McGoohan’s Blues – sunbathing in the rain

All along the ancient wastes the thin reflections spin
That gather all the times and tides at once we love within
That build the edges round the shrouds that cloud the setting sun
And carry us to other days and other days to one

Roy Harper, The Same Old Rock, Stormcock

It must’ve been May 1969. A cold, wet and windy day in Hull, Yorkshire. I’d hitch-hiked from Reading in Berkshire to London and then northwards on the A1 to visit an old school chum in the Humberside port city. And it is there, in a student share house that I first dropped Mescaline, a derivative of peyote, an hallucinogenic psychotropic favoured by Mexican shamans of yore. In our circles, it was prized for its visual and aural delights rather than the more ”head trip”, mood-manipulating and psychologically unpredictable and potentially unsettling lysergic acid. And that evening, headphones on, I first listened to McGoohan’s Blues.

This eighteen minute digression from the concept if not the plot of an iconic if indecipherable ‘sixties’ television series (that’s the featured picture), was the penultimate track on Folkjokeopus, the third album of English folk singer, songwriter and acoustic guitarist extraordinaire Roy Harper. The song was indeed the whole point of Folkjokeopus – its raison d’être- the rest of the album was  predominantly light-weight, comedic psychedelia – with the exception of the bleak and bitter but nevertheless captivating “love gone wrong” song She’s The One.

Wikipedia and generic music sites tell us that Folkjokeopus was released in June 1969, but more hip sources reckon it was released on May Day – and my memory concurs with that because Spring sprung as I was hitching homeward, and I revelled in the record all summer long.

Though I’d been going to folk clubs for several years, I’d not heard much of Roy Harper apart from a throwaway hippie-vaudeville track from his second album on The Rock Machine Turns You On, one of the many popular ”sampler” albums of that. The best was CBS’ double album gatefold Fill Your Head With Rock (loosely defined – it included Leonard Cohen and Laura Nyro).

Sunbathing in the rain …

And how does it feel with your god strapped to your wrist?
And him leading you such a chase …

Roy Harper, How Does It Feel, Flat Baroque and Berserk 

So, there was I, on Humberside in a space “somewhere between Heaven and Woolworths”, to borrow from contemporary Mersey poet Brian Patten, who I was into at the time, listening to a sprawling and bawling, angry, eighteen minute solo acoustic guitar-driven folkie rant against capitalism, consumerism, hedonism, religion, conformity, ignorance, deceit, hypocrisy, the system, the establishment, the plutocracy, the banks, the media, the baubles and bibles, modern life … everything really. You can’t fight the manipulated, oppressive, powerless, pointless and utter futility of it all – as the song unfolds, you start out questioning but you end up obeying.

The singer had indeed become the eponymous Prisoner, trapped in a deceptively bucolic and scenic and yet sinister “village” that is in reality an open-air jail with all attempts at escape foiled. It was in fact filmed in Portmeirion in North Wales, a town that has developed a robust tourist industry on the back of the cult classic.

Roy Harper was twenty eight years of age and already a jaded veteran of the folk-circuit and ad bitter divorcee with heavy personal baggage, a wee son he dotes on and chips on both shoulders (well-balanced, I suppose) raging against the machine. His is a seemingly nihilistic anomie with no direction home, denouncing “the deceit of my friends the betrayals of which I am part …” He sees himself as an outsider, “the festive consumer who end up consumed by the feast, but nevertheless questioning “the rules and the codes and the system that keeps them in chains, which is where they belong with no poems, no love and no brains”.

This is reflected in many of his songs from that era, most particularly those featured on his fifth and to many, his best album, Stormcock, released in May 1971; and this led me then and always to regard him a kind of high priest of Anglo angst.

He had a few more years on the clock than me. I was twenty. A naïf, ingenue, whatever, at the end of the beginning of my journey. I was optimistic, adventurous, devil-may-care, inexperienced with people and their variegated behaviours, untainted by pride and prejudice, and in retrospect unfamiliar with the bitterness and vitriol that he injected into his song. But I guess I “got it”, understood what he was saying to me through those headphones in the sanctum of my “trip” – yeah, that’s where I was at that point in time, for the want of a better description. Though I was aware of what he was preaching, I’d had precious little direct experience – those lessons were down the road apiece, and not that far away either. But that’s another tale … long story short, I was radical when I first heard the song. I remain so half a century hence. And. I still “get it”!

The title of this article, by the way, is taken from an entertaining an informative book by Welsh author Gwyneth Lewis: Sunbathing in the Rain – a cheerful book about depression. This is not to suggest that Roy Harper is actually a depressive – but he’s certainly a master of writing excruciatingly sad, depressing and borderline nihilistic songs and delivering them with an angry, emotional intensity. Having seen him perform live many many times over the following five years, I recall that many times he would deliver rambling and even disjointed introductions and extended soliloquies that taxed his audience’s patience and forbearance. I once walked out at the interval during a gig at the Royal Albert Hall even though he was accompanied by guitar icon and Led Zeppelin alumni Jimmy Page. The songs did indeed mirror the man.

Roy in his seventies, still rockin’ in the free world

But, back to Hull and my headphones …

Having ridden the rollercoaster through the seemingly stream of consciousness rant for some ten minutes, Roy imperceptibly segues into a lyrical, calmer (though still edgy) and quieter mood, a dreamy, trippy vision of hope and resilience, suggesting that despite all the difficulties and diversions, the compromises and cop outs that went with being being enveloped, embedded, trapped even, in the system, there is still hope for a better future. And climaxes in a folk-rock coda cum apotheosis.

The band kicked in – and so did the mescaline. Listening today, the band’s entry entrance feels contrived and ponderous, but in my minds eye, I can still recall the multicoloured images that flashed across bay closed eyelids. Disneyesque “Fantasia” forms of many ebbed and flowed, shape-shifted and morphed with the music and the lyrics. Rivers and rainbows, fairies and fires, sunrise and sunset, galaxies and stars.

Under the toadstool lover down by the dream
Everything flowing over rainbows downstream
Silver the turning water flying away
I’ll come to see you sooner I’m on my way
And there’s a mirror that I’m looking straight through
And I get it
And there’s a doorway that I’m ducking into
To forget it
But flashing just beyond the sky
The shattering midnight gathers
And reminding me behind my mind
The earth quakes, the sun flakes flutter

Over the mountain fairground
Candy flies stay
Under the moonshine fountain
I’m on my way
Lemon tree blossom ladies
Poured my tea
After the blue sky breezes following me
There’s a river that I’m making it with
And I know it
And I’m floating to I don’t care where
I just go it
But flashing just beyond the sky
The shattering midnight gathers
And reminding me behind my mind
The earth quakes, the sun flakes flutter

Daffodil April petal hiding the game
Forests of restless chessmen life is the same
Tides in the sand sun lover watching us dream
Covered in stars and clover rainbows downstream
And the question in the great big underneath is forever
And the fanfare that I’m forcing through my teeth answers “Never”
But flashing just beyond the sky
The shattering midnight gathers
And reminding me behind my mind
The earth quakes, the sun flakes flutter …

But it was not Roy’s way to end on a brighter note. As with all trips, there is often a comedown:

The pumpkin coach and the rags approach
And the wind is devouring the ashes

Words and images such as those McGoohan’s apotheosis were commonplace back in those days, when Marc Bolan could warble “My people were fair, and had sky in their hair, but now they’re content to wear crowns stars on their brows“. We thoroughly understood that and empathized. And we marveled at the Scottish bard who could pen ‘The Minotaur’s Song‘ and ‘Job’s Tears‘, and then run off with Old Father Hubbard. But then didn’t we all in the days when Tolkien was king, and elves and ents walked amongst us. So when Roy went gambolling through toadstools and daffodils, fairgrounds and fountains, that was just the way it was back then in that Middle Earth between Shangri La and the real world that we’d have to re-enter sooner or later – which I did adventurously two years later.

… down through the years

I dropped mescaline and acid many times over the next few months but though I longed to repeat it, never again did I recreate that very first journey. By year’s end, I’d done with both, and by the end of the eighties, was done with dope. But I remember it still over half a century down the road and I still get flashbacks and glimpses of those fantastical images … How does the great song by that Irish band go?

Unicorns and cannonballs, palaces and piers
Trumpets, towers, and tenements, wide oceans full of tears
Flags, rags, ferry boats, scimitars and scarves
Every precious dream and vision underneath the stars
Yes, you climbed on the ladder with the wind in your sails
You came like a comet blazing your trail
Too high, too far, too soon
You saw the whole of the moon

And what happened next? I graduated, travelled, moved on, and following Roy’s lead, wrote lengthy, opaque songs well over ten minutes long with sonic, narrative and lyrical transitions just like he had done on Folkjokeopus and Stormcock. These include London John and Christopher Columbus in the seventies, and in latter days In That Howling Infinite which gave its name to this blog, an allegorical saga of a Mad Sea Captain and a White Whale , the dystopian E Lucivan le Stelle, and the irreverent O Jerusalem. Roy Harper is eighty one, with some thirty albums under belt. He was still touring in 2019, but is now officially retired’, and living in a secluded corner of Ireland,

© Paul Hemphill 2023 All rights reserved

The complete lyrics of McGoohan’s Blues follow the song below.

Postscript

I’ve harked back to Roy Harper in several posts in In That Howling Infinite. There’s When An Old Cricketer Leaves The Crease, a eulogy to one of my oldest friends, an avid cricketer who passed last year; and Back in the Day, a chronicle of roots and fruits.  And for more stories like these in In That Howling Infinite, see Tall Tales, Small Stories, Eulogies and Epiphanies

McGoohan’s Blues

Nicky my child he stands there with the wind in his hair
Wondering whether the water the wind of the where
I fear that someday he might ask me if mine is the blame
And I’ve got no reply save to tell him it’s all just a game
And Heather and I lay together and I was in love
She weighted up the gains and the losses and gave me the shove
The fear of mankind’s untogetherness pounds in my heart
The deceit of my friends the betrayals of which I am part
And O how the sea she roars with laughter
And howls with the dancing wind
To see my two feet standing here questioning

And I’m just a social experiment tailored to size
I’ve tried out the national machine and the welfare surprise
I’m the rich man the poor man the peace man the war man the beast
The festive consumer who ends up consumed in the feast
And my fife eyed promoter is clutching two birds in the bush
He’s a thief he’s as bad as the joker they’re both in the rush
He’s telling me Ghandi was handy and Jesus sold his ring
(Dunno who to, God maybe)
“And everyone knows dat dis dough’s gonna make me de king”

And O how the sea she roars with laughter
And howls with the dancing wind
To see my two feet standing here questioning

Meanwhile the ticket collectors are punching their holes
Into your memories your journeys and into your souls
Your life sentence starts and the judge hands you down a spare wig
Saying: “Get out of that and goodbye old boy have a good gig”
And the town label makers stare down with their gallery eyes
And point with computer stained fingers each time you arise
To the rules and the codes and the system that keeps them in chains
Which is where they belong with no poems no love and no brains

And O how the sea she roars with laughter
And howls with the dancing wind
To see my two feet standing there questioning

Meanwhile the TV commercials are sweeping the day
Brainwashing innocent kids into thinking their way
The wet politicians and clergymen have much to say
Defending desires of the sheep they are leading astray
And Ma’s favourite pop star is forcing a grin he’s a smash
Obliging the soft-headed viewers to act just as flash
The village TV hooks its victims on give away cash
The addicts are numbers who serve to perpetuate trash

And O how the sea she roars with laughter
And howls with the dancing wind
To see my stupid poetry shuffleing

And the bankers and tycoons and hoarders of money and art
Full up with baubles and bibles and full of no heart
Who travel first class on a pleasure excursion to fame
Are the eyes that are guiding society’s ludicrous aim
And the village is making its Sunday collection in church
The church wobbles ‘twixt hell and heaven’s crumbling perch
Unnoticed the money box loudly endorses the shame
As the world that Christ fought is supported by using his name

And O how the sea she roars with laughter
And howls with the dancing wind
To see my stupid poetry burbling

And the pin-striped sardine-cum-magician is packed in his train
Censoring all of the censorship filling his brain
He glares through his armour-plate vision and says “Hmm, insane”
The prisoner is taking his shoes off to walk in the rain
And the luminous green prima donna is sniffing the sky
She daren’t tread the earth that she’s smelling her birth was too high
Her bank balance castle is built on opinion and fear
Which is all she allows within three hundred miles of her ear

And O how the sea she roars with laughter
And howls with the dancing wind
To see my stupid poetry burbling

And I’ve seen all your pedestal values your good and your bad
If you really believe them your passing is going to be hard
And I’ve thought through our thought and I know that its blind silly season
Occurs when our reasoning is trying to fathom a reason
And if you really know it’s all a joke but you’re just putting me on
Well it’s sure a good act that you’ve got ‘cos you never let on
But if all of that supersale overkill world is for real
Well there’s nowhere to go kid so you might as well start to freewheel

And O how the sea she roars with laughter
And howls with the dancing wind
To see my two feet standing there burbling

And I had this dream in here same time as standing awake
These various visions rushed through as I giggled and quaked
The distant guns thunder my end and I duck for a while
Auntie Lily is handing me candy she chuckles I smile
And our village is where I was born and it’s where I will die
And I’ll never be able to leave it whatever I try
The ebb and the flow of the forces of life pass me by
Which is all that I’ll know from my birth to my last gasping sigh

And O how the sea she roars with laughter
And howls with the dancing wind
To see the dying lying there obeying

My age and my time
The blood fire wine and rhyme
That fills my dream reminds me of an atom in a bubble on a wave
That held its breath for one sweet second then was popped and disappeared
Into fruitful futilities meaningless meaning
Meaningless meaning

Under the toadstool lover down by the dream
Everything flowing over rainbows downstream
Silver the turning water flying away
I’ll come to see you sooner I’m on my way
And there’s a mirror that I’m looking straight through
And I get it
And there’s a doorway that I’m ducking into
To forget it
But flashing just beyond the sky the shattering midnight gathers
And reminding me behind my mind the earth quakes the sun flakes flutter

Over the mountain fairground
Candy flies stay
Under the moonshine fountain
I’m on my way
Lemon tree blossom ladies
Poured my tea
After the blue sky breezes following me
There’s a river that I’m making it with
And I know it
And I’m floating to I don’t care where
I just go it
But flashing just beyond the sky the shattering midnight gathers
And reminding me behind my mind the earth quakes the sun flakes flutter

Daffodil April petal hiding the game
Forests of restless chessmen life is the same
Tides in the sand sun lover watching us dream
Covered in stars and clover rainbows downstream
And the question in the great big underneath is forever
And the fanfare that I’m forcing through my teeth answers “Never”
But the flashing just beyond the sky the shattering midnight gathers
And reminding me behind my mind the earth quakes the sun flakes flutter

The pumpkin coach and the rags approach and the wind is devouring the ashes

So far away from home – the Diggers who fought in Spain

The Spanish Civil War was long, brutal and bloody, and medieval in its savagery. It was a war of armies and of militias, of men and women, of skirmishes and set-piece battles, of massacres and reprisals, and of wars within wars. It saw cities besieged and starved into surrender and towns destroyed by bombers and heavy artillery. It cut a swathe across the country leaving scars that endure to this day.

It became a proxy war for three dictators – Hitler, Mussolini and Stalin – who dispatched men and machines to fight under false flags in what would appear in retrospect to be a rehearsal for wars to come. It was a magnet for idealists and activists of disparate political creeds and from many lands who were to fight and die on both sides, including the celebrated International Brigades. It lured writers and poets who were to chronicle its confusion and carnage, including Ernest Hemingway, George Orwell, WH Auden, André Malraux and Arthur Koastler. Many perished, the most famous being the Spanish poet Federico García Lorca, murdered by Nationalist militia and buried in an unmarked grave, one of many unquiet graves scattered throughout the land.

We republish below a remarkable story of that long forgotten army in a long-forgotten war, and also, an article about the International Brigades.

See also, in In That Howling Infinite, Las Treces Rosas – Spain’s Unquiet Graves

I am the enemy you killed – Wilfred Owen’s solemn testament

If you could hear, at every jolt, the blood
Come gargling from the froth-corrupted lungs,
Obscene as cancer, bitter as the cud
Of vile, incurable sores on innocent tongues,
My friend, you would not tell with such high zest
To children ardent for some desperate glory,
The old Lie: Dulce et decorum est
Pro patria mori.

Poet Wilfred Owen died on 4 November 1918 – seven days before the guns fell silent in the war that people though would end all wars – as it turned out, the Treaty of Versailles became the peace that ended all peace.

That “old Lie,” from which his most famous poem Dulce et Decorum Est takes its title, comes from the Roman poet Horace. No bitter irony was intended, though, as Horace beseeched Romans to embrace the cleansing fire of a noble death.

In a brief article in the e-zine Quillette, titled The End of War Poetry, Simon British stand-up comic, satirist, writer, and broadcaster Simon Evans wrote:  “Privately, I still find the idea of young men gladly ploughing themselves back into the earth of their homeland unbearably moving. But after Owen, recreating such an ecstatic embrace of death in the service of a greater cause became as impossible as nailing Christ back onto the cross, or rather, nailing that cross back onto the wall”.

As Evans observes, the First World War at least gave us some of the most cherished and painfully beautiful verse in our history. “Poetry bubbled from the trenches in France as abundantly as methane, oaths, and blisters … [and] central to earlier war poetry was the tension between the terror, devastation, and death on one hand, and the opportunity for virtues like loyalty and honour on the other”.

Contemplating explanations, he writes that a junior officer’s prospects of survival were considerably worse than those of his men. According to one account, as little as six weeks. That might explain the poetry. Such a violently diminished life expectancy must have focused the mind wonderfully. World War Two was—on that score at least—considerably more democratic and egalitarian … By 1939, the culture had shifted for officers and men alike. The practice of soldiers carrying a slim volume of Browning or Keats, and of aspiring to emulate whoever was in their pockets, had passed. In 1914, the available persona of the poet was still vital—or seems so now, in sepia vignette. He was the sensitive man quietly scratching a wet match against sandpaper and putting it to a candle, careful not to wake the slumbering cattle. Ignoring the grotesque shadows that leapt in the dug-out, he would unfold his notebook, its neat ruled lines like trenches in which the words would hunker, later pressed against his breast as a Talisman once returned to his pocket. Working slowly through his exhaustion and his tobacco ration, setting down his impressions in bottled ink, striving with purpose to resolve the lunacy and the oceans of spilt blood just a few dark yards away”.

Second lieutenant Wilfred Owen, 25 years of age, was one of the last to die in a war that claimed 20 million dead and 20 million injured.  At least for the past half-centur­y, his poems have served as a prism through which the so-called Great War is viewed. But, despite being anthologised by his friend Siegfried Sassoon in 1920 and Edmund Blunden a decade later, they did not enter popular parlance until pacifist composer Benjamin Britten incorporated some of Owen’s most pot­ent verses in his War Requiem, written for the 1962 inauguration of the restored Coventry Cathedral

Gassed, John Singer Sargent 1919

Owen entered Britain’s national curriculum during the 1960s, and eventually the high school curricula of Commonwealth nations, which is where I first encountered him – and I was shocked by his viscer­al descriptions and implicit denunciations of war. He did not dwell on the causes but seemed to suggest that the sheer awfulness of military conflict between nations had stripped away all justifications.

“There had been many wars before, of course, but none where the poet was the soldier and, therefore, the intimate witness. This war was the rendering of wounds, both flesh and spiritual, by words”.

We republish below two excellent articles on Wilfred Owen and the poets of the First World War.

Othe posts in In That Howling Infinite: Dulce et Decorum est – the death of Wilfred Owen. A Son Goes To War – the grief of Rudyard Kipling and November 1918 – the counterfeit peace

Bent double, like old beggars under sacks,
Knock-kneed, coughing like hags, we cursed through sludge,
Till on the haunting flares we turned our backs,
And towards our distant rest began to trudge.
Men marched asleep. Many had lost their boots,
But limped on, blood-shod. All went lame; all blind;
Drunk with fatigue; deaf even to the hoots
Of gas-shells dropping softly behind.

Gas! GAS! Quick, boys!—An ecstasy of fumbling
Fitting the clumsy helmets just in time,
But someone still was yelling out and stumbling
And flound’ring like a man in fire or lime.—
Dim through the misty panes and thick green light,
As under a green sea, I saw him drowning.

In all my dreams before my helpless sight,
He plunges at me, guttering, choking, drowning.

If in some smothering dreams, you too could pace
Behind the wagon that we flung him in,
And watch the white eyes writhing in his face,
His hanging face, like a devil’s sick of sin;
If you could hear, at every jolt, the blood
Come gargling from the froth-corrupted lungs,
Obscene as cancer, bitter as the cud
Of vile, incurable sores on innocent tongues,—
My friend, you would not tell with such high zest
To children ardent for some desperate glory,
The old Lie: Dulce et decorum est
Pro patria mori.

Qurba-n قُرْبان

Sacrifice -Rayner Hoff, Anzac Memorial, Hyde Park, Sydney

War poet Wilfred Owen: sweet and honourable lie 

Artwork: Sturt Krygsman.

Artwork: Sturt Krygsman.

Mahir Ali, Weekend Australian, 10th November 2018

During a visit to London in 1920, Bengali poet, philosopher and polem­icist Rabindranath Tagore receive­d an unexpected letter from a Mrs Susan Owen. She wished to share some information about her favourite son.

“It is nearly two years ago, that my dear eldest son went out to the War for the last time,” she wrote, “and the day he said Goodbye to me … my poet son said these wonderful words of yours … ‘when I leave, let these be my parting words: what my eyes have seen, what my life received, are unsurpassable’. And when his pocket book came back to me — I found these words written in his dear writing — with your name beneath.”

Tagore was something of a celebrity in Britain at the time, a white-bearded Indian sage who bore a resemblance to the then recently ­deceased Leo Tolstoy. He had won the Nobel Prize in Literature in 1913 on the strength, essentially, of Gitanjali, a collection of poetry he had translated from the original Bengali with the assistance of William Butler Yeats, which is the source for the aphorism that appealed to Owen’s son. That son, Wilfred, is likely to have perceived rather differently from Tagore the context of what each of them considered “unsurpassable”.

It is equally likely that the young Englishman was unfamiliar with Tagore’s thought-provoking critique of nationalism as well as the poem, compos­ed on the last day of the 19th century, that demonstrates a remarkable prescience about the maelstrom that sneaked up on Europe shortly afterwards:

The last sun of the century sets amidst the blood red clouds of the West and the whirlwind of hatred The naked passion of self-love of Nations, in its drunken delirium of greed, is dancing to the clash of steel and the howling verses of vengeance The hungry self of Nation shall burst in a violence of fury from its own shameless feeding For it has made the world its food …

A plate from <i>Poems by Wilfred Owen </i>(1920).

               A plate from Poems by Wilfred Owen (1920)

Wilfred Owen’s final foray into that maelstrom came in August 1918. He won a Military Cross shortly afterwards. But while the Armistice Day bells pealed on November 11, his family received a telegram informing them that Wilfred had been killed a week earlier — 100 years ago last Sunday — while leading the men under his command across the Sambre-Oise canal at Ors.

The second lieutenant was 25, his longevity abbreviated by a year even in comparison with the life span of his favourite predecessor poet, John Keats.

Unlike all too many of his contemporaries, though, Owen did not exactl­y die in vain. At least for the past half-centur­y, his poems have served as a prism through which the so-called Great War is viewed. But, despite being anthologised by his friend Siegfried Sassoon in 1920 and Edmund Blunden a decade later, they did not enter popular parlance until pacifist composer Benjamin Britten incorporated some of Owen’s most pot­ent verses in his War Requiem, written for the 1962 inauguration of the restored Coventry Cathedral.

Coincidentally, about the same time, a fellow composer appropriated a contemporary young poet’s verses as the centrepiece of his 13th symphony: Dmitri Shostakovich immortalised Yevgen­y Yevtushenko’s poem Babi Yar, which catapults from a reflection on an egregiously atrocious component of the Judeocide that accompa­nied World War II into a searing condem­nation of anti-Semitism. It also serves as a reminder that the “war to end all wars” not only did nothing of the kind but in fact sowed the seeds for an even more outrageous bloodbath.

Owen entered Britain’s national curriculum during the 1960s, and eventually the curricula of Commonwealth nations, which is where I first encountered him and was blown away by his viscer­al descriptions and implicit denunciations of war. He did not dwell on the causes but seemed to suggest that the sheer awfulness of military conflict between nations stripped away all justifications.

The alliteration and onomatopoeia of the sonnet Anthem for Doomed Youth made a powerful impression, but so did the realisat­ion that “those who die as cattle” were by no means restricted to Gallipoli or the Somme, and that “the stuttering rifles’ rapid rattle” continued to “patter out” all too many “hasty orisons”.

Dulce et Decorum Est stands out not only for nailing Horace’s destructive untruth about the value of patriotic sacrifice but also because gas attac­ks against unsuspecting victims remain par for the course on Middle Eastern battlefields — notably in Syria, where chlorine, used to such devastating effect in World War I, continues to serve as a favourite weapon for the Assad regim­e and some of its opponents.

Owen pictured a gas attack on a retreating column of comrades in which just one fails to fit “the clumsy (helmet) just in time”. “In all my dreams, before my helpless sight, / He plunges at me, guttering, choking, drowning,” he declares, comparing the soldier’s “hanging face” to “the devil’s sick of sin”, before going in for the kill, so to speak:

If you could hear, at every jolt, the blood
Come gargling from the froth-corrupted lungs,
Obscene as cancer, bitter as the cud
Of vile, incurable sores on innocent tongues,
My friend, you would not tell with such high zest
To children ardent for some desperate glory,
The old Lie: Dulce et decorum est
Pro patria mori.

The Latin translates as “it is sweet and honoura­ble to die for one’s country”, and Owen’s oeuvre offers incontrovertible evidence to the contrary.

He goes much further in Futility, whose title has been cited by scholars as a key to framing contemporary conceptions of the conflict. Yet in this poem Owen is questioning not just the war but the very point of life on earth. Again, it’s based on a single casualty, a human being the sun can no longer manage to revive after having roused it for so many years. “Was it for this the clay grew tall?” the poet asks: “O what made fatuous sunbeams toil / To break earth’s sleep at all?”

Then there’s Strange Meeting, a reinforcement of the trope whereby warriors in the battlefield come up against a foe who is a doppel­ganger, as in Bob Dylan’s relatively obscu­re early song John Brown, where the narrat­or informs his mother: “But the thing that scared me most was when my enemy came close / And I saw that his face looked just like mine.” In Owen’s case, the resemblance is not physical but spiritual, in a poem replete with the half-rhymes that distinguished his style; groined/groaned, moan/mourn, spoiled/spilled, mystery/mastery and so on.

He escapes “down some profound dull ­tunnel” to a “sullen hall”, and by the “dead smile” of an inmate who greets him “with piteou­s recognition in fixed eyes” knows that “we stood in Hell”. Back in the day, those socia­l democrats (synonymous at the time with socialists and communists) who had not fallen into the patriotic trap tended to describe a bayonet as “a weapon with a worker at both ends”. Owen sees a blade with a poet at both ends: “Whatever hope is yours, / Was my life also,” his new acquaintance tells him. “I went hunting wild / After the wildest beauty in the world … For by my glee might many men have laughed, / And of my weeping something had been left, / Which must die now. I mean the truth untold, / The pity of war, the pity war distilled­.” The poem concludes thus:

I am the enemy you killed, my friend.
I knew you in this dark: for so you frowned
Yesterday through me as you jabbed and killed.
I parried; but my hands were loath and cold.
Let us sleep now …

In The Parable of the Old Man and the Young, meanwhile, Owen subverts a key narrat­ive from the Old Testament to formul­ate his angst. An angel intervenes as Abraham prepares to murder his firstborn, Isaac, and offer­s a ram instead. “But the old man would not so, but slew his son / And half the seed of Europe one by one.” It’s unlikely he would have quarrelled with American “singer-journalist” Phil Ochs’s declaration almost a half-century later: “It’s always the old to lead us to the war / It’s always the young to fall / Now look at all we’ve won with the sabre and the gun / Tell me is it worth it all …”

It wasn’t, of course, just the seed of Europe that perished in the early 20th-century carnag­e. We never cease to be reminded how Australia answered the call — and paid proportionat­ely a higher price than any other country in what purportedly served as a nation­-building cull. Its effort was voluntary, a precursor to almost every Western-waged war through the 20th century and beyond — from Korea to Vietnam, Afghanistan and Iraq — to which our nation has contributed its young blood, chiefly as a means of ingratiating itself with its imperial “protectors”, and partly by regurgi­tating “the old Lie”.

But plenty of countries that were still colonie­s in 1914 also contributed their spawn — a million men in India’s case, as reflected in Trench Brothers, a play premiered in Brighton a couple of weeks ago. Besides, the Ottoman Empire was a participant, on Germany’s side, in the Great War, so substantial parts of the Middle East were not immune to the conflict. And the war’s last shots were fired in southern Africa, where the imperial urge had drawn several European nations, including Britain and Germany.

Owen wasn’t a conscientious objector by nature. As a Shropshire lad he was deeply religio­us, to the extent that initially the liturgy trumped his second love, poetry, and for a time he was expected to join the clergy. But better sense prevailed, and he was teaching in France when the war broke out. He returned home, joined up and underwent training, but wasn’t cast into the cauldron until January 1917. He was back home by midsummer, after having been blown out of a trench into a well. He recuperated at Craiglockhart Hospital near Edinburgh, a facility for the shell-­shocked, or those with what today would be designated as post-traumatic stress disorder.

It was there that he encountered Sassoon, an army captain who had been dispatched partly as means of silencing his increasingly trenchant anti-war propaganda.

Owen was familiar with the poetry of Sassoon, who was six years older, and tentatively approached him for an autograph before sharing his own efforts at wartime verse. In response, Sassoon combined constructive criticism with a great deal of encouragement, and soon enough the pent-up poems began pouring out of Owen.

Almost all of his best-known poems surface­d during the year or so between then and his demise, most of them emotions re­collected during the relative tranquillity of sojourn­s in his homeland. Among the first was The Send-Off, in which he compares soldiers on an outward bound train, their “faces grimly gay”, with “wrongs hushed-up”. He goes on to ask: “Shall they return to beating of great bells / In wild train-loads? / A few, a few, to few for drums and yells, // May creep back, silent, to villag­e wells, / Up half-known roads.”

In Exposure, we encounter frozen corpses as: “The burying-party, picks and shovels in ­shaking grasp, / Pause over half-known faces. All their eyes are ice, / But nothing happens.” In Mental Cases, there is the devastating verse: “Surely we have perished/ Sleeping, and walk hell; but who these hellish?”

In a draft preface to a planned 1919 collection of his verse, Owen wrote: “Above all, this book is not concerned with Poetry. The subject of it is War, and the pity of War. The Poetry is in the pity. Yet these elegies are to this generation in no sense consolatory. They may be to the next. All the poet can do to-day is to warn.’’

Less than 30 years later, Wilfred Burchett, the Australian who became the first Western journalist to witness the devastation of Hirosh­ima, prefaced his accoun­t with the words: “I write this as a warning to the world.”

Unheeded warnings remain one of the drivin­g forces of history’s chariot wheels, clogged as they are with much blood, but who can sensibly argue that they ought not to have been articulated? Who can say when we will ever learn, but it’s unlikely Owen would have disputed his contemporary Robert Graves’s reflectio­n on November 11, 1918:

When the days of rejoicing are over,
When the flags are stowed safely away,
They will dream of another ‘War to end Wars’
And another wild Armistice Day

Poets in action: How writers captured the horrors of the Great War

Warwick McFadyen, Sydney Morning Herald 2nd 

One hundred years ago today, Wilfred Owen, poet and soldier, had 24 hours to live. On November 4, 1918, Owen and his men were trying to cross a canal near Ors in France. As Owen was walking among his men, offering encouragement, German machine guns burst into action. Owen fell. He was one of the last to die in a war that claimed 20 million dead and 20 million injured. He was promoted to lieutenant the next day.

In the cruellest twist, Owen’s mother in Shrewsbury received the telegram of his death on November 11, Armistice Day, as the bells were ringing for peace.

A generation of young men marched to the front in World War I, often singing and with cheerful abandon, at least in the beginning, to be slaughtered.

Poetry would mourn the loss of a singular talent, whose star was just beginning to light the sky. Owen had seen but a handful of his poems in print before his death, aged 25. He had written all we have, in little more than 12 months, from August 1917.

The first collection, edited by Siegfried Sassoon, was published in 1920, and then in 1931 appeared an expanded collection. In the latter edition, editor Edmund Blunden wrote that Owen “was a poet without classifications of war and peace. Had he lived, his humanity would have continued to encounter great and moving themes, the painful sometimes, sometimes the beautiful, and his art would have matched his vision.”

Wilfred Owen had seen but a handful of his poems in print before his death, aged 25.

Apart from what are regarded as classics such as Anthem for Doomed Youth and Dulce Et Decorum Est, it is Owen’s preface to the collection that is as famous as the poems: “Above all I am not concerned with Poetry/ My subject is War, and the pity of War/ The Poetry is in the pity/ Yet these elegies are to this generation in no sense consolatory/ They may be to the next/ All a poet can do today is warn/ That is why the true Poets must be truthful.”

The First World War was a charnel house. A generation of young men marched to the front, often singing and with cheerful abandon, at least in the beginning, to be slaughtered. Poetry, unlike any time before or since, was the vehicle for their voices and those of bystanders. At first, it was celebratory, but as the days of carnage rolled on and on, truth came to be heard.

There had been many wars before, of course, but none where the poet was the soldier and, therefore, the intimate witness. This war was the rendering of wounds, both flesh and spiritual, by words.

Robert Giddings, in The War Poets, writes that “before 1914, when poets dealt with war it was to render it exotically or historically removed from immediate experience. War, in the hands of Macaulay, Tennyson, Arnold, Newboult and Aytoun, had all the conviction of modern television costume drama. There were two outstanding exceptions – Rudyard Kipling and Thomas Hardy.”

<i>Anthem for Doomed Youth</I> by Wilfred Owen is regarded as a classic.
    Anthem for Doomed Youth, World Archive 

The primacy of the poet in people’s lives a century ago can be seen in the immediate bringing into action of writers to support war aims. On September 2, 1914, only five weeks after war was declared, The Times, published a letter from the Poet Laureate, Robert Bridges, in which he likened the good soldiers of empire fighting the Devil. The image of the soldier as Christ was popular in these early stages, as was the theory that war was a necessary purification of nations. The government’s Propaganda Bureau enlisted writers such as Arthur Conan Doyle and G.K. Chesterton to promote Britain’s war aims. It took the pre-eminent war poet Sassoon to use the figure of Christ in a heightened awareness of spirit, flesh and suffering that had nothing to do with patriotism.

Professor Tim Kendall, in Poetry of the First World War, writes that during the war “poetry became established as the barometer for the nation’s values: the greater the civilisation, the greater its poetic heritage”. He believes that the “close identification of war poetry with a British national character persists to the present day”.

Siegfried Sassoon was among the poets who showed that there was art in death and suffering.
Siegfried Sassoon 

As to Australia’s war effort in poetry, despite more than 415,000 men enlisting (from a population of fewer than 5 million) with 60,000 killed and more than 150,000 injured or taken prisoner, the results hardly trouble the margins of anthologies.

As Geoff Page noted in Shadows from Fire: Poems and Photographs of Australians in the Great War, the literary efforts of those Australians with direct experience in the war were less than memorable. His intention with the book was to juxtapose recent poems “with Australians poems actually written during the conflict”.

“On closer examination, however, I found the quality of these latter poems to be depressingly low – especially when contrasted with those of the English war poets: Owen, Sassoon and Rosenberg . . . It rapidly became apparent that a much more appropriate and powerful record of the conflict could be found among the contemporary photographs held by the Australian War Memorial. These speak with a directness and truth seldom attempted, at that time, by our poets.”

By the end of 1914, two anthologies of wartime verse had been published. Many poets in the early years were no more than writers of patriotic doggerel. The Georgian movement, of pastoral whimsy, and gentle beauty, had found a cause in which to celebrate England. The modernism that had slowly been growing in Europe had not permeated English literary minds, but in the aftermath of the war it blossomed, seen no more so than in T.S. Eliot’s The Waste Land, published in 1922.

Dominic Hibberd and John Onions, in their book The Winter of the World, cite the work of historian Catherine Reilly in which she records 2225 British writers who experienced the war, and published poems of their experience. A quarter of the writers were women. By contrast Westminster Abbey honours 16 poets of WWI, all men: Richard Aldington, Laurence Binyon, Edmund Blunden, Rupert Brooke (“If I should die, think only this of me: That there’s some corner of a foreign field that is for ever England”), Wilfred Gibson, Robert Graves, Julian Grenfell, Ivor Gurney, David Jones, Robert Nichols, Owen, Sir Herbert Read, Isaac Rosenberg, Sassoon, Charles Sorley and Edward Thomas.

Since suffering and death were universal there were no frontiers in the writing of it, geographically, with Austrian Georg Trakl, German Alfred Lichtenstein, Italian Giuseppe Ungaretti, Canadian John McCrae and Frenchmen Guillaume Apollinaire and Henri Barbusse, or in gender, Edith Sitwell, Margaret Sackville, Alice Meynell and Vera Brittain, whose Testament of Youth is regarded as a masterpiece of the period.

This was the flowering that has not been captured again. The poets of the Second World War do not go much beyond Keith Douglas and Paul Celan.

It seems curious and strange now, but the biggest barricade to the acceptance of the war poets in the immediate years after came from the towering figure of Nobel Laureate W.B. Yeats.

The Oxford Book of Modern Verse 1892-1935, published in 1936, was edited by Yeats. It contained nothing from the war. Yeats defended his decision thus: “In poems that had for a time considerable fame, written in the first person, they made suffering their own. I have rejected these poems . . . passive suffering is not a theme for poetry. In all the great tragedies, tragedy is a joy to the man who dies, in Greece the tragic chorus danced. If war is necessary, or necessary in our time and place, it is best to forget its suffering, as we do the discomforts of fever, remembering our comfort at midnight when our temperature fell.”

Yeats was wrong, comprehensively so. But the glory was that Owen, Sassoon, Thomas, Rosenberg et al showed that there was art in death and suffering. The war poets found in the desolation of France and in the ruined bodies and spirits in hospital wards, a voice transcendent. Theirs was the fundamental expression of what it meant – still means – to be human. And there was a warning, but as history turned, no one was listening.

“Out there, we’ve walked quite friendly up to death;/ Sat down and eaten with him, cool and bland,/ Pardoned his spilling mess tins in our hand./ We’ve sniffed the green thick odour of his breath,/ Our eyes wept, but our courage didn’t writhe./ He’s spat at us with bullets and he’s coughed/ Shrapnel. We chorused when he sang aloft;/ We whistled while he shaved us with his scythe.” (The Next War, Wilfred Owen)

Siegfried Sassoon wrote in his diary of November 11: “The war is ended. It is impossible to realise. I got to London about 6.30 and found masses of people in streets and congested Tubes, all waving flags and making fools of themselves – an outburst of mob patriotism. It was a wretched wet night, and very mild. It is a loathsome ending to the loathsome tragedy of the last four years.”

The Rite Stuff – the coronation’s pomp and circumstance

… remember in this country of yours that every man, woman and child who sees you will remember it with joy – remember it in the words of that 17th century poet who wrote these lines, “I did but see her passing by and yet I’ll love her till I die”.
Australian Prime Minister Sir Robert Menzies to Queen Elizabeth, Melbourne, 1963.

Watching a coronation is the constitutional equivalent of visiting a zoo, and finding a Triceratops in one of the enclosures.
British historian Tom Holland

The United Kingdom is alone in Europe in marking the accession of a new monarch with a coronation. Indeed, no monarchy can lay claim to a longer lineage – one reaching back it is said to the Bronze Age and rooted in history and religion, and also magic and superstition. Inside Westminster Abbey, ­audiences will be encouraged to follow six phases of what is essentially a medieval rite, some of it dating back to Anglo-Saxon kingship: the recognition, oath, anointing, investiture (which includes the crowning), enthronement and homage. Britain is indeed the only ­European monarchy to retain a religious ceremony.

So, anyone expecting that the upcoming coronation of King Charles III and Queen Camilla would be a thoroughly modern affair suited to the 21st Century is likely to be disappointed.

One significant innovation, however, is that millions of other Commonwealth citizens attending coronation events and watching on television will be asked to cry out and swear allegiance to the King with the public given an active role in the ancient ceremony for the first time in history.

King Charles III’s coronation service – the first for a British monarch in 70 years – has been modernised to include the first-ever Homage of the People and will also include faith leaders from Jewish, Hindu, Sikh, Muslim and Buddhist communities to better represent the make-up of modern Commonwealth countries. A new homage was written to allow “a chorus of millions of voices” to be “enabled for the first time in history to participate in this solemn and joyful moment”, Lambeth Palace – the office of the Archbishop, announced. The Archbishop of Canterbury will call upon “all persons of goodwill in The United Kingdom of Great Britain and Northern Ireland, and of the other Realms and the Territories to make their homage, in heart and voice, to their undoubted King, defender of all … a great cry around the nation and around the world of support for the King” from those watching on television, online or gathered in the open air at big screens.

…. our strength in ages past

As these two highly entertaining and most informative articles makes clear, whilst the guest list is much shorter than that of past right royal enthronements, in the interests of public health bad safety, we are told.  There will be no silk stockings and knee breeches for the King or any of the peerage; the number The length of the ceremony has been shortened, for economy and impatient news cycle. The banquets and street parties have been exhorted to eat quiche, a nod to HM’s vegetarianism. The old times are by no means a’changin’. But, rites and rituals historically and hysterically archaic and arcane will prevail as will the imprimatur of the deity, the unctuous sanction of the demographically diminished Church of England and the rights and privileges of the theoretically hereditary aristocracy are upheld in time-honoured, anachronistic fashion.

The first is written by Australian constitutional expert Anne Twomey who has taken time off from her busy day-job explaining defending the coming referendum on the Indigenous and Torres Strait Island Voice to Parliament.  the second, by Observer columnist Catherine Bennett describes the amazing and unforetold apotheosis of soon to be Queen Camilla, Charle’s longtime paramour.

But first, a brief forward from celebrated/celebrity Anglo-Australian barrister and author Geoffrey Robertson. He is no fan of royalty, and is possessed of a sharp pen and a wit to match:

“In London, plans for the coronation of the King and Queen of Australia proceed apace. The ceremony is entirely unnecessary because Charles has been our lawful king from the moment of his mother’s death. This event has no meaning in law; it is merely a superstitious rite whereby God is supposed to anoint the King to run the Church of England, a church to which, according to our last census, only 9.8 per cent of Australians adhere. [Indeed, some 40% of Britain’s profess to having no religion, whilst Christianity accounts for a large diminishing proportion of believers in a celestial deity]

But sadly we will not see the most important bit, the spiritual centre of the ceremony, which the palace has decided must be censored. This is the divine appointment itself. Suddenly, in a Pythonesque moment, into the abbey will rush a team of Knights of the Garter carrying a large tent, which they will erect to cover the King and Queen, the Queen’s hairdresser, and the Archbishop of Canterbury. Inside, unseen by the public, the King will change into a white shirt and be anointed with holy oil – on his head, his breast, and his hands – ladled from the coronation spoon. The holy oil has already been mixed in Jerusalem, with the traditional ambergris eliminated reportedly because the King supports “save the whales”.
The Queen is then anointed on her head, and the royal hairdresser steps forward to clean her up. The King quick-changes back into his purple robes, and the divinely appointed monarchs step out of the canopy and back into view for Charles to swear the coronation oath, “to maintain the Protestant Reformed religion and preserve inviolably the settlement of the Church of England”. The King is at last allowed to sit on his throne (it’s only built for one) holding his orb and sceptre, to “receive homage” from the audience. It is uncertain whether Prime Minister Anthony Albanese will manage to swear to be “your liegeman of life and limb and of earthly worship, to live and die against all manner of folks, so help me God”.
Amen!

Meanwhile, down under …

On Saturday, when the Archbishop of Canterbury conducts the coronation at Westminster Abbey, he will not just be crowning Charles as the King of England, but the King of Australia as well – though we Aussies will not be granted a three day holiday for the occasion like our British cousins.

Australians should never underestimate Charles III’s deep emotional connection to this country.

When the late Queen was crowned in 1953, she promised “to govern the peoples of the United Kingdom of Great Britain and Northern Ireland, Canada, Australia, New Zealand, the Union of South Africa, Pakistan and Ceylon, and of [Her] Possessions and the other Territories to any of them belonging or pertaining, according to their respective laws and customs”. These were the nations which at the time were British dominions, and constituted what is still called “the Realm”, i.e. the countries which recognised the sovereign as their head of state.

The words of the coronation oath that Charles will take are briefer. As there are now 15 Realm nations (of which Australia is one), it has been decided not to list them all individually. His majesty’s promise will be to govern “the Peoples of the United Kingdom of Great Britain and Northern Ireland, [His] other Realms and the Territories to any of them belonging or pertaining”.

And thereafter, to reprise, we will be exhorted to pledge homage “in heart and voice, to our undoubted King, defender of all … “

On matters monarchical, read also in In That Howling Infinite, The Crown – the view from Down Under; Beyond Wolf Hall (1) – Revolution Road, Beyond Wolf Hall (2) – Icarus ascending, and Bringing it all back home – the missing mosaic and other ‘stolen’ stuff 

Expect arcane pomp during King Charles III’s coronation

Anne Twomey, The Weekend Australian, 22nd April 2023

What can we expect from Charles’ coronation? Picture: AFP

The right to brandish a wand, bear a golden spur or produce a right-handed scarlet glove is more likely to conjure associations with Hogwarts than Westminster Abbey. Yet these rights have been bitterly fought over by British families for centuries, leading to a tense wait for the email summons to fulfil their dynastic destinies at the upcoming coronation.

The Sovereign’s Orb was made from gold in the 17th century.
The Sovereign’s Orb, made from gold in the 17th century.
St Edward’s Crown will be used to crown the King. It was made for King Charles II in 1661, as a replacement for the medieval crown which had been melted down in 1649.
St Edward’s Crown, used to crown the King was made for King Charles II in 1661
to replace the medieval  one melted down in 1649 under Oliver Cromwell.

For King Charles III, it will be quite the dilemma. Does he cut out the historical rights and duties of ancient British families to perform particular services at the coronation, such as the King’s Champion, so he can present a modern, relevant monarchy to the world? Or would doing so set the monarchy adrift from the history that justifies its existence?

It seems he is taking a halfway approach, with some of the eccentric pomp and drama surviving, while other roles have been swept away into the dustpan of history.

The golden spurs

One of the most fought-over roles has been to carry the golden spurs and present them to the King, touching them against his ankles.

The gold, leather and velvet spurs symbolise knighthood, and they were altered in 1820 for King George IV.
The gold, leather and velvet spurs symbolise knighthood

Spurs were first presented at the coronation of Richard the Lion­heart at Westminster Abbey on September 3, 1189. They symbolised his chivalry and his valour as a knight. John Marshal was accorded the honour of presenting them, and this honour has been passed down to his descendants.

The chronicler of Richard’s coronation recorded that there were “evil omens” at the service, including a bat that swooped around the king during the ceremony and a mysterious pealing of bells. Richard survived another decade until dying from battle wounds in 1199.

But the evil omen may have attached itself to the bearer of the spurs, as his line of descendants was sometimes disrupted, with one heir suffering summary execution after having been accused of sorcery in the 14th century and another being killed in a tournament. Second marriages and failures to produce male heirs resulted in disputes about which branch of the family had inherited its coronation rights.

Queen Elizabeth II on her Coronation Day, 1953 by Cecil Beaton.
Queen Elizabeth II on her Coronation Day, 1953 by Cecil Beaton.

In the 19th century, the role was dominated by the redoubtable Barbara, Baroness Grey de Ruthyn, a notable fossil collector and geologist, who carried the spurs with aplomb at the coronations of George IV, William IV and Queen Victoria. But her two marriages and a surfeit of daughters who were co-heirs led to a messy chain of inheritance, with four families fighting for the coronation honour ever since.

These disputes were resolved before each coronation by a court of claims, where barristers armed with large scrolls of family trees would battle it out before eminent judges. In 1902, the court held that none of the three claimants had proved their right to carry the spurs at the coronation of Edward VII, and left it to the king to decide. He diplomatically decided that Baron Grey de Ruthyn could carry one spur and the Earl of Loudoun could carry the other. The same division was applied at the coronation of George V.

But in 1936 the coronation court of claims inconveniently found that three claimants had established their claim – Lord Hastings, the Earl of Loudoun and Lord Churston. King George VI, probably wishing he had three legs, found he could not divide two spurs into three and appointed Lord Hastings and Lord Churston to carry one spur each. The same decision was made in 1953 at the coronation of Queen Elizabeth II.

So who would win the right to carry the golden spurs at the coronation of King Charles III? The elderly Lord Churston died in February and the role instead has gone to Lord Hastings, a retired actor and farmer, along with the Earl of Loudoun, an Australian who lives in Wangaratta in Victoria. Each will carry one of the golden spurs.

As the Earl of Loudoun presents his spur, he might indulge a passing thought about how it could have been him on the throne. Some historians have argued that King Edward IV was illegitimate and that the throne should therefore have been passed down a different line to the current Earl of Loudoun.

But while his family still claims the right to present the golden spurs at the coronation, it does not make any claim to the throne.

Coronation of George IV in Westminster Hall: The Champion's Challenge, 1897. Picture: Print Collector/Getty Images
Coronation of George IV in Westminster Hall: The Champion’s Challenge 1897. 

The King’s Champion

If the earl did challenge the King’s right to the throne, he could have to face in mortal combat a retired accountant and farmer, Francis Dymoke, who is the King’s Champion. This role, which he traces back to an ancestor who aided William the Conqueror, is actually attached to the ownership of his family home, the manor of Scrivelsby. Anyone who owns the land is the lord of the manor and is therefore the King’s Champion.

It would be interesting to see how a real estate agent would price this unusual land attribute, but as the Dymoke family has held on to the land for many centuries the role of King’s Champion has remained in the family.

Originally it entailed wearing full armour and riding a horse into the coronation banquet in Westminster Hall. The champion would throw down a gauntlet three times in a challenge to anyone who disputed the king’s title. If the challenge was accepted, there was an obligation to fight to the death. The sight was so impressive, however, that no one ever challenged the champion, although one wonders whether any “sovereign citizens” today might take up the gauntlet.

British Bangladeshis welcome the King and Queen on a visit to Brick Lane in February. Picture: Reuters/The Times
British Bangladeshis welcome the King and Queen on a visit to Brick Lane in February

The greater challenge for the champion was to find a horse that could back out of Westminster Hall without facing its rear-end towards the king, knocking over any tables or defecating over the diners. The last champion to perform this feat at the banquet hired a circus horse that had been trained to walk backwards. But it is claimed that as soon as the horse heard applause from the guests, it assumed it was in the circus and started performing circus tricks, much to the consternation of the man in armour seeking to maintain his balance and the solemnity of the occasion.

As the banquet is no longer held, this picturesque role has ceased. But the King’s Champion was instead given the duty of carrying the Standard of England in the 1937 coronation and the Union Flag at the 1953 coronation.

While the current champion filled in his online form to claim his place, the most recent announcement by the Coronation Claims Office (which replaced the coronation court of claims) made no mention of a role for the King’s Champion. Perhaps the champion’s day is done, or maybe he will get back on the horse.

Queen Camilla. Picture: Imageplotter/Alamy/The Times
Queen Camilla. The Times

The scarlet glove

Another duty that attaches to the ownership of land is to provide a scarlet glove for the King’s right hand and to support his arm while he holds the royal sceptre during the coronation ceremony. This duty attaches to the lord of the manor of Worksop. From the coronation of Charles II, the owner of the land was the Duke of Norfolk, but in 1840 part of the land was sold to the Duke of Newcastle.

There was a dispute about whether he owned the right part of the land to claim the glove duty, but in 1902 the court of claims decided that he did, and the duke’s family fulfilled this role in the coronations of 1902, 1911 and 1937.

But by 1953 the duke had passed ownership of the land to a family company. The court of claims decided that only an individual, as lord of the manor, could provide the glove and support the king’s arm, so the Duke of Newcastle was excluded.

The manor of Worksop was later sold and it is unknown who owns it and whether they have made a claim to exercise their glove duty. If a prominent footballer, Russian oligarch or a pop singer is seen propping up the King’s elbow during the coronation, you will now know why.

Wands

Elizabeth II holds the royal sceptre at her coronation in 1953. Picture: Topical Press Agency/Getty/The Times
Elizabeth II holds the royal sceptre at her coronation in 1953 

The most dramatic moment at the end of the funeral rites for Queen Elizabeth II was when the Lord Chamberlain broke his wand of office and placed it on the queen’s coffin as it was interred.

But a coronation marks the beginning of a reign, so there are plenty of wands, rods, batons and sticks on display, including St Edward’s staff.

So far, we know that the Lord High Constable of Scotland, the Earl of Erroll, has won his right to carry a silver baton tipped at each end with gold.

The Sovereign's Sceptre with Cross.
The Sovereign’s Sceptre with Cross.
The Sovereign’s Ring, left, and Queen Consort’s Ring.
The Sovereign’s Ring, left, and Queen Consort’s Ring.

The Lord Mayor of London, who traditionally carries the crystal mace, will participate. In addition, the Usher of the White Rod (as distinct from the Usher of the Black Rod, who is a parliamentary officer, and the Ushers of the Green Rod, Scarlet Rod, Blue Rod and Purple Rod who serve the royal household) has been invited to attend.

As for the white wand, it is traditionally wielded by the Lord High Steward of Ireland, but the Coronation Claims Office may have exercised the modern-day equivalent of the disarming spell Expelliarmus, leaving him wandless. We must await the coronation spectacle to find out.

Anne Twomey is a professor emerita at the University of Sydney and a constitutional expert.

As Charles is bestowed with mystical powers, so much for a secular coronation

The Guardian, 16th April 2023
The Church of England is doing its best to turn the new king and queen into latter-day deities

In 1996 more than half of England’s bishops thought Camilla and Charles should never marry. When, in 2005, they did, in a register office, 73% of those polled were opposed to her becoming queen. Although the late queen then denied Camilla the bespoke name checks in Anglican worship enjoyed (until their withdrawal in 1996) by Charles’s first wife, she did enjoy inclusion in regular state prayers for “all the royal family”, followed by her 2022 orison upgrade, one that can still shock unwary congregants out of a spiritual reverie: “Almighty God, the fountain of all goodness, we humbly beseech thee to bless Camilla the Queen Consort.

Now, after a transformation that might in more primitive times have been considered miraculous, the Church of England invites us in its new booklet, Daily Prayers for the Coronation of King Charles III, to celebrate Camilla’s “calling to a life of public service”. Church of Ireland liturgists beseech – or challenge – God, in another Camilla prayer, to “make her an example of virtue and godliness”. If this dismays Diana loyalists unable to forget the rottweiler years, Camilla’s acolytes could reasonably argue that a similar delay in St Augustine’s calling only added to his appeal. There may be hope, yet, for Prince Andrew.

Whatever the final shape of the coronation, traditionalists who fear – as recently reported – that Charles wants some all-faithsy sort of variations on the old template, should surely take heart from the conviction, as testified by feats of prayer-composition alone, with which the Church of England has assumed ownership of the rite. (Not forgetting the king’s probable awareness that a more modest or ecumenical coronation would likely come at considerable cost in Camilla homage.)

While the palace states, vaguely, that the ceremony “will reflect the monarch’s role today”, a letter from the archbishops of Canterbury and York reminds clergy that the ornate enthronement is a religious event: “through it we receive from Jesus”. Though, in a more easily observable transaction, it also receives from the king, in visibly enhanced status, while his mystical authority is, in return, supplied by the clergy in a style that might have verged on the obsequious at the Restoration.

In today’s new coronation prayer we are invited to pray, for example, on behalf of “thy chosen servant Charles our King and Governor”, “that we and all his subjects (duly considering whose authority he hath) may faithfully serve honour and humbly obey him”. A prayer for journalists, in particular, to remember, next time they are denied information on whatever finances he hath concealed.

Repeated arguments for a much edited or secular coronation, citing dwindling Christian belief as well as protagonists less obviously creditable than was Elizabeth in 1953, appear to have dented neither the church’s coronation ambitions nor the palace’s matching enthusiasm for spiritual choreography and knick-knacks. Only the Koh-i-noor has been sacrificed, to be sensitively replaced at the religious ceremony by the largest diamond in the world, the South African Cullinan. With decorative crosses over them, such jewels “remind us”, the prayerbook explains to the untutored, “that Jesus Christ is king over all”.

A royal guide to the “sacred regalia” confidently ignores the possibility that the non-religious, now outnumbering Christians in England and Wales, might find its inventory of treasures, if not absurd, roughly as meaningful as museum labels speculating on the importance of some prehistoric grave-good. Which is not to say that I wouldn’t like my own eagle-shaped chrism-dispenser with convenient removable head; “the oil is poured through an aperture in the beak”.

Non-believers must simply accept that, say, Camilla’s 3ft ivory rod with a dove “symbolic of the Holy Ghost” is too critical to national reverence to allow substitution with a replica more suited to the same nation’s acquired aversion to ivory. That this rod was brand-new on its introduction in 1685 merely underlines, to the devout, the still greater sacredness of an older spoon used in the anointing process. And that this year’s olive oil is literally from the Mount of Olives demonstrates, says the archbishop of Canterbury, “the deep historic link between the Coronation, the Bible and the Holy Land”.

If these links fail to convince younger, more secular, more republican-minded subjects, they may not automatically impress older ones whose presumed pro-Charles tendencies are potentially offset by long memories. Anyone who can recall him, aged 32, smirking “Whatever ‘in love’ means” at the 19-year-old Diana, may think there are worthier objects of prayer. And when did the virtuous Camilla, famously lazy and still a sucker for £735-a-night wellness retreats, start reminding clerics of King Solomon? Or is the deep religious message of the coronation one that the last queen’s conduct helped for so long to obscure: that with heredity in charge, the Church of England is never safe from supreme governance by a future version of Prince Andrew?

Either way, even given the accepted difficulties of picking spiritual leaders, it might have been wise for a church dedicated to the poor to invite fellow professionals to share the responsibility of anointing an irascible billionaire, however docile Charles might currently appear.

No wonder some of the coronation prayers read like a cry for help.

Day 27, “Self-control”: “As we remember the important tasks set before our King, and the challenges he will face, we pray that the fruit of self-control, which informs all our actions and decisions, will give him patience and strength…”

Amen.

Catherine Bennett is an Observer columnist

Warrior woman – the trials and triumphs of Marcia Langton

We have waited 122 years to recognize in our Constitution the privilege that we have of sharing this continent with the oldest continuous culture on earth. I say to Australians, do not miss this opportunity.

Australian Prime Minister Anthony Albanese


People will forget what you said. people will forget what you did. but people will never forget how you made them feel. people want to be treated justly. perceived injustices can create enmity, and enmity is the beginning of the slide towards intractable conflict.  

 Colin Tatz Reflections on the Politics of Remembering and Forgetting


What is going on in the mind of opposition Peter Dutton that in the belief that he’s taking the fight to the Prime Minister, he picks a fight with this most formidable woman?

This excellent profile of longtime indigenous academic and activist Marcia Langton should be required reading for all supporters of the Aboriginal and Torres Strait Islander Voice to Parliament and the recognition of indigenous Australians in our constitution – and for all people of goodwill who may be wavering under the weight of conservative misinformation and disingenuousness. We’ve republished it here in In That Howling Infinite for folk who cannot scale the News Corp pay-wall.

When Dutton committed the Liberal Party to a ‘resounding no”, Langton was not backward in coming forward. she pulled no punches when she declared:

“This is the Australia we live in; it is racist. So this could be the political making of a whole lot of people who want to help us get this over the line and create a permanent system of empowerment for Indigenous people. If we want to mute racism, we have to raise our own voices. We have to make sure that we win this campaign, because if we don’t, then the racists will feel emboldened. We have to have a constitutionally enshrined voice that empowers our people, regionally and nationally, to make bureaucrats accountable, and respond to representations on all policy matters and legislative matters that affect us. If we can have a constitutionally enshrined voice that’s permanent, that makes us a formal part of the democratic architecture of Australia, that’s how we fight racism. That’s how we fight our disempowerment”. The Guardian, 7th April 2023.

See also in In That Howling Infinite, We oughtn’t to fear an Indigenous Voice – but we do ;The Frontier Wars – Australia’s heart of darknessand Dark Deeds in a Sunny Land – a poet’s memorial to a forgotten crime  

[Author’s note: At Bellingen’s 2019 Readers and Writers Festival, it was our pleasure and privilege to attend a powerful “conversation” between acclaimed historian Henry ReynoldsMarcia Langton – and, by fortunate serendipity, to share a meal with them at the Federal Hotel afterwards].

‘Vote ‘No’ and you won’t get a welcome to country again’

Marcia Langton doesn’t mince words and now she’s really had enough. When Australians vote on the voice, she wants them to think hard about what’s at stake.

‘I imagine that most Australians who are non-Indigenous, if we lose the ­referendum, will not be able to look me in the eye,’ Marcia Langton says. Picture: Nic Walker
Marcia Langton.  Picture: Nic Walker

Over more than 50 years as an academic and activist, Marcia Langton has never been known to mince her words. But now the Melbourne University professor, Boyer lecturer, public intellectual and co-author of a landmark report on the Indigenous Voice to parliament and government has really had enough. When Australians go to the polls to vote on the Voice later this year, Langton wants them to think hard about what’s at stake. “I imagine that most Australians who are non-Indigenous, if we lose the ­referendum, will not be able to look me in the eye,” she says. “How are they going to ever ask an Indigenous person, a Traditional Owner, for a welcome to country? How are they ever going to be able to ask me to come and speak at their conference? If they have the temerity to do it, of course the answer is going to be no.”

This is classic Langton – unanswerable in its logic; intimidating in its ferocity. She has always been known for her intellectual clarity and lack of compromise and at 71, has lost none of that edge. But Langton is conscious that in some ways the referendum is the last throw of the dice for her ­generation of leaders. She is in demand to talk about the Voice but will pace herself in the campaign, in part because her job as Associate Provost and Redmond Barry Distinguished Professor at the University of ­Melbourne is time-consuming, in part because there’s a new group of Indigenous leaders snapping at her heels. “I want to be a less dominant voice because the younger generation must be given an opportunity to be heard on these matters,” she says. “I’m not an Indigenous leader and lots of young ­people hate the concept of ­Indigenous leader because they feel cut out, they feel like they’re not ­valued.” She says she can understand their point of view, and then pauses before adding: “They just need to learn a ­little bit about earning ­respect for one’s work.”

‘The younger generation must be given an opportunity to be heard.’ Picture: Nic Walker

Marcia Langston. Picture: Nic Walker

Respect for her work is what Langton has earnt in spades since those decades when Indigenous people who spoke up were so easily dismissed by white Australia. One observer notes she had to “bulldoze” her way to influence. Film director and producer Rachel Perkins quips that Langton is like the Beyoncé of Indigenous ­Australia: “You say Marcia, and everyone in black Australia knows who you are talking about.” To TV anchor and author Stan Grant, Langton is the “broken-hearted warrior” who, like Martin Luther King, Nelson Mandela and Rosa Parks, are “people who know the world can break you and still stand up”.

Revered and feared, this mother of two and grandmother of three is criticised at times from within her own community. An example: her commitment to constitutional recognition goes back decades and has never wavered. But when she decided in 2017 to work with human rights and social justice campaigner Tom Calma to produce a report to the federal Coalition on a Voice that could be a legislated advisory body to parliament and government, it was seen by some as letting government off the hook on constitutional reform. Langton, pragmatic, persisted and produced a 272-page document that proposed local and regional voices feeding into a National Voice of 24 members. They would have the “responsibility and the right” to give advice to the parliament and government. The final ­report of the Indigenous Voice Co-design Process, commonly known as the Calma-Langton ­report, was submitted to the Coalition Federal Government in July 2021. It is now seen as the blueprint for the Voice, which under the Labor Government’s policy will be ­enshrined in the constitution if the ­nation votes “yes” in the ­referendum expected later this year. Says Langton: “We want the ­principle voted on first. So that then there’s time for everybody, including all the parliamentarians in the House and in the Senate, and the public to debate the model.”

Human rights and social justice campaigner Tom Calma AO. Photo: NCA
Human rights and social justice campaigner Tom Calma AO. Photo: NCA

On March 23, when Prime Minister Anthony Albanese announced the referendum wording, Langton was present in the Blue Room of Parliament House. When she stepped up to answer a ­reporter’s question it was with the gravitas that comes from a lifetime of reflection, research and ­advocacy. And defiance. And anger. And frustration. And sadness. “Each one of us here has been ­involved in a major initiative. The royal commission into Aboriginal deaths in custody. The inquiry into the forced removal of Aboriginal children from their families. The Don Dale royal commission,” she told journalists. “I could go on and on. And in each case we have doggedly recommended changes to stop the deaths, the incarceration, the early deaths, and the miserable lives and it is so ­infrequently that our recommendations are adopted.” She added: “And each year, people like you come along to listen to that misery-fest. And each year, people go away wringing their hands. We’re here to draw a line in the sand and say this has to change.”

There were tears that day, as Langton, the sophisticated political player, revealed a glimpse of the pressure she has been under since the PM used his election night victory speech in May last year to commit to the Voice.

Growing up in Queensland amid 1950s racism, the young Marcia learnt to step back and let the whites be served first in the local shop; she learnt to step aside and walk on the other side of the street from white Aussies. In her new book Law: The Way of the Ancestors, co-authored with Aaron Corn, Langton recalls attending a conference in Townsville in 1981 where she met the Torres Strait Islander intellectual, teacher and ­litigant Eddie Koiki Mabo. “He was the first person I had met who clearly articulated the fact that ­Indigenous laws exist”. She writes that “by day in school I was forced to ­listen to a fantasy about Australian history and ­Indigenous ­people in ­particular”. The young girl with Yiman and Bidjara heritage on her ­mother’s side figured these were ­“elaborate lies”. None of the people she grew up with resembled the ­“supposed ‘savages’ who rampaged through the pages of my school books”. Queensland was a state, she writes, “where no civil or ­humans rights were accorded my people.”

Langton at the press conference on March 23 after Prime Minister Anthony Albanese announced the referendum wording.
Press conference March 23 after Anthony Albanese announced the referendum wording.

It was an experience of racism that fired a lifetime of work on land claims, native title, field work, right campaigns, lobbying parliament, ­sitting on inquiries and commissions, working in government and in universities. “I don’t know of anyone else with her breadth of knowledge of Indigenous issues,” Perkins says. “She can write about deep culture, she can write about contemporary art and film, she can write about mining and economics, about women’s issues, about history, native title, treaty and of course constitutional law. She has an incredible mind.”

Prominent Indigenous academic Marcia Langton says there was “no evidence” to show previous bodies aimed at improving Indigenous outcomes did not work, arguing past consultative groups and councils made “dogged”

Over more than three hours of interview and a photoshoot in Sydney, Langton’s mind is on full display. She is in turn sharp-witted and ­sharp-tongued, resigned and optimistic, warm and angry. At one point her ­energy ebbs and she takes a break, walking outside for a smoke and a chat with photographer Nic Walker. She submits courteously to a makeup artist but her distinctive grey hair is largely untouched and her handsome face needs little attention. Langton has the classy dress sense of a Melburnian and is far from the stereotypical image of either activist or academic.

Indeed, the media has never been able to decide between the two ­labels, and she has long mixed academic smarts with activism, stepping between both worlds with ease. “My view as an academic has always been that my work must have a beneficial impact, so if I can find a ­solution to a problem, then I will advocate for that solution,” she says. “Unfortunately, there’s no word for an academic like me and so the ­Australian media call me an activist. Most people don’t even know that I am an academic.” She adds, without embarrassment: “I much preferred in my public work to be referred to as a public intellectual, and I think that’s the correct term.”

Langton in 1982.
Marcia Langton in 1982.

Last November, at the annual Outlook conference organised by The Australian and the Melbourne Institute, Langton’s sophisticated ­presence underlined the “incredible journey” she has made from a childhood of multiple schools and homes in ­regional Queensland and outer Brisbane to this crucial moment in her life and the life of the ­nation. Off stage, talk was of the brutal death of West Australian teenager ­Cassius Turvey just three weeks earlier and the alleged details of an ­attack that would later result in four people charged with the 15-year-old’s murder. For a moment Langton seemed overwhelmed. She was ­unwell and had been given only a few hours’ notice as a replacement speaker, but she gathered herself, put on her public face and had the audience in her thrall as she spoke of the ­desperate need for the Voice in ­regional areas; of how the green economy – specifically massive solar panels on Aboriginal land – was potentially damaging to communities; and of the challenges for many Indigenous people ever “closing the gap”. With a mixture of stoicism and sadness she told the room that only one third ­of Indigenous people had truly been able to close that gap. She had done so, as part of a cohort of Indigenous women who had done postgraduate study. Langton has a PhD.

Langton was very young when she realised there was a world she could access beyond her own. “Many of my ­childhood circumstances were ­unsafe and scary, so I would often go to the ­library. I learnt that I could ­borrow books from a very young age, and I would take my books to my ­secret places.” She was fascinated by Douglas Mawson and the journals of other adventurers and explorers that provided escape in those early years. By the time she arrived at Aspley High School in outer Brisbane her talent for leadership was apparent. In one of the few photographs from her ­childhood, the young Marcia is lined up with the other house captains, calm and serious as she faces the camera. It was a time of expanding ­university access but at the University of Queensland in 1969 she was one of only two Aboriginal students and among the first to attend the institution. “It was apartheid Queensland, where you were either Aboriginal or not, there was no in between,” she says.

Langton, front row, right, at Aspley State High School, Brisbane. Picture: Supplied
Langton, front row, right, at Aspley State High School, Brisbane

She began to study anthropology, the discipline, along with human ­geography, she would eventually pursue for doctorate. But it was not easy: “There were some wonderful ­people and then there was a very nasty ­racist. I handed in a major essay and she failed me and her written comment on it was that I couldn’t have ­written it because I was Aboriginal. I should have stopped studying ­anthropology.” It still rankles. “To this day there are many anthropologists who say that I don’t write my own work because I couldn’t possibly as an Aboriginal,” she says. “They don’t regard me as Aboriginal. The only real Aborigines – quote, unquote – are the full bloods they worked with in the 1970s. So people like me aren’t real Aborigines. That’s still pervasive in the discipline of anthropology in Australia.”

After a year at UQ and already a mother, she postponed her studies ­because, she says, of racism, and went overseas with her then ­partner and their son, escaping from a state police force she calls ­“extremely brutal and terrifying, far worse than they are today”. It was the early 1970s and in the US and Asia she was exposed to new black narratives. “Despite all the ­terrible things I saw, it became very clear to me what ­Martin Luther King Jr, James Baldwin, Malcolm X were talking about in a very visceral way, and that is that we people of colour, we’re not regarded as human animals,” she says. Five years later, back in Australia and now a single mother, she went back to UQ, “stupidly” enrolling in Australian literature. “I was the lone Aborigine again in the class … and it was just so ­racist. I couldn’t cope. So then I came down to Sydney, I worked for the ­Aboriginal Medical Service, I worked for the Federal Council for the Advancement of Aboriginal and Torres Strait Islanders …”

Langton was elected general secretary, becoming increasingly involved in Aboriginal ­politics, working with several people including Roberta “Bobbi” Sykes in the Black Women’s Action group. Later, in Canberra she resumed her study of anthropology at the ­Australian National Univer­sity, becoming the first Indigenous person to take honours in the subject. It would be another couple of decades before she completed her doctorate in human geography and anthropology at Macquarie University, carrying out field work in the east Cape York Peninsula. In 2000 she was appointed foundation chair of ­Australian ­Indigenous Studies at the University of Melbourne.

Langton, right, speaking during The Australian Outlook Conference. Picture: Arsineh Houspian
Langton speaking during The Australian Outlook Conference. Picture: Arsineh Houspian

It was in the 1980s, while working part-time as a history­ researcher at the Australian Institute of Aboriginal Studies in Canberra, that she sat the 18-year-old Stan Grant down one day and quizzed him about his ambition. Says Grant: “I was a young kid out of school, pushing a trolley around, ­delivering mail, and doing photocopying … She basically said, ‘What do you want to do with your life?’ She said, ‘My parents and my people have not struggled and ­sacrificed for me to be pushing a trolley around delivering mail’.” It changed Grant’s life. “I’m not here without her, it’s as simple as that. I knew what I had to do. Marcia is not someone you say no to easily.”

Indeed. Langton has a national reputation as intellectually intimidating to media and politicians alike and at the same time is always prepared to step up, to speak or write or debate the big issues. Her scope and influence is so broad that it has led inevitably to criticism within Indigenous communities, but Perkins says: ­“People are very deferential to her great knowledge”. Grant adds: “One of the great strengths in ­Marcia is that she’s been able to challenge herself, she’s found new ways to fight and she’s constantly questioning herself.”

That flexibility has made it hard to predict which side she will come down on in the issues that regularly inflame debate about her people. Fifteen years ago, in an essay in this newspaper, Nicolas Rothwell identified Langton and Noel Pearson as the former “radical activists” who had developed a deep understanding of the root causes of the crisis in remote ­Indigenous communities. Rothwell wrote that both believed alcohol and passive welfare were at the heart of destructive behaviour in these communities, and that both had to be addressed by contentious policy change.

Langton has not backed off, arguing that Indigenous people must receive funding on the basis of need, not identity; and supporting restrictions on the sale of alcohol in some cases. She has done years of research into the issue, published widely and advised the federal government, but she steps cautiously into a debate she says is “almost impossible” to enter. “If I say one thing, Aboriginal leaders are going to go ballistic, and at the very same time [conservative columnist] ­Andrew Bolt’s going to go ballistic, right?” she says. There is no silver bullet in this area, she says, but alcohol management plans are the best way forward.

Langton is fearless on funding, prepared to upset other Aboriginal ­advocates by saying identity should not be the criterion for assistance ­because “many middle-class ­Indigenous people … are not more disadvantaged than other Australians”. There is one exception: the children of Indigenous people who leap from social security to well-paid jobs, for example in mining, and who suddenly appear to be “closing the gap” but find it hard to break free of intergenerational disadvantage, ­will continue to need support. Her uncompromising ­approach can upset both left and right in white and black Australia: “I have been humiliated and insulted by all sides.”

Another example: When Langton delivered the Boyer Lectures on Radio National in 2012 she focused on mining and its potential to enrich Indigenous economies but quickly found herself the target of environmentalists, blasted for not declaring that a research project with which she had been associated had been partly funded by the mining sector. “Most of the left-wingers who attacked my lectures did not read them and they ­viciously attacked me on the basis of what they thought I was saying, not what I actually said,” she says. “They let the industry off the hook because they tried to humiliate me and diminish my arguments. I blame the left for so much of the damage caused to us because of their ­arrogant racism, and particularly many of the environmentalists who do not take us seriously as the First Peoples of this land.”

There’s that word again – racism. Langton uses it often. “Racists don’t understand the horrible impact they have,” she says. “They don’t realise the wear and tear of constant racism is a huge factor in the ­suicide of young Indigenous Australians. So don’t say to an Aboriginal ­person ‘you’re too fair to be Aboriginal’, or ‘you’re too pretty to be Aboriginal’, or, ‘did you write that?’” Langton is astonished at the “mischievous” demands for a definition of ­Aboriginality that have emerged in the Voice debate. Being Aboriginal, she says, has nothing to do with race, but is “a cultural link, a claim of descent, an assertion or claim of identity, and ­acceptance by the community; it’s about being a member of a community by descent and culture”. She references the High Court decision in the 1983 Tas­manian dam case, which defined an ­Aboriginal or Torres Strait Islander person as one of “Aboriginal or Torres Strait Islander descent who identifies as an Aboriginal or Torres Strait ­Islander and is accepted as such by the community in which he or she lives”.

She says the “terrible history” of the stolen generations continues for their descendants, some of whom are “as white as the driven snow”. “What they cop is, ‘you’re not dark enough to be Aboriginal’,” says Langton. “It’s a different kind of racism that they have to wear but it’s far removed from the racism you experience when you walk down the street in this country if you have dark skin. They might suffer occasional racism, they might not get the job, the promotion to professor that they wanted, they might not get an Australian Research Council grant. [But] there are a lot of Aboriginal ­people who will never be able to get a taxi. These young, fair-skinned ­people, they’ll get a taxi OK. They suffer a very ­different kind of racism, and it’s more in the zone of the typical … identity attacks of, ‘you’re doing it so you can get money’.”

To Langton, there’s a certain irony in columnists questioning the ­authenticity of those who don’t “look” Aboriginal: after all, she says, if there are fraudsters, they are ipso facto white, not Aboriginal. She has never felt confusion about her own identity, although she is still asked by some why she doesn’t “pass” as a white person. Overseas she’s often ­mistaken for Palestinan, Moroccan, ­Algerian, Puerto Rican, Indian or Anglo-Indian or even ­Brazilian Portuguese. Langton almost snorts her ­answer: “As if I wanted to do that [pass as white]. I used to say to them when I was younger, ‘Are you saying to me that I should disown my mother and my grandmother and all my family? They think I would ­prefer their life but actually, I don’t. I love being ­Aboriginal, I have never been anything else.”

Langton has stood out in the past as one of the few Indigenous women with a ­national profile in a world of ­Indigenous male leaders including Noel Pearson, Pat Dodson and others. ­Perkins ­recalls a ­corporate women ­leaders’ event at Sydney’s Barangaroo a few years ago at which Pearson was asked to name the woman who had the biggest ­influence on him. Says Perkins: “Noel thought for a while, then he said it had been Marcia.”

Welcome to Country by Marcia Langton.
Welcome to Country by Marcia Langton

Perkins worries about her friend’s vulnerability and the physical and emotional pressure she has absorbed: “I don’t know what I would do, I don’t know what we would do without Marcia, because she is so fearless, she has such depth. I don’t know of any other person who has had her ­staying power, she continues to give to the movement endlessly. It has ­absorbed her entire existence.”

As the referendum on the Voice nears, Langton appears almost fatalistic. If it’s a no, she will largely blame Opposition Leader Peter Dutton, who has “waged a very successful campaign to undermine the Voice”. As for those Indigenous leaders opposed to the Voice: “They have no better ideas. They say that the Voice won’t solve particular problems. So where are their ­solutions? We’ve put 30 years of work into our proposition, 30 years of work. There are countless reports, we’ve done the homework, we’ve done the hard yards, we’ve done the research, we’ve tested everything.”

If the referendum fails, it will be a staggering setback for Langton and others of her generation, but she readily acknowledges how far we have come. “Fifty years ago, I wouldn’t have been invited to give the Boyer ­Lectures; I wouldn’t have been invited by [publishers] Hardie Grant to write [her travel book] Welcome to Country; I wouldn’t be a professor at the ­University of Melbourne. Of course things changed.”

First Knowledges: Law, The Way of the Ancestors by Marcia Langton and Aaron Corn (Thames & Hudson Australia, $24.99), is out on April 25

Helen Trinca is a highly experienced reporter, commentator and editor with a special interest in workplace and broad cultural issues. She has held senior positions at The Australian

The Shoah and America’s Shame – Ken Burns’ sorrowful masterpiece

And high up above my eyes could clearly see
The Statue of Liberty
Sailing away to sea
And I dreamed I was flying
Paul Simon, American Tune

Ken Burns is a documentary maker and storyteller without equal. All his films are masterpieces of American history. I’ve watched much if not most of his work. They are among the most unforgettable histories I’ve ever viewed, high up in what I’d consider the pantheon of the genre, alongside The Sorrow and the Pity, The Battle of Algiers, Salvador and Waco – Terms of EngagementThe Civil War raised the bar so high that very few documentary filmmakers have reached it, with its mix of surviving photographic images (in an style that Apple now promotes as its “Ken Burns Effect”) and the mesmerizing recitation of diaries, letters home, and official communications. The West confronted his country’s enduring creation myth with an honesty balanced by empathy. The Dustbowl was breathtaking in its images, its narrative and the spoken testimonies it presented. The Vietnam War was a relentless, harrowing story told in pictures and the witness of the people ground zero of a a conflict that has been called “chaos without a compass”.

The US and the Holocaust is Burns’ latest film. It does not make for easy viewing being a searing indictment of America’s response to the catastrophe that was approaching for European Jewry. It’s a significant exposition centred on just how much evidence was accessible to Americans during that appalling time, and asks just why rescuing Jews was no priority, except for those few individuals who actually took risks to help. As Burns observed: “There is an American reckoning with this, and it had to be told. If we are an exceptional country, we have to be tough on ourselves and hold ourselves to the highest standard. We cannot encrust our story with barnacles or sanitise our history into a feel-good story”. As historian Rebecca Erbelding suggests, “There is no real perception in the 1930s that America is a force for good in the world or that we should be involved in the world at all. There is no sense among the American people, among the international community, that it is anyone else’s business what is happening in your own country”. There is indeed a disconnect between America’s self regard as the land of the free and the “light on the hill”, and the cold reality – and realpolitik – of its actual record at home and abroad. There is a none too subtle irony in the titles Burns has chosen for each two hour episode, drawn from extracts from the poem by Emily Lazarus that adorns the base of The Statue of Liberty (see below).

Burns work reminds us that historical memory in America, Europe, and indeed Australia is often like a sieve. Give it a good shake and only the big chunks are left. The story of the US’ public opinion and government policy regarding the worsening plight of European Jewry during the nineteen thirties and the a second World War is not one of those. When I posted an article about the film on Facebook, many Americans commented that they were unaware of their country’s disregard and outright obstruction. Burns has opened a crack that has let the light in.  

The quotations cited above are from a review published recently in the Weekend Australian which I have republished below – it is an excellent and quite detailed account of the issues and the incidents featured in this sorry tale, and I cannot better it. But I will note one distinctive feature of Ken Burns’ documentaries – his skill at recounting unfolding stories which he interweaves through the ongoing narrative, drawing viewers inexorably in and acquainting them with the characters, their hopes and their fears, and ultimately, their fates be these tragic – alas. in the most part – or fortunate.

In The Vietnam War, I followed the journey of an eager and patriotic young soldier, Denton “Mogie” Crocker, as he roved out from mall town USA to the battlefields of Indochina. I recount it. in The Ballad of Denton Crocker – a Vietnam elegy. In America and the Holocaust, there is the story of Anne Frank’s family as they sought asylum in the USA from the moment the the Nazi regime started to come down hard on Germany’s Jewish community. We all know how that ended for Anne and her sister. There is also the saga of what Hollywood called “the voyage of the damned”, the subject of an overwrought and overacted feature film, which nevertheless was based upon the actual voyage of the SS St.Louis which departed Hamburg with nearly a thousand desperate but hopeful travellers, but was refused entry into American and Canadian ports, and returned eventfully to Rotterdam where Britain, Belgium, France and the Netherlands gave them shelter. The latter three were conquered by the Wehrmacht in 1940, with harrowing consequences for those passengers who settled there, but a half of the St. Louis’ human cargo survived the war, predominantly those who were permitted to settle in Britain. 

On a personal note, whilst I am myself of Irish descent, Catholic and Protestant in equal measure on each side, my wife’s father’s family were Jews from eastern Germany and Czechoslovakia and experienced the same travails as those described in Burns’ film. Many, including her father’s elderly parents, perished in the death camps, and are memorialised the Yad Vashem shrine of remembrance in Jerusalem – which I have visited many times. Others managed to leave Germany, including her father, who settled in London, where she was born, and her uncle who a  lawyer who left Germany in 1933 after the promulgation of the infamous Nuremberg Laws, who settled in England and  and then made Aliyah to Palestine, ending his days in Haifa, in an independent Israel. Others headed westwards to Latin America in the hope of securing entry to the US from there.

Epilogue. Antisemitism, the devil that never dies

It has been said, with reason, that antisemitism is the devil that never dies. And yet, is antisemitism a unique and distinct form of racism, or a subset of a wider fear and loathing insofar as people who dislike Jews rarely dislike only Jews?

Fear of “the other” is a default position of our species wherein preconceptions, prejudice and politics intertwine – often side by side with ignorance and opportunism. it is no coincidence that what is regarded as a dangerous rise in antisemitism in Europe, among the extreme left as much as the extreme right, is being accompanied by an increase in Islamophobia, in racism against Roma people, and indeed, in prejudice in general, with an increase in hate-speech and incitement in the media and online, and hate-crimes.

We are seeing once again the rise of nationalism and populism, of isolationism and protectionism, of atavistic nativism and tribalism, of demagogic leaders, and of political movements wherein supporting your own kind supplants notions of equality and tolerance, and the acceptance of difference – the keystones of multicultural societies. It is as if people atomized, marginalized and disenfranchised by globalization, left behind by technological, social and cultural change, and marginalized by widening economic inequality, are, paradoxically, empowered, energized, and mobilized by social media echo-chambers, opportunistic politicians, and charismatic charlatans who assure them that payback time is at hand. These days, people want to build walls instead of bridges to hold back the perceived barbarians at the gates.

© Paul Hemphill 2023 All rights reserved

From Little Sir Hugh – Old England’s Jewish Question

Also, on American history and politics, My country, ’tis of thee- on matters American

The New Colossus

     Emily Lazarus

Not like the brazen giant of Greek fame,
With conquering limbs astride from land to land;
Here at our sea-washed, sunset gates shall stand
A mighty woman with a torch, whose flame
Is the imprisoned lightning, and her name
Mother of Exiles. From her beacon-hand
Glows world-wide welcome; her mild eyes command
The air-bridged harbor that twin cities frame.
“Keep, ancient lands, your storied pomp!” cries she
With silent lips. “Give me your tired, your poor,
Your huddled masses yearning to breathe free,
The wretched refuse of your teeming shore.
Send these, the homeless, tempest-tost to me,
I lift my lamp beside the golden door!”

Ken Burns’ “The US and the Holocaust” tells of a shameful past

Graeme Blundell, The Weekend Australian, 11th March 2023

A scene from The US and the Holocaust
A scene from The US and the Holocaust
The latest documentary series from Ken Burns’s Florentine Films, The US and the Holocaust, is inspired in part by the US Memorial Museum’s “America and the Holocaust” exhibition. The series was developed with the assistance of the museum’s historians (many of whom appear in it) and its extensive archives.

It’s a significant exposition centred on just how much evidence was accessible to Americans during that appalling time, and asks just why rescuing Jews was no priority, except for those few individuals who took the risk to help.

For Burns, the series is the most important work of his professional career.

“There is an American reckoning with this, and it had to be told,” he says. “If we are an exceptional country, we have to be tough on ourselves and hold ourselves to the highest standard. We cannot encrust our story with barnacles or sanitise our history into a feel-good story.”

The US and the Holocaust was originally supposed to be released in 2023 but Burns accelerated production by several months, “much to the consternation of my colleagues, just because I felt the urgency that we needed to be part of a conversation”. That conversation for Burns and his colleagues is about “the fragility of democracies” and demonstrating how, “we’re obligated then to not close our eyes and pretend this is some comfortable thing in the past that doesn’t rhyme with the present”.

The filmmaker is fond of quoting Mark Twain’s, “History doesn’t repeat itself but it often rhymes,” and like all his films he wants this one to rhyme with the present.

“We remind people that it’s important that these impulses are not relegated to a past historical event,” Burns says. “It’s important to understand the fragility of our institutions and the fragility of our civilised impulses.”

As Holocaust historian Deborah Lipstadt, a significant voice in Burns’s documentary, says with some alarm in the series, “The time to stop a genocide is before it starts”.

And Peter Hayes, also a revered historian, says, underling the subtext of the documentary, “exclusion of people, and shutting them out, has been as American as apple pie”.

The three-part, six-hour series is directed and produced by Burns, Lynn Novick and Sarah Botstein, two of his long-term collaborators, and beautifully written by another Burns regular, Geoffrey Ward. As always Burns manages to find major actors to play the parts of his central characters in voice over, including Liam Neeson, Matthew Rhys, Paul Giamatti, Meryl Streep, Werner Herzog, Elliott Gould, Joe Morton and Hope Davis.

And like so many of Burns’s films it’s narrated in that mesmerising way by Peter Coyote, who Burns calls “God’s stenographer”. Coyote is able to voice such complex ideas with authority and empathy, often with a kind of beguiling liturgical intonation.

Stylistically recognisable and cinematically audacious, Burns’s memorable documentaries (many of which he has co-produced with Lynn Novick) include The Civil War, Baseball, Jazz, The War, The National Parks, The Dust Bowl, Prohibition, Country Music and more recently Hemingway. He constructs a compelling narrative by using almost novelistic techniques, imaginatively selecting archival material, photographed in his now famous way, immersing us in photographs, developing characters and arranging details around their stories.

The filmmakers present their story in this new series across three overflowing episodes in six challenging, engrossing hours: the first The Golden Door (Beginnings-1938); the second Yearning to Breathe Free (1938-1942); and the final The Homeless, Tempest-Tossed (1941-).

There are two parallel storylines that continuously reverberate off each other – the American side details the history of American anti-Semitism, the notion of “race betterment” and the evolving immigration policy; the German narrative arc deals with the way hatred of the Jews sprouted over time, how the Nazis pursued the end of Jewish intellectualism, and of course the process of their extermination.

The first episode covers the period from roughly the end of the 19th century to the late 1930s, a historical background that delivers context and perspective for the complex narrative that follows.

A scene from The US and the Holocaust
A scene from The US and the Holocaust

It’s broken by a short pre-titles sequence that involves new archival material from the centre of Frankfurt in 1933 of Otto Frank, father of Anne, Hitler having been in power for some months. Otto is desperate to get his family to America, but in the absence of an asylum policy, Jews seeking to escape Nazi persecution in Europe had to go through a protracted emigration procedure. It’s an unanticipated and surprising piece of the Franks’s story highlighting an American connection to the Holocaust.

(It’s a lovely, if distressing, example of the way Burns likes compelling personal narrative to wrap his ideas around, finding “characters” who become involved as events dictate.)

There was limited willingness to accept Jewish refugees. America did not want them, as Coyote says. Frank would continue to apply when they moved to Amsterdam but his immigration visa application to the American consulate in Rotterdam was never processed.

As the filmmakers later show so tragically, existence for European Jews became a deadly, exhausting pursuit of passports, identification cards, transit visas, and affidavits. As the journalist Dorothy Thompson, who features in the series, said, “For thousands and thousands of people a piece of paper with a stamp on it is the difference between life and death.”

We then cut to a beautiful period film sequence of the Statue of Liberty, Mother of Exiles, surrounded by slowly floating clouds, and a beautiful reading of the famous poem by 19th-century poet Emma Lazarus printed on a bronze plaque mounted inside the lower level of the pedestal:

Give me your tired, your poor,

Your huddled masses yearning to breathe free …,

I lift my lamp beside the golden door!

But the Golden Door, which gives the title for the first episode, had begun to close. The filmmakers take us back through history at quotas and the favouring of northerners over immigrants from southern or eastern Europe. Asians were largely locked out by the time of the Chinese Exclusion Act of 1882.

A so-called “racial abyss” was feared by Americans as the new century began; white people feared they would be outbred by the newcomers and their offspring. The white Protestant majority at the end of 19th century was certain that unless things changed they were about to be replaced.

A part meeting with a sign reading "Kauft nicht bei Juden"- Don't buy from Jews.
A US Nazi Party meeting with a sign reading “Kauft nicht bei Juden”- Don’t buy from Jews.

A “mordant sentimentalism” was blamed by some for the US becoming “a sanctuary for the oppressed”, and “suicidal ethics” were leading to the extermination of the white people.

Helen Keller called it “cowardly sentimentalism” and Henry Ford, the series reveals, blamed Jews “for everything from Lincoln’s assassination to the change he thought he detected in his favourite candy bar”. He even published a hugely successful newspaper to triumphantly publish anti-Semitic harangues.

Jews were dismissed as “uncouth Asiatics” and the hogwash “science” of eugenics, the theory that humans can be improved through selective breeding of populations, was promulgated by conservationist Madison Grant’s The Passing of the Great Race. The filmmakers show how it evolved and thrived in response to America’s changing demographics.

It was a concept taken up by Hitler who also admired America’s expansion across the continent from east to west, brushing aside those who were already there. This was manifest destiny. “The immense inner strength of the US came from the ruthless but necessary act of murdering native people and herding the rest into cages,” he wrote. His dream was of territorial expansion and Germany would in time conquer the wild east of Europe he believed. “Our Mississippi,” he said, “must be the Volga”.

Jews, scapegoats for centuries, watched as anti-Semitism was normalised in the US, in and out of Washington. Burns and his colleagues closely follow the complex manoeuvrings of President Roosevelt as he coped with the anti-immigrant xenophobiaas well as a wilful, and for many, all-consuming obsession with white supremacy.

As historian Rebecca Erbelding suggests, “There is no real perception in the 1930s that America is a force for good in the world or that we should be involved in the world at all. There is no sense among the American people, among the international community, that it is anyone else’s business what is happening in your own country”.

The series unfolds with Burns’s typical elegance: the stylised organisation of personal anecdote, Coyote’s sonorous narration, erudite, subdued commentary from historians and some ageing witnesses to atrocities, an elegiac soundtrack from Johnny Gandelsman, and gracefully realised visual documentation.

Much of the German archival footage is not unfamiliar but some new sequences horrify and disturb deeply. SS soldiers parade in the streets, chanting “When Jewish blood spurts off a knife, everything will be all right”. And the midnight book burnings on May 10, 1933, are a frenzied, phantasmagoria of volumes hurled into bonfires, including the works of Jewish authors like Albert Einstein and Sigmund Freud as well as blacklisted American authors such as Ernest Hemingway and Helen Keller.

The series is an extraordinary piece of work, resonant and at times frightening. As historian Nell Irvin Painter says, “Part of this nation’s mythology is that we’re good people. We are a democracy, and in our better moments we are very good people. But that’s not all there is to the story”.

The US and the Holocaust is streaming on SBS On Demand.

Actor, director, producer and writer, Graeme Blundell has been associated with many pivotal moments in Australian theatre, film and television. He has directed over 100 plays, acted in about the same number, appeared in more than 40 films and hundreds of hours of television. He is also a prolific reporter, and is the national television critic for The Australian.

Большой террор … Stalin’s Great Terror

You were taken away at dawn. I followed you
As one does when a corpse is being removed.
Children were crying in the darkened house.
A candle flared, illuminating the Mother of God…
The cold of an icon was on your lips
A death-cold sweat on your brow –
I will never forget this; I will gather
To wail with the wives of the murdered streltsy
Inconsolably, beneath the Kremlin towers.
Anna Akhmatova, Moscow 1935

I have written often in In That Howling Infinite on Russian and Ukrainian history. Although I am no expert, and profess an amateur interest only, I do possess a short and humble pedigree. Once in another lifetime, I read politics at the University of Reading in the United Kingdom.  My tutor in Soviet Studies was exiled Hungarian academic and historian Tibor SzamuelyLike many refugees from Communism, he 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.

Back then, I was a political ingenue and a naive communist sympathiser 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). I nevertheless retired an active interest in the history and politics of Eastern Europe. 

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, The Russian Tradition, 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.

A few years back, I retrieved from my archive a dissertation I wrote under Szamuely’s supervision in 1970, entitled How Rational Was The Great Purge? Reading it fifty years later, I was surprised to observe that my writing style, the content and the conclusions I drew have changed little over the years. In retrospect the tenor is somewhat naïf but it foreshadows a perspective that I’ve developed over the years of “walking in the shoes of others – contemplating what might be going through the heads of the protagonists, be they the Old Bolsheviks who became the sacrificial victims or Stalin himself. Fathoming the mind of “Uncle Joe”, as the Allied PR departments dubbed him during WWII when he was deemed a friend and indeed a bulwark against Nazi aggression, was a bit of a pretentious stretch for a twenty one year old, even though I did only have an audience of one – and did earn a “first” in Soviet Studies.

A couple of days ago, I pulled it out again to show Adèle, and discovered to my horror that the handwritten foolscap roneo had faded almost to the point of vanishing. In a bright light, I managed to recite it into iPad notes and transcribe it into a fresh document and have now the privilege to publish it in  Into That Howling Infinite.

Privilege not pleasure, I must note. It does not make for easy reading.

When it was conceived, my dissertation was written with academic grades in mind, and particularly for Szamuely’s assessment alone. There is little explanation of context and of the events and personalities referred to therein (ironically, in the light of contemporary events, many of whom were Ukrainian and many, Jewish), and chronology was less important than argument. There was a word limit and also no need for explanation as my tutor knew, from his own academic and personal history, what had happened, who was what and who was who – and what became of them.

Most, sadly, did not die comfortable in their beds surrounded by family and friends, and more often than not in dark execution cells or in fields and forests beside their own graves. He was was also very much aware of the victims of the Great Purge and it’s many siblings, so many of them nameless, who perished during the Soviet Union’s two decades of terror, and for the millions – from the Baltic to the Crimea – who were deported en masse from ancestral lands to the Siberian or transported to the labour camps of the distant Gulags, to work, to starve, and to die.

The ordinary reader, of this blog and of world affairs generally is not very acquainted with the  history and politics of Russia and the defunct Union of Soviet Socialist Republics. Much of what casual observers know is learned from wide reading and often filtered through the distorted lenses of unreliable and potentially misleading and false analogies and partisan preconceptions, or worse, uninformed and prejudiced certainties. We see these in full flight in mainstream media commentary and particularly in social media with respect to the current conflict between Ukraine and its powerful neighbour. This article does not discus that conflict, although the reader will certainly see patterns, hear echoes and feel reverberations, for the consequences of events which occurred down the foggy ruins of time do indeed ricochet through history to strike us today.

And so, then, to my resurrected dissertation, which I have edited to include the full names of the principal actor. But first, some historical background to put it into perspective.

‘I’ve executed better men than me with a small pistol, Yevgraf Zhivago”

The Great Terror 

By strange symmetry, when I retrieved my now faded dissertation, I’d recently reread historian Robert Conquest’s tombstone of a book, The Great Terrora relentless and harrowing narrative of arrests, trials, fabricated confessions, hostage-taking, deportations, torture and executions as Soviet Communist Party General Secretary Josef Stalin consolidated his rule, eliminated enemies real and imagined, and created his own model of a twentieth century socialist state.

It commenced with the elimination of the Old Bolsheviks, his former comrades in arms in the Russian Revolution of October 1917 (there were two revolutions that year) and the bloody civil war that followed, and then expanded to embrace all in the party and society at large who may or may not have shared his vision. Intellectuals, philosophers, writers, poets, musicians, priests, scientists, academics, teachers, civil servants, workers and peasants, and the Red Army’s Officer Corps – the latter being a contributing factor to the Soviet Union’s need to make a pact with Nazi Germany in 1939 and its disastrously slow response to Hitlers invasion in June 1941.

An estimated death toll is difficult to determine. In those dark days, people simply disappeared, and the NKVD (the precursor to the KGB and present day FSI) covered its tracks well. The official number for the “Great Purge” of 1936-38, or “the Yezhovchina”, named for Victor Yezhov, head of the NKVD and Stalin’s lord high executioner, stands at 1,548,366 detained persons, of whom 681,692 were shot – an average of 1,000 executions a day. Various historians claim that the real number of victims could be twice as much.

But the the arrests, executions, and deportations commenced as early as 1930 and continued right up until Stalin’s death in 1953. Conquest, in his The Great Terror: A Reassessment does the gloomy math: 1930-36, 7 million; 1937-1938, 3 million; 1039-53, 10 million. The number of deaths in the Soviet Union that were explicitly ordered by someone – in other words, the number of executions – is actually relatively low at around 1.5 million. The majority of the deaths were caused by neglect or repressive policies – for example, those who died in the Soviet gulags, those who died while being deported, and German civilians and Prisoners of War are believed to have perished while under Soviet guard.

The numbers who were transported, exiled, displaced, and scattered to concentration camps or far-eastern towns and villages were likewise incalculable. as the Yevgraf, the brother of Boris Pasternak’s Doctor Zhivago comments in the final scenes of David Lean’s beautiful but flawed movie):

“Indeed, as a policeman, I would say, get hold of a man’s brother and you’re halfway home. Nor was it admiration for a better man than me. I did admire him, but I didn’t think he was a better man. Besides, I’ve executed better men than me with a small pistol”

… and

“She (Lara) had come to Moscow to look for her child. I helped her as best I could, but I knew it was hopeless. I think I was a little in love with her. One day she went away and didn’t come back. She died or vanished somewhere, in one of the labor camps. A nameless number on a list that was afterwards mislaid. That was quite common in those days”.

There are a myriad of books and films about these events. Wikipedia is as good a place as any to start. Robert Conquest’s is the most acclaimed – and rightly so. Then there is Arthur Koestler’s chilling novel, Darkness at Noon, published in 1940, which recounts the thoughts of an Old Bolshevik as he awaits death in the execution cells:

A shapeless figure bent over him, he smelt the fresh leather of the revolver belt: but what insignia did the figure wear on the sleeves and shoulder-straps of its uniform – and in whose name did it raised the dark pistol barrel?

Both  books are cited often in my dissertation.

As for movies, there’s always David Lean’s Doctor Zhivago, which realistically albeit melodramatically portrays the choices and compromises confronting ordinary, intellectual Russians in the years of revolution and civil war. And I would highly recommend the poignant but powerful Burnt by the Sun, a 1994 film by Russian director and screenwriter Nikita Mikhailkov and Azerbaijani screenwriter Rustam Ibragimbekov. The film depicts the story of a senior officer (played by Mikhalkov) and his family during the purge of the Red Army.

And there was the poet Anna Akhmatova, whose words open this piece, bearing sad witness to the imprisoned, the deported, the disappeared and the dead – including in their number, two husbands and her only son – memorializing the suffering of herself, her family and millions of her compatriots in her tortured testament, RequiemUnlike so many of her contemporaries, she died of natural causes in March 1966. Russian born philosopher amd historian Isiah Berlin described the impact of her life: 

“The widespread worship of her memory in Soviet Union today, both as an artist and as an unsurrendering human being, has, so far as I know, no parallel. The legend of her life and unyielding passive resistance to what she regarded as unworthy of her country and herself, transformed her into a figure …  not merely in Russian literature, but in Russian history in (the twentieth) century”.

Anna Akhmatova, by Amedeo Modigliani

Russia’s Stations of the Cross did not cease with the end of the Terror. Three years later came Operation Barbarossa and the German invasion of the Soviet Union, the rapid blitzkreig that took the Wehrmacht to the gates of Leningrad, Moscow and Stalingrad, and the bloody clawback that brought the Red Army to Berlin and to take captive the peoples of Eastern Europe.

Over twenty five million Soviet citizens died during the Great Patriotic War, of which just under ten million were military. Most died as a direct result of the military conflict that ranged from the Baltic to the Caucasus. But miilions also perished at the hands of the NKVD and in the forced mass deportations of “suspect” peoples, including the Volga Germans and the Crimean Tartars.

At wars’ end, the Terror rolled on, albeit at a lower setting. Josef Stalin remained suspicious, vengeful and paranoid, and the purges continued right up until the moment he departed this mortal coil (as depicted in dubious slapstick in Armando Iannucci‘s recent The Death of Stalin).

Many, many Red Army soldiers who had been taken captive by the Nazis were arrested on their return from captivity. Many were shot for ‘desertion’, and thousands sent to the Gulags. Whether they had surrendered or had been subdued and taken captive, often as fast-moving battle fronts left them stranded, abandoned and entrapped behind enemy lines, they were deemed cowards, traitors and enemies of the Soviet Union and its people. They were moreover doubly damned. Whether from behind the wire of concentration camps or as slave labourers in German mines, fields and factories, they had witnessed, come into contact with, and had been contaminated by the world outside.

In one of his most cited poems, The Caucasus, written in 1845, Ukraine’s national poet, the 19th-century bard Taras Shevchenko, who’d helped build national identity through his verse, which he composed in both Russian and Ukrainian, ridicules Russian expansionism and mourns the immense loss of life it had already wrought. He could have been writing about tyranny, repression and violence all around the world and through the ages:

“We groan beneath the yoke of hangmen while drunken justice sodden sleeps”.

© Paul Hemphill 2023 All rights reserved, adapted from Ghosts of the Gulag,© Paul Hemphill 2018 

See also. The Death of Stalin is no laughing matter; Borderlands – Ukraine and the curse of mystical nationalism ;  TheRussian Tradition – Russia, Ukraine and Tibor Szamuely; and The Roots and Fruits of Putin’s Irridentism

How rational was the Great Purge? 

Paul Hemphill, Reading, 17 June 1970

When veteran Bolshevik leaders Grigory Zinoviev and Lev Kamenev had demanded reprisals against their comrade Leon Trotsky, party secretary Josef Vissarionovich Stalin replied: “a policy a lopping off heads is fraught with danger … you chop off one head today, another one tomorrow, still another one the day after – what in the end will be left of our party?” (Deutsche, Stalin, 344). Lenin himself and warned “let not blood flow between you” (Ibid 377). Yet in 1932, Stalin was forced to back down when having advocated the death sentence for oppositional activities, he met the opposition of Sergei Kirov and the party. And in 1938, Trotsky was to proclaim that “Stalin is like a man who wants to quench his thirst with salted water” (Fainsod 356j). But not, in Stalin’s view, without reason.

Old Comrades Trotsky, Kamenev and Zinoviev

“We are a country surrounded by capitalist states … The internal enemies of our revolution are the agents of capitalism of all countries. In fighting against enemies at home….fight the counterrevolutionary elements of all countries”. Thus, Stalin attempts to rationalize terror. In his grim novel Darkness at Noon, Arthur Koestler described “how there were two elements in our party. One consisted of adventurers who wanted to risk all we had won to promote the revolution abroad. We recognized this current to be dangerous and have liquidated it … We stand alone … We have only one duty: not to perish”. The survival of the week and embryonic socialist state in a hostile world depended upon the strictest unity within that state, and no oppositional tendencies could be tolerated. “We have only one duty: not to perish”.

Victor Hugo once wrote: “ Mr Bonaparte’s crime is not a crime it is called a necessity. Mr Bonaparte’s robberies are not robberies, they are called measures of state. Mr Bonaparte’s murders are not murders, they are called public safety”. Here then was Machiavellian rationalism in action. “As long as the capitalist encirclement costs, there will be be wreckers, deviationists, spies, terrorists” (Stalin in Fainsod ibid 356 … and an endless host of counterrevolutionaries, bourgeois nationalists, kulaks or German and Japanese agents plotting the demise of socialist Russia.

Before 1917, the purge been excepted within the party. “Unity of Will” and submission to central authority being vital in the face of Czarist repression. Compromise was comparable to treason, obedience, the highest virtue. After 1917 the need remained in order to overcome inertia, suspicion and ignorance, hostility, subversion and sabotage. Lenin had stressed “better fewer and better”, and the consolidation of the party by the constant self purging of fellow travellers. The class struggle did not cease with Red October.

Indeed, as Lenin had prognosticated in “State and Revolution”, it intensified, as external enemies would find allies in the party. Every step towards socialism met with fierce resistance from within: the trade union dispute, the polemics of Trotsky, Kamenev and Zinoviev. When “enemies” infiltrate into the ranks of the vanguard itself, their suppression is not so easy as envisaged by Lenin’s ideals. In the years subsequent to the Civil War, therefore, constant vigilance and battle was all important. Yet the gradual liquidation of the old Bolsheviks in the years 1936 to 1938 pointed to less exalted motives, those of Stalin, using terror as a means for maintaining a monopoly of party leadership. The problem of reconciling this with the class struggle was solved by identifying any form of opposition to his rule with counterrevolution and espionage.

He effectively wrote the script that others followed. At his trial in August 1936 Kamenev confessed how “we have become fascists, we have organized counter-revolution against socialism. Zinoviev likewise: ”my defective Bolshevism was transformed into anti-Bolshevism, and through anti-Bolshevism, I arrived at fascism. Trotskyism is a variety of fascism and Zinovievism is a variety of Trotskyism” (Deutsche, The Prophet Outcast 333).

Having seized power after Lenin’s death, Stalin had to reconquer it again and again. Endless struggle will be terminated by the physical elimination of all whose party past or present attitudes made them potential opponents. Expulsion, Lenin’s penalty for “factionalism”, had been ineffective. Men who represented the potentiality of an alternative government of rival power centres had to be destroyed, be they active leaders or impotent symbols of opposition like Kamenev and Zinoviev. Reason justified the swift, merciless and all embracing preemptive strike to paralyse and to deter. Potential leaders, the men they influenced or were likely to influence, and an ever- widening circle of associates, friends and relative, who by the very nature of design were implicated. Vengefulness could engender opposition. Oppositional leaders had trained or promoted party man administrators and soldiers – in short, numberless alternative power centres.

The determining reason for Stalin‘s decision on his “final solution” lay perhaps in the realization that the mood of the Old Bolsheviks was one of hostility towards him, having remain unreconciled to personal dictatorship since the Kirov purges. Hostility could erupt into open challenge , and both he and his old comrades remembered the dying Lenin’s s pronouncement: “I propose to the comrades that they consider a means of removing Stalin from his post and appointing to it another person more patient, more loyal, more polite, and (relevant in this context) more considerate to his comrades” (Conquest 537)

When  the “Trial of the Sixteen began in August 1936, Trotsky wrote how “Stalin is staging this trial in order to suppress discontent and opposition … (he) treats every criticism and every form of opposition as a conspiracy”. (Deutsche, Outcast 322). Yet, in 1932 Trotsky himself had recognises the need for “unity of will”, “the upsetting at the bureaucratic equilibrium would benefit the forces of counter revolution” (Deutsche Stalin 344). But times had changed, and for the type of man Trotsky represented, there was no place in the party.

The reason for hostility perhaps lay in the basic psychology of the Old Bolsheviks. Nikolai Bukharin told historian Boris Nicolaevsky in 1936 that “we had all been trained in the psychology of oppositionalists … we are critics, destructionionists not builders” (Nicolaevsky 60) Soviet Russia wanted builders, not idealists. Stalin needed therefore to eliminate this millstone, to bring a new ruling class aimed at positive construction and not schismatic criticism. The theorist and the visionary were being supplanted by the young , hard and ambitious New Soviet Man, sincere communists holding key posts which merged political and professional leadership. The integration and stabilization of the regime necessitated increased centralization and the concentration of power in the hands of a select elite. The growing stability called for greater efficiency and control, the crystallization of totalitarianism demanding authority and obedience, and the accountability of the citizen for his inability to adjust to the new pattern.

Economic and social change that was not spontaneous as a product of attitudes and social relationships needed terror as a motive force. The men of the old revolution with the old ideas and ideals were liabilities to the new revolution. The “new man” created by Stalin’s regime, without a revolutionary past or tradition, ignorant and suspicious of intellectual arguments propounded by the oppositions, they were Koestler’s “Neanderthalers”, the generation “that started to think after of the flood … a generation without an umbilical cord”. Provided by Stalin with guidance, nurtured on Stalin’s Marxism- Leninism, and on the concrete achievements of the Five Year Plan.

Bukharin, in Nikolaevsky’s interview, and Koestler’s Rubachov see the new man as their creations, inevitable to socialist progress. They realise that survival depends upon success, and if they fail, they can no longer serve the revolution. History absolves those who are right – but those who are wrong must pay. Tthey understand the mechanics of the system. They share to some extent the values of the rulers. The process of selection is vital to stability and progress. And they are fatalistically determinist, agreeing to fabricated confessions because there was no existence outside of the party. Stalinism was the acceptable alternative to the counter-revolution.

“In a war which may be only a few months away”, Gletkin tells Rubachov in Darkness at Noon, “such currents (that is disaffection and popular dissatisfaction) could lead to catastrophe … the party must be cast in one mold, filled with blind discipline and absolute trust”. In 1936 the chances of agreement with Germany were slim. Cases such as “the homosexual conspiracy” of 1933-34 gave substance to fabricated charges of treason and espionage.

The threat of war and undoubtedly heightened Stalin’s fears for his political survival. He remembered how the Bolsheviks has seized power in such conditions after 1914. It certainly gave him a pretext, and legitimacy sanctioned by popular patriotism, for what Deutsche called a “perverted psychological truth” which instigated a pre-emptive strike to prevent instability and collapse during a national emergency. Yet, wouldn’t a conciliatory policy aimed at creating voluntary, popular and national cooperation and solidarity have been more logical than the disorganisation and demoralisation which Stalin had invited? Purges are deliberate and planned, and Stalin in no doubt realised their consequences if not their scope.

The motive for the Yezhovchina, named for Victor Yezhov, the head of the NKVD, does not hold its own independently. Neither does that of protecting the revolution. Bukharin in 1936, and Nikita Khrushkev in his groundbreaking Secret Speech to a closed plenum of the Central Committee in February 1956 claimed that Stalin had used too extreme means when the economy had been strengthening, the exploiting classes destroyed, and the party consolidated ideologically and numerically. Stalin himself would not have downplayed his achievements merely to attack his enemies. In reality, the new range of the charges brought against the “enemies of the people” avoid the question of a specific motivation, whilst not once did the chief victim of so many conspiracies. and yet the author, manager and producer, appear in court as a witness. Once again therefore, Machiavellian motives appear to predominate – those of Stalin consolidating his personal power. Potential opponents must be kept in a state of permanent insecurity so that all embracing terror by the “lopping off of heads” of possible alternatives to the regime. The party is cleansed of infiltrators and careerists, opening channels for new blood more loyal and more efficient. Individuals, uncontrolled and undirected, were susceptible to intrigue, and hence the unreliable need to be replaced.

The Nikolaev case following the assassination of Kirov by Leonid Nicolaev in December 1934.  Nikolaev and several suspected accomplices were convicted in the Moscow Trials and executed less than 30 days later, with complicity as a common charge for the condemned. Kirov’s assassination remains controversial and unsolved, with varying theories regarding the circumstances of his death., and provided a blueprint for discovery of accomplices and instigators, and the investigation of “ideologically undisarmed oppositions”, for “capacities for mischief” (Nicolaevsky 60), and for the punishment for the negligence of security and party organs for tolerating oppositional circles in their midst. In 1934, harmless Leningrad dissidents became terrorists; and in 1934, “Trotskyists” and ”Zinovievites” were tried, being told that by admitting complicity and condemning terrorism, they would check their own supporters.

The trials of 1936-38 merely keynoted the purge, the grand design finding full realisation in prisons and camps. The slaughter of the Old Guard showed that their day was gone, that resistance and opposition to the new regime was futile. Their fall, in a power struggle which had been waged since Lenin’s death, had been completed after Kirov’s murder, yet they were now called upon to justify the purge, to vilify the victims to publicise and popularize the forthcoming purges.

The trials of “the sixteen (August 1936 – Kamenev and Zinoviev, and others), of “the seventeen” (January 1937 – Pyatkov, Sokolnikov and the so-called anti-Soviet Trotskyist Centre), and of “the twenty one (March 1938 – Bukharin, Rykov, Yagoda, and the so called anti-Soviet Bloc of the Rightists and Trotskyists), saw the extermination of the Old Guard, and with it, the reputation of Trotsky, the arch-instigator and defendant in absentia. In colluding with Trotsky, the greatest “enemy of the people”, they were accused of treason, espionage, diversion, terrorism, and wr cling. They had plotted disrupt the economy to betray the Soviet state; they had plotted Kirov’s death, and had conspired to assassinate Stalin himself, together with others of his inner circle.

The case was different with popular national figures, and hence trial and publicity gave way to secrecy and speed trial “in camera”, illustrating Stalin’s determination bypassing even superficial legality. Hence, in secrecy, the party itself was purged by “electoral defeat” and arrest, by vigilance and police infiltration. 4434 Of 11,017 Moscow committee members were in 1937 new replacements, whilst elsewhere, 50 to 70% renovation was quite common, introducing new and ideologically pure cadres (Z Brzezinsky The Permanent Purge 94). Public trials would have strained loyalty and discipline.

This was also the case with the military, a fair accompli being necessary. In June 1937 civil war hero General Mikhail Tukachevsky and seven others were executed for treason and sabotage. Only by purging potentially disloyal or unduly independent commanders like Tukachevsky, who opposed politicisation, could be army be absorbed into the totalitarian system, and hence removing its strength as an alternative source of power while simultaneously developing its efficiency and its potency as a subordinate weapon. Whether a conspiracy existed or not is questionable, but but facility of suppression suggests the negative. Elimination would have been inevitable in order to insure full control in the event of war.

The purge of the Nationalities shows similar motivations. Nationalism had been contrary to the socialist ideals of international totalitarianism and international economics. Growing national resentment towards Russian central control had led Moscow to believe that national cadres and local leaders were responsible, whilst the atmosphere was highly conducive it the wide discovery of plots and conspiracies among the Nationalities. More objective reasoning saw the necessity of solidifying central control by removing sources independent national leadership, and hence, throughout the USSR bourgeois nationalists, deviationists, White Guards, kulaks and spies were exposed, the purges extending from the elimination of identifiable opponents to the impersonal elimination of thousands of suspects.

“Unity of Will” was all important, and all subsidiary elements had to be subordinated. Even the Comintern had to be cleansed to provide uniformity of policy in accordance with Soviet national interests, as opposed to Communist international interest. Soviet diplomats were removed. German, Hungarian, Polish, and Italian communists domiciled in the Soviet Union including former Hungarian strongman Bela Kun) were liquidated. Even in Spain, the KGB successfully purges the extremist left wing. Not even the KGB remained immune, Genrich Yagoda and Nikolai Yezhov both falling to their own terror.

Stalin and Yezhov

In the industrial and agricultural sectors, also. the politically unreliable became scapegoats for failure, and inefficiency, to be replaced by the new generation of graduates in technical and professional fields. Technicians holding key posts in the economic structure, and intellectuals – natural critics – had to be submissive. Socialist competition being achievement orientated meant that failure to produce and to fulfill norms was tantamount to wrecking and sabotage. Failure demanded retribution: to deter, and to provide additional stimuli for greater endeavours. Yet, Stalin’s prime aim was total control – imprisonment have have been deterrent enough to encourage efficiency, whilst a general improvement in the standard of living was beginning emerge, giving little cause for such repression. Physical liquidation was primarily a means of control and not of production … as Lazar Kagonovich failed to note when, at the 18th Congress, he proclaimed: “ we have now cadres which carry out every directive of the party, of the Central Committee of the Soviet power, every directive of Comrade Stalin” (ibid 90).

Isaac Deutsche describes “Trial of the Sixteen”as “so hallucinatory in its masochism and sadism that it seemed to surpass human imagination” (Deutsche Outcast 332)…The defendants were made to crawl to their deaths amidst denunciation and self-derision. Although this justifies the character rather than the reason behind the Great Purge, it’s illustrates an all important function of the Purge as an institution – what Fainsod calls prophylactic and preventative.

The first Five Year Plan had brought a degree of stability, but the regime could not afford to let stability lapseinto inactivity. The messianic and totalitarian nature of the regime, demanded further goals, and further fervour and enthusiasm, to avoid the degeneration of party and the state. The internal emigration of the silent majority was synonymous with negation and opposition; and hence participation was vital. The policy of critique had originally been intended as an instrument of improvement, of exposing inefficiency, and error, but now, Kritika was associated with denunciation and Samokritika, with confession (often false), mutual suspicion, and fear of denunciation for lack of fervour, providing mass participation, synthetic enthusiasm, and Revolutionary, Watchfulness”… Legitimacy and consensus was thus created whilst also serving to crystallise and dramatise the policies of the government… The success of propaganda campaigns was shown during the public trials when frequent and hostile emotional outbursts often provided an ex post facto rationale for physical liquidation. State Prosecutor Andrev Vyshynski was symptomatic of the popular hysteria generated… “These mad dogs of capitalism, tried to tear limb from limb the best of the Soviet land… I am joining my angry indignant voice to the, rumbling voices of millions… I demand that dogs gone mad should be shot, every one of them … “ (Conquest 335)

Propaganda campaigns were aimed at dehumanising the enemies, and developing an atmosphere of hostility that stifled resistance. The supreme correctness of the regime was asserted and failings were attributed to the accused, who would be charged with conspiring with hostile powers (Germany, in particular) planning to destroy the fruits of the revolution … their fate was pragmatic; resistance was useless; the system is unchallengeable; the leadership is in fallible. Confession, wrote Koestler in Darkness at Noon, is “to gild the right to blacken the wrong … to make the opposition appear contemptible, to make the masses understand that opposition is a crime… Sympathy and pity for the opposition are danger to the country…The can be no martyrs or heroes – no potential focii for factionalism … they must die as degenerate traitors, and this must be impressed upon the uninformed, easily influenced masses … Hence the victim is often called upon to collaborate in his own moral and physical destruction, often willingly, as a final service to the party and to the revolution …his duty is “to gild the right, to blacken the wrong” … his wrong – he must pay!

To Soviet leaders, the purge is an instrument employed in a rational and predetermined fashion, cleansing the system of undesirable elements, and streamlining organisation, revitalising the system and eliminating alternative power centres. Such motives, provide rationalism enough – but Stalin perhaps sinned in his excess … If his fear of war and collapse had precipitated his actions, then disaster of 1941 revealed his folly. In advancing and preserving the revolution, at face value, the immediate consequence was of detriment. The liquidations had outstripped available replacements, whilst privation and hardship, damage and hatred amongst the influential sectors, severely hampered the development of Soviet society … Yet, the dynamic momentum of industrialisation had been maintained, and “new men” quickly adapted to their new responsibilities, whilst fear of an rest had led many to great endeavours in all fields of production … Yet, the economic and social needs of the Soviet state could not justify the bloodshed … When Stalin told the 18th Congress that “we shall have no further for resorting to the method of mass purges” (Deutsche Stalin 381), he was, perhaps primarily reviewing his own position, firmly established at the apex of a hierarchy of power of his making. Frederick Engels may have told Karl Marx that “terror consist mostly of useless cruelties, perpetuated by frightened people in order to reassure themselves” – and Stalin was certainly in need of reassurance in 1934: but on the eve of the great purge, Stalin had held a position of strength, his opposition defeated, his Politburo hand-picked. Yet, the very nature, personal dictatorships necessitated control at all levels of the system – supreme control, unlimited and in divided. His aim was total control, the vanguard of the revolution personified – and all other aims, all other motive were subordinate and indivisible from this. It is therefore rational to secure complete personal power? Khrushchev condemned Stalin as a mad man – but was not Stalin his teacher, and the teacher and mentor of the Soviet leadership after his death – and no one would obviously seriously admit that his creator (for this was just what Stalin was) was a madman …

The question invites to consideration whether the acquisition and the maintenance of power is rational, or whether, in Stalin’s case, it was a men’s to an end escapes explanation, whether power was his aim – and this he had achieved – or whether power was a necessary means of strengthening the Soviet state and economy, for despite failure and setback he did create a major industrial power. Totalitarian purges are unnecessarily carefully planned, and controlled from the centre. In Stalin’s case the purge was perhaps carried too far, and with detrimental consequences, by the sheer force own momentum, but the fact that Stalin had maintained control was demonstrated by the facility and efficiency which the purgers themselves, and in particular, Yezhov, of were also purged after 1938, Stalin’s targets within the party, the nationalities, the economy, the intelligentsia in the army, were categorised and identified. Potential enemies and obstacles to his total control were officially eliminated. From the Machiavellian standpoint, this was more rational than Hitler’s “Final Solution”, although in both cases, pretexts were created, whether sabotage or treason or “lebensraum”. But once again, subjectivity is strong when a word such as rational is employed. “Expedient” would perhaps be more applicable. Innocent victims were numberless as the circle widened, yet even then, the psychological and deterrent effect on the population was beneficial to the regime. The toll and ensuing atmosphere of insecurity in the wasteland called peace induced submission and facilitated control, necessitating only occasional and selective terror, such as employed during 1939-41 in the newly sovietised Baltic states… In its way, the Great Purge was in fact a “final solution”, ridding the regime of opposition, and the disunity it brought. To Stalin, unity was essential to progress, and perhaps, like Peter the Great, it was necessary to employ barbaric means to modernise a backward, and perhaps in western eyes, barbaric state, and to ride roughshod over all obstacles to achieve this end …

The Old Bolsheviks. Most perished

Bibliography

I Deutsche, Stalin
I Deutsche, The Prophet Outcast
M Fainsod, How Russia is Ruled
A Koastler, Darkness at Noon
H Finer, The Man in Horseback
R Conquest, The Great Terror
H Nicolaevsky, Power and the Soviet Elite
Z Brzezinski, The Permanent Purge

The great outdoors – camping days

And the bush hath friends to meet him, and their kindly voices greet him
In the murmur of the breezes and the river on its bars,
And he sees the vision splendid of the sunlit plains extended,
And at night the wond’rous glory of the everlasting stars.
Clancy of the Overflow, AB (Banjo) Paterson

Sleeping under the stars, close to nature and exposed to the elements has a timeless allure, whether under canvas or on a bedroll or in a swag. It’s almost atavistic – a harking back to simpler and indeed, primeval days, a retreat albeit temporary from the workaday world and the ties that bind us to it, and a genuine pleasure of the open road.

For those with a drop of vagabond blood in their veins, and the echoes of a gypsy soul, it’s a sure cure for those “summertime blues”!

The Travelling People

Countries where the nomadic life has long been consigned to history and where the sedentary lifestyle is regarded as the civilised norm, individuals and authorities have long struggled to decide what camping is, and who is allowed to do it. Over the decades, the act of sleeping outside has served wildly varying ends: as a return to agrarian ideals, a rite of passage, a route to self-improvement. But whilst some camp for leisure and pleasure, for many, it is a economic and social necessity that has often been condemned as uncivilised, unsanitary, indigent, and even criminal – and it has also served as a proxy for disputes about race, class, discrimination and rootlessness.

For centuries, sleeping outside has been embraced or condemned, depending on who’s doing it. A recent book on the history of camping in the US explores what, exactly, camping is, and how the pursuit intersects with protest culture, homelessness, and identity. A excellent review in The New Yorker is republished below.

In some countries that are seeking to modernise rapidly, heavy-handed authorities have endeavoured to curtail the wandering life by regulation and resettlement, at times, by brute force. Recall the sad conclusion to James A Michener’s novel Caravans, set in Afghanistanand the its movie adaptation, and also British historian Vincent Cronin’s The Last Migration (1957), a  account of the Pahlavi shah’s regime’s repression of the Falqani nomads in the name of “progress”. I can’t recommend it enough. It is tragic and beautiful, and authentic in every finely drawn detail, like a Persian miniature on ivory. Closer to our western consciousness and consciences, is the savage repression and dispossession of the Native American and Australian First Nations. It is historically and culturally ironic that a loop-hole in Australian law decreed that camping was permitted on the lawns of Old Parliament House in Canberra, the Australian capital provided no more than twenty tents were erected. So it was that on Australia Day, 26th January 1972, indigenous activists established an Aboriginal Tent Embassy to protest against the the Australian government’s refusal to recognize indigenous land rights. It is there to this day, drawing national attention to unresolved indigenous issues. Read about the Aboriginal Tent Embassy HERE 

The early light is breaking
The morning sun is waiting in the sky
And I think I’m gonna break away
And follow where the birds of freedom fly

Caravans, Mike Batt

Aboriginal Tent Embassy 26th January 1972

The big backyard

As a nipper in Birmingham back in the late fifties, we had a very large backyard, with a lawn, apple and pear trees and a huge veggie garden. And one of our pleasures during the few warm months of school summer holidays was to erect a tent on that lawn. My brothers and I would spend our days outdoors, with a picnic and an old wind-up phonogram record player, until ordered in at sundown. We’d always wanted to spend the night there but our folks wouldn’t let us. We never understand why – we were perfectly safe in our own garden, and in our suburban backyard, there were none of the wild things we encounter in the wild. Looking back, I surmised that it had a lot to do with social norms. The folks grew up in rural Ireland, and probably associated camping out with the peregrinating ‘travellers’ who were regarded very much as unsightly and shady – a prejudice that persevered into their new lives in Birmingham. Back then, we had other names for them, for which I’ve been called to order on many a Facebook post.

In those days, “the travellers” would camp with their caravans and lorries on the “waste land” (yes, that what we called it, for reasons that were never explained – there was a lot that was not explained back the but was just taken for granted) that used to be homes and factories before the Luftwaffe destroyed them over ten years before. They had Irish accents, and this created an affinity with these itinerant folk as our parents and relatives were Irish immigrants, and we lived in an Irish world of Irish history, politics and music – as a young teen, I loved Ewan MacColl’s beautiful song Freeborn Man of the Travelling People, and it was the very first folk song I ever sang in public – in a billet in Southall during an Easter CND march.

As teens, we joined the Boy Scouts – where camping was deemed not only acceptable when under the auspices of the institution, but also, character building, and a means to learning resilience, self-reliance, and of acquiring valuable Baden-Powell bushcraft skills. To my folks, this gave camping the tick of respectability. The annual summer camp became a permanent fixture of my early adolescence, with its cooking over fires, washing in cold country streams, and singing jolly scouting songs around a roaring fire of a summer evening (I still remember them, and snatches often pop into my memory unannounced). We’d see parts of our land that few of us had the means to travel to, and experience a rural England that city folk had long lost touch with. On overnight hikes we’d tote our backpacks along country lanes and byways, compass and ordinance survey map in hand, and set up a flimsy tent in an open field when the sun went down. The following hazy pictures were taken at a combined South Birmingham troop scout camp in Echternach, Luxembourg, on the German border. We were an eclectic crew – it even included a trio of Sea Scouts (incongruous as Birmingham was a long way from the sea). Of its time – nowadays, such a group shot would be so much more cosmopolitan. That’s me, arms folded.

Echternach Scout Camp, August 1963

Echternach Scout Camp, August 1963

As I grew to manhood – and outgrew scouting, I remained accustomed to sleeping out. At music festivals in rural England in the late sixties, it was a given that we would bed down on site come all weather – as the lovely pictures of the retro-medieval fayres provided by my good friend Charles Tyler show (Charles in the lad with the guitar in the featured photograph). I would often sleep on the side of the road when hitchhiking throughout the land. I’ve slept under the stars in England and Scotland, in Greece and Yugoslavia, Syria and Jordan, Iran and Afghanistan, Pakistan and India.

I’ve awoken covered in snow near the Culloden battlefield outside Inverness; been moved on by Yugoslav police when I’d mistakenly turned in for the night next to a military base outside Niš; settled down in a shabby park by the Sea of Galilee, wary of scorpions; slept on a precarious ledge high above the rose city of Petra in Jordan; bedded down in the desert on the border between Iran and Afghanistan; and battled mosquitoes on the banks of the Hawkesbury River. In latter years, on safari in Tanzania, we awoke in the night in our tent by the Rufiji river to see a big eye staring at us through the flimsy window as an old tusker proceeded to do his business right beside our tent; and sat around a fire of acacia sticks in a makeshift bush camp on the Serengeti savanna.

Just the other day, I was browsing through my travel diary for 26th August 1971 and came upon the description of my nighttime arrival in the outskirts of Amman, Jordan, on my way to Petra and Aqaba – a night I had long forgotten: “In my lostness, I came upon a policeman. And soon, three traffic cops were crashing the ash and buying me tea and bread. At last, they took me to a park, where King Hussein had a palace,  and bade me sleep – under their protection. Come morning, I was gently awoken by the coppers who bought me breakfast and commandeered a taxi to take me into the town centre (where) again, police assisted me by asking a taxi driver to take me to the Aqaba road”. We took risks, we travellers of “the Overland” back in the day, and many times we were blessed with the charity and caring of our fellow humans.

My hitching days are now long gone, and so is the urge to set up camp in the great outdoors – apart from that African journey, when there was little alternative. And yet, I still love the great outdoors and being close to nature. Living off-grid on a rural property far from the madding crowd and surrounded by forest, with birdsong by day and frog song by night, I reckon I have have the best of both worlds.

© Paul Hemphill 2023 All rights reserved

Read also in In That Howling Infinite, Song of the Road (1) – my hitchhiking days, and Song of the Road (2) – The Accidental Traveller

Barsham Faire 1973

Meagan Fair, Pembrokeshire, 1975

The Confounding Politics of Camping in America

For centuries, sleeping outside has been embraced or condemned, depending on who’s doing it. A recent book by the historian Phoebe S. K. Young explores what, exactly, camping is, and how the pursuit intersects with protest culture, homelessness, and identity.
Illustration by Sally Deng 

Just a drop would do, though. Early campers didn’t wish to be mistaken for actual vagabonds, and the line between the two was easily smudged. In 1884, Samuel June Barrows, an outdoors enthusiast and, later, a one-term congressman, warned that a traveller carrying a “motley array of bedding, boxes, bags, and bundles” might arouse “suspicions of vagrancy”; to distinguish oneself from the riffraff, it was best to pack a “de luxe” tent and fashionable attire. Barrows’s anxiety underscored the contradictions of recreational camping, which he described as “a luxurious state of privation.” One of its luxuries was that it was temporary. In the name of leisure, well-heeled campers sought out the same conditions that, in other contexts, they condemned as uncivilized, unsanitary, or criminal.

In “Camping Grounds: Public Nature in American Life from the Civil War to the Occupy Movement” (Oxford University Press), the historian Phoebe S. K. Young finds that Americans have long struggled to decide what camping is, and who is allowed to do it. Over the decades, the act of sleeping outside has served wildly varying ends: as a return to agrarian ideals, a means of survival, a rite of passage for the nuclear family, a route to self-improvement, and a form of First Amendment expression. In Young’s account, it becomes a proxy for disputes about race, class, and rootlessness—all the schisms in the American experiment.

As Barrows slept beneath the stars, countless workers were forced to do the same. In the eighteen-seventies, a boom-and-bust economy and a burgeoning network of railroads compelled laborers to crisscross the nation, following the cycles of the market. The “tramp problem” vexed those of means. Allan Pinkerton, the founder of the ruthless, union-busting Pinkerton National Detective Agency, blamed the Civil War for giving men a taste of “the lazy habits of camp-life.” In 1878’s “Strikers, Communists, Tramps and Detectives,” Pinkerton detailed the “grotesque company” tramps kept by moonlight, writing that debauchees would doze “in a stupid sodden way that told of brutish instincts and experiences.” Scarier than the encampments was the fear that some Americans might find them appealing, retreating from society to enjoy “the genuine pleasure of the road.”

The travel industry soon recognized those pleasures by making tramping an aesthetic, something that campers could slip into and shuck off as they pleased. A writer for Outing, a magazine aimed at moneyed outdoorsmen, preferred to “rough it in the most approved ‘tramp’ style—to abjure boiled shirts and feather beds and dainty food, and even good grammar.” As Young points out, the quotation marks around “tramp” raised a barricade between the imitation and the original. Real tramps led a precarious existence, subject to arrest, surveillance, poverty, and ostracism. When élite campers wore their costume, they shrugged at a world in which, as Pinkerton wrote, “a man may be eminent to-day and tomorrow a tramp.”

The double standard was especially glaring in Native communities. White Americans, including Barrows, saw tribal settlements as the epitome of savagery. The U.S. Office of Indian Affairs hoped that Native populations would disavow their “barbarous life” and take up “a distaste for the camp-fire.” Such goals were presented as matters of public health, but the message diverged sharply depending on the audience. Although Native groups “learned that the only way to prevent consumption was to give up camp life,” Young writes, “recreational campers read that exposure to fresh air and sunlight” could cure the illness. The government forced Native children to attend boarding school and subjected adults to dehumanizing reëducation projects. Meanwhile, Outing, as it had with tramps, presented Indianness as an identity to be adopted and discarded on a camper’s whim. One contributor confessed that summer gave him “an irresistible desire” to “live the life of a savage in all of its most primitive simplicity.”

In the early twentieth century, the automobile allowed legions of new drivers to flock to the countryside. Camping shed some of its élitist pretensions, but its popularity exposed new rifts. Eager for traffic, many towns constructed no-frills auto camps at their outskirts, where entry was often free, at least until the camps attracted hordes of families and their Model Ts. These “tin-can” tourists, as Sunset magazine called them, ate canned food heated on the engine—or, more boldly, by a camp stove connected to the exhaust pipe. Camps couldn’t keep such people away; now that the backcountry, or even the frontcountry, was within reach, Americans intended to pitch their tents wherever they could. From 1910 to 1920, national parks and monuments saw a fivefold increase in visitors, reaching a million a year; by 1930, that figure had jumped to more than three million. The deluge was unmanageable. In addition to arresting vistas and pristine forests, campers expected generous amenities—firewood, electric lights, running water, garbage collection—and they were not in the habit of leaving nature as they found it. California’s redwoods, in particular, were so frequently, heedlessly beheld that their roots began to choke underfoot.

To save the trees, Emilio Meinecke, a plant pathologist for the U.S. Forest Service, conceived a template still in use today: a one-way loop road with short “garage-spurs,” each of which functioned as parking for a designated campsite. By presenting campers with private, manicured spaces, Meinecke hoped to spare the surrounding plant life, reminding visitors that they were “guests of the nation.” Intentionally or not, his campsites had the flavor of the suburbs—the land, once for farming, was now to be savored as a consumer, and every family had its plot. The New Deal funded the “Meineckizing” of almost ninety thousand acres of federal campgrounds, about half of which were new, signalling the rise of what Young calls “the campers’ republic.” “Mixing leisure with nature,” she writes, “became a potent way for citizens to demonstrate national belonging.”

But all was not well in the republic. The Great Depression had pushed record numbers of Americans into homelessness: by one estimate, during one day in the spring of 1933, a million and a half people were sleeping outside or in public shelters, and the actual number was likely higher. Because camping was so popular, budget-minded vacationers were sometimes cheek by jowl with the down-and-out. Who could say which was which? Manufacturers of camping trailers went out of their way to disclaim the use of their products as “a permanent address.” Others argued that campgrounds were too affordable or unsupervised. In 1940, J. Edgar Hoover, never one for understatement, alleged that roadside tourist camps had become “dens of vice and corruption” for “gangs of desperados.” Even Meinecke, for all his talk of hospitality, did not look kindly on extended stays at national parks. In an internal report, he complained that some visitors, “evidently camped for a long time,” had given one of his campsites a “ ‘used,’ second-hand look,” spoiling it for “decent people who are not slum-minded.”

If the U.S. has dithered about the basics of camping—who can do it, where, and for how long—it’s been outright bewildered by camping as political speech. Could anyone have a message so urgent that it can be delivered only by sleeping outdoors? The answer is yes, as thousands of protesters have made clear, but the government has seldom taken them at their word, instead casting them as devious freeloaders or closet indigents. Occupy Wall Street, which famously enjoined its participants to bring tents, honed an approach popularized after the Civil War, when the Grand Army of the Republic, a Union veterans’ group, camped near the Washington Monument to raise awareness of their sacrifices. In 1932, the Bonus Army—thousands of out-of-work veterans seeking their service bonuses—followed suit, encamping in plain view of the Capitol. For weeks, the public debated whether the soldiers were heroes or hobos. President Herbert Hoover, deciding on the latter, ordered the clearing of the camps, resulting in a fiery conflict that claimed at least one life.

But a tent makes a forceful statement: someone is here, and that someone intends to stay. When Martin Luther King, Jr., and the Southern Christian Leadership Conference wanted to show Washington the true toll of poverty, they decided that camping was the only suitable action. The Poor People’s Campaign brought more than two thousand people to the Lincoln Memorial Reflecting Pool in May, 1968, a month after King’s assassination. Known as Resurrection City, the encampment lasted for six weeks, drawing support and ire. A concerned citizen wrote to President Lyndon B. Johnson that “a hoard [sic] of locusts” was abusing “hallowed ground.” Calvin Trillin, writing for this magazine, noted the irony: the poor had intended to show America that they were “sick, dirty, disorganized, and powerless—and they are criticized daily for being sick, dirty, disorganized, and powerless.” By June 24th, the camp had dwindled to five hundred, and police fired tear gas to expel those remaining. A demonstration about homelessness, it seemed, was no different than homelessness itself.

Just three years later, Vietnam Veterans Against the War began planning to camp near the Capitol, and the Nixon Administration, fearing a repeat of Resurrection City, refused to give them a permit. The V.V.A.W. requested a stay on the ban, and the case went to court. Determining the legality of protest encampments, Young writes, “required finding an elusive balance between Constitutional freedoms and public safety.” The N.P.S. would allow only a “simulated” camp on federal grounds: no fires, no tents. John Kerry, who argued for the V.V.A.W., maintained that a real campsite was the only way to “tell our story to the people of this country.” The judge hearing the case, meanwhile, felt that to camp was essentially to sleep and was an act that couldn’t “express a single idea”—and that couldn’t claim First Amendment protection. He upheld the camping ban; the Court of Appeals reversed it; the Supreme Court reinstated it. The V.V.A.W. decided to camp anyway, and, not wanting a public-relations disaster, Nixon let them be. The Washington Post quoted a Park Police officer who, looking over a National Mall clotted with sleeping bags, waxed philosophical: “What’s the definition of camping? You tell me. I don’t know.”

The ensuing decades did little to answer that question. By 2012, Congress was holding hearings on the subject, in which Trey Gowdy, a House member from South Carolina, grilled Jonathan Jarvis, the director of the N.P.S at the time. “What is the definition of camping?” Gowdy demanded. Occupy D.C. had been staying in McPherson Square, in downtown Washington, for months, and Jarvis had been reluctant to say that the protesters were camping—their actions were a means to an end, not the end itself, which was reason enough to avoid enforcing the N.P.S. ban. Gowdy seemed to understand the Occupiers as recreational campers in disguise; their politics were a cover story for a good time, and taxpayers were footing the bill. But the Occupiers emphasized that they weren’t camping at all. (“WE ARE NOT CAMPING,” signs on their tents read.) Campers slept outside for the joy of it; Occupiers wanted “a redress of grievances.” Gowdy couldn’t compute how people camping “for fun” were permitted only in certain areas, while those “pitching a camp in protest of fun” were welcomed by the National Park Service. Without a clear distinction between camping and not-camping—the distinction that generations of Americans had tried and failed to make—he felt that “the fabric of this republic” was “going to unravel.”

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