Louis MacNeice (1907-1963) 'The News-reel'

                                               Since Munich, What? 

                                   "Since Munich,what? A tangle of black film
                                   Squirming like bait upon the floor of my mind
                                   And Scissors clicking daily. I am inclined.
                                   To pick these pictures now but will hold back.
                                   Till memory has elicited from the blind
                                   Drama its threads of vision, the intrusions
                                   Of value upon fact, the sudden unconfined
                                    Wind of understanding that blew out
                                    From people's hands and faces undesigned
                                    Evidence of design, that change of climate
                                    Which did not last but happens often enough
                                    To give us hope that fact is a facade
                                    And that there is an organism behind
                                    Its brittle littleness, a rhythm and a meaning
                                    Something half-conjectured and half divined
                                    Something to give way to and so find."

                                    

                                   -The News-reel  ( first published in Louis Macneice's  The Springboard, collection from 1944).

                 Louis MacNeice's poem News-reel is generally not anthologised in collections of World War 2 poetry. And the poem is omitted from  Louis MacNeice's Selected Poems (edited with an introduction by Michael Longley) from 1988. Just happened to find the poem  by chance in a copy of Collected Poems of Louis MacNeice edited by Professor E.R. Dodds. 

Next to the rise of  radio, one of the great changes in media between the two World Wars was the legendary Pathe Newsreels, which were screened before major feature films at the cinema up to 1970 in Britain.

If nothing else, the poem highlights MacNeice's skill as a social observer but delves deeper. There is a great tension between the individual and the current events. The idea of the  newsreel as being an accurate record is questionable and prone to be being tampered with, whilst the narrator's is selecting and possibly censoring their own inner pictures. Reminds one of how George Orwell's war work in the Ministry of Information led to the fictional Ministry of Truth in  the novel 1984. The poem is quite short, and doesn't need to be pulled apart line by line, but raise thorough questions concerning how 'News' is constructed. 

         Louis MacNeice was born in Belfast, 1907, his father was an Anglican minister, his mother died when he was aged six. MacNeice was educated in English public schools from the age of 10, and then attended Oxford University, and became a classics lecturer in Birmingham,then at Bedford College,University of London. He visited Spain with Anthony Blunt in early 1936 on the eve of the Spanish Civil War. Later the same year, MacNeice visited Iceland with W H Auden. 

 MacNeice was living in London as from 1938. In 1939- 1940 he was in the USA for months at a time.  In 1941 MacNeice returned to London and  worked for the BBC, both as a broadcaster and radio producer, dying in 1963 from pneumonia contracted whilst out working with BBC sound engineers, exploring potholes to use for special effects for his play 'Person from Porlock'. LONGLEY Among his successes on radio must be the plays Columbus from 1944 (with music by Sir William Walton) and The Dark Tower from 1946, (with a score by Benjamin Britten).

His first poetry collection Blind  Fireworks appeared  in 1929, but really it was Poems 1935, published by Faber & Faber, which established MacNeice's reputation as a poet . Around a dozen more collections, were to follow, along with books of literary criticism. His one and only novel, Roundabout Way, published              in  1932, using the name Louis Malone, has been rather neglected.  

Philip Larkin praised MacNeice's work as follows:

"...his poetry of our everyday life, of shop-windows, traffic policemen, ice-cream soda, lawn-mowers, and an uneasy awareness of what the newsboy were shouting. In addition he displayed a sophisticated sentimentality about falling leaves and lipsticked cigarette ends...."  LONGLEY 

Macneice's 'Autumn Journal' ,written between August and December 1938, first published in 1939, must rate alongside George Orwell's  novel 'Coming up for Air' as a  superb literary depiction of the incredible tensions generated by the progress to World War 2. Autumn Journal approaches 3,000 line so poetry anthologies tend to just take a few lines samples from it. But the range of subjects it covers is far reaching :  The Spanish Civil War, religious divide in Ulster, Ancient Greece, the author's own sexual frustration after the breakdown of his marriage and next love affair, everyday life in Britain as the 1930's stagger to a close, are woven into a griping narrative. There is this great sense of individual helplessness in the face of World events as preparations are made for war.

"If the puzzle has an answer. Hitler yells on the wireless,

The night is damp and still.

And I hear the dull blows on wood outside my window;

They are cutting down trees on Primrose Hill.

The wood is white like the roast flesh of roast chicken'

Every tree falling like a closing fan.

No more looking at the view from seats beneath the branches,

Everything is going to plan;

They want the crest of the hill for anti-aircraft,

The guns will take the view

And searchlights probe the heavens for bacilli "  (part VII Autumn Journal)  LONGLEY

MacNeice visited Barcelona in December 1938, and experienced bombing raids, though did not appear to have seen armed fighting there. MacNeice was exempt from military service during World War 2 on health grounds. His work certainly deserves to be recognised in any study of World War 2 poetry.  

 In 2023 a  Louis MacNeice Society was launched. 

Weblinks 

In the Dark Tower  BBC Archive on Four 'Louis MacNeice at the BBC' 

Pathe newsreels Archive

Poetry Foundation  Page on Louise MacNeice 

Collected Poems of Louis MacNeice online  Faber & Faber collection edited by Peter McDonald, 2007

Books 

Collected Poems of Louis MacNeice Edited by Professor E.R. Dodds, Faber & Faber, 1966 

The Myth of the Blitz, Angus CALDER, Jonathan Cape, London, 1991 

Louis MacNeice's Selected Poems (edited by Michael LONGLEY)

Image 

In the Public Domain courtesy of Wikipedia Britain. 'People in London look at a map illustrating how the RAF is striking back at Germany during 1940'. Interesting to see the uniformed airman amongst the civilians looking at the map. 

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Bleak Chesney Wold   19th century history & literature blog

A Burnt Ship                17th century history warfare & literature blog 

Contact: Michael Bully     World War 2 Poetry@mail.com   ( please ram words together without spaces) 

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Second World War Poems -Chosen by Hugh Haughton -Revised Edition

                                                               Review 

                                                     Mass destruction,mass disease;

                                                     We thank thee, Lord, upon our knees

                                                     That we were born in times like these

                                                     Louis Macneice 'Bar-room Matins'

                                            Originally appeared in 2004, and great to see that a new edition was published by Faber & Feber Ltd in 2023. As with any such collections there is the question of who is deemed qualified to write World War 2 poetry? And how does an editor select a poem to be included in this anthology? Hugh Haughton has adopted a similar but not identical approach to that taken by Desmond Graham whose Poetry of the Second World War -An International Anthology appeared in 1997 : Whilst Desmond Graham would only consider the poetry written by those lived through World War 2 as adults, Hugh Haughton has extended this remit to allow a few poets who were children during when war broke out, such as Tony Harrison ( born 1937) and Derek Mahon (born 1941). In other words, the contributors had to have a memory of the War.  

The vexed question of whether or not poetry can be a fitting medium for dealing with something so vast and devastating as World War 2 looms.  Certainly Dylan Thomas had his doubts of the effectiveness of poetry in his harrowing 'Refusal to Mourn the Death by Fire, of a Child in London' ,declining to 'blaspheme down the stations of the breath, With any further, Elegy of innocence and youth.  And at the start of the War , Stevie Smith in her poem 'The Poets are Silent' declared And I say it is to the poets' merit/ To be silent about the war. 

Yet this collection shows how poetry was used as a powerful channel of expression during this conflict. World War 2 Poets are not really as  important in shaping our views of the conflict in the same way that the Soldier Poets of the Great War achieved. But their work can hit home. For example, Keith Douglas's poem 'Vergissmeinnicht', ('forget me not') where the poet, fighting in the North African campaign, discovers amongst the debris in a shell hit German tank, the body of a dead soldier and his scattered possessions : the dishonoured picture of his girl/who has put: Steffi. Vergissmeinnicht/ in a copybook gothic script. Or Tadeus Rozewicz's poem 'Pigtail'. about the discarded hair of women and girls having their head shaved before being gassed at Auschwitz, and finding a faded plait/ a pigtail with a ribbon/pulled at school/by naughty boys. The poems depict images which sum up the pathos of War. 

And sometimes the poems develop beyond witness accounts. To take Leon Zdzislaw Stroinski's poem 'Warsaw',setting a scene which nearly becomes a slice of magic realism. 

In its shade at dawn caretakers come out with huge frayed brooms to sweep up the tears which have collected during the night and lie thickly in the streets. 

Or World War 1 serving soldier Herbert Read's 'To a Conscript of 1940' 

A soldier passed me in the freshly fallen snow

His footsteps muffled,his face unearthly grey';

And my heart gave a sudden leap

As I gazed on a ghost of -five-and twenty years ago. 

 Three poems are included Nelly Sachs, a Jewish poet living in Germany who was already listed for deportation to the Camps. who managed to obtain Swedish citizenship and leave on the last plane to Stockholm in 1943, but wrestled with survivors's guilt. More famous poets who were in exile during World War 2 such as W.H.Auden and Bertold Brecht get their place. Poems by Primo Levi and Paul Celan who saw the Camps, were freed, but took their lives afterwards, also appear. The nationalities represented include Japan, Germany, Hungary, Poland, Russia, USA, France, Italy and Scottish Gaelic speakers. 

Personally I would like to have seen Vera Brittain's 'Lament to Cologne' -her protest against saturation bombing- included, and more than one poem by Alan Ross. Also hard to envisage a World War 2 poetry anthology without Vernon Scannell, a serving soldier who saw the North African and Normandy campaigns, who absconded a few times when in uniform. But these are simply my own preferences.

Due to the huge amount of work included in this anthology, it is hard to draw any generic conclusions about World War 2 poetry contained therein. There is little triumphalism or romantic heroism, neither are there pleas for negotiations to end the War. Moreover, German poets such as Huchel and Bobrowski from the Eastern Front, who both became Soviet Prisoners of War, and rehabilitated into becoming DDR citizens, have poems featured here.There is a sense of shared human experience. And certainly this anthology shows that World War 2 poetry still holds great potential. Doesn't fade with age. The final word should go to Scottish poet Donald Bane in his poem 'War Poet'

We in our haste only see the small components of the scene

We cannot tell what incidents will focus on the final screen

A barrage of disruptive sound, a petal on a sleeping face,

Both must be noted, both have their place    

Note : All poems quoted in this post are published within the above anthology 

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'The Bombing of the Cafe de Paris, 1941'

                                Poem by  Vernon Scannell 

                           

                              

 

                    On 8th March 1941 bandleader  Kenrick 'Snakehips' Johnson and his orchestra were due to perform at the Cafe de Paris, Coventry Street, quite an exclusive club it seems BAIRD. Strangely enough its interior was modelled on the ballroom of 'The Titanic'.COLLINS, BURCHETT & DANIEL  Snakehips Johnson was born in British Giuiana - now Guyana- in 1914, and his parents sent him to Britain in 1929 to study medicine.Though Snakehips Johnson spent time at school in Buckinghamshire, and attended the University of Edinburgh, it's not clear whether he formally graduated. He became a renowned dancer, spending time in the USA including a stay in Harlem during 1934 VENTRE. On returning to Britain, he  can be seen dancing in the film 'Oh Daddy' (1935) , and in 1936 Snakehips Johnson helped form an all black  swing orchestra which eventually became the West Indian Dance Orchestra. Performing in London and broadcasting on the BBC, they took up regular residency at the prestigious Cafe de Paris, which also had recording facilities. BAIRD When war broke out, members of the Orchestra were exempt from conscription.

The Cafe de Paris was exempt from many war time restrictions,as considered to be underground and therefore not admitting any light during the blackout.The trouble is that the venue was located under the Rialto cinema with its glass domed roof. The previous two months were relatively free of air raids but  on 8th March 1941 a major air attack began on the West End. 'Snakehips'  Johnson went for a drink in the Embassy Club before his own show was due to start. It is not clear if an air raid had begun, or expected when he hurried over to the Cafe de Paris, but he reached the club in time for 10 pm, and the West Indian Dance Orchestra began the show with 'Oh Johnny Oh' BAIRD. The Rialto cinema incurred a direct hit by a 50kg  bomb NATIONAL ARCHIVES and the impact was enough to bring down the ceiling of the Cafe de Paris. Some sources state that there were two bombs, most likely one bomb fell but did not explode GARDINER A musician who survived-guitarist Joe Deniz- recounted that shrapnel had hit his guitar case DENIZ Kendrick 'Snakehips' Johnson,aged 26, was amongst the 34 people who died, with at least eighty wounded. The club was about half full, and casualties could well have been a great deal higher if the bomb had struck later. The Club did not re-open until 1948. 

 

Vernon Scannell (John Vernon Bain 1922-2007) ,was  arguably one of the most important post war British poets of the 20th century. Also a novelist, boxer, radio broadcaster,author of children's books. Scannell's poetry covered military during World War 2, love affairs, family relationships, observations of provincial life. His own army record during World War 2 included spells of going AWOL, deserting whilst the enemy was retreating during the North African campaign at Wadi-Akarit in 1943, which led to a spell in a military prison. Released in time serve in Normandy in 1944, where Scanell was wounded and sent to a military hospital in England, where he went AWOL yet again and returned. When VE Day was announced Scannell left the army without waiting to be demobbed, and went on the run for two years.TAYLOR If there really is such a being as a 'War Poet', Scannell must rate as one of the most interesting. 

Vernon Scannell's poem 'The Bombing of the Cafe de Paris, 1941' first appeared in an educational work titled 'Mastering the Craft' in 1970. To the best of my knowledge, the first time that this poem appeared in a collection was 'Winterlude-Poems by Vernon Scannell' from 1982, and appeared in subsequent collections. The poem introduces 'Snakehips, the bandleader, and the boys' in stanza (i) . 

                                "Tapped natty polished toes to keep the time
                                Of tango, quickstep, foxtrot, blues and swing;
                                The basement of the place was deep and safe,
                                No other-ranks or bombs would be let in. "

The impact of the bomb is depicted in stanza (iv) as a:

                             "Huge knuckle-dustered fist that struck and crushed" 

Then stanza (v) hits home with some almost grotesque imagery of the effects of war. And the emphasis moves away from 'Snakehips' Johnson to unknown victims. 

                             "                   and from the ceiling came

                                 Floating down a fine cosmetic dust

                                 That settled softly on the hair and skin

                                 Of the sailor's girl, who, wholly without shame,

                                 Sprawled in ripped clothes, one precious stocking gone

                                 and with it half her leg....."

The combination of 'cosmetic dust', a stocking being 'precious' ( presumably due to rationing ), how the bomb blast has destroyed both the dignity and a limb of the 'sailor's girl' is a chaotic mixture of images.After an awkward start, the poem starts to progress well. And stanza (viii) is certainly controversial.

                              "While, down below, a woman lay and saw

                               A man approaching through the powdery gloom;

                              She could not move trapped limbs.'Rescue! she thought

                              As by her side he knelt upon the floor,

                              Reached out to finger at her neck and take

                              Her string of pearls in one triumphant paw."                       

                              

The lines just speak for themselves in running contrary to the whole popular view of the spirit of The Blitz.

Possessions from bodies of those who died at the Cafe de Paris were indeed looted GARDINER. Most likely by thieves known as 'bombchasers' looking for pickings in bombed properties, or items that were simply blasted out into the streets. Sometimes emergency workers themselves committed thefts CALDER.  So far, I have not come across any record of possessions being stolen from the living bomb survivors unless Scannell is trying to suggest that the thief thought that the woman in question was dead. 

AFTERWORD

'Snakehips' was gay and lived with his partner, the music critic Gerald Hamilton in Bray, Berkshire. In the 21st century interest in the life and tragic death of Snakehips is growing: The music of the West Indian Dance Orchestra has been made available on line via Youtube, whilst research into the lives of both Black and LGBT individuals during World  War 2 has led to a greater focus on the contribution made by 'Snakehips' Johnson to the rise of British Jazz-Swing. VENTRE

Books 

'The People's War Britain 1939-45', Angus CALDER, Jonathan Cape, 1969

'The Blitz-The British Under Attack' Juliet GARDINER, Harper Press 2010

'Winterlude- Poems by Vernon Scannell', Robson Books, 1982

'Walking Wounded- The Life & Poetry of Vernon Scannell', James Andrew TAYLOR, Oxford University Press, 2013 

Stephen Bourne's 'Fighting Proud,The Untold Story of the Gay Men who fought in Two World Wars', Bloomsbury, 2017 is often cited by researchers looking at the life  of 'Snakehips' Johnson. 

Image 

'Bomb Damage in London during the Second World War' . (HU36157) Imperial War Museum, in the public domain courtesy of IWM and 'Wikipedia'. 

Online

National Archives webpage on the Cafe de Paris bombing of 8th March 1941. 

Black History is our History Web article 'The Story of Buckinghamshire swing king Ken Johnson  who died in the Blitz by Liam RYDER.

Uncovered  University of Edinburgh webpage about 'Snakehips' Johnson by Lea VENTRE

The West End at War (1)  web article by Grace BAIRD about 'Snakehips' Johnson and the Cafe de Paris Bombing

The West End at War (2) web article by Patrick COLLINS, Raquel BURCHETT & Peter DANIEL '8 March 1941 Cafe de Paris' 

Poetry Foundation webpage about Vernon Scannell

Youtube

Oh Daddy Snakehips scene 'Snakehips' Johnson dancing in 1935 film 'Oh Daddy'.

Guitarist Joe Deniz interview 1980  Survivor Joe DENIZ's recollections with surviving footage of Snakehips. 

Other Blogs by this writer. 

Bleak Chesney Wold    19th century history & literature

A Burnt Ship  17th century war & literature

Remembrance 2020

                                              The Role of World War 2 Poetry 

                                     

     Men of the 22nd Independent Parachute Company 6th Airbourne Division receive briefing just before D Day 1944, courtesy of 'Wikipedia' 

As remembrance week begins in 2020, and find that the commemorations that usually attend will not be happening due to the Covid 19 emergency, felt it was time to share a few thoughts. For this post I am focusing on Britain. 

Issues arise from admitting to having a keen interest in World War 2 poetry. Some times people think that they have misheard you, or that you have made a typo, and ask 'Don't you mean World War 1'?  Another factor is the danger of starting a competition with World War 1 poetry. Certainly there is little evidence that World War 2 poets thought that they were improving on or usurping World War 1 poetry. And neither does this blog, which serves the same purpose as Siegfried Sassoon's poignant lines in his 1919 poem Aftermath:Have you forgotten yet?...Look up, and swear by the green of the spring that you'll never forget.  In fact many World War 2 poets felt inspired by the World War 1 poets -with exception of Alan Ross who preferred W H Auden to Owen and Sassoon, whose poetry he found 'dull' . To read more ....

Certainly British World War 1 poets are granted more status than those from World War 2. Considered to be reliable witnesses or even daring truth tellers concerning the true nature of modern warfare. Their poetry and recollections are held to be more trustworthy than those of the  authorities who declared war in the first place. The work of the  World War 1 poets, some of it already written and published, along with their emerging war memoirs, grew in influence from the late 1920's onward. Particularly shaping the 'Disenchantment' view of World War 1 which arguably still holds sway. Even historians from this century who have tried to argue that World War 1 was a just war don't seem to have succeeded, against those who felt that Britain should have stayed neutral or that the price of victory was simply too high in loss of men and resources. 

Vernon Scannell born 1922, who served in the North Africa campaign, deserted, was soon  caught and jailed , then released to serve in the  Normandy campaign of 1944 ,  wrote in this poem The Great War.

(Extract) 

"Whenever the November sky

Quivers with a bugle's hoarse, sweet cry,

The reason darkens; in its evening gleam

Crosses and flares, tormented with, grey earth

Splattered with crimson flowers,

And I remember

Not the war I fought in

But the one called Great

Which ended in a sepia November

Four years before my birth. "

Vernon Scannell is a favourite poet of mine, exploring the themes of both  love and war.  Could write the most wonderful observations about  English provincial life in the second half of the 20th century. He was prone to binge drinking and violence towards his partners. At the time of VE Day, Scannell was back in an army base in Britain, still recuperating from his Normandy wounds. He immediately absconded without waiting for the official demobilisation process to start,  went on the run for years but finally caught. 

In one later biographical work 'Argument of Kings', Scannell describes  his service with the  51st Highland Division during the Normandy campaign in most harrowing terms. His regiment were fighting near the village of Touffreville on 10th June 1944. 

John looked down and saw that the front of Hughie's battle dress had disappeared. It had been driven inwards into his chest so that there was a great dark cave of blood and slivers of bone.....though he did direct one quick glance at Hughie's face ....The face looked like the face of all the dead. There eyelids were not shut but the pupils had swivelled up beneath them so that the eyes looked like those of a blind man.

Scannell's regiment arrived in Normandy on 10th June 1944. At this time a young soldier serving with Scannell who had boasted earlier about killing Germans, broke down when faced with the reality of warfare. 

He was making wordless, bleating sounds from which every now and then an identifiable phrase would surface and when this happened the words were recognised as a frightened infant's cry for its mother.

There seem many reasons why Scannell's writing on serving in  Normandy campaign are not highlighted. The fact that the campaign was fast moving rather then ending up static trench warfare, the view that World War 2 is largely held to be a just war, that the horrors of a Third Reich victory are just too much to stomach. In other words the Normandy campaign to dislodge the Germans was considered to have more meaning and purpose than say the first day of The Somme. 

That is why the work of Vernon Scannell, who could report back with the eye of a poet, is so vital. Because the Normandy campaign was a victory by so many different terms of reference, it is easier to forget what it cost. 

And  Scannell's Walking Wounded published in a collection of the same name from 1965, is a classic. Written  in 1962 Scannell recalled leaving Touffreville in 1944, so battle weary that he briefly fell asleep whilst marching, Shortly afterwards Scannell saw a convoy of ambulances, being followed by a column of casualties who were to have their wounds dressed and sent back into battle. 

In another autobiography The Tiger and the Rose, Scannell depicted these men as seemingly possessing

  A symbolic power; they were the representatives, not only of the military victims of war but of suffering and innocent people everywhere and at all times, trapped in the skeins of historical necessity. 

Walking Wounded  

(Extract) 

"A humble brotherhood,

No one was suffering from a lethal hurt,

They were not magnified by noble wounds,

There was no splendour in the company.

And yet, remembering after eighteen years,

In the heart's throat a sour sadness stirs;

Imagination pauses and returns

To see them walking still, but multiplied

In thousands now. And when heroic corpses 

Turn slowly in their decorated sleep

And every ambulance has disappeared.

The walking wounded still trudge down that lane,

And when recalled they must bear arms again. "

 

Works consulted 

'The Tiger and the Rose- An Autobiography ', Vernon Scannell, Hamish Hamilton, 1971,

'Argument of Kings-An Autobiography' Vernon Scannell, Robson Books, 1986

'Walking Wounded-The Life & Poetry of Vernon Scannell', James Andrew Taylor, Oxford University Press, 2013

The War Poets Association webpage on Vernon Scannell

Other blogs by Michael Bully 

A Burnt Ship  17th century related war and literature.

Bleak Chesney Wold New blog inspired by Charles Dickens & 'dark' Victoriana started 2023

Monmouth Rebellion  Not particularly active at present

13th century history  Not particularly active at present 

Remembering Paul Celan 1920-1970

                        All those names burnt with the rest  - 'Alchemical' 

                           

   Photo of the grave by Paul Celan by Martin Ottman shared by  Wikipedia creative licence 


Have to admit that I am not a great one for anniversary commemorations, but with Paul Celan, will make an exception. The year 2020 sees both  the centenary of his birth and the half centenary  year of his death

Some background

Paul Celan's upbringing and young adulthood were crucial to his work.

Celan was born  on 23rd November 1920 as  Paul Antschel ,into a German speaking Jewish family  in Czernowitz   Bukovina , Romania. Bokovina was part of the Autstro-Hungarian empire and ceded to Romania after the Treaty of Versailles. Around 4% of the population of the new Romania were Jewish. By the late 1930's their position within Romania deteriorated. Viewed with suspicion by the authorities, Jews were despised by the right wing social revolutionaries, the Iron Guard who had quite a sizeable following. In 1940, Romania was forced to cede Bukovina to the Soviet Union on 28th June 1940. In September 1940 a right wing coalition  took power,-which included the Iron Guard- and weeks later a German military mission came to Romania. On 20th  November 1940, Romania formerly joined the Axis powers. On 21st  January 1941, the Iron Guard staged a successful rebellion and a gruesome pogrom against Jews began in Bucharest.

Romania took back control of Bukovina following the launch of Operation Barborosa in June 1941. More pogroms took places in Romania, most notably at Iasi in July 1941, instigated by the Iron Guard.
On the 27th June and 28th June 1942 the Jews of Bukovina were rounded up -Celan's parents among them- and interned by the Romanian regime, who by now had taken control of  the region of the Ukraine between the rivers Dniester and Bug to establish the province of Transnistria. Many Jews were deported to the area, or died on the way or were simply murdered where they lived. Celan initially avoided arrest by hiding in a friend's house. Jews imprisoned in Transnistria were sometimes sent into German custody on the other side of the River Bug.  His mother was later shot after becoming too  ill to work, whilst Celan's father died as a prisoner, possibly from typhus.

The grief of his parents death  and what would now be called  'survivors guilt', along with his Celan's own experiences, haunts his work.'Aspen Tree' is stark and moving. The reference to the Ukraine indicates that Celan seemed to have established that his mother was killed somewhere in Transnistria.


Aspen Tree

Aspen tree, your leaves glance white into the dark.
My mother's hair never turned white.

Dandelion, so green is the Ukraine.
My fair-haired mother did not come home.

Rain cloud, do you linger at the well?
My soft-voiced mother weeps for all.

Rounded star, you coil the golden loop.
My mother's heart was hurt by lead.

Oaken door, who hove you off your hinge?
My gentle mother cannot return.

translated by John Felstiner from 'Second World War Poems', chosen by Hugh Haughton.


Another possibility was that his mother fell ill, was amongst a transport of Jews who were to be sent across the River Bug and was shot as she would not survive the journey. Another poem by Celan 'Nearness of Graves' open with the lines

'Still do the southerly Bug waters know,
Mother, the wave whose blows wounded you so ?'


The Life of Celan


Celan had some awareness of how severe the threat of Nazism was. He supported the Republican cause during the Spanish Civil War , and 1938 travelled to Paris to study medicine. His biography details on the Poemhunter  website states that he travelled through Berlin during Kristallnacht in1938. Celan was studying literature and languages back in Romania by 1939. Following his parents internment Celan  was arrested and worked as a forced labourer  When the Soviets took over the country, Celan worked in a  psychiatric hospital caring for Soviet airmen in Bucharest, and had some poetry published. It was at this point he took the name Paul Celan. In 1947 he left Romania, and headed for Vienna then settled in Paris in 1948. Here Celan became a translator, a lecturer and made contact with other poets, particularly Nelly Sachs . Celan attracted a following in Germany and in 1960 was awarded the Georg Buchner Prize, one of the most prestigious German literary awards.

Arguably Celan's most famous poem is 'Deathfuge' , about concentration camp inmates being serenaded with music before being led off to execution. Its so haunting because it has the rhythm of an upbeat song.

Deathfuge  /'Todesfuge '  (first verse) 

" Black milk of daybreak, we drink it at evening
we drink it midday and morning we drink it at night
we drink and drink
we shovel a grave in the air where you won't lie too cramped
a man lives in the house he plays with his vipers he writes
he writes when it grows dark to Deutschland your golden
    hair Margareta
he write it and steps out of doors and the stars are all
   sparkling he whistles his hounds to stay close
he whistles his Jews into rows has them shovel a grave in the
  ground
he commands we play up for the dance ...."

translated by John Felstiner  from 'Second World War Poems', chosen by Hugh Haughton.

Death 

On 20th April 1970, Paul Celan took his own life by drowning in the Seine. Though Celan's work is so rooted in the poetry of the Holocaust, there has to be enough space given to look at his other writing. To me, it would be too tragic if his whole life and work was completely defined by the Holocaust. Found a poem -'This Evening Also'-  via Poemhunter , the translator is not credited.

This Evening Also 

more fully,
since snow fell even on this
sun-drifted, sun drenched sea,
blossoms the ice in those baskets
you carry into town.

sand
you demand in return
for the last
rose back home
this evening also wants to be fed
out of the trickling hour.


Sources 

Poemhunter entry for the poetry of Paul Celan

The Holocaust Encyclopedia  Entry for Romania

Spring Magazine on English Literature,  Trauma and its Traces in the Poetry of Paul Celan by Semanti Nandi

'Poetry of the Second World War- An International Anthology' edited by Desmond Graham ,Chato & Windus, London 1995

'Second World War  Poetry ', Chosen by Hugh Haughton, ,Faber & Faber, London 2004


Other Blogs by Michael Bully

Bleak Chesney Wold  Charles Dickens/ 'dark' Victoriana   launched February 2023

A Burnt Ship    17th century War and Literature blog

'That Devil and His Claws'- The War Poems of Gavin Ewart

                                                      A Reluctant War Poet ?

                The British Army in Sicily 1943  NA4561  Courtesy of Wikipedia ( Image in Public Domain)


                                                     Its' hard for an old man,
                                                    who's seen wars
                                                    to welcome that devil
                                                     and his claws 

                                                  'Three weeks to Argentina'




The above lines were written by a World War 2 veteran  as the 1982 Falklands War began : Gavin Ewart ( 1916- 1995) was educated at Wellington College then at Cambridge Univeristy. At the age of seventeen he had a poem published in the highly esteemed literary magazine 'New Verse' . Ewart's success at writing poetry continued, at the age of twenty three his first poetry collection was published in 1939.

When war broke out, Ewart  became an officer in what he later described as a "Light Anti-Aircraft Regiment engaged on the air defence of factories and airfields in the UK " - an experience he called the most boring period of his life. Ewart  saw active service as an officer in the Royal Artillery during the North Africa Campaign in 1942, then in Italy, being posted to a mobile operations room, travelling the west coast of Italy by motorbike. Ewart returned home to England in May 1946.

Then followed a period from 1946- 1964 when Ewart had no poetry published and was not particularly active on the literary scene. The poet Peter Porter has been credited with encouraging Ewart to return to poetry, and a new collection of his work appeared in 1966. It is striking how the War seemed to have quelled his enthusiasm for writing poetry. However , four of Ewart's  poems appeared in  'I Burn for England- An anthology of the poetry of  World War II' from 1966 . In 1972  Ewart stated that
" I don't think that any 'great' poetry came out of the Second World War ( except for The Unquiet Grave which .....seems to me to fill the bill for anyone who is looking 'for the great war poem') "

To give this work  its full title -The Unquiet Grave; a Word Cycle by 'Palinurus' - was a book written  by the critic and editor  Cyril Connolly. George Orwell reviewed it in January 1945, and noted the book's "dominant tone ,a refined rather pessimistic hedonism ." Hard to conceive of The Unquiet Grave being a poem.

Several years ago I wrote an article 'No More War Poets Anymore ', which the Siegfried Sassoon Fellowship rejected for publication in their magazine 'Siegfried's Journal'. One question raised therein was who meets the definition of a 'war poet' ? Gavin Ewart wrote poetry whilst in uniform, but as we have seen , he was a young published poet before World War 2, and the subject of war only inspired a small amount of his work. Yet what is most intriguing is the range of aspects of war covered : 

Looking at the Ewart's published war poems  there looms a lighthearted feel that readers of War Poetry tend not to appreciate; 'Officers Mess' makes catty comments about the officers and their wives present, with one party guest collapsing after his beer is spiked with gin. Another 'Oxford Leave' , first published in  the anthology ' More Poems from the Forces ' (1943) , concerns  a drunken night out ending with

It takes the loves and the parties but nostalgically in the brain
And even in the Army, their memories remain
And these are real people, not the distortion of dream,
And though one might not believe it, they' re all of them 
           what they seem

Gavin Ewart would later become famous for writing love poems , some quite erotic. His collection 'Pleasures of the Flesh' 1966 was banned by W H Smiths' shops when it first appeared, and this sonnet is particularly touching.

We make mistakes, my darling, all the time,
Love, where we are not wanted, sigh alone,
Simply because our passions are not tame.
No fairy story dragons to be slain,
Our living difficulties are not so simple.
Huge effort cannot bring a love to birth,
The future offers no instructive sample
Of what's to come up a warlike earth ......

First appearing in 'Poems from the Forces -A Collection of Verse-edited with an introduction by Keidrych Rhys ,' from 1941, the poem hints that Ewart realised that being stationed in Britain would not last. And that how ever powerful love is, it can not shield one from the uncertainties generated by a world at war.

And  Ewart could write some quite striking and harrowing  lines about the actual nature of War ..such as these lines written in April 1945 whilst serving in Italy

War Dead 

With grey arm twisted over a green face
The dust of passing trucks swirls over him,
Lying by the roadside in his proper place,
For he crossed the ultimate far rim
That hides from us the valley of the dead.
He lies like used equipment thrown aside,
Of which our swift advance can take no heed.
Roses, triumphal cars- but this one died.

Once war memorials, pitiful attempt
In some vague way regretfully to atone
For some lost futures that the dead had dreamt,
Covered the land with their lamenting stone-
But in our hearts we bear a heavier load;
The bodies of the dead beside the road.


Sources Consulted 

Have consulted the 'Poetryarchive.org'  entry for Gavin Ewart   for biographical details.

Quotes from the second and third paragraphs are  from Gavin Ewart's self written biographical notes at the end of the anthology 'The Poetry of War 1939-1945,  New English Library, 1972

George Orwell quote from  review of 'The Unquiet Grave' , 'The Collected Essays, Journalism and Letters of George Orwell Volume 3 'As I Please' 1943-1945.

Poems

Would liked to have gone to The Poetry Library to consult more of Gavin Ewart's work, but alas not possible at the moment. 

'Three Weeks to Argentina ' appears in the collection 'The Young Pobble's Guide to His Toes' , Hutchinson , 1985

'Sonnet' originally appeared in  'Poems from the Forces -A Collection of Verses by serving members of the Navy, Army, and Air Force, edited with an introduction by Keidrych Rhys ,' Routledge , 1941

'Oxford Leave' originally appeared in  'More Poems from the Forces -A Collection of Verses by serving members of the Navy, Army, and Air Force, edited by Keidrych Rhys ,' from 1943

'Officers Mess' , 'Oxford Leave' and 'Sonnet '  from 'I Burn for England-An anthology of the poetry of World War II', Selected and Introduced by Charles Hamblett, First Publishing,  1966.

'War Dead' appears in 'The Voice of War-Poems of The Salamander Oasis Trust' , Michael Joseph Ltd, 1995




Other Blogs by Michael Bully

Bleak Chesney Wold  Charles Dickens/ 'dark' Victoriana   launched February 2023

A Burnt Ship  17th century war and literature.

The Life and Death Orchestra

                           Songs for the Betrayed World 
                 'When the Music Stops- What happens then'?

                                                       

                                                      Photo of bodies at Buchenwald-Ohrdruf taken by Colonel Park O Yingst: 
                                                      United States Holocaust Museum # 60630 in Public Domain

                      The work of The Life and Death Orchestra in commemorating the Holocaust is both  impressive and innovative  Two projects worthy of note are firstly  the CD 'Songs for the  Betrayed World' (2000) .Composed by Bill Smith & Bim Sinclair and  credited to the 'The Life & Death Orchestra Featuring Angi Mariani & Herbie Flowers', the CD  interprets both Holocaust related poetry and prose . The poets featured include Yehuda Amichai, Tadeusz Borowski, Czeslaw Milosz, Zbigniew Herbert, Hilda Schiff, Elie Wiesel, and Adam Zych. The music is quite something else, strangely alluring. Elements of cabaret, early tango, brooding  Jazz, with the occasional uplifting track such as 'Us Two ' whilst ' Never' confronts the whole horror of the Death Camps and the loss of faith in the benevolence of humanity . After a few listens to the work of The Life and Death Orchestra, strange to find oneself singing along to some of their songs. But challenging, thoughtful , and it is great to have a focus on lesser known work.

And then there is the opera 'This Way for the Gas Ladies and Gentlemen' , partly  based on Tadeusz Borowski's recollections of being a prisoner in both Dachau and Auschwitz as published in 1947 : Borowski (born 1922)  had been writing poetry whilst living underground during the German occupation, associated with the Resistance, and  was arrested on 25th February 1943. His partner Maria  Rundo, a Resistance fighter was also taken , and she was sent to Birkanau. Both survived, were re-united and married in 1946, living in Warsaw then travelling to France and Germany and back to Poland.  Borowski turned to Communism, and to writing about his experiences as a prisoner. In 1951 he died in unexplained circumstances most likely by suicide,after learning that a friend has been arrested and tortured by the new Communist regime of Poland.Some of Borowski's most remarkable work concerns the love poetry he wrote whilst in the camps.


The Sun of Auschwitz (extract)  Tadeusz Borowski

"                 I remember
your smile as elusive
as a shade of the colour of the wind,
a leaf trembling on the edge
of sun and shadow, fleeting
yes always there. So you are
for me today,in the seagreen
sky, the greenery and
the leaf-rustling wind. I feel
you in every shadow, every movement
and you put the world around me
like your arms.  I feel the world
as your body, you look into my eyes
and call me with the whole world"

(Translation that appears in 'The Auschwitz Poems' 1999)

The CD ' Songs of the Betrayed World ' interpretation  can be listened to Here

A personal favourite is Paul Celan 's 'Deathfuge' . The bitter ironic lyrics lend themselves well to a song and can be heard here  Reminds one of Brecht and Weill. Paul Celan  (1920-1970) was from a German Jewish family who were living in Romania . Celan was had to serve 18 months forced labour before escaping,  his parents both died in the camps. A poet, translator and lecturer in Paris after the War ended, Celan took his own life in 1970 after a severe bout of depression.

'Deathfuge'  (extract)

"Black milk of daybreak we drink it at evening
we drink it at midday and morning we drink it at night
we drink and we drink
we shovel a grave in the air there you won't feel toocramped
A man lives in the house he plays with his vipers he writes
he writes when it grows dark to Deutschland your golden
                                                                 hair Margeurite
he writes it and steps out of doors and the stars are all
                    sparkling he whistles his hounds to come close
he whistles his Jews in rows has them a shovel a grave
                                                               in the ground
he orders us strike up and play for the dance. ....."

(Translation as appears in 'The Auschwitz Poems' ,1999)

Finally Tadeusz Rozewicz poem 'Pigtail' , already covered by this blog for  Holocaust Memorial Day also adapts well to music and The Life and Death Orchestra's version is  available here


Interview with Bill Smith via email April 12th 2020

Have you had feedback from Holocaust survivors and/or from relatives of those who died in the Holocaust about the work of the Life and Death Orchestra?

When we first performed as the Life and Death Orchestra many survivors came in the audience. We have since met many survivors and their relatives and all were grateful for what we had produced.

It is noticeable that you have used the written word of some writers who were not directly caught up in the Holocaust, such as Adrian Mitchell ( 1932-2008) and Adam Zych ( born 1945) . What would you say in response to those who claim that it is impossible to write adequately about the Camps, or war in general, unless the writer has had first hand experience?

I don't agree with that. If you believed that you would have no art. Adrian Mitchell writes from the heart and understands what happened. Adam Zych was one of the principal curators of the Auschwitz Museum and we went there to meet him. He's a great composer too.

In the performance of the Opera in 2007, there is a section about Darfur , and also references to the Katyn forest massacre. The Opera shows Tadeusz Borowski's bitter disillusionment with Communism after surviving the German Death Camps. The CD has a track about the singer Victor Jara murdered by Chilean fascist in 1973. How far do you think that connections can be made with the Holocaust and other crimes against humanity?

The Holocaust was a unique occurrence in human history but I started to try to understand the evil that humans do so I think that there are links. Borowski and Daghani were not keen on Socialist realism !!!
To quote Arnold Daghani "If impressionism is painting what you see and expressionism painting what you feel, socialist realism is painting what you are told to see and feel."

If there is one poem about the Holocaust that you think that readers should read, what would it be ?

'Again ' by Kevin Carey and the book 'Night' by Elie Wiesel.

What are the future plans for the Life and Death Orchestra? Any chance of staging 'This Way to the Gas..' again ?

We're very hopeful that we can stage the Opera again in a significant way in 2021. We are publishing the full life cycle of song so any orchestra can play the songs. We hope to do a Life and Death Orchestra in late 2021 featuring other composers as well.

Do you think that the Allies could have intervened in some way by bombing some of the major death camps or the rail links to them?

Yes I do think that the Allies could have taken the genocide much more seriously and could have adopted measures to save millions......and the world looked on and the world looked away as we sing in our opera. Mainly our leaders !
( Bill directed me to the following article from 'The Independent' of  April 18th 2017 titled 'Allied forces knew about Holocaust Two Years Before The Discovery of the Concentration Camps Secret Documents Reveal ' )


I wish to thank Bill for his time. 


 Felt appropriate to end with some lines from 'Again ' by Kevin Carey

"Since then My Lai
Kampuchea, paralysis
in the face of ethnic cleansing. If
I have to say it. If I have to say it
again
I will say it again
for  there is no such thing as compassion fatigue
only compassion forgetting. If I
have to say it
again."

( From the booklet that accompanies the CD 'Songs For the Betrayed World'. Originally from Kevin Carey's poetry collection 'Klaonica' -which is Serbo-Croat for 'slaughterhouse'. )





Links

The Life and Death Orchestra  website

The Links page on The Life and Death Orchestra website provides a massive guide to Holocaust research and commemoration organisations.

Never  as performed by The Life and Death Orchestra in 2007

Us Two  as performed by The Life and Death Orchestra in 2007

Tracks from Youtube selection of Life and Death Orchestra tracks -audio

Culture Poland website page on Tadeusz Borowski

'The Keep' archive page on Arnold Daghani  ( Artist referenced above by Bill Smith)

Recommended Reading 

'Holocaust Poetry', anthology edited by  Hilda Schiff  ,St Martin's Press, 1995

'The Auschwitz Poem' anthology edited by Adam A. Zych, Auschwitz- Birkenau State Museum 1999




Other blogs by Michael Bully 

Other blogs :

Bleak Chesney Wold   19th century history & literature blog

A Burnt Ship                17th century history warfare & literature blog 

CONTACT: Michael Bully     World War 2 Poetry@mail.com   ( please ram words together without spaces) 

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