Mark Leckey: O’ Magic Power of Bleakness @ Tate Britain

This is an absolutely brilliant, transformative piece of work, hugely staged and thrillingly experienced. It consists of a massive installation and three videos by contemporary artist Mark Leckey. Here’s the promotional video to gt a quick feel:

The big exhibition space on the east side of Tate’s central atrium has had all its partitions removed to create one enormous gallery space. In this space they have recreated a lift-size model of an enormous concrete motorway bridge. To be precise, a recreation of a section of the M53 flyover close to Leckey’s childhood home on the Wirral where he used to play with his boyhood friends.

The bridge goes over our heads at a diagonal, supported by enormous concrete piers. Off to the left is the concrete slope between the hard shoulder which ramps up to the underside of the bridge. It is an enormous brooding presence and absolutely brilliant, cavernous and terrifying.

The first motorway was opened in 1958 and these huge concrete monsters have been part of the British landscape for over 60 years. Why is so little written or painted or arted about them, and about the poisonous mega-roads and planet-strangling super-traffic they carry.

The room is almost pitch black. I nearly bumped into one of the enormous fake concrete motorway piers. But just about made them out because they – and the handful of concrete ‘benches’ scattered about – are illuminated by the flashing, fleering images from two enormous video screens on the far wall, and from a suite of six or so smaller screens off to the right.

Onto these are projected three art videos or films:

  • Fiorucci Made Me Hardcore (1999)
  • Dream English Kid, 1964 – 1999 AD (2015)
  • Under Under In (2019)

I used to work in TV. In the late 1980s I produced and directed a dozen or so videos for commercial clients, before going on to produce live and prerecorded programmes for Channel 4, ITV and BBC1 So I’ve spent a lot of time in edit suites, with editors and directors, editing, discussing, cutting and mixing material. This means I have quite high standards and so find a lot of experimental art videos unwatchably amateurish.

To my own surprise, however, I ended up staying to watch all three videos in their entirety and being riveted, transfixed, transported. Yes yes yes, I wanted to shout, this is actual modern life in its shittyness, in its squalor, with working class lads making the most of the appalling built environments, the failing schools, the windswept concrete shopping centres and the high-rise slums designed for them by avant-garde architects and progressive town planners, by getting off their faces on booze and pills and dancing themselves stupid on the dance floors of thousands of provincial dance halls and clubs.

Fiorucci Made Me Hardcore

Fiorucci Made Me Hardcore is a compilation of found footage from dance floors chronicling Britain’s underground club scene from the 1970s to the 1990s, from the era of mullets and Northern Soul through to the ecstasy-fuelled raves of the 1990s.

God it takes me back to having that kind of haircut in the 1970s and crappy church halls discos where lads in Doc Martens ended up fighting each other, through the pogoing and gobbing of the punk era, with the straights going to crappy mirror-ball discos, and then on into the suddenly hard core, techno, trance and rave scene of the late 80s which burst out of nowhere with its amazing sound systems, lasers and powerful psychotropic drugs.

So much for the social history, but what makes Leckey’s films a cut above others in the same style is the use of sound. He has a phenomenal grasp of the importance of sound, sound effects and sound editing. Having sat in those darkened edit suites for years and years and years I can vouch for the drastic affect sound editing and mixing has on the pictures in TV or film. Take a sequence of a beautiful girl smiling: then superimpose on it the sounds of – someone having an orgasm, a woman screaming, or a little girl saying a nursery rhyme. Identical image, radically different impacts.

The picture cutting is brilliant and worth commenting on in its own right; but what lifts Leckey’s films into brilliant is the extremely sophisticated and creative use of sound effects; mashups of music, deep ominous booms, clips of speech, electronic or industrial sounds.

So it’s the sound effects which, in my opinion, make these more than films, but into a fully immersive experience. The space under the mocked-up motorway is pitch black, cavernous and echoing. That’s why it’s worth traveling to Tate Britain to have the full huge, disorientating, slightly scary and sense-bombardment experience. Watching it on a computer or phone screen is too small and contained. You need to be overwhelmed by it. Possessed.

Dream English Kid, 1964 – 1999 AD

In 1979, Leckey went to Eric’s, the Liverpool nightclub, to see a gig by Joy Division. Recently, the artist located amateur footage of the event on YouTube. He realised that many, maybe most, of what we think of as treasured personal memories can now be found online, and that was the inspiration to assemble a film.

So Dream English Kid 1964 – 1999 AD uses archival material from television shows, advertisements and music, to recreate a record of all the significant events in his life from the 1970s until the 1990s.

God, it’s wonderful a) as straightforward nostalgia – I didn’t grow up in Liverpool or a slum, but I remember the look and feel of shitty England in the 1970s, and the sequence which shows all the horrible packed food – Nesquik, Marmite, Smash, Kelloggs Frosties – brought back the look and taste of all the crap our parents stuffed us with;

b) again because of the sophistication of the picture editing, but more than that, of the sound: it creates a really haunting beguiling, shocking, in your face soundscape, alternating soft silent moments, with raucous live gig sound, urchins in the street, lads, and other much more haunting, weird and unsettling sound effects. It is as if History itself is struggling to break through the bounds of petty human existence. As if some deeper force is struggling to break free from our everyday concerns about haircuts and boyfriends and pop songs, and tell us the big all-important thing, which we’re all too busy to listen to.

Under Under In (2019)

The last of the three film is Under Under In 2019 is noticeably different in feel. It’s because the other two are mostly made up of old film and video footage cannily edited together, while this one is all contemporary, shot on digital camera.

It is all shot under the actual motorway bridge whose model we are standing under and it features half a dozen or so young gang members, dressed in up-to-the-minute street fashion (I assume) – Adidas hoodies zipped up over their faces, trainers, rap hand gestures. For the first ten minutes or so they’re just hanging under the bridge, pushing each other, giggling, and what looks like getting high by car oil products (I think).

But as I’ve highlighted above, the real impact derives not from the visuals – but from the amazing soundscape Leckey has crafted, in which whatever conversation the lads are having is cut and fragmented and distorted and mangled into spare phonemes and loose grunts and blips and frags of speech, echoing, dismantled, lost under the roaring motorway bridge.

Still from Dream English Kid, 1964 – 1999 AD (2015) © Mark Leckey

Apparently the film in some way addresses a supernatural encounter Leckey believes he had under the bridge as a child.

Many of my works have their wellspring in things and experiences from my childhood and youth that still haunt me.

What this means is that one of the larking-about kids seems to see something, a creature tucked in the angle of the bridge, hands reach out, small hands, large hand, white images, intercut sound track, it’s impossible to make out what’s happening but a little kid’s voice repeats, ‘Where you been?’ in a strong Scouse accent.

I’ve made it sound much more comprehensible than it is, the images are quickly intercut, treated, amplified distorted shown from above, the camera swoops down, the same gestures are repeated in juddering cuts or vanish.

It’s all shown on the six smaller screens I mentioned above. You have to stand throughout the entire screening but after a while I realised that behind us, up in the cramped space where the ramp meets the bridge of the model, was another screen onto which were projected images of the pumped-up lads crouching in a row, pushing each other joshing and interacting, which complemented the main action on the six screens. Which cut out at some moments, leaving us in puzzling darkness. Haunting & spooky.

Suddenly something more or less understandable emerges out of the blizzard of fragments and rave-era jump cuts. This is a completely computer-generated diagram of the flyover bridge, and then the point of view descends, under road level to reveal… another view o the same thing, an older type of wooden bridge… and keeps on going down to reveal an older structure yet over the same ravine… and down again and again until we come to a layer of standing stones, dolmen like Stonehenge is built from, and the camera stops descending but moves forward, between the stones, into some dark ominous mysterious chamber.

Leckey has written and spoken about his interest in older visions of Albion, in older imagery connected with faeries and magic inhabiting the countryside, and this sequence obviously comes out of that interest. But it’s one thing to say something, and quite another to come up with a visual and audio presentation of it which is so huge and overwhelming that it makes the viewers’ hair stand up on end.

The film below doesn’t feature in the installation, but it gives you a good sense of the mashup of ancient magic, incantation, a visionary way of reconceiving the shitty, concrete slabverse of our poisonous, toxic streets and motorways and flyover cities, choked with fumes, killing us all, and the aggressively visionary cutups of imagery from all available sources which Leckey uses. And the weird spellbinding obsession with the motorway flyover as a metaphor for our entire ruinous civilisation, which I found preposterous, ungainly, and yet weirdly compelling

Curators

  • Clarrie Wallis, Senior Curator of Contemporary British Art
  • Elsa Coustou, Curator of Contemporary British Art
  • with Aïcha Mehrez, Assistant Curator of Contemporary British Art at Tate

Related links

Reviews of other Tate exhibitions

Master Georgie by Beryl Bainbridge (1998)

One should never underestimate the disruptive force of haphazard actions. (p.104)

A decade or so ago I set out to spend a year reading only books by women authors. Among them, I read half a dozen or so novels by Beryl Bainbridge and loved them all. Having just worked through several books about the Crimean War (Victoria’s Wars by Saul David and Crimea by Orlando Figes) prompted me to dust off my old copy of Master Georgie, Bainbridge’s novel set during the Crimean War.

‘Quirky’ is a quick way of establishing where in the ballpark Bainbridge belongs, but doesn’t begin to capture her depth or complexity or strangeness.

Master Georgie, like most of her novels, is deceptively short and, in this Abacus paperback, has quite large print, resulting in the page having a light, airy feel. The text is divided into six sections and, since several of the protagonists are involved in the then-newfangled trade of photography, the book uses the conceit of naming each section after a ‘plate’ or early-style photograph. Hence:

  • Plate 1. 1846 Girl in the presence of death
  • Plate 2. 1850 A veil lifted
  • Plate 3. 1854 Tug-of-war beside the sweet waters of Europe
  • Plate 4. August 1854 Concert party at Varna
  • Plate 5. October 1854 Funeral procession shadowed by Beatrice
  • Plate 6. November 1854 Smile, boys, smile

Each ‘plate’ or section is narrated by a different character. Thus:

Plate 1 – 1846 Girl in the presence of death (Myrtle)

This is told by a young girl named Myrtle (named on page 73), who was found as a toddler next to her mother, dead from smallpox in a slum in Victorian Liverpool, and taken into the household of wealthy if dissolute Mr Hardy. Myrtle is still pre-adolescent when she tells her tale. She has a mad crush on the son of the house, young Master George Hardy (the Master Georgie of the title), who is a medical student, with an amateur interest in phtography. George is wooing young Annie, and he has a friend, a would-be writer named Potter, who is enamoured of George’s sister, Beatrice.

The text is packed with uncanny detail, odd anecdote and strange insights – one of the oddest being that the child Myrtle is side-tracked from her task of accompanying George around town into watching a street performance of a Punch and Judy man. This is told with all the surreal oddity the subject encourages, but with the added twist that a passing horse shies, starts and backs into the Punch and Judy booth, knocking it and the performer inside sprawling. Disgruntled the performer packs his stuff into his gaudily painted van and trots off.

But the main event of this section is that, while George is strolling back from a run-of-the-mill chore, followed by the puppy-like Myrtle, he comes across a house outside which a wretched drunken harridan is wailing about a sick man. Reluctantly, medical student George feels compelled to investigate, is led up to the first floor, where, to his horror, he finds the half-naked body of his father with his trousers down on a bed. Pretty obviously Mr Hardy senior had a heart attack while having sex with the drunk woman, although we see all of this through the eyes of pre-sexual Myrtle who thinks he must have just been sleeping an a funny position.

Keeping his self-possession, George arranges for a street urchin, whose name we later discover is Pompey Jones, to fetch any conveyance he can beg or borrow. This, with typical Bainbridgean bizarreness, turns out to be the wagon used by the local Punch and Judy man we saw in an earlier scene – and, along with Myrtle, the trio dress Mr Hardy’s body, carry it into the Punch & Judy van, rattle back to the Hardy residence, sneak it through the family orchard and upstairs into Mr Hardy’s house, dodging the servants, Mrs Hardy and sister Beatrice. The guilty trio lay the stiffening corpse out on its bed as if he’s had a heart attack, perfectly natural-like. Then they go their separate ways, leaving the body for a maid to find that evening – which results in general hysteria among wife, daughter and servants. Myrtle swears eternal silence to George. Pompey is heavily paid off for his silence.

Plate 2 – 1850 A veil lifted (Pompey)

Section two is narrated in the voice of Pompey Jones (as we learn on page 63), the street urchin who did Master Georgie the immense favour of helping him carry his dead father home four years back. We learn that George subsequently packed Myrtle off to boarding school to ensure her absence/silence. And that George sent Pompey with money to buy the silence of the drunk harridan/prostitute. But the latter is such an alcoholic she’d forgotten the incident anyway, so Pompey kept the money and spent it on a set of his own photographic equipment, figuring to pick up the craft from Mr George and eventually set up in his own right.

We learn that Pompey once scraped a living as a street performer, eating fire, which is how he badly burned his lip, which George tended to free of charge. Through one thing and another, Pompey has become a kind of favoured servant, a fixer and gofer for George, running occasional errands as and when required.

On the day covered by this section, Pompey arrives bright and early as requested by George at the Hardy house. Here, he tells us, while waiting for George to awaken, he’s got into the habit of performing little tricks before anyone’s up, namely moving bits of furniture around, swapping paintings, moving fire irons and so on. Today he carries out his boldest exploit yet by rearranging the living room tiger rug, draping it over the back of a chair so it appears almost lifelike. He takes a glass of the family port and surveys his work with pride. He is a cheeky chappy, an artful dodger, a streetwise kid.

George finally appears and commands Pompey into the waggon with his medical equipment because they are setting off on a bizarre medical exploit where Pompey will be needed, namely assisting at an operation George is carrying out along with a fellow surgeon, Dr Rimmer, to remove the cataracts from the eyes of an aging ape kept in the collection of the eccentric millionaire owner of Blundell Hall.

This requires Pompey to drive George and his boxes of equipment in a lumbering horse and cart on a circuitous route along the seashore out of Liverpool and through what are presumably – nowadays – heavily built up inhabited areas but which were, back in the 1840s, empty countryside or sparse hamlets, thus giving a frisson of recognition to any Liverpudlian readers of the novel. (Bainbridge was Liverpool born and bred.)

Pompey assists at the bizarre operation by applying ether in a rag to the mangy old ape and keeping it unconscious while the two surgeons cut into its eyes! I defy you to think of a weirder fictional scene. Afterwards Rimmer and George celebrate with a drink, the latter overdoing it (since his father’s death, George has become a heavy drinker) so that Pompey has to manhandle him into the cart and drive it back into Liverpool along the wide beach as the sun sets. They stop so George can have a drunken conversation with an old hermit who they find on the shore.

We learn, through Pompey’s quick cynical thoughts and memories, that, on the fateful day of Mr Hardy senior’s death, George made a pass at young Pompey. He makes another, drunken, pass now. So, George is what we would nowadays call bisexual, although it is one of the many appeals of Bainbridge’s books that she imagines people in the past thinking according to their own culture, mindsets, psychologies and categories – which are often remote and strange. Maybe this – George’s wandering sexuality – is the veil which is lifted in this section.

When they arrive back at the Hardy household, and Pompey has helped drunk George up to bed, he is accosted on the way back downstairs by George’s friend Potter, who sternly tells Pompey that his stupid jape of rigging up the tiger rug to look lifelike has caused George’s wife, Miss Anna, opening the door in the dim dawn light, to cry out, turn, trip, stumble and hurt her wrist but, more importantly, it brought on a miscarriage. Surprisingly, Pompey isn’t beaten or whipped but that is the end of his merry japes.

Plate 3 1854 Tug-of-war beside the sweet waters of Europe (Potter)

This first-person narrative is in the voice of Potter (as we learn on page 70), an older friend of George’s who was a geologist. In the earlier sections I had got the impression he was another medical student but now it becomes clearer that he is a geologist – not least because he gives several long descriptions of rocks and geological formations, as well as describing the shock he received on reading Charles Lyell’s epoch-making textbook, the Principles of Geology. Alas Potter has tried – and failed – to make a living by writing and now, sheepishly, lives to a large extent on the generosity of his old friend George.

George, we begin to realise, is the unspeaking central figure around whom all these other lives circle.

Potter is now married to Beatrice and narrates how they, George and his wife Annie, ‘the children’, and Myrtle – now educated and grown up but still slavishly devoted to George – have decided to take a cruise through the Mediterranean to Constantinople. The initial idea was for the two men to revisit some of the locations Potter first visited as a young man (and which he wrote a not-very-successful travel book about) but first one and then other wife asked to come and the whole expedition just snowballed. Thus they are all together in Malta as they hear rumours of approaching war, and by the time they reach Constantinople it is confirmed that Britain and France have gone to war with Russia in support of the Ottoman Empire. The Crimean War has begun. George reports to the British consulate and volunteers as a surgeon, and is assigned to the newly established military hospital up the Black Sea coast at Varna.

Potter’s voice is much the most enjoyable of the three, with his cynically humorous take on his wife, his friend, their families, hangers-on. He gives deliciously acid thumbnail portraits of fellow passengers on the ship and then of fellow Brits in Turkey.

Both George and Potter are particularly irritated when a pompous fellow passenger, Naughton (a bumptiously jingoistic violin maker), becomes infatuated with Myrtle who, of course, has eyes only for George. George and Potter spontaneously start a joke which is to pretend to Naughton that Myrtle is already engaged. Pushed on the identity of her fiancé, they invent a dashing cavalry officer, all of which Naughton believes. Things get complicated later on, when Myrtle gets caught up trying to extricate the family puppy from street dogs in Constantinople, and is helped out by a passing cavalry officer. Naughton sees them returning from this incident and completely misinterprets it to think that this officer is Myrtle’s (entirely fictitious) lover.

And so when Naughton spies this same officer, innocently snogging a local woman in the box next to our chaps at the opera – and Myrtle weeping (entirely because the of the music) – Naughton completely misinterprets the scene to think the officer is behaving outrageously and making the poor aggrieved Myrtle weep. Naughton storms along the passageway, into the box and attacks the officer, who promptly defends himself and accidentally knocks Naughton clean out of the box and onto the stage beneath. George attends Naughton, who is not as injured as you’d expect, leaving Potter to feel sheepishly guilty, while reflecting on the absurdity of life, its randomness and chance complications.

Plate 4 – August 1854 Concert party at Varna (Myrtle)

Section four is narrated by Myrtle, eight years older than her first appearance and a woman of the world. George has volunteered to work as a surgeon up at Varna, where the British soldiers are dropping like flies from the cholera epidemic. The wives – Annie and Beatrice – and the children have been packed off back to Blighty, and Myrtle and Potter have accompanied him to Varna.

This section gives us a sense of the sights and smells of the allied camp at Varna, especially the drunkenness of the British troops. It also slowly becomes clear that George’s relationship with Myrtle is now sexual. Myrtle goes for a horse ride with another Brit they met on the ship over, a Mrs Yardley who openly admits to being in an unmarried relationship with a colonel in the Guards. There is a typically bizarre scene where the pair of English ladies find themselves straying too close to a Turkish farm and being hussled into it by peasants, who promptly offer them bowls of none-to-clean milk while the exhausted peasant mother suckles a baby and a nearby pregnant goat gives birth messily, to the ladies’ horror.

But the main event in this section is a performance by a British concert party, chaps dressing up as women and singing each other sentimental songs. The climax is an explosive display by a handsome young fire-eater. Fire eating ring any bells? Yes, it turns out this performer is none other than Pompey Jones from Liverpool. He had become a photographer’s assistant in Liverpool, the photographer received a commission to come out and take pics of the army in Turkey, so that’s how he’s here in Varna; then one of the performers in the concert show went sick and someone had heard Pompey talking about his fire-eating days so he found himself being dragooned onstage. In other words, it is a staggering coincidence that Myrtle, George and Potter should bump into Pompey like this. But, as various characters reflect throughout the text, life is full of haphazard accidents and random chances.

Before the concert show George had asked Myrtle to prepare for a sexual encounter with him, so she had washed her armpits and ‘other places’. Alas, she waits and waits till dawn but he doesn’t come. She goes over to his tent and is upset to find George asleep in the arms of the handsome, fit young fire-eater. Myrtle is distraught, and finds herself pouring her heart out to Mrs Yardley – but Mrs Yardley and all the others believe in the cover story that George and Myrtle are brother and sister, and so thinks Myrtle is upset merely at the lower class and homosexual nature of George’s affections – she doesn’t realise Myrtle is upset because she feels a lover’s betrayal- and Myrtle, even in full flight of sobbing, realises she mustn’t reveal the truth.

Later, once George has woken and gone about his tasks at the barracks hospital, Myrtle and Pompey sit and talk about old times. Pompey startles her by revealing that Georgie has told him ‘about the babies’. It is via this conversation that we learn the startling revelation that Myrtle is the mother of George and Annie’s babies! After George’s wife Annie’s fourth and final miscarriage – the one caused by Pompey rearranging the tiger rug – Annie was declared infertile and so… and so the trio agreed that Myrtle should be impregnated and bear the children which she now helps to bring up but which George and Annie treat as theirs. She is the mother of George’s children. No wonder she is so besotted by him.

But in the way which I so admire about her historical novels, Bainbridge captures the way all involved acquiesce in the event but keep it hidden, coping with it, rationalising it, in a way inaccessible to our modern politically correct sensibilities.

Annie accepts the situation and the children and Myrtle. George conceals any public displays of affection for Myrtle and keeps her at a distance – and sleeps with young men. Which upsets Myrtle but doesn’t repel her: the homosexuality isn’t an issue. She even wonders whether George’s mother, old Mrs Hardy know but keeps quiet about the ‘scandal’.

The story feels so Victorian, so very much about love and desire twisted and reconfigured in unexpected, secret, repressed ways. People were different in the past. Really profoundly different, in the way they thought about life, lived, in their values and decisions, and Bainbridge’s novels wonderfully capture this difference on every page.

After Pompey leaves her, Myrtle tells Potter that Pompey knows about the babies. Foolish for George to have told him, Potter says. He could do you both harm. An ominous note is sounded. Will the story end in some kind of blackmail?

Plate 5 – October 1854 Funeral procession shadowed by Beatrice (Potter)

This is the second narrative told in the voice of by Potter, in which he comes over as significantly more of a bore than in the first one. Shame. I liked his affable cynicism. Now we know, from remarks of George’s to his face, that George is finding him rude and offensive and he is boring everyone with his endless classical quotations.

It is through Potter’s eyes that we see the allied task force of 64,000 soldiers set sail from Varna, cross the Black Sea and land at Eupatoria, on the west coast of the Crimean Peninsula. Potter describes the unopposed landing, the assembly of the troops and then the nightmare march of the soldiers south, without food or drink through the intense heat of a blistering summer’s day, when thousands of soldiers dropped out of line and hundreds died of exhaustion and dehydration, the terrible march I’ve read about in the historical accounts by Saul David and Orlando Figes.

And so the soldiers straggle on to create the armed camp south of Sevastopol. Bainbridge is not a historian and so we only hear about the epic battles of the river Alma and of Balaklava peripherally, as throwaway remarks by Potter who is more concerned about the facilities in the camp where he finds himself, and the relationship with George and Myrtle.

It is a relief we are not shown these battles (as we might be in a more macho, male narrative). Instead the charge of the Light Brigade is only referenced insofar as some of the returning riderless horses ride on in among the hospital tents where Potter was assisting George. He stops one of the fleeing horses and commandeers it, albeit the poor thing has been deafened by the cannon.

There are drunken dinners with soldiers (officers, of course) at which Potter tactlessly prattles on about death and displays his classical and/or geological learning, to the others guests’ boredom or dismay. According to Potter’s narrative he is having more and more intense visions of his wife, Beatrice, who was wise enough to depart Constantinople and return to peaceful Wales, but now appears to him in visions by day and night. Most embarrassingly she appears to Potter when he’s attending a funeral of some officers they knew. Her spirit leads him away to pick an intensely blue cornflower. I suspect these feverish hallucinations are intended to be the symptoms of cholera or typhoid. Maybe Potter is going to die.

A photographer is present to pose the mourners at this funeral, to show ‘the folks back home’ – hence the section’s title, Funeral procession shadowed by Beatrice.

Plate 6. November 1854 Smile, boys, smile (Pompey)

The sixth and final section is narrated by Pompey. His boss, the photographer, has gone back top Constantinople for supplies, leaving Pompey to hang out with the gang – George, Myrtle, Potter – and give us our last sight of them.

Pompey isn’t in the army – he built on the photography equipment he bought with the money he sidelined from George, as per chapter two, to get a job as a photographer’s assistant. We learn that the photography van, painted bright white and containing shelves of cameras, lenses and development equipment, is none other than the Punch and Judy van which Myrtle described back in section one, eight years earlier, and which was used to carry the corpse of naughty Mr Hardy home. Thus do accidents and coincidences litter our lives.

The climax of the book comes when all four are called into action to reinforce British troops being attacked. I think this is an account of the Battle of Inkerman, a bloody battle in which Russian troops again and again stormed British strongpoints on a day of dense fog, in which the fighting was reduced down to bleak and horrific hand-to-hand bayoneting in muddy pits.

Pompey, the tough street urchin, finds himself commandeered into combat but – like the survivor he is – kills his quota of Russians and survives. These last few pages convey the horror, terror and mindless violence of battle and Pompey, the tough survivor is the perfect pair of eyes to see it through.

Then the battle is all over and Pompey and Myrtle are helping injured soldiers back towards a dressing station where George is working, specifically an officer who’s had both feet blown off and whose comrades put his stumps into a barrel of gunpowder to stanch the bleeding. George lends a hand and,when Myrtle calls out because she’s stumbled on a stone, George turns to look at her and at that moment an injured Russian soldier, who had been lying nearby and has propped himself up on a rock, takes one shot at the stretcher party and shoots George dead.

Myrtle cradles George’s head. Pompey staggers off to inform Potter, a man now much reduced from his former witty self, plastered in mud, malnourished, babbling classical quotes while tearing the pages of his precious books to stuff into the stove to keep warm. So much for intellectuals.

In the final act, Pompey returns to the British camp to discover his boss, the photographer, has returned and is taking a photo of five survivors for the folks back home. They need another figure to complete the composition. Pompey jogs off and returns bearing the corpse of George. Not fazed by dead bodies, the soldiers prop George up to look like one of themselves, one of the happy chaps defending ‘Justice’ and ‘Liberty’ and ‘Empire’, as the photographer says, ‘Smile, boys, smile.’

Finis.


The photos

By the end the reader realises that each section contains the taking of a photo: in section one George practices his new hobby by asking the young Myrtle to pose touching the corpse of his father (hence ‘Girl in the presence of death’), and each of the subsequent sections is named after a particular photograph which for one reason or other is taken during the action. Thus the photo of the funeral party in the penultimate section (the one where Potter shames himself by wandering off half-delirious to pick a cornflower) and, of course, the final posed and utterly deceitful photo which ends the text.

As I noted in my review of Crimea, which describes how the newfangled photographs of the war were almost all carefully posed and arranged – the camera always lies.

Literary effects

Humour, often very dry humour, is never far away in Bainbridge’s novels. One simple but effective result of the way the book uses multiple viewpoints is that the impression and story told by one narrator can then be humorously undercut by the next one.

Thus when we see George through Myrtle’s eyes it is through the mind of a lovelorn girl who describes him as a handsome, wise and good young man. It is a shock to have the same George described by Potter as an overweight drunk. Similarly, Potter’s own text narrative is shrewd and witty, so we (well, I) was won over to his witty character. It comes as a shock, then, to have Myrtle, at the beginning of her next section, describing him as an intellectual bore, irritating everyone by quoting ancient poetry in the original, maybe -as Myrtle reflects – as an escape from the brutal realities of the present.

Conclusion: We are mysteries to each other. The world is a mystery to all of us.

Disconcerting

Bainbridge is the Queen of Disconcertment. The broad shape of her narratives, the vivid vignettes which stud her stories, and even passing similes and phrases, all contain the potential to unnerve, ruffle and discomfit the reader. For example, Potter describes their ship setting off from Constantinople:

In our wake flew a swarm of small birds, no bigger than robins, which are never seen to settle, but must always be in flight. The Turks, so I was told, suppose them to be the souls of women whom the Sultan has drowned. (p.106)

Not what you expected from a description of sea birds. Potter describes how the extended group spend an evening at the filthy Istanbul opera house, where the big passionate music of Verdi made Myrtle cry. But the reader is distracted from this straightforward situation by the discombobulating comparison which Myrtle’s weeping brings to Potter’s mind.

Then, some moments before the interval, I heard a strange mewing sound, which instantly brought back memories of Mrs O’Gorman’s kitchen and the cry of the stable cat prowling the bucket in which its kittens lay drowned. (p.100)

Wow. Yes. An endless ability to unsettle and unnerve.

Quite apart from the unsettling drift of the overall narrative, the text is laced with moments where the everyday is transformed into bewildering strangeness. Sometimes the incongruities can be very funny, like the extended deception Potter and George play on poor Naughton about Myrtle’s fictional lover. But mostly they’re weird and discomfiting. And sometimes poetic and evocative, coming and going in seconds, like the flow of experience. A tiny example: in the final section Pompey is sharing a cosy mug of tea with Potter, both of them shrouded in the impenetrably thick fog.

Close by, a horse pissed, its splatterings diminishing as it trotted on. (p.197)

This is a marvellous book, laced all through with the weirdness and poetry of life.


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