The big books. The ambitious books, the life-changing books, the long books, the time-consuming books, the dense books. Not the “classics” because classics aren’t necessarily big and big isn’t necessarily classic (whatever that means, anyway) but the important books our culture used to produce but, today, we rarely see on bookshelves, where have they gone?
My mother used to tell me I was reading almost as soon as I could walk, and I was enrolled in libraries at an early age. In my lifetime, I’ve probably gone through tens of thousands of books of all sizes and genres. Now in my twilight years, though I still I love reading books, I would no longer regard reading as a hobby like I would be in the past, and I do not consume as many books as I did in earlier days. I often feel that I have lost the appetite for “big books” – big in the dimension and the number of pages, but not in the sense of scope and content and the literary reputation of the author. Back in day, I would tackle both the size and the sensibility of books with alacrity and and excitement, eager as I was then for knowledge and insight – those lengthy, complicated, and yes, ambitious, life-changing and time-consuming books that novelist Steve Orr name-checks in the opinion piece republished below.
As for those “big books”, I started early. Grammar School curricula mandated “set books” from the “canon” of English literature. William Shakespeare and Charles Dickens, of course, and also, among others, Christopher Marlowe, Geoffrey Chaucer, Oscar Wilde, GB Shaw, and John Steinbeck. Although we deep-dived into specific books, we were encouraged to read their other works, and more besides. So, I came to know The Iliad, The Odyssey and The Aenead, and also the French ‘greats’ Alexander Dumas and Victor Hugo. I can’t recall how I came to discover Mikhail Sholokov’s dramatic tales of the Don Cossacks, but they gave me a fascination with Russian history that has endured to this day, and introduced me to the Russian Revolution and Civil War – and socialism (see The Russian Tradition – Russia, Ukraine and Tibor Szamuely and other pieces).
During my university years, few non-fiction works of note come to mind though I’m sure I’d have read a few – including all three books of Tolkien’s trilogy which I binged on over one cold and rainy English weekend in Reading. Three years later, whilst traveling the celebrated Hippie Trail to India and back, I’d pick up random tomes in hotels and doss houses along the road. It was between Kashmir and Istanbul, I met James Joyce’s Leopold Bloom and Dostoevsky’s melancholy Prince Mishkin.
Moving to London in the early seventies, I spent hours traveling back and forth on the London Underground – always with a good book in hand. I went through phases. The Russian canon of Tolstoy, Dostoevsky, Pasternak, and Solzhenitsyn, all angst and agony, suited me well in my restless years. When my mood changed from melancholy to mellow, from the blues to the bucolic, I worked through all of Thomas Hardy’s tales of rural England, and discovered that Rudyard Kipling was much, much more than Mowgli. I encountered Milton’s fallen angel ( see Lucifer Descending … encounters with the morning star) whilst Don Quixote and Captain Ahab gave me a good literary workout. The name of this blog is taken from Moby-Dick. Meanwhile, the current best-seller lists provided many worthy reads.
Through the eighties and nineties, I would have several books on the go and would plough through several works of fiction and non-fiction each month. With the onset of the internet and the social media age, my decades long passion for history and politics superseded my fondness for a good book or two as I dedicated more of my leisure hours to news media and on-line feeds. The acquisition of an iPad in 2011 accelerated the demise of the actual printed word. I have never, however, read an e-book, and probably never will, and I buy books still, including several I would argue fitted Orr’s criteria of “big” – particularly CE Morgan’s “great American novel” The Sport of Kings and Hilary Mantel’s Wolf Hall trilogy. But since retiring to the bush, my reading capacity is down to a book every one or two months, depending in on its size.
Orr’s piece reminded me of my once prevailing but receding passion for the tangible printed word, providing not so much an obituary to the “big books” but a wake-up call.
“Maybe it’s time to commit”, he writes, “Maybe it’s time to (re-)rewire our brains to work in years, months, instead of fractions of seconds. Maybe it’s time to stop saying, “I’ll wait for the movie”. Maybe it’s time to admit we all have a little of Ahab’s obsession, Humbert’s lustings – maybe there’s a bit of Christian Stead’s controlling Sam Pollit in all us’.
“In short’, he concludes, “maybe we are the book and the book is us. Let’s admit, as Stead did when writing The Man Who Loved Children, the best way to exorcise the past is to write (and read) about it. This, as it turns out, isn’t a desirable but a necessary thing. Shall we admit, in the end, the questions the big books pose no longer interest us because we no longer interest ourselves?”
Last year, I jettisoned half of a book collection I’d accumulated over sixty years, more went this year – books that had followed me as I moved from Birmingham to Reading to London in the sixties and seventies, migrated to Australia, and moved from house to house in Sydney and finally settled in the midst of a forest in northern New South Wales.
Out went books of all formats and genres. Mementos of former passions and fashions. Relics of past courses and careers. Old school textbooks, university texts, fiction, nonfiction, dictionaries, coffee table books. I’d worked for years in publishing, so the complimentary copies alone were colossal..
I’d already culled boxes of books a decade ago when we’d last moved house and home, and this time, I was determined to downsize further. My primary criteria was that if I hadn’t looked inside the covers of a book for twenty, thirty, fifty years, then I wasn’t likely to do so in the next five, ten, twenty years I have left on this planet.
Nevertheless, I kept back five full shelves Books of poetry, some of them a century old. All-time favourite novels, including the iconic Russians, Hardy, Herbert and Heinlein. Non-fiction histories I regard with particular nostalgia or think might be of use again one day. Books about music and musicians, particularly the Beatles and the Bobster. Recent purchases. And, books I consider “rare” – a subjective descriptor that I can only explain as old books which I picked up in secondhand bookshops when I lived in London in the sixties and seventies. Some, I reckon, are actually rare!
The big books. The ambitious books, the life-changing books, the long books, the time-consuming books, the dense books. Not the “classics” because classics aren’t necessarily big and big isn’t necessarily classic (whatever that means, anyway) but the important books our culture used to produce but, today, we rarely see on bookshelves, where have they gone?
Why aren’t (many) people writing them? And more importantly, why aren’t people reading them?
This is a not a new concern. Charles Bukowski in 1990 asked: “… well, where are they?/ the Hemingways, the T.S. Eliots, the Pounds … dead, I know/ but where are the re-/ placements, where are the new/ others?’
Poet and writer Charles Bukowski.
What was a casual question back then seems to have a new urgency now.
There are lots of reasons, and I’d like to explore some of them here. I suspect technology, in its various forms, is taking over the jobs we used to trust our brains to do: critical thinking, imagination, reasoning and speech and (civilised) argument and social intercourse at a personal and public level. We say, “Oh, well, I’m too busy to tackle Anna Karenina,” then pick up our phone to check the latest tweet.
We don’t value time in the same way we used to – slow, precious, filled with good smells and sounds and ideas and meaningful things. We’re happy to waste time. Like, surely, we’ll get it back? We’re happy to fill the gap with more technology, updated phones and watches. And the result? We’ve become lazy, and lonely. We’ve privatised our inner spaces, sold off our opinions, let someone else make Pixar and Marvel dreams for us. And worse, for too many people now, everything’s about money. We’ve shat on our curiosity, given up on the daily awe that came from sensing our place in nature, the consolations and compromises that made civilisation possible, and pleasant. The result? Each new generation bleeding out its limited reserves of empathy, understanding and wisdom.
Readers seem hung up on plot. Easy plots. Familiar plots. Plots that come from and return to a screen. Problem being, the big books are about big characters: Miss Havisham, Elizabeth Hunter, Captain Ahab, Tom Joad. It takes time to build up a complex, flawed life on a page, each verb and adjective competing for the smallest breath and bit of meaning. Even when contemporary writers have a crack, readers falter, stray, give up. There’s something easier, more immediate to hand. Something involving the discovery of a body on a beach and working out how it go there. Harold Bloom: “I am not unique in my elegiac sadness at watching reading die, in the era that celebrates Stephen King and J.K. Rowling rather than Charles Dickens and Lewis Carroll.”
Ironically, it’s the loss of critics like Bloom that’s allowed the problem to fester. The loss of literary criticism generally, space in newspapers, reviews themselves (ironically, surviving in 50-word online grabs where they’re easily ignored).
Today, there are fewer places to publish extracts, to make meandering explorations that interrogate context, subtext, the way authors’ lives morph onto the page, how we needn’t make the mistakes of the past, how too many of our views are founded on faulty assumptions.
All of this might seem ho-hum: “It’s a shame but, you know, the world’s changing.”
If it wasn’t for what we risked losing. That is, the understanding of what it means to be a human on Earth, a human among millions who’ve lived and died with the same urges and joys and terrors and disappointments. How else to connect with the tribe of humanity that’s fallen through time’s long ruin? Bloom again: “We read deeply for various reasons, most of them familiar: that we cannot know enough people profoundly enough; that we need to know ourselves better.”
Keira Knightley in a scene from film Anna Karenina.
Or as Jonathan Franzen put it in How to Be Alone: “Readers and writers are united in their need for solitude … in their reach inward, via print, for a way out of loneliness.”
The very idea of reading deeply; of making connections in order to become better people (or at least remain sane, or maybe even happy). But now, visual seems to have won out over text; we have a poorer understanding of irony, sarcasm, the art of persuasion, voice, a well-turned sentence, the art of choosing the best word (even grammar, spelling); we can’t grasp complex sentences, let alone the formal language that glues so many big books together. In short, we’re out of practice. Kids grow up without books in the house, without reading role models (family, let alone politicians and public figures, having been replaced with sporty types). No one demands sustained reading and schools are too busy teaching “multi-modal” texts (more screens) while avoiding quality books lest they disadvantage non-readers. Meanwhile, the books that are read are short, plotish, weighed down with well-meaning but yawn-worthy attempts at solving the world’s problems. Despite schools’ mission to create readers, at the end of the day they leave more waiting for a bus that’ll never come. Apart from this, schools and universities are busy “de-colonising” bookshelves, removing Pip because (I suspect) the local gauleiter has never read Great Expectations. In short, there goes the Western canon. Anyway, chances are younger English teachers haven’t read much, or they’ve been co-opted from the geography department to make up the numbers.
And what about the writers? Bukowski: “I don’t ask for Dostoevsky, there’s no replacement for Feodor Mikhailovich. But these now, what are/ they: making their tiny splashes, what practiced ineptness, what boredom of language, what a/ crass bastardly trick against print against pages …”
The reasons are complex, but the outcomes clear: writers are no longer culturally important; big books are rarely produced by profit-driven publishers, therefore fewer are written, creating a self-fulfilling Coriolis effect of big books down little drains. But mostly, big books are hard to write. Think of Patrick White churning out an Eye of the Storm or Riders in the Chariot: a hundred thousand-plus handwritten words, typed up, corrected, typed again, “oxy-welded”, years and years of solid, thankless, grinding warfare with an Olivetti and the English language to produce a masterpiece that, even then, required a visionary publisher (Ben Huebsch) and well-read public to give it any chance at all.
And talking about the journey. Perhaps part of the problem is that we’ve lost interest in the journey on which writers can take us over our lives. From comics, to pre-franchised, pre-teen Tolkien, the discovery of Holden Caulfield, the oh-so-clever twenty-something Infinite Jest, then to something serious, Bolano, perhaps, and on and on it goes, the road less travelled that’s no longer travelled at all. And what have we lost? The unbroken chain of meaning from Homer to Dante, Chaucer to Shakespeare, to a 20th century profusion of styles that offered Joyce in the morning and Hesse in the afternoon.
For me, as a 12- or 13-year-old, it was Dickens. To think, someone had actually dreamed up Micawber and Betsey Trotwood! Without that narrative, that connection, how do we even know what we’re missing, or misunderstanding? Are we ready to give up the collective memory that, according to Italo Calvino, holds together “the imprint of the past and the plan for the future …”
Or is it simply that we no longer know how to be alone anymore? Bloom said it was all about finding a mind “more original than our own”. But now, we’re all creators, posting a hundred daily autobiographies on TikTok. Ironically, this seems to be leaving us more lonely than ever and, having withdrawn within ourselves, having discovered we’re bored with what’s being said and sung and tweeted, we can’t work out what’s next?
Maybe it’s time to commit. Maybe it’s time to (re-)rewire our brains to work in years, months, instead of fractions of seconds. Maybe it’s time to stop saying, “I’ll wait for the movie”. Maybe it’s time to admit we all have a little of Ahab’s obsession, Humbert’s lustings – maybe there’s a bit of Christian Stead’s controlling Sam Pollit in all us.
In short, maybe we are the book and the book is us. Let’s admit, as Stead did when writing The Man Who Loved Children, the best way to exorcise the past is to write (and read) about it. This, as it turns out, isn’t a desirable but a necessary thing. Shall we admit, in the end, the questions the big books pose no longer interest us because we no longer interest ourselves?
Stephen Orr is an award-winning novelist. He will be a guest at Adelaide Writers’ Week on Wednesday 5 March.
You won’t have to worry anymore When you hear the cry for home Van Morrison
Alec Derwent Hope (21 July 1907 – 13 July 2000) was an Australian poet and essayist known for his satirical slant, and also, a critic, teacher and academic: He ended his career as Professor of English at the Australian National University, Canberra. He was referred to in an American journal as “the 20th century’s greatest 18th-century poet”.
Man Friday, published in 1958, is actually set in those faraway days of Georgian England. It begins where English novelist and journalist Daniel Defoe leaves off his 1719 tale of the iconic castaway Robinson Crusoe. Readers will recall that Crusoe was shipwrecked and subsequently spent 28 years on a remote tropical desert island near the coasts of Venezuela and Trinidad, encountering cannibals, captives, and mutineers before being rescued. To refresh memories, there is a 200 word synopsis at the end of this post.
Hope takes up the story of Crusoe’s companion and servant Friday after he is brought by his “master” and sole companion to live in England. The completely alien culture that Friday, now a stranger in a strange land, encounters on this new “desert island” requires a huge and disturbing recalibration of his temporal, cultural and spiritual compass. He gradually arrives at an acceptance of the way of life that has been imposed upon him by circumstance.
His transformation and quiet resignation into an upper-class servant and his subsequent marriage and children take him farther and farther away from his memories and encase him within an artificial persona – until the day he accompanies Crusoe to an English sea port and hears the ocean’s beckoning roar for the first time in many years. The song of the ocean, the rush of memory, and Friday’s response to the call of the sea crystalizing in the poem’s ending.
It is a remarkably imaginative work juxtaposing Friday’s former life on an idyllic “island in the sun” (to quote the late Harry Belafonte’s lovely rhapsody’) to the stitched-up, hung-up, and in his perception, confined world of polite Georgian society. It is also captivating insofar it employs the sea as an extended metaphor (a device that I myself have used in poems and songs – see the Sound Cloud audio clips at the end of this post).
The sea runs like a leitmotif throughout the poem even when it is not mentioned explicitly. It has multiple associations: journeys by sea, separation and exile, isolation and loneliness, and the idea of home as an anchor, a goal, a safe haven, and as a longing. AD Hope further infuses it with the cultural differences and divisions, of social and spiritual barriers, of acclimatisation and assimilation of a kind. And in the end, an atavistic crying for home.
Saved, at long last through Him whose power to save Kept from the walking, as the watery grave, Crusoe returned to England and his kind, Proof that an unimaginative mind And sober industry and common sense May supplement the work of Providence. He, no less providential and no less Inscrutably resolved to save and bless, Eager to share his fortune with the weak And faithful servants whom he taught to speak, By all his years of exile undeterred, Took into exile Friday and the bird.
The bird no doubt was well enough content. She had her corn – what matter where she went? Except when once a week he walked to church, She had her master’s shoulder as a perch. She shared the notice of the crowds he drew Who praised her language and her plumage too, And like a rational female could be gay On admiration and three meals a day.
But Friday the Dark Caribbean Man, Picture of his situation if you can: The gentle savage, taught to speak and pray On England’s Desert Island cast away, No God like Crusoe is issuing from his cave Comes with his thunder-stick to slay and save; Instead from caves of stone, as thick as trees, More dreadful than ten thousand savages, In their strange clothes and monstrous mats of hair, The pale-eyed English swarm to joke and stare With endless questions round him crowd and press, Curious to see and touch his loneliness. Unlike his master Crusoe long before, Crawling half drowned upon the desolate shore, Mere ingenuity useless in his need, No wreck supplies him biscuits, nails and seed, No fort to builds, no call to bake, to brew, Make pots and pipkins, cobble coat and shoe, Gather his rice and milk his goats and rise Daily to some absorbing enterprise.
And yet no less than Crusoe so he must find Some shelter for the solitary mind; Some daily occupation to contrive To warm his wits and keep the heart alive; Protect among the cultured, if he can, The “noble savage” and the “natural man”. As Crusoe made his clothes, so he no less Must labour to invent his nakedness And, lest their alien customs without trace Absorb him, tell the legends of his race Each night aloud in the soft native tongue That filled his world when, bare and brown and young, His brown, bare mother held him to her breast, Then say his English prayers and sink to rest. And each day waking in his English sheets, Hearing the wagons in the cobble streets, The morning bells, the clatter and cries of trade, He must recall, within their palisade, The sleeping cabins in the tropic dawn, The wrapt leaf-breathing silence, and the yawn Of naked children as they wait and drowse, The women chattering around their fires, the prows Of wet canoes nosing the still lagoon; At each meal, handling alien fork and spoon, Remember the spice mess of yam and fish And the brown fingers meeting in the dish: Remember too those island feasts, the sweet Blood frenzy and the taste of human meat.
He piled memories against his need; In vain! for still he found the past recede Try as he would, recall, relieve rehearse, The cloudy images would still disperse., Till as in dreams, the island world hecknew Confounded the fantastic with the true While England, less unreal day by day, The cannibal Island ate his past away. But for the brooding eye, the swarthy skin, Witness to the Natural Man within, Year following year, by inches, as they ran Transformed the savage to an English man Brushed, barbered, hatted, trousered and baptised, He looked, if not completely civilised, What came increasingly to be the case: An upper servant, conscious of his place, Friendly but not familiar in address And prompt to please, without obsequiousness Adept to dress , to shave, to carve, to pour And skilled to open or refuse the door, To keep on terms with housekeeper and cook, But quell maids and footman with a look. And now his master, thoughtful for his need, Bought him a wife and gave him leave to breed. A fine mulatto, once a ladies maid, She thought herself superior to Trade And, reared on a Plantation, much too good for a low native Indian from the wood; Yet they contrived at last to rub along For he was strong and kind, and she was young And soon a father, then a family man Friday took root in England and began To be well thought of in the little town, And quoted in discussions at The Crown Whether the Funds would fall, the French would treat Or the new ministry could hold its seat For though he seldom spoke, the rumour ran The master had no secrets from his man And Crusoe’s ventures prospered so, in short, It was concluded he had friends at Court.
Yet, as the years of exile came and went, Though first he was he grew resigned and then content, Had you observed him close, you might surprise A stranger looking through the servant’s eyes. Some colouring of speech , some glint of pride, Not born of hope, for hope had long since had died, Not even desire, scarce memory at last Preserved that stubborn vestige of the past.
It happened once that man and master made A trip together on affairs of trade; A ship reported founding in the Down Brought them to visit several seaport towns. At one of these great Yarmouth or Kings Lynn, Their business done, they baited at an inn, And in the night were haunted by the roar Of a wild wind and tide against the shore. Crusoe soon slept again but Friday lay Awake and listening till the dawn of day. For the first time in all his exiled years The thunder of the ocean filled his ears; And that tremendous voice so long unheard Released and filled and drew him till he stirred And left the house and passed the town, to reach At last the dunes and rocks and open beach: Pale bare and gleaming in the break of day A sweep of new-washed sand around the bay, and spindrift arriving up the bluffs like smoke As the long combers reared their crests and broke. There, in the sand beside him, Friday saw A single naked footprint on the shore His heart stood still, for as he stared, he knew The foot made it never had worn shoe And, at glance, that no such walker could Have been a man of European blood. From such a footprint once he could describe If not the owner’s name, at least his tribe, And tell his purpose as men read a face And still his skill sufficed to know the race; For this for this was such a print as long ago He too had made and taught his eyes to know. There could be no mistake. A while he stood Staring at that great German Ocean’s flood; And suddenly he saw those shores again Where Orinoco flows into the main, And, stunned with an incredible surmise, Heard it his native tongue once more the cries Of spirits silent now for many a day; And all his years of exile fell away.
The sun was nearly to the height before Crusoe arrived hallowing at the shore, Followed the footprints to the beach and found The clothes and shoes and thought his servant drowned Much grieved he sought saw him up and down the bay But never guessed, when later in the day They found the body drifting in the foam, That Friday had been rescued and gone home.
Robinson Crusoe is an English adventure novel by Daniel Defoe (1660- 1731. an English novelist, journalist, merchant, pamphleteer and spy. First published on 25 April 1719, it is claimed to be second only to the Bible in its number of translations.
Written with a combination of epistolary, confessional, and didactic forms, the book follows the title character (born Robinson Kreutznaer) after he is cast away and spends 28 years on a remote tropical desert island near the coasts of Venezuela and Trinidad, encountering cannibals, captives, and mutineers before being rescued. The story has been thought to be based on the life of Alexander Selkirk, a Scottish castaway who lived for four years on a Pacific island called “Más a Tierra” (now part of Chile) which was renamed Robinson Crusoe Island in 1966. Pedro Serrano is another real-life castaway whose story might have inspired the novel.
The first edition credited the work’s protagonist Robinson Crusoe as its author, leading many readers to believe he was a real person and that the book was a non-fiction travelogue.Despite its simple narrative style, Robinson Crusoe was well received in the literary world and is often credited as marking the beginning of realistic fiction as a literary genre. Some allege it is a contender for the first English novel.
It tells the story of one Robinson Crusoe, a young and impulsive wanderer who, having his defied his parents, ran away to sea.
He was rescued by a Portuguese ship and started a new adventure. He landed in Brazil, and, after some time, he became the owner of a sugar plantation. Hoping to increase his wealth by buying slaves, he aligned himself with other planters and undertook a trip to Africa in order to bring back a shipload of slaves. After surviving a storm, Crusoe and the others were shipwrecked. He was thrown upon shore only to discover that he was the sole survivor of the wreck.
Crusoe made immediate plans for food, and then shelter, to protect himself from wild animals. He brought as many things as possible from the wrecked ship, things that would be useful later to him. In addition, he began to develop talents that he had never used in order to provide himself with necessities. Cut off from the company of men, he began to communicate with God, thus beginning the first part of his religious conversion. To keep his sanity and to entertain himself, he began a journal. In the journal, he recorded every task that he performed each day since he had been marooned.
As time passed, Crusoe became a skilled craftsman, able to construct many useful things, and thus furnished himself with diverse comforts. He also learned about farming, as a result of some seeds which he brought with him. An illness prompted some prophetic dreams, and Crusoe began to reappraise his duty to God. Crusoe explored his island and discovered another part of the island much richer and more fertile, and he built a summer home there.
One of the first tasks he undertook was to build himself a canoe in case an escape became possible, but the canoe was too heavy to get to the water. He then constructed a small boat and journeyed around the island. Crusoe reflected on his earlier, wicked life, disobeying his parents, and wondered if it might be related to his isolation on this island.
After spending about fifteen years on the island, Crusoe found a man’s naked footprint, and he was sorely beset by apprehensions, which kept him awake many nights. He considered many possibilities to account for the footprint and he began to take extra precautions against a possible intruder. Sometime later, Crusoe was horrified to find human bones scattered about the shore, evidently the remains of a savage feast. He was plagued again with new fears. He explored the nature of cannibalism and debated his right to interfere with the customs of another race.
Crusoe was cautious for several years, but encountered nothing more to alarm him. He found a cave, which he used as a storage room, and in December of the same year, he spied cannibals sitting around a campfire. He did not see them again for quite some time.
Later, Crusoe saw a ship in distress, but everyone was already drowned on the ship and Crusoe remained companionless. However, he was able to take many provisions from this newly wrecked ship. Sometime later, cannibals landed on the island and a victim escaped. Crusoe saved his life, named him Friday, and taught him English. Friday soon became Crusoe’s humble and devoted slave.
Crusoe and Friday made plans to leave the island and, accordingly, they built another boat. Crusoe also undertook Friday’s religious education, converting the savage into a Protestant. Their voyage was postponed due to the return of the savages. This time it was necessary to attack the cannibals in order to save two prisoners since one was a white man. The white man was a Spaniard and the other was Friday’s father. Later the four of them planned a voyage to the mainland to rescue sixteen compatriots of the Spaniard. First, however, they built up their food supply to assure enough food for the extra people. Crusoe and Friday agreed to wait on the island while the Spaniard and Friday’s father brought back the other men.
A week later, they spied a ship but they quickly learned that there had been a mutiny on board. By devious means, Crusoe and Friday rescued the captain and two other men, and after much scheming, regained control of the ship. The grateful captain gave Crusoe many gifts and took him and Friday back to England. Some of the rebel crewmen were left marooned on the island.
Crusoe returned to England and found that in his absence he had become a wealthy man. After going to Lisbon to handle some of his affairs, Crusoe began an overland journey back to England. Crusoe and his company encountered many hardships in crossing the mountains, but they finally arrived safely in England. Crusoe sold his plantation in Brazil for a good price, married, and had three children. Finally, however, he was persuaded to go on yet another voyage, and he visited his old island, where there were promises of new adventures to be found in a later account.
Flashing for the warriors whose strength is not to fight Flashing for the refugees on the unarmed road of flight An’ for each an’ ev’ry underdog soldier in the night An’ we gazed upon the chimes of freedom flashing
Bob Dylan, Chimes of Freedom
Hear the cry in the tropic night, should be the cry of love but it’s a cry of fright Some people never see the light till it shines through bullet holes
Bruce Cockburn, Tropic Moon
When Freedom Comesis a tribute to Robert Fisk (1946-2020), indomitable, veteran British journalist and longtime resident of Beirut, who could say without exaggeration “I walk among the conquered, I walk among the dead” in “the battlegrounds and graveyards” of “long forgotten armies and long forgotten wars”. It’s all there, in his grim tombstone of a book, The Great War forCivilization (a book I would highly recommend to anyone wanting to know more about the history of the Middle East in the twentieth century – but it takes stamina – at near in 1,300 pages – and a strong stomach – its stories are harrowing).
The theme, alas, is timeless, and the lyrics, applicable to any of what Rudyard called the “savage wars of peace” being waged all across our planet, yesterday, today and tomorrow – and indeed any life-or-death battle in the name of the illusive phantom of liberty and against those intent on either denying it to us or depriving us of it. “When freedom runs through dogs and guns, and broken glass” could describe Parisand Chicago in 1968orKristallnacht in 1938. If it is about any struggle in particular, it is about the Palestinians and their endless, a fruitless yearning for their lost land. Ironically, should this ever be realized, freedom is probably the last thing they will enjoy. They like others before them will be helpless in the face of vested interest, corruption, and brute force, at the mercy of the ‘powers that be’ and the dead hand of history.
The mercenaries and the robber bands, the warlords and the big men, az zu’ama’, are the ones who successfully “storm the palace, seize the crown”. To the victors go the spoils – the people are but pawns in their game.
In 2005, on the occasion of the publication of his book, Fisk addressed a packed auditorium in Sydney’s Macquarie University. Answering a question from the audience regarding the prospects for democracy in the Middle East, he replied:
“Freedom must crawl over broken glass”
Freedom Comes
… all wars come to an end. And that’s where history restarts. Robert Fisk
There goes the freedom fighter,
There blows the dragon’s breath.
There stands the sole survivor;
The time-worn shibboleth.
The zealots’ creed, the bold shahid,
Give me my daily bread
I walk amongst the conquered
I walk amongst the dead
Here comes the rocket launcher,
There runs the bullets path,
The revolution’s father,
The hero psychopath.
The wanting seed, the aching need
Fulfill the devil’s pact,
The incremental balancing
Between the thought and act.
The long-forgotten army
In the long-forgotten war.
Marching to a homeland.
We’ve never seen before.
We feel the wind that blows so cold amidst
The leaves of grass.
When freedom comes to beating drums
She crawls on broken glass
There rides the mercenary,
Here roams the robber band.
In flies the emissary
With claims upon our land.
The lesser breed with savage speed
Is slaughtered where he stands.
His elemental fantasy
Felled by a foreign hand.
The long-forgotten army
In the long-forgotten war.
Marching to a homeland.
We’ve never seen before.
We feel the wind that blows so cold amidst
The leaves of grass.
When freedom comes to beating drums
She crawls on broken glass.
Thy kingdom come, thy will be done
On heaven and on earth,
And each shall make his sacrifice,
And each shall know his worth.
In stockade and on barricade
The song will now be heard
The incandescent energy
Gives substance to the word.
Missionaries, soldiers,
Ambassadors ride through
The battlegrounds and graveyards
And the fields our fathers knew.
Through testament and sacrament,
The prophecy shall pass.
When freedom runs through clubs and guns,
She crawls on broken glass.
The long-forgotten army
In the long-forgotten war.
Marching to a homeland.
We’ve never seen before.
We feel the wind that blows so cold amidst
The leaves of grass.
When freedom comes to beating drums
She crawls on broken glass
When freedom comes to beating drums
She crawls on broken glass
Austrian Rainer Maria Rilke is one of my favourite poets. In 1969, a Christian friend gave me a Penguin Modern Poets edition of his poems. Here are three sublime spiritual pieces from this treasured book, beautifully translated by JB Leishman. No other translations are as lovely as his.
I would always recall these poems when visiting the Holy Land, and since my very first visit in 1971, I have associated them particularly with the Old City of Jerusalem. I took the photographs accompanying this piece in that exquisite place.
The Olive Garden
And still he climbed, and through the grey leaves thrust,
quite grey and lost in the grey olive lands,
and laid his burning forehead full of dust
deep in the dustiness of burning hands.
After all, this.
And this, this, then was the end
Now I’m to go, while I am going blind,
and, oh, why wilt Thou now have me still contend
Thou art, whom I myself no longer find.
No more I find thee. In myself no tone
of Thee; nor in the rest; nor in this stone.
I can find Thee no more. I am alone.
I am alone with all that human fate
I undertook through Thee to mitigate,
Thou who art not. Oh, shame too consummate…
An angel came, those afterwards relate.
Wherefore an angel? Oh, there came the night,
and turned the leaves trees indifferently,
and the disciples stirred uneasily.
Wherefore an angel? Oh, there came the night.
The night that came requires no specifying;
just so a hundred nights and nights go by,
while dogs are sleeping and while stones are lying –
just any melancholy night that, sighing,
lingers till morning mount the sky.
For Angels never never come to such men’s prayers
nor nights for them mix glory with their gloom,
Forsakenness is the self-loser’s doom
and such are absent from their fathers cares
and disincluded from their mothers womb.
The Spectator
I watched the storms in the tree above:
after days of mild decaying
my windows shrink from there assaying,
and the things I hear the distant saying,
without a friend I find dismaying,
without a sister I cannot love.
There goes the storm to urge and alter,
through forest trees and through time’s tree;
and nothing seems to age or falter:
the landscape like an open psalter,
speaks gravely of eternity.
How small the strife that’s occupied us,
how great is all that strives within us!
We might, if, like the things inside us,
we let the great storm over-ride us grow
spacious and anonymous.
We conquer littleness, obtaining
success that only makes a small,
while unconstrained and unconstraining,
The permanent alludes us all:
that angel who, through loath, yet lingers
to wrestle with mortality,
and, when opponents’ sinews settle
in strife and stretch themselves to metal,
can feel it move beneath his fingers
like strings in some deep melody.
The challenger who failed to stand
that trial so constantly rejected
goes forth upright and resurrected
and great from that hard, forming hand
that clasped about him and completed.
Conquests no longer fascinate.
His growth consists in being defeated
by something ever-grandlier great.
The Annunciation
(Words of the Angel)
You are not nearer God then we;
he’s far from everyone .
And yet, your hands most wonderfully
Reveal his benison.
From woman’s sleeve none ever grew
so ripe, so shimmeringly:
I am the day, I am the dew,
you, Lady, are the tree.
Pardon, now my long journey’s done,
I had forgot to say
what he who sat as in the sun,
grand in his gold array ,
told me to tell you, pensive one
(space has bewildered me)
I am the start of what’s begun,
you, Lady, are the tree.
I spread my wings and wide and rose,
the space around grew less;
your little house quite overflows
with my abundant dress.
But still you keep your solitude
And hardly notice me:
I’m but a breeze within the wood,
you, Lady, are the tree.
The angels tremble in their choir,
grow pale, and separate:
never were longing and desire
so vague and yet, so great.
Something perhaps is going to be
that you perceived in dream.
Hail to you! for my soul can see
that you are ripe and teem.
You lofty gate, that any day
may open for our good:
Your ear my longing songs assay
My word – I know now – lost its way
in you as in a wood.
And thus your last dream was designed
to be fulfilled by me.
God looked at me: he made me blind…
You, Lady, are the tree.
René Karl Wilhelm Johann Josef Maria Rilke (4 December 1875 – 29 December 1926), known as Rainer Maria Rilke, was an Austrian poet and novelist. Acclaimed as an idiosyncratic and expressive poet, he is widely recognized as a significant writer in the German language. His work is viewed by critics and scholars as possessing undertones of mysticism, exploring themes of subjective experience and disbelief.
الشاعر الألماني راينر ماريا ريلكه هو أحد المفضلين لدي .. هذان اثنان من أعماله الروحية السامية ، تمت ترجمتها بشكل جميل من قبل ج ب ليشمان في أول إصدار لي من سلسلة بنجوين الشعراء المعاصري. لا توجد ترجمات أخرى جميلة مثل ترجماته.
حديقة الزيتون
وما زال يتسلق ، ومن خلال الأوراق الرمادية ،
رمادية تمامًا وفقدت في أراضي الزيتون الرمادية ،
ووضع جبهته المشتعلة مملوءة بالتراب
في أعماق غبار الأيدي المحترقة.
بعد كل هذا.
وهذه كانت النهاية
الآن سأذهب ، بينما أنا أعمى ،
و ، أوه ، لماذا تريد الآن أن أجادلني
أنت الذي لم أعد أجده بنفسي.
لا أجدك بعد الآن. في نفسي لا لهجة
منك. ولا في البقية. ولا في هذا الحجر.
لا يمكنني العثور عليك أكثر. انا وحيد.
أنا وحدي مع كل هذا المصير البشري
لقد تعهدت من خلالك بالتخفيف ،
أنت الذي ليس كذلك. أوه ، العار بارع جدا …
جاء ملاك ، فيما بعد.
لماذا ملاك؟ أوه ، جاء الليل ،
وقلبت أوراق الأشجار بلا مبالاة ،
وكان التلاميذ يتقلبون بقلق.
لماذا ملاك؟ أوه ، جاء الليل.
الليلة التي جاءت لا تحتاج إلى تحديد ؛
فقط حتى تمر مائة ليلة وليلة ،
بينما الكلاب نائمة وحجارة الكذب –
فقط أي ليلة حزينة ، تنهد ،
باقية حتى الصباح جبل السماء.
لأن الملائكة لا يأتون أبدًا إلى صلاة مثل هؤلاء الرجال
ولا تخلط الليالي لهم المجد بكآبتهم ،
التهور هو عذاب الخاسر
ومثل هؤلاء غائبون عن اهتمامات آبائهم
واستثنوا من رحم أمهاتهم.
المشاهد
شاهدت العواصف في الشجرة أعلاه:
بعد أيام من التحلل الخفيف
تتقلص نوافذي من هناك ،
والأشياء التي أسمعها تقول من بعيد ،
بدون صديق أجده مخيفًا ،
بدون أخت لا أستطيع أن أحب.
هناك تذهب العاصفة للحث والتغيير ،
من خلال أشجار الغابات وعبر شجرة الزمن ؛
ولا شيء يبدو أنه يتقدم في العمر أو يتعثر:
المناظر الطبيعية مثل سفر المزامير المفتوح ،
يتحدث بجدية عن الخلود.
كم هو صغير الفتن الذي شغلنا ،
ما أعظم كل ما يجتهد فينا!
قد نحب الأشياء التي بداخلنا ،
تركنا العاصفة العظيمة تطوف بنا تنمو
فسيحة ومجهولة.
نحن نتغلب على الصغر ، ونكتسب
النجاح الذي يصنع فقط القليل ،
بينما غير مقيد وغير مقيد ،
الدائم يلمح لنا جميعًا:
ذلك الملاك الذي ، من خلال الكراهية ، باقٍ
تتصارع مع الموت ،
وعندما تستقر أعصاب الخصوم
في الفتنة وتمتد إلى المعدن ،
يمكن أن يشعر أنه يتحرك تحت أصابعه
مثل الأوتار في بعض اللحن العميق.
المتحدي الذي فشل في الوقوف
تلك المحاكمة حتى رفضت باستمرار
يذهب منتصبا ويقوم
وعظيم من تلك اليد الصلبة المشكّلة
التي تشبثت عنه وانتهت.
الفتوحات لم تعد ساحرة.
نموه يتمثل في الهزيمة
بشيء أعظم من أي وقت مضى.
البشارة
(كلمات الملاك)
لستم قريبين من الله منا نحن.
إنه بعيد عن الجميع.
ومع ذلك ، يديك بشكل رائع
تكشف له بنيسون.
من كم المرأة لم ينمو أي شيء
ناضجة جدًا ، ومتألقة جدًا:
انا اليوم انا الندى
أنتِ يا سيدتي الشجرة.
عفوا ، الآن انتهت رحلتي الطويلة ،
لقد نسيت أن أقول
ما هو الذي جلس في الشمس ،
كبير في مجموعته الذهبية ،
أخبرني أن أخبرك ، متأملًا
(الفضاء حيرني)
أنا بداية ما بدأ ،
أنتِ يا سيدتي الشجرة.
بددت أجنحتي واسعة وردية ،
نمت المساحة المحيطة أقل ؛
بيتك الصغير يفيض تمامًا
مع ثوبي الوفير.
لكن ما زلت تحافظ على وحدتك
وبالكاد تلاحظني:
أنا مجرد نسيم داخل الغابة ،
أنتِ يا سيدتي الشجرة.
ترتجف الملائكة في كورالهم ،
تصبح شاحبة ومنفصلة:
لم يكن هناك شوق ورغبة
غامضة جدًا لكنها رائعة جدًا.
ربما شيء ما سيكون
التي تراها في الحلم.
تحية لك! لروحي تستطيع أن ترى
أنك ناضج ومزدحم.
أنت بوابة عالية ، في أي يوم
قد تفتح لمصلحتنا:
أذنك مقايسة أغاني الحنين
كلمتي – أعرف الآن – ضلت طريقها
فيك كما في الخشب.
وهكذا تم تصميم حلمك الأخير
ليحققها لي.
نظر إليّ الله: جعلني أعمى …
أنتِ يا سيدة الشجرة.
As evening fell the day’s oppression lifted Far peaks came into focus, it had rained. Across wide lawns and cultured flowers drifted The conversation of the highly trained. Two gardeners watched them pass and priced their shoes A chauffeur waited, reading in the drive For them to finish their exchange of views. It seemed a picture of the private life. Far off, no matter what good they intended The armies waited for a verbal error With all the instruments for causing pain And on the issue of their charm depended A land laid waste, its towns in terror And all its young men slain. Embassy, WH Auden, from Journey to a War
In 1938, English writers WH Auden and Christopher Isherwoodwere commissioned by their publishers to write a travel book about the East. Auden was already established as one of Britain’s foremost poets whilst his friend and onetime lover Isherwood was acclaimed as an author and dramatist. His Berlin Stories, two novels set in the last days of the Weimar Republic and today acclaimed as classics of modern fiction; the semi autobiographical Goodbye to Berlin (1939) inspired the remarkable musical Cabaret (1966).
By adventurous choice they went to China for six months, their journey coinciding with Imperial Japan’s brutal invasion. American poet and educator Mildred Boie, reviewing the book for Atlantic in November 1939, takes up the story:
“With the good fortune of famous and attractive young men they were helped and shown about by everybody from coolies to ambassadors, journalists to generals. They behaved, as they observed and wrote (to judge from the diary), with the engaging frankness and immaturity of English schoolboys, with the ingenious confidence and casual incompleteness of amateurs. But these qualities are inadequate for reporting war, for evaluating life and death in so desperate and disastrously complicated a country as China. The authors were not only amateurs as foreign correspondents, they were also dilettantes: they played at getting to the front, at taking notes on slums, at dashing from formal garden parties to meetings with intellectuals and busy military and diplomatic leaders. They suffered almost as much, certainly as consciously, from blisters, constipation, boredom, sleeplessness, and hangovers as from the shape of poverty, the taste of fear, the sight and smell of death. They were always safe, always outside.” Collectively, perhaps, we most resemble a group of characters in one of Jules Verne’s stories about lunatic English explorers.
War is bombing an already disused arsenal, missing it and killing a few old women. War is lying in a stable with a gangrenous leg. War is drinking hot water in a barn and worrying about one’s wife. War is a handful of lost and terrified men in the mountains, shooting at something moving in the undergrowth. War is waiting for days with nothing to do; shouting down a dead telephone; going without sleep, or sex, or a wash. War is untidy, inefficient, obscure, and largely a matter of chance.
On their safe return, the pair put together Journey to a War, travel book in prose and verse that was published in 1939. The book is in three parts: a series of poems by Auden describing his and Isherwood’s journey to China in 1938; a “Travel-Diary” by Isherwood (including material first drafted by Auden) about their travels in China itself, and their observations of the Sino-Japanese War; and “In Time of War: A Sonnet Sequence with a Verse Commentary” by Auden, with reflections on the contemporary world and their experiences in China. The book also contains a selection of photographs by Auden.
I am never much good at defending the British Empire, even when drunk Christopher Isherwood
I republish below an excellent article in the blog Books and Boots – Reflections on Books and Art. It provides a more detailed background to the genesis of the book, setting the geopolitical scene, describing Auden’s anticlimactic and, it would seem, personally disappointing visit to Spain during its civil war, and the poetry within.
When we awoke early next morning the train was crossing a wide valley of paddy fields. The rising sun struck its beams across the surfaces of innumerable miniature lakes; in the middle distance farmhouses seemed actually to be floating on water. Here and there a low mound rose a few feet above the level of the plain, with a weed-grown, ruinous pagoda, standing upon it, visible for miles around. Peasants with water-buffaloes were industriously ploughing their arable liquid into a thick, brown soup. (Journey To A War, p.191)
Collectively, perhaps, we most resemble a group of characters in one of Jules Verne’s stories about lunatic English explorers. (p.104)
The Sino-Japanese War
In July 1937 – exactly a year after the start of the Spanish Civil War – Japan attacked China. It was hardly a surprise. In 1931 the so-called ‘Mukden Incident’ had helped spark the Japanese invasion of Manchuria (the large area to the north east of China, just above Beijing). The Chinese were defeated and Japan created a new puppet state, Manchukuo (setting up the last Qing emperor as its puppet ruler) through which to rule Manchuria.
Going further back, in 1894–1895 China, then still under the rule of the Qing dynasty, was defeated by Japan in what came to be called the First Sino-Japanese War. China had been forced to cede Taiwan to Japan and to recognise the independence of Korea which had, in classical times, been under Chinese domination.
In other words, for 40 years the rising power of militaristic, modernising Japan had been slowly nibbling away at rotten China, seizing Taiwan, Korea and Manchuria. Now the military junta in Tokyo decided the time was right to take another bite, engineered an ‘incident’ at the Marco Polo bridge on the trade route to Beijing, and used this as a pretext to attack Beijing in the north and Shanghai in the south.
Thus there was quite a lot of military and political history to get to grips with in order to understand the situation in China, but what made it even more confusing was the fact that China itself was a divided nation. First, the nominal government – the Chinese Nationalist Party or Kuomintang under its leader Chiang Kai-shek – had only with difficulty put down or paid off the powerful warlords who for decades had ruled local regions of China after the collapse of the Qing Dynasty in 1911.
But second, Chiang faced stiff competition from the Chinese Communist Party. The two parties had lived in uneasy alliance until Chiang staged a massacre of communists in Shanghai in 1927 which brought the tension between Chinese nationalists and communists into the open.
It was the three-way destabilisation of China during this period – warlords v. Nationalists v. Communists – which had helped Japan invade and take over Manchuria. Prompted by the 1937 Japanese attack the Nationalists and Communists formed an uneasy alliance.
Auden in Spain
Meanwhile, back in Europe, the great political issue of the age was the Spanish Civil War which began when General Franco led a military uprising against the democratically elected government in July 1936. Like many high-minded, middle class liberals, Auden and Isherwood both felt the time had come to put their money where their mouths were. Auden did actually travel to Spain in January 1937 and was there till March, apparently trying to volunteer to drive an ambulance in the medical service. Instead, red tape and the communists who were increasingly running the Republican forces apparently blocked him from getting a useful job. He tried to help out at the radio station but discovered its broadcasts were weak and there were no vacancies.
Frustrated and embarrassed, Auden was back in England by mid-March 1937. The long-term impact of the trip was his own surprise at how much it upset him to see the churches of Barcelona which had all been torched and gutted by a furious radical populace as symbols of oppression. Auden was shocked, and then shocked at his reaction. Wasn’t he meant to be a socialist, a communist even, like lots of other writers of his generation? The Spain trip was the start of the slow process of realisation which was to lead him back to overt Christian faith in the 1940s.
Also Auden saw at first hand the infighting on the Republican side between the communist party slavishly obeying Stalin’s orders, and the more radical Trotskyite and Anarchist parties who, later in 1937, it would crush. Later he paid credit to George Orwell’s book Homage To Catalonia for explaining the complex political manoeuvring far better than he could have. But watching the Republicans fight among themselves made him realise it was far from being a simple case of black and white, of Democracy against Fascism.
So by March 1938 Auden had returned to Britain, where he was uncharacteristically silent about his experiences, and got on with writing, editing new works for publication (not least an edition of his play The Ascent of F6 and Letters From Iceland).
Meanwhile, Christopher Isherwood was living in Paris managing his on-again, off-again relationship with his German boyfriend Heinz. And although he had accommodated Auden on an overnight stop in the French capital and waved him off on the train south to Spain, Isherwood hadn’t lifted a finger for the Great Cause.
Then, in June 1937, Auden’s American publisher, Bennet Cerf of Random House, had suggested that after the reasonable sales of his travel book about Iceland, maybe Auden would be interested in writing another travel book, this time travelling to the East. Isherwood was a good suggestion as collaborator because they had just worked closely on the stage play, The Ascent of F6 and had begun work on a successor, which was to end up becoming the pay On The Frontier. The pair were considering the travel idea when the Japanese attacked China, quickly took Beijing and besieged Shanghai.
At once they seized on this as the subject of the journey and the book. Neither had really engaged with the war in Spain; travelling east would be a way to make amends and to report on what many people considered to be the Eastern Front of what was developing into a worldwide war between Fascism (in this case Japan) and Democracy (in this case the Chinese Nationalists).
China also had the attraction that, unlike Spain, it wouldn’t be stuffed full of eminent literary figures falling over themselves to write poems and plays and novels and speeches. Spain had been a very competitive environment for a writer. Far fewer people knew or cared about China: it would be their own little war.
And so Auden and Isherwood left England in January 1938, boat from Dover then training it across France, then taking a boat from Marseilles to Hong Kong, via Egypt, Colombo and Singapore.
Journey to a War
Journey To A War is not as good as Letter From Iceland, it’s less high spirited and funny. There isn’t a big linking poem like Letter To Lord Byron to pull it together, and there isn’t the variety of all the different prose and verse forms Auden and MacNeice cooked up for the earlier book.
Instead it overwhelmingly consists of Isherwood’s very long prose diary of what happened to them and what they saw in their three months journey around unoccupied China.
The book opens with a series of sonnets and this was the form Auden chose to give the book poetic unity – sonnets, after all, lend themselves to sequences which develop themes and ideas, notably the Sonnets of Shakespeare, or his contemporaries Spencer and Sidney. There’s a collection of half a dozen of them right at the start, which give quick impressions of places they visited en route to China (Macau, Hong Kong). Then, 250 pages of Isherwood prose later, there’s the sonnet sequence titled In Time of War.
But instead of the bright and extrovert tone of Letters From Iceland, Auden’s sonnets are often obscure. They are clearly addressing some kind of important issues but it’s not always clear what. This is because they are very personal and inward-looking. Auden is clearly wrestling with his sense of liberal guilt. The results are rather gloomy. Spain had disillusioned him immensely. He went to Spain thinking the forces of Evil were objective and external. But his first-hand experience of the internecine bickering on the Republican side quickly showed him there is no Good Side, there are no Heroes. History is made by all of us and so – all of us are to blame for what happens. Travel as far as you want, you’re only running away from the truth. If we want to cure the world, it is we ourselves that we need to cure first.
Where does this journey look which the watcher upon the quay, Standing under his evil star, so bitterly envies, As the mountains swim away with slow calm strokes And the gulls abandon their vow? Does it promise a juster life?
Alone with his heart at last, does the fortunate traveler find In the vague touch of a breeze, the fickle flash of a wave, Proofs that somewhere exists, really, the Good Place, Convincing as those that children find in stones and holes?
No, he discovers nothing: he does not want to arrive. His journey is false, his unreal excitement really an illness On a false island where the heart cannot act and will not suffer: He condones his fever; he is weaker than he thought; his weakness is real…
(from The Voyage by W.H. Auden)
‘An illness on a false island’ which is clearly England, a place ‘where the heart cannot act’. The traveller is trying to escape himself but cannot and glumly realises ‘he is weaker than he thought’. Or the thumping final couplet of the sonnet about Hong Kong:
We cannot postulate a General Will; For what we are, we have ourselves to blame.
Isherwood’s diary
Luckily, the prose sections of the book are written by Isherwood and these are much more fun. He keeps up the giggling schoolboy persona of the novel he’d recently published, Mr Norris Changes Trains (1935), he notes the way the Chinese pronounce their names Au Dung and Y Hsaio Wu, he sounds wide-eyed and optimistic. He hadn’t seen what Auden had seen in Spain, wasn’t struggling with the same doubts.
On February 28 1938 they leave Hong Kong by steamer for Canton and Isherwood finds everyone and everything hilarious. Look a Japanese gunboat! Listen, the sound of bombs falling! He has same facility for the disarmingly blunt image which he deploys in the Berlin stories. The mayor of Canton (Mr Tsang Yan-fu) is always beaming, has a face like a melon with a slice cut out of it. After dinner the Chinese general entertains them by singing Chinese opera, showing how different characters are given different tones and registers (‘the romantic hero emits a sound like a midnight cat’).
He refers to the whole trip as a dream and as a landscape from Alice in Wonderland – they expected Chinese people to behave as in a Gilbert & Sullivan opera and had rehearsed elaborate compliments, and are disarmed when they’re much more down to earth. The train journey on through Hunan province is boring, the tea tastes of fish, they amuse themselves by reading out an Anthony Trollope novel or singing in mock operatic voices.
But this sense of unreality which dogs them is simply because both of them didn’t have a clue what was going on, what was at stake, the military situation, had never seen fighting or battle and weren’t proper journalists. They were privileged dilettantes, ‘mere trippers’, as Isherwood shamefacedly explains when they meet real war correspondents at a press conference (p.53).
In Hankow the Consul gives them Chiang, a middle-aged man with the manners of a perfect butler to be their guide. They attend the official war briefings alongside American and Australian journalists, they meet Mr Donald, Chiang Kai-shek’s military adviser, the German adviser General von Falkenhausen, Agnes Smedley, Madame Chiang Kai-shek herself, and with delight are reunited with Robert Capa, the soon-to-be legendary American war photographer who’d they’d met on the boat out. They attend traditional Chinese opera, which Isherwood observes with the eye of a professional playwright.
They catch the train to Cheng-chow which has been repeatedly bombed by the Japanese, capably looked after by their ‘boy’, Chiang. They are heading north on the train when they learn that Kwei-teh has fallen, nonetheless they decide to press on to Kai-feng. With them is an exuberant and seasoned American doctor, McClure, who takes them to watch some operations. They walk round the stinking foetid town. They go to the public baths which stink of urine. Then they catch a train to Sü-chow. And then onto Li Kwo Yi where they argue with Chinese commanding officers (General Chang Tschen) to allow them to go right up to the front line, a town divided by the Great Canal.
If you’ve no idea where any of these places are, join the club. I was reading an old edition but, even so, it had no map at all of any part of the journey. Which is ludicrous. The only map anywhere appears to have been on the front cover of the hardback edition, replaced (uselessly) by an anti-war cartoon on the paperback editions, and even this doesn’t show their actual route.
With no indication where any of these places are, unless you are prepared to read it with an atlas open at your side, Isherwood’s long prose text becomes a stream of clever observations largely divorced from their context. Even an atlas is not that useful given that Isherwood uses the old form of the placenames, all of which, along with most people’s names, have changed. Thus Sian, capital of Shen-si province, is now Xian, capital of Shaanxi Province, Sü-chow is now Suzhou, and so on.
We are intended to enjoy the surreal aspects of travelling in a deeply foreign land – the village restaurant which was papered entirely with pages of American tabloid magazines, and so covered with photos of gangsters and revelations about fashionable divorcees (p.126); or the expensive hotel in Sian whose menu included ‘Hat cake’ and ‘FF potatoes’ (p.141). Beheading is a common punishment because the Chinese believe a body needs to be complete to enter the afterlife. They meet lots of tough and brave American missionaries, mostly from the American south.
Finally, back in Hankow (Hankou) they become part of polite society again, are invited to a party of Chinese intellectuals, a party given by the British admiral and consul, where they meet the legendary travel writer Peter Fleming and his actress wife Celia Johnson, the British ambassador Archibald Kerr, the American communist-supporting journalist, Agnes Smedley (p.156). Fleming pops up a lot later at their hotel in Tunki, and is too suave, handsome and self-assured to possibly be real.
Militarily, Journey To A War confirms the opinions of the modern histories of the war I’ve read, namely that the Nationalist side was hampered by corruption, bad leadership and, above all, lack of arms & ammunition. When they retook cities which had been under communist influence the Chiang’s Nationalists realised they needed some kind of ideology which matched the communists’ emphasis on a pure life and so, in 1934, invented the New Life Movement i.e. stricter morals, which Madame Chiang politely explains.
Isherwood notices the large number of White Russian exiles, often running shops, come down in the world. This reminds me of the Russian nanny J.G. Ballard had during his boyhood in 1930s Shanghai, as described in his autobiography Miracles of Life.
From pages 100 to 150 or so our intrepid duo had hoped to approach the front line in the north and had crept up to it in a few places, but ultimately refused permission to go further, to visit the Eighth Route Army, and so have come by boat back down the Yangtze River to Hankou. Now they plan to travel south-east towards the other main front, where the Japanese have taken Shanghai and Nanjing.
On the Emperor of Japan’s birthday there is a particularly large air-raid on Hankow and they make themselves comfortable on the hotel lawn to watch it. The Arsenal across the river takes a pasting and they go to see the corpses. 500 were killed. Nice Emperor of Japan.
They take a river steamer to Kiukiang and stay at the extraordinary luxury hotel named Journey’s End and run by the wonderfully eccentric Mr Charleton. They catch the train from Kiukiang to Nanchang, stay there a few days, then the train on to Kin-hwa (modern Jinhua). Here they are horrified to discover their arrival has been anticipated and they are treated like minor royalty, including a trip to the best restaurant in town with 12 of the city’s top dignitaries.
Auden and I developed a private game: it was a point of honour to praise most warmly the dishes you liked least. ‘Delicious,’ Auden murmured, as he munched what was, apparently, a small sponge soaked in glue. I replied by devouring, with smiles of exquisite pleasure, an orange which taste of bitter aloes and contained, at its centre, a large weevil. (p.195)
They are taken by car to the town of Tunki. They try to get permission to push on to see the front near the Tai Lake, They have to cope with the officious newspaperman, A.W. Kao. This man gives a brisk confident explanation of what’s happening at the front. Neither Auden nor Isherwood believe it. Isherwood’s explanation describes scenes they’ve seen on their visit, but also hints at what Auden might have seen on his (mysterious) trip to civil war Spain. Auden is given a speech defining the nature of modern war:
War is bombing an already disused arsenal, missing it and killing a few old women. War is lying in a stable with a gangrenous leg. War is drinking hot water in a barn and worrying about one’s wife. War is a handful of lost and terrified men in the mountains, shooting at something moving in the undergrowth. War is waiting for days with nothing to do; shouting down a dead telephone; going without sleep, or sex, or a wash. War is untidy, inefficient, obscure, and largely a matter of chance. (p.202)
Peter Fleming turns up looking gorgeous, professional, highly motivated, speaking good Chinese. He attends briefings, manages the locals with perfect manners. They organise an outing towards the front, with sedan chairs, bearers, two or three local notables (T.Y. Liu, A.W. Kao, Mr Ching, Major Yang, Shien), Fleming is indefatigable. On they plod to Siaofeng, Ti-pu and Meiki. Here the atmosphere is very restless, the miltary authorities are visibly unhappy to see them, half their own Chinese want to get away. The spend a troubled night, with people coming and going at the military headquarters where they’ve bivouaced and, after breakfast, they give in to the Chinese badgering, turn about, and retrace their steps. Twelve hours later the town of Meiki fell to the Japanese. On they plod up a steep hillside, carried by coolies, and down the precipitous other side, down to Tien-mu-shan and then by car to Yu-tsien (p.229).
We stopped to get petrol near a restaurant where they were cooking bamboo in all its forms – including the strips used for making chairs. That, I thought, is so typical of this country. Nothing is specifically either eatable or uneatable. You could being munching a hat, or bite a mouthful out of a wall; equally, you could build a hut with the food provided at lunch. Everything is everything. (p.230)
Isherwood hates Chinese food and, eventually, Auden agrees. At Kin-hwa Fleming leaves them. It’s a shame they’ve ended up getting on famously. It’s interesting that both Auden and Isherwood initially were against him because he went to Eton. The narcissism of minor differences knows no limits.
They say goodbye to all the people they’ve met in Kin-hwa and set off by bus for Wenchow. They take a river steamer from Wenchow to Shanghai.
Arrival in Shanghai on 25 May signals the end of their adventures. They stay in the chaotic, colourful, corrupt city till 12 June. Fascinating to think that over in his house in the International Settlement, young James Graham Ballard was playing with his toy soldiers, dreaming about flying and laying the grounds for one of the most distinctive and bizarre voices in post-war fiction.
And Isherwood confirms the strange, deliriously surreal atmosphere of a Chinese city which had been invaded and conquered by the Japanese, who had destroyed a good deal of the Chinese city but left the International and the French Settlements intact. They attend receptions at the British Embassy, are the guest of a British businessman hosting high-level Japs.
There is no doubt Auden and Isherwood hate the Japanese, can’t see the flag hanging everywhere without thinking about all the times in the past four months when they’ve ducked into cover as Japanese bombers rumbled overhead and fighters swooped to strafe the roads.
This is the only section of this long book with real bite. Isherwood interviews a British factory inspector who describes the appalling conditions Chinese workers endure and notes that they’ll all be made much worse by the Japanese conquerors.
Schoolboys
It’s a truism to point out that the Auden Generation was deeply marked by its experience of English public schools, but it is still striking to see how often the first analogy they reach for is from their jolly public schools, endless comparisons with school speeches and prize days and headmasters.
Under the camera’s eye [Chiang kai-shek] stiffened visibly like a schoolboy who is warned to hold himself upright (p.68)
Mission-doctors [we were told] were obliged to smoke in secret, like schoolboys (p.88)
They scattered over the fields, shouting to each other, laughing, turning somersaults, like schoolboys arriving at the scene of a Sunday school picnic (p.142)
The admiral, with his great thrusting naked chin… and the Consul-General, looking like a white-haired schoolboy, receive their guests. (p.156)
[Mr A.O. Kao] has a smooth, adolescent face, whose natural charm is spoiled by a perpetual pout and by his fussy school-prefect’s air of authority (p.201)
Producing a pencil, postulating our interest as a matter of course, he drew highroads, shaded in towns, arrowed troop movements; lecturing us like the brilliant sixth-form boy who takes the juniors in history while the headmaster is away. (p.200)
The cling and huddle in the new disaster Like children sent to school (p.278)
With those whose brains are empty as a school in August (p.291)
The photos
At the end of the huge slab of 250 pages of solid text, the book then had 31 pages of badly reproduced black and white photos taken by Auden. In fact there are 2 per page, so that’s 62 snaps in all.
I don’t think there’s any getting round the fact that they’re average to poor. Some are portraits of people they met, notably Chiang kai-shek and Madame Chiang, Chou en-lai of the communists, and celebrities such as Peter Fleming the dashing travel writer and Robert Capa the handsome war photographer. A dozen or more named people, Chinese, missionaries and so on. And then lots of anonymous soldiers and scenes, the dead from an air raid, the derailed steam train, coolies in poverty, a Japanese prisoner of war, a Japanese soldier keeping guard in Shanghai, Auden with soldiers in a trench and so on.
Remarkably, few if any of these seem to be online. I can’t imagine they’re particularly valuable and their only purpose would be to publicise the book and promote Auden and Isherwood’s writings generally, so I can’t imagine why the copyright holders have banned them. If I owned them, I’d create a proper annotated online gallery for students and fans to refer to.
In Time of War
The book then contains a sequence of 27 sonnets by Auden titled In Time of War. In later collections he retitled them Sonnets from China. They are, on the whole, tiresomely oracular, allegorical and obscure. The earlier ones seem to be retelling elements of the Bible, Genesis etc as if recapitulating the early history of mankind. These then somehow morph into the ills of modern society with its bombers.
But one of them stands out from the rest because it reports real details and rises to real angry eloquence.
Here war is simple like a monument: A telephone is speaking to a man; Flags on a map assert that troops were sent; A boy brings milk in bowls. There is a plan
For living men in terror of their lives, Who thirst at nine who were to thirst at noon, And can be lost and are, and miss their wives, And, unlike an idea, can die too soon.
But ideas can be true although men die, And we can watch a thousand faces Made active by one lie:
And maps can really point to places Where life is evil now: Nanking; Dachau.
(Sonnet XVI from In Time of War)
Those last lines have stayed with me all my life. Nanking. Dachau. The darkness at the heart of the twentieth century.
Commentary
The last thing in the book is a long poem in triplets, from pages 289 to 301 and titled simply Commentary.
It’s a sort of rewrite of Spain, again giving a hawk’s eye view of history and society, the world and human evolution. It starts off describing what they’ve seen in Auden’s characteristic sweeping style, leaping from one brightly described detail to another, before wandering off to give snapshots of great thinkers from Plato to Hegel.
But at quite a few points voices emerge to deliver speeches. Then, on the last page, the Commentary becomes extremely didactic, ending with a speech by the Voice of Man, no less, the kind of speech he turned out by the score for his plays and choruses and earlier 1930s poems.
But in this context it seems inadequate to the vast and catastrophic war in China which they have just glimpsed, and which was to last for another seven years (till Japan’s defeat in 1945) and was itself followed by the bitter civil war (1945-48) which was only ended by the triumph of Mao Zedong’s communist party early in 1949.
The Japanese invasion of 1937 turned out to be just the start of a decade of terror and atrocity, and Auden’s response is to have the ‘Voice of Man’ preach:
‘O teach me to outgrow my madness.
It’s better to be sane than mad, or liked than dreaded; It’s better to sit down to nice meals than nasty; It’s better to sleep two than single; it’s better to be happy.
Ruffle the perfect manners of the frozen heart, And once again compel it to be awkward and alive, To all it suffered once a silent witness.
Clear from the head the masses of impressive rubble; Rally the lost and trembling forces of the will, Gather them up and let them loose upon the earth,
Till they construct at last a human justice, The contribution of our star, within a shadow Of which uplifting, loving, and constraining power All other reasons may rejoice and operate.‘
It yet another of his prayers, deliberately personal in scale, addressed mostly to chums from public school, fellow poets, friendly dons and reviewers. It is calling on people who are already well-fed, well-educated and mostly decent chaps to be a bit more decent, if that’s alright. But ‘ruffling up your perfect manners’ wasn’t going to stop Franco or the Japs, Hitler or Stalin.
It is ironic of Auden to ask people to remove from their heads ‘impressive rubble’, which I take to mean the luggage of an expensive education in the arts – as that is precisely what he was going to use to make a living out of for the next 35 years and which was to underpin and inform all his later works.
And there are numerous small but characteristic examples of learnèd wit it here, such as when they light a fire which is so smokey that it forces them out of the room and Auden wittily remarks, ‘Better to die like Zola than Captain Scott’ (i.e. of smoke asphyxiation rather than from freezing).
In this respect the Commentary is another grand speech which, like the grand speeches in the plays he’d just written with Isherwood, was, in the end, addressed to himself. Once again, as with Spain, Auden has used a huge historical event to conduct a lengthy self-analysis.
Auden’s contemporary readers were impressed, as ever, by his style and fluency but, as ever, critical of his strange inability to engage with anything outside himself and, specifically, to rise to the occasion of such a massive historical event.
Half way through the text Isherwood tells a story about Auden’s complete conviction that the train they’re on won’t be shot at by the Japanese, whose lines they are going to travel very close to. Sure enough the train emerges on to a stretch of line where it is clearly visible from the forward Japanese lines, which they know to contain heavy artillery, and so they pass a few minutes of terror, petrified that the Japanese might start shelling any second. In the event, there is no shelling, and the train veers away to safety. ‘See. I told you so,’ says Auden, and Isherwood reflects that there’s no arguing with ‘the complacency of a mystic’.
It’s a joke at his old mate’s expense and yet I thought, yes – complacency – in Auden’s case complacency means undeviating confidence in his own mind and art to hold off, inspect and analyse. He creates a rhetoric of concern but it is nothing more than that, a poet’s rhetoric, fine to admire but which changes nothing.
And he knew this, had realised it during the trip to Spain, and had lost heart in the political verse of the 1930s. The pair returned from China via America, where all mod cons were laid on by his American publishers and Auden realised that here was a much bigger, richer, more relaxed, open, friendly and less politically pressurised environment in which to think and write.
He returned to England just long enough to wind up his affairs, pack his bags, then in January 1939 he and Isherwood sailed back to the States which would become his home for the next 30 years, and set about rewriting or suppressing many of his most striking poems from the troubled Thirties, trying to rewrite and then censor what he came to think of as his own dishonesty, pursuing a quest for his own personal version of The Truth.
This remarkable poet and storyteller is today rarely read and is often vilified and dismissed as a jingoistic and chauvinistic booster of empire and white civilization. When critics reach for their guns, they “bring out the white man’s burden“and “east and west is west, and ne’er the Twain shall meet”. He is definitely guilty as charged, but he was of his time, and voiced what was then the imperial zeitgeist that enraptured his British constituency. The past, as they say, is another country – they thought much differently then.
But, as those who are familiar with his many poems and stories would attest, the poet was so much more than this.
It was Kipling’s habit to preface and bookend his remarkable if, to contemporary readers, politically incorrect stories with short poems of singular quality.
Lukannon is one of these. The story of The White Seal first appeared in print in the August 1893 issue of the London-based magazine National Review and published again in 1894 as part of the anthology The Jungle Book. Yes, that one. Mowgli, Wolf Cubs, Akela, and all. But, exceptionally for a story in The Jungle Book, none of the action in The White Seal takes place in India. And, presaging the environmental activism and protests against the controversial seal hunts of the late 20th Century, it is remarkably prescient and pertinent.
The story is set on an island in the Aleutians in the Bering Sea between Russia and Alaska. It tells of a unique seal who, by leading his fellow seals to a secret hidden beach, saves his kind from the seal hunters. He referred to his poem as “a kind of national anthem for seals”. The title of the poem is the name of a Russian seal-fur trader, Lukanin, who gave his name to these lonely Aleutian beaches in 1788. Kipling wrote: “This is the great deep-sea song that all the St. Paul seals sing when they are heading back to their beaches in the summer. It is a sort of very sad seal National Anthem”.
Back in the day, I set the poem to music. It is featured on the rare recording HuldreFolk Live in London 1988, featuring Paul Hemphill, Victor Mishalow and Adèle Hemphill. During HuldreFolk’s tour of English folk clubs in the northern summer of 1988, it was recorded on a cheap audio cassette by a dinky, clunky old analogue tape recorder – and it shows. But the natural acoustics of the cellar at Bracknell Arts Centre, and the audience’s participation in the choruses made up for a multitude of sins.
Lukannon is such a lyrical poem that it lends itself effortlessly to musical settings. Apart from my own, i have discovered three alone, and I am pretty certain that there are many more out there on the world wide web. There is a version by folk duo William Pint and Felicia Dale set to a tune by American musician Bob Zentz from their 1997 album Round the Corner. There is also a contemporary “prog-rock” version by British band Shadows of the Sun.
In 1947, the eccentric Australian expatriate composer Percy Grainger composed a song cycle of The Jungle Book and chose as his centrepiece the story of The White Seal – and particularly, Lukannon “as a protest against civilization.” For more on Grainger’s opus, see below.
Lukannon
I met my mates in the morning (and oh, but I am old!)
Where roaring on the ledges the summer ground-swell rolled;
I heard them lift the chorus that dropped the breakers’ song –
The beaches of Lukannon – two million voices strong!
The song of pleasant stations beside the salt lagoons,
The song of blowing squadrons that shuffled down the dunes,
The song of midnight dances that churned the sea to flame –
The beaches of Lukannon — before the sealers came!
I met my mates in the morning (I’ll never meet them more!);
They came and went in legions that darkened all the shore.
And through the foam-flecked offing as far as voice could reach
We hailed the landing-parties and we sang them up the beach.
The beaches of Lukannon – the winter-wheat so tall –
The dripping, crinkled lichens, and the sea-fog drenching all!
The platforms of our playground, all shining smooth and worn!
The beaches of Lukannon — the home where we were born!
I meet my mates in the morning, a broken, scattered band.
Men shoot us in the water and club us on the land;
Men drive us to the Salt House like silly sheep and tame,
And still we sing Lukannon – before the sealers came.
Wheel down, wheel down to southward; oh, Gooverooska go!
And tell the Deep-Sea Viceroys! the story of our woe;
Ere, empty as the shark’s egg the tempest flings ashore,
The beaches of Lukannon shall know their sons no more!
Percy Grainger’s Jungle Book Cycle
In 1947, the eccentric Australian expatriate composer dedicated a song cycle of The Jungle Book and chose as his centrepiece the story of The White Seal – and particularly, Lukannon. My Kipling ‘Jungle Book’ Cycle, begun in 1898 and finished in 1947, was composed as a protest against civilization.” (Grainger’s programme note, 1947)
Grainger (1882-1961) studied at the Hoch Conservatory in Frankfurt, Germany from 1895-1901 (aged 13-19). Grainger’s mother Rose wrote to her husband John of her fears that young Percy was becoming “more Germanized every day.” In response to Rose’s concern, and to “tickle up the British Lion in him,” John (who was estranged from Rose) sent Percy, among other things, several books by Rudyard Kipling . Kipling’s writings captivated Percy immediately, and he soon started writing choral settings of the poetry, especially those of Kipling’s Jungle Books.
Grainger’s settings of the poetry of Kipling are as extensive as his settings of British folk music; Kay Freyfus’s catalog of Grainger’s manuscript scores lists 36 settings, though Grainger in a 1926 letter to Kipling mentions “some 40 or 50” settings. Grainger felt a strong kinship for Kipling’s writing, and Kipling appreciated and approved of Grainger’s work at setting his poetry. Grainger played several of his choral settings for Kipling during a meeting at Kipling’s home in 1905. Of Grainger’s settings of his poetry, Kipling said, “Till now I’ve had to reply on black and white, but you do the thing for me in colour.”
The Beaches of Lukannon is the centerpiece of the cycle, and arguably the strongest piece musically and emotionally. It tells us the tale of the tragic slaughter of seals by wicked sealers from the seals’ perspective. The opening section, told from the point of view of a seal elder, recounts what the beaches of the Bering Sea Island of Lukannon originally were for the seals – their annual meeting (and mating) opportunity. The central section, reminiscent of the music of Charles Ives in its shifting chromatics, conveys the beauty of the surroundings “before the sealers came.” The final section musically revisits the opening material, but in a smore somber mode.
Please allow me to introduce myself I’m a man of wealth and taste I’ve been around for a long, long year Stole many a man’s soul and faith
The Rolling Stones, Sympathy for the Devil (1968)
Strange things happen If you stay The devil will catch you anyway He’ll seek you here he’ll seek you there The devil will seek you everywhere.
Gun. Race with the Devil (1968)
My words appear to leave you cold; Poor babes, I will not be your scolder: Reflect, the Devil, he is old, To understand him, best grow older.
Goethe, Faust
Say what you like about The Devil, he does at least give a fair price for souls. Faust got twenty four years of worldly knowledge and pleasure in exchange for his (more about him later). When Robert Johnson met him at the crossroads, he mastered the blues overnight. When it comes to music, he’s a hot fiddler – though when he came down to Georgia “lookin’ for a soul to steal”, young Johnny whupped him good. Leonard Cohen reversed this analogy when in one of his last songs, he sang “now the angel’s got a fiddle and the devil’s got a harp”. So, a warning to all: “Beelzebub has a devil put aside for me” and thee.
It is said the Devil “gets all the best songs”. He also gets a good few stories, in the form of “biographies” both scholarly and light-hearted and novels and movies that range from allegory to fantasy, depicting him the personification of evil or as a clever and entertaining trickster. In some, he is the ageless hornèdone, and in others, he is just plain horny – I’m thinking here of Jack Nicholson’s scene-stealing performance in the 1987 adaptation of John Updike’s The Witches of Eastwick, all wicked grins, lecherous asides and comedic menace. That’s actually one of the better films in a catalogue of cinematic corn that features Satan, to use another of his many names, in person, through a proxy or in psychic proximity to an endangered mortal soul.
Closer to home, my friend and budding author John Rosley, published a novella called A Touch of Sulphur before he passed on in 2022. Its narrator, an incarnated Satan, boasts about his achievements on earth. He has strong and politically incorrect views, particularly regarding the Catholic Church and its clergy whom he regards as his bitterest enemies, ripe for degradation in ways only a devil may invent. I hope that his story, available on Kindle via Amazon, didn’t cause him too many problems when he arrived at Saint Peter’s Gate and knocked on Heaven’s Door.
In the interest of balance, I must note that there been plenty of books written about the old fellow’s nemesis and arch-adversary – including those claimed to have been written by or on behalf of himself. The Almighty, Our Lord, Yahweh, Jehovah, Allah, Big Hughie, and more. There are, as Muslims rightly aver, a thousand names for God. Many contemporary scholars have penned biographies, and so has another friend of mine. This I actually proof-read, but it remains to this day unpublished.
The following, however, is a contemplation of Lucifer, biblical bête noir and literary anti-hero (he, like God goes by a multitude of soubriquets; but I like Lucifer best). It leans more to light-hearted than to outer darkness and neither scholarly nor theological, it is slightly iconoclastic, and, I hope, informative and entertaining. It describes my long and enduring artistic relationship with the “great tempter”, a literary fancy rather than some kind of weird bond with the evil one – neither amoral, immoral nor menacing, but more like a muse.
And …
It all began with Christopher Marlowe
Dr Faustus. Was not that Lucifer an angel once? Mephistopheles. Yes, Faustus, and most dearly loved of God. Faust. How comes it then that he is Prince of Devils? Meph. O, by aspiring pride and insolence, For which God threw him from the face of heaven. Faust. And what are you that live with Lucifer? Meph. Unhappy spirits that live with Lucifer, Conspired against our God with Lucifer, And are for ever damned with Lucifer. Faust. Where are you damned? Meph. In hell. Faust. How comes it then that thou art out of hell? Meph. Why this is hell, nor am I out of it. Think’st thou that I that saw the face of God And tasted the eternal joys of heaven Am not tormented with ten thousand hells, In being deprived of everlasting bliss? O, Faustus, leave these frivolous demands, Which strike a terror to my fainting soul.
Christopher Marlowe, The Tragicall History of D. Faustus
That was Kit Marlowe, the Elizabethan playwright who gave us the story of Doctor Faust, the ambitious alchemist who “sold his soul to the Devil” – a salty tale taken up centuries later by German poet Friedrich Goethe and French composer Charles Gounod. His play is best known for his description of the legendary Helen of Troy as “the face that launched a thousand ships”: Marlowe may not have been the first to give us Faust, and nor was he to be the last. German polymath and write Johann Wolfgang Von Goethe took him in the early nineteenth century as did French composer Charles Gounod in 1859: a wonderful opera with a fabulous “soldiers’ chorus”. German author Thomas Mann published Doctor Faustus in 1947 wherein a gifted composer strikes a “Faustian bargain” for creative genius. These tales always end badly, their protagonists forgetting the maxim that those who sup with the devil should use a long spoon.
As for Marlowe, this sixteenth century “rake and rambling boy”, alleged bisexual and also government secret agent, was also an accomplished playwright, recognized as one of the most accomplished in a crowded Elizabethan field, and a master of blank verse – it’s still called “Marlowe’s mighty line”. In the perennial debate about whether or the Bard of Avon wrote the plays attributed to him, Marlowe’s name pops up as one of the prime candidates. A bit of a cruiser, a bit of a bruiser, he died in a tavern brawl in Deptford, southeast London.
It was through Marlowe that I first made a literary acquaintance with Lucifer – back in Moseley Grammar School in the mid-sixties when Kit got himself on to our A Level syllabus, and though one of our set plays was Edward II, the sad tale of a conflicted and controversial king, we were encouraged to read some of his plays. And I’ve always remembered the following exquisite demonstration of his “mighty line” as the medieval Mongol conqueror Amir Tamburlane grieves for his dying wife:
Black is the beauty of the brightest day; The golden ball of heaven’s eternal fire, That danc’d with glory on the silver waves, Now wants the fuel that inflam’d his beams; And all with faintness, and for foul disgrace, He binds his temples with a frowning cloud, Ready to darken earth with endless night.
Zenocrate, that gave him light and life, Whose eyes shot fire from their ivory brows, And temper’d every soul with lively heat, Now by the malice of the angry skies, Whose jealousy admits no second mate, Draws in the comfort of her latest breath, All dazzled with the hellish mists of death. Now walk the angels on the walls of heaven, As sentinels to warn th’ immortal souls To entertain divine Zenocrate …
The crystal springs, whose taste illuminates Refined eyes with an eternal sight, Like tried silver run through Paradise To entertain divine Zenocrate:
The cherubins and holy seraphins, That sing and play before the King of Kings, Use all their voices and their instruments To entertain divine Zenocrate;
And, in this sweet and curious harmony, The god that tunes this music to our souls Holds out his hand in highest majesty To entertain divine Zenocrate.
Then let some holy trance convey my thoughts Up to the palace of th’ empyreal heaven, That this my life may be as short to me As are the days of sweet Zenocrate.
But back to Lucifer …
Lucifer and me
I heard the snake was baffled by his sin He shed his scales to find the snake within But born again is born without a skin The poison enters into everything
Leonard Cohen, Treaty
As a nipper, I was well aware of his bad reputation. Brought up Irish catholic in Birmingham, there was no way that I could’ve missed him – it was always a “him” back then and never “her”, though our childhood was replete with biblical archetypes of amorally lapsed ladies with exotic names like Salome, Delilah, and Jezebel who often had songs, plays or movies written about them. Often, they too were portrayed as “the devil incarnate”. Elvis Presley sang about The devil in Disguise. Cliff Richard whinged about his Devil Woman. Fifties crooner Frankie Laine of High Noon and Rawhide fame sang about his unfaithful girlfriend: “if ever a devil was born without a pair of horns, it was you, Jezebel, it was you!”
That business in the Garden of Eden assured us that it was a woman who had committed the “original sin” and that all women were per se “the root of all evil”. This was when Satan earned his reputation as a tempter (nice apple), deceiver (Adam needn’t know) and liar (God won’t mind), and with it, the tag “Prince of Lies”. The implication was, that, if you fucked up, like evangelist preachers today who are caught with their pants down, “the devil made me do it”.
We were taught that Old Nick, as he was called, was forever lying in wait to divert us from the straight and narrow, and that the holier you were, indefinable though that was, the greater the effort he put into suborning you and the greater the rejoicing in the infernal realms should you stumble and fall. He isn’t alone, mind; look at the vicarious pleasure we take in seeing the high and mighty brought low by human failings, particularly politicians and clerics who lecture us on old values like family, neighbourliness, decency, courtesy, and self-control. The internet preys upon everything vile in the human spirit and can corrupt what is good into that vileness, which would certainly be the work of Satan.
A comment in the e-zine Unherd recently described this well: “… what is evil within humanity is only there because of Satan in the first place, having been the one who tempted Adam and Eve into eating the fruit of the Tree of the Knowledge of Good and Evil that placed within us the seeds of his own evil and the root of our corruption. The knowledge of Evil is what spurs us to such negative and destructive impulses, but the knowledge of Good would pull us towards something higher. This of course would be abhorrent to the Dark Prince, thus necessitating the construction of such and infernal mechanism as this to further debase and erode God’s creation, to ‘finish the job’ as it were.”
By coincidence, I was only just listening to The Rest is History podcast about Martin Luther, and Dom and Tom recounted how the Reformation’s progenitor believed the evil one to be intensely real, a clear and present danger. Rantings about Satan were virulent and often quite alimentary, featuring lots of bodily fluids. There is an apocryphal story of how one time, assailed by Satan, Luther threw an inkwell at him. another time, when during an hallucinatory episode, Lucifer appeared to him as a little dog, though an avowed dog-lover, Martin flung unlucky Rover out of the window. A sad case of being in the wrong place at the wrong time.
But I’d never encountered him represented as an actual person. Until I met Christopher Marlowe in Lower Sixth. Along with Kit, I also met Mephistopheles, a demonic go-between tasked by Lucifer to purchase the soul of the ambitious Dr Faustus. Admittedly, M was merely the middleman, but he gave his crew a bad name and literary fame.
About the same time, I happened to bump into him at the amazing Birmingham Museum and Art Gallery – the magnificent statue of Lucifer that stood imperiously in the centre of the central hall. The winged bronze oversized figure (11 feet tall, weighing in at 2,000kg) is Jacob Epstein’s depiction of the Archangel Lucifer, inspired by the renowned sculptor’s fascination with John Milton’s epic poem Paradise Lost (1667). It has stood at the heart of the museum, tall, stern and perhaps androgynous, a custodian of the gallery’s collection, an affirmation of the artist’s genius, and its value to the museum.
And so it was that at Moseley Grammar we learned through the unfortunate Faustus that Lucifer was an actual person, and an untrustworthy one at that. A fellow student, whom I did not know too well, and who was in fact one of the few Jewish students, wrote a poem for our school magazine (of which I was one of the editors). I remember but the last stanza (and later in life, used it as the last verse of a song).
But my literary liaison with Lucifer did not end there. Flatting in London in the early seventies, a friend introduced be to Lucifer’s Cage, a fiery instrumental by English guitarist Gordon Giltrap (who, incidentally, grew up in Deptford, the place of Kit Marlowe’s demise). The tune and its title, and that one verse slept in my imagination for decades, until they crystallized in a song.
Lucifer, star of the morning Lucifer, prince of the night Lucifer falling through darkness Lucifer cast from the light.
Lucifer sits in his wasteland Trapped in the cage of his pride The sirens of importunate circumstance Reclining in ranks by his side Plots he has made, so ingenuous. Dangerous follies and schemes For he has stage-managed quite strenuous Drunken prophecies, libels and dreams.
Lucifer frets in the wasteland Locked in a pillar of ice We know of this only to well We have visited him there once or twice For his is the language of liars And his is the honour of thieves And he is the master of eloquence As the last of the honest men leaves.
Lucifer crawls from the wasteland No solace or peace or rest. For he has corrupted the wisest And he has co-opted the best. And all that is good has since vanished And with it, the fair and the true And the silences hurting his demon heart Are haunting, haunting you.
And the road that winds out of Meggido Is the path that leads to the pit For Lucifer prizes a web of disguises He merely selects one to fit. And the road that runs down to Jericho Is the path that leads him to you And the paradox searing his demon soul Is hunting, hunting you.
So make you no truce with Lucifer Lucifer of fiery breath For Lucifer is treachery And treachery is death.
Lucifer, star of the morning Lucifer, prince of the night Lucifer falling through darkness Lucifer cast from the light.
The “pillar of ice”, by the way, is borrowed from the fourteenth century Italian poet Dante Alighiari’s Inferno. In his account of life after death, the ninth and last of the concentric spheres of hell, is where betrayers and traitors languish. It is presided over by the man himself, the greatest betrayer of all, though now impotent, encased up to chest in ice, a giant, bat-winged demon with with one head and three faces. Each weeps as it chews on a notorious sinner: Jesus’ betrayer Judas Iscariot, and Julius Caesar’s backstabbers Brutus and Cassius. His wing-beats raise a chill wind that continues to freeze the ice surrounding himself and the other sinners in the Ninth Circle, a wind that is felt throughout the other circles of Hell. In contrast to depictions of the devil in Dante’s day as a cunning foe ever ready to prey on human weakness, his Lucifer is strikingly modern, a metaphor for nothingness. Dribbling and speechless, he is all hat and no horse, or more apposite, all horns and no hellfire.
The Emperor of the kingdom dolorous From his mid-breast forth issued from the ice … Consider now how great must be that whole, Which unto such a part conforms itself. Were he as fair once, as he now is foul.
Doré’s Dante – Satan in Hell
Jacob Epstein’s Lucifer
Fallen Angels
So who exactly was this Lucifer, the biblical sum of all our fears?
Many Christians, whom I do not profess to be (I gave up practicing when I was good enough), believe that Satan, or “the devil” as he is commonly known, was once upon an eon ago a gorgeous angel much loved by God and named Lucifer – which means “star (or ‘son’) of the morning” – on account of his exemplary luminescence. No wonder early marketing folk got the idea of naming a brand of matches “Lucifers” – a tag memorialized in the First World War song It’s a long way to Tipperary and the soldiers’ trench superstition from the Crimean War to World War II of “Three on a match”.
He’d got tickets on himself, defied the boss and fell from grace. “Cast out into the Outer Darkness”, in fact. Hence French illustrator Gustave Doré’s striking image of him descending to Earth to fracture a cozy de facto relationship between Adam and Eve, the first human beings, a perfect pair “created in God’s image”, and thereafter to inflict mayhem upon mankind, including, as we have noted above, the concept of “original sin” which broadly defined all humanity as damned until it accepted the dominion of an almighty creator and condemned womankind to an eternity of subjugation to the patriarchy.
This assumption that he is a fallen angel is, scripturally, based the Book of Isaiah in the Old Testament of The Bible: “How art thou fallen from heaven, O Lucifer, son of the morning! How art thou cut down to the ground, which didst weaken the nations” (14:12).
But the tabloid story that has been handed down to us through the ages arguably originated in the apocryphal Book of Enoch, written sometime between 300-100 BCE and quite popular around the time of Jesus. It was widely circulated although it was considered a heretical text by the religious authorities on account of its opposition to mainstream Rabbinical Judaism. Whilst referenced a few times in the New Testament, it was rejected by the ecclesiastical canon, (though not, apparently, in Ethiopia – to this day, a unique African outlier to Christianity, and indeed, Judaism). But it’s from Enoch that we’ve inherited most of our mythology of the fallen angels, and also, a lot of apocalyptic imagery and millenarian or “end times” belief.
The apocalyptic Book of Enoch gave names to the Sons of God – Lucifer and his comrades, and also, a mob called the Nephilim. The eponymous Enoch understood them to be fallen angels who, having fallen to Earth, had sex with human women – beautifully portrayed in Daniel Chester French’s sculpture, which has been described as the sexiest statue in Washington DC. God, naturally, punished them, and, their behaviour, it is said, in Noah’s flood. So, it would seem, the fall of the angels related more to sexual sin than to Lucifer’s pride.
The Sons of God Saw the Daughters of Men That They Were Fair.
An artist made a sculpture of Lucifer that was too hot for the church so it commissioned his brother. He made an even hotter one!
Regarding the above picture, a Facebook comment read: “The depiction of Lucifer on the right looks exactly like the one in my dream. I dreamt that I was in very dark hallway or corridor and suddenly the room lit up, not a very divine bright light but more like a very dim light, lit enough to see what was going on. There was this huge very tall, partially robed angel in crimson red. He raised his hands in the air, and when he did, blood exploded out of the walls. It scared the shit out of me. I jumped up out of bed and didn’t go back sleep until the next day. Satan is definitely real, and he isn’t a red goat with horns – he’s a very tall, nice-looking angel with wavy blonde hair – and very very powerful he has wavy blonde hair sort of like Logan Paul’s (an American social media influencer, professional wrestler, YouTuber, entrepreneur, and actor). Though this may sound silly or fun, I’m not joking. I’ve I seen this m…..f…..r in my dream! It was Lucifer!”
And with regard to artistic depictions, there is the amazing sculpture The Fall of the Rebel Angels” created by sculptor Agostino Fasolato in the eighteenth-century. Almost two meters high and carved from a single block of Carrara marble, it is a pyramid of sixty contorted figures. At the top, wielding his sword of fire, is the archangel Michael who, according to religious tradition, led to forces of light in the tumultuous battle that saw Lucifer and his rebel angels consigned to hell. It an extraordinary intertwining of bodies, depicting the falling angels at the moment of their transformation into demons. So, there they are, agonised faces, hornèd heads, and serpents’ tails, rocking and rolling, tossing and turning, tumbling down, down, down into the infernal pit.
Paradise lost
The story of the fall of Lucifer is actually underpinned by not one but two works of fiction: Enoch’s, and the English puritan poet and pamphleteer John Milton’s imaginative and lyrical masterpiece Paradise Lost (1667) which has dominated our perspective of the story ever since.
Milton gave us the first lyrically and psychologically compelling portrait of Lucifer. He was not the sly predator of myth and menace but rather, (initially, at least) an edgy seductive hero. With his fine words, theatricality and swagger, the only ostensible sign of evil within, a lightning scar on his face: “He above the rest, in shape and gesture proudly eminent, stood like a tow’r”. And yet, he winds up as a washed out up idealist and revanchist cynic, “dismay mixt with obdurate pride and steadfast hate”.
Although I was familiar with Paradise Lost, I did not read Milton’s prose opus until the late seventies, encouraged by the the work of nineteenth century French lithographer Gustave Doré who rendered the poet’s words into pictorial flesh. That’s his iconic image of Lucifer descending to Earth at the head of this story.
Sometime in the early eighties, 83 or 84 I think, my old pal and provocateur Yuri the Storyteller introduced me to Lilith.
Lilith has been around for thousands of years. In the Talmud, she is described as a winged demoness with a human appearance. She appears in the bible, in the Dead Sea Scrolls, and in Hebrew folklore, and has been mentioned in black magic treatises. The apocryphal story is that Lilith was Adam’s first wife. God made Adam from dirt and clay. Adam bored, requested a companion, and God obliged with Lilith. Legend has it that her dirt was dirtier than Adam’s, but put that down to patriarchal prejudice and propaganda. More likely, she had the dirt on him! But I digress. Apparently, Lilith was not as inferior to Adam as he wanted. She wanted to be her own person, not Adam’s wife-slave. The story is that when Adam insisted on the missionary position, Lilith refused, saying “Why must I lie beneath you? We are both equal. We come from the same earth”. Adam got mad, and Lilith took off.
Because of this, she was banished from Eden and became a spirit associated with the seductive side of a woman. Eve came in her place to stand behind Adam, not beside him. Lilith became the timeless femme fatale, preying on the easily tempted weaker sex, the fabled incubus who comes at night upon men as they sleep. It is not for nothing that she has been hailed the (informal) goddess of wet dreams.
The legends are many and various. If you buy into the Lilith theory, you will see her cropping up throughout history in a variety of guises. In biblical times: Delilah, Salome, and Potophar’s wife. In fact and fable: Sheherazade, Lucrezia Borgia, Mata Hari, Evita Peron. Hollywood’s screen ‘sirens’ like Vivien Leigh, Elizabeth Taylor, and Marilyn Monroe. All of them antitheses to secular saints like Eve, Mary Magdalene, Joan of Arc, Florence Nightingale, Jackie Onassis, Mother Theresa, and Princess Diana.
Lilith’s story deserved an epic poem, so borrowing from Milton and the opening chapter of JRR Tolkien’s Silmarillion, I duly wrote Lilith – a poem of the fall. It was attributed to a Roman poet celebrated during the reigns of emperors Claudius and Nero. It’s forward read:
“The style of Lilith differs markedly from that of other poems attributed to Meniscus – most notably the Hebrew Heroes cycle and was evidently written for a different manner of presentation. It was most likely written to be recited rather than sang (as were his other “story songs”). Recitations were a common form of entertainment in the middle Roman period, owing their popularity to the enduring reputations of the “classical” writers of the time, Ovid, Horace and the like. It was not uncommon for such recitations to last several hours. But Meniscus, mindful of the fast-moving times, and also of the attention span of his audiences, appears to have honed his pieces down to between ten or fifteen minutes”.
It debuted at Victoria’s Port Fairy Folk Festival in about 1986 in a shambolic busy poetry competition – it came first, I recall, but the event was so poorly organized that I received neither award or recognition.
It began in suitably histrionic Genesis style:
Long time ago In a time before time, When man was an atom in primeval slime, When darkness lay hard on the face of the deep, God called for his angels to sing him to sleep.
I hadn’t finished with Lucifer, however. He reappeared as metaphor in a gloomy commentary of the state of humanity in Devil’s Work, published in full at the end of this article. The narrative actually came to me in a dream – though this was not the nightmarish image of the sleepless Facebook commenter quoted above:
For what you’ve done to you own kind, you’ve done of your own will. If I went away on a holiday, you’d be malignant still. For all you’ve done unto yourselves, you’ve done because you must – A self-destructive legacy to bring yourselves to dust. To render you to dust.
The implication here is that we actually know Lucifer, Satan, the Devil, because, to use a an enduring aphorisms, “we have seen the enemy and he is us!”. Many writers have implied this. In 1942, not long after his return to the Anglican faith in which he’d been raised, my favourite poet WH Auden asked a Sunday School class: “Do you know what the Devil looks like? The Devil looks like me.” As an informative piece in The Daily Beast observed, “his sensitivity and acuity as a poet made him aware that the pathologies of ideology are first manifest in the pathologies of individuals, including and especially himself, a character he never shied from satirizing or indeed using as a template for the doomed romantic or cruel authoritarian he took as the protagonist of so many of his poems”.
And finally,Lucifer is also name checked in a sprawling ballad about Herman Melville’s Captain Ahab and his obsessive hunt for Moby-Dick, the famous white whale:
Down, down, deep down we dove
In a tangle of rigging and rage –
Down to the deep where the dead sailors sleep
In the darkness of Lucifer’s cage.
From Chapter Forty One – In That Howling Infinite
‘Satanic’ implies the old God-Satan contradiction – and yet it is a paradox. You can’t really have the idea of a universal, omnipotent a God AND a universal, quite potent black hat opposing both Him and Man.
Indeed, we tend to anthropomorphize Old Nick more than we do his rival and nemesis God, although Jesus and Satan often have their own Fight Club going in the New Testament – the ostensibly “evil one” doesn’t get much of a gig in the Old Testament, which is not to say that Jewish folklore didn’t quite ignore him, as I will explain in eccentric detail below. The Essenes of old, who left us a heap of important written material in caves overlooking the Dead Sea, bought into the idea of a conflict between the spirit Princes of Light (God, and in time, Jesus) and of Darkness (Satan – which might’ve come from the ancient Persian Zoroastrian spirit of light and wisdom, Ahura Mazda (remember the light bulbs back in the day?) the Zoroastrian present day heirs are the persecuted Baha’i of Iran (though their HQ is in Haifa, Israel. Ironic, eh?) and the Parsi in India and Pakistan, a name derived from Farsi, now the language Iran and much of Afghanistan.
Then we have the old Parthian prophet Mani who, according to Wikipedia, sought to synthesize the teachings of most of the faiths in vogue from Europe to China and all places betwixt during the third century CE. He gave us Manichaeism, which teaches an elaborate dualistic cosmology that describes a struggle between a good, spiritual world of light, and an evil, material world of darkness. It’s not an optimistic one – through an ongoing historical process, light is gradually removed from the world of matter and returned to the world of light, whence it came. The Manicheans believed that God was just, and kind, and loving. He was forgiving God who would forgive us our trespasses. It was the Devil, therefore, who had to be propitiated with prayers and amulets and so on – averting “the Evil Eye”. The Manicheans were accordingly persecuted as heretics at best, and as devil-worshipers at worst.
Lucifer, of course, derived from the Latin, meant “light”. He was, of course, an angel. In angelology – yes, there is indeed such a field of study, angels were, or are, because quite a few folk believe that they are real, God’s bodyguards (assuming he was corporeal) and cops before the Jesuits took over. They are categorised by power, authority and also, light. Lucifer was “top gun”, the bee’s knees, dog’s balls, the primus inter pares. Until he got to big for his wings and staged a rebellion.
There is a downside to doing deals with the devil, unless you’re Robert Johnson at the famous Crossroads, or successfully challenging him to a duel like the young fiddler in The Devil Came Down to Georgia or the likely lad in the old English folk song False Knight on the Road. Look what happened to the ambitious Marlowevian sybarite Doctor Faustus.
The unfortunate Yazidi people of Iraqi Kurdistan and northern Syria, ethnically Kurdish, but an ancient religion in an intolerant sea of Islam, were long accused of being “devil worshippers” because they believe that whilst God is benevolent and will not do us intentional harm, the Devil can be quite malevolent and hence needs propitiating. This was how others perceived it back in the dark day, although more enlightened times have emphasized that the Yezidi Peacock Angel is a beautiful and as benign and benevolent a deity as any other in the deities beloved of the world’s believers.
The Peacock Angel, Deviant Art
There was no diabolical god in the Roman and Greek pantheon – or amongst the Norse Gods for that matter. There were gods who did nasty things, but that was because they are annoyed, or angered, or moved to vengeance or malice, or even, envy and lust. These, one placated to restore them to a better humour. Nor is the Satan, the principle of evil personified, actually in the bible. This was a later construct that was read back into it. In the bible according to the poet John in Milton, the devil, whilst not exactly pleasant and delightful, is either on the side of the heavenly authorities at the least, or at the least, not destructively opposed to them. In the words of that great song out of the Brill Building, NYC, “I’m just a boy whose intentions are good. Please don’t let me be misunderstood”.
I dreamt I fought the Devil and I bound him in strong chains To answer for our consciences, to blame for mankind’s stains; For all pain and perversion, crime and atrocity, I brought the criminal to trial in the name of humanity. This bane of humanity.
In judgement of the power man who makes us fight his fights, And the holy men in uniform who trample on our rights; To exact compensation for his prey alive and dead. But when I brought him to the dock, this is what he said… He said: “I had no part on what you say I’ve done to hapless man. He’s master of his destiny – he does the worst he can. I did not set the fires that burn – I only tend the flames. Men forged the swords and lit the brands, wrought carnage my name. They conquered in my name.
“The tyrants and oppressors who jockey for control, Are of mankind’s own substance, the product of his soul. The torturers and murderers – in these, I had no part. They spring from man’s perverse desires and his infernal heart. Damn his eternal heart.
“The tyrant is not guilty and the killer has clean hands. They are but pawns of the soul of man and the fruits of his demands. One half of mankind does not think, the other does not care – And the sheep go to the slaughter when the wolf pack leaves the lair. The wolf has left his lair.
“And I am but an image, a figment of your mind; I am but the whipping boy your hide your sins behind. I was here before you came to Earth, I’ll be here when you’re gone. I don’t ask your forgiveness when you’re deserving none! My undeserving son.
“For what you’ve done to you own kind, you’ve done of your own will. If I went away on a holiday, you’d be malignant still. For all you’ve done unto yourselves, you’ve done because you must – A self-destructive legacy to bring yourselves to dust. To render you to dust.
So when you say I want to rule a realm of ash and bones, Let he who is devoid of sin go cast self-righteous stones. I stand upon the sidelines, contemptuous, aloof. I won’t condemn all that you’ve done. I may condone all that you’ve done. I’m quite content with what you’ve done. But cause it? Give me proof!”
That is the land of lost content, I see it shining plain, The happy highways where I went And cannot come again
From The Shropshire Lad. AE Houseman
A few days ago, a Facebook message popped up out of the blue from England. It was from the niece of a friend – the daughter of his sister Jean. Heather wrote that they’d like to hear some stories of our time together. Predictably, as it so often is in these declining years, memories came flooding back.
Dave Shaw died suddenly of a brain hemorrhage in in the town of Pershore, Worcestershire, on Saturday 5th January 2013 at the age of 64. He was farewelled at his beloved Pershore Abbey, an historic church I knew well from many visits to his home, on Wednesday 23rd January. I hadn’t seen him since my visit to England in the summer of 2005, and I learnt of his passing by accident. My mother passed away in Nottingham at the end of January, and as Dave would often drop in and visit her when he passed through Birmingham, I rang him up to tell him of her death. I tried his home many times without answer, so I reckoned I’d contact Pershore Council to get in touch with him. My google inquiries ended up at The Evesham Journal, a local Worcestershire newspaper. And that’s when I learned that he had gone.
Dave was my oldest friend – from when we entered Moseley Grammar School in Birmingham in September 1960.
Moseley Grammar School, Birmingham
Through the Sixties, we came of age together, shared music, frequented folk clubs, did pub crawls through Birmingham, went to Birmingham City football matches (we were Blues fans and not supporters of Aston Villa, the other Brummie team) and hitchhiked to CND rallies and folk festivals. When we left Brum in 1967 and lived in other cities, we visited each other often and always remained in touch. Although I moved to Australia in 1978, I travelled to Pershore every time I returned to England and caught up with him and his family. One time, Dave came out to Australia. There’s a couple of pictures here of that trip, featuring Dave, myself, my ex, Libby, and her sister Mary Jane, who was once a famous singer here in Australia but, sadly, took her own life in 1990. It must’ve been about 1982 as Libby and I separated the following year.
But let’s go back to the days when school chums became friends, the time when you began to address your mates by their christian names and not by surname, as was customary in grammar schools back then. Back to the Sixth Form when we began to “put off childish things” and as much as we could in our provincial and underage circumstances, “got with” the sixties zeitgeist and engaged with the wider world. We read the poetry of the American Beat Poets, our own Mersey Poets and John Lennon. We listened to the music, and particularly Bob Dylan. During school holidays, four of us, Dave, Peter Bussey, Malcom Easthope and myself, would go to the Jug o’ Punch in Digbeth run by the celebrated Ian Campbell Folk Group, to drink bitter, sing along to folk songs and listen to the likes of The Dubliners, Al Steward and Roy Harper, and, sigh, a young, gorgeous and melodious Joni Mitchell. We’d meet once a week at the Golden Eagle in Hill Street to talk politics and poetry, and read our own juvenile verse, before heading off to other pubs in the Birmingham CBD.
In those days, it was cool for teenagers to ride motor scooters – if they could get their parents permission. Several of my pals owned one, including Dave who’d bought a second hand lambretta. I recall this today because it reminded me of one of our better-heeled chums who had a brand new model. His dad was a publican, and one time, he threw a party at his father’s pub in Coventry and a mob of us got a lift there from another student who’d actually owned a car – a rare thing in those days. It came back to me today how that party ended for me and Dave. We both got very drunk, I tripped and sprained my ankle, and as we were driven back to Brum, I was sprawled in the back seat, and Dave, sitting beside me, chucked up. That wasn’t the last time I injured myself whilst inebriated. I can’t recall Dave getting as rat-arsed again.
Later, we graduated to cannabis, and would toke at each other’s homes on weekends – one time, we hired a rowboat in Stratford on Avon and spent a stoned afternoon on the river. So Wind in the Willows. One lovely early summer’s day in 1969 when “we happy few, we band of brothers” camped out in my room at Reading uni, and dropped acid by the lake in nearby Whiteknights Park. It was a strange, trippy day, during which there was a police bust on my hall of residence, and we watched in amaze as people rushed down to the lake and threw many unidentified objects therein.
Fast forward to the eighties …
Though settled in Australia, I visited England often, and always took time out to catch up with Dave in either Birmingham or Pershore. When I was performing at folk clubs in 1987 and 1988, he acted as my local contact person. He also introduced me to his old friend Stan Banks, who’d served in World War II a bomb aimer and photographer on the night raids over Germany. On retirement from school teaching, Stan dedicated himself to the peace movement – which was how Dave came to meet him. Stan shared with us many enthralling and harrowing tales of his flying days.
Dave and I shared a common interest in the environment, cultural heritage and wildlife and we would exchange news on our endeavours. When we’d visit Pershore, he’d always take us out on a ramble or a drive to some out of the way place with an archaic name and take in a few nice country pubs on the way. On one visit, he gave me an instruction sheet for building boxes to shelter micro-bats. We have five of them around our home in northern New South Wales, and several of them are occupied all year around.
Green and progressive in word and deed, and dedicated to Pershore, Dave served as a Town Councillor for twenty-two years. Whenever we’d walk around town together or enter shops and pubs, folk would be always coming up to talk to him. At his funeral, the flag atop the abbey was flown at half-mast for the first time ever whilst fellow councillor Chris Parson praised him as “a giant of a man” – which I found apt but amusing considering Dave was short and slight of stature.
The feature photograph of him with his binoculars and bird book outside the glorious Pershore Abbey is a beautiful way to remember him.
Norman Linsday Gallery and Museum, Faulconbridge, NSW
Dave meets the Boyd Family, Palm Beach, NSW
When Heather read this story, she wrote:
“That is absolutely beautiful! Thank you so much, I hope you had as much pleasure from writing that as I did reading it. I laughed out loud and cried. Lovely. My mum will love this. ❤️ p.s I knew all along he was a stoner!! And with that asthma too? What was he like? I miss him a lot. X”
I replied:
“A lovely bloke. A gentle, laid back soul who was always in a calm, good mood. I recall a time when he visited me in London just as I was about to head off to the Middle East. I’d just had a typhoid shot and was as sick as a dog – and he’d come all this way to see me off. He was so cool about it. What will be will be. Que sera sera! Did you know he was fluent in Spanish. It was one of his passions. He had Portuguese too, and I believe some Russian. I went through a “Russian phase” too in the early seventies, but ended up in the Middle East instead, by accident, and learned Arabic. Still learning. It’s effing difficult if you don’t have a gift for languages, but it keeps the old brain active.
Heather:
Sounds just like the Dave I knew. I am glad I found one person who he went to the Blues with him as I always wondered. Did you know we put some of his ashes at St. Andrews? Yes he was a language genius wasn’t he? Yes he was a language genius I think. Apparently he could get by in about 9 languages but he was very humble about it.
The ‘sixties … memories of London and Ireland
Dave is referenced many times in In That Howling Infinite, though, for privacy reasons, not by name. I also dedicated one of my poetry books to him: Tabula Rasa – Early Days. Below are a couple of extracts that are specifically talking about Dave.
“As I wrote in a recent trawl through my back pages, Song of the Road – my hitchhiking days: “… that motorway from Brum to London was a road well-traveled. In my final year at Moseley Grammar, I’d often hitch down to London for a weekend with pals who’d gone there before. We’d hang out at cheap and cheerful Pollo’s Italian restaurant in Old Compton Street in Soho and the Coach and Horses across the road and go to Cousin’s folk and blues joint in a cellar in nearby Greek Street, and the 101 Jazz Club off Oxford Street. Bunjies folk café and Ronnie Scott’s jazz club were just around the corner. After a meal or a pint, I’d often catch the last tube to the end of the line closest to the M1. I can’t recall how many times I headed off into the night; and there were always drivers on the road at the witching hour. I guess many folks “get the urge for going”, as Joni sang back then, “and they had to go …” And in those generous times, people were happy to offer a lift to a wayfaring stranger – gentle souls who would not leave strays stranded by the dark wayside; lonesome folks seeking company and conversation in the dark night of the soul; curious people wondering why a young man would hitch the highways in the middle of the English night. Yes, Café Pollo was indeed a significant landmark of my London days:. From Ciao Pollo di Soho – the cafe at the end of the M1
“In the summer of 1969, my brother and I and an old chum spent several weeks in an Enniscorthy that looked and felt like it had not changed since Aunty Mary’s day – so well portrayed in the academy award nominated film Brooklyn. Dressed as we were in hippie garb and sporting long locks, we cut incongruous figures in the pubs and at the local hop, and were so unsuccessful hitchhiking around the county that we walked many a long Irish mile. We hiked to Killane, Sean Kelly’s country, and inspired by the song, climbed upwards though heath and hedge to the top of Mount Leinster. We stayed at 13 Patrick Street and spent a lot of time sitting up on Vinegar Hill, beneath its round tower, looking down on the River Slaney and the town beyond. My brother was a keen photographer, and he took the following picture”. Thats Dave on the left, and me on the right. From The Boys of Wexford – memory and memoir
“On Vinegar Hill o’er the pleasant Slaney”
And a final vignette, also featured in Song of the Road,from 1970, I think:
”One glorious English summer I arranged to meet up with my late pal Dave Shaw in Cambridge, where he was attending a summer school at the University, and go to the celebrated Cambridge Folk Festival. I clocked off from my work on the motorway, got home, just ten minutes away – I said we were close! – showered and packed, and headed to the Clock Garage roundabout and put out my thumb. I took the M1 to London’s North Circular, and cut across to the A10 (there was no M11 in those days) and, And, my stars were alignment on this night ride, arrived at Dave’s digs in time for breakfast.I don’t remember much of the festival bill, but American folk diva Odetta was singing, and also, our idol, Roy Harper, England’s high priest of angst.
I had to leave Cambridge around Sunday lunchtime, after Roy’s last set, to return to Brum for work on Monday. Rather than head back down to London, to save time – a quixotic idea when you are hitching – I decided to cut cross-country to connect with the M1 at Newport Pagnell – in those days before GPS and route planners, a cheap, creased road map from WH Smith was the best we had, plus a good sense of direction, fair weather and loads of luck. And such are the movements of the cosmos, that my one and only only ride took me to, yes, what was then the bucolic village of Newport Pagnell. It was one of those summer evenings in England, when the days are long, the air warm and languorous, and the light, luminous. Birds were singing and church bells were ringing for evensong, and in my mind’s ear, I’d like to imagine that cows were lowing and sheep were bleating. One could almost feel an ode coming on. So there I was, once more, at the services on-ramp, hitching a ride to Birmingham , and hopping aboard an old Land Rover for what was the slowest and noisiest ride ever – which took me almost to my door”.
“When we were younger, time appeared to move more slowly than in our later years. It is in our nature to imagine and indeed, re-imagine our salad days as the best of times and the worst of times. But looking back through our back pages, these years was perhaps no better or worse, no more significant or seminal than any era fore or aft. Like objects seen through the rear-view mirror, memories always seem a lot closer and bigger. When I’ve revisited roads and streets where I grew up, playing or sauntering or rolling home with a skinful in the pale moonlight, they are no way as wide, long or spacious as they are to the mind’s eye. Vivid memories can distort time, making you feel that that weren’t that long ago”. From Blue remembered hills – a land of lost contentment
Thursday July 15, 1948, began as another ordinary day for the Ali family in the Palestinian village of Saffuriyya in the Lower Galilee. It was during Ramadan and Umm Taha was busy preparing mulukhiyah for the iftar meal to break the daily fast at sundown. The eldest son, Taha – who was also the family breadwinner – returned after a busy day at the shop. After finishing his meal, he washed his hands and went out to the field to graze two goats he had recently bought. Taha found them to be restless, but couldn’t understand their strange behavior. Suddenly, he heard a strange whirring sound. This sound intensified and then he saw two planes approaching his village. I heard a terrifying boom. I fell to the ground, my knees shaking. Then another boom, and another boom,” he would later recall. Then he heard wailing and saw smoke in the distance, and parents and children scattering in terror. He left the goats and ran toward home to find his family, but found no one there.
Sheren Falah Saab, Haaretz
Taha Muhammad Ali was born in 1931 in the village of Saffuriyya in the Galilee, then in the British Mandate of Palestine, and now, northern Israel. He fled to Lebanon with his family after their village came under heavy bombardment during the 1948 Arab-Israeli War, part of Operation Dekel (the 10-day Israeli military campaign that captured the Lower Galilee),
They were among more than 700,000 Palestinian Arabs – about half of prewar Mandatory Palestine‘s Arab population – who from their homes or were expelled by Jewish militias and, later, the Israeli army.
We did not weep when we were leaving – for we had neither time nor tears and there was no farewell. We did not know at the moment of parting that it was a parting so where would our weeping have come from?”
Unlike most who fled, he returned the following year – to Nazareth, where he lived until his death in 2011. During the 1950s and 1960s, he sold religious souvenirs to pilgrims and tourists during the day to Christian pilgrims, and studied poetry at night. Self-taught, through his readings of classical Arabic literature, including Despite ending his formal studies, Ali continued to be interested in reading and writing. He was self-taught and learned the Quran and Arabic grammar and adored classical Arabic poetry. He read American fiction, and English poetry in translation. He began his poetry career in his forties. His shop in Nazareth, near the Church of the Annunciation, became a meeting place for local and visiting writers. his family settled in Nazareth and he opened a souvenir shop.
In fact, his door was always open to intellectuals and cultural figures of that era. “My shop turned into a literary salon,” he told his biographer. Prominent intellectuals and authors like Rashid Hussein, Emile Habiby and Hanna Abu Hanna visited him regularly. He mentioned that even Mahmoud Darwish, the most celebrated of Palestinian poets, and Samih Al-Qasim, who were high school students at the time, visited him and conversed with him about current events.
The Saffuriya of his youth and the political and social upheavals he endured served as inspiration poetry and fiction that is grounded in everyday experience and driven by a storyteller’s vivid imagination.
“Taha Muhammad Ali writes in a forceful and direct style, with disarming humor and an unflinching, at times painfully honest approach; his poetry’s apparent simplicity and homespun truths conceal the subtle grafting of classical Arabic onto colloquial forms of expression. In Israel, in the West Bank and Gaza, and in Europe and in America, audiences have been powerfully moved his poems of political complexity and humanity. He has published several collections of poetry and is also a short story writer.
In a direct, sometimes humorous, and often devastating style, He combines the personal and political as he details both village life and the upheaval of conflict. Comparing Muhammad Ali to his contemporaries, John Palattella commented in a review in The Nation: “Whereas Darwish and al-Qasim, like most Palestinian poets, have favoured the elevated and ornate rhetoric of fus’ha, or classical Arabic, Muhammad Ali writes non-metrical, unrhymed poems that blend classical fus’ha with colloquial Arabic’.”
Amongst contemporary Palestinian poets, Taha was an atypical. His aversion to performing poems that referred to intifada and resistance raised numerous questions in the hothouse atmosphere Israeli and Palestinian politics and conflict. When asked his opinion on what he called “placard like-poetry”, he declared: “The poetry of the stones is fleeting, and the true poetry that lasts is that which depicts what’s behind the stones and what’s behind the intifada, which shows life brimming with feeling and sensation and pain.”
His collections in English include Never Mind: Twenty Poems and a Story (2000) and So What: New and Selected Poems, 1971–2005 (2006), both translated by Gabriel Levin, Yahya Hijazi, and Peter Cole. He traveled to read his work in Europe and the United States, including at the Geraldine R. Dodge Poetry Festival. In 2009, the writer Adina Hoffman published a biography, My Happiness Bears No Relation to Happiness: A Poet’s Life in the Palestinian Century, which won the 2010 Jewish Quarterly Wingate Prize.
Meeting at an airport
I made my first acquaintance with the poetry of Taha Muhammad Ali with a poem about a chance meeting at an airport. Aware of his background, and the tumultuous times he lived through, it spoke to me on many levels.
In common with much contemporary Palestinian poetry, it portrays thepain of separation and of leaving home – and of exile. It recounts a chance meeting four decades after an event which we are to assume is al Nakba.
Two friends are taking their customary walk to a village spring. The language suggests that they are more than friends – he recalls how is his companion surprises with him questions that send his blood rushing. He answers and she laughs – her laughter startles the starlings into flight,
They part or are parted – we do not know which – and do not see each other again until forty years later when they just chance to bump into each other at a foreign airport in what we assume from the Arabic title of the poem, liqa’ fi matar mahayid , is a “neutral” or “friendly” airport. Are they just travelers or is his old friend an exile? Again we are not told – although Taha did not leave what became Israel, living in Nazareth all his life, so we assume it was the latter.
He is absolutely shocked to encounter his old friend. “Ya lalmuhal min al muhali!” he exclaims, using the a high Arabic idiom equivalent to “Oh my god!
“ or “wow!” He doesn’t think she recognizes him – but it is not so. She asks the very same questions she asked all those years ago. Again his blood rushes. He gives the very same answer. But this time, she does not laugh – instead, she weeps, and there no birds to sing, but invisible, heartbroken doves.
And so, two people meet at last and harbour the same feelings for each other as the first time they met long, long ago. But in life as in art, reconnecting with a loved one does not just bring joy – it can also bring sorrow and regret. It is a timeless theme – think Rick and Lisa reunited unexpectedly and ultimately temporarily in the “gin joint” in Casablanca.
I could go out on a limb and suggest that the lost love encountered at the airport could also be construed as a metaphor for the lost Palestine.
The Israeli newspaper Haaretz provides some further insight into the poem:
“He was in love with his cousin Amira, who would later become a central figure in his poems. He wanted to ask for her hand in marriage, but decided to wait until he was financially stable and had the dowry to offer her family.
On that fateful night when Saffuriyya was bombed as, his hopes of marrying Amira were shattered. He continued to carry her in his heart after his family fled to Lebanon, and he got to meet her again in the refugee camp. However, after a year, Ali’s father decided to try his luck and returned to Israel with his children. Thus, Ali’s love for Amira was buried on the day the family left the Ein el-Hilweh refugee camp.
We were not awake, and we did not fall asleep
on the night we left, that night was not a night for us
No fire was lit, no moon rose
He is not crying over the ruins. Rather, he writes about parting from his beloved Amira. There’s room for sorrow over lives that were cut short, but he always roots it in the personal, without assimilating it into the collective pain.”
Meeting at an Airport follows, in English and in Arabic, together with a selection of Taha Muhammed Ali’s poems – all translated by Peter Cole, Yahya Hijazi and Gabriel Levin
Arab poets and exile
A million spaces in the earth to fill, here’s a generation waiting still – we’ve got year after year to kill, but there’s no going home. Steve Knightley, Exile
Historical and social memory, and indeed, remembrance and commemoration, and their opposites, forgetfulness and letting go, are intrinsic to our human story … For the exile, the refugee, the involuntary migrant, theirs’ is a yearning, a longing, an absence of belonging – an existential homelessness and rootlessness, that is almost like a phantom limb. It is a bereavement, a loss, a spiritual and cultural death that could qualifies for descriptors drawn from Elisabeth Kübler-Ross’ Five Stages of Grief: (Shock and disbelief), denial, anger, bargaining, depression, (testing) and acceptance.
One way the refugee can assuage his or her anguish is through writing. Chicago librarian and writer Leslie Williams notes: “The literature of exile encompasses bitter, impassioned indictments of unjust, inhumane regimes, but also includes wrenching melancholy for lost homes, lost families, and a lost sense of belonging. The pervasive feeling of rootlessness, of never being quite at home echoes across centuries of exile writing” (read here her The Literature of Exile).
See also, No Going Home – the refugee’s journey (1) and Hejira – the refugee’s journey (2)
You asked me once,
on our way back
from the midmorning
trip to the spring:
“What do you hate,
and who do you love?”
And I answered,
from behind the eyelashes
of my surprise,
my blood rushing
like the shadow
cast by a cloud of starlings:
“I hate departure . . .
I love the spring
and the path to the spring,
and I worship the middle
hours of morning.”
And you laughed . . .
and the almond tree blossomed
and the thicket grew loud with nightingales.
. . . A question
now four decades old:
I salute that question’s answer;
and an answer
as old as your departure;
I salute that answer’s question . . .
And today,
it’s preposterous,
here we are at a friendly airport
by the slimmest of chances,
and we meet.
Ah, Lord!
we meet.
And here you are
asking—again,
it’s absolutely preposterous—
I recognized you
but you didn’t recognize me.
“Is it you?!”
But you wouldn’t believe it.
And suddenly
you burst out and asked:
“If you’re really you,
What do you hate
and who do you love?!”
And I answered—
my blood
fleeing the hall,
rushing in me
like the shadow
cast by a cloud of starlings:
“I hate departure,
and I love the spring,
and the path to the spring,
and I worship the middle
hours of morning.”
And you wept,
and flowers bowed their heads,
and doves in the silk of their sorrow stumbled.
From So What New & Selected Poems, 1971-2005
لقاء في مطار محايد
طه محمد علي
سألتني
وكنا من ضُحى النبعِ
مرة
عائديْْنْ
‘ماذا تكره
ومن تُحِب؟
سؤآلٌ
عُمرُه الآن عقودٌ أربعةْ
يا للْجواب من السؤالْ
وجوابٌ
عُمرُه عُمرُ رحيلك
يا لَلْسؤآلِ من الجوابْ
واليومَ
يا للْمُحالْ
ها نحن في مطارٍ مُحايِِدْ
على شفا صُدفةٍ
نَلتَقي
وّيحيْ…؟
نلتقي…؟
وها أنتِ
تُعيدين السؤالْ؟
يا لَلْمُحالِ من المُحالِْ
عَرَفْتُكِ
ولم تعرفيني
‘أهذا أنتَ؟
ولم تُصَدِّقي
وفجأة
انفجرتِ تسألين
‘إن كنتَ أنتَ أنتَ
فماذا تكره
ومن تُحبْ؟
At times … I wish
I could meet in a duel
the man who killed my father
and razed our home,
expelling me
into
a narrow country.
And if he killed me,
I’d rest at last,
and if I were ready—
I would take my revenge!
But if it came to light,
when my rival appeared,
that he had a mother
waiting for him,
or a father who’d put
his right hand over
the heart’s place in his chest
whenever his son was late
even by just a quarter-hour
for a meeting they’d set—
then I would not kill him,
even if I could.
Likewise … I
would not murder him
if it were soon made clear
that he had a brother or sisters
who loved him and constantly longed to see him.
Or if he had a wife to greet him
and children who
couldn’t bear his absence
and whom his gifts would thrill.
Or if he had
friends or companions,
neighbors he knew
or allies from prison
or a hospital room,
or classmates from his school …
asking about him
and sending him regards.
But if he turned
out to be on his own—
cut off like a branch from a tree—
without a mother or father,
with neither a brother nor sister,
wifeless, without a child,
and without kin or neighbors or friends,
colleagues or companions,
then I’d add not a thing to his pain
within that aloneness—
not the torment of death,
and not the sorrow of passing away.
Instead I’d be content
to ignore him when I passed him by
on the street—as I
convinced myself
that paying him no attention
in itself was a kind of revenge.
Poetry hides
somewhere
behind the night of words
behind the clouds of hearing,
across the dark of sight,
and beyond the dusk of music
that’s hidden and revealed.
But where is it concealed?
And how could I
possibly know
when I am
barely able,
by the light of day,
to find my pencil?
from SO WHAT New & Selected Poems, 1971-2005, Copper Canyon Press, 2006,
Empty Words
Ah, little notebook,
yellow as a spike of wheat
and still as a face,
I’ve protected you
from dampness and rodents
and entrusted you with
my sadness and fear,
and my dreams—
though in exchange I’ve gotten from you
only disobedience and betrayal…
For otherwise where are the words
that would have me saying:
If only I were a rock on a hill…
unable to see or hear,
be sad or suffer!
And where is the passage
whose tenor is this:
I wish I could be
a rock on a hill
which the young men
from Hebron explode
and offer as a gift to Jerusalem’s children,
ammunition for their palms and slings!
And where is the passage
in which I wanted
to be a rock on a hill
gazing. out from on high
hundreds of years from now
over hordes ,.
of masked liberators!
And where is what belongs
to my dream of being
a rock on a hill
along the Carmel—
where I call on the source of my sadness,
gazing out over the waves
and thinking of her
to whom I bade
farewell at the harbor pier
in Haifa forty years ago
and still…
I await her return
one evening
with the doves of the sea.
Is it fair, little notebook,
yellow as a spike of wheat
and still as a face,
that you conceal
what you cancel and erase,
simply because it consists of empty words—
which frighten no enemy
and offer no hope to a friend?
From Never Mind – Twenty Poems and a Story,
Twigs
Neither music,
fame, nor wealth,
not even poetry itself,
could provide consolation
for life’s brevity,
or the fact that King Lear
is a mere eighty pages long and comes to an end,
and for the thought that one might suffer greatly
on account of a rebellious child.
My love for you
is what’s magnificent,
but I, you, and the others,
most likely,
are ordinary people.
My poem
goes beyond poetry
because you
exist
Abd al Hadi Fights a Superpower
In his life
he neither wrote nor read.
In his life he
didn’t cut down a single tree,
didn’t slit the throat
of a single calf.
In his life he did not speak
of the New York Times
behind its back,
didn’t raise
his voice to a soul
except in his saying:
“Come in, please,
by God, you can’t refuse.”
Nevertheless—
his case is hopeless,
his situation
desperate.
His God-given rights are a grain of salt
tossed into the sea.
Ladies and gentlemen of the jury:
about his enemies
my client knows not a thing.
And I can assure you,
were he to encounter
the entire crew
of the aircraft carrier Enterprise,
he’d serve them eggs
sunny-side up,
and labneh
fresh from the bag.
The Palestinian poet who never lamented the occupied land
The play ‘Taha’ offers a glimpse into the life of a poet who eschewed politics, preferring to write about personal pain and lost masculinity
The late poet Taha Muhammad Ali. Nina Subin
Thursday July 15, 1948, began as another ordinary day for the Ali family in the Palestinian village of Saffuriyya in the Lower Galilee. It was during Ramadan and Umm Taha was busy preparing mulukhiyah for the iftar meal to break the daily fast at sundown.
The eldest son, Taha – who was also the family breadwinner – returned after a busy day at the shop. After finishing his meal, he washed his hands and went out to the field to graze two goats he had recently bought. Taha found them to be restless, but couldn’t understand their strange behavior. Suddenly, he heard a strange whirring sound. This sound intensified and then he saw two planes approaching his village.
“I heard a terrifying boom. I fell to the ground, my knees shaking. Then another boom, and another boom,” he would later recall. Then he heard wailing and saw smoke in the distance, and parents and children scattering in terror. He left the goats and ran toward home to find his family, but found no one there.
The story of Taha, from an eponymous play that was recently published in Hebrew (as part of the Maktoob project that translates Arabic literature into Hebrew), is based on the life of the Palestinian poet Taha Muhammad Ali, who died in 2011 at age 80.
The village of Saffuriyya in the lower Galilee in 1948. נדב מן, ביתמונה. מ?
Amer Hlehel, the actor and playwright who wrote the play, takes the reader on a reflective journey through the poet’s personal life: from his escape from Saffuriyya as a teenager in 1948 following the occupation of the village, through his adaptation to life in a Lebanese refugee camp, to his return to Israel, which was fraught with dangers.
The play was first produced in 2014 and performed in Arabic at the Al-Midan Theater in Haifa. It was subsequently staged in Nazareth, Jerusalem and Ramallah, and was well-received by Palestinians on both sides of the Green Line. In the play, Hlehel incorporates quotes from things Ali said in interviews and in his meetings with him, as well as excerpts from his poetry.
Writing about leaving their Galilee village, Ali writes: “We did not weep / when we were leaving – for we had neither / time nor tears / and there was no farewell. / We did not know / at the moment of parting / that it was a parting / so where would our weeping / have come from?”
In the play, just as in real life, Ali does not manage to overcome the personal pain, but confronts it by writing poetry. He does not weep for the stones of the house that were destroyed, nor for the land that was occupied, but for the love that he lost and the life that ceased to exist.
Taha Muhammad Ali. ‘He is not crying over the ruins. Rather, he writes about parting from his beloved Amira. There’s room for sorrow over lives that were cut short, but he always roots it in the personal, without assimilating it into the collective pain. Alex Levac
Taha Muhammad Ali was born in Saffuriyya in 1931. At age 10, he stopped his formal education in order to help his father support the family. Later, he opened a grocery store in the village, as described by Hlehel in the play: “I opened the diwan [central room] in our house, which overlooked the main road. I filled the shelves with cigarettes and chocolate and halvah and chewing gum and pens, and the crown jewel was a block of ice inside a bowl with bottles of orange-, apple- and lemon-flavored soda.”
Despite ending his formal studies, Ali continued to be interested in reading and writing. He was self-taught and learned the Quran and Arabic grammar thanks to his neighbor, il-Hajj Taher. “He had a shelf of books and called it a library: the people of the village would read and return them,” he recounted in an interview with Adina Hoffman, who wrote the biography of Ali’s life, “My Happiness Bears No Relation to Happiness: A Poet’s Life in the Palestinian Century.”
It was through Taher’s books that Ali learned about the poets of the Umayyad and Abbasid dynasties (between the seventh and eighth centuries, and eighth and 13th centuries, respectively), and fell in love with classical Arabic poetry.
The sacrifices Ali made on behalf of his family reveal a generous and reserved personality. He was in love with his cousin Amira, who would later become a central figure in his poems. He wanted to ask for her hand in marriage, but decided to wait until he was financially stable and had the dowry to offer her family.
Dr. Daniel Behar. ‘Taha Muhammad Ali had a talent to separate himself from the bitterness and political performance that surrounded Palestinian poetry.’runo Charbit/The Hebrew Universe
On that fateful night when Saffuriyya was bombed as part of Operation Dekel (the 10-day Israeli military operation that captured the Lower Galilee), his hopes of marrying Amira were shattered. He continued to carry her in his heart after his family fled to Lebanon, and he got to meet her again in the refugee camp. However, after a year, Ali’s father decided to try his luck and returned to Israel with his children. Thus, Ali’s love for Amira was buried on the day the family left the Ein el-Hilweh refugee camp.
In an interview with Hoffman, Ali described that moment as really tough. He immortalized this moment in a poem that is quoted in the play: “We were not awake, and we did not fall asleep / on the night we left, that night was not a night for us / No fire was lit, no moon rose.”
“Taha Muhammad Ali dedicates space to personal sadness in his poetry,”says Daniel Behar, a lecturer in modern Arabic literature at the Hebrew University who translated Ali’s poems for the play. He stresses that Ali’s poems distance themselves from performative-collective lamentation. “He is not crying over the ruins. Rather, he writes about parting from his beloved Amira. There’s room for sorrow over lives that were cut short, but he always roots it in the personal, without assimilating it into the collective pain.”
According to Behar, Ali decided to write in such a personal style as he was not writing with a specific audience in mind.
Ali confirmed these observations while speaking with Hoffman, when he said he would throw his writing “in the drawer and forget about it.” He said he had never thought of becoming a poet or publishing his poems, even though he was interested in culture and literature. After his return from Lebanon in the fall of 1949, his family settled in Nazareth and he opened a souvenir shop. In fact, his door was always open to intellectuals and cultural figures of that era.
‘As I read his poems, I felt it was important for the Hebrew audience to get to know him,’ says Guy Elhanan, a theater director, actor and translator of the play ‘Taha.Noa Elhannan
“My shop turned into a literary salon,” he told Hoffman. Prominent intellectuals and authors like Rashid Hussein, Emile Habiby and Hanna Abu Hanna visited him regularly. He mentioned that even Mahmoud Darwish and Samih Al-Qasim, who were high school students at the time, visited him and conversed with him about current events.
But, adds Behar, Ali’s poetry was different from the works of well-known Palestinian poets like Darwish, Tawfiq Zayyad and Al-Qasim, who often focused on Palestinian heroism. “Taha Muhammad Ali had a talent to separate himself from the bitterness and political performance that surrounded Palestinian poetry,” he notes. According to Behar, “his writing was intended to fill the silence of the archive for marginalized forms of life and nameless experiences, and whose voices were absent from written history.”
In 1983, Ali published his first collection of poems, “The Fourth Qasida [ode] and Ten More Poems.” This happened only after his friends urged him to publish his work. He later published a collection of stories, “Fooling the Killers” (1989), and three more collections of poetry: “Fire in the Convent Garden” (1992), “God, Caliph and the Boy with Colorful Butterflies” (2002) and “No More” (2005). A collection of his poems was published in Hebrew in 2006, translated by the author and poet Anton Shammas (published by Andalus).
The cover of Hebrew translation of the play ‘Taha.Maktub / Fares Shehada
“As I read his poems, I felt it was important for the Hebrew audience to get to know him,” says Guy Elhanan, a theater director, actor and translator of the play “Taha.”
One of the key motifs in Ali’s poetry was his native village. “Saffuriyya was dear to his heart and his love for it stood out in all his poems,” says Behar. Taha’s brother, Amin Muhammad Ali, said in an interview with the Al-Raed channel in 2016 that “the village never left him.” He added that his brother documented the small and large details in Saffuriyya throughout his life – in conversations with people, in his poetry, both day and night. The Palestinian poet Naji Daher from Nazareth added in an interview with the same Arab channel that “Ali carried Saffuriyya in his heart everywhere, and he also succeeded in conveying it to the world at large.”
The poem “Abd el-Hadi Fights a Superpower,” written by Ali in 1973 and published in Hebrew in 2006, embodies his approach as a poet. He does not write about Palestinian heroes seeking revenge against the Jews, nor does he try to conceal the sense of defeat and lost masculinity. In the poem, he portrays the character of the village fool Abd el-Hadi as an illiterate person who does not even know what The New York Times is. Between the lines, Ali reveals parts of himself, drawing the reader closer to him. “You can see aspects of Taha Muhammad Ali in the character of Abd el-Hadi – he has a joy and love of life that punctures the sadness and gives value to human love,” says Behar.
Ali concludes the poem with a description of Abd el-Hadi’s forgiving behavior: “Ladies and gentlemen of the jury / about his enemies my client knows not a thing / And I can assure you / were he to encounter the entire crew of the aircraft carrier Enterprise / he’d serve them eggs sunny-side up / and labneh fresh from the bag.”
According to Behar, in this poem (and others), Ali plays with words and sounds that were not customary in Palestinian poetry, offering sharp transitions between dialect and a high literary language.
In 2007, in an interview with the U.S. television program “PBS NewsHour,” Ali talked about his attempts to write poetry in the years after he left school. “This went together, reading and trying to write,” he said. “You have to take the pen and to take a paper, and to be ready to wait for it – otherwise it will come and you are not there. As a writer, you have to train yourself to write. Write anything, but everyday.”
Eight months after the outbreak of the second intifada at the start of the 2000s, Ali was published in London. He and Al-Qasim gave poetry readings to audiences in the British capital. Al-Qasim read his “Poem of the Intifada,” an indictment of those he called “Occupiers Who Do Not Read.” Ali, on the other hand, read distinctly different poems. “None of the poems he read contained a single direct reference to the uprising, to the ‘struggle,’ to children or to stones,” Hoffman wrote in her book.
His aversion to performing poems that referred to the intifada raised numerous questions. Hoffman noted in her book that he was indeed asked his opinion on what she called “placard like poetry.”
“The poetry of the stones is fleeting,” he declared, “and the true poetry that lasts is that which depicts what’s behind the stones and what’s behind the intifada, which shows life brimming with feeling and sensation and pain.”
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.
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.
Sacrifice -Rayner Hoff, Anzac Memorial, Hyde Park, Sydney
War poet Wilfred Owen: sweet and honourable lie
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 hatredThe 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 vengeanceThe hungry self of Nation shall burst in a violence of fury from its own shameless feedingFor it has made the world its food …
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.
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.”
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.”
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
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.”
In That Howling Infinite 
Gregory Peck as Captain Ahab