Ww1

Contours of the mind

In Australia, I have been told, the female pubic area is sometimes known as a ‘mapatasi’ because its triangular shape resembles a map of Tasmania. And since we are discussing cartography and the nether regions, it is wonderful to find in the British Library’s new exhibition, Maps and the 20th Century, that Countess Mountbatten wore knickers made out of second world war airmen’s silk escape maps. Maps certainly colonise our imaginations in many different ways. The allies in Iraq had a ‘road map’ rather than a strategy. So much of personal value can be lost in the creases and folds of our own ‘mental maps’. And couples who often travel

Romantic modern

In 1932 Paul Nash posed the question, is it possible to ‘go modern’ and still ‘be British?’ — a conundrum that still perplexes the national consciousness more than 80 years later. It is true that the artist himself answered that query with an emphatic ‘yes’. But, as the fine exhibition at Tate Britain makes clear, his modernism was deeply traditional. The truth is that Nash (1889–1946) was what the author Alexandra Harris has termed a ‘romantic modern’. In other words, his art was a characteristic Anglo-Saxon attempt to have things both ways. Equally typically, he managed to do so — but only some of the time. Nash’s early drawings and

A deadly silence | 27 October 2016

From ‘Secrecy and disease’, The Spectator, 28 October 1916: The war might have damned us, as Germany planned, but it will end in saving us. Afterwards we shall be a more highly organised nation than we once thought necessary or desirable, and we shall see all things rather differently, but we shall be much stronger. A very noticeable example of the change of heart and outlook is the attitude of people towards this question of venereal diseases. The war has brought us much too closely into contact with real and hard things for us to shrink blushing, as people too often used to do, from a question which concerns the

The King’s contribution

From ‘A Royal contribution’, The Spectator, 7 October 1916: His Majesty has passed through troublous times, in the constitutional controversy, in the Irish imbroglio, and in the war, when passion rose to its highest point. The temptation to go behind his Ministers, and to snatch popular favour at their expense, must have been tremendous sometimes. ‘Remember, I am not responsible for this!’ represents the attitude of many sovereigns who have called themselves constitutional. The King never by a hint, a suggestion, a word, or a gesture has taken the stage against his advisers. For one thing, he was far too much of a gentleman to do so; and for another, he

Sea strategy

From ‘Decisive victory at sea’, The Spectator, 7 October 1916: The only excuse for changing our views of the magnificent rightness of the strategy of continually searching out the enemy, forcing him to action, and destroying him — the strategy on which Britain has been built up — would be that submarines and mines have so changed the conditions that we have to begin to write the rules of our strategy on a fresh page. No sane man, however, is either unaware of the different conditions introduced by submarines and mines or unwilling to make reasonable allowance for them. The question is not whether the method of the British Navy is

Lloyd Evans

Box of tricks

Travesties is a multi-layered confection of art, song, literature and pastiche. Tiny snippets of it are true. In Zurich, in 1917, James Joyce directed a production of The Importance of Being Earnest featuring a British diplomat, Henry Carr, in the role of Algy. Joyce and Carr fell out over the costume budget and became embroiled in a brief legal wrangle. That’s the starting-point for Tom Stoppard’s dazzling intellectual pantomime which features cameos from Lenin and Tristan Tzara, both residents of Zurich at the time. Tzara was an experimental vandal whose penchant for slicing sonnets into pieces was taken up by copycats and flowered, or degenerated, into the Dada movement. Lenin,

Serpent of mud

From ‘The fall of Combles and Thiepval’, The Spectator, 30 September 1916: The trench — ugly, dirty, dull, untidy serpent of mud and sandbags — will always have the advantage of the most artful fortress. In the last resort, the reason for this seeming miracle is the fact that the trench has something of mobility in it, and mobility is the vital essence of war. You can prolong a trench line to infinity, or to the sea or a neutral frontier, which is even better than infinity. A fortress has a finality about it which is fatal. The moment mobility is abandoned, as in an invested fortress, putrefaction, physical and spiritual, seems to

Turning the tide

From ‘The Battle of the Somme’, The Spectator, 23 September 1916: It may prove to be the fact that the battle of last week was, indeed, the most important fought by British troops in the whole war. For it is possible that just as our men advanced on to the forward slope of the ridge the German moral slipped backwards down the slope, there and then, with the final, if secret, conviction that it could never recover itself… Our losses, of course, have been heavy, but there is not a shadow of evidence that they have been disproportionate to the ends accomplished.  

In defence of Asquith

From ‘Mr. Asquith’, The Spectator, 16 September, 1916: King George has no other subject who is trusted so widely by his countrymen and who is respected so heartily by our Allies as the Prime Minister. Under his guidance we are now, after two strenuous years of war, an even more thoroughly united nation than we were at first, although we have parted one by one with what we regarded as our traditional and indispensable privileges and liberties.

The great Dadaist novel

Anicet is, as its cover proclaims, a Dadaist novel, reissued on the centenary of its composition. Louis Aragon would doubtless have been delighted to learn that it is almost impossible to review. An art critic, with his ‘little gadgets… called criteria’, is satirised in these pages as a kind of ‘policeman’, whose mission is in fact to seek out artists whose theories and works might disturb the peace… At the slightest threat of disorder the critic must set things right by exposing fraud and anarchy. Here, in pre-emptive defiance, is a ‘novel’ which is nothing but ‘fraud and anarchy’: a work in which there is no coherent plot, no illusion

Monet’s great war effort

Claude Monet wanted to be buried in a buoy. ‘This idea seemed to please him,’ his friend Gustave Geffroy wrote. ‘He laughed under his breath at the thought of being locked forever in this kind of invulnerable cork, dancing among the waves, braving storms, resting gently in the harmonious movements of calm weather, in the light of the sun.’ Tethered below the water, but bobbing on the surface like a necropolitan bud, this bizarre image would have the great Impressionist finally metamorphosing into the thing that had so dominated his later years: the water lily. For an author who has taken on those titans of the Renaissance, Leonardo and Michelangelo,

Fire in the sky

From ‘The burning of the Zeppelin’, The Spectator, 9 September 1916: Half London formed the vast proscenium for this tragedy of the air, and saw on the aerial stage the triumph of right over might — saw with their natural eyes David smite Goliath and hurl him in flaming ruin to the ground. Never before in human history had men sat in such a theatre and seen such a curtain rung down from the starry heights above them. But what made this drama of the open Heaven memorable above all record was the cheer that greeted its close. Those who had the inexpressible good fortune to hear that soul-shaking sound

Churchill’s privilege

From ‘Mr Churchill’s misfire’, The Spectator, 2 September 1916: There is nothing that democracy so much hates as unfair privilege, and Mr Churchill has enjoyed and has utilised an unfair privilege in getting himself in and out of the Army at his arbitrary will… The public now fully understands that his influence on our political life is almost wholly bad because it is wholly dissociated from any motive except that of personal advancement. He would, indeed, now be powerless either for good or for evil, were it not for the fact — or what appears to be the fact — that he still retains useful friends within the Cabinet who afford to him

Just not cricket | 25 August 2016

From ‘The bed-rock of war’, The Spectator, 26 August 1916: As a rule in war the bowling has a great advantage over the batting, but it happens that the newest fashion in combat has given a great temporary advantage to the defence. To break a trench line which rests like that of the Germans on the sea and on a neutral country is a task demanding almost superhuman efforts, and yet it must be attempted and accomplished unless we wish the war to drag on for another three years, drag on until attrition has done its dire work, and done it, alas, on us and our allies almost as much as on our enemies.

Iron birds

From ‘News of the Week’, The Spectator, 19 August 1916: The Parliamentary Air Committee having recently inhaled much ozone at giddy heights, during their visits to a R.F.C. park, have breathed some of it forth in a brilliant idea. They propose that the present clumsy and ugly system of designating aircraft by numbers and letters should be replaced by the names of birds. The machines would be grouped in classes, and each class would have a distinctive name. The names of seabirds would be given to seaplanes and the names of land birds to Army aeroplanes. Just as ships of war are grouped in the ‘county’ class, the ‘river’ class, and

Holding on

From ‘Restless politicians’, The Spectator, 12 August 1916: Even those journals which a few months ago were most zealous for a general election without delay now admit that there is no issue which could be presented to the country on which to take a vote… We have got to accept the continuance of the present government, with some slight modifications from time to time, because we have no means of getting a better. People who are disgusted at this admission may be again reminded that a great war is in progress, and that this fact overrides all ordinary constitutional considerations.

Entrenched wisdom

From ‘Armour of offence’, The Spectator, 5 August 1916: The soldier must never forget that it is his business to stand upon the offensive, not upon the defensive, and that for the offensive the power of rapid movement is essential. That is why, as the Germans are finding, and as the Austrians certainly found in Poland, you may make your trenches too defensible, too deep, too narrow, and generally too good. Deeply dug and laboriously protected trenches are splendid if judged only by their power to save people’s lives, so long as there is no in-fighting, but they may become veritable death-traps. In order to drive your enemy back you

Never again

From ‘Terms of peace’, The Spectator, 15 July 1916: As the man in the street might say, ‘The Allies are not going to give the Germans a chance to come at us a second time. Never again! is our motto.’ And if this is the object of the war, it will also be the object of the peace. We shall not dictate peace terms which will lead to the destruction of the German people or any section of them, or to any annexations of true German provinces; but we shall, as far as lies in our power, see to it that such a structure of government as that presented by militarist

The meaning of the Somme

From ‘News of the week’, The Spectator, 8 July 1916: On the surface of London life there is hardly a ripple, and yet not a hundred and fifty miles from our shores is being waged the first stage of what in all probability will prove not only one of the greatest and momentous battles in all history, but a battle fraught with consequences that must make or mar us as a nation. All that we hold dear as men and women and as a race, all that makes life worth living, all that goes with home and liberty and independence, all the things that matter, depend upon the issue of the

How does Karl Jenkins get away with his crappy music?

In a week that saw the UK vote itself out of the EU, the resignation of David Cameron followed by most of Jeremy Corbyn’s shadow cabinet, the audience who dutifully trooped to the Royal Albert Hall this Sunday for a concert celebrating the 2,000th performance of Karl Jenkins’ The Armed Man – A Mass for Peace were clearly looking for reassurance. And reassurance is what they got – because whatever happens in the big wide world outside, Jenkins’ music has always been, and probably always will be, utter crap. If you believe ‘crap’ to be unworthy of the critical lexicon, no word could be more apt. Believe me, nothing would have