old phrases which I dimly remember from my youth which have now vanished, swamped by all-conquering Americanisms. And, sometimes, you just get scenes which are odder and more unexpected than earnest, issue-led modern fiction can allow itself. Thus, at the opening of Evelyn Waugh’s beautifully written, impeccably well mannered, but ultimately devastating 1932 novel, Vile Bodies, we read:
High above his head swung Mrs Melrose Ape’s travel-worn Packard car, bearing the dust of three continents, against the darkening sky, and up the companion-way at the head of her angels strode Mrs Melrose Ape, the woman evangelist.
Not the kind of sentence you read every day.
Crossing the Channel
Vile Bodies opens on a cross-channel ferry packed with an assortment of Waugh-esque eccentrics, including a seen-it-all-before Jesuit priest, Father Rothschild, a loud and brash American woman evangelist, Mrs Melrose Ape, and her flock of young followers; some members of the fashionable ‘Bright Young People’ aka ‘the Younger Set’ (Miles Malpractice, ‘brother of Lord Throbbing’, and the toothsome Agatha Runcible, ‘Viola Chasm’s daughter’); two tittering old ladies named Lady Throbbing and Mrs Blackwater; the recently ousted Prime Minister, The Right Honourable Walter Outrage, M.P.; and a hopeful young novelist Adam Fenwick-Symes, who has been writing a novel in Paris.
Although there are passages of narrative description what becomes quickly obvious is that Waugh is experimenting with the novel form in a number of ways. One is by presenting short snatches of conversation and dialogue between a lot of groups of characters briskly intercut. No narratorial voice gives a setting or description, there is only the barest indication who’s talking, sometimes no indication at all. You’re meant to recognise the speakers by the style and content of what they say. It’s like the portmanteau movies of the 1970s, like a Robert Altman movie, briskly cutting between short scenes of busy dialogue.
The book as a whole is a concerted satire on the generation of ‘Bright Young Things’, the privileged young British aristocrats and upper-middle-class public schoolboys who were adolescents during the Great War and who graduated from Oxford or Cambridge in the early 1920s, throwing themselves into a lifestyle of wild abandon and endless partying in the rich man’s quarter of London, Mayfair.
As you might expect, we not only get accounts of their activities, but the point of view of their disapproving elders and betters. Here’s the former Prime Minister, who we often find in conclave with Lord Metroland and Father Rothschild:
‘They had a chance after the war that no generation has ever had. There was a whole civilization to be saved and remade — and all they seem to do is to play the fool. Mind you, I’m all in favour of them having a fling. I dare say that Victorian ideas were a bit strait-laced. Saving your cloth, Rothschild, it’s only human nature to run a bit loose when one’s young. But there’s something wanton about these young people to-day.’
The younger generation’s frivolity is exemplified in the way Adam’s engagement with his fiancée, Nina Blount, is on again, off again, on again, their breaking up and making up punctuating the novel right till the end, in a running gag.
To start it off, Adam telephones Nina to tell her that the customs officials at Dover confiscated his novel and burned it for obscenity. She is sad but has to dash off to a party. In London he checks into the eccentric Shepheards Hotel (note the posh spelling), Dover Street, run by the blithely forgetful owner, Lottie Crump, who can never remember anyone’s name (‘”‘You all know Lord Thingummy, don’t you?’ said Lottie”). Lottie was, apparently, based, as Waugh tells us in his preface, on ‘Mrs Rosa Lewis and her Cavendish Hotel’.
Here Adam discovers the posh and eccentric clientele, including the ex-king of Ruritania (my favourite), assembled in the bar (the parlour) and wins a thousand pounds on a silly bet with a fellow guest. So he rushes to phone up Nina to tell her their wedding is back on again. She is happy but has to rush off to a party, as she always does.
Adam goes back to the group of guests, all getting drunk, and an older chap who calls himself ‘the Major’ offers the advice that the best way to invest his money is bet on a horse. In fact, he knows a dead cert, Indian Runner, running in the forthcoming November Handicap at twenty to one. So Adam drunkenly hands over his newly-won thousand pounds to the Major to put on this horse. The reader little suspects that this, also, will become a running gag for the rest of the book.
Then Adam stumbles back to the phone in the hallway and rings up Nina to ask her about this horse. It is a comic premise of the novel that the world it portrays is minuscule and everybody knows everybody else, so it comes as no surprise that Nina just happens to know the horse’s posh owner and tells him it’s an absolute dog and will never win anything. When Adam explains that he’s just handed over his £1,000 to a Major to bet on it, Nina says well, that was foolish but she must dash for dinner and rings off. As usual.
Phone dialogue
A propos Adam and Nina’s conversations, Waugh prided himself that this was the first novel to include extended passages of dialogue carried out on the phone. Something about the phone medium offers the opportunity to make the characters sound even more clipped, superficial and silly than face-to-face conversation would:
‘Oh, I say. Nina, there’s one thing – I don’t think I shall be able to marry you after all.’
‘Oh, Adam, you are a bore. Why not?’
‘They burnt my book.’
‘Beasts. Who did?’
Beasts and beastly. Dreadful bores. Ghastly fellows. I say, old chap. That would be divine, darling. Everyone speaks like that, and focusing on the dialogue brings this out.
Gossip columns and the press
Vile Bodies is wall to wall posh. That was its selling point. Waugh tells us that the ‘Bright Young People’ were a feature in the popular press of the time, as the characters in Made In Chelsea or Love Island might be in ours. Hmm maybe the comparison with a TV show is not quite right. After all, the characters appear in the gossip columns of the papers and some of the characters are themselves part of the set who make a career on the side writing about their friends.
When I was younger there were gossip columns by Taki in the Spectator and Nigel Dempster in the Express and Daily Mail. I imagine the same kind of thing persists today. Obviously people like to read about the goings-on of the rich and privileged with a mixture of mockery and jealousy. That’s very much the mix Waugh was catering to. He’s well aware of it. He overtly describes the ‘kind of vicarious inquisitiveness into the lives of others’ which gossip columns in all ages satisfy.
But over and above the permanent interest in the comings and goings of the very rich, the subject of the dissolute younger generation just happened to be in the news at the time and so Waugh’s novel happened to be addressing a hot topic at just the right moment. He was instantly proclaimed the ‘voice’ of that generation and Vile Bodies was picked up and reviewed, and articles and profiles and interviews were spun off it, and it sold like hot cakes. His reputation was made.
Interesting that right from the start of his writing career, it was deeply involved in the press, in the media. Vile Bodies is, on one level, about the rivalry between two gossip columnists for popular newspapers, and feature scenes in newsrooms and even with the editor of the main paper. Two of his books from the mid-30s describe how he was hired by a newspaper as a temporary foreign correspondent, the two factual books, Remote People and Waugh in Abyssinia. And he used the experiences and material from both books as material for his satirical masterpiece about the press, Scoop (1938). If we look back at Decline and Fall with this in mind, we notice that a number of key moments in that book are caused by newspaper reports, and that many of the events are picked up and reported by and mediated by the Press.
Waugh’s 1930s novels are famous for their bright and often heartlessly comic depiction of the very highest of London high society, but it’s worth pointing out how the topic of the Press runs through all of them, and the extent to which his characters perform their roles and are aware of themselves as performers (see below).
Bright Young People
Anyway, back to Vile Bodies, it is a masterpiece of deliberately brittle superficial satire, the text’s fragmentation into snippets of speech enacting the snippets of apparently random, inconsequent conversation overheard at a party, the world it comes from being one of endless parties, endless frivolity, which he captures quite brilliantly.
‘Who’s that awful-looking woman? I’m sure she’s famous in some way. It’s not Mrs Melrose Ape, is it? I heard she was coming.’
‘Who?’
‘That one. Making up to Nina.’
‘Good lord, no. She’s no one. Mrs Panrast she’s called now.’
‘She seems to know you.’
‘Yes, I’ve known her all my life. As a matter of fact, she’s my mother.’
‘My dear, how too shaming.’
It’s a set, a group, a clique. They all know each other and many are related, couples, parents, children, aunts, cousins. Waugh’s novels themselves partake of this cliqueyness by featuring quite a few recurring characters. Figures we first met in the previous novel, Decline and Fall, include Lord Circumference and Miles Malpractice, little David Lennox the fashionable society photographer. Lord Vanbrugh the gossip columnist is presumably the son of the Lady Vanbrugh who appeared in D&F and Margot Maltravers, formerly Mrs Beste-Chetwynde who was a central character in the same novel, also makes an appearance under her new name, Lady Metroland, hosting a fashionable party. (She confirms her identity by whispering to a couple of Mrs Ape’s angels that she can get them a job in South America if she wishes, the reader of the previous novel knowing this would be at one of Lady M’s string of brothels there). And quite a few of these characters go on to appear in Waugh’s later novels. The effect is to create a comically complete ‘alternative’ version of English high society, with its narrow interconnectedness.
Thus we know from Decline and Fall that Lord Metroland married Margot Beste-Chetwynde. She was heiress to the Pastmaster title. Therefore her son, Peter Beste-Chetwynde, in time becomes Lord Pastmaster. Margot caused a great stir in Decline and Fall by going out with a stylish young black man. Here in Vile Bodies there is a sweet symmetry in discovering that her son is going out with a beautiful black woman. Hence Lord Metroland’s grumpy remark:
‘Anyhow,’ said Lord Metroland, ‘I don’t see how all that explains why my stepson should drink like a fish and go about everywhere with a negress.’
‘My dear, how rich you sound.’
‘I feel my full income when that young man is mentioned.’
Sociolect
The snobbery is enacted in the vocabulary of the text. Various social distinctions are, of course, directly indicated by possession of a title or one’s family. But also, of course, by how one speaks. Obviously there’s the question of accent, the way the upper class distinguish themselves from the middle and lower classes. But it’s also a specific vocabulary which marks one off as a member of the chosen, its sociolect – not only its slang but a very precise choice of key words which mark off a group, signal to other members one’s membership of the group and of course, signal to everyone else their very definite exclusion. Thus:
Divine Mrs Mouse thinks a party should be described as lovely. When her daughter describes the party she’s just been to as divine her mother tut tuts because that single word betokens the class above theirs, indicates that her daughter is getting above her station.
‘It was just too divine,’ said the youngest Miss Brown.
‘It was what, Jane?’
Because it is a word very much associated with the hardest core of the upper classiest of the Bright Young Things, represented in this book by the wild and heedless party animal, Miss Agatha Runcible.
Miss Runcible said that she had heard of a divine night club near Leicester Square somewhere where you could get a drink at any hour of the night.
Bogus This is another word much in vogue to mean simply ‘bad’ with the obvious overtone of fake:
‘Oh, dear,’ she said, ‘this really is all too bogus.’
Miss Runcible said that kippers were not very drunk-making and that the whole club seemed bogus to her.
In fact their use of ‘bogus’ is cited by Father Rothschild as one of the things he notices about the younger generation. He takes a positive view of it, suggesting to his buddies Mr Outrage and Lord Metroland that the young actually have very strict morals and find the post-war culture they’ve inherited broken and shallow and deceitful. (In this way ‘bogus’ for the 1920s was similar to what ‘phoney’ was to be for Americans in the 1950s as popularised by Catcher In The Rye, ‘square’ was for hippies, and ‘gay’ is for modern schoolchildren).
Too ‘Too’ is an adverb of degree, indicating excess. Most of us use it in front of adjectives as a statement of fact, for example ‘This tea is too hot’. But the upper classes use it as one among many forms of exaggeration, indicating the simply superlative nature of their experiences, their lives and their darling selves. Used like this, ‘too’ doesn’t convey factual information but is a class marker; in fact its very factual emptiness, its semantic redundancy, highlights its role as a marker of membership:
‘I think it’s quite too sweet of you…’
‘Isn’t this too amusing?’
‘Isn’t that just too bad of Vanburgh?’
‘It was just too divine’ contains a double superlative, the adverb ‘too’ but also the adjective ‘divine’ itself, which is obviously being used with frivolous exaggeration. The party was divine. You are divine. I am divine. We are divine.
Such and so Grammatically ‘such’ is a determiner and ‘so’ is an adverb. So ‘so’ should be used in front of an adjective, ‘such’ in front of a noun phrase. In this narrow society, they are both used in much the same way as ‘too’, to emphasise that everything a speaker is talking about is the absolute tip top. After listening to someone telling us they had such a good time at such a wonderful party and spoke to such a lovely man, and so on, we quickly get the picture that the speaker lives a very superior life. To get the full effect it needs to be emphasised:
‘Such a nice stamp of man.’
‘It seems such a waste.’
‘Such nice people.’
‘Such a nice bright girl.’
There’s an element of risk in talking like this. Only a certain kind of person can carry it off. Trying it on among people who don’t buy into the entire elite idea, or among the real elite who know that you are not a member, risks ridicule.
So talking like this is a kind of taunt – I can get away with this ridiculous way of speaking but you can’t. The epitome of this verbal bravado is Miss Runcible, whose every word is littered with mannered vocabulary and superlatives, flaunting her superlative specialness, daring anyone else to compete.
Simply Paradoxically, for a very self-conscious elite, the pose is one of almost idiotic simplicity. Consider Bertie Wooster. His idiocy underpins his membership of the toff class. He is too stupid to do anything practical like have a job and his upper class idiocy is a loud indicator that he doesn’t need a job, but lives a life of privilege. Well one indicator of this attitude is use of the word simply.
‘I simply do not understand what has happened’
‘Nina, do you ever feel that things simply can’t go on much longer?’
‘Now they’re simply thrilled to the marrow about it .’
‘She’d simply loathe it, darling.’
‘Of course, they’re simply not gentlemen, either of them.’
Darling Preferably drawled, a usage only the very confident and suave can get away with.
‘Darling, am I going to be seduced?’
‘I’m afraid you are. Do you mind terribly?’
‘Not as much as all that,’ said Nina, and added in Cockney, ‘Charmed, I’m sure.’
Terribly Another denoter of frivolous giddy poshness, since the time of Oscar Wilde at least, via Saki and Noel Coward. Terribly and frightfully.
‘No, really, I think that’s frightfully nice of you. Look, here’s the money. Have a drink, won’t you?’
‘I say, you must be frightfully brainy.’
-making Many of these elements have survived the past 90 years, they continued into the equally frivolous Swinging Sixties and on into our own times, though often mocked, as in the TV series Absolutely Fabulous (1992 to 1996). A locution which is a bit more specific to this generation, or certainly to this book, is creating phrases by adding ‘-making’ to the end of an adjective. Thus:
‘Too, too sick-making,’ said Miss Runcible.
‘As soon as I get to London I shall ring up every Cabinet Minister and all the newspapers and give them all the most shy-making details.’
Miss Runcible said that kippers were not very drunk-making and that the whole club seemed bogus to her.
‘Wouldn’t they be rather ill-making?’
‘Very better-making,’ said Miss Runcible with approval as she ate her haddock.
The usage occurs precisely 13 times in the novel, mostly associated with the most daring character, fearless Miss Runcible, and Waugh pushes it to a ludicrous extreme when he has her say:
‘Goodness, how too stiff-scaring….’ (p.174)
This locution made enough of an impression that Waugh singled it out in his preface to the 1964 edition of the novel for being widely commented on, and even taken up by a drama critic who included it in various reviews: ‘”Too sick-making”, as Mr Waugh would say.’ Did people actually say it, or was it a very felicitous invention?
Cockney
In my review of Decline and Fall I noted how much Waugh liked describing Cockney or working class characters and revelled in writing their dialogue. Same here. Thus a taxi driver tells Adam:
‘Long way from here Doubting ‘All is. Cost you fifteen bob…If you’re a commercial, I can tell you straight it ain’t no use going to ‘im.’
This turns out not to be a personal foible of Waugh’s. In Vile Bodies we learn that mimicking Cockney accents was highly fashionable among the creme de la creme of the Bright Young Things.
‘Go away, hog’s rump,’ said Adam, in Cockney,
‘Pretty as a picture,’ said Archie, in Cockney, passing with a bottle of champagne in his hand.
‘Look,’ said Adam, producing the cheque. ‘Whatcher think of that?’ he added in Cockney.
‘Good morning, all,’ she said in Cockney.
At university I knew very posh public schoolboys who had a cult of suddenly dropping into very thick Jamaican patois which they copied from hard-core reggae music (the extreme Jamaican pronunciation of ‘nay-shun’ kept recurring). Same kind of thing here – upper class types signalling their mockery and frivolity by mimicking the accents of the people about as far away from them on the social spectrum as possible.
Alcohol
Everyone’s either drunk, getting drunk or hungover. Their catchphrase is ‘Let’s have a drink’.
‘How about a little drink?’ said Lottie.
The American critic Edmund Wilson made the same comment about the literary types he knew in 1920s New York, and in general about ‘the Roaring Twenties’, ‘the Jazz Era’. Everyone drank like fish.
They went down the hill feeling buoyant and detached (as one should if one drinks a great deal before luncheon). (p.173)
Everyone was nursing a hangover. Everyone needed one for the road or a pick-me-up the next morning, or a few drinks before lunch, and during lunch, and mid-afternoon, and something to whet the whistle before dinner, and then onto a club for drinks and so on into the early hours. At luncheon with Nina’s father:
First they drank sherry, then claret, then port.
It goes without saying that these chaps and chapesses are not drinking beer or lager. Champagne is the unimpeachable, uncritisable, eternal choice for toffs and all occasions.
(Unless specified in detail, all drinks are champagne in Lottie’s parlour.)
Archie Schwert, as he passed, champagne bottle in hand, paused to say, ‘How are you, Mary darling?’
Adam hurried out into the hall as another bottle of champagne popped festively in the parlour.
Drinking heavily and one more for the road and still partying at dawn are fine if you’re in your 20s (and well off and good looking). Give it 40 years and you end up looking and talking like the Major in Fawlty Towers as so many of these bright young things eventually did.
Ballard Berkeley as Major Gowen in Fawlty Towers
The extended scene at the motor races (Chapter Ten) contains a very funny description of four posh people becoming very drunk. Their progressive inebriation is conveyed entirely via their speech patterns, which become steadily more clipped and the subject matter steadily more absurd, so that when a race steward comes round to enquire where the driver of the car they’re supporting has gone to (his arm was hurt in an accident so he’s pulled into the pits and his car is empty) they immediately reply that he’s been murdered. When the steward asks if there’s a replacement driver, they immediately reply, straight faced, that he’s been murdered too.
‘Driver’s just been murdered,’ said Archie. ‘Spanner under the railway bridge. Marino.’
‘Well, are you going to scratch? Who’s spare driver?’
‘I don’t know. Do you, Adam? I shouldn’t be a bit surprised if they hadn’t murdered the spare driver, too.’
Since they each drink a bottle of champagne before lunch, the three posh friends start to come down at teatime and Waugh is as good on incipient hangovers as on inebriation.
The effect of their drinks had now entered on that secondary stage, vividly described in temperance handbooks, when the momentary illusion of well-being and exhilaration gives place to melancholy, indigestion and moral decay. (p.177)
More on this scene below.
Politics
The satirical point of view extends up into political circles, one of the jokes being that several of the most extreme and disreputably hedonistic of the Bright Young People are, with a certain inevitability, the sons and daughter of the leaders of the main parties and, since one or other of them is in power at any given moment, children of the Prime Minister.
In fact the mockery extends to the novel’s cheerfully satirical notion that the British government falls roughly every week. In the opening chapter we meet the Prime Minister who’s just been ousted, Outrage, and in the same chapter the supremely modish Miss Runcible. Only slowly does it become clear that she is, with a certain inevitability, the daughter of the current Prime Minister (Sir James Brown).
Half way through the book this Prime Minister is ousted because of stories about the wild party held at Number 10 which climaxed with his half-naked daughter, dressed as a Hawaiian dancer, stumbling drunkenly out the front steps of Number 10 and straight into the aim of numerous press photographers and journalists. Disreputable parties held by Tory toffs at Number 10? Well, it seems that in this, as so many other aspects of British life, nothing has really changed since the 1930s.
Moments of darkness
The best comedy, literary comedy as opposed to gag fests, hints at darker undertones. Shakespeare’s comedies tread, briefly, close to genuine cruelty or torment as, for example, in the hounding of Malvolio in Twelfth Night. Comedy generally is an unstable genre. For a generation or more we’ve had the comedy of cruelty or humiliation or embarrassment. I find a lot of modern comedy, such as The Office too embarrassing and depressing to watch.
Waugh’s comedy goes to extremes. It often includes incidents of complete tragedy which are played for laughs, or flicker briefly in the frivolous narrative as peripheral details, which are glossed over with comic nonchalance but which, if you pause to focus on them, are very dark.
It’s there in Decline and Fall when little Lord Tangent has his foot grazed by a shot from the starting gun at school sports day, the wound gets infected and he has to have the foot amputated. A lot later we learn, in a throwaway remark, that he has died.
Flossie’s death
Something similar happens here when a young woman, Florence or Flossie Ducane, involved in a drunken party in the room of one of the posh guests at the posh Shepheard’s Hotel attempts to swing from a chandelier which snaps and she falls to the floor and breaks her neck. Adam sees a brief report about it in the newspaper:
‘Tragedy in West-End Hotel. ‘The death occurred early this morning at a private hotel in Dover Street of Miss Florence Ducane, described as being of independent means, following an accident in which Miss Ducane fell from a chandelier which she was attempting to mend.‘
1. All kinds of things are going on here. One is the way moments of real tragedy provide a foil for the gay abandon of most of the characters. Each of these momentary tragedies is a tiny, flickering memento of the vast disaster of the First World War which looms over the entire decade like a smothering nightmare – all those dead husbands and brothers and fathers who everyone rushes round brightly ignoring.
(There’s a famous moment in the story, when Adam is hurrying to Marylebone station to catch a train out to the country pile of Nina’s father [Doubting Hall, Aylesbury], when the clock strikes 11 and everyone all over London, all over the country is still and quiet for 2 minutes because it is Remembrance Sunday. Then the 2 minutes are up and everybody’s hurly burly of life resumes. When I was young I read the handful of sentences which describe it as an indictment of the shallowness of Adam and the world, barely managing their perfunctory 2 minutes’ tribute. Now I see it as a momentary insight into the darkness which underlies everything, which threatens all values.)
2. On another level, the way Adam reads about Flossie’s death in a newspaper epitomises the way all the characters read about their own lives in the press; their lives are mediated by the media, written up and dramatised like performances. They read out to each other the gossip column reports about their behaviour at the latest party like actors reading reviews of their performances, and then, in turn, give their opinions on the columnists/critics’s writing up, creating a closed circle of mutual admiration and/or criticism.
3. On another, more obviously comic, level, what you could call the PR level, Adam smiles quietly to himself at how well the owner of the Shepheard’s Hotel, Lottie Crump, handled the police and journalists who turned up to cover Flossie’s death, smooth-talking them, offering them all champagne, and so managing to steer them all away from the fact that the host of the party where the death occurred was a venerable American judge, Judge Skimp. His name has been very successfully kept out of the papers. Respect for Lottie.
Simon Balcairn’s suicide
Then there’s another death, much more elaborately explained and described. Simon, Earl of Balcairn, has his career as a leading gossip columnist (writing the ‘Chatterbox’ column in the Daily Excess) ruined after he is boycotted by Margot Metroland and blacklisted from the London society through whom he makes his living. He gets Adam to phone Margot and plead to be admitted to her latest party, one she is giving for the fashionable American evangelist, Mrs Ape, but she obstinately refuses. He even dresses up in disguise with a thick black beard and gatecrashes, but is detected and thrown out.
Convinced that his career, and so his life is over, Simon phones in one last great story to his newspaper, the Daily Excess, a completely fictitious account of Margot’s party in which he makes up uproarious scenes of half London’s high society falling to their knees amid paroxysms of religious guilt and renunciation (all completely fictitious) – then, for the first time completely happy with his work, lays down with his head in his gas oven, turns on the gas, inhales deeply, and dies. It is, and is meant to be, bleak.
This feel for the darkness which underlies the giddy social whirl, and the complicated psychological effect which is produced by cleverly counterpointing the two tones, becomes more evident in Waugh’s subsequent novels, Black Mischief (1932) and A Handful of Dust (1934). In this novel he describes it as
that black misanthropy…which waits alike on gossip writer and novelist…
And it appears more and more as the novel progresses, like water seeping through the cracks in a dam. Nina starts the novel as the model of a social butterfly, utterly empty-headed and optimistic. After she and Adam have a dirty night in Arundel i.e. sex i.e. she loses her virginity, she ceases being so much fun. She finds the parties less fun. She starts to squabble with Adam. About half way through the novel she is, uncoincidentally, the peg for an extended passage which sounds a note of disgust at the book’s own subject matter (which is where, incidentally, the title comes from):
‘Oh, Nina, what a lot of parties.’
(…Masked parties, Savage parties, Victorian parties, Greek parties, Wild West parties, Russian parties, Circus parties, parties where one had to dress as somebody else, almost naked parties in St John’s Wood, parties in flats and studios and houses and ships and hotels and night clubs, in windmills and swimming baths, tea parties at school where one ate muffins and meringues and tinned crab, parties at Oxford where one drank brown sherry and smoked Turkish cigarettes, dull dances in London and comic dances in Scotland and disgusting dances in Paris–all that succession and repetition of massed humanity…. Those vile bodies…)
Waugh cannily sprinkles among the witty dialogue and endless parties a slowly mounting note of disgust and revulsion.
Comedy is adults behaving like children
From the moment of her deflowering Nina grows steadily more serious, almost depressed. You realise it’s because, in having sex, she’s become an adult. Things aren’t quite so much bright innocent fun any more. At which point I realised that the appeal of the Bright Young Things is, in part, because they behave like children, drunk and dancing and singing (OK, so the drinking is not exactly like young children) but at its core their behaviour is childish, persistently innocent and naive.
The Bright Young People came popping all together, out of some one’s electric brougham like a litter of pigs, and ran squealing up the steps.
Much comedy is based on adults behaving like children. It’s a very reliable way of getting a comic effect in all kinds of works and movies and TV shows. It occurs throughout this book. There’s a funny example when, at Margot Metroland’s party, the ageing ex-Prime Minister, Mr Outrage, gets caught up in the exposure of Simon Balcairn infiltrating the party in disguise but, because of the obscure way the thing is revealed with a variety of pseudonyms and disguises, the PM becomes increasingly confused, like a child among adults and he is reduced to childishly begging someone to explain to him what is going on. The comic effect is then extended when he is made to confess he experiences the same bewildering sense of being out of his depth even in his own cabinet meetings.
‘I simply do not understand what has happened…. Where are those detectives?… Will no one explain?… You treat me like a child,’ he said. It was all like one of those Cabinet meetings, when they all talked about something he didn’t understand and paid no attention to him.
Mr Chatterbox
Balcairn’s suicide creates a vacancy for a new ‘Mr Chatterbox’ and Adam happens to be dining in the same restaurant (Espinosa’s, the second-best restaurant in London) as the features editor of the Daily Excess, they get into conversation and so, with the casualness so typical of every aspect of these people’s lives, he is offered the job on the spot. ‘Ten pounds a week and expenses.’
Adam’s (brief) time as a gossip columnist turns into a comic tour de force. Just about everyone Simon mentioned in his last great fictitious account of Margot’s party (mentioned above) sues the Daily Excess (’62 writs for libel’!) with the result that the proprietor, Lord Monomark, draws up a list of them all and commands that none of them must ever, ever be mentioned in the paper again. This presents Adam with a potentially ruinous problem because the list includes ‘everyone who is anyone’ and so, on the face of it, makes his job as gossip columnist to London’s high society impossible.
He comes up with two solutions, the first fairly funny, the second one hilarious. The first one is to report the doings of C-listers, remote cousins and distant relatives of the great and good, who are often ailing and hard done by. The column’s readers:
learned of the engagement of the younger sister of the Bishop of Chertsey and of a dinner party given in Elm Park Gardens by the widow of a High Commissioner to some of the friends she had made in their colony. There were details of the blameless home life of women novelists, photographed with their spaniels before rose-covered cottages; stories of undergraduate ‘rags’ and regimental reunion dinners; anecdotes from Harley Street and the Inns of Court; snaps and snippets about cocktail parties given in basement flats by spotty announcers at the B.B.C., of tea dances in Gloucester Terrace and jokes made at High Table by dons.
This has the unexpected benefit of creating new fans of the column who identify with the ailments or afflictions of these ‘resolute non-entities’.
The second and more radical solution is simply to make it up. Like a novelist, Adam creates a new set of entirely fictional high society characters. He invents an avant-garde sculptor called Provna, giving him such a convincing back story that actual works by Provna start to appear on the market, and go for good prices at auction. He invents a popular young attaché at the Italian Embassy called Count Cincinnati, a dab hand at the cello. He invents Captain Angus Stuart-Kerr the famous big game hunter and sensational ballroom dancer.
Immediately his great rival gossip columnist, Vanbrugh, starts featuring the same (utterly fictional characters) in his column, and then other characters begin to mention them in conversation (‘Saw old Stuart-Kerr at Margot’s the other day. Lovely chap’) and so on. This is funny because it indicates how people are so desperate to be in the swim and au courant that they will lie to themselves about who they’ve seen or talked to. It indicates the utter superficiality of the world they inhabit which can be interpreted, moralistically, as a bad thing; but can also be seen as a fun and creative thing: why not make up the society you live in, if the real world is one of poverty and war?
But Adam’s masterpiece is the divinely slim and attractive Mrs Imogen Quest, the acme of social desirability, to whom he attributes the height of social standing. She becomes so wildly popular that eventually the owner of the Daily Excess, Lord Monomark, sends down a message saying he would love to meet this paragon. At which point, in a mild panic, Adam quickly writes a column announcing the unfortunate news that Mrs Quest had sailed to Jamaica, date of return unknown.
You get the idea. Not rocket science, but genuinely funny, inventive, amusing.
Father Rothschild as moral centre
Adam and Nina are invited to a bright young party held in a dirigible i.e. airship.
On the same night their more staid parents, politicians and grandees attend a much more traditional party for the older generation at Anchorage House. The main feature of this is the Jesuit Father Rothschild sharing with Mr Outrage and Lord Metroland a surprisingly mild, insightful and sympathetic view of the behaviour of the young generation. They have come into a world robbed of its meaning by the war, a world where the old values have been undermined and destroyed and yet nothing new has replaced them. A decade of financial and political crises ending up in a great crash. No wonder they make a point of not caring about anything. Genuinely caring about someone or something only risks being hurt. Hence the vehemence of the display of aloofness, nonchalance, insouciance, darling this and divine that and frightfully the other, and refusing point blank to ever be serious about anything.
In fact, Father Rothschild is given an almost apocalyptic speech:
‘Wars don’t start nowadays because people want them. We long for peace, and fill our newspapers with conferences about disarmament and arbitration, but there is a radical instability in our whole world-order, and soon we shall all be walking into the jaws of destruction again, protesting our pacific intentions.’
And this was written a few years before Hitler even came to power. Everyone knew it. Everyone sensed it. The coming collapse. The bright young things are laughing in the dark.
A touch of Auden
W.H. Auden often gets the credit for introducing industrial landscapes and landscapes blighted by the Great Depression into 1930s poetry, but it’s interesting to notice Waugh doing it here in prose. In a plane flying to the South of France, Nina looks down through the window:
Nina looked down and saw inclined at an odd angle a horizon of straggling red suburb; arterial roads dotted with little cars; factories, some of them working, others empty and decaying; a disused canal; some distant hills sown with bungalows; wireless masts and overhead power cables; men and women were indiscernible except as tiny spots; they were marrying and shopping and making money and having children.
One episode in the sad and dreary strand of English poetry and prose through the middle half of the twentieth century, E.M. Foster’s lament for the cancerous growth of London in the Edwardian era, D.H. Lawrence’s horrified descriptions of the mining country, John Betjeman’s comic disgust at light industrial towns like Slough, Philip Larkin’s sad descriptions of windswept shopping centres. But during the 1930s it had an extra, apocalyptic tone because of the sense of deep economic and social crisis.
Other scenes
The movie
Adam goes back to visit Nina’s father for a second time to try and borrow money, but is amazed to walk into the surreal scene of a historical drama being filmed at her father’s decaying country house (Doubting Hall, set in extensive grounds) by a dubious film company The Wonderfilm Company of Great Britain, run by an obvious shyster, a Mr Isaacs. (Worth noting, maybe, that Waugh has the leading lady of the movie, use what would nowadays be an unacceptable antisemitic epithet. Waugh himself has some of his characters, on very rare occasions, disparage Jews, but then they disparage the middle classes, politicians, the authorities and lots of other groups. Their stock in trade is amused contempt for everyone not a member of their social circle. Waugh comes nowhere near the shocking antisemitism which blackens Saki’s short stories and novels.)
Isaac is such a shyster he offers to sell Adam the complete movie, all the rushes and part-edited work for a bargain £500. Adam recognises a crook when he sees one. But his prospective father-in-law doesn’t, and it’s a comic thread that, towards the end of the novel, old Colonel Blount has bought the stock off Isaacs and forces his reluctant neighbour, the Rector of his church, to stage an elaborate and disastrous showing of what is obviously a terrible film.
(It is maybe worth noting that Waugh had himself tried his hand at making a film, with some chums from Oxford soon after he left the university, in 1922. It was a version of The Scarlet Woman and shot partly in the gardens at Underhill, his parents’ house in Hampstead.)
The motor race and Agatha
Adam, Agatha Runcible, Miles Malpractice and Archie Schwert pile into Archie’s car for a long drive to some remote provincial town to watch a motorcar race which a friend of Miles’ is competing in. It’s mildly comic that all the good hotels are packed to overflowing so they end up staying in a very rough boarding house, sharing rooms with bed which are alive with fleas. Early next morning they do a bunk.
The car race is described at surprising length, with various comic details (in the pits Agatha keeps lighting up a cigarette, being told to put it out by a steward, and chucking it perilously close to the open cans of petrol; this is very cinematic in the style of Charlie Chaplin).
There is a supremely comic scene where Miles’s friend brings his car into the pits and goes off to see a medic – one of the competitors threw a spanner out his car which hit our driver in the arm. A race steward appears and asks if there’s a replacement driver for the car. Now, in order to smuggle his pals into the pits in the first place, Miles’ friend had handed them each a white armband with random job titles on, such as Mechanic. The one given to Agatha just happened to read SPARE DRIVER so now, drunk as a lord, she points to it and declares: ‘I’m spare driver. It’s on my arm.’ The race steward takes down her name and she drunkenly gets into the racing car (she’s never driven a car before) her friends ask if that’s quite wise, to drive plastered, but she replies: ‘I’m spare driver. It’s on my arm’ and roars off down the course.
There then follow a sequence of comic announcements over the race tannoy as it is announced that Miss Runcible’s car (‘No 13, the English Plunket-Bowse’) has a) finished one lap in record time b) been disqualified for the record as it is now known she veered off the road and took a short cut c) has left the race altogether, taking a left instead of a right turn at a hairpin corner and last seen shooting off across country.
Our three buddies repair to the drinks tent where they carry on getting drunk. When ‘the drunk major’ turns up, promising to pay Adam the £35,000 that he owes him thanks to the bet he promised to make on a racehorse, they each have a bottle of champagne to celebrate.
Eventually it is reported that the car has been spotted in a large village fifteen miles away, town where it has crashed into the big stone market cross (‘ (doing irreparable damage to a monument already scheduled for preservation by the Office of Works)’).
Our threesome hire a taxi to take them there and witness the car wreck, mangled against the stone post and still smoking. Villagers report that a woman was seen exiting the car and stumbling towards the railway station. They make their way to the railway station and the ticket seller tells them he sold a ticket to London to a confused young woman.
(It may be worth noting that this entire chapter, with its extended and detailed description of competitive car racing, was almost certainly based on a real visit to a car race Waugh made, to support his pal David Plunket Greene. The real life race, which took place in 1929, is described, with evocative contemporary photos, in this excellent blog.)
Agatha’s end
To cut a long story short, after interruptions from other strands, we learn that Agatha sustained serious enough injuries in her car smash to be sent to hospital. But that’s not the worst of it. She had concussion and has periodic delusions, so she is referred on to ‘the Wimpole Street nursing home’. Here, in Waugh’s telegraphic style, we are given impressionistic snippets into her nightmares in which she is driving always faster, faster! and the comforting voice of her nurse trying to calm her as she injects her with a tranquiliser.
There’s a final scene in this strand where several of her pals pop round to visit her, bringing flowers but also a little drinky-wink, then some other appear and before you know it there’s a full scale party going on in her room, someone brings a gramophone, they all dance to the latest jazz tune. They even bribe the staid nurse with a few drinks and things are getting rowdy when, inevitably, the stern matron arrives and kicks them all out. Carry on Bright Young Things.
But, long story short, the excitement exacerbates Agatha’s shredded nerves and, towards the end of the narrative, we learn in a typically throwaway comment from one the characters, that Agatha died. Adam:
‘Did I tell you I went to Agatha’s funeral? There was practically no one there except the Chasms and some aunts. I went with Van, rather tight, and got stared at. I think they felt I was partly responsible for the accident…’
The fizzy bubbles mood of the opening half of the novel feels well and truly burst by this stage. Characters carry on partying and behaving like children but it feels like the moral and psychological wreckage is mounting up like a cliff teetering over them all.
Nina’s infidelities
The on again, off again relationship between Nina and Adam comes to a head when she declares she’s in love with a newcomer in their social circle, a man who speaks in even more outrageous posh boy phrases than anyone else. In fact, she casually informs Adam, she and Ginger got married this morning. Oh.
But this is where it gets interesting because Nina is such an airhead that she can’t really decide, she can’t make up her mind between Adam and Ginger. She goes off on a jolly honeymoon to the Med with him, but doesn’t like it one bit, he’s off playing golf most of the day. If you recall, Adam and Nina had had sex, at the hotel in Arundel, so there’s a more than emotional bond between them. Anyway, long and the short of it is she agrees to see him, to come and stay with him and, in effect, to start an affair with him as soon as she gets back to London.
It is all done for laughs but Waugh doesn’t need to draw the moral, to go on about psychological consequences, to editorialise or point out the moral implications for Nina and her set. All of this is conspicuous by its absence. It is left entirely to the reader to draw their own conclusions. Waugh’s text has the chrome-covered sleekness of an Art Deco statuette, slender, stylish, quick, slickly up to date.
He is the English F. Scott Fitzgerald, giving a highly stylised depiction of a generation in headlong pursuit of fun, drinks, drinks and more drinks, endless parties, with the shadow of the coming psychological crash looming closer and closer over his narratives.
The completely unexpected ending
The cinema show
Comedy of a sort continues up to the end, with the scene I mentioned before, of gaga old Colonel Blount, accompanied by Nina and Adam who are staying with him for Christmas, insisting on taking his cinematographic equipment round to the much put-upon local Rector, spending an age setting it up, and then blowing his entire household fuses in showing the terrible rubbish film which the director Isaacs has flogged to him.
It is a great comic scene if, to my mind, no longer as laugh out loud funny as the early scenes, because my imagination has been tainted by a silly death (Flossie), a suicide (Simon Balcairn), the nervous breakdown and death of pretty much the leading figure int he narrative (Agatha).
Anyway, after the power cut, the Colonel, Adam and Nina motor back to Doubting Hall for Christmas dinner and are in the middle of boozy toasts when the Rector phones them with the terrible news. War has broken out. War?
The last world war
In an extraordinary leap in subject matter and style, a startling break with everything which went before it, the very last scene discovers Adam, dressed as a soldier, amid a vast landscape of complete destruction, a barbed wire and mud nightmare derived from the grimmest accounts of the Great War and stretching for as far as the eye can see in every direction. It is the new war, the final war, the war Father Rothschild warned against, the war they all knew was coming and which, in a way, justified their heartless frivolity. Nothing matters. Jobs don’t matter, relationships don’t matter, sobriety or drunkenness, wild gambling, fidelity or infidelity, nothing matters, because they know in their guts that everything, everything, will be swept away.
Waugh’s humour continues till the end, but it is now a grim, bleak humour. For floundering across the mud landscape towards Adam comes a gas-masked figure. For a moment it looks as if they will attack each other, the unknown figure wielding a flame thrower, Adam reaching for one of the new Huxdane-Halley bomb (for the dissemination of leprosy germs) he keeps in his belt. God. Germ warfare. The utter ruined bottom of the pit of a bankrupt civilisation.
Only at the last minute do they realise they’re both British and then, when they take their masks off, Adam recognises the notorious Major, the elusive figure who took his money off him at Shepheard’s all those months (or is it years) ago, to bet on a horse, who he briefly met at the motor racing meet, and now gets talking to him, in that upper class way, as if nothing had happened at all.
‘You’re English, are you?’ he said. ‘Can’t see a thing. Broken my damned monocle.’
Now the Major invites him into the sanctuary of his ruined Daimler car, sunk past its axles in mud.
‘My car’s broken down somewhere over there. My driver went out to try and find someone to help and got lost, and I went out to look for him, and now I’ve lost the car too. Damn difficult country to find one’s way about in. No landmarks…’
It is the landscape of Samuel Beckett’s post-war plays, an unending landscape of utter devastation, dotted with wrecks of abandoned machinery and only a handful of survivors.
Once they’ve clambered into the car’s, the Major opens a bottle of champagne (what else?) and reveals a dishevelled girl wrapped in a great coat, ‘woebegone fragment of womanhood’. On closer examination this turns out to be one of Mrs Apes’ young girls, the laughably named Chastity. When quizzed, Chastity ends the narrative with a page-long account of her trials. It turns out that Margot Metroland did manage to persuade her to leave Mrs Ape’s religious troupe and go and work in one of her South American bordellos –so this fills in the details of the 3 or 4 girls we met during Decline and Fall who were being dispatched to the same fate.
Only with the outbreak of war, she returned to Europe and now presents in a breathless paragraph the story of her employment at a variety of brothels, being forced into service with a variety of conquering or retreating troops of all nations. The Major opens another bottle of champagne and starts chatting her up. Adam watches the girl start flirtatiously playing with his medals as he drifts into an exhausted sleep.
So, Waugh is pretty obviously saying, all of Western civilisation comes down to this: a shallow adulterer, a philandering old swindler, and a well-worn prostitute, holed up in a ruined car in a vast landscape of waste and destruction.
Aftershocks
Vile Bodies is marketed as a great comic novel and it is, and is often very funny, but as my summary suggests, it left me reeling and taking a while to absorb its psychological shocks. The deaths of Flossie, Simon and Agatha, and Nina’s slow metamorphosis into a thoughtless adulterer, all steadily darken the mood, but nothing whatsoever prepares you for the last chapter, which is surely one of the most apocalyptic scenes in the literary canon.
I had various conflicting responses to it, and still do, but the one I’m going to write down takes a negative view.
Possibly, when I was young and impressionable and first read this book, I took this devastating finale to be an indictment of the hollowness of the entire lifestyle depicted in the previous 200 pages. Subject to teenage moodswings which included the blackest despair, I took this extreme vision of the complete annihilation of western civilisation at face value and thought it was a fitting conclusion to a novel which, from one point of view, is ‘about’ the collapse of traditional values (restraint, dignity, sexual morality).
But I’m older now, and now I think it represents an artistic copout. It is so extreme that it ruins the relative lightness of the previous narrative. All the light touches which preceded it are swamped by this huge sea of mud.
And it’s disappointing in not being very clever. Up to this point any reader must be impressed, even if they don’t sympathise with the posh characters, by the style and wit with which Waugh writes, at the fecundity of his imagination, and the countless little imaginative touches and verbal precision with which he conveys his beautifully brittle scenarios.
And then this. Subtle it is not. It feels like a letdown, it feels like a copout. It’s not a clever way to end a noel which had, hitherto, impressed with its style and cleverness. It feels like a suburban, teenage Goth ending. It’s not much above the junior school essay level of writing ‘and then I woke up and it was all a dream’.
A more mature novel might have ended with the funeral of Agatha Runcible and recorded, in his precise, malicious way, the scattered conversations among the usual characters, momentarily brought down to earth and forced to confront real feelings, before swiftly offering each other and drink and popping the champagne. In this scenario the Major might have turned up as a fleeting character Adam still can’t get to meet, Nina unfaithful thoughts could have been skewered, Margot Metroland’s society dominance reasserted despite heartbreak over her dead daughter, Lord Monomark appointing yet another bright young thing as Mr Chatterbox, the ousted Prime Minister Mr Outrage still utterly confused by what’s going on, and maybe a last word given to sage and restrained Father Rothschild. That’s what I’d have preferred.
Instead Waugh chose to go full Apocalypse Now on the narrative and I think it was a mistake – an artistic error which became more evident as the years passed and the world headed into a second war, which he was to record much more chastely, precisely, and therefore more movingly, in the brilliant Sword of Honour trilogy.
Credit
Vile Bodies by Evelyn Waugh was published in 1930 by Chapman and Hall. All references are to the 1983 Penguin paperback edition.
‘Hutus must stop having mercy on the Tutsis.’
Eighth of the Hutu Ten Commandments published by Hutu Power propagandist Hassan Ngeze in 1990 (page 88)
Disappointment
Simon’s law of book-buying states that the more you spend on a book, the more likely you are to be disappointed. Nothing has brought me as much pleasure as picking up a copy of my childhood favourite, The Town That Went South by Clive King, for 30p in a National Trust second-hand bookshop a few years ago. By contrast, I paid full whack to buy We Wish to Inform You That Tomorrow We Will Be Killed With Our Families and almost immediately took against it.
The shiny cover of the Picador paperback somehow belies the fact that it was published in 1998 and so is nearly a quarter of a century old.
Next, the introduction by Old Etonian and Conservative Party leadership contender Rory Stewart is reasonable enough but offers no insights or ideas. In fact it opens with disappointing stupidity. His very first sentence is: ‘Is genocide a suitable subject for literature?’ to which the obvious answer is, ‘Yes, everything is a suitable subject for literature’. More specifically, ‘Yes – have you not heard of Holocaust literature?’ Literature about the killing fields of Cambodia, about the Armenian genocide, and so on? So it’s a non-question asked for purely rhetorical effect.
And finally, Gourevitch’s book itself is also disappointing because, although it contains a lot of good quality history of the background and buildup to the genocide, of the events of the genocide itself, and then a detailed account of the aftermath up until late 1998 when he completed his text, and although it contains interviews with a phenomenally large number of representative figures – it is continually interrupted by Gourevitch’s own meditations on the nature of genocide, what we should feel about genocide, whether we can write about genocide, the difficulty of imagining genocide and so on, which are uniformly poor quality, entry-level, GCSE-level. Trite ideas padded out with lame and obvious quotes. It is a big disappointment. Gourevitch may be a terrific reporter but he’s no intellectual.
The tone is set in the puzzling first chapter where Gourevitch retails a conversation he had with a pygmy (one of the aboriginal inhabitants of the region now known as Rwanda, who were swamped by later Bantu incomers and now make up about 1% of the population). This conversation delivers the thumpingly banal message that humanity is one and needs to be united in its struggle against nature. This is the ‘insight’ message Gourevitch chooses to open his long book about the Rwandan genocide with, i.e. not very insightful at all, certainly not worth paying £10 for.
With a sinking feeling, I realised within a few pages that this book was not going to offer much insight into politics or human nature. In fact, in the passages where he tries to ‘think’ about the genocide, Gourevitch’s banal meanderings tend to blanket and dull the impact of the horrifying facts he sets down so powerfully in the factual passages.
The second disappointment is that a major part of the book’s USP is that it contains interviews and conversations Gourevitch had with scores of Rwandans from all parts of the country, from all classes and professions, Hutus and Tutsis, which go to create an impressive mosaic, like the walls of photos I’ve seen in some art installations, hundreds of photos of ordinary people caught up in a nightmare. Hence the book’s sub-title, Stories from Rwanda.
But I’m sad to report that these stories, also, partake of the general disappointment because they, also, are often surprisingly dull and banal. Obviously, many of the interviewees describe horrifying scenes: they describe entire lives lived in the shadow of the ethnic conflict between the majority Hutu and minority Tutsi populations, they describe the repeated crises in the 1960s and 70s, when small-scale pogroms, massacres and localised ethnic cleansing broke out for one reason or another; then they describe the atmosphere of fear created by the RPF invasion of 1990 and the emergence of really vitriolic Hutu supremacism, the advent of magazines and radio stations calling for the complete extermination of the Tutsis; and then describe gathering round their radios to listen to the dreadful news that the moderate Hutu president Juvénal Habyarimana’s plane had been shot down as it came into land at Kigali airport and the terrible sense of doom most of them felt.
And then, of course, Gourevitch includes eye-witness account of going into hiding, being arrested, trying desperately to contact family members, watching people being shot, hacked to death with machetes, driving through smoking villages, coming across streets full of bodies, terror and despair.
The content of these stories is, of course, gripping and horrifying. But the style is uniformly flat. They all sound the same, they all speak very simply. Either that’s because all Rwandans sound the same, very simple and flat. Or because all Rwandans are dull and boring. Or maybe because every interview had to be carried out through an interpreter, since most Rwandans speak French, and French has less lexical variety than English and that’s why everyone comes out sounding the same. Or maybe it’s because all the testimony has been first translated, and then put through Gourevitch’s own style machine. All the interviews are made up of suspiciously complete sentences. There are no hesitations or repetitions or stumblings. All Gourevitch’s interviewees speak in perfect and grammatically correct sentences. They all sound the same and they all sound boring.
He even manages to make Paul Kagame sound boring, which is quite a feat. Paul Kagame was born and raised a Rwandan exile in Uganda. He volunteered to join the Ugandan army, rose quickly through the ranks, studied military theory, was a senior officer in the rebel force which helped Yoweri Museveni overthrow the Ugandan dictator Milton Obote. Kagame then went on to become a co-founder and eventually leader of the Rwandan Patriotic Front (RPF) which invaded north Rwanda in 1990 and fought the Rwandan army to a ceasefire in 1993. Kagame was still working through implementation the peace accords he signed with the Hutu president Juvénal Habyarimana in August 1993, when the latter’s plane was blown out of the sky in April 1994. This was the trigger for Hutu Power extremists in the government to launch their genocide of Rwanda’s Tutsi population, so Kagame immediately resumed the RPF incursion into Rwanda, quickly seizing large parts of the country, taking the capital Kigali on 4 July 1994, then pushing west to conquer almost the entire country and putting an end to the genocide by 17 July 1994.
Kagame then took up the twin roles of vice-president and defence minister in the post-genocide government, but everyone knew he was the real power in Rwanda, which he has gone on to lead down to the present day, 2021, when he is still serving as president.
Kagame is described by analysts as a military leader of ‘genius’ for turning the RPF from a ragtag of half-armed volunteers into a highly disciplined and effective military force (p.218). And then, after all this, he went on to be the military and strategic brains behind the alliance of armies, the AFDL, which invaded east Zaire in 1997 to close the Hutu refugee camps where Hutu Power génocidaires had been regrouping and preparing for genocide part two. This was the incursion which led to the AFDL marching all the way to Kinshasa and overthrowing Zairean dictator Joseph Mobutu.
In other words, Kagame is one of the most fascinating characters of the late 20th/early 21st centuries and Gourevitch has had the privilege of interviewing him not once but on numerous occasions. And yet, in Gourevitch’s hands, this is what Kagame sounds like:
“I have wanted to be original about my own thinking, especially in regard to my own situation here. Not that I don’t realise that there are other people out there to admire, but it is just not my habit to admire anybody. Even if something has worked, I think there are many other things that could work also. If there’s anything else that has worked, I would certainly pick a bit from that. But if there could be another way of having things work, I would like to discover that. If I could have some original way of thinking, that would be OK for me.” (quoted on page 213)
Pretty dull, eh. It’s far too harsh to say that Gourevitch is a lightweight and he makes everyone he interviews sound like a lightweight, but that thought did cross my mind during more than one of the duller interviews in the book.
He’s spoken to literally hundreds of people, including many key players and all kinds of experts and aid and UN officials and yet…hardly any of them say anything interesting. Only towards the end did some of the Rwandan officials complaining about the utter ineffectualness of the international community make an impression.
A literary account, alas
Gourevitch is a longtime staff writer for New Yorker magazine and a former editor of The Paris Review. He knew nothing about Rwanda or African politics before he watched the shocking images on the TV news as the Rwanda genocide broke in spring 1994. Fascinated and appalled he realised he had to find out more (or realised this was a terrific opportunity for an ambitious journalist looking for a subject for a book).
So Gourevitch began visiting Rwanda in 1995 (p.7) and over the next two years made nine trips to the country and to its neighbours (Zaire, Burundi, Uganda, Tanzania) to report on the genocide and its aftermath. He made 6 trips lasting a total of 9 months (p.185). During that time he interviewed hundreds of people from Rwanda and the neighbouring countries and the book contains an impressive number of first-hand, eye-witness testimony from many, many Tutsi survivors, as well as more confrontational interviews with men accused of complicity or of organising particular local massacres.
Possibly his lack of background in African affairs partly explains the air of hopeless bewilderment he exudes right from the start. In the opening sections of the book Gourevitch goes heavy on his inability to imagine the events, on the importance of imagination in our lives, his interest in how people imagine their identities, on the importance of the narratives which shape their lives. In other words, he brings a heavily literary slant to his huge and complicated subject.
On the first page of his text he mentions Charles Dickens, on page 3 he is citing Joseph Conrad’s Heart of Darkness, there are epigraphs from George Eliot and John Milton. Directly after that limp quote from Kagame which I cite above, Gourevitch says it reminds him of the poet Rainer Maria Rilke writing on love and art (p.213).
Oh dear. It is going to be literary journalism, the worst sort, the type of journalism which spends a lot of its energy emphasising the author’s own sensitivity, which foregrounds his own emotional responses, to the subject matter, rather than doing a journalist’s job which is to get on and tell you what happened and let interviewees tell their own stories, preferably without a load of editorialising about how you everything you find out about the horrors makes you feel. In the showbiz world of American journalism, ruined by the egotistical displays of Norman Mailer or Tom Wolfe in the 1960s, it is acceptable to put the author and his responses at the centre of the story, but I wanted a history, I wanted to know the facts, not reiterations of how a pampered New York journalist was appalled to discover how brutal life is in much of Africa and how thoughtlessly cruel human beings can be.
His factual sections are sensational but when he stops to reflect on it all, Gourevitch writes quite a lot of stupid things. When he writes that ‘Power is terribly complex’ on page 78 I suddenly realised I was dealing with an idiot. My daughter learned more about political, social and cultural power in her GCSE Sociology course than Gourevitch displays in this entire book. All the ‘reflection’ in the book displays a disappointingly low knowledge of political theory, knowledge of international relations, or philosophy about human nature.
And I was irritated by his casual assumption that the ‘we’ he continually refers to are all white, liberal, college-educated, East Coast readers of New Yorker magazine, that ‘we’ all share his over-developed moral scruples and his severely under-developed sense of world affairs, geopolitics, African history and politics. Right at the beginning he tries to implicate the reader in his sensitive moral scruples:
I presume that you are reading this because you want a closer look, and that you, too, are properly disturbed by your curiosity. (p.19)
Well, er, no. I am not disturbed by my interest in reading about the Rwandan genocide in the same way that I am not disturbed by my interest in reading about the Holocaust, or the Second World War, or the First World War, the Somme, the bombing of Hiroshima and Nagasaki, the American Civil War, the Tapei Rebellion, the rape of Nanking, the Gulag Archipelago, the Russian Civil War, the Ukraine famine, the Partition of India, Islamic State, the Crusades, the decimation of the Incas and Aztecs, the violent rise of Islam, the blood-soaked fall of Byzantium, the life and massacres of Genghiz Khan. I could go on…
I am reading this book because I want to be better informed about human history which, as anyone who has even a superficial knowledge of the subject knows, amounts to an unrelenting series of wars, massacres, genocides and bloodbaths. I’m kind of used to it.
So, no, I am not in the slightest disturbed by my curiosity to want to understand a recent historical event better. Seems perfectly normal to me, and most of the history books I read include passages where historians say the public in general ought to be more aware of history. In addition, many progressive historians and commentators tell us we need to get out of our Eurocentric frame of reference and understand more about the wider world and places beyond London or Paris. So that’s why I’m reading a book about Africa, and about one of the most striking events in post-war African history.
Gourevitch’s comment betrays a basic…what…dimness, obtuseness, ignorance…about the entire subject of History and why people would want to study it, which is to find out what happened, to try and understand why it happened, in order to better understand the forces at work in the world around us, now, in the present.
The facts
The book consists of three elements:
Gourevitch’s self-consciously literary fretting over the power of imagination and the importance of narrative and the centrality of stories and the difficulties of human identity and a familiar checklist of progressive, liberal arts issues
interviews with scores of Rwandans, UN officials, foreign doctors and aid workers, politicians and so on, giving often harrowing descriptions of their experiences or clarifying the political situation in Kigali, in the UN, in the aid camps in Zaire
actual historical facts
When he sticks to the facts, Gourevitch is very good indeed. Suddenly, about a third of the way into the book, after the kind of maundering speculation I’ve been slagging off, it changes tone dramatically and becomes a riveting account of the early history of the country, a description of the colonial era when the Belgians divided the two ethnic groups of Hutu and Tutsi the better to control them, and how this ethnic division, once created, went on to dog the Rwanda, which won independence in 1962 but continued to suffer repeated outbreaks of ethnic violence, pogroms and massacres (the massacres of 59, of 61, of 63, and so on).
In what follows I extract the facts Gourevitch gives and supplement them from other sources to try and create a comprehensive and useful timeline.
Rwandan history
In 1994 Rwanda had a population of about 7 million. Relatively small, it was the most densely populated country in Africa. About 85% of the population were Hutus, 14% Tutsis and 1% pygmies known at the Twa.
Rwanda is divided into five provinces: Kigali, Northern, Eastern, Southern and Western.
Because they were illiterate, no Rwandans before the arrival of Europeans had ever written anything down. Therefore, their prehistory relies entirely on unreliable oral traditions and speculation. Modern archaeology tentatively suggests that the hilly region was inhabited by pygmies as long ago as 8,000 BC, before it was slowly infiltrated from 700 AD by Bantu tribes from West Africa who went on to form the Hutus, and by ‘Nilotic’ ethnic groups from the north who were ancestors of the Tutsi (p.49). Maybe.
Hutus and Tutsis
For centuries before Europeans arrived, the Tutsis were nomadic cattle rearers, which made them wealthier than the Hutu majority who were mostly static farmers; the ruler of Rwanda was a Tutsi and the aristocratic Tutsis looked down on the peasant Hutus.
The regime was essentially feudal: Tutsis were aristocrats; Hutus were vassals. (p.49)
Although there’s a racial stereotype that the Hutus are full-on ‘negroid’ African in appearance while the Tutsis have narrow faces, with narrow noses and thin lips, in reality scores of generations of interbreeding meant the majority of the population didn’t conform to these stereotypes and very often Rwandans couldn’t tell which groups each other belonged to (p.50). Plenty of the Rwandans Gourevitch talks to tell him they pass for one ethnic group when they in fact belong to another. In other words, it wasn’t such a starkly obvious divide as between blacks and whites. Many Hutus and Tutsis are indistinguishable.
Tutsi ruler Kigeli Rwabugiri reigned from 1853 to 1895 and expanded the kingdom to its greatest extent. He oversaw a society which was regimented and hierarchical, with layers of military, political and civil chiefs and governors, priests, tax collectors, sub-chiefs, deputy governors and so on (p.49). Divisions between Hutu and Tutsi were hardened, with the former obliged to perform forced labour for the latter.
When the Berlin Conference of 1884 to 1885 carved up Africa between the European imperial nations, Rwanda was handed to the Germans because they had explored the region, had missionaries on the ground, and nobody else wanted it (p.55). After Germany lost the Great War, Rwanda was combined with the neighbouring nation of Burundi and handed by the victorious allies over to Belgium, because they abut the huge Belgian Congo to the west. Belgium ran Rwanda from 1918 to 1962.
The Belgians hardened the ethnic division in the country by compelling every citizen to state on their identity papers which group they belonged to. This had the effect of crystallising a racial divide which had been far more fluid and flexible before.
The Hutu revolution
Throughout the century Hutu resentment at their inferior status simmered. With the advent of an educated class it found expression. In 1957 nine Hutu intellectuals published a Hutu Manifesto. Its full title was ‘Note on the social aspect of the native racial problem in Rwanda’ and it was ten pages long. The manifesto called for a ‘double liberation’ of the Hutu people, from the colonial oppression of the Belgians, and then from the racial oppression of the Tutsis. The manifesto called for the political disenfranchisement of the Tutsi, banning intermarriage between the two groups, and banning the Tutsi from military service.
1959 Hutu political leaders backed by elements in the Belgian administration overthrew the Tutsi monarchy (which had continued to exist throughout the colonial period) and replaced it with a republic. Violence against Tutsis spread across the country and tens of thousands of Tutsis fled to neighbouring countries, including Uganda. (When many of these exiles returned with the triumph of the RPF government in 1994, they were referred to as ’59ers’.)
Independence 1962
Rwanda was separated from Burundi and the two countries gained independence on 1 July 1962. Tutsi militias raised among exiles, especially in neighbouring Uganda, staged occasional raids into Rwanda, which always led to reprisals by the Hutu government. In December 1963 a Tutsi raid led to Hutu reprisals in which tens of thousands of Tutsis were massacred, in what one journalist called a genocide and Bertrand Russell declared was the worst massacre since the Holocaust. (This Russell quote crops up in Fergal Keane’s book on the genocide; it’s obviously one of those quotable quotes you get extra marks for in your GCSE essay.)
More than 336,000 Tutsi left Rwanda in 1964 to escape the Hutu purges. In 1972 Tutsi school students across the country were attacked, beaten, their houses torched. So large-scale massacres and pogroms came in waves.
Meanwhile, in neighbouring Burundi, it was the Tutsis who were in charge and in 1973 embarked on a pogrom of Hutus. As many as 100,000 were killed and a further 200,000 Hutus fled as exiles into Rwanda, where every one of their stories fed the fuel of anti-Tutsi anger.
The 1973 influx of Hutu refugees inspired the Rwandan president Grégoire Kayibanda to order his army chief of staff, Juvénal Habyarimana, to set up ‘committees of public safety’, which promptly set about massacring Tutsis. On this occasion the victims were ‘only’ in the hundreds, but as many 100,000 Tutsis fled abroad.
To summarise, Rwanda and Burundi have a long record of attack and counter-attack, profound ethnic antagonism and ethnic cleansing of the two groups which dated back before independence and flared up on an almost annual basis, with the Tutsi almost always being victimised, massacred, and fleeing the country in tens of thousands. The 1994 genocide was generations in the making.
Habyarimana’s coup 1973
In 1973 Rwanda’s army chief of staff, Hutu nationalist Juvénal Habyarimana, carried out a coup, overthrowing president Kayibanda and declaring himself president of independent Rwanda. Under his rule Rwanda became a totalitarian, one-party state in which every citizen was compelled to be a member of his MRND party and was required to chant and dance in adulation of the president at mass pageants (p.75). Habyarimana was to remain dictator of Rwanda for 21 years, kept in place by lavish aid from Western nations and in particular from his most loyal Western supporter, France. Naturellement.
Gourevitch makes the point that during the 1980s and 90s France channeled huge amounts of armaments to the Hutu government, up to and through the actual genocide; that French advisers helped the government at all levels; that French president Francois Mitterand’s son Jean-Christophe was an arms dealer who made a packet from the trade (p.89).
In 1986 the global price of Rwanda’s main exports, coffee and tea, collapsed, and real hardship for the majority of the population added to simmering Hutu disaffection. The racist, supremacist policies of Hutu Power spread like a virus, popularising the insulting term inyenzi or cockroaches for Tutsis.
The Rwandan Patriotic Front (RPF) The Tutsis in Uganda
But so did the Tutsi fightback. It is important to understand the role played by Ugandan politics. In 1979 Tutsi exiles in Uganda formed the Rwandan Patriotic Front (RPF). (It was initially known as the Rwandan Refugees Welfare Association and then, from 1980, as the Rwandan Alliance for National Unity (RANU)). It was formed in response to the persecution of Tutsi refugees by the regime of Ugandan president Milton Obote. Obote accused the Rwandans of collaboration with his predecessor, Idi Amin.
Tutsi refugees Fred Rwigyema and Paul Kagame had joined Yoweri Museveni’s rebel Front for National Salvation (FRONASA). Museveni had fought alongside Obote to defeat Amin in 1979 but withdrew from the government following Obote’s disputed victory in the 1980 general election.
With Rwigyema and Kagame, Museveni formed a new rebel army, the National Resistance Army (NRA). Their campaign to overthrow Obote’s government became known as the Ugandan Bush War.
Obote remained hostile to Rwandan refugees throughout his presidency and in 1981 forced RANU into exile in Kenya. In 1982 he encouraged local councils to force Rwandan refugees out of ordinary civil life and into refugee camps. When Rwandans attempted to cross the border back into Rwanda, the Habyarimana regime confined them to isolated refugee camps and closed the border to prevent further migration.
You can see why many Tutsi exiles found themselves in an impossible position and it explains why so many joined up with Museveni’s NRA with the aim of overthrowing Obote and restoring their rights within Uganda.
In 1986 the NRA captured Kampala with a force of 14,000 soldiers which included 500 Rwandans, some of them senior officers, among them Kagame and Rwigyema. Museveni was grateful for their support and relaxed all Obote’s laws discriminating against Rwandans.
But you can also see why their success in the Bush War led soldiers like Rwigyema and Kagame to think they might launch a similar military attack against the consider an attack against Rwanda, with the aim of overthrowing the dictatorial Habyarimana regime, installing a moderate government and so allowing the Rwandan refugees inside Uganda to return home. And you can see why the new man they’d helped to power in Uganda, Museveni, would support such a move.
The Rwandan civil war 1990 to 1994
At its 1987 convention RANU renamed itself the Rwandan Patriotic Front (RPF). After a small-scale incursion was repelled in 1989, a cohort of Tutsi soldiers within the Ugandan army deserted, along with uniforms, arms and ammunition and invaded north Rwanda in 1990. It was the right year, as the Cold War came to an end and Western powers abruptly ceased their support for African dictators like Mobutu of Zaire and Habyarimana of Rwanda and force them to instal multi-party democracies.
The RPF incursion developed into the Rwandan Civil War. (To give a sense of the relatively small scale of all this, the original Tutsi incursion numbered some 2,500 soldiers who effectively went AWOL from the Ugandan army, accompanied by some 800 civilians such as doctors and nurses.) The RPF were defeated and repelled by the Rwandan Army (bolstered by French troops flown in to prop up another notorious African dictator) and withdrew to the Virunga mountains where Paul Kagame, establishing himself as its paramount leader, led a very effective regrouping and reorganisation. He attracted funds and exiles, he imposed strict military discipline and turned the RPF into an impressive fighting machine. In 1991 they emerged from the mountains to conduct an effective guerrilla campaign, hitting military targets across the north.
Throughout this period Hutu Power stepped up their propaganda that the Tutsis were parasites on decent hard-working Hutus, exacerbated by the war which Hutus blamed on Tutsi invaders. The circle around Habyarimana’s wife, Agathe, set up a propaganda magazine, Akura, edited by Hassan Ngeze, who developed into the Dr Goebbels of the regime and in December 1990 published a Hutu Ten Commandments mandating Hutu supremacy in all aspects of Rwandan life (p.87).
Propaganda claimed the Tutsis were an alien people, were not Christians, were fighting to gain dictatorial control of Rwanda, restore the old monarchy and reduce the Hutu majority to slaves. In 1992 Hutu Power ideologue Leon Mugesera made a much-reported and chilling speech calling on Hutus to send the Tutsis back to Ethiopia by river i.e. as corpses down the river Nyabarongo (pages 53 and 96). And throughout the war Radio Rwanda broadcast anti-Tutsi hate and there were sporadic anti-Tutsi pogroms around the country, in which thousands were murdered.
The RPF invasion ratcheted up the very anti-Tutsi hate they were set up to counter.
Fragile peace 1993
By 1992 Habyarimana had been forced to accept a measure of multi-party politics and had included politicians not members of his party in the cabinet. It was these opposition politicians who met with the RPF leadership and negotiated a ceasefire in July 1992, leading to face-to-face peace negotiations.
It’s vital to realise that the hardline Hutus, often referred to as the akazu (p.81) and linked with the extended family of the president’s wife, disapproved of Habyarimana’s willingness to compromise and negotiate. They began setting up parallel hard-line Hutu structures within the organs of state, the civil service, the media and the army. Historian Gérard Prunier names late 1992 as the time when the idea of a genocidal ‘final solution’ to kill every Tutsi in Rwanda was first floated among this group. It was led, ironically enough, by one of the new parties encouraged to form by Western pressure to set up a proper democracy, the Coalition for the Defence of the Republic (CDR).
When Habyarimana signed a treaty with the RPF in early 1993 promising a transition to a genuine pluralist democracy in which Tutsi rights would be respected the CDR refused to sign, organised nationwide protests and encourage anti-Tutsi violence in which hundreds were murdered. In response the RPF resumed hostilities, this time defeating the Rwandan army which hadn’t been paid due to the country’s deteriorating economy.
Ever-faithful France sent troops to bolster the Rwandan army. The numbers are tiny. Just the arrival of 400 well disciplined and trained French troops was enough to halt the RPF advance. Nonetheless the RPF came within striking distance of Kigali but Kagali overruled his senior officers and refused to take the capital, shrewdly pointing out that it would alienate his foreign backers and the Hutu population. Instead he declared a ceasefire and called for more negotiations.
On the Hutu side, factions arose in all the parties which allied themselves with what became known as Hutu Power. Each party split into a moderate faction which believed in some amount of political negotiation, and a ‘Power’ faction, which rejected compromise and stood for total Hutu supremacy (p.97). Youth militia wings of each of the parties emerged, including the Interahamwe meaning ‘those who attack together’, who had their origin in football supporters clubs (p.93).
Habyarimana began to realise that the Hutu Power militants were more his enemy than the RPF. After prolonged haggling over the make-up of the post-war Rwandan army, a formal peace treaty was signed on 4 August 1993 (p.99). A transitional government was to be set up with members from all the main parties. UN troops were flown in to supervise the treaty, while Hutu Power authorities began to plan a genocide. Four days after the signing a new radio station set up by the akazu, Radio Television Libre des Milles Collines, began broadcasting genocidal propaganda (p.99).
The general situation was not helped at all when president of Burundi, Melchior Ndadaye, who had been elected in June as the country’s first ever Hutu president, was assassinated by extremist Tutsi army officers in October 1993, leading to a Hutu uprising and a violent crackdown by the Tutsi army which left around 50,000 dead (p.101). The assassination reinforced the notion among Rwandan Hutus that the Tutsi presented a permanent threat and that there could be no peace, not real long-lasting peace, until they were completely eliminated. This very fragile ‘peace’ lasted from August 1993 till April 1994.
Trigger for the genocide 1994
On the night of 6 April 1994 a plane carrying president Habyarimana and his counterpart Cyprien Ntaryamira of Burundi – both Hutus – was shot down as it approached Kigali airport, killing everyone on board. Hutu extremists blamed the RPF. The Hutu Power wing of the army, led by Colonel Théoneste Bagosora, assassinated the next in line to civilian authority, the (Hutu) Prime Minister, Agathe Uwilingiyimana, along with ten Belgian UN soldiers charged with her protection (who were tortured first, p.114), and immediately started to implement the campaign of slaughter which they had been developing for years. It was to be a ‘final solution’ to the Tutsi problem.
The RPF claims that Hutu extremists themselves murdered their own president because he was engaged in negotiations with the Tutsis i.e. was a moderate Hutu and seen by a ‘sellout’ by the extremists on his own side.
The very next day, 7 April, as systematic killings across the country began, Kagame warned he was abandoning the treaty and the RPF broke out of its base in the north, attacking into Rwanda in three directions. So the genocide took place against the backdrop of renewed invasion and war. The RPF slowly seized territory in the east, heading south. UN troops were stationed in the demilitarised zone in the north but were ordered to withdraw to their camps to avoid getting involved in the fighting.
You can see why the renewal of war incited the Hutu Power advocates to carry out the genocide with feverish haste, ordering their followers at local level to kill as many as possible as quickly as possible before either the RPF won or the international community stepped in. For Hutu Power, it was a race against the clock.
The genocide – 100 days in 1994
Between April and July 1994, an estimated 800,000 Rwandans were killed in the space of 100 days. Three key facts to grasp are that:
1. The Hutu Power extremists had been preparing for this day for years, had drawn up lists of every Tutsis in the country with names and addresses, had assigned local Hutu leaders to direct and manage the slaughter, and had plans to take over state radio The Hutu extremists set up a radio station, RTLM, and newspapers which circulated hate propaganda, urging people to ‘weed out the inyenzi‘, to broadcast messages of hate. In other words, it was all extremely well planned. The identity cards which every Rwandan had been obliged by law to carry ever since the Belgians introduced them in 1931 (p.56) now became death warrants for any Tutsi stopped by police, militias, at road blocks, in the street, stopped search identified and hacked to death with a machete.
2. Second thing is that Rwanda was unique in tropical African countries in having been, from before Europeans arrived, a highly hierarchical country, organised like a pyramid from each district up to the top of government. Habyarimana’s governing party, the MRND, had a youth wing called the Interahamwe, which was turned into a militia to carry out the slaughter, but they operated within a highly organised society. It was a very well-organised genocide.
3. French troops, fighting on the side of the Rwandan army, freed up resources which Colonel Théoneste Bagosora could redirect to speeding up the genocide (p.90). On the nights of 16 and 18 June French arms shipments were flown into Goma in Zaire and then ferried across the border to support the genocidal Hutu Power regime (p.155). Gourevitch writes of:
The French political and military establishment’s…blatant complicity in the preparation and implementation of the butchery. (p.155)
I was amused to read that as the RPF closed in a French military plane whisked Habyarimana’s wife, Agathe, the central figure in the networks of Hutu Power, the leading figure in the azaku, to safety back in the homeland of liberty, equality and fraternity. Vive la France!
Number killed
At least 800,000 Tutsis were slaughtered in just 100 days, making it the fastest mass killing in human history. People were slaughtered at a faster rate than even during the Holocaust. Some Tutsis, commentators and historians put the figure higher at 1 million, for example a Red Cross report published soon afterwards.
What’s Somalia got to do with it?
Six months before the genocide broke out American troops had carried out Operation Gothic Serpent, an attempt to take on the evil warlord, Mohamed Farrah Aidid.,who ruled Mogadishu, capital of Somalia, which led to the so-called Battle of Mogadishu on 3 and 4 October 1993 during which a black hawk helicopter was shot down and 19 American soldiers were killed and 73 wounded. Not just that. The American corpses were paraded through the streets, and filmed and the video footage beamed around the world. The world’s only superpower was humiliated.
This explains why, when trouble broke out in another faraway African state, the administration of President Bill Clinton desperately tried to ignore it, then downplay it. Gourevitch quotes the press conferences given while the genocide was being carried out in which the poor press secretary tried to explain the administration’s position that ‘genocidal acts’ were taking place but these didn’t amount to an actual genocide. Why the hair-splitting? Because if the Americans conceded it was a genocide, then they would be legally obliged under the Genocide Convention of 1948 to intervene. And Clinton refused under any circumstances to risk another Black Hawk Down humiliation. And therefore officials at every level of the administration were under strict orders never to use the g word.
A bit too neatly Gourevitch says that in May, as the genocide was in full swing, he was visiting the Holocaust Memorial Museum in Washington, which happened to have been opened by President Bill Clinton who made a speech repeating the museum’s motto Never Again. But not only did it happen again, and the American government was the number one reason that the West, the international community and the United Nations did not do more to stop it (as explained in detail on pages 151 to 154). Disgusting.
French involvement and guilt
By June the RPF, attracting more and more Tutsi recruits, controlled the east of Rwanda, had surrounded the key cities including Kigali. In the same month France launched Opération Turquoise in the west of the country, entering from bases in the Zairian cities of Goma and Bukavu and eventually controlling the western fifth of Rwanda in order to create a safe haven for refugees. The fact that many of these refugees were Hutus, fleeing the advancing RPF army, and included many Hutu Power administrators and officials, has led to claims ever since that the French in effect protected those responsible for the genocide.
From the moment they arrived, and wherever they went, the French forces supported and preserved the same local political leaders who had presided over the genocide. (p.158)
Throughout the genocide French military spokesman argued that it was a ‘two-way’ genocide, both sides were as bad as each other and sneeringly referred to the RPF as the Khmer Rouge. The French had many motivations. 1. To maintain hegemony over the widest possible area of francophonie. 2. To maintain its credibility with the other African dictators it supported. Hatred of the English. Hard though it is to believe, the French government opposed the RPF because they originated in English-speaking Uganda. French culture must be preserved even at the cost of supporting the largest genocide since the Holocaust. This was recognised as a factor in France’s support for mass murder by as senior figure as Paul Kagame:
‘If they wanted people here to speak French, they shouldn’t have helped to kill people here who spoke French.’ (p.160)
The permanent grievance of the history’s losers.
The signal achievement of [France’s] Opération Turquoise was to permit the slaughter of Tutsis to continue for an extra month, and to secure safe passage for the genocidal command to cross, with a lot of its weaponry, into Zaire. (p.161)
Scum. cf p.289 and p.325.
End of the genocide July 1994
By late June the RPF had surrounded Kigali and took the capital on 4 July, followed on 18 July by the major towns of the north-west, forcing the interim government into Zaire. The RPF victory ended the genocide as well as the civil war. By the end of July 1994 Kagame’s forces held the whole of Rwanda except for the Turquoise zone in the south-west.
The international community, the UN troops on the ground and the French had done fuck-all to halt the worst genocide since the Second World War. (To be fair, Canadian General Roméo Dallaire sent his superiors in New York advance warnings he had learned from high-placed Hutu dissidents that a really huge massacre was being planned. When they ignored his warnings and actively reduced the UN presence on the ground, he and his reduced forces were at least able to provide refuge for thousands of Tutsi and moderate Hutu at its headquarters in Amahoro Stadium, at other secure UN sites, and assisted with the evacuation of foreign nationals.)
Instead the genocide ended solely as a result of the military intervention of Paul Kagame’s RPF (p.143). (Mind you, you could make the case that the genocide only came about because of the sequence of events following the RPF’s initial invasion of 1990, designed to overthrow the ‘legitimate’ Hutu government. Academics, commentators and advocates of all sides can spend the rest of time assigning blame.)
Map showing the advance of the RPF during the 1994 Rwandan genocide (source: Wikipedia)
Aftermath – flight of the Hutus
As the RPF closed in the Hutu extremists prepared not just to flee the country, but used state radio and local authorities to terrify the Hutu population into believing they too, in their turn, would be slaughtered by vengeful Tutsis. Which explains why some two million Hutu peasants took to the road and fled west into Zaire, eventually setting up huge refugee camps as big as cities.
And indeed the RPF were accused of themselves killing thousands of Hutu civilians as they took power, and of pursuing and Hutus across the border in Zaire as they tracked down members of the notorious Interahamwe. The RPF denies this was intentional but Gourevitch has Kagame admitting certain rogue elements in his army may have carried out illegal revenge attacks. He tried to restrain them, some were tried and imprisoned, but there’s a limit to his control.
But the bigger story, which Gourevitch dwells on at length, was the creation of vast Hutu refugee camps which became cities in their own right, homes to countless businesses, run with fear and intimidation by Hutu Power administrators, and funded and supported by the international community and hundreds of well-meaning aid agencies.
Ethnic cleansing in East Congo 1995 to 1996
The resulting situation in eastern Congo became chaotic with Rwandan Tutsis tracking down and massacring Hutus, and Hutu extremists regrouping in the vast refugee camps helped by Western governments and aid agencies a) launching cross-border raids back into Rwanda to murder survivors and kill witnesses and b) embarking on their own campaigns of ethnic cleansing against ethnic Tutsis who had lived in Zaire for generations, specifically in the area of Kivu around the Zairean town of Goma.
In other words, intense Hutu-Tutsi animosity, spilling over into massacres and ethnic cleansing continued for years after the genocide itself was ended by the invading RPF.
First Congo War 1996 to 1997
Gourevitch spells out how the genocide was a gift from God for Congo dictator Seko Sese Mobutu (p.281). The old bastard had been unceremoniously dumped by his Western supporters when the Cold War ended in 1990 and had gone through a lean time manipulating a succession of fig-leaf ‘democratic’ governments while he slowly lost control of the lucrative mining industries which had kept his kleptocratic state alive, inflation soared to 9,000 per cent, the economy collapsed.
But with the advent of nearly two million refugees in the far east of his country in 1994, Mobutu was suddenly the man the international community and countless aid agencies had to go through to help them and he proved a willing participant, seeing as he got to cream off significant percentages of the money passing through his capital and its crooked banks. Leading the charge was, of course, the dictator’s most loyal Western friend and the most avid supporter of the genocidal Hutus, France.
France, ever eager to bail out Hutu Power, broke ranks with the rest of what in Cold War parlance used to be called the ‘Free World’ and unilaterally restored aid to Zaire – which meant, of course, to Mobutu who shovelled the money directly into his Swiss bank accounts. (p.281)
Throughout the spring of 1996 Hutu Power militias based in the refugee camps funded by the West continued a campaign to ethnically cleanse the area of North Kivu of its native Zairean Tutsi population, Gourevitch tours the area after such cleansing, travelling through miles of devastation, meeting terrified refugees. The RPF Rwandan government demanded something be done to protect the Tutsis. Zaire protested no such cleansing was going on. The international community did precisely nothing (p.289).
Eventually Kagame was forced to consider direct military intervention into eastern Zaire where the camps were located. His ally Museveni had introduced Kagame to Zairean revolutionary and guerrilla leader Laurent-Désiré Kabila. They began recruiting troops and creating networks of like-minded soldiers, militias and exiles which coalesced into the Alliance of Democratic Forces for the Liberation or AFDL.
Since North Kivu had been largely ethnically cleansed of Tutsis, Kagam predicted the Hutu Power militias would next turn on the 300,000 or so Tutsis living in South Kivu, known as the Banyamulenge after the town they were meant to have immigrated from back in the seventeenth century.
In September 1996 Hutu militias began attacking the Banyamulenge, burning houses, assassinating key officials, executing people in the street. They were fully supported by Mobutu’s army and media, who blamed the Tutsis victims for every atrocity. This was the same pattern and rhetoric which had led to the genocide. Tutsis fought back and were aided by Rwandan soldiers infiltrated into the area (p.295).
When the local Zairean governor declared that the entire Banyamulenge population had one week to vacate their homes and leave the territory, it was precisely the kind of categorical provocation Kagame had been waiting for. He immediately ordered the advance of the amalgamated forces which he, Museveni and Kabila had created into South Kivu. He tells Gourevitch he had three aims:
protect the Banyamulenge Tutsis, arm them, empower them to fight and protect themselves
to dismantle the notorious refugee camps and get their Hutu occupants to return to Rwanda where they would be treated decently
to ‘change the situation in Zaire’ i.e. remove Mobutu as an active supporter of genocidal Hutu Power and replace him with a modern, neutral figure
The AFDL advance was as disciplined and effective as the RWP invasion of Rwanda 2 years earlier. It had the decisive effect of breaking the grip of Hutu Power on the camps and forcing an estimated 700,000 refugees to abandon the camps and trek the 20 or 30 miles back across the border into peaceful Rwanda, and return to their communities. Obviously, there were all kinds of problems with this enormous reintegration into such a densely populated country and with so many divisive memories, but the wholesale massacre of Hutu refugees which the Hutu Power ideologues had terrified the refugees with never happened.
But to the wider world’s surprise the invading AFDL didn’t just invade the Hutu camps, tracking down Hutu Power exponents, freeing the majority of the Hutu refugees into returning to Rwanda – they then declared their intention of marching on Zaire’s capital, Kinshasa, approximately two and a half thousand miles west.
Fall of Mobutu May 1997
It took the AFDL a long seven months to get there, more a tribute to the shocking state of Zaire’s roads and infrastructure than to any opposition put up by the rubbish Zaire army, the FAZ (which Gourevitch describes as ‘Mobutu’s famously cowardly army’, p.256).
As Kabila’s troops approached the capital, president Nelson Mandela of South Africa flew in to try and broker a deal, but failed. Mobutu wanted to stay on the scene, if only as a figurehead president, while Kabila, leading the winning army, wanted all or nothing. Mobutu, his family and cronies fled, Kabila’s troops entered Kinshasa and on 30 May 1997 Kabila was sworn in as president. Next day Kabile changed the country’s name from Zaire to the Democratic Republic of the Congo. He was to be president until his assassination in 2001.
The Second Congo War 1998 to 2003
Kabila turned against his own backers, responding to the Congo public’s dislike of the occupying army of Rwandans and Ugandans and summarily expelling them all in 1998. Bad move. Rwanda and Uganda again collaborated in putting together an invasion force, this time with the aim of overthrowing Kabila and installing a more compliant president. However, the conflict ended up roping six other African nations into the fighting which degenerated into chaos.
The conflict dragged on till 2003 by which time an estimated five million people had died as a result of the conflict. Some armed groups remain active in the areas near Rwanda’s border right up till the present day, 2021.
The post-genocide period
The last hundred pages of this 350-page book cover the period after the genocide. Gourevitch describes the surprising number of Tutsis who returned from exile all over the place, not just the neighbouring countries of Uganda and Tanzania, but Europe and America, once it was clear that a democratic, mixed ethnicity and peaceful government was in place. And the inevitable tensions this led to between those who’d lived through the horror and seen family and loved ones literally hacked to death before their eyes, and returnees from abroad who moved into the many empty houses, tidied up the mess left by the departing Hutus, had barbecues, laughed and joked as if nothing had happened. Many of the survivors Gourevitch interviews find this difficult to cope with (pages 229 to 241).
He covers the massacre of Hutu refugees at the Kibeho refugee camp. He visits post-genocide prisons packed with Hutus who are strangely passive. Considering that high-profile Hutus were being assassinated on the outside, many of them were relieved to be in the relative safety of prison, regularly visited by international aid workers and monitors. He describes in detail the paradox of Hutu Power genocidaires being protected and funded by western aid agencies, at the complete inability of the international community, yet again, to intervene to stop their attacks into Rwanda and their ethnic cleansing of North Kivu and, yet again, the only thing to stop it being a military invasion organised by Paul Kagame, this time in the shape of the coalition AFDL.
At this kind of thing – specific settings and the issues arising from them – Gourevitch excels and his book will remain a valuable record and testimony to the tense, disorientated spirit of the period after the genocide and before the second Congo war of 1998, the one which degenerated into the Great War of Africa. Gourevitch thought he was covering an event which had finished but ended up recording a moment in the continual, ongoing flux of human events, the edgy post-genocide moment which has itself become part of history.
Stupid remarks
Gourevitch peppers the books with remarks which are, presumably, intended to be insightful, but as someone who did a history GCSE, A-level, history-based degree and has spent my life reading history books and attending history exhibitions, I found disappointingly obvious and trite.
Colonisation is violence and there are many ways to carry out that violence. (p.55)
Every war is unconventional after its own fashion. (p.82)
They sound good, don’t they, they create a good literary, rhetorical effect, they sound profound, but a moment’s reflection tells you they are trite or untrue. He operates on a very superficial level. When he quotes Lord Acton’s hoary dictum that power corrupts and absolute power corrupts absolutely, as if it was a useful contribution to the debate about the genocide, you realise you are dealing with a child. He quotes Stalin’s alleged saying that one death is a tragedy, a million deaths is a statistic, as if it’s a dazzling new discovery (p.201). Disappointing.
Worst of all, Gourevitch develops a theory of human nature based on his literary feelings, on the premise that the most important thing about human nature is the power of the imagination. Instead of seeing things in political terms, he again and again reverts to modish blah about narratives and stories and identity and returns again and again to the importance of imagination, narrative and stories. He is more indebted to Coleridge than Clausewitz. John Milton, Charles Dickens, Rilke, George Eliot, these are his terms terms of reference. It is thin stuff and wholly inappropriate to the subject matter.
He keeps writing things I profoundly disagree with.
We are, each of us, functions of how we imagine ourselves and of how others imagine us… (p.71)
(Note the prissy, attention-drawing use of commas, a rhetorical flourish to make the sentence sound more considered and profound.) I am a Darwinian materialist so I simply disagree. I would counter-suggest that we are, each of us, (sic) not at all functions of how we imagine ourselves, but functions of how our bodies work, products of our biology, of the complex interaction between our genetic inheritance and the myriad biochemical signals the environment we find ourselves in sends us or triggers in our bodies.
If I am starving to death in one of the world’s countless famines or dying of cancer or stroke or heart attack or delirious with malaria it doesn’t really matter what my imagination or anyone else’s imaginations are doing. I am a function, first and foremost, of my biology, all else is secondary.
He writes that the most basic function of power is to coerce us into its narratives. This reads to me like the modish bullshit of the English graduate. The whole approach reeks of the trend across all the humanities and high brow journalism to invoke the magic words ‘narrative’ and ‘story’ as if they explain everything about human nature and politics, but they don’t. If someone puts a gun to your head and tells you to do something or die, complex theories of meta-narrative and Coleridgean distinctions between imagination and fancy become irrelevant. When he writes:
I felt tempted, at times, to think of Rwanda after the genocide as an impossible country. (p.224)
I felt tempted to throw the book out the window. This is high-sounding bullshit. What does it even mean? A country is a country is a country, borders on a map, enforced by border police, with a government and administration and laws and a currency. Russia continues to exist after its century of Soviet tyranny, Germany is going strong, decades after the Holocaust and its violent partition, even Cambodia is still a country after the horror of the killing fields – and so on and so on. Clearly the worry that Rwanda is an ‘impossible’ country is a problem which only exists in Gourevitch’s head and shows you just how obtuse his responses can be.
There’s a lot to be written about the ideology of Hutu Power which drove the genocide and the way it shaped the actions of the génocidaires at all levels of Rwandan society, but Gourevitch doesn’t have the conceptual framework or academic training to do it. He makes repeated efforts to do so, but I found them shallow and disappointing.
The big takeaway
Leaving Gourevitch out of the equation, I think the biggest single thing to take away from study of the Rwandan genocide is that it wasn’t a one-off, inexplicable outbreak of barbarity. The one big thing you learn from studying it is that it was simply the highest point of a century-old culture of ethnic rivalry and hatred, which broke out from the 1950s onwards in repeated massacres and pogroms, exactly as the Jews of Russia and Eastern Europe were subject to centuries of persecution and pogroms way before the Holocaust.
In that sense it is far from inexplicable, it is very, very explicable. What turned the long history of minor, localised outbreaks of ethnic violence into a genocide was the hard work of the Hutu Power ideologues who set out to organise the extermination of the Tutsis by harnessing the organisation and technology of a modern state, using state radio, magazines, and every level of the highly structured administration to promulgate simple messages of hate and desperation. It boiled down to: “Kill the cockroaches before they kill us!” and hundreds of thousands of Hutus, primed by decades of negative propaganda, bought this message and acted on it (p.251).
But study of the Rwandan genocide doesn’t stop in July 1994. Like all the other accounts I’ve read, Gourevitch shows how it leads directly on to the issue of the Hutu refugee camps and the way the Hutu Power génocidaires survived and recreated their power structures there, terrorising hundreds of thousands of refugees, carrying out deadly incursions back into Rwanda, and then setting about the ethnic cleansing of east Congo. And how that led directly to the AFDL invasion of Zaire which became known as the First Congo War, and how that led on to the second invasion of Congo, by Rwandan and Ugandan forces which led to the disastrous Great War of Africa.
For a few months the specific genocidal Hutu Power campaign was able to be carried out with unbridled ferocity, but the killing of Tutsis had been commonplace for decades before it, and the killing of comparable numbers of Hutus (maybe as many as 100,000 Hutus were killed in all forms of revenge attack, from individual reprisals and local pogroms through to the more organised massacres in the refugee camps) followed seamlessly after it.
Gourevitch ends his book gloomily with Bill Clinton’s flying visit to Rwanda in March 1998 (he didn’t even leave the airport) but during which he acknowledged that the events of 1994 had been a genocide and that ‘the international community’ had done too little to intervene. The later sections of his book testify over and over to the complete failure of the international community, America or the UN to act either to prevent the genocide or to intervene to prevent the regrouping of the génocidaires in the camps. Gourevitch gets progressively more angry about it.
But the thing that comes over in his last few pages is the way the killings resumed inside Rwanda. During 1997 and into early 1998, as he was finalising his account, the number of murders and massacres of Tutsis by revived groups of Hutu Power génocidaires was steadily increasing. In fact the book ends with yet another grim atrocity, an account of how a group of 150 Hutu Power militia and interahamwe attacked a boarding school in Gisenyi and hacked to pieces the 17 schoolgirls and a 62-year-old Belgian nun.
In other words, as he ended the book, the tide of communal hate killing had returned and was rising. I’ll need to read other books to find out what happened next…
A correct understanding of human nature
The Rwandan genocide itself was a definable and unique historical event with a specific start and a specific end-point. Gourevitch, throughout his book, professes himself puzzled and bewildered at how it could ever have happened, incapable of imagining the motivation and mindset of ordinary people who took up machetes to hack their neighbours and own family members to pieces.
But the more you study it, the more understandable the Rwandan genocide becomes, provided you have a correct understanding of human nature.
We humans are animals, part of the animal kingdom, subject to the same constraints and urges as other animals. My son who’s just completed his Biology degree, said one of his lecturers summed up all animal activity in a snappy motto: feed, fight, fuck. That’s it. Like all animals, we humans are programmed to mate and reproduce; to do that effectively, we have to fight or compete (albeit in socially mediated and sublimated ways) for a mate. But none of this can take place unless we can feed and water ourselves on a regular basis.
For sure, the so-called ‘mind’ and ‘reason’ which well-fed philosophers have pontificated about for millennia, beginning in the slave societies of ancient Greece and Rome, is also a deep part of human nature – but most people, even the most highly educated, are fundamentally irrational and easily swayed. Humans are very suggestible and easily steered towards courses of action which let them fulfil their primal urges – hunger, lust, violence, and the more socialised wishes for praise and acceptance, wealth and power, no matter how local and fleeting. (Presumably Gourevitch has heard of Sigmund Freud. If so, why has he not learned anything from him, from the grim conclusions Freud drew about human nature based on the First World War?)
The great appeal of war for young men in less-than-perfectly-disciplined armies is that you can fulfil a lot of these really primitive urges. As well as the joy of killing alongside a closely-bonded band of brothers, war all too often provides endless opportunity for risk-free sexual violence. Hence the outbreak of mass raping during every conflict in human history, including the Rwandan genocide.
Once you align your thinking with the basic facts that humans are fundamentally irrational animals, driven by a cacophony of unconscious primitive urges, which lead them to make all kinds of irrational mistakes and, given the opportunity, behave terribly – then most of human history, including all its atrocities, make perfect sense, indeed seem inevitable.
Human nature doesn’t change, at least not on a timescale which human society registers. Give or take a few differences in social conventions, we understand the motives of medieval kings and Roman emperors just fine. And they map very well onto to the behaviour of contemporary African dictators such as Mobutu or Bokassa, just as the lickspittles and hangers-on in the court of each would be interchangeable, and just as the lives of the ordinary businessmen or urban workers or peasants doing forced labour in the fields would be recognisable in 1st century Rome or 20th century Congo.
It is only if you have a wrong understanding of human nature that you are surprised by atrocity and barbarity. Only if you assume that everybody else is as highly educated as you, as well-read in Rilke and Milton, as able to eat out in 5-star restaurants around the world on New Yorker expense accounts. If you come from this blessed background then you might be tempted to think that everyone else is as kind and generous and thoughtful and concerned about issues of gender and equality and identity and narrative as you are. So it is only if you live in this cloud cuckoo-land, liberal arts culture that you are going to be shaken to your core when you visit a country where hundreds of thousands of people undertook the systematic slaughter by hand of their neighbours and even their own family members.
The Armenian Genocide. The Russian Civil War. The Ukraine Famine. The Second Word War. The Holocaust. 20 million Russian dead. Indian Partition. The Great Leap Forward. The Chinese Cultural Revolution. Pol Pot in Cambodia. The Yugoslav wars. Has he not heard of these and many other comparable mass murders?
Why has he not learned the simple lesson that this is what humans do. In the right circumstances, whipped up by the right leaders, humans are capable of any atrocity. The Rwandan genocide wasn’t an inexplicable outbreak of madness but just the most recent example of an enduring and central aspect of human nature.
Gourevitch displays the same naive or obtuse shock every time he comes to ‘think about’ the genocide. The shock and dismay of a privileged, literature-soaked author, at the pinnacle of his liberal profession in the richest country in the world, amazed to discover what life is like in one of the poorest countries in the world (which is how Rwanda was classified by the World Bank in the immediate aftermath of the genocide, a place where the average annual wage was estimated to be $80, far less than Gourevitch and his fellow editors of The Paris Review probably used to spend on one business lunch.)
It isn’t anything ‘wrong’ in human nature or ‘wrong’ about the human imagination which he is discovering. Human nature is human nature just like gravity pulls things towards the centre of the earth, the sun rises in the morning, fire burns and so on. It is a basic fact of the world we exist in.
The reason Gourevitch is shocked is that he had such a completely mistaken view of human nature in the first place. He had read about the Holocaust but not really processed its lessons, what it tells us about what ‘ordinary’ people are capable of, namely any level of cruelty and barbarity if they think it means they and their loved ones will survive.
It is the shock of a pampered American discovering that the rest of the world is not like America, in fact it is inconceivably different. (Gourevitch is well aware of the issue of American parochialness and American ignorance. He routinely criticises the sparse and uninformed commentary on the situation in Rwanda and Zaire which he reads in even leading American newspapers like the New York Time and Washington Post, e.g. pages 297, 343. What’s the title of the Green Day song, American Idiot.)
Because he has diametrically the wrong view of human nature, Gourevitch at various points describes the genocide and the killings which followed it as a kind of failure of political and cultural imagination (p.206).
On the contrary, from my point of view, the Rwandan genocide was a kind of fulfilment of the profound and bestial aspects of human nature which I’ve described – albeit carefully whipped up, legitimised and organised by the Hutu Power propagandists. The genocide is explicable because it derives from understandable, analysable aspects of human nature. Have you not read any human history? Do you not know it amounts to a catalogue of massacres and genocides?
The common objection people make to my view of human nature, starting with my own kids, is: “Well, it’s not like that where I live. Where I live everyone is nice and friendly and caring. If what you say is true, how come everyone isn’t at everyone’s throats all the time?”
But the answer is simple: we in the West are well fed. Really well fed. The biggest medical problem in the West is the epidemic of obesity and diabetes. Fat people don’t fight. Even the most casual knowledge of history shows a direct correlation between hunger and social upheaval. The French Revolution, the Russian Revolution, the rise of the Nazis took place in societies pushed to the brink by famine, hunger and extreme social stress; in Weimar Germany mass unemployment meant people were literally starving.
In these circumstances, the most basic human drives come to the fore and can be manipulated and directed by those who understand how: Danton, Lenin, Goebbels, Pol Pot and, in Rwanda, the exponents of Hutu Power such as Hassan Ngeze and Colonel Théoneste Bagosora.
It follows that the fundamental aim of any government should be to manage the economy in such a way as to ensure that most of its citizens are fed, not only as a good in itself but as the basic protection against social collapse and reversion to barbarism. To take a leaf from Gourevitch’s book and quote a famous literary figure, it was Bertolt Brecht who wrote: “Food first, then fancy talk about morality”. (“Erst kommt das Fressen, dann kommt die Moral” The Threepenny Opera).
Feeding your population, ensuring security of food, then of housing, then of work which is rewarded with a stable currency, are probably any modern government’s top priorities.
Gourevitch’s assembly of all the facts and his narrative of the deep history, build-up to and then catastrophic events of the Rwandan genocide are thorough and authoritative, and he has obviously interviewed an enormous variety of people who shed light on all levels of events, victims and perpetrators, as well as numerous UN and aid officials, ministers, government spokesmen, including president Kagame of Rwanda and president Museveni of Uganda. It’s a hugely impressive roster. He had tremendous, what the journalists call “access”.
For all these reasons his book tells a searing story and will remain important evidence. But every time he stops to ‘think’ about what he’s describing, he displays a regrettably low level of awareness about human nature, society and history. He demonstrates that he is an idealistic American unprepared for a world which is mostly not populated by well-read, New York liberals. His bewilderment is sometimes so total I wish I found it funny, but it ended up being deeply irritating and marring my admiration for the extensive and very impressive factual sections of his book.
Cecile Kayirebwa
We are animals, bound by the same fundamental facts and constraints of biology as all other life forms on earth. And yet we belong to a freak line of evolution which has led us to develop language, speech, writing, mathematics and technology, and create an impenetrably complex labyrinth of cultural artefacts. One among billions of these human artefacts is this song written by Rwandan poet and singer, Cecile Kayirebwa, which laments the victims of the Rwandan genocide.
Credit
We Wish to Inform You That Tomorrow We Will Be Killed With Our Families: Stories from Rwanda by Philip Gourevitch was published by Farrar, Straus and Giroux in 1998. All references are to the 2000 Picador paperback edition.
Congo: The Epic History of a People by David Van Reybrouck is a wonderland of a book. The accounts he gives of the involvement of Congolese soldiers in the two world wars are so remarkable and so little known that it’s worth recording them in a standalone blog post.
In his characteristic style, van Reybrouck interweaves traditional, factual history with first-hand, eye-witness memories by veterans or the families of veterans, which add colour and human scale to such huge abstract events.
First World War (pages 129 to 139)
Congo as a buffer state
At the Congress of Vienna in 1815 Belgium itself was conceived as a sort of buffer state between the powers, between France and Prussia. In a similar way, at the Berlin Conference of 1885, King Leopold persuaded the powers that his seizure of this huge chunk of Africa would serve as a sort of buffer between territory controlled by the old rivals Britain and France in west Africa and the territory claimed in east Africa by the new kid on the block, Germany.
The final agreement of colonial borders in Africa meant that Congo shared a 430-mile-long border with German East Africa. Given that the Germans owned Cameroon to the north-west of Congo, it made sense for them to ponder seizing a corridor through the Belgian colony in order to link German East and West Africa. In fact, just before war broke out, the German foreign office actually approached the British with the suggestion of dividing Congo between them, which the British wisely rejected.
Germany attacks
After war broke out in Europe in August 1914, the colonial authorities expected Congo to remain neutral, which it did for all of 11 days, until Germany attacked. A steamship crossed Lake Tanganyika from the German side and shelled the Congo port of Mokolubu, sinking some canoes, then German soldiers landed and cut the telephone wire. A week later the Germans attacked the lakeside port of Lukuga, too.
Main battle zones
Because of the lack of roads and infrastructure, the First World War in Africa wasn’t fought along huge fronts, as in Europe, but was a matter of seizing strategic points and roads. Congolese forces ended up fighting on three fronts, Cameroon, Rhodesia and East Africa.
1. In 1914 a handful of Belgian officers and 600 Congolese troops were sent to help the British in the battle for Cameroon where German resistance to British, French and Belgian colonial units finally ended in March 1916.
2. By mid-1915 South African troops had secured the surrender of German South-West Africa but German forces threatened Rhodesia and so the Belgian government in exile (in Le Havre) ordered seven Belgian and 283 Congolese soldiers to help the British defend it.
Battle of the lakes
3. But the most intense Congo-German engagement was in the East. Here the border between Congo and German East Africa had only been finalised as late as 1910. In 1915 German forces led by Paul von Lettow-Vorbeck made repeated attempts to move into Kivu district (to the west of Lake Kivu, which formed part of the border between Belgian and German territory), with a view to pushing on north to seize the Kilo-Moto gold mines of the Ituri rain forest.
The Germans took initial control of lakes Kivu and Tanganyika which they patrolled with armed steamships. In reply the Allies i.e. the British, organised the transport of steamships broken up into parts all the way up the Congo and then across land to the lakes. They also sent four aquaplanes, which undertook a campaign to bomb and sink the German ships.
The Tabora campaign
Meanwhile, a large infantry force of 15,000 soldiers was assembled on the east Congo border under Force Publique commander, General Charles Tombeur. An important fact to remember is that, in the absence of decent roads, almost all the materiel needed for these campaigns had to be carried by porters, just as in Victorian times. It’s estimated that for every soldier who went into battle there were seven porters. In total, throughout the war years, it’s estimated that some 260,000 native porters were recruited or dragooned, out of a total population of less than ten million. This disruption had a negative impact on local economies and food production, but the conditions of the porters weren’t much better, with all experiencing inadequate food, shelter and little drinking water. As usual in every conflict, disease became rife and about one in ten of the porters died on active service, a total of some 26,000, compared to 2,000 soldiers.
As to the campaign itself, in March 1916 General Tombeur led his army across the border into Rwanda and seized the capital, Kigali, on 6 May. They then marched the 370 miles south-east to Tabora, which had been a key staging post for the explorers of the 1870s and 1880s and was now the nexus of German administration. It was the largest engagement of the campaign. Tombeur’s forces joined with another army which had marched from Lake Tanganyika and, after ten days and nights of intense fighting, Tabora fell to the Belgian-Congo forces on 19 September 1916. The Belgian flag was raised in the town centre amid widespread celebrations.
In 1917 Tabora was used as a staging post for a campaign to capture Mahenge, 300 miles to the south, but the battle of Tabora was the one which went down in colonial memory. Tombeur was given a peerage and songs were written about his famous victory.
Interview with Martin Kabuya
Typical of van Reybrouck’s method of humanising history, he tracks down an army veteran, Martin Kabuya, whose grandfather fought in the Tabora campaign and, he claims, provided cover for the soldier who raised the Belgian flag in the conquered town square (p.135). And then talks to Hélène Nzimbu Diluzeti, 94-year-old widow of Thomas Masamba Lumoso, a Great War veteran who served in the TSF or telégraphie sans fils (i.e. wireless) section from 9 August 1914 to 5 October 1918, so for only a weeks short of the entire duration of the war (pages 135 to 137).
Here’s the map van Reybrouck provides. You can see the black arrows indicating movement of Congolese forces through the two small unnamed states of Rwanda and Burundi towards Tabora in what is now called Tanzania but was then German East Africa. On the top left of the map you can see the borders of Cameroon and understand how German strategists, at one point, might have fantasised about annexing northern Congo in order to for a corridor of German colonial territory from Tanzania through north Congo and joining up with Cameroon. One of many colonial pipe dreams.
The Congolese in Belgium
Not many Congolese soldiers had time to be transported to Belgium before it fell to the Germans’ swift advance in August 1914. Van Reybrouck tells us the stories of two of them, Albert Kudjabo and Paul Panda Farnana, members of the Congolese Volunteer Corps. They were among the tens of thousands deployed to defend the Belgian city of Namur but the Germans swiftly captured it and these two Africans who spent the next four years in various prisoner of war camps. Among transfers between camps, forced labour and various humiliations, they were interviewed by the Royal Prussian Phonographic Committee which recorded Kudjabo singing traditional songs. The recordings survive to this day (p.138).
Van Reybrouck returns to the two POWs on page 178 to describe their chagrin and anger when they were finally repatriated to from Germany to Belgium only to read commentators in the press saying the likes of them should be packed off as soon as possible back to the land of bananas (p.178). They had fought side by side with their Belgian brothers to protect the motherland. Where was the gratitude? It left a legacy of bitterness.
Paul Panda Farnana
We know a lot about Farnana in particular because he played a central role in founding the Union Congolaise in August 1919, an organisation set up to assist ‘the moral and intellectual development of the Congolese race’. The Union called for greater involvement of the natives in the colonial administration and opened branches across Belgium.
In December 1920 Farnana addressed the first National Colonial Congress in Brussels and then took part in the second Pan-African Congress organised by American civil rights activist W.E.B du Bois. In 1929 Farnana returned to Congo and settled in his native village, but died there, unmarried and childless in 1932. He is often considered the first Congolese intellectual, but his was a very isolated voice. It would take another world war and decades of simmering discontent before real change could be affected.
Consequences of the Great War
After Germany’s defeat its African colonies were parcelled out to the allies. England took German East Africa which was renamed Tanganyika (and then Tanzania, on independence in 1961). Belgium was handed the two small states on the eastern borders of Congo, Rwanda and Burundi.
Earlier in the book van Reybrouck described the process whereby colonial administrators defined and helped to create tribal identities. Originally much more fluid and overlapping, these names and categories hardened when the authorities issued identity cards on which every Congolese had to match themselves to a limited list of bureaucratic tribal ‘identities’.
When they took over Rwanda, the Belgian authorities applied the same technique, insisting that the previously fluid and heterogenous Rwandans define themselves as one of three categories, Tutsi, Hutu or Twas (pygmy), an enforced European categorisation which was to bitterly divide the country and lead, ultimately, to the calamitous Rwandan genocide of 1994.
Although the war disrupted societies and led to significant native casualties in the eastern part of the country, the mining regions such as Katanga experienced an economic boom and huge explosion of jobs which increased urbanisation. But after the war there was a sudden drop in demand which led to layoffs, unrest and strikes.
Second World War (pages 182 to 189)
And then it happened all over again, except on a bigger scale, in 1940. In 18 days the German army rolled through Belgium as part of its conquest of France, Belgium was defeated and occupied. While the Belgian government fled to England, King Leopold III was taken prisoner to Germany. For a while there was uncertainty in the colony about which way it would jump – support the victorious Nazis or align with the humiliated government in exile? The decision was taken by the man on the scene, Governor General Pierre Ryckmans who to his great credit decided the Belgian Congo would align with the allies and fight fascism.
Ethiopia
Mussolini had invaded Haile Selassie’s Abyssinia in 1935. In 1940 Churchill sent troops from British Kenya into Ethiopia to neutralise the Italian threat. Starting in February 1941 the Brits were reinforced by the eleventh battalion of the Congo Force Publique. This consisted of 3,000 Congolese soldiers and 2,000 bearers.
They drove across British-controlled Sudan in blistering heat but had to manage the mountainous west of Ethiopia mostly on foot. From scorching heat it started to rain and the troops found themselves mired in mud. The Congolese took the small towns of Asosa and Gambela but faced a stiffer challenge at the fortified garrison town of Saio. After heavy shelling, on 8 June 1941, the town surrendered. Congo forces took nine Italian generals including the commander of all Italian forces in East Africa, 370 Italian officers, 2,574 noncoms and 1,533 native soldiers, along with a huge amount of munitions and equipment.
Van Reybrouck makes the droll point that the expulsion of the Italians (who had only held Ethiopia for 6 years) allowed the return of the emperor Haile Selassie, which gave renewed vigour to the small sect of Rastafarians in faraway Jamaica who had started worshipping the emperor as a deity during the 1930s. Thus Congolese soldiers helped in creating the spiritual side of reggae!
What Tabora had been in World War One, Saio was in World War Two, a resounding victory for African troops. More than that, for the first time in history an African nation had been liberated by African troops (p.185).
Nigeria
Van Reybrouck interviews Congo veterans who fought in the campaign, Louis Ngumbi and André Kitadi. He takes a path through the complicated wartime events in north Africa through the career of Kitadi. Having routed the Italians in the East, the focus switched to West Africa. Kitadi was a radio operator in the Congo army. In autumn 1942 he was shipped up to Nigeria and trained for 6 months in readiness to take Dahomey (modern Benin) from the Vichy French. However during the training period, Dahomey switched to General de Gaulle’s Free French and so the focus now switched to Libya where German forces under Rommel were based and repeatedly threatened to invade Egypt.
Kitadi and the other Congolese soldiers travelled across the desert of Chad (a French colony run by a black governor allied to de Gaulle). Van Reybrouck dovetails Kitadi’s story with that of Martin Kabuya, another radio operator in the Force Publique, who had also been shipped to Nigeria, but now found himself sent by sea right around Africa and up through the Suez Canal.
Egypt
Kitadi spent a year in a camp outside Alexandria. There were lots of Italian prisoners of war, kept in barbed wire POW camps. The Arabs stole everything. Kabuya was stationed at Camp Geneva near the Suez Canal, intercepting enemy Morse code messages. Once he was attacked by a big SS man who he stabbed in the gut with a bayonet and killed.
Palestine
When fighting in Europe ended, both men stayed in the army and were moved to Palestine to help with the new British mandate there (p.188).
The paradox of scale
Paradoxically, although the scale and reach of the Second World War was dramatically larger than the first, the involvement of Congolese was significantly smaller for the simple reason that the army no longer needed bearers and porters – they had trucks and lorries. So the number of Congolese directly involved in the war was nothing like the 260,000 Congolese porters dragooned into service in 1914-18, with the results that casualties were correspondingly much smaller.
The odyssey of Libert Otenga
The strength of van Reybrouck’s approach is demonstrated by the story of Libert Otenga. Otenga joined a mobile medical unit of Belgian doctors and Congolese medics.
The Belgian field hospital became known as the tenth BCCS, the tenth Belgian Congo Casualty Clearing Station. It had two operating tents and a radio tent. In the other tents there were beds for thirty patients and stretchers for two hundred more. During the war, the unit treated seven thousand wounded men and thirty thousand who had fallen ill. Even at the peak of its activities it consisted of only twenty-three Belgians, including seven doctors, and three hundred Congolese. Libert Otenga was one of them.
Van Reybrouck tracks down an ageing Otenga in Kinshasa to hear his story. First the medical unit was sent to Somalia. Then they went with British-Belgian troops to Madagascar, where they tended German prisoners of war. After Madagascar, the unit went by ship to Ceylon, where the medical unit was reorganised, and then on to India, to the Ganges delta in modern Bangladesh, a long way up the river Brahmaputra and then overland to the border with Burma, a British colony which the Japanese had captured in 1942. This was their longest posting, they treated soldiers and civilians, they had an air ambulance at their disposal. As van Reybrouck remarks:
The fact that Congolese paramedics cared for Burmese civilians and British soldiers in the Asian jungle is a completely unknown chapter in colonial history, and one that will soon vanish altogether. (p.189)
The travels of Congolese forces during the Second World War
Congo and the atom bomb
The uranium in the Big Boy bomb dropped on Hiroshima contained uranium mined in the mineral-rich Katanga province of Congo (p. 190).
Edgar Sengier, then managing director of Union Minière, saw to it that Congo’s uranium reserves did not fall into the wrong hands. Shinkolobwe had the world’s largest confirmed deposit of uranium. When the Nazi threat intensified just before the war, he had had 1,250 metric tons (1,375 U.S. tons) of uranium shipped to New York, then flooded his mines. Only a tiny stock still present in Belgium ever fell into German hands. (p.190)
The Cold War
During the war the Congo had come to America’s attention as an important source of raw materials for war goods. By 1942 the Japanese had captured most of the Far East, so new sources were needed. the Congo turned out to be a vital source of metals like copper, wolfram, tin and zinc, and of vegetable products such as rubber, copal, cotton, quinine, palm oil for soap and, surprisingly, use in the vital steel industry. (p.191)
This was before the scientists of the Manhattan Project discovered how to make an atom bomb at which point uranium became a vital resource of strategic significance. All this explains America’s interest in the Congo in the 15 years after the war, and then its intense involvement in the events surrounding independence and its support of the dictator Mobutu through the entire Cold War period.
One way of seeing these events are as colourful sidelights on the two world wars and then the low level capitalist-communist antagonism which followed and van Reybrouck’s focus on individual experiences helps the reader understand how all our lives are determined and shaped by vast impersonal historic forces.
Another way of looking at it, is to reflect that from the moment it was first mapped and explored by Stanley in the late 1870s, the second largest country in Africa has never been free of interference, control and exploitation by Europe and America.
Credit
Congo: the epic history of a people by David Van Reybrouck was published in Dutch by De Bezige Bij in 2010. All references are to the paperback version of the English translation by Sam Garrett, published by Fourth Estate in 2015.
Surprisingly for a contemporary book, Congo: The Epic History of a People is available online in its entirety.
In the third of his mighty trilogy of histories of the long nineteenth century, The Age of Empire: 1875 to 1914, as in its two predecessors, Hobsbawm makes no attempt to hide his strongly Marxist point of view. Every page shouts his contempt for the era’s ‘bourgeois’ men of business, its ‘capitalists’ and bankers, the despicable ‘liberal’ thinkers of the period and so on. From time to time his contempt for the bourgeoisie rises to the level of actual abuse.
The most that can be said of American capitalists is that some of them earned money so fast and in such astronomic quantities that they were forcibly brought up against the fact that mere accumulation in itself is not an adequate aim in life for human beings, even bourgeois ones. (p.186)
Replace that final phrase with ‘even Jewish ones’ or ‘even Muslim ones’ or ‘even black ones’ to get the full sense of how deliberately insulting it is intended to be and how unacceptable his invective would be if applied to any other group of people.
Hobsbawm loses no opportunity to quote Marx (who died in 1883, saddened by the failure of his communist millennium to arrive) or Lenin’s views on late capitalism and imperialism (Lenin published his first political work in 1893), and he loses absolutely no opportunity to say ‘bourgeoisie bourgeoisie bourgeoisie’ scores of times on every page till the reader is sick of the sight of the word.
Hobsbawm’s highly partisan and politicised approach has strengths and weaknesses.
Hobsbawm’s strengths
On the up side, using very simplistic binary oppositions like ‘the developed world’ and ‘the undeveloped world’, the ‘bourgeoisie’ and the ‘proletariat’, helps him to make great sweeping generalisations which give you the impression you are gaining secret access to the engine room of history. If you ignore the complexity of the histories and very different cultures of individual nations such as America, Britain, France and Germany, and lump them altogether as ‘the West’, then you can bring out the broad-brush historical and economic developments of the era, grouping together all the developments in science, chemistry, physics, technology, industry and consumer products into great blocks, into titanic trends and developments.
This gives the reader a tremendously powerful sense of bestriding the world, taking part in global trends and huge international developments. Just as in The Age of Capitalism, the first half or so of the book is thrilling. It makes you feel like you understand for the first time the titanic historical forces directing world history, and it’s this combination of factual (there are lots of facts and figures about industrial production) and imaginative excitement which garnered the trilogy so many positive reviews.
Hobsbawm’s obsession with capitalism’s contradictions
Hobsbawm makes obeisance to the Marxist convention that ‘bourgeois’ ideology was riddled with ‘contradictions’. The most obvious one was the contradiction between the wish of national politicians to define and delimit their nations and the desire of ‘bourgeois’ businessmen to ignore all boundaries and trade and invest wherever they wanted around the globe (p.40).
Another ‘contradiction’ was the way the spread of ‘Western ideology’ i.e. education and values, to developing countries, or at least to the elites within European colonies, often led to the creation of the very Western-educated elites who then helped to overthrow it (he gives the London-trained lawyer Gandhi as the classic example, p.77, though he could as easily have mentioned Jawaharlal Nehru, educated at Cambridge, trained at London’s Inner Temple as a barrister).
Another ‘contradiction’ was the between the way the mid-century ‘bourgeois’ industrial and economic triumph rested on a mechanical view of the universe, the mechanical laws of physics and heat and chemistry underpinning the great technological advances of the later nineteenth century. Hobsbawm then delights in the way that, at the end of the century, this entire mechanistic worldview was overturned in a welter of discoveries, including Einstein’s theory of relativity, the problematic nature of the sub-atomic world which gave rise to quantum physics, and deep discoveries about the bewildering non-rational basis of mathematics.
These are just some of the developments Hobsbawm defines as ‘contradictions’ with the aim of proving that Marx’s predictions that capitalism contained within itself deep structural contradictions which would undermine it and lead inevitably to its downfall.
Why Hobsbawm was wrong
Except that Marx was wrong and Hobsbawm is wrong. His continual mentioning Marx, quoting Lenin, harking back to the high hopes of the revolutionaries of 1848, invoking the memory of the Commune (redefined, in good Marxist style, as a heroic rising of the downtrodden working classes, rather than the internecine bloodbath that it actually was), his continual harking forward to the Bolshevik revolution as somehow the climax of all the trends he describes, his insistence that we, he and his readers, all now (in the mid-1980s when he wrote this book) still live in the forbidding shadow of the Russian revolution, still haunted by the spectre of communist revolution — every aspect of his attitude and approach now seems dated and irrelevant.
Now, in 2021, it is 30 years since the collapse of the Soviet Union and its satellites revealed:
Their complete failure to build an economic and social system which could be a serious alternative to ‘capitalism’.
The extraordinary extent to which communist regimes had to surveil, monitor and police every aspect of their populations’ behaviour, speech and thoughts, in order to prevent them relapsing into the ways of human nature – the prison camps, the psychiatric wards, the secret police. Look at China today, with its censorship of the internet and its hounding of dissidents, its suppression of Falun Gong and the Muslim Uighurs of Xinjiang.
Seen from our contemporary perspective, Hobsbawm tendentious habit of naming every clash in policies, every development in cultural thinking as some kind of seismic ‘contradiction’ which will bring global capitalism tumbling down, looks like what it is, a biased obeisance to Marxist ideas which have long ago proved to be untrue.
The misleading use of terms like ‘bourgeois’
To some extent his attitude is based on one particular logical or rhetorical trick which can be proved to be false.
In the later chapters of the book, about the arts, the hard and social sciences, Hobsbawm repeatedly claims that this or that aspect of ‘bourgeois ideology’ of the mid-nineteenth century came under strain, suffered insoluble contradictions, underwent a crisis, and collapsed.
I think this is the crux of the massive mistake he makes. It consists of several steps:
identifying every element of mid-nineteenth century political and cultural theory as some universal thing called ‘bourgeois’
identifying this ‘bourgeoisie’ as the central and necessary figure of the capitalist system
and then claiming that, because in the last few decades of the nineteenth century this ‘bourgeois’ ideology came under strain and in many ways collapsed, that therefore this shows that capitalism itself, as a system, must come under strain caused by its internal contradictions and therefore must collapse
Surely anyone can see the logical error here. All you have to do is stop insistently repeating that mid-nineteenth century ideology was identical with some timeless ‘bourgeois’ ideology which necessarily and uniquely underpins all capitalism, and simply relabel it ‘mid-nineteenth century ideology’, and then all your sentences stop being so apocalyptic.
Instead of saying ‘bourgeois ideology was stricken by crisis’ as if The Great Revolution is at hand, all you need say is ‘mid-nineteenth century political and social beliefs underwent a period of rapid change at the end of the century’ and the portentous sense of impending doom hovering over the entire system vanishes in a puff of smoke – and you are left just describing a fairly banal historical process, namely that society’s ideas and beliefs change over time, sometimes in abrupt reversals resulting from new discoveries, sometimes as slow evolutionary adaptations to changing social circumstances.
Put another way, Hobsbawm identifies mid-nineteenth century liberal ideology as if it is the one and only shape capitalist thinking can possibly take and so excitedly proclaims that, by the end of the century, because mid-nineteenth century ‘bourgeois’ beliefs were quite visibly fraying and collapsing, therefore capitalism would collapse too.
But quite obviously the ‘capitalist system’ has survived all the ‘contradictions’ and ‘crises’ Hobsbawm attributes to it and many more. It is still going strong, very strong, well over a century after the period which Hobsbawm is describing and when, he implies, it was all but on its last knees.
In fact the basic idea of manufacturing products cheap and selling them for as much profit as you can, screwing the workers who make them and keeping the profits to a) enjoy yourself or b) invest in other business ventures, is probably more widespread than ever before in human history, seeing how it’s been taken up so enthusiastically in post-communist Russia but especially across hyper-modernising China.
In other words, Hobsbawm’s use of Marxist terms like ‘bourgeois’ and ‘proletarian’ may have a certain explanatory power for the era he’s describing, but after a certain point they are too simplistic and don’t describe or analyse the actual complexity of even one of the societies he describes, let alone the entire world.
At some point (which you can almost measure in Hobsbawm’s texts) they cease to be explanatory and become obfuscatory, hiding the differences which separate America, Britain and Germany much more than unite them. Use of the terms simply indicate that you have entered a certain worldview.
Imagine a Christian historian identifying mid-nineteenth century ideology as the one and only expression of ‘Christian’ ideology, an ideology which divided the population into ‘believers’ and ‘unbelievers’, into the ‘saved’ and the ‘damned’. Imagine this historian went on to describe how the widespread ‘crisis’ in Christian belief at the end of the century indicated that the entire world was passing out of the phase of Christian belief and into infidel unbelief.
If you read something like that you would immediately know you are inside the particular worldview of an author, something which clearly means a lot to them, might shed light on some aspects of the period – for example trends in religious belief – but which in no way is the interpretation of world history.
a) Plenty of other interpretations are available, and b) despite the widespread laments that Christianity was dying out in the later nineteenth century, contrary to all their pessimism, Christianity now has more adherents worldwide than ever before in human history. And ditto capitalism.
The dominance of the key terms Hobsbawm deploys with such monotonous obsessiveness (capitalism, bourgeoisie, proletariat, liberal ideology) don’t prove anything except that you have entered the worldview of a particular author.
The system with the real contradictions, contradictions between a) its utopian claims for equality and the reality of a hierarchical society which privileged party membership, b) between its promises to outproduce the West and the reality of permanent shortages of consumer goods and even food, c) between its rhetoric of ‘freedom’ and the reality of the harsh repression of any kind of political or artistic unorthodoxy – was communism, whose last pitiful remnants lie rusting in a thousand statue parks across Russia and Eastern Europe.
The fundamental sleight of hand in Hobsbawm’s argument
Because Hobsbawm identifies the mid-nineteenth century worldview with the ‘bourgeoisie’ and the ‘bourgeoisie’ as the indispensable foundation of ‘capitalism’, he tries to pull off the conjuring trick of claiming that, since the mid-nineteenth century worldview drastically changed in all kinds of ways in the last decade of the century, these change invalidate the ‘bourgeoisie’, and that this, in turn, invalidates ‘capitalism’. Proves it is wrong and doomed to collapse.
You can see how this is just a three-card trick which moves vague and indefinable words around on the table at speed to bamboozle the impressionable. For despite the trials and tribulations of the century of extremes which followed, ‘capitalism’ in various forms appears to have triumphed around almost the entire world, and the materialistic, conventional, liberal ‘bourgeoisie’ which Hobsbawm so despises… appears still to be very much with us, despite all Hobsbawm’s protestations about its terminal crises and death throes and contradictions and collapse.
Victimology tends to tyranny
To anyone familiar with the history of communist Russia, communist China and communist Eastern Europe, there is something unnerving and, eventually, worrying about Hobsbawm’s very broad-brush division of the entire world into victims and oppressors.
The first half of the twentieth century was the era of totalitarian governments seeking to gain total control over every aspect of their populations and mould them into better humans in a better society. The first thing all these regimes did was establish goodies and baddies, and rouse the population to be on perpetual guard against the enemy in whatever guise – ‘the bourgeoisie’, the ‘kulaks’, ‘capitalist roaders’, ‘reactionary elements’, ‘the Jews’, and so on.
Dividing the entire huge world and eight billion people into simple binaries like ‘oppressors’ and ‘victims’, ‘bourgeoisie’ and ‘workers’, ‘exploiters’ and ‘exploited’, ‘white’ masters and ‘black’ victims, is worryingly reminiscent of the simplistic, binary thinking which the twentieth century showed leads to genocides and mass killing.
Hobsbawm criticises the nationalist parties of the late-nineteenth century for dividing up populations into citizens and outsiders, members of the Volk or aliens, a process of which the Jews were notable victims. And yet he enacts the very same binary oppositioning, the same outsidering of a (large) group of society, by objectifying and insulting the ‘bourgeoisie’ at every opportunity.
It’s the same old mental slum: if only we could get rid of the gypsies / homos / lefties / commies / bourgeoisie / capitalists / Catholics / Protestants / Armenians / Jews / Croats / Serbs / Tutsis / Hutus / men / whites / blacks / immigrants / refugees, then society would be alright. I call it ‘If-only-ism’.
If capitalism and imperialism were inevitable, how can anyone be guilty?
In Age of Capital Hobsbawm describes how the industrial revolution amounted to a lucky fluke, a coming together of half a dozen circumstances (of which the most important was, in his view, Britain’s command of the waves and extensive trading network between colonies) and this helps you realise that some people were able to seize the opportunity and exploit it and become masters of small firms and then of factories etc. Clever, quick, resourceful or well-placed men leapt to take advantage of new opportunities. Any history of the industrial revolution names them and gives biographies of individuals central to the series of inventions or who then set up successful firms to exploit them.
However, the tendency of Hobsbawm’s very high-level Marxist approach, his sweeping surveys which pull together evidence from Austria, or France, from north Italy or New York, is, paradoxically, to remove all sense of agency from the humans involved. Hobsbawm makes it seem almost inevitable that the first industrial revolution (textiles) would give rise to a second (iron and coal) which in turn would give rise to a third (steel, organic chemistry, electrics, oil).
And he makes it seem inevitable that, once the world was fully mapped and explored, then the other ‘western powers’ which by 1890 had more or less caught up with Britain in terms of industrialisation, would join the competition to seize territories which contained valuable minerals or exotic produce (tea, coffee, bananas). That an acceleration of imperial rivalry was inevitable.
But if it had to pan out this way, how can you blame anyone? If, viewed from this lofty godlike perspective, it was inevitable that industrialisation broke out somewhere, that it would spread to all similar regions and states, that the now numerous industrial nations would find themselves in competition for the basic resources (food) and more arcane resources (rubber, oil, rare metals) required to drive the next stage of industrial development – can you blame them?
You could call it Hobsbawm’s paradox, or Hobsbawm’s Choice. The more inevitable you make the entire process sound, the less reason you have to be so cross at the ‘bourgeoisie’.
The reality is that you can, of course, hold the western nations accountable for their actions, but only if you descend to a lower level of historical discourse than Hobsbawm’s. Only if you begin to look at specific actions of specific governments and specific men in specific times and places an you begin to make assessments and apportion praise or blame.
Responsibility and guilt can’t really exist at the level Hobsbawm is operating on because he goes out of his way to avoid mentioning individuals (with only a few exceptions; Bismarck’s name crops up more than any other politician of the period) and instead emphasises that it all unfolded according to almost unavoidable historical laws, implicit in the logic of industrial development.
If humans couldn’t avoid it, then they can’t very well be blamed for it.
In light of Hobsbawm’s theory, is equality possible?
The same set of facts give rise to a parallel thought, which dogged me throughout reading this book, which is — if what Hobsbawm says is true, if industrial and technological developments tend to be restricted to just a handful of certain nations which have acquired the technology and capital resources to acquire ‘liftoff’ to industrialisation, and if, within those nations, the benefits of industrialisation accrue overwhelming to a small proportion of the population; and if this process is so stereotyped and inevitable and unstoppable — then, well… is it even possible to be fair? Is it possible to achieve anything like ‘equality’? Surely the entire trend of the history Hobsbawm describes with so much verve suggests not.
Putting aside the issue of fairness in one nation aside in order to adopt Hobsbawm’s global perspective, he often repeats the formula that countries in the ‘undeveloped’ or ‘developing’ or ‘Third World’ (whatever you want to call it) were forced by the demands of consumer capitalism or The Market to turn themselves into providers of raw materials or a handful of saleable commodities – after all, this was era which saw the birth of the banana republic. But, I thought as I ploughed through the book… what was the alternative?
Could undeveloped nations have turned their backs on ‘international capitalism’ and continued as agrarian peasant nations, or resisted the western imperative to become ‘nations’ at all and remained general territories ruled by congeries of local sheikhs or tribal elders or whatever?
At what stage would it have been possible to divert the general trend of colonial takeover of the developing world? How would it have happened? Which British leader would have stood up and said, ‘This is wrong; we renounce all our colonies and grant them independence today?’ in the1870s or 1880s or 1890s? What would have happened to the sub-continent or all those bits of Africa which Britain administered if Britain had simply packed up and left them in 1885?
As to all the wealth accumulating in Britain, among its sizeable cohort of ship-owners, traders, factory owners, bankers, stockbrokers and what not. On what basis would you have taken their wealth away, and how much? Half? All of it and shot them, as in Bolshevik Russia?
Having seized the wealth of the entire ‘bourgeoisie’, how would you then have redistributed it to the bedouin in the desert or the native peoples of Australia or the Amazon, to the workers on the rubber plantations, in the tin and gold mines, in the sugar fields, to squabbling tribes in central Africa? How could that have been done without a vast centralised redistribution system? Without, in fact, precisely the centralising, bureaucratic tendencies of the very capitalist system Hobsbawm was criticising?
And who would administer such a thing? Having worked in the civil service for over a decade I can tell you it would take hordes of consultants, program managers, project managers and so on, who would probably be recruited from the host country and make a packet out of the process?
And when was all this meant to happen? When, would you say, the awareness of the wrongs of the empire, or the wrongs done to the ‘undeveloped world’ became widespread enough to allow such policies to be enacted in a democracy where the government has to persuade the majority of the people to go along with its policies? In the 1860s, 70s, 80s?
Live Aid was held in 1985, just as Hobsbawm was writing this book, and which I imagine brought the issue of Third World poverty and famine to the attention of even the dimmest members of the population. But did that global event abolish poverty, did it end inequality and injustice in in the Third World? No, otherwise there would have been no need for the Live 8 concerts and related charity efforts 30 years later, in 2005. Or the ongoing efforts of all the industrialised nations to send hundreds of millions of dollars of support to the Third World every year (hence the furore surrounding the UK government cutting back on its foreign aid budget this year.) Not to mention the continuous work of thousands of charities all across the ‘developing world’.
When you look at the scale of activity and the amounts of money which have been sent to developing countries since the Second World War, it makes you wonder how much would be enough? Should every citizen of every industrialised nation give, say, half their annual earnings to people in the Third World? To which people? In which countries? To India, which has invested tens of billions in a space program? To China, which is carrying out semi-genocidal policy of incarceration and mass sterilisation in its Xinjiang province? Do we need to take money from the British public to give it to Narendra Modi or Xi Jinping? Who would manage that redistribution program, for whatever civil servants and consultants you hired to make it work would earn much, much more than the recipients of the aid.
Student excitement, adult disillusion with Hobsbawm
When I was a student, reading this trilogy educated me about the broad industrial, economic and social forces which created and drove forward the industrial revolution in the Western world throughout the nineteenth century, doing so in thrilling style, and for that I am very grateful. Hobsbawm’s books highlighted the way that, through the 1850s and 1860s, capitalism created an ever-richer class of ‘owners’ set against a rapidly growing number of impoverished workers; how the industrial and financial techniques pioneered in Britain spread to other Western nations; how the industrial system evolved in the 1880s and 1890s into a) a booming consumer society in the West and b) the consolidation of a system of colonial exploitation around the world.
I had never had the broad trends of history explained so clearly and powerfully and excitingly. It was a memorable experience.
But rereading the books 40 years later, I am now painfully aware that the simplistic Marxist concepts Hobsbawm uses to analyse his period may certainly help to elucidate it, but at the same time highlight their own ineffectiveness.
The confidence that a mass working class movement which will rise up to overthrow the inequalities of the West and liberate the developing world, that this great liberation is just around the corner – which is implicit in his numerous references to 1848 and Marx and the Commune and Lenin – and that all it needs is a few more books and pamphlets to spark it off….goes beyond boring to become sad. Although the historical facts he describes remain as relevant as ever, the entire ideology the books are drenched in feels terribly out of date.
Democracy not the blessing it is cracked up to be
In chapter 4 Hobsbawm discusses the politics of democracy. Throughout he takes it for granted that extending the franchise to all adults would result in the revolutionary change he supports. He starts his discussion by referencing the powerful German Social Democratic Party (founded back in 1863) and the British Labour Party (founded in 1900) and their campaigns for universal suffrage, as if giving the vote to ‘the working class’ would immediately lead to a social revolution, the end of inequality and exploitation.
Only in the chapters that follow does he slowly concede that new mass electorates also helped to create new mass, populist parties and that many of these catered not to the left at all, but to right-wing nationalist ideas of blood and Volk. For example, the notorious Karl Luger, mayor of Vienna from 1897 to 1910, whose Christian Social Party espoused populist and antisemitic politics which are sometimes viewed as a model for Adolf Hitler’s Nazism.
In fact it had already been shown that universal male suffrage not only didn’t lead to socialist revolution but the exact opposite, when, in the aftermath of the 1848 revolution which overthrew the French monarchy, the French granted universal male suffrage and held a presidential election in which the opera bouffe candidate, Louis-Napoléon Bonaparte, promptly won with 74% of the entire male adult vote, and then went on to win the plebiscite held after his 1851 anti-leftist coup with 76%.
So any educated person knew in the 1850s that extending the franchise did not, in and of itself, lead to red revolution. Often the opposite. (This is a point picked up in Richard Shannon’s book The Crisis of Imperialism 1865 to 1915 which quotes umpteen later Victorian politicians and commentators arguing against extending the franchise precisely because they’d seen what it led to in France, namely the election of a repressive, right wing autocrat.)
Hobsbawm’s excited description of the way the ‘scary’ working class were ‘threatening’ bourgeois hegemony, were on the brink of ‘seizing power’ and righting the world’s wrongs, underplays the extent to which universal suffrage led:
directly to the rise of populist nationalist anti-left wing governments
and to the fragmentation of the left into ‘reformists’, prepared to compromise their radical principles and ally with liberal parties in order to get into parliament, and the die-hards who held out for radical social change
In other words, extending the franchise led to the exact opposite of what Hobsbawm hopes. Something borne out after the Great War, when the franchise was drastically extended to almost all adults in most European countries and the majority of European governments promptly became either right-wing or out-and-out dictatorships. Mussolini won the 1924 Italian general election; Hitler won the largest share of the vote in the Weimar Republic’s last election. Or Hungary:
In January 1920, Hungarian men and women cast the first secret ballots in the country’s political history and elected a large counterrevolutionary and agrarian majority to a unicameral parliament. (Wikipedia)
Switching from Hobsbawm altogether to the present day, 2021, any reader of the English left-liberal English press must be struck how, since the Brexit vote, it has stopped being a taboo subject to suggest that quite possibly a large proportion of the British electorate is thick and uneducated (terms you frequently meet in the Guardian newspaper). You can nowadays read plenty of ‘progressive’ commentators pointing out that the great British electorate was persuaded, in voting for Brexit (2016) and Boris (2019), to vote for populist right-wing demagoguery and against their own best interests as working people. I have read so many commentators pointing out that it is the very conservative working class communities who voted for Brexit who are most likely going to suffer the prolonged consequences of economic dislocation and decline.
In other words, right now in 2021, you can read representatives of the left openly stating that universal franchise, one person one vote, not only doesn’t lead to the socialist paradise Hobsbawm implies it will, but the opposite – rule by right-wing populists.
As far as I can remember, thoughts like this would have been utterly taboo in the 1980s, or have immediately identified you as a right-wing conservative. But now I read comments like this every day in the Guardian or New Statesman.
So – this is the recent experience and current political discourse I bring to reading Hobsbawm’s chapter about democracy and which makes me think his assumption, his faith, his Marxist belief, that simply expanding the franchise to all adults would of itself bring about social revolution and justice and equality is too simplistic.
It doesn’t correlate with the historical fact that, as soon as the franchises of most European nations had been radically expanded (after the Great War), lots of them became very right-wing.
It doesn’t speak to our present situation where, it’s true that no-one is openly suggesting restricting the franchise, but many progressives are questioning whether the universal franchise produces the optimum results for a nation and its working class. Trump. Brexit.
The world is not as we would like it to be.
My opposition to Hobsbawm’s teleology
I am a Darwinian materialist. I believe there is no God and therefore no purpose or direction to human lives or events. There is no plan, divine or otherwise. Shit happens, people try to cope. Obviously shit happens within a complex web of frameworks and structures which we have inherited, it takes a lot of effort to disentangle and understand what is going on, or what we think is going on, and sometimes it may happen in ways some of which we can broadly predict. But ‘events, dear boy, events’ are the determining feature in human affairs. Take Afghanistan this past week. Who knew? Who expected such a sudden collapse?
This isn’t a very profound analysis but my aim is to contrast my preference for a theory of the unpredictable and chaotic nature of human affairs with Hobsbawm’s profound belief in Marxist teleology, meaning the very nineteenth century, rationalist, scientistic belief that there are laws of history and that human societies obey them and that they can be predicted and harnessed.
Teleology: the doctrine of design and purpose in the material world.
Teleology is the belief that if you shave away all the unfortunate details of history, and the peculiarities of culture, and the impact of charismatic individuals, in fact if you pare away enough of what makes people people and societies societies, you can drill down to Fundamental Laws of History. And that Karl Marx discovered them. And that these laws predict the coming collapse of capitalism and its replacement by a wonderful classless society. And that you, too, can be part of this future by joining the communist party today for the very reasonable online registration fee of just £12!
Anyway, the teleology (‘sense of direction, meaning or purpose’) which is a vital component of Marxism, the confidence in an inevitable advent of a future of justice and equality, which underpins every word Hobsbawm wrote, evaporated in 1991 and nothing has taken its place.
There will be no Revolution. The ‘capitalist system’ will not be overthrown. At most there will be pointless local revolts like the Arab Spring, revolts which, more than likely, end up with regimes more repressive or anarchic than the ones they overthrew (Syria, Libya, Egypt).
This sort of thing will occur repeatedly in countries which did not enjoy the early or middle benefits of the technological revolutions Hobsbawm describes, countries of the permanently developing world, which will always have largely peasant populations, which will always depend on the export of raw materials (oil being the obvious one), which will always have unstable political systems, liable to periodic upheavals.
The environmental perspective
If there is One Big Thing we do know about the future, it is something which isn’t mentioned anywhere in Hobsbawm’s book, which is that humanity is destroying the environments which support us.
My son is studying biology at university. He says it amounts to having world-leading experts explain the beauty and intricacy of various eco-systems in beautiful places around the planet – and then describing how we are destroying them.
As a result, my son thinks that human civilisation, in its present form, is doomed. Not because of global warming. But because we are killing the oceans, exterminating all the fish, destroying species diversity, wrecking agricultural land, using up all the fresh water, relying more on more on fragile monocultures, and generally devastating the complex web of ecosystems which make human existence possible.
Viewed from this perspective, human activity is, overall, fantastically destructive. And the massive ideological divide Hobsbawm makes between the tradition of the nineteenth century ‘bourgeoisie’, on the one hand, and the revolutionaries, Communards, Bolsheviks and communists he adulates, on the other, fades into insignificance.
We now know that polluting activity and environmental destruction were as bad or worse under communist regimes as they were under capitalist ones. It was the Soviet system which gave us Chernobyl and its extended cover-up. Capitalist ones are at least capable of reform in a way communist regimes turned out not to be. Green political movements are a feature of advanced ‘capitalist’ countries but were suppressed, along with every other form of deviance, under communist governments.
But then again, it really doesn’t matter from a global perspective. Looked at from the planet’s point of view, all human activity is destructive.
So this is why, looking at them from a really high-level perspective, as of aliens visiting earth and reviewing the last couple of centuries, these books no longer make me angry at the wicked ‘capitalist’ exploitation of its workers and entire colonial nations and the ‘heroic’ resistance of the proletariat and the exploited peoples of the colonial nations.
I just see a swarm of humans ruining their habitat and leading, inevitably, to their own downfall.
Hobsbawm’s style
Hobsbawm is very repetitive. He mentions bicycles and cars and so on representing new technologies at least three times. I swear he points out that imperialism was the result of increasing competition between the industrial nations at least half a dozen times. He tells us that a number of Germany’s most eminent revolutionaries came from Russia, namely Rosa Luxemburg, at least four times. He repeats President Porfirio Diaz’s famous lament, ‘Poor Mexico! So far from God, so close to the United States’ twice. He tells us twice that western governments were keen to invest in medical research into tropical fevers solely because the results promised to help their officers and administrators survive longer in colonial outposts several times. He repeatedly tells us that Bismarck was the master of maintaining peace between the powers (pp.312 and 318).
The impression this gives is of rambling, repetitive and circular arguments instead of linear, logical ones.
Hobsbawm’s discussions are often very gaseous in the sense that they go on at length, use lots of highbrow terminology, but at the end it’s hard to make out or remember what he’s said. The discussion of nationalism in Age of Capital was long and serious-sounding but I emerged at the end of it none the wiser. The long discussion of sociology in chapter 11 of this book left me none the wiser about sociology except for Hobsbawm’s weird suggestion that, as a social science, it was founded and encouraged in order to protect society against Marxism and revolution. Really?
In a similar spirit, although he uses the word ‘bourgeoisie’ intensively throughout both books, I emerged with no clearer sense of what ‘bourgeoisie’ really means than I went in with. He himself admits it to be a notoriously difficult word to define and then more or less fails to define it.
On a more serious level I didn’t understand his discussion of nationalism in Age of Capital or his discussion of the increasing democratisation in the 1890s in this volume, because they were vague and waffly. It seemed to me that as soon as he left his home turf of economic development, his ideas become foggy and repetitive.
And sometimes he comes over as a hilariously out of touch old buffer:
By 1914 the more unshackled youth in the western big cities and resorts was already familiar with sexually provocative rhythmic dances of dubious but exotic origin (the Argentinian tango, the syncopated steps of American blacks). (p.204)
‘The syncopated steps of American blacks’. No wonder American capitalism was doomed to collapse.
Overall conclusion
Hobsbawm’s books are thrilling because of their scope and range and the way he pulls together heterogenous material from around the world, presenting pages of awe-inspiring stats and facts, to paint a vivid, thrilling picture of a world moving through successive phases of industrialisation.
But he is eerily bereft of ideas. This comes over in the later chapters of both books in which he feels obligated, like so many historians before him, to write a chapter about The Arts. This is not his natural territory and the reader has to struggle through turgid pages of Hobsbawm dishing up absolutely conventional judgements (Van Gogh was an unrecognised genius; the arts and crafts movement was very influential), which are so lame and anodyne they are embarrassing.
I had noticed his penchant for commenting on everything using numbered points (‘The bourgeois century destabilised its periphery in two main ways…’; ‘Three major forces of resistance existed in China…’, ‘Three developments turned the alliance system into a time bomb…’, and many others). Eventually it dawned on me that he produces these nifty little sets of issues or causes or effects instead of having ideas. Lists beat insights.
Considering how fertile Marxist literary and art criticism has been in the twentieth century (cf György Lukács, Walter Benjamin, Theodor Adorno, Frederick Jameson) it is very disappointing how flat and untheoretical and banal Hobsbawm’s comments about the arts in both books are. In these later sections of each book it is amazing how much he can write without really saying anything. He is a good example of someone who knows all the names and terminology and dates and styles and has absolutely nothing interesting to say about them.
Credit
The Age of Empire: 1875 to 1914 by Eric Hobsbawm was published in 1975 by Weidenfeld and Nicholson. All references are to the 1985 Abacus paperback.
A Small Yes and a Big No by George Grosz (1946) Grosz was a communist party member in the 1920s. His autobiography includes an account of a trip to Soviet Russia in 1923 where he met Lenin and was put off communism by the atmosphere of bullying and poverty.
Communism in Poland
Warsaw 1920 by Adam Zamoyski (2008) How the Polish army stopped the Red Army’s advance into Poland in 1920 preventing them pushing on to support revolution in Germany.
The Captive Mind by Czesław Miłosz (1953) A devastating indictment of the initial appeal and then appalling consequences of communism in Poland: ‘Mass purges in which so many good communists died, the lowering of the living standard of the citizens, the reduction of artists and scholars to the status of yes-men, the extermination of entire national groups…’
The Rebel by Albert Camus (1951) Camus’s comprehensive rejection of communism in which he seeks to prove that communist rule will be necessarily tyrannical.
Communism in Spain
The Battle for Spain by Antony Beevor (2006) Comprehensive account of the Spanish civil war with much detail on how the Stalin-backed communist party put more energy into eliminating its opponents on the Left than fighting the fascists, with the result that Franco won.
Homage to Catalonia by George Orwell (1938) Orwell’s eye-witness account of how the Stalin-backed communist party turned on its left-wing allies, specifically the Workers’ Party of Marxist Unification which Orwell was fighting with, and how he only just managed to escape arrest, interrogation and probable execution during the communist purges.
Nineteen Eighty-Four by George Orwell (1949) Orwell’s vision of an immiserated England of the future after a nuclear war has led to the rise of a totalitarian socialist regime, Ingsoc.