Ww1

Friday

The Spectator

Germany’s forgotten war

Britain is braced for the anniversary of the outbreak of world war one. Memorials and events are taking place across the country this weekend. Not so in Germany, where reticence reigns.  This week’s Spectator features a piece by Antonia Oettingen, a descendant of Karl Max von Lichnowsky, the Kaiser’s ambassador in London from 1912-1914. She explains why Germany is shy about the Great War. ‘In 1912 Kaiser Wilhelm had an ambitious task for my great-great-great uncle Karl Max von Lichnowsky. He sent him to London to be our ambassador there, with orders to try to ensure Britain’s neutrality (at the very least, in cases of conflict with Russia and France).

Matt Ridley

What about August 1714? 300 years since the Hanoverian accession

The centenary of the start of the first world war is getting much more attention than the tricentenary of the accession of George I, which also falls this week. As far as I can tell, no new biographies of the first Hanoverian king are imminent, whereas books on the great war are pouring forth. You can see why. The replacement of a plump, if benign, queen by an ‘obstinate and humdrum German martinet with dull brains and coarse tastes’ (Winston Churchill’s words), who presided over a huge financial scandal and died unlamented after a short reign, need hardly detain us. But forget the royals and focus on what we might

Wednesday

The Spectator

‘Unity at home and strength abroad’. Britain prepares for WW1 by postponing Irish home rule

The outbreak of war between Austria-Hungary and Serbia in July 1914 forced British politicians to postpone the Amending Bill for Irish home rule. This was momentous because Nationalists and Unionists had been on the verge of civil war (see picture above) over the amendments, which concerned the exclusion of the six counties of Ulster. The Spectator noted, gravely, that a continental war appeared to be unavoidable, so the nation must pull together. ‘Unity at home and strength abroad,’ it demanded. The Spectator also suggested that the ‘national energy is best conserved and best applied by a Liberal Government  supported by a Unionist Opposition’ with Asquith’s Liberal Cabinet supplement by prominent Conservatives such as Lord

Thursday

Sunder Katwala

Michael Fallon marks century of Muslim service in British armed forces

After nineteen hours without food, nor even a drop of water, the prospect of the single succulent date which breaks the fast looms ever larger in the mind as sunset nears. A few minutes after nine o’clock last night, similar scenes were doubtless playing out in mosques and Muslim homes around Britain. But this event was a little different. As the imam’s prayer rang out across the high ceilinged courtyard, many of those kneeling to pray were in khaki uniforms while others wore headscarves. The Ministry of Defence had invited Muslim soldiers and civic Muslim groups to break their Ramadan fast with a celebratory feast in the Whitehall citadel of

Matthew Parris Matthew Parris

Why I’m against posthumous pardons, even for Alan Turing

Ross Clark is a columnist I try to read because he is never trite. So I was sorry to miss performances of his musical play staged earlier this month. Shot at Dawn is about a sister’s quest for a recognition (after his death) of her brother, Harry Briggs, a soldier in the Great War who was executed for desertion. The play is sympathetic to the idea of posthumous pardon; coupled with this, it’s a lament that society punishes people without trying to understand why they do what they did. A second theme emerges: homosexuality, and the difficulty (then) of living with this in a world that does not understand. I

Thursday

Liz Anderson

Shot at Dawn: an emotionally charged WWI musical

A court-martial — followed by an execution: not exactly promising ingredients for a musical. But Ross Clark’s new music drama Shot at Dawn turns out to be unexpectedly moving. On the outbreak of the first world war, Adam, a farm labourer, enlists in the army, despite being underage, and is later shot for cowardice; his sister Georgina fights to clear his name.  That’s the plot in short. With a minimum of props and a piano, nine actors manage to captivate and draw in the audience. How? Through the emotional charge generated by the words and music. It’s an evening that leaves you surreptitiously reaching for a handkerchief. Highly recommended…. Shot

Monday

Ross Clark

Why does the army still refuse to see any wrong in the execution of soldiers during WWI?

Will the military ever see any wrong in the execution of 306 soldiers for cowardice and desertion in World War One? I ask only because I have tried and failed to stage a new musical drama on the subject in a military museum. The Imperial War Museum said straight away that it had organised its own programme of events, but the events directors at the National Army Museum and the Royal Artillery Museum in Woolwich initially showed enthusiasm. They invited in the director and I to see what spaces were available. We discussed whether we would pay a hire charge or enter a revenue-sharing agreement where we paid the museum so much for

Thursday

Kate Chisholm

The gardener-soldiers of the First World War

First, a confession. Even an ardent radio addict can enjoy a fortnight away from the airwaves, disconnected, switched off, unlistening. On return even the programmes that are usually ignored because they’ve become so familiar catch your attention. I grew up with Gardeners’ Question Time as a regular weekly slot on Sunday afternoons, snooze time for my overworked Dad, but stopped listening after the great schism of 1994, when the entire panel abandoned the BBC and moved over to the new Classic FM station because they didn’t like the way the BBC was handing over its production to an independent company. The illusion that the programme was a bit otherworldly, not

Thursday

Paul Johnson

Paul Johnson’s diary: Boris would make a great PM – but he must strike now

I feel an intense antipathy for Vladimir Putin. No one on the international scene has aroused in me such dislike since Stalin died. Though not a mass killer on the Stalin scale, he has the same indifference to human life. There is a Stalinist streak of gangsterism too: his ‘loyalists’ wear masks as well as carry guns. Putin also resembles Hitler in his use of belligerent minorities to spread his power. Am I becoming paranoid about Putin? I hope not. But I am painfully aware that he would not matter if there was a strong man in Washington. As it is, President Obama is a feeble and cowardly man who

Thursday

Lara Prendergast

Gas gangrene, shell shock and flinty women: BBC One’s new Sunday night offering is no soother

Sunday nights. What are they for? Eggs. Tea. Toast. Nerves about the week ahead. Something comforting on TV.  But comfort comes in many forms. For some, it’s twee life at Downton Abbey. For others, it’s the thrill of Homeland. With the BBC’s latest Sunday-night offering, comfort takes on a new guise: one that includes gas gangrene, shell shock, flinty women and war-damaged men. It won’t rock you to sleep. The Crimson Field, BBC1’s latest six-part drama, took us to the support system that existed behind the front line during the first world war. It’s 1915, and young women from Britain’s upper and middle classes have been drafted in as VADs

Tuesday

Anna Baddeley

BBC1’s The Crimson Field: manipulative, saccharine, shallow – and addictive

Thanks to BBC1’s new World War One drama The Crimson Field, I know now how to fake the symptoms of syphilis. All you need is a red hot needle, to create a genital blister, and some condensed milk, for realistic-looking discharge. You had to do this if you wanted to get sent home from the front, because the horrible public school officers didn’t believe in namby-pamby mental illnesses like shell-shock, and had absolutely no sympathy for the poor privates who wept when they listened to Madame Butterfly. Is it possible to make a WWI drama without resorting to cliché? Yes, actually: the BBC’s adaptation of Parade’s End managed it a

Thursday

Charles Moore

How I became editor of The Spectator – aged 27

Thirty years ago this Saturday, I became editor of this magazine. In the same month, the miners’ strike began, Anthony Wedgwood Benn (as the right-wing press still insisted on calling him) won the Chesterfield by-election, the FT index rose above 900 for the first time and the mortgage rate fell to 10.5 per cent. Mark Thatcher was reported to be leaving the country to sell Lotus cars in America for £45,000 a year. Although she now tells me she has no memory of it, Wendy Cope wrote a poem entitled ‘The Editor of The Spectator is 27 Years Old’. Because I was young, the events are vivid in my mind,

Tuesday

Nigel Jones

Is Wilfred Owen’s poetry any good?

Wilfred Owen, the poet whose work epitomises the horror of the First World War for most people in modern Britain, was born in Oswestry in the Shropshire Marches, close to his Welsh ancestral homeland, one hundred and twenty-one years ago today. His brief life ended just a quarter of a century later, on November 4th 1918, when he was cut down by a German machine gun as he heroically led his men across the Sambre-Oise canal in the sort of suicidal attack that his poetry had implicitly criticised. Famously, the telegram announcing his death arrived at his parents’ home in Shrewsbury at the exact moment when the bells were ringing

Walter Ellis

The BBC’s march to war

Perhaps we are growing war-weary – weary, that is, of the gathering storm of World War One documentaries on the BBC. There have been so many, not just Max Hastings (for) and Niall Ferguson (against), but Jeremy Paxman keeping the home fires burning and the reheated I Was There interviews with veterans of the conflict whom age withered, unlike those who left their corpses to stink in the mud of Flanders. For all that, 37 Days, the corporation’s recent reconstruction of the events leading up to Germany’s invasion of Belgium, was utterly compelling, once again confirming the place of docudrama in the history schedule. Not only was it beautifully realised (Downton

Thursday

The Spectator

Spectator letters: Slavery continues to this day; and why Russia’s re-emergence as a world power is down to Obama’s apathy

Slavery isn’t over Sir: I was alarmed to read Taki’s piece in this week’s High Life (8 March) which claimed that ‘slavery… has been over since 1865, except in Africa’. The Centre for Social Justice, whose board I chair, last year published its groundbreaking report It Happens Here, exposing the desperate plight of those in modern slavery in the UK. The CSJ’s work revealed exploitation taking place across the country, from young British men enslaved on traveller sites and forced into manual labour, to vulnerable children forced to live as slaves behind closed doors in one of Britain’s thousands of cannabis farms, to young British girls being trafficked into sexual

The Spectator

Do wars always start in years ending ‘14’?

Years of war Imaginative souls have tried to compared the situation in Ukraine with that which preceded the first world war 100 years ago. Are years ending in 14 especially violent? — 1414 saw the Polish-Teutonic war, one of a dozen skirmishes between Poland and Teutonic knights between the 14th and 16th centuries. The war was noted for the efforts to starve opposing armies by razing crops. — 1714 saw the outbreak of the seventh Ottoman-Venetian War, which like the first world war lasted four years. It ended with Venice losing control of the Peloponnese. — 1814 saw the Swedish-Norwegian War, which resulted in Norway entering a union with Sweden.

Monday

Igor Toronyi-Lalic

Culture House Pick of the Week: Minogue, Mahler, Strauss and Johansson

FILM: Under the Skin (dir. Jonathan Glazer)  Critics who saw it at the Venice Film Festival thought it either ‘laughably bad’ or a ‘masterpiece’. This week you get the chance to decide whether Jonathan Glazer’s Under the Skin, in which Scarlett Johansson plays a kind of alien butcher on the hunt for human meat to ferry back to a group of extraterrestrial gourmands, is in the mould of Glazer’s Oscar-nominated Sexy Beast or, like his Birth, will sink without trace. OPERA: Die Frau ohne Schatten, Royal Opera House Richard Strauss’ barmy opera about a part-human, part-gazelle Empress whose husband will turn to stone unless she can find a shadow for herself (and

Thursday

The Spectator

Spectator letters: Peter Atherton answers EDF, and Battersea Dogs Home answers Rod Liddle

Political best buys Sir: Fraser Nelson’s excellent article ‘Cameron’s Northern Alliance’ (1 March) made me wonder whether we, as voters, at the next election could benefit from a simple and independent chart (perhaps a Which?-style guide) comparing the policies offered by the parties, and the outcomes of the varying policies adopted across Europe. We all carry out research before purchasing insurance or booking a holiday by checking guides, so why not have something similar when choosing a government? It must be better than voters making a decision based on the superficial grounds of the party leaders’ secondary education or resemblance to a cartoon character. Stephen Marsh London WC2 The cost

Thursday

Niall Ferguson

Niall Ferguson’s diary: Brazil is overtaking us – but it no longer feels like that

 São Paolo It was back in 2001 that my good friend Jim O’Neill of Goldman Sachs coined the acronym ‘Bric’, short for Brazil, Russia, India, China. These were the emerging markets that were going to surpass the developed economies. And so they have. Well, nearly. I, too, am partial to a good acronym and it has always seemed to me very unfortunate that there isn’t a matching one for the four biggest established economies. According to the International Monetary Fund, these are currently the United States, Japan, Germany and the United Kingdom (based on last year’s GDP figures). I therefore propose ‘Juugs’. The rise of the Brics and the fall

The Spectator

Spectator letters: EDF answers Peter Atherton, Christopher Booker on wildlife

Nuclear reaction Sir: Peter Atherton questions whether a new nuclear power station at Hinkley Point is a fair deal for the UK (‘Nuclear fallout’, 22 February). However, his conclusion is based on some unvalidated assumptions. In May 2012, he wrote that EDF would need £166 for each megawatt hour of electricity produced to get a ‘realistic return’. Now he says that an agreed price of £92.50 offers rewards which are ‘eyewateringly attractive’. Neither claim is justified. It is a balanced deal which will unlock £16 billion of investment at the lowest possible cost for consumers. He claims returns to investors of up to 35 per cent. As reported last October,