The ride of the psychotic Valkyries – Apocalypse Now Redux

Photographs of guns and flame
Scarlet skull and distant game
Bayonet and jungle grin
Nightmares dreamed by bleeding men
Lookouts tremble on the shore
But no man can find the war
Tim Buckley 1976

Our recently departed friend Tim Page was the central character in the 1992 ABC miniseries Frankie’s House, the story of the celebrated, inebriated Vietnamese home-away-from home and party house in Saigon for transiting newsmen – a decadent, dissolute, de facto foreign correspondents club. Tim was portrayed by Scottish actor Iain Glen, famous nowadays for his role as Ser Jorah Mormont in Game of Thrones. This was not Tim’s first first portrayal in film. Denis Hopper’s strung-out photojournalist in the 1979 film Apocalypse Now was said to have been inspired by Tim’s Vietnam adventures. This was referred to many times in the many media tributes that followed his passing and at his farewell in August last year.

Rewatching the film recently, for the first time in decades, I thought Hopper’s over the top, incongruous and unexplained character bears little resemblance to the Tim Page we knew. And yet, as Tim and his partner Mau were later to point out to me, Hopper’s cracked and crazed camera cowboy illustrated exactly what the soldiers at ground zero experienced in America’s war, a war that has since been defined as chaos without compass.

The film is loosely based on Joseph Conrad’s novel Heart of Darkness, set in a dark and deadly Belgium-ravaged Congo. A special forces officer is sent on a mission to assassinate a rogue officer who has established a quasi-kingdom in the heart of the Jungle. With poetic and creative license Francis Ford Coppola created a psychedelic fever dream somewhere up the crazy river on a journey through a war that had already been lost while the powers that be had concealed the fact to the American public and to the world at large.

The Vietnam War’s echoes reverberate to this day. In the United States, it has taken more than 50 years for such a traumatic defeat to fade. The deepest scars, inevitably, belong to those who suffered most. Author and Vietnam veteran Philip Caputo in the preface to his memoir A Rumor of War  wrote:

“I came home from the war with the curious feeling that I had grown older than my father, who was then 51,” writes. “A man saw the heights and depths of human behaviour in Vietnam, all manner of violence and horrors so grotesque that they evoked more fascination than disgust. Once I had seen pigs eating napalm-charred corpses – a memorable sight, pigs eating roast people.”

The scars on Vietnam itself were much much deeper and long lasting – on its politics, still a authoritarian communist regime; its people – millions died, were wounded or suffered long term psychological and genetic damage; and its environment – the effects of broad-acre defoliants and the damage and debris of war.

Two seminal scenes in the film encapsulate the carnage wrought in a country the US government wanted to “bomb back into the stone-age”.

Ou first introduction is where “little spots on the horizon, into gunships grow”, to borrow from Canadian songwriter Bruce Cockburn, as a squadron of US helicopters approach a tropical shore and attack a Vietcong camp in an idyllic seaside village to the exhilarating accompaniment of Richard Wagner’s rollicking The Ride of the Valkyries. Amidst the rattle of machine guns, the explosions and the flames, the American crews are portrayed as gung-ho and dispassionate participants in a real-time video game. The Vietnamese men, women and children are tiny black-garbed figures running around in panic like a disturbed ant’s nest, falling, flailing and flying through the air. Yet you know that this is no computer game. These helpless and doomed people are merely targets with nowhere to run to.

The second scene is set towards the end of the film, up that crazy river. The assassin, Willard, is about to slay his target, Colonel Kurtz – but not before Kurtz, filmed in a flame-lit semi-darkness, declares that he wants to die as a soldier and “not like some poor, crazed rag-assed renegade”. He then delivers his final testament on a war that has been all for nothing, and on why it has been lost:

“I’ve seen horrors … horrors that you’ve seen. But you have no right to call me a murderer. You have a right to kill me. You have a right to do that … but you have no right to judge me. It’s impossible for words to describe what is necessary to those who do not know what horror means. Horror. Horror has a face … and you must make a friend of horror. Horror and moral terror are your friends. If they are not, then they are enemies to be feared. They are truly enemies. I remember when I was with Special Forces. Seems a thousand centuries ago. We went into a camp to inoculate the children. We left the camp after we had inoculated the children for Polio, and this old man came running after us, and he was crying. He couldn’t see. We went back there, and they had come and hacked off every inoculated arm. There they were in a pile. A pile of little arms. And I remember … I … I … I cried. I wept like some grandmother. I wanted to tear my teeth out. I didn’t know what I wanted to do. And I want to remember it. I never want to forget it. I never want to forget. And then I realized … like I was shot … like I was shot with a diamond … a diamond bullet right through my forehead. And I thought: My God … the genius of that. The genius. The will to do that. Perfect, genuine, complete, crystalline, pure. And then I realized they were stronger than we. Because they could stand that these were not monsters. These were men … trained cadres. These men who fought with their hearts, who had families, who had children, who were filled with love … but they had the strength … the strength … to do that. If I had ten divisions of those men, then our troubles here would be over very quickly. You have to have men who are moral … and at the same time who are able to utilize their primordial instincts to kill without feeling … without passion … without judgment … without judgment. Because it’s judgment that defeats us”.

The film itself is much better than I recall it first time around. Perhaps it is because I now know substantially more about the Vietnam War than I did then. But also, because the 2001 directors cut, Apocalypse Now Redux has nearly an hour of footage that never reached the original cinema release, much of it quite crucial to an understanding of how pointless and crazy the war became.

The film contains several changes, mostly subtle, and two entirely new scenes, both of which enhance and serve to illustrate just how inchoate and crazy the war had become by the end of the sixties. By the time Richard Nixon was elected president in November 1968 with a promise to end the war and “bring the boys home”, it had almost seven years still to run.

One of the new scenes is set on the tiny US Navy river boat taking Willard up-country, Earlier in the story, the famous Penthouse Playmates arrive at a rear-base to entertain the troops. We now meet  them again at a neglected and run-down forward fire base further up the river. It is a bizarre scene with an equally bizarre script in which two stranded and befuddled beauties struggle with the surreal setting and its drug and combat addled garrison. The other has Captain Willard and the team encounter a family of well-armed holdout French colonists on their remote rubber plantation. Here we have the film’s the only solid explication of the origins and inevitable outcome of the Indochina conflict. Having denounced his country’s folly in being surrounded and defeated in the battle of Dien Bien Phu in 1954, which precipitated the end of French colonial rule and the beginning of US involvement in Indochina, patriarch Hubert de Marais declares: “You are fighting for the biggest nothing in history”.

© Paul Hemphill 2023 All rights reserved

Read more about the Vietnam War in In That Howling Infinite: The Ballad of Denton Crocker – a Vietnam elegy; Tim Page’s War – a photographer’s Vietnam journey; Journey’s end – photographer Tim Page’s wild ride; Things fall apart, the centre cannot hold – 1968 revisited 

Colonel Kurtz’s “Horror” monologue from Apocalypse Now,  performed by Marlon Brando

Lost in the rain with no direction home – Dylan’s poem for Woody

Stop this day and night with me and you shall possess the origin of all poems.
Walt Whitman, Song of Myself.

The words of America’s national bard came to me as I read for the first time this very morning Last Thoughts on Woody Guthrie, written by Bob Dylan in honour of his idol Woody Guthrie, who at the time was dying from Huntington’s disease.

I hear America singing, the varied carols I hear, wrote Walt Whitman, setting song lines for a young nation, and what was seen at the time as its promise and its bold, independent identity. He reflected his country’s growing up and coming of age to his own personal awakening and awareness, in his seeing and being enlightened. Dylan was to become the young voice of an older but not wiser nation that seemed very much like it was not busy being born, but, rather, under the weight of its myriad contradictions – of the old and the new, the youth and their elders, of war and peace,  black and white. Dylan heard the his country’s song in the turbulent, transformed and transforming sixties declaiming that he’d know my song well before I start singing.

In 1855, when Whitman published his first incarnation of Leaves of Grass, no one had yet heard anything like the raw, declamatory, and jubilant voice of this self- proclaimed “American”.  And the same could be said of the young Bob Dylan when he broke out from the pack that had gathered in the folk cafés and clubs of New York City in the early years of the nineteen sixties, an enigmatic poetic figure whose songs spotlighted the chaos and division that have long defined what it meant to be an American. It is no wonder that in later years,  Dylan would acknowledge his debt to Whitman in I Contain Multitudes – unoriginal and some would argue, pretentious, but then Bob has always borrowed, be it from the Anthology of American Folk Music, the British folk tradition, the avant guard poets of Europe, and the great books of the western literary canon.

Dylan read his poem for Woody aloud once only, reciting it at New York City’s Town Hall on April 12th 1963.

Introducing the poem, he told the audience he’d been asked to “write something about Woody … what does Woody Guthrie mean to you in twenty-five words,” for an upcoming book on the icon left wing singer-songwriter. He explained that he “couldn’t do it – I wrote out five pages, and, I have it here, have it here by accident, actually.” What followed was not a simple eulogy, but a lengthy, 1705 word stream of consciousness treatise on the importance of hope.

Dylan sets the scene by describing the stresses and strains of everyday life and challenging choices we have to make as we navigate it. He describes how these can cause us to feel alone, lost, and without direction. He then explains the need for hope and how we need something to give our lives meaning. He concludes by suggesting that, for him, Woody Guthrie is as much a source of hope and beauty in the world as God or religion.

Reading it for the first time ever this morning, I could hear words, lines and themes from songs that were yet to be written, songs that have followed me down these past sixty years, from those early albums of anger and introspection, protest and perception, through to My Rough And Rowdy Ways.

The recitation was recorded, but was not officially released until 1991, on The Bootleg Series Volumes 1-3 (Rare & Unreleased) 1961-1991, after circulating on bootleg releases for years. The poem is published in full below. The images in the video that follows it are clichéd and distracting; just shut your eyes and listen to the words. I prefer just reading and recalling all those uncounted ballads, songs and snatches and the improbable ‘echoes’ of things to come. I have added a gallery of favourite pictures of the man himself. Enjoy.

More on Bob Dylan in In That Howling InfiniteWhat’s Bob got to do with it?; Legends, bibles, plagues – Bob Dylan’s Nobel Lecture; Blind Willie McTell – Bob Dylan’s Americana; Cross the Green Mountain – Bob Dylan’s Americana; Still tangled up in Bob

In That Howling Infinite, read also, I hear America singing – happy birthday, Walt Whitman; The last rains came gently – Steinbeck’s dustbowl ballad, and The Sport of Kings – CE Morgan’s “great American novel”

Bob and Woody

Last Thoughts On Woody Guthrie

When yer head gets twisted and yer mind grows numb
When you think you’re too old, too young, too smart or too dumb
When yer laggin’ behind an’ losin’ yer pace
In a slow-motion crawl of life’s busy race
No matter what yer doing if you start givin’ up
If the wine don’t come to the top of yer cup
If the wind’s got you sideways with with one hand holdin’ on
And the other starts slipping and the feeling is gone
And yer train engine fire needs a new spark to catch it
And the wood’s easy findin’ but yer lazy to fetch it
And yer sidewalk starts curlin’ and the street gets too long
And you start walkin’ backwards though you know its wrong
And lonesome comes up as down goes the day
And tomorrow’s mornin’ seems so far away
And you feel the reins from yer pony are slippin’
And yer rope is a-slidin’ ’cause yer hands are a-drippin’
And yer sun-decked desert and evergreen valleys
Turn to broken down slums and trash-can alleys
And yer sky cries water and yer drain pipe’s a-pourin’
And the lightnin’s a-flashing and the thunder’s a-crashin’
And the windows are rattlin’ and breakin’ and the roof tops a-shakin’
And yer whole world’s a-slammin’ and bangin’
And yer minutes of sun turn to hours of storm
And to yourself you sometimes say
“I never knew it was gonna be this way
Why didn’t they tell me the day I was born”
And you start gettin’ chills and yer jumping from sweat
And you’re lookin’ for somethin’ you ain’t quite found yet
And yer knee-deep in the dark water with yer hands in the air
And the whole world’s a-watchin’ with a window peek stare
And yer good gal leaves and she’s long gone a-flying
And yer heart feels sick like fish when they’re fryin’
And yer jackhammer falls from yer hand to yer feet
And you need it badly but it lays on the street
And yer bell’s bangin’ loudly but you can’t hear its beat
And you think yer ears might a been hurt
Or yer eyes’ve turned filthy from the sight-blindin’ dirt
And you figured you failed in yesterdays rush
When you were faked out an’ fooled while facing a four flush
And all the time you were holdin’ three queens
And it’s makin you mad, it’s makin’ you mean
Like in the middle of Life magazine
Bouncin’ around a pinball machine
And there’s something on yer mind you wanna be saying
That somebody someplace oughta be hearin’
But it’s trapped on yer tongue and sealed in yer head
And it bothers you badly when your layin’ in bed
And no matter how you try you just can’t say it
And yer scared to yer soul you just might forget it
And yer eyes get swimmy from the tears in yer head
And yer pillows of feathers turn to blankets of lead
And the lion’s mouth opens and yer staring at his teeth
And his jaws start closin with you underneath
And yer flat on your belly with yer hands tied behind
And you wish you’d never taken that last detour sign
And you say to yourself just what am I doin’
On this road I’m walkin’, on this trail I’m turnin’
On this curve I’m hanging
On this pathway I’m strolling, in the space I’m taking
In this air I’m inhaling
Am I mixed up too much, am I mixed up too hard
Why am I walking, where am I running
What am I saying, what am I knowing
On this guitar I’m playing, on this banjo I’m frailin’
On this mandolin I’m strummin’, in the song I’m singin’
In the tune I’m hummin’, in the words I’m writin’
In the words that I’m thinkin’
In this ocean of hours I’m all the time drinkin’
Who am I helping, what am I breaking
What am I giving, what am I taking
But you try with your whole soul best
Never to think these thoughts and never to let
Them kind of thoughts gain ground
Or make yer heart pound
But then again you know why they’re around
Just waiting for a chance to slip and drop down
“Cause sometimes you hear’em when the night times comes creeping
And you fear that they might catch you a-sleeping
And you jump from yer bed, from yer last chapter of dreamin’
And you can’t remember for the best of yer thinking
If that was you in the dream that was screaming
And you know that it’s something special you’re needin’
And you know that there’s no drug that’ll do for the healin’
And no liquor in the land to stop yer brain from bleeding
And you need something special
Yeah, you need something special all right
You need a fast flyin’ train on a tornado track
To shoot you someplace and shoot you back
You need a cyclone wind on a stream engine howler
That’s been banging and booming and blowing forever
That knows yer troubles a hundred times over
You need a Greyhound bus that don’t bar no race
That won’t laugh at yer looks
Your voice or your face
And by any number of bets in the book
Will be rollin’ long after the bubblegum craze
You need something to open up a new door
To show you something you seen before
But overlooked a hundred times or more
You need something to open your eyes
You need something to make it known
That it’s you and no one else that owns
That spot that yer standing, that space that you’re sitting
That the world ain’t got you beat
That it ain’t got you licked
It can’t get you crazy no matter how many
Times you might get kicked
You need something special all right
You need something special to give you hope
But hope’s just a word
That maybe you said or maybe you heard
On some windy corner ’round a wide-angled curve
But that’s what you need man, and you need it bad
And yer trouble is you know it too good
“Cause you look an’ you start getting the chills
“Cause you can’t find it on a dollar bill
And it ain’t on Macy’s window sill
And it ain’t on no rich kid’s road map
And it ain’t in no fat kid’s fraternity house
And it ain’t made in no Hollywood wheat germ
And it ain’t on that dimlit stage
With that half-wit comedian on it
Ranting and raving and taking yer money
And you thinks it’s funny
No you can’t find it in no night club or no yacht club
And it ain’t in the seats of a supper club
And sure as hell you’re bound to tell
That no matter how hard you rub
You just ain’t a-gonna find it on yer ticket stub
No, and it ain’t in the rumors people’re tellin’ you
And it ain’t in the pimple-lotion people are sellin’ you
And it ain’t in no cardboard-box house
Or down any movie star’s blouse
And you can’t find it on the golf course
And Uncle Remus can’t tell you and neither can Santa Claus
And it ain’t in the cream puff hair-do or cotton candy clothes
And it ain’t in the dime store dummies or bubblegum goons
And it ain’t in the marshmallow noises of the chocolate cake voices
That come knockin’ and tappin’ in Christmas wrappin’
Sayin’ ain’t I pretty and ain’t I cute and look at my skin
Look at my skin shine, look at my skin glow
Look at my skin laugh, look at my skin cry
When you can’t even sense if they got any insides
These people so pretty in their ribbons and bows
No you’ll not now or no other day
Find it on the doorsteps made out-a paper mache¥
And inside it the people made of molasses
That every other day buy a new pair of sunglasses
And it ain’t in the fifty-star generals and flipped-out phonies
Who’d turn yuh in for a tenth of a penny
Who breathe and burp and bend and crack
And before you can count from one to ten
Do it all over again but this time behind yer back
My friend
The ones that wheel and deal and whirl and twirl
And play games with each other in their sand-box world
And you can’t find it either in the no-talent fools
That run around gallant
And make all rules for the ones that got talent
And it ain’t in the ones that ain’t got any talent but think they do
And think they’re foolin’ you
The ones who jump on the wagon
Just for a while ’cause they know it’s in style
To get their kicks, get out of it quick
And make all kinds of money and chicks
And you yell to yourself and you throw down yer hat
Sayin’, “Christ do I gotta be like that
Ain’t there no one here that knows where I’m at
Ain’t there no one here that knows how I feel
Good God Almighty
THAT STUFF AIN’T REAL”
No but that ain’t yer game, it ain’t even yer race
You can’t hear yer name, you can’t see yer face
You gotta look some other place
And where do you look for this hope that yer seekin’
Where do you look for this lamp that’s a-burnin’
Where do you look for this oil well gushin’
Where do you look for this candle that’s glowin’
Where do you look for this hope that you know is there
And out there somewhere
And your feet can only walk down two kinds of roads
Your eyes can only look through two kinds of windows
Your nose can only smell two kinds of hallways
You can touch and twist
And turn two kinds of doorknobs
You can either go to the church of your choice
Or you can go to Brooklyn State Hospital
You’ll find God in the church of your choice
You’ll find Woody Guthrie in Brooklyn State Hospital
And though it’s only my opinion
I may be right or wrong
You’ll find them both
In the Grand Canyon
At sundown

Bringin’ it all back home …

Bob and Sara

Bob and Joan

Bob and Alan Ginsberg at the grave of Jack Kerouac

21st Century Bob – the Never Ending Tour

The Russian Tradition – Russia, Ukraine and Tibor Szamuely

In a televised address on September 30th last year, Vladimir Putin said: Russia is a great, 1000-year-old power, a whole civilisation, and it is not going to live by such makeshift, false rules … What, if not racism, is the West’s dogmatic conviction that its civilisation and neoliberal culture is an indisputable model for the entire world to follow?”

Now, one might not agree with Putin, and today, he is certainly persona non grata in Western forums, but one thing is for sure: Russian history mines its own unique seamWe republish below an article by American author, journalist and editor Christopher Caldwell. He advocates that we adopt a cautious and open minded perspective on historical memory, contemporary perceptions, lexicological differences, the dangers of making assumptions, and coming to conclusions and adopting opposing positions on the basis of incomplete and inadequate knowledge of other countries than our own with their distinct but not hermetically sealed histories and cultures.

Caldwell’s central focus is the colourful life and legacy of exiled Hungarian academic Tibor Szamuely.

Like many refugees from Communism, Szamuely was descended from both perpetrators and victims. An uncle of the same name served in the Hungarian Soviet Republic that took power for six months under Béla Kun in 1919, and died violently that year when the revolution failed. He was among that government’s most bloodthirsty ministers, and was called “Butcher Szamuely”. Szamuely’s family wound up in Moscow, where Tibor was born, and where his father was executed in Stalin’s purges. Young Tibor served in the Red Army, and he too was arrested and sent to a Labour camp. Rehabilitated, he served as Chancellor of Budapest University. In 1964, then nearing 40, he was teaching in the “ideological institute” of Ghana’s Marxist president Kwame Nkrumah when he defected to England.

He taught at the University of Reading in England and befriended Kingsley Amis, Robert Conquest, and Anthony Powell, among other literary anti-Communists. His book, unfinished when he died of cancer in 1972, was edited into its final form by Conquest and published two years later.

Szamuely taught me Russian and Soviet history and politics at Reading University. Back then, I was a political ingenue and a naive communist sympathizer and fellow-traveler, although my evolving perspectives were transforming and expanding. As my tutor, he advised me to study with an open mind and to put off juvenile thinking. He hadn’t been well when I knew him and he died a year after I graduated. Under his tuition, I’d resolved to specialize in Soviet Studies – but events intervened and I ended up in the Middle East (and that is another story. see: Tanks for the Memory – how Brezhnev changed my life).

He he would always impress upon me the historical and political continuity of what he called The Russian Tradition – the title of his one and only book, published shortly before his death, and now, regrettably, out of print. I purchased a first edition when it was published and it is on my bookshelf still.

Szamuely believed that the bloodstained drama of the revolutions of 1917 – there were two, the social democratic one in the February, the Bolshevik one in November – and the years that followed, including civil war, the establishment of the USSR and Stalinism largely obscured the underlying consistency of Russian history. He did not live to see the decline and fall of the Soviet Union, and the advent of Putin and Russia Redux, but the basic pattern persists, circular and repetitive. The frequent turmoils that have overtaken this vast continent have in their various ways made changes that were essentially superficial, leading in the end to the intensification, under new forms, of the old authoritarian structure.

From medieval times, autocracy has coexisted with a revolutionary traditionalism – a contradiction in terms as only Russia could sustain, a unique Russian capacity to seek revolution and discover regression, to invoke liberty merely to reinforce repression. if he were with us today, Szamuely would explain that the Soviet Union under Lenin and his successors and the Russia of Vladimir Putin bears so disconcertingly close a resemblance to Russia under the most savage of its tsars. His people, it turned out, had wanted freedom but wanted to retain the idea of their old Russian empire more. They ended up with the would-be czar, Vladimir Putin. And so the world turns.

© Paul Hemphill 2023 All rights reserved

Posts in In That Howling Infinite, about Eastern Europe: The Roots and fruits of Putin’s irridentism; Borderlands – Ukraine and the curse of mystical nationalism; Ghosts of the Gulag, The Death of Stalin is no laughing matter, Tanks for the memory – how Brezhnev changed my life, 2nd September 1939 – the rape of Poland (1), 17th September 1939 – the rape of Poland (2)  

You – Bolshevik recruiting poster 1918

You Are Needed In Kiev 2014

Churchill, Roosevelt and Stalin divide Europe at the Yalta Conference in Crimea, 1945

Why is Russia obsessed with slavery?

Tibor Szamuely: ‘The Russian Tradition’

Christopher Caldwell, UnHerd, 23rd august 2022

There’s nothing wrong with being cautious. Since 1709, when Peter the Great routed the troops of Swedish King Charles XII at Poltava, smack-dab in the middle of modern-day Ukraine, Europeans have understood Russia as a military threat. Never has this required us to close our minds to the glories of Russian culture or to forget that Russia’s strategic posture always has an explanation — and sometimes even a rationale.

But what was intellectually possible for Westerners in the winter of 1943, when Hitler’s troops and Stalin’s were killing each other by the millions on the Eastern front, is apparently beyond our powers today. In the wake of Russia’s February invasion of Ukraine, many Europeans will not be content with anything less than wiping Russia and its culture off the map. In April, novelist Oksana Zabuzhko, writing in the TLS  that it was the morality of Tolstoy and other Russian writers that “wove the camouflage net for Russia’s tanks”, urged us to “take a long, hard look at our bookshelves”. In early August, the Russian-language novelist Wolodymyr Rafejenko declared he now felt a “revulsion” when he conversed in Russian, and vowed never again to write in it.

These are Ukrainians — one can understand their anguish and rage. But Western Europeans, who are not even at war, have been even more zealous. A Milan university cancelled its Dostoevsky class last spring. The EU and UK have blacked out the Russian internet channel RT. Russians have been declared unwelcome at venues from Wimbledon to Estonia.

Back in the middle of the 20th century, when Russia was capable of far worse, the Russian-born historian Tibor Szamuely wrote an extraordinary book. The Russian Tradition explained how Russian political behaviour (about which Szamuely was wary to the point of hostility) arose from Russian history and culture (about which Szamuely was respectful to the point of reverence). This is the right balance. It has not been struck so well since. Too bad the book is out of print, because it is strangely relevant to a lot of this decade’s preoccupations: slavery, political correctness and Ukraine, for starters.

Like many refugees from Communism, Szamuely was descended from both perpetrators and victims. An uncle of the same name served in the Hungarian Soviet Republic that took power for six months under Béla Kun in 1919, and died violently that year when the revolution failed. He was among that government’s most bloodthirsty ministers, which is really saying something. Szamuely’s family wound up in Moscow, where his father was executed in Stalin’s purges. In 1964, Szamuely, then nearing 40, was teaching in the “ideological institute” of Ghana’s Marxist president Kwame Nkrumah when he defected to England. He taught at Reading and befriended Kingsley Amis, Robert Conquest, and Anthony Powell, among other literary anti-Communists. His book, unfinished when he died of cancer in 1972, was edited into its final form by Conquest and published two years later.

The simple question that animates it is how Russia came to be the centre of Marxist revolution and late 20th-century totalitarianism. Did aggressive Communism subvert blameless Russia? Or was aggressive Russia using blameless Communism as a pretext?

The beginnings of an answer lie in geography. Lacking frontiers, Szamuely writes, Russia has faced “a history of armed struggle against invaders that, for length, intensity and ferocity has no parallel in the annals of any other nation”. That is a large claim. Russia is always vulnerable someplace — at least for as long as it takes to gather and concentrate its killing power. And it is always fighting for its life, which tends — at least in domestic Russian debates — to empty of meaning our concepts of just and unjust war. “Despotic government,” Szamuely writes, “was the instrument she shaped to cope with the everlasting emergency.”

For Szamuely, the central problem in Russian history is slavery. Yes, slavery. Using the word “serf” to describe its put-upon agricultural workers leads us to think of the society as merely backward, quaint, feudal. But this is wrong. Russian slavery was a creation of modernity. Once-free agricultural labourers somehow got buried under debt about 500 years ago, and in the mid-16th century the government bound them to the land, the better to tax them. The owner of the serfs was the state, not the notables on whose land they toiled. There was an equality in this, for the notables were beholden to the state, too. The upper crust owed the tsar military service. Until recent centuries, Russia was one of the rare countries where nobles could be publicly flogged.

But this changed, as Peter the Great tried to modernise the system — Russia got rum, minuets, a navy and of course St. Petersburg. For aristocrats it meant Western connections and new opportunities, for serfs an overload of labour and hard discipline. That was an end to society’s old “mystic unity” and the mumbo-jumbo that had surrounded it. Serfs could now be sold or lost at cards. Russia now had not one people, Szamuely writes, but two: “the Westernised upper classes, and the masses, whose way of life became ever less distinguishable from that of the population of the great Asian empires.” As middle classes in America and France were forging republics, aristocrats were living a Golden Age under Catherine the Great (1762-95). “The most striking feature of 18th-century Russian social history,” Szamuely writes, “was the great expansion and intensification of peasant bondage at the precise moment when, with the emancipation of the nobility, it finally lost any vestige of moral, political or legal justification.”

Szamuely’s preoccupation with slavery anticipates a lot of the “woke” discussion of our own time. If slavery warped the development of the United States (which was one-eighth slave at the start of its civil war in 1861), Szamuely asks, then why has there been so much less soul searching about Russia (which was seven-eighths slave at the time of emancipation that same year)? He may misunderstand the parallel: The difference lies not in the size of the enslavement but in the identity of the rememberer. Progressive white America is wracked by guilt over what it did to “them”. Russia feels no such guilt because the misdeeds were done to “us”. The moral tenor of its soul-searching is more like that of Sicily, or Ireland, or black America.

But it is not as if Russia had no reckoning with serfdom. As access to higher education and newsprint spread, “gradually the idea began to sink in that every Russian of education and leisure was an accomplice in a crime unparalleled in its enormity”. This was the cause around which a revolutionary and often violent intelligentsia arose in the late 19th century, a class unique in Europe until the rise of political correctness. “The Russian intelligentsia was an instrument of destruction,” Szamuely writes. “Unlike the European bourgeoisie it had no constructive purposes, neither was it equipped to fulfil any such tasks.”

There was something Messianic in the intelligentsia’s role. Szamuely recognises that it used others’ suffering as a rationale for autocracy. But he never entertains the idea that the intelligentsia was an outright racket. He even praises the “intellectual honesty” of the critic Nikolay Chernyshevsky, who saw that equality would be won only at a very steep price in liberty: “What a contrast he provides to certain Western ‘progressive’ intellectuals, who worship at the altar of egalitarianism yet refuse to recognise that their dream… can only be realised by an arbitrary dictatorial government. Chernyshevsky and his followers, down to the present day, have never harboured any illusions about this.”

He is nonetheless struck that the great 19th-century Russian novelists (“men of sensibility, compassion and humanity”) were almost unanimously contemptuous of the intelligentsia (“with their joyless utilitarianism, their dogmatic intolerance, their fanatical devotion to a messianic vision”).

The modern enslavement of Russia’s peasantry was not, strictly speaking, a capitalist project. But it felt like one. More than the exploitation undergone in advanced industrial countries, it resonated with the exploitation Marx described. In the end, the Russian revolution was a matter of adjusting Marx’s teaching to powerful Russian folk-institutions, above all the autonomous peasant cooperative known as the obshchina. Marx himself wound up backing peasant “populists” against his own more orthodox followers. It actually turned out to be a piece of good fortune for the revolutionaries that the Marxist spark caught in what Szamuely considers the most conservative country on earth.

That is where Szamuely’s book ends. It is a shame he was never able to write at book-length about the 20th century, of which he was a passionate chronicler. He considered Lenin “the supreme political genius of the century”, and was impressed with the way he and his followers allied Russia’s interests abroad to Asian and African nationalism, not Communism. It was, in a way, the same judgment Marx had made in backing the populists.

Szamuely was fascinated with Ukraine. “Perhaps no other historical experience,” he writes in The Russian Tradition, “has left as lasting an impression on the folk-memory of the Russian people as the horrors of [the] interminable struggle against the slavers and killers of the south. For centuries the steppe remained a source of constant menace, a land of terror, death, destruction and degradation. It was called the Wild Plain, or, as we would say today, the Frontier; the greater part of this region is now called the Ukraine…”

He was highly sympathetic to Ukraine’s modern struggles. In 1968 he wrote a fascinating and well-informed account of the nationalist protests and ensuing prosecutions that had then been going on in Ukraine for much of the decade. While granting that the Ukrainians welcomed the Nazis as liberators in June 1941, he wasn’t surprised by this nationalist sentiment, given the decade of famine and purges they had endured. He noted, too, the “methodological dilution” of Ukraine’s ethnic composition by Russia, insisting that Russian dominance of the country’s high culture was a recent and unnatural phenomenon. Only 41% of books published in Ukraine were in Ukrainian, it is true, but in 1930, before Russification and famine, that figure had been 84%.

Szamuely never let justified fear of Russia drive out justified fascination. Vastly well read in the country’s history, he still found it ambiguous, describing the policies of Ivan the Terrible at one point as “a strange mixture of farsightedness and paranoia — a combination frequently reproduced by his successors through the centuries”. Few historians have been better equipped than Szamuely to understand the paradoxes of Russia, where the novelists are sublime and the politics are unendurable, and often for the same reasons.

Tsar Nicholas the Last

The last of the Romanovs – Tsar Nicholas and his family, murdered by the Bolsheviks in July 1918