Posts Tagged ‘life-writing’

How did they bury them all?

August 4, 2014

Wild Poppies - photo by Liz Mathews

Wild poppies – photo by Liz Mathews

The centenary of the Great War’s outbreak is being marked in many ways; two projects have particularly moved me.

The first is Neil Astley’s new Bloodaxe anthology of war poems: The Hundred Years’ War, which includes this poem by Valentine Ackland, which I suggested for the collection.

How did they bury them all, who died in the war?

From near and far the tidy packed masses were neatly

Disposed, laid straight, boxed and buried; in a soil

Crowded already and crammed with the old wars’

Great litter of lives spilt. And they buried them all

As the gardener after the autumn fall

Digs in the apples to rot. So the summer’s spoil

Wastes down to mud and the sweetness goes rotten.

They buried them all, and the trees have already forgotten.

(Valentine Ackland, published in Journey from Winter: Selected Poems of Valentine Ackland, edited by Frances Bingham, Carcanet, 2008.)

I’m very pleased Neil chose to include the poem, which is such a powerful statement about the waste and mortal cost of all wars. I read the poem at the pre-launch of the book at Lauderdale House in Highgate, and felt its power to move the audience as I did so.

The reading brought out the breadth of the Bloodaxe anthology, and its global scope; among the highlights Stephen Watts read Isaac Rosenberg’s Louse Hunting brilliantly; Andrew Motion read some of his recent ‘found poems’ taken from soldiers’ own accounts of war; David Constantine read a very moving poem about his grandmother Soldiering On; and Imtiaz Dharker read her superb poem A Century Later, about the Taliban attempt on schoolgirl Malala Yousafzai’s life, which concludes:

A murmur, a swarm. Behind her, one by one,

the schoolgirls are standing up

to take their places in the front line.

I also enjoyed hearing Dawood Azami read some of his poems in the original Pashto, as well as in translation, and it was a pleasure to hear Neil Astley read B.G.Bonallack’s The Retreat from Dunkirk, also in this wide-ranging anthology, which is one of the texts lettered on Liz Mathews’ monumental artist’s book Thames to Dunkirk.

This is an enormous collection; it contains six hundred pages of poetry, some familiar and necessary (Wilfred Owen’s Anthem for Doomed Youth, from the First World War, Antonio Machado’s The crime was in Granada, about the killing of Lorca during the Spanish Civil War, Martin Niemöller’s chilling First they came for the Jews… from the Second World War), also much that’s less well known. There’s a striking amount of work in translation, so that war is seen from many perspectives – not just by Germans in the opposite trenches, but also contemporary Taliban fighters. There are many different voices – witnesses, combatants, conscientious objectors, civilians caught up in war, refugees and prisoners, nurses and children.

Women are well-represented, considering the inevitable surplus of soldier-poems in the era the book covers; Anna Akhmatova writing during the seige of Leningrad, Denise Levertov hearing the guns of Dunkirk, Muriel Rukeyser in Spain, Nelly Sachs remembering the Holocaust – they’re all here. I found particularly moving the Polish poet Anna Swir’s poem He Was Lucky (which Neil Astley also read):

The old man

leaves his house, carries books.

A German soldier snatches his books

flings them in the mud.

 

The old man picks them up,

the soldier hits him in the face.

The old man falls,

the soldier kicks him and walks away.

 

The old man

lies in mud and blood.

Under him he feels

the books.

So, this is an important anthology, and a tragically contemporary one. Although there’s a reason other than shock value for every poem to be there, many of them are horrific and disturbing. To me, those that are most successful are those – like Valentine Ackland’s – that lament or protest or bear witness or speak defiance imaginatively, rather then by direct reportage. But this book rightly represents every kind of poetry-writing on war.

Neil Astley’s introduction notes ‘individual voices bearing witness to our shared humanity’, but also a disastrous inability to learn the lessons of history. “As Germany’s Günter Kunert writes in his poem On Certain Survivors, in which a man is dragged out from the debris of his shelled house: ‘He shook himself/ And said/ Never again.// At least, not right away.’”

 

 

Tom postcard

World War I postcard, with a photograph of my great-uncle T.H. Duffin among the portraits of Heroes of York.

I’ve also been involved in the Imperial War Museum’s centenary project Lives of the First World War, which is to be a permanent digital memorial, recording the experiences of millions of people during the war.  Like the museum itself, the object is not to glorify war, but to acknowledge the contribution of the many people who were involved in the conflict.

I’ve been adding details to the life-story of one Thomas Howard Duffin, my grandmother’s older brother, who died in the Dardanelles campaign. Since he was killed when he was only 18, when my grandmother was still a little girl, half a century before I was born, I’ve never really thought of him as a great-uncle, only as her favourite brother Tom.

Duffin, Thomas Howard - Version 2

Tom Duffin’s photograph from The King’s Book, York Minster          (Reproduced by kind permission of the Chapter of York)

Because he was a casualty of war, it’s easier to find out what happened to Tom than to trace the war experiences of his older brother Reggie, who survived. Poor Tom joined up as soon as volunteers were asked for, in August 1914, when he must have been under age, and trained with a battalion (9th, West Yorkshire Regiment) of Kitchener’s New Army. He and his comrades inhabit their historical moment, eagerly enrolling to defend (as the official message of sympathy had it) ‘the noblest of causes’, with all the naive arrogance and enthusiasm of youth, only to find themselves fighting an unknown enemy on foreign ground, for a theoretical tactical advantage which even at the time was considered by many to be a mirage.

This was Gallipoli, the Turkish peninsula not so far from Troy, which the Mediterranean Expeditionary Force attempted to capture. There, they faced extreme problems of missing equipment, bad supplies, no water, inefficient reconnaisance, chaotic planning and a bizarre over-optimism. Muddling through was one of the Empire’s specialities, however, and these new soldiers fought ‘with great pluck and grit’. Tom’s battalion received a special mention in the commander’s despatch on the landing at Suvla Bay, which remarks that they ‘deserve great credit for the way [the assault] was delivered in the inky darkness of the night’. (Sir Ian Hamilton’s Third Gallipoli Despatch)

After going through three months of intense trench warfare in extreme weather conditions, under almost constant bombardment, Tom fell ill of dysentery – which killed more troops than the actual fighting. Ambulance trains took some of the sick and wounded to hospital in Cairo, and it seems Tom was one of these lucky ones. (Many others died on the hospital ships, and were buried at sea, or died on the battlefield without ever reaching hospital.)

Sister Margaret B. Weatherup, of the Giza Red Cross Hospital in Cairo, wrote home: ‘I don’t know how many cases are in now – wards, balconies and corridors are full. The Dardanelles fighting has been very much worse than in France, at least the men say so. When one batch of stretcher cases came in we were not expecting them. A great many of the elite of Cairo, who were dining at their clubs when the news spread that an ambulance train with very serious cases had arrived, just came out to the hospital as they were, and carried the stretchers in. It looked strange to see four men in evening dress carrying the stretchers. Lord Edward Cecil was one of the helpers. It is not long since he lost his only son.’ (British Journal of Nursing, September 18, 1915.)

A VAD ambulance driver, Alice Christabel Remington, in an IWM interview, recalled: ‘The men that had dysentery, poor things, that was really terrible because they couldn’t be looked after and they were in a shocking state. I used to feel so sorry – they were so ashamed of themselves, they couldn’t help it, but sometimes the smell was simply frightful… The ones that had trench fever and the ones that had dysentery were the most depressed.’ (quoted in The Imperial War Museum Book of the First World War, Malcolm Brown.)

Tom died on 29th November, 1915, and is buried in the Cairo war memorial cemetery. Numbered among the disastrous casualties of the Dardanelles campaign – abandoned a few weeks after Tom died, when the army evacuated the peninsula – these horrible trench-illness deaths seem singularly futile. Like ‘friendly fire’ losses (then called ‘misdirected fire’) it’s hard to envisage such accidental deaths as ‘sacrifices for… Freedom and Justice’, or to make them seem heroic. It seems so wasteful and pointless for Tom to have not had a life, when his death didn’t serve any possible purpose.

Although I’d always vaguely known that he died at Gallipoli, now that I know what happened to Tom in a little more detail I feel – belatedly – as well as a distant sadness, the anger.

A kind of translation

August 10, 2010

Shadowselves – photograph by Liz Mathews

I’ve been reading a lot of books in translation recently, in one of those enjoyable chains of association that’s set off by chance, one thing leading to another, with new discoveries as well as re-discoveries of new contexts for things read separately before.  The problems (and odd advantages) of translation are perennial provokers of thought and discussion, but there’s no arguing about the different light that another literature can cast even on familiar ideas.

Fernando Pessoa’s The Book of Disquiet, for example, in a lyrical translation by Margaret Jull Costa, is referenced by that other much-translated Portuguese writer José Saramago, in his The Year of the Death of Ricardo Reis, which I haven’t yet read; I’m still on The Elephant’s Journey.  (After Saramago’s recent death, I was moved to read an account of his funeral in Lisbon, attended by  tens of thousands of people, many of them carrying his books.  There was a photo of a book held in the air like a flag, then the inevitable editorial comment that it was hard to imagine a similar outpouring of grief for a British writer – or any other kind of artist, you might add.)

Reis was one of Pessoa’s personae; in the Book of Disquiet he writes as Bernardo Soares.  The introduction explains that he had over 72 distinct ‘heteronyms’ which he used when writing the works which were largely unpublished in his lifetime.  Externally, Soares appears much the same as the writer, but Pessoa found the character different enough to merit its own name; ‘It’s me minus reason and affectivity’.  (Completely other, then…)  These complexities and levels of irony will be discussed and unravelled by scholars, perhaps in perpetuity, but at a simpler level the proliferation of authorial personae perhaps gives a clue to the crucial difference between the writer and their work, which seems almost imperceptible to many otherwise sophisticated readers.

Before going any further, I must confess here that I have read a review of a book by someone I know and immediately remarked that it sounded very autobiographical, before I’d even read it.  (But at least I can differentiate enough to understand that because murder is committed in the book, it doesn’t mean the writer is a killer.)  Any writer must be aware that their audience – if they are lucky enough to have one – contains a proportion of people who would simply lump all of Pessoa’s 72 heteronyms into one authorial autobiography, unmitigated by art.  I first encountered this long ago, at a literary festival, where I read a short story of a very lyrical and fantastic kind, then had an impertinent audience question about the ‘revealing’ nature of the piece.  It really hadn’t occurred to me that the poetic tale of archetypes (mermaids, gypsies at al) could be taken as any kind of personal confession.

This incident has recurred in various manifestations; one which I found disturbing was when a reader questioned me about the dedication in my long poem MOTHERTONGUE – apparently my relationship to the dedicatee (and who they were) made a difference to whether the work would ‘emotionally ring true’.  The implication of this is that a writer’s literal circumstances are what make the work ‘ring true’ or not, rather than some element within the writing and – indeed –  that they can only write about their actual life experience with any emotional conviction.  So, no writing divorces for the happily united, or vice versa; no observation, imagination, empathy, or even research? 

Then, imaginative works are open to the blunt interpretations of cod-pyschology, as though the artist is innocent of all such readings and might ‘accidentally’ reveal their secrets. Recently, in a very obvious train of thought onwards from news about my forthcoming novel, a relation remarked that – in a book he’d actually read – the hero was obviously the author’s fantasy-self, since a succession of beautiful women ‘couldn’t wait to get into bed with him’.  (I could only assure him that my novel is just like that.)  I comfort myself with the fact that The Principle of Camouflage has three very strange narrators, who couldn’t  – surely – be interpreted as anybody’s fantasy selves; not nearly as close as Bernardo Soares to Fernando Pessoa. The lowering part of this is the knowledge that some readers – perhaps the most avid – skim through books for scandal, intimate details, possible revelations, ignoring the dull truth that it’s a little more subtle than that. 

The moment comes when every artist has to accept this as a hazard of the work, and just get on with it.  I was half appalled, half encouraged when I read Maureen Duffy’s introduction to her first novel That’s How It Was – even this brilliant book has suffered from its own absolute success.  Since the author described it as directly autobiographical, it seems that some readers failed to perceive its superb technical command, and read it as an artless outpouring of youthful emotion.  She writes of these undervaluing admirers who have ‘failed to grasp its purpose and structure…[who] believe too that its vividness and intensity were a welling up from memory rather than the deliberate exercise of style’.

If it’s a kind of translation, from lived experience to art, maybe an awareness of the translating process is crucial to the appreciation of the work. And perhaps, for those who risk exposing their imaginations in print, the idea of the 72 alternative authors interposing themselves between the life and the work, will prove to be a virtual guard of honour.
 .

Breaking Bread with the Dead

March 31, 2010


Blossom and light – Photo by Liz Mathews

‘Art is the way we break bread with the dead’: W.H.Auden’s line perfectly expresses the close contact the reader or audience can experience with an artist who’s no longer living, but whose creative mind is still vital in their work.

It also, I think, gives an insight into the possible function of literary or artistic biography. Writers of this sort of book become used to remarks about the pointlessness of such life-writing, which are rarely based on the defensible critical position of considering that the work should stand absolutely alone, but generally express a more nebulous disapproval (and perhaps even some intellectual snobbery). These negative comments are countered by the assurances from some readers that discussion of the work in the context of the life has made it accessible/ comprehensible/ sympathetic for the first time.

As a writer who must plead guilty to having written about about a poet’s life as well as her work, I can understand both attitudes. Sometimes, after encountering over-simplified life-to-work readings, or particularly gossipy prurience, I’ve felt a strong revulsion against the whole idea. But on the occasions when I’ve seen somebody’s appreciation of a poem transformed – even to the extent where their attitude to poetry itself is radically altered – then the whole process seems more than justified.

Of course, it can illuminate a poem to know where, when, under what circumstances it was written. It can even sometimes transform what was obscure into a work that reveals. But – even if it does refer to autobiographical events – a poem is a separate entity with its own existence, which would continue even if virtually all knowledge of its author or context were lost, like a papyrus fragment bearing a line of Sappho.

Problems only begin to arise with the over-literal matching up of events in a life with its works of art, rather as though the artist is a sausage-machine; pour experiences in, and artworks pop out. This kind of interpretation is a complete denial of the creative process. The transformative alchemy, the fire of creation, radically alters the raw material into a different element, whether that initial material has been found in the maker’s actual experience or some remote landscape of the mind.

At its worst, the life and work study devalues the idea of art itself by ransacking works of creation merely for their clues to life-drama. This superficial approach leaves the more subtle interrelations between experience and creation unexplored, which, as a reader, I do find pointless. It’s much better to rely on one’s own perception than have the poems (or whatever) reduced to news-cuttings in this way. But, at its best, an artist’s biography may enable that breaking of bread through art; make it more possible by a work of interpretation which brings us close enough to contemplate the poetic ideal of feasting together. (What it can’t ever do, clearly, is replace that primary experience.)

Whether any such a book fits either of these descriptions depends partly on the way it is read; the interests of the reader as well as the intentions of the author. The reader who skims through for scandal can defeat the best intentions of the interpretative writer, while those who (while the life story may of course amuse or amaze) discover some common ground, are closer to the feast.