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Bomber County: The Lost Airmen of World War Two by Daniel Swift

BomberCounty is, of course, Lincolnshire where squadrons of Beaufighters, Wellingtons, Halifaxes and Lancasters were huddled in hangars for combined raids against enemy targets in German occupied Europe. As the war progressed the targets escalated, from attacks against the German Fleet, the industrial complex of the Ruhr and later, with the aim of breaking enemy morale, the targets included the cities-including Hamburg, Berlin, Dresden and Cologne. Night after night, crews already warmly dressed in jerseys and thick woollen socks zipped themselves into flying suits and made their way towards the enemy coast. Conditions were cramped and the temperatures plummeted as they gained altitude flying by the light of the moon to their appointed destinations.

By Daniel Swift

Later in the War, navigators were able to use the hazy reflected signals of H2S to guide them over the changing relief of the land towards enemy territory. Ack-ack batteries, enemy nightfighters and heavy flax over the target took a heavy toll on crews. This book relates the loss of one pilot, James Eric Swift of 83 Squadron on a raid on Munster, early in June 1943. His body was later discovered washed up on a beach in Holland. In this multi-layered book Daniel Swift, his grandson, sensitively retells this family story. He is further inspired to explore a range of related issues from poetry and literature to the morality of the bombing campaign as it was conducted later in the War.

The cover of this handsomely produced volume depicts the distorted perspective of aerial warfare as depicted by Paul Nash; it shows that visual arts produced effective responses to combat. The contrasting situation in poetry is examined throughout the book in counterpoint to the narrative. From classical times Virgil declared Arma virumque cano ( I sing of arms and man) in The Aeneid but this kind of warfare has weaponry that operates at speed and men have little time for reflection unlike the poets of The Great War; Owen, Rosenberg and Sassoon. Daniel Swift refers to the dirge like rhythms of Dylan Thomas’s A Refusal to Mourn the Death, by Fire, of a child in Londonwhich despite the title, is a deeply moving elegy. The author also has much to say of interest on TS Eliot and Virginia Woolf’s responses to the Luftwaffe’s raids.

Swift makes mention of a small number of poems written by pilots like those encouraged by C Day Lewis. There is an exhilaration in flight which has been memorably captured by the lyrical French writer Antoine de St Expurey. Poetry is also inspired by heroism and myths such as that of Ovid’s Daedulus and Icarus, Such matters prompt Swift to tender family reflections and musings on the writings of Auden and Isherwood. These considerations make this an unusual memoir for his Squadron Leader Grandfather about whom Swift has thoroughly researched the archives.

Poetry was very popular during the Blitz, however, it sits awkwardly with mass bombing and firestorming and its effect on civilian populations. Swift who teaches English Literature at SkidmoreCollege in upstate New York is aware of the arguments concerning the morality of debates on such issues which continue to rage on and indeed intensify in relation to more recent conflicts. Arguments and emotions proposed and expressed by Orwell, Churchill and the ethical arguments on the effect of such destructiveness by AC Grayling and other philosophers are briefly outlined.

The Avro Lancaster Bomber

Did the barbarism of the Nazis justify the adoption of the ruthless means of waging war that led to Slaughterhouse V? The poetry falters as we consider events that ended that conflict; the use of Nuclear Weapons and the emerging political doctrine of Mutual Assured Destruction. Swift examines and acknowledges many of the issues including the guilt about delivering death at a distance –especially in relation to the poetic recollections of James Dickey; a poet to thank the author for here introducing to a wider audience.

This interesting, informative and hybrid book should remind us all that the poetry as Wilfred Owen stated, lies in the pity. This pity must eventually bring reconciliation. However, UN estimates on August 10th, less than a month ago, quoted in the Guardian of that date; show the number of child casualities in Afghanistan has soared by 55%, despite strict rules on the use of airpower by NATO troops. This heartfelt first book reminds us that the best memorial to lost  grandparents is to earnestly strive for peace for our grandchilldren

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Give me excess of it, that, surfeiting,
The appetite may sicken, and so die.
That strain again! it had a dying fall:
O, it came o’er my ear like the sweet sound,
That breathes upon a bank of violets,
Stealing and giving odour!,,,,,,,,

Fëanor's avatarArt of the Russias

If you were paying attention, you may have noted Konstantin Korovin’s painting of a woman holding a guitar in a post from about a week ago. It appears that lots of artists have been attracted to this theme, and many of them are Russian. There are also other great names – notably Renoir and Matisse and Botero and Braque. In fact, Vermeer also painted a guitar-playing woman, and she bears a strange resemblance to Alanis Morissette – at least to my eye.

I’ll tell you what I’ll do. I stick the images of the Russian (and I hope you recall that when I say ‘Russian’ I continue to mean ‘of the erstwhile Russian / Soviet empires / diaspora / modern Russia / post-Soviet republics’) artworks first, and then point you to a few links for the depictions of women with guitars from the rest of the planet. How about that?

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Maud & Minet

Love these sketches-

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About “A SILENCE THAT SPEAKS” by Susan Soyinka

Interesting conversation with Susan today. This will be a great read later this year:-

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Friends have been telling me to read Grossman:-

Lisa Hill's avatarANZ LitLovers LitBlog

As part of my Year of Russian Reading, I have begun Life and Fate, Vasily Grossman’s magnum opus which was ‘arrested’ by the KGB in 1961.  It was the book that was arrested, not its author, because he was the highly esteemed Soviet journalist who had documented the Battle of Stalingrad, and the first to document the horrors of Nazism when Treblinka was liberated.  So the Soviets were careful not to make a martyr of him.

Grossman was allowed to go on writing, but Life and Fate was stuck in the censor’s office.  Beyond the USSR nobody knew about him or his work, so there were no campaigns for freedom of speech on his behalf as there were for other dissident writers, and he died in 1964 with the novel unpublished.  But a copy had been smuggled out on microfilm, and in 1980 it was translated by Robert Chandler.  It was recently reissued under the Vintage Classics imprint as…

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An interesting review:-

Lisa Hill's avatarANZ LitLovers LitBlog

Although I count myself as more of a tourist than a traveller these days, I do like to know something about the countries that I plan to visit, more than I can get from the usual DK Guides.  And so because I’d come across Robert Cole’s excellent and very readable Traveller’s History of Paris, I got hold of a copy of A Traveller’s History of Russia, by Peter Neville in the same series.  But it was a bit of a disappointment.

Of course, it’s much easier to write about a tourist-friendly place like Paris than it is to write about a vast and complex place that has been hostile to western visitors for most of the twentieth century.  In fact, you have to admire any academic or author taking on the Russians as a field to specialise in, because until glasnost the country was difficult to visit without restrictions,  and it was obstructionist to anyone trying to find out what…

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Michael Ayrton, William Walton and John Minton

Sir William Turner Walton by Michael Ayrton

This painting can be found in the National Portrait Gallery in London and shows the celebrated composer, Sir William Walton in 1948 in Capri where he was recovering from jaundice. Its atmosphere suggests recuperation and the date also reminds us that Europe was slowly convalescing from the devastation of war. Walton was to permanently settle the following year on Ischia, a volcanic island in the Tyrrhenian Sea some 30 km from Naples, of which it is a province. The painting with its remarkable diagonal composition and repeated dynamic lines is reminiscent of Wyndham Lewis, who was a significant influence on Ayrton and whose portrait he was to paint, a few years later in 1955; this is discussed at this link- http://www.tate.org.uk/art/artworks/ayrton-portrait-of-wyndham-lewis-t07133. It is perhaps interesting to compare Wyndham Lewis’s well-known portrait of Ezra Pound with Ayrton’s Walton. The subject in the latter case looking a good deal more awake and serenely pondering the pleasures of the view and the prospects of reloading his pipe from the tobacco pouch.

In the portrait, Walton almost seems to be couched against the rocky promontory which cascades down to the sea-where the line of the cliff appears submerged rather than reflected by the water surface. The pale tones in grey, purple, reds and blues convey serenity to the composition. The repeated folds and linear motif however add a contrasting energy to the figure that is captured as though by a camera and achieve a monumental charm at what might otherwise not seem a particularly significant moment. The subject has a contemplative gaze which will be prolonged, indeed deepened by the next twist from the “fragrant weed”. The glass, decanter and bill/slip of paper seem to encourage the viewer to share into his own pensive mood.

Ayrton photograph
Ezra Pound 1939 Wyndham Lewis 1882-1957
Lewis was inspired by Lewis

Ayrton’s body of work at the Tate can be viewed as a slideshow at: – http://www.tate.org.uk/art/artists/michael-ayrton-681

Verlaine and Rimbaud, Sketch by Ayrton

The Oxford Companion to Western Art, says this about English Neo-Romanticism, the movement which both Ayrton and as we shall see Minton both belonged, “Never more than loosely affiliated, its painters took inspiration from the early 19th-century landscapists: from SAMUEL PALMER and his circle at Shoreham, and from TURNER. They were also influenced by French post-CUBIST developments during the 1930s. The beginnings of the movement were dominated by GRAHAM SUTHERLAND and PAUL NASH, and, to an extent, by JOHN PIPER. Their conception of the anthropomorphic potential of natural landscapes and the objects within them had a powerful influence on the younger generation of artists who became popular in the early 1940s, developing a style of agonized and sinister landscape very different from their early exemplars. MICHAEL AYRTONJOHN MINTON, and John Craxton (1922– ) were the most expressive and innovative of the painters involved; others who shared the concerns of the movement for a time included Keith Vaughan (1912–77) and the Scottish artists Robert Colquhoun (1914–62) and Robert MacBryde (1913–66).”

Minton by Michael Ayrton

John Minton (1917- 57) was a talented but troubled teacher,painter and stage designer who trained at St John’s Wood School along with Ayrton who strongly influenced him. This period between 1935 and 1938 was a time when neo-romanticism seems to have flourished, again the Oxford Companion to Western Art writes of him, “British painter, graphic artist, and designer, born at Great Shelford (Cambs.). After studying in London at St John’s Wood School of Art, 1936–8, he spent a year in Paris, where he shared a studio with MICHAEL AYRTON (with whom he later collaborated on designs for John Gielgud’s production of Macbeth at the Piccadilly Theatre, London, in 1942). Among the artists whose work he saw in Paris, he was particularly influenced by the brooding sadness of Eugene Berman (1899–1972) (More information also at http://www.sullivangoss.com/eugene-berman/) and Pavel Tchelitchew (1898–1957). (There is a You–tube, in Italian at http://www.encyclopedia.com/video/aQpp6epASaQ-la-danza-delle-ombre-pavel.aspx) In 1941–3 he served in the Pioneer Corps, and after being released on medical grounds he had a studio in London at 77 Bedford Gardens (the house in which RobertColquhoun (1914–62), Robert MacBryde (1913–66), and Jankel Adler (1895–1949) lived), 1943–6. From 1946 to 1952 he lived with Keith Vaughan (1912–77). Minton was a leading exponent of NEO-ROMANTICISM and an influential figure through his teaching at Camberwell School of Art (1943–7), the Central School of Arts and Crafts (1947–8), and the Royal College of Art (1948–56).

John Minton Self-Portrait

He was extremely energetic, travelling widely and producing a large body of work as a painter (of portraits, landscapes, and figure compositions), book illustrator, and designer. After about 1950, however, his work went increasingly out of fashion. He made an effort to keep up with the times with subjects such as The Death of James Dean (1957; London, Tate), but stylistically he changed little. Minton was renowned for his charm and generosity, but he was also melancholic and troubled by self-doubt. He committed suicide with an overdose of drugs.”

It has recently come to my notice that Lucien Freud also painted John Minton in 1952.http://www.leninimports.com/lucian_freud_gallery_5.html and that Bratby painted at least two portraits, one of which, a watercolour sketch was up for sale at Bonhams in Jan 2011 see http://www.artvalue.com/auctionresult–bratby-john-randall-1928-1992-portrait-of-john-minton-2824129.htm and another was available at this year’s International Art Fair and is shown below.

Minton by John Randall Bratby
Minton by John Randall Bratby

 

  John Minton as painted by Lucien Freud
Modern Stage by Eugene Berman
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Lovely images behind the scenes in the Russian Circus. Interesting contrasts between public and private spaces reminiscent perhaps of Degas.

Fëanor's avatarArt of the Russias

Daniel Daran (or Reichman) (Даниил Борисович Даран) (1894 – 1964) was born in Voronezh, studied at Saratov, worked in graphic design, executed landscapes, portraits, book illustrations, yearned for recognition even whilst remaining indifferent to fame, and spent nearly thirty years of his life admiring and sketching circus life. Here are some of his remarkable watercolours and drawings.

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The Expendable Man by Dorothy B Hughes

Dorothy B Hughes (1904-93) took a journalism degree in Kansas City, Missouri and started her distinguished career with a prize-winning book of poems. Her first hard-boiled thriller appeared in 1940 and it was followed by more than a dozen in the next decade. Three were made into noir films and in 1944 Hughes went toHollywoodto assist Hitchcock on his film, ‘’Spellbound’’. Here she met Ingrid Bergman and consequently Humphrey Bogart came to buy the film rights to one of her novels.

Available from Persephone Books
The Expendable Man by Dorothy B. Hughes (Paperback – 22 Sep 2006)

‘’The Expendable Man’’ was her last book and appeared in 1963, a time when Hughes was living in Santa Fe, New Mexico. It combines  high suspense with an examination of the endemic racism in the town ofPhoenix,Arizona. Hughes had learnt her craft thoroughly; influenced by deep readings of Eric Ambler, Graham Greene and William Faulkner. She also had written a critical study of Erie Stanley Gardner, perhaps best remembered for the Perry Mason series. It is the lawyers, petty criminals, politicians, soured plainclothesmen of Phoenix that form the suffocating web around  the novel’s heroic proponent, doctor Hugh Densmore, that gives this novel a dramatic momentum and an insight into the morally corrupt towns- folk and contrasts Phoenix and its suburbs, with the  magnificent circling and exotic desert.

Densmore, a medic from Los Angeles hospital driving through along the highway from Indio, through the hot desert littered with hazy clumps of mesquite, on an early May evening is making his way to a family event in Phoenix. He stops to give a lift to the feckless, reckless and manipulative Iris, a rebellious teenager on a wild and urgent mission. This initial act of generosity is one which Hugh comes to deeply regret and propels him into an entanglement of Kafkaesque proportions. Without revealing the taut and swiftly flowing plot, which would spoil the reading, suffice it to say that carefully crafted dialogue and what seems like Densmore’s paranoia makes this a thrilling and convincing read. With a combination of dramatic skill and sensitive understanding, huge issues of crime, illegal abortion and diehard racial discrimination are handled. This compelling novel is an insight into America at a time when President Kennedy was encountering the vigorous opposition and enduring rigidity of demagogues like Governor George Wallace.

The engaging and driven plot has many heart-rending at moments. Hugh Densmore is forced to dissemble to his own family. Indeed circumstances conspire to inhibit his free pursuit of Ellen, the elegant lady that he loves and admires. A significant pleasure in reading Hughes is her poetic and cinematic description of atmosphere;Phoenix, its peculiar suburbs and the drive across the copper and tan sands surrounding the highways that lead into it. There are passages describing anonymous motels, drugstores and diners that repeatedly remind the reader of the anonymity encountered in Edward Hopper’s well-known painting ‘’Nighthawks’’. Dominic Power points out in an intriguing after word just how this background scene was an important prompt in Hughes’s writing. The bleached desert motorway becomes reminiscent of a GeorgiaO’ Keefe landscape. The heat of the day personifies the crushing rapidity impinging on Densmore forcing him to seek a resolution of the situation into which he has been placed.

There is a sense of isolation which dire circumstances force upon Hugh and is particularly poignant in relation to the beautiful Ellen, whose encouragement and earnest support underlines his compelled dependency upon her and his consequent loss of a certain sense of dignity. This is reinforced in pellucid passages, ‘’Hugh and Ellen drove away in silence, over the winding deserted roads that led to town. The moon was high and white; each fence post, each clump of cactus was as distinctly outlined as by the sun. The mountains were moon-gray against the deep night sky. A dog barked from a distant house, the only reminder that they were not on a distant planet.’’

Within the confines of a provocative thriller, Dorothy Hughes has written a superb evocation of American society on the turning point of change. There is a tangible feeling of temperature and pressure- the effect of this is to produce a metamorphosis in the characters which is as instructive as it is engaging to read. Persephone Books have done an excellent job in resurrecting this classic novel which appeals on many levels and holds an emotional tone which is bracing, moving and instructive about the creative struggle for goodness, legality, fairness and truth.

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An intriguing and fascinating posting:-