I am so at home in Dublin, more than any other city, that I feel it has always been familiar to me. It took me years to see through its soft charm to its bitter prickly kernel - which I quite like too.

Brothers in Religion

Tom Wall writes: John Toland was a leading figure in the early Enlightenment, although, as Fergus Whelan notes in his incisive Dissent into Treason, he is little known ‑ and even less celebrated ‑ in his native land. This may partly explain why mystery surrounds his parentage and the manner of his conversion to Protestantism. All we know is that he was born in the townland of Ardagh in Inishowen in 1670 and converted at the age of fourteen or fifteen. He was enrolled in Redcastle School on the shores of Lough Foyle before attending universities in Glasgow, Edinburgh and Leiden in the Netherlands, all apparently financed by Protestant patrons. Ardagh was, at that time, remote from English or Scottish settlement and there were few Protestants in the wider district. However, there was one significant Protestant contemporary living in his parish, a fellow Gaelic-speaking convert, Rev Daniel (Domhnall) McLaughlin.

Domhnall McLaughlin features in Gaelic folklore. As described in Anthony Nugent’s delightfully eclectic self-published book Legends of the Dispossessed, he and his brother Peadar were on their way to study for the priesthood when they were shipwrecked and given shelter by an English gentleman. Their host offered to pay for their education if they would agree to convert to the established religion. Domhnall accepted but Peadar didn’t and continued on his journey and was ordained. Domhnall became an Anglican minister and the brothers both subsequently returned to Inishowen as rival pastors. There are a number of versions of the story which gave rise to the Gaelic lament “Fil, fil, aroon”, but, whatever about the details, it is beyond doubt that the brothers were real people who both ministered in Clonmany, the parish in which Ardagh was situated, during the time of John Toner’s childhood and adolescence. Domhnall, a university-educated minister, who adapted the name Daniel, was the most likely person to have been the earliest contributor to what Toland later called “the happy instrument of my conversion”.

The two brothers are mentioned in Charles McGlinchey’s reminiscence The Last of the Name. More substantial evidence of their existence is contained in Three Hundred Years in Inishowen, written by Amy Isobel Young and published in 1929. The Young family lived in Culdaff, about ten miles from Clonmany, since the seventeenth century and one of Amy’s forebears, George Young, married a daughter of Domhnall. Based on her ancestor’s notes, Amy confirmed that Daniel McLaughlin was rector of Clonmany from 1672 to 1711 and that his brother, Peter (Peadar) was a priest there also. She wrote:

Daniel had a large well-built church, but no congregation; for even at the present day [1920s] the Protestant population of the parish is practically non-existent. Peter, on the other hand, had a congregation numbering thousands, but their only places of worship were ‘little altars’ which stood by the seaside or on the mountaintops.

Ardagh was in the parish of Clonmany, where the McLaughlin brothers ministered during the time of John Toland’s conversion in 1684 or ’85. It is inconceivable that they would not have known of the child prodigy within their midst, especially as he is likely to have been a pupil in the parish school.

A well-researched paper by the historian Catherine McWilliams, herself a native of Clonmany, adds greatly to the sum of our knowledge on this subject (it is obtainable on https://stcolumbasstraid.com/history/). We learn from her that Daniel McLaughlin was not the first minister of the established church in the parish, although he was the first indigenous Irish-speaking rector. Although largely bereft of worshippers, Domhnall had substantial resources at his disposal. He married into a wealthy family, the Skiptons, of Skipton Hall in Derry, and built what is described by McWilliams as “one of the finest mansions in Inishowen” in nearby Dresden. More relevant to our investigation, the combination of his good fortune and the tithes extracted from the inhabitants allowed him to employ a schoolteacher, John Deniston. Not many schools were attached to rural Church of Ireland parishes with predominantly Catholic populations and Toland would most likely have been schooled there as a boy. Assuming he was, he would have learned English from Mr Deniston, who is likely to have informed Rev McLaughlin that they had a gifted child in their care. The choice of Redcastle as the location for Toland’s further education is further evidence of a link with McLaughlin. Redcastle was the ancestral home of the McLaughlins and Domhnall is believed to have been born there. Their land had been confiscated and was now in the possession of the Cary family. But Domhnall, due to his conversion, had good standing within the Protestant community and is likely to have had friendly relations with the Carys and with Chichester, the primary landlord, who would have been in a position to have a promising student and fellow convert educated there.

There is a story, possible emanating from Toland himself, of an adolescent disputation with a priest on aspects of theology. If such occurred, it is likely to have been with the other McLaughlin brother, the Catholic priest, Peadar. Whatever, the relationship between the two siblings, the Catholic one would not have been happy to lose a member of his flock to heresy. It would be unthinkable for him not to appeal to the lad to reconsider his intent and a dispute may have ensued. Peadar was a Franciscan friar and, as a member of a religious order and not a registered priest, he was likely to have had a price on his head. The fact that he was never arrested, despite, according to contemporary sources, saying Mass outdoors with large crowds in attendance, suggests that his Protestant brother could have protected him to some extent. Daniel was not entirely cut off from his family; his mother, by all accounts, never gave up hope of his return to the true faith and often appealed to him directly. The brothers could not have avoided each other ether, even if they wanted to. There is a story that, on passing each other one day, Domhnall remarked about “one going east the other going west” to which Peadar responded by saying that “one is going up and the other going down”. Amy Young’s version of the story has Peadar adding “and may God judge between us which is which”. It appears that both died in 1711, with Domhnall predeceasing Peader. All accounts describe the priest as being deeply mournful for his brother. This implies that the relationship was not entirely adversarial, and it might explain an unusual episode in Tolland’s life.

Toland was frequently assailed with the accusation that he was a priest and the son of a papist priest; a slander that Jonathan Swift was happy to broadcast. With a view to debunking the libel, Toland visited a Catholic seminary in 1708 where he obtained a written testament, signed by a number of Irish priestly academics, confirming that he was descended “from an honourable, noble and most ancient family”. The institution he visited was the Irish Franciscan College in Prague. The question that is not explained is why there? It may be that he knew in advance that some who taught there were Donegal natives who might know a thing or two about Gaelic genealogy. Two of the signatories were O’Neills, who might have had some connection with the O’Neills of Tyrone and Donegal. But could his knowledge have had something to do with his past relationship with Fr Peadar McLaughlin, a Franciscan friar, who was likely to know, and be known of, in Prague?

31/9/2018

A Mission for the Führer

Joe Carroll writes: In the early hours of May 5th, 1940 a parachutist landed in a field in Co. Meath near the village of Ballivor. His name was Hermann Goertz and he was a German air force officer. Although he was on a spying mission, he was wearing his Luftwaffe uniform. The reason may have been that if he had landed by mistake in Northern Ireland he could deny being a spy and avoid execution. Goertz was also carrying about $26,000 in cash, a Browning pistol and a knife.

A second parachute followed him down with a radio set and a tool for burying his parachute but Goertz could not find it so he had to hide his own parachute in a hedge. Later in the morning he was discovered by two farm labourers. Goertz gave them some money and asked the way to Co Wicklow.

His contact there was Iseult Stuart, who lived at Laragh Castle, Glendalough. He had been given her name and address by her husband, the writer Francis Stuart, who had met Goertz in Berlin where the Irishman was teaching English. Francis was soon to begin broadcasts to Ireland from a German propaganda station. Iseult was the daughter of the famous Maud Gonne MacBride. She was also the half-sister of Seán MacBride, who was briefly chief of staff of the IRA in the 1930s but was then a practising barrister.

Goertz set off for Laragh after dumping his air force tunic, leaving him dressed in a white sweater, riding boots, riding breeches and a black beret, an unusual outfit in the Ireland of the 1940s. He swam the Boyne to avoid a guarded crossing but the water ruined the invisible ink he had hidden in shoulder pads. He walked through Newbridge and even called into the Garda station at Poulaphuca to ask directions. Arriving at Laragh  in a bedraggled state after four days walking about eighty miles, he had trouble convincing Iseult Stuart who he was. But she eventually admitted him and gave him a bed to rest. .

Goertz asked Iseult to get him some proper clothes, so she drove to Dublin, met her mother, Maud Gonne, and the two women went to Switzers to buy some men’s suits. Iseult also arranged for someone to take Goertz away from Laragh. That someone was Jim O’Donovan, whose activities in the IRA help explain why Goertz was in neutral Ireland as a Nazi agent.

We have to go back just over a year to January 13th, 1939. On that day a letter to the British foreign secretary, Lord Halifax, announced that his government had four days to agree to withdraw all British armed forces stationed in Northern Ireland. If there were no such announcement then the IRA would take military action in Britain. The letter from the government and army council of the IRA had been largely written by O’Donovan, who by day was in a permanent job in the ESB but in his own time was drawing up the so-called S-Plan for a bombing campaign in England. Not surprisingly, there was no response from the British government and four days later IRA bombs designed by O’Donovan, who used teach chemistry in Clongowes College, began to go off all over England. Brendan Behan was among the IRA bombers who were rounded up, leading to his spell in Borstal.

Although Germany and England were not yet at war, German military intelligence, the Abwehr, sent an agent to Dublin to contact the IRA. The Germans asked the IRA to send someone to Germany. O’Donovan was the obvious choice, and during three visits to Hamburg and Berlin right up to the start of World War II he filled in the Abwehr about the strength and aims of the IRA and sought German arms and financial assistance for their campaign.

The arrival in Ireland of Hermann Goertz in May 1940 was evidence of the Abwehr’s positive response. Hence O’Donovan’s quick reaction when told Goertz had made his way to Laragh. But what exactly was Goertz’s mission to neutral Ireland while the German army was over-running Norway, Denmark, Netherlands, Belgium and France and threatening to invade England? Goertz’s mission was principally to persuade the IRA to concentrate its activities on military targets in Northern Ireland. By then the bombing campaign in Britain had petered out. Another aim of his mission, which seems strange to us today, was to see if the IRA could be reconciled with the Irish government. The Germans thought that since Fianna Fáil, led by Éamon de Valera had the same aim as the IRA – the unification of Ireland – perhaps they could work together against Britain. At the same time Goertz was told not to get involved in Irish politics. It would not take long for him to discover that this was Mission Impossible, and now he had no radio to tell his masters how he was getting on.

There was of course an official German legation in Dublin under the minister, Edouard Hempel. His main task was to try and ensure Irish neutrality in the war and deter Ireland from throwing in its lot with Britain. Hempel was not told about the arrival of Goertz and the last thing he wanted was a German agent wandering around Ireland and trying to influence the IRA, which was then an illegal organisation: indeed some days the Special Branch and the IRA were having gun battles in the streets of Dublin and two IRA men had recently died on hunger strike.

Goertz himself had an interesting background. He was born in Lübeck in northern Germany in November 1890 into a middle class family. His father was what we would call a solicitor. Goertz fought in World War I, first on the Russian front, where he was wounded and decorated. Then he transferred to the air force as an observer and later served as an interrogator of captured English and American airmen. He got married in 1916 to Ellen, the daughter of an admiral, and they had three children.

After the war. Goertz worked in his father’s firm as a lawyer and spent some time in the United States specialising in international law. He was also an all-round sportsman who could ride, sail, swim and box, And he was artistic: he could sketch, paint, play music, write stories and poetry. He was almost six feet tall, had brown hair going grey and grey eyes. He also had some scars. (He and his wife spent a holiday in Ireland in 1927 and were there for the funeral of Kevin O’Higgins, the minister for justice, who was murdered on Booterstown Avenue by maverick IRA members. Goertz noted how strongly political passions were running in Ireland at that time, just a few years after the Civil War.)

He joined the Nazi party in 1929 but his legal career was going downhill and in 1935 offered his services to the Abwehr to spy in England on RAF installations while pretending to research a book. He brought along an attractive nineteen-year-old secretary from his office, Marianne Emig, whom he referred to as his niece but who was also his mistress. After a few months travelling around southern England, the couple went back to Germany but Goertz, who planned to return later, made the mistake of leaving a suitcase behind with a landlady to whom he owed rent. When he delayed his return she opened the case and found notes and sketches of airfields and RAF installations. She called in the police and soon MI5 had a watch out for Goertz, who was duly picked up when he arrived in Harwich. His trial for peacetime espionage caused a sensation in England and was widely reported as the “Flying spy” case. He was sentenced to four years in prison and was released in 1939. In view of how he had bungled this first spy mission, it is perhaps strange that the Abwehr was ready to entrust him with a new one, this time to Ireland.

So here was Goertz at age fifty on his second spying mission, again facing failure. He had lots of cash but no radio, no secret ink and no contact with the IRA and was stuck in remote Glendalough. With the arrival of Jim O’Donovan and his car, this was about to change. O’Donovan drove Goertz to his home in Shankhill, an elegant period house called Florenceville. A day later, four IRA men called demanding money from Goertz. He gave them $16,500 but kept $10,000 for his own use. They brought him to another safe house in Winton Avenue, Rathgar and he had his first of several meetings with the chief of staff of the IRA, Stephen Hayes. At first he admired Hayes, although finding it hard to understand his Wexford accent, but he later came to despise him. IRA members retrieved Goertz’s parachute from Ballivor where he landed but could not find the radio set. Goertz was later moved to the home of Stephen Held, a dealer in sheet metal who had a large house in Templeogue called Konstanz. Held was half-German. The IRA had sent him on a recent mission to Germany to renew contact with the Abwehr. Held brought with him a plan for German landings in Ireland by parachute and by sea preparatory to invading Northern Ireland. It was called Plan Kathleen and was to haunt Goertz in the years ahead. Goertz was lucky to escape over a back wall when the Garda Special Branch raided Held’s house on May 22st, but Held himself was arrested. The search of the house revealed a room in which there were new suits from Switzers, a parachute, some German military medals, coded messages, $20,000 in a safe and Plan Kathleen.

Held spun a yarn that the incriminating material belonged to a German called Heinrich Brandy who had been a lodger. He said the money was part of a collection to build a retirement home for elderly IRA members. But the Irish authorities now knew that there was a German spy on the loose and that there was what looked like a German plan to invade Ireland. There was panic in the Government as rumours flew about an imminent German parachute landing – this was at a time when Germany seemed invincible and the defeat of Britain almost inevitable. Several hundred IRA suspects were quickly rounded up and interned in the Curragh.

Goertz was on the run again. He headed once more for Iseult Stuart and Laragh but it took him several days and he almost starved on the way. When he got to the Stuart home, there was no Iseult. The Switzer suits had been her undoing. The police had found out from the shop that she was the purchaser and she was arrested. But luckily for Goertz, the house and children, Ian and Katherine, were being minded by Helena Moloney. She was a well-known 1916 veteran under Countess Markievicz and later an Abbey actress who had become a trade union activist. She sheltered Goertz in an outhouse. Ian, then about ten, later recalled that he used to bring Goertz food. (Ian after the war married the German sculptress Imogen Werner, now known as Imogen Stuart.)

Iseult was held in custody for six weeks. Her trial for harbouring a person unknown who was threatening the security of the state was held in camera, but she was acquitted for lack of evidence. She apparently began a romantic relationship with Goertz after her release according to her husband, Francis, in an interview with his biographer, Kevin Kiely. Held was not so lucky and was sentenced to five years in prison.

Goertz, with the help of Helena Moloney, was brought back to Jim O’Donovan’s house in Shankhill. Now began a period during which the spy decided to cut his links with the IRA, which he now distrusted. He moved from house to house, usually helped by admiring women with strong Republican backgrounds. Among the places he stayed was 1 Charlemont Avenue, Dun Laoghaire, on the sea-front, near the station, owned by a retired nurse, Mary Coffey. Goertz was called Mr Robinson and to explain his comings and goings he was said to be a commercial traveller.

Helena Moloney and a woman named Maura O’Brien then rented a house for Goertz called St Alban’s, on Nerano Road, Dalkey, from where he may have sent wireless messages to Germany with the help of an ex-post office technician called Anthony Deery. Goertz also received visits at St Alban’s from political figures with pro-German sympathies, such as Dan Breen. He also stayed with two sisters, Marie and Bridie Farrell, who lived at 7 Spencer Villas, Glenageary. They were devoted to him and he returned there to live for a while after the war. Another branch of the extended Farrell family lived at 43 Cross Avenue, Dun Laoghaire and ran the Ideal Creamery at 88 Lr George’s Street.

Another devoted woman was Maisie O’Mahoney whose mother ran a bed and breakfast in Gardiner Place where Goertz sometime stayed. Maisie acted as a chauffeur for Goertz and there was also a romantic interest. He referred to her as “Golden Queen” because of her blonde hair. She worked for Dr Andrew Cooney, a former IRA chief of ctaff – yet another one ‑ who was then running the Hospitals Commission linked to the Irish Sweepstakes.

A much more significant contact of Goertz, and one which could have had disastrous consequences was Major-General Hugo MacNeill, then the second most senior officer in the Irish Defence Forces. Like many others in the Army and politics as the Germans were over-running Europe in 1940, MacNeill worried about what would happen if the British forces in Northern Ireland felt obliged to come across the Border to try and seize the Treaty ports at Cobh and Berehaven and forestall a possible German invasion.

After the war, the plans for a German invasion of England in September 1940, called Operation Sea Lion, were discovered, but also plans for a supporting invasion in Ireland called Operation Green. This would have involved German landings in the Waterford-Wexford area, seizure of bridgeheads, advancing towards the line Dublin-Kildare etc. There has since been speculation that this was never meant to happen but was a diversionary tactic to confuse the British. General MacNeill was worried by the unpreparedness of the Army to oppose a British invasion from the North. He first sounded out the number two in the German legation, Henning Thomsen, about getting German arms and equipment in such a scenario. When he got no response, MacNeill decided to approach, Goertz whom he knew was the contact between the German military and the IRA. MacNeill’s unofficial contacts with Goertz only emerged after the war when the telegrams between the legation and Berlin were captured and published.

MacNeill was probably unaware that the German foreign minister, Von Ribbentrop, had actually offered British equipment captured at Dunkirk to the Irish Army. The offer was made through ambassador Hempel, who passed it on to de Valera. The latter feared this offer was a poisoned chalice which the British would almost certainly hear about and then use as a pretext to accuse Ireland of having only a pseudo-neutrality and to invade themselves. The German offer was ignored by de Valera, to the annoyance of Ribbentrop.To complicate matters further, plans were drawn up in the summer of 1940, with de Valera’s approval, between the Irish Army and the commanding officer in Northern Ireland for British forces to help the Irish repel any German invasion in the South. The fact remains that MacNeill’s action in discussing German help with the embassy and then with a Nazi agent was extremely reckless and could have compromised Ireland’s attempts to remain neutral.

Goertz put the German ambassador into a very difficult situation with the Irish government. Hempel was not told in advance that Goertz was coming on a secret mission to the IRA to get them to carry out sabotage in Northern Ireland. But he was belatedly filled in by Berlin after the spy was nearly captured in the raid on the Held house. Hempel was horrified at the idea of Goertz at large making contacts with the IRA, politicians and even senior Army officers while he was trying to convince de Valera that Germany would respect Irish neutrality. Hempel reluctantly arranged to meet Goertz. This would happen under cover of a cocktail party at the ambassador’s residence in De Vesci Square/Terrace, Monkstown, a large Victorian house since pulled down and replaced by an apartment block. When Goertz arrived he gave the pre-arranged signal that he wanted to go to the toilet. He was brought to the ambassador’s study where Hempel joined him but had to keep interrupting the meeting to return to his guests. Hempel was impressed by Goertz’s bravado but was relieved to hear that he planned to leave Ireland and return to Germany as he believed he was wasting his time with the IRA.

Goertz made several attempts to escape from Ireland by using small boats. The first was in February 1941 from Fenit, Co Kerry, but the IRA men scouting the area for a suitable craft were spotted and arrested. One of them, called Crofton, was actually a member of the Garda Special Branch, which he had infiltrated. Goertz escaped yet again back to Dublin. Another escape bid by boat from Inishduff in Co Donegal also failed. Goertz was getting to see quite a lot of Ireland; he also stayed in Co. Cavan for a week near Belturbet. In August 1941, he lived in a holiday chalet in Brittas Bay, Co Wicklow, while he prepared to sail in a collapsible boat with outboard engine to France. For cover there were also some of the Farrell women and a young girl who would sometimes sail with Goertz as he practised his getaway. Sean McEntee, then a cabinet minister , also had a holiday home nearby so there would have been police around. Goertz’s two efforts to sail down the Irish Sea to France were thwarted by bad weather, so it was back to Dublin again.

He was eventually arrested on November 27th, 1941, nineteen months after he landed in Co Meath. He was hoping that his Army contacts would supply him with a plane to fly to France and he was staying in an IRA “safe house” in Blackheath Park, Clontarf belonging to a Patrick Claffey. His move to the Northside was not a good idea. The Special Branch, which had been arresting and questioning the Farrells and Jim O’Donovan, were closing in on him. Following a tip-off, Superintendent Gantly and his men raided the house in Clontarf. Goertz was found in a passageway between the house and a garage. As he was being led to the police car Goertz shouted: “You are arresting the best friend Ireland has …your government know why I am here, there is no room for a military attaché – that’s why I am here.” In the car bringing him to the Bridewell, he told the police that the IRA had let him down but that he had meant no harm to southern Ireland.

Goertz’s nineteen-month spell of freedom raises the question of how or why he was at large for so long. The other German spies, about a dozen, who had landed in Ireland had been picked up, in some cases within hours and usually within weeks. Goertz met so many people, five hundred according to himself, that it is hard to believe that he was not being left free by the authorities so that they could observe whom he was contacting. Col. Dan Bryan, the head of military intelligence, called G2, later denied this and blamed Garda incompetence for failure to arrest Goertz sooner ‑ but one has to wonder. It is interesting that the authorities only discovered Goertz’s real name shortly before his arrest. Until then neither they nor Britain’s MI5 knew that the German spy at large in Ireland was the same man who had been convicted of spying in England back in 1935.

Goertz was held for a year and a half in Arbour Hill military prison and was frequently interrogated by military intelligence. One officer was Commandant Éamon de Buitléar, who spoke fluent German (he was the father of the well-known director of nature programmes Éamon de Buitléar). Another interrogator was Dr Richard Hayes, director of the National Library, who was on part-time secondment to G2 as a code-breaker, a task for which he had excellent skills. He was anxious to break the code messages discovered with Goertz’s belongings when the Held house was raided. Dr Hayes succeeded in this, much to the admiration of the British MI5 to whom the information was passed on as part of the close wartime cooperation between the two intelligence services.

The news of Goertz’s arrest was reported in the Irish and British press and caused headaches for Hempel. Goertz wrote to him from jail: “I ask you urgently to get in contact with me as I feel the honour of the German Wehrmacht is involved. Heil Hitler.” Hempel was trying to work out with Berlin a statement which would appease Irish suspicions about what exactly Goertz had been up to. Goertz was sticking to his story that his mission was to persuade the IRA to stop causing trouble in the South and concentrate on sabotage actions in Northern Ireland. He denied that he had anything to do with Plan Kathleen’s German invasion scheme although the minister for justice, Gerry Boland, several times spoke in the Dáil to the effect that Goertz was behind a German plot to invade the country.

The Irish authorities were naturally intrigued at what Goertz had been up to during his nineteen months at liberty. The rumour mill had it that he was meeting dozens of influential people. Some of these were alleged to have been government ministers, such as Frank Aiken, Dr Jim Ryan and PJ Little. He was also believed to be arranging a meeting with Cardinal McRory as part of his futile idea of incorporating the IRA into the Irish Army.

Berlin told Hempel about Goertz’s last radio contact, in which he suggested a German proclamation for “Irish freedom and reunification of the occupied North with the South on the principle of Irish neutrality”. But Berlin added that this was “a complete misunderstanding of his mission” by Goertz and said it could only be explained by the fact that “he had lost his nerve and perspective in the previous 18 months and that he had been attempting all possible means of returning to Germany”. When Hempel met the secretary of the Department of External Relations, Joe Walshe, he stuck to this line and insisted that “if Goertz was active in a political way it could only be because he had acted on his own responsibility or through personal anxiety and a disturbed state of mind”. There was probably some truth in this suggestion concerning Goertz’s mental state.

While in Arbour Hill and later, when transferred with the other captured German spies to Custume Barracks in Athlone, Goertz kept up contact with his network of friends outside. For this he bribed a Corporal Lynch, who would smuggle letters to people like Mrs Austin Stack, widow of the Kerry IRA man; a Mrs Maeve Kavanagh McDowell who worked in Lees drapery shop in Rathmines, and the Farrell sisters. He asked them to supply a hacksaw blade, a glass cutter, a wire cutter and £3 to be left in Del Rio’s café, South William Street, owned by a sympathetic Italian fascist. By this time the authorities had discovered what was going on and were intercepting these clandestine letters so it was an Army sergeant in civvies who turned up at Del Rio’s to collect the escape material.

Another Goertz contact was Dr PJ Brennan, the Dublin County coroner who lived in Mellifont Avenue, Dun Laoghaire and may have treated Goertz medically while he was at large. Goertz also sent messages to Dr Kathleen Lynn, well-known as the medical officer to the College of Surgeons garrison in 1916 under Countess Markievicz. Another well-known Republican family which got involved in German espionage was the widow of Cathal Brugha, Kathleen and her daughters. Mrs Brugha, who owned the Kingston’s shirts business with its shop in O’Connell Street, is believed to have helped Goertz when he ran short of cash.

The biggest coup for the Irish intelligence service was to break Goertz’s code and to then send him replies, supposedly from Germany, to messages which he continued to smuggle out from prison. In this way they fooled him into giving a lengthy account of his movements from the time he arrived in Ireland. As a consolation for his efforts, the Irish spycatchers pretended to Goertz that he had been promoted from captain to major as a reward for his bravery on the Irish mission. A fellow-internee, Van Loon, recalled that when he got this news, Goertz “looked at me, then began to cry and sank onto his bed”.

Goertz found his imprisonment very hard and he went on several hunger strikes. He did not get on well with all his fellow spies, some of whom he did not trust. He kept devising escape plans, which with time became more outlandish. He once appealed to outside helpers to get him a bicycle and a few trusted men who “must darken their faces and have gloves on”.

He made pathetic appeals to the Irish character of his contacts: “I would not dare ask you if it were only for me. I am convinced it is for Ireland and for the friendship and the unbelievable kindness of hearts I have found here. It has become for me a kind of a second home … nobody expects that you slip out of neutrality but you must show that there is an Irish spirit, not only by Irish dancing. I know it is there.”

When the war in Europe ended in May 1945, the German sailors and airmen who were interned at the Curragh camp were sent back to Germany. As regards the spies held in Athlone things were more complicated. The British representative told the Irish government that it would be “most undesirable that these agents should be released and allowed to be at large in Eire after the war”. The Irish government at first took up a strong position and refused to deport the spies back to the Allied-controlled areas of occupied Germany. Goertz and the others were allowed to walk around Athlone and meet locals but had to report back to their prison quarters each evening. Goertz applied for political asylum but this was blocked by G2, which still saw him as a “dangerous person”. Col Bryan of G2 said he believed that Goertz would resume his contacts who would “lead straight to certain groups in this country who were pro-German in the war years and are interested in the project to bring German children here … a certain clique in the group seeks to give it an anti-British and almost pro-Nazi basis”. This is a reference to the Save the German Children Fund, called Operation Shamrock, which aimed to bring four hundred German Catholic children to Ireland for foster placement. Goertz was eventually employed as secretary to this scheme at £2 a month. A friend of mine, Fergal Mulloy, who lived in Idrone Terrace, recalls Goertz visiting their house to report on the German child staying there.

Then in April 1947, the Irish government yielded to the demands of the Allies and ordered the deportation to Germany of Goertz and the other spies. Goertz appealed against this decision to the courts but lost. He now became deeply depressed and told fellow spy Gunther Schutz: “Whatever happens they will never get me. My phial of cyanide will be my last resort”. Goertz feared that he would be handed over to the Russians, who might be aware of his anti-communist activities after World War One. He was assured by the Irish government and Hempel that he would be released after interrogation by the British authorities in Germany but he remained distrustful. When he went to the Aliens Office in Dublin Castle on May 23rd, 1947, to renew his parole, he was told that a plane was waiting to fly him back to Germany.

Goertz sat in the waiting room smoking his pipe but then slipped a cyanide phial into his mouth and bit down on it. The Garda in the room shouted “That man is taking something” and tried to get it out of his mouth. Goertz said “That is none of your business” and collapsed. He was taken to Mercer’s Hospital where he died soon afterwards.

Goertz’s funeral on May 26th attracted a lot of attention. A military funeral was refused. Crowds gathered along some of the route to Dean’s Grange cemetery where an estimated six to eight hundred people were gathered. There was a swastika around the coffin and a number of people gave the Nazi salute. The faithful Farrell sisters, who used to call him “the Doc” wore Goertz’s military medals in his honour. Hempel asked to attend the funeral but was advised by officials not to. It was probably the last time the swastika was displayed in public in Ireland.

Pictures of the funeral went around the world and the Irish ambassador in Rome said that “they gave the impression that Dublin is a Nazi stronghold and the only country outside perhaps of Spain where the Nazi emblem is publicly displayed and honoured. People who had persistently refused to believe Anglo-American propaganda about Ireland’s pro-German sentiments are somewhat perplexed by incidents such as this.” An official in Dublin replied to the ambassador that the press had exaggerated the numbers at the funeral, which “consisted of IRA sympathisers whom Goertz had met during his period of liberty rather than Goertz’s own compatriots in this country. In fact the whole German colony – including the former German minister (Hempel) were conspicuous by their absence.”

In 1974, the body of Hermann Goertz was exhumed and reburied in the German war cemetery in Glencree. On the simple grave stone his rank is given as “Major”, the promotion he had been accorded by the Irish intelligence service as part of their efforts to deceive him while in prison in Athlone.

Note on sources
Following my book Ireland in the War Years 1939-1945, I collected material on the activities of German spies which I did not deal with in the book. Enno Stephan’s Spies in Ireland is valuable because he interviewed many of the live actors when he was doing his research in the 1950s and used German military archives. Carolle J Carter, in The Shamrock and the Swastika, made extensive use of German archives on microfilm then only available in the United States. Eunan O’Halpin’s Spying on Ireland and Mark M Hull’s Irish Secrets made extensive use of the more recently available Irish Military Archives and the Irish National Archives and MI5 files on Ireland. I also researched the full Goertz files in the Irish Military Archives.

31/8/2018

Yeats at Ballylee

Adrian Paterson writes: A riverside procession led by pied-piper musicians; damp stone and peat fire; a white cloth unbound in darkness; silence on the winding stair; and then, something happens: a young lover presses through bodies; a laughing creature leaps with wicker arm; a woman kneels before the hearth; a figure ghosts through a doorway. Climbing higher through whirling dancers, a vertiginous fiddle is answered by jackdaws; sudden sunshine burns gold a silver mask; a bat flies through a barred window and motes of thrown dust catch the setting sun. None of these are things one associates with your average theatre production. But all became part of the drama as WB Yeats’s play The Only Jealousy of Emer came home to his stone tower house at Thoor Ballylee, Co Galway.

Ezra Pound proposed that criticism, like poetry, should progress by “luminous details”. It is the only way to describe a performance which progressed in much the same way in a unique site-specific production by the Galway-based DancePlayers these luminous details lit up a darkening evening. The action of the play was often interrupted, whether by chance or design, as each of these moments thrust themselves on the attention: birds and bats and beasts and even crying babies, the appearance of players out of the shadows, the audience’s movement from one space to another. Perhaps with more time to prepare in the space, the provision of linking movement or passages of music to bridge some of these halts in the drama might be found. Gathering an audience to climb the stairs was ponderous – but also momentous, a held breath. And the occasional breaking of the dramatic frame only increased the intimacy of the playing. Alongside the river, the ritualised movement was calming, a momentary rest of the attention as Yeats once demanded; as the play wound up the winding stairs to the top of the Hiberno-Norman tower so too was wound up the tension. In a conventional theatre the presence of audience members and their coughing and shuffling, their rustling of sweets or the wailing of their mobile phones can drive playgoers and players to distraction. In a fourteenth century stone tower exposed to the elements and the accidents of history, that bodies should move and babies cry and birds squawk seems only natural – especially as the young crows’ cries grew in desperate competition with music. Noises off only added to the astonishing serendipities of live performance to increase the attention to the moment. This was an immediate, immersive, surround-sound, genuinely all-sense synaesthetic experience. In other words it was what theatre so rarely achieves.

It is, all the same, what Yeats’s later plays demand. Rarely read and barely performed, they are mostly forgotten by theatre companies – despite considerable virtues of portability, adaptability and cheapness. Revivifying both Irish mythology and poetic drama was a task Yeats had set himself with the foundation of a modern Irish theatre. At the Abbey, outside his and Lady Gregory’s Cathleen ni Houlihan, audiences were not so keen. His Four Plays for Dancers were meant for a smaller stage, attempting to harness the principles if not all the practices of the Japanese Noh theatre. As one of these eastern dance-plays, The Only Jealousy of Emer is unusual, but DancePlayers’ transposing of the east onto the west had precedent. The Dreaming of the Bones for instance, is a post-Easter 1916 drama set in the Burren at Corcomroe Abbey, telling the story of the Norman invasion as the ghosts of Dermot and Devorgilla conduct an escaped rebel through the landscape. If this showed that the West of Ireland might provide a fitting setting for Noh, actually performing the The Only Jealousy of Emer at Thoor Ballylee showed that stagings there might have unique bearing on our understanding of these plays, of Irish drama more generally, and even of past and contemporary history.

These plays do need a bold but sensitive hand to make sense of them. In The Only Jealousy of Emer time and sound dictate the whole. Rhythm is the play’s engine, locally on the level of the verse-line, but also in the wider dynamics and contours of the dramaturgy. This requires movement beyond the stage directions and unusual attention to sonic inflections. It also requires all the arts in tandem. From detailed research, improvisation and dramaturgical flexibility, featuring a remarkable combination of masks, costumes, live music, dance, design, as well as newly imagined acting, speaking, and movement, a distilled Gesamtkunstwerk was created from a difficult dance-drama. This was not a slavish reproduction of earlier drama for an ancient space, but a contemporary production of what was revealed as an unmistakeably modernist play.

Such a performance did not come from nothing. As originally premiered at the O’Donoghue theatre at NUI Galway in the 2018 Galway Theatre Festival, it was obvious that a process of collaborative rehearsal under the command of scholar and director Melinda Szuts was at the root of this piece of total theatre. The players were involved enough to help mould their own masks, designed and finished by Ronan Quigley; and these masks’ character coloured their bodily expression in gestures and carriage, as well as the cadences and acoustics of their varied but powerful verse-speaking. In a black box space the cloth lain over the Irish hero Cuchulain briefly wafted over the audience, and, taken and danced with by Fand (Orlaith Ni Chearra), the mysterious woman of the sidhe, as an otherwordly erotic partner, received full play as theatrical element and as symbol. In the confinement of the tower however the cloth gave way to intensely proximate physical presence, as powerful choreography by Jeremie Cyr-Cooke pressed directly on the senses.

Rarely is a chorus or group of musicians made part of the action. Rarer still does the music itself become a player in the drama. Yet this music by the London-based Hungarian composer Akos Lustyik became a vital partner to the play. The use of open fifths and fourths hinted at folk-influences coming as much from Eastern Europe as from over the border in Co Clare; while the combination of cello, a heroically portable Irish harp, and virtuoso solo violin with high harmonics mirrored the eclectic chamber groupings and stranger tonalities of Béla Bartók and other modernists. At Thoor Ballylee the chorus’s ability to move, sing, and play was used as riverside prologue to draw in the listener, and provide an oblique commentary on the action. As insistent rhythms came together and drifted apart, it was evident the musicians were given freedom as well as detailed instruction, and their attentiveness to each other at moments of concentration and improvisation was of a piece with the attention to audition and self-reflection of the whole production. Seeing more than one performance made it apparent that a similar combination of precise dirigiste direction and collective artistic freedoms resulted in a series of rich, vital and unusually flexible performances, each subtly different. On stage this produced something like a flowing tapestry, beautifully woven; in the tower what transpired was more like a series of choreographed movie scenes curated by a precocious director, precise cinematography individually varied by the position of each audience member as the players and watchers moved in tandem, each fixed forever on the retina and auditory memory. Modernist play it may have been, but this was alive, communicative, vital. Concealed in niches around the stone structure the revelation of the exceptional instrumental players (led by violinist Gergely Kuklis) and their exploitation of the echoing, multiplying acoustic effects of stone chambers gave them the ability to spook the living and, it seemed, to raise the dead.

Making the dead live again is of course what plays are for. There’s an argument that the play simply emerged out of WB Yeats’s troubled biography. The three women figures can be seen to represent versions of the women in his life around the time of its composition: the ever-present Maud Gonne, forever refusing his offers of marriage, her daughter Iseult, to whom Yeats had developed a strong attraction, and his new wife, George. With discrepancies in age and temperament evident critics aren’t quite agreed on this: Fand’s fanatical hold over the protagonist suggests the image of a rather more youthful Gonne, while Emer’s authority and wifely status is clear but she is aging, unlike the young George. The main difficulty with this reading of the play is that Yeats’s chronic romantic indecision is thereby turned into the wet-dream of a drama where three women are fighting over one man. Maybe there is some truth in this. Yet the play’s origins and politics and are more interesting than that.

For one thing Yeats’s play enacts a remarkable concentration out of a wealth of material involving powerful women. The title and matter of The Only Jealousy of Emer is borrowed from Augusta Gregory and her translations of Irish sagas, fervently admired by Yeats in a glowing preface that drew Buck Mulligan’s mockery in James Joyce’s Ulysses. There he opines that it is “proud” Emer “who will linger longest in the memory”: “what a pure flame burns in her always, whether she is the newly married wife fighting for precedence, fierce as some beautiful bird, the confident housewife […] or the great queen”. The book rehearses the situation and imagery of the play, which dramatises Emer’s permanent renunciation of Cuchulain’s love in order to save him from the clutches of the malevolent sidhe. What might have been was unhappily demonstrated by the adaptation of Gregory’s sometime lover Wilfred Scawen Blunt in a turgid three-act play for the Abbey in 1907, its title, Fand, the only thing about it not long-winded. By contrast Yeats’s adoption of the one-act form of the Noh forced a dramatic compression of character and concision of action, cutting to the quick through a swathe of ancillary characters and motivations. The Noh provided a precedent for plays about jealousy; in Aoino-ue a paralysed lover is represented simply by a folded kimono, neatly echoed in the cloth used in Yeats’s drama. The Only Jealousy of Emer’s economy with its sources leaves three women standing. Holding the chief parts, these three women are in charge, and the focus is on tensions between them, and beyond them.

The play opens with the lines “A woman’s beauty is like a white / Frail bird”, as if to acknowledge the passing nature of all beautiful things. But in this production at least the play is not about woman’s frailty but her strength. Throughout the play the body of that great Irish hero Cuchulain lies prone, his legendary fighting ability of no use to him. His soul is fought over, yes; but it is he who is frail, vulnerable, perhaps dying. Cuchulain’s impotence is total; it is women that give him life and restore him to his body. And, we are to understand, he remains prone even as ghosts rise up from his body to mock or impersonate him. The trickster Bricriu (played with mischievous energy by Oisin Porter) comes forth but symbolically his arm is withered, in this production encased in a wicker splint that echoes Cuchulain’s elevated bier. Bricriu has to engage and then implore Emer’s help, just as she had Cuchulain’s lover Eithne Inguba (a wonderfully writhing Orla Tubridy). Men in the play can suggest but not act: it is the women who do and who can command.

Fitting then that Catherine Denning’s powerful representation of the “great queen” Emer was centre-stage, and her self-respect and self-denial the central drama. Individually each woman is by no means omnipotent, all the same. The youthful Eithne Inguba only appears to be under the command of Emer, who is challenged more potently by the arrival of Fand, the siren woman of the sidhe. When the great Ninette de Valois, founder of Sadler’s Wells and the Royal Ballet Company, played the part Yeats rewrote the play so she would not have to speak and Fighting the Waves became all about movement and music. With de Valois as her teacher’s teacher, Orlaith Ní Chearra demonstrated comparable poise when it came to patterning sinuous movement as Fand leads the ghost of Cuchulain into wild whirling dance. At its erotic culmination, however, her power of speech returns. No longer spirit coalesced from the air, Fand dramatically declares, “I am all woman now”, taking entire possession of the space and nearly of Cuchulain too as she began to lay down with him.

This eruption of passion came as a shock in a place where, as the poet put it “for centuries / Rough men-at-arms, cross gartered to the knees / Or shod in iron, climbed the narrow stairs”. As a baleful relic of factional feuds and colonial imposition, the making of “violent and bitter men”, Thoor Ballylee forms an unmistakable emblem of male power. Ezra Pound couldn’t help but mock Yeats’s “phallic symbol on the bogs”, “Bally phallus or whatever he calls it, the river on the first floor”. Such towers were built to keep safe from attack the riches of the family – and in medieval times that included women, themselves a valuable property. To a place and period where women were possessions, came a play in which men are possessed.

Offstage could be overheard some contemporary resonances. Throughout Irish history it is the bodies of women that have been most contested. As it happened the previous day came a Yes vote in the referendum repealing the eighth amendment to the Irish constitution. The new potential for a limited legalisation of abortion suggested that the women of the Irish state were at the same time reclaiming some power over their bodies. I should be clear: there is no sense in which the tower expressed any view. The ventriloquism claimed by some in the campaign to speak for Ben Bulben by erecting a large “NO” sign on its foothills (yes, this really happened) caused considerable injury to the place’s ecology, mythology and the history of the Yeats family so closely associated with Sligo’s mountain. Still, the WB Yeats who as a senator fiercely opposed the removal by the new Irish Free State of the right to divorce did so explicitly as a nationalist and as a defender of minority (for which read Protestant, but also women’s) rights. The coincidence in timing made the repossession of a starkly male space an interesting moment. It is notable that Emer’s final renunciation of hope and love is not made by physical movement but by word, and her act is finally about the enduring power of her gender.

This was not the first time women had taken possession of the tower. By the climax of the play the audience had ascended to what is known as the stranger’s room, whose bare walls were open to the sky until the Yeats family arrived. Yeats had been obsessed by towers since an early unpublished poem, “Tower wind-beaten grim”, and with his purchase of the crumbling tower hoped for the creation of an unlikely West of Ireland artistic salon. It was however his wife, Georgie Hyde-Lees, later George Yeats, who made the tower a home. William Scott the architect, and a local builder, Michael Rafferty (whom Yeats insisted on calling Raftery after the poet), had important roles, as did the poet himself as overseer. But it was George who masterminded the creation of a living space. From the downstairs window of the tower she used to drop a line and catch a fish for dinner. It would be reductive to see George as some kind of domestic goddess: the attached cottage had a thatch which, the poet’s son Michael remembered, used to drop into their beds all manner of creatures, and floods occasionally disturbed their rest (thankfully the volunteer work of the Yeats Thoor Ballylee Society have again made it wonderfully congenial for visitors). Instead the tower was made a symbol of familial artistic collaboration. George’s wide reading and ability in automatic writing led to an astonishing development of the philosophy that underpins the later poetry and plays (expertly described by Margaret Mills Harper in The Wisdom of Two, OUP 2006). As a fitting sign, above the central hearth at Thoor Ballylee the blue and painted heavens she created made of the tower a magical omphalos. The stage business of The Only Jealousy of Emer requires Emer to attend to a fire – a simple domestic act but also a magical ritual to banish “all the enchantments of the dreaming foam”. That in the DancePlayers production she knelt at this same hearth made a telling tribute to George Yeats herself, just as the play is WB’s own unusual but unmistakeable tribute to the woman central to his life. We should be thankful that fires still burn at Thoor Ballylee.

31/8/2018

Tuam Excavation

A chara,
We the undersigned writers and artists appeal to the government to use the full force of its purse and power to undertake a complete excavation, identification where possible, and dignified reburial of the victims of Tuam. We further appeal for the government to undertake an active and authentic attempt to identify the many missing individuals who will have been illegally adopted at home and abroad.

In light of significant, possibly criminal, failings at Tuam – of which the lack of burial records for 796 infants and children, the missing bodies of women, the verified existence of ‘significant quantities’ of human remains, and the ongoing testimony of survivors are ample evidence – mere memorialisation is inadequate. Systematic exhumation is necessary to uncover the truth. The government must use any and all resources (including, as necessary, resources of the Bon Secours Order) to complete a full excavation and identification of all remains on the site as has been consistently requested by Catherine Corless, survivors, and family members of those who lived in the Home.

Sincerely,
Aideen Barry
Carmel Benson
Melony Bethala
Dr Dylan Brennan
Mairéad Byrne
Fióna Bolger
June Caldwell
Mary Rose Callaghan
Kimberly Campanello
Anna Carey
Eileen Casey
Paul Casey
Sarah Clancy
Jane Clarke
Patrick Chapman
Bríd Connolly
Susan Connolly
June Considine
Brigid Corcoran
Marion Cox
Enda Coyle-Greene
Catherine Ann Cullen
Ailbhe Darcy
Madeleine D’Arcy
Martina Devlin
Moyra Donaldson
Theo Dorgan
Catherine Dunne
Anne Enright
Attracta Fahy
Tanya Farrelly
Elaine Feeney
Kit Fryatt
Mia Gallagher
Anthony Glavin
Sinéad Gleeson
Shauna Gilligan
Jackie Gorman
Dylan Coburn Gray
Sarah Maria Griffin
Vona Groarke
Mary Guckian
Maurice Harmon
Jack Harte
Joanne Hayden
Claire Hennessy
Rita Ann Higgins
Eleanor Hooker
Victoria Kennefick
Anatoly Kudryavitsky
Dave Lordan
Aifric Mac Aodha
Catherine Phil MacCarthy
John MacKenna
Nuala Macklin
Alice Maher
Christodoulos Makris
Oana Sanziana Marian
Emer Martin
John McAuliffe
Felicity McCartan
Flish McCarthy
Molly McCloskey
Maria McManus
Declan Meade
Paula Meehan
Lia Mills
Sinéad Morrissey
Professor Paul Muldoon
Helena Mulkerns
Anne Mulhall
Sonya Mulligan
Christine Murray
Una Ni Cheallaigh
Annemarie Ní Churreáin
Nuala Ni Chonchuir
Doireann Ní Ghríofa
Eileen Ní Shuilleabháin
Liz Nugent
Jean O’Brien
Margaret O’Donnell
Mary O’Donnell
John O’Donovan
Nessa O’Mahony
Geraldine O’Reilly
Dr Robyn Rowland AO
Karl Parkinson
Justin Quinn
Connie Roberts
Annette Skade
Kelly E Sullivan
Anne Tannam
Susan Tomaselli
Jessica Traynor
Samantha Walton
David Wheatley
Adam Wyeth

Out of the Dark

Andy Pollak writes: John McGahern is known, in Ireland and beyond, as a marvellous teller of stories about ordinary rural people’s lives. His most famous novels ‑ The DarkAmongst WomenThat They May Face the Rising Sun ‑ are set in his native Leitrim (and the Roscommon of his teenage years), where he returned to live, farm and write for thirty years before his death in 2006.

He grew up in Ireland in the 1930s, 1940s and 1950s, when two near-theocracies snarled at or ignored each other over a high border wall of mutual loathing and incomprehension. He lost his teaching job in the mid-1960s for writing a “dirty” book ‑ The Dark, which was compared by reviewers to early Joyce and Mauriac ‑ and, according to his trade union representative, for marrying a Finnish woman. It was the all-powerful Catholic archbishop of Dublin, John Charles McQuade, who ordered his dismissal.

He was scathing of the Irish state of that period. In his 2005 Memoir he wrote:”In that country, individual thought and speech were discouraged … By 1950, against the whole spirit of the 1916 Proclamation, the State had become a theocracy in all but name. The Church controlled nearly all of education, the hospitals, the orphanages, the juvenile prison systems, the parish halls. Church and State worked hand in hand … The breaking of pelvic bones took place during difficult births in hospitals because it was thought to be more in conformity with Catholic teaching than Caesarean section, presumably because it was considered more ‘natural’. Minorities were deprived of the right to divorce. Learning Irish was seen as a means of keeping much foreign corrupting influence out.” Meanwhile the country was so impoverished that in the 1950s half a million people were forced to emigrate, most of them to England.

In an irony beyond irony, this was precisely the time that the Irish government chose to mount an utterly futile international campaign to end partition. Little wonder that Northern Protestants, snug in their own bigoted, anti-Catholic statelet, scoffed at this attempt to incorporate them into such a Catholic-run dystopia.

Despite his experience at the hands of the church, McGahern continued to value the Catholicism he had inherited as a child from his beloved mother, who died when he was nine, leaving him and his sisters and brother to be brought up by his brutal police sergeant father “in near starvation and violence and slavery”. He wrote: “I had affection still and gratitude for my upbringing in the Church: it was the sacred weather of my early life, and I could no more turn against it than I could turn on any deep part of my life. Through work and reading and reflection I had come to separate morals and religion, to see morals as simply our relationship with other people and the creatures of the earth and air, and religion as our relationship with our total environment, the all that surrounds our little lives. I had come to see the story of Jesus as a story among other sacred stories that sought to explain and make palatable the inexplicable.”

Of all Irish novelists, John McGahern strikes the deepest chord with me: whether it is his courageous and unapologetic independence of mind, his love of the overgrown rural lanes where he grew up (I loved the Co Antrim lanes of my childhood holidays in a similar way) or his insistence that good manners and neighbourliness are the only way to conduct affairs between civilised human beings.

He is not a political writer, although circumstances ‑ forced out of a job and into exile by a pusillanimous state ‑ sometimes forced him to be. He wrote mainly about the trials and joys of country people, and the pain and pleasure of family life. His most memorable characters included the lovable and the monstrous: from Jamesie in That They May Face the Rising Sun, whose “intense vividness and sweetness of nature showed in every quick, expressive movement” to the child-beating Mahoney in The Dark, an archetype of the vain and violent father who appears in several of McGahern’s novels.

So it was no accident that when I did my annual cross-border and cross-country walk (this year from Armagh to Sligo) last month, I made sure I passed through McGahern’s country in Leitrim around Ballinamore. I visited his and his mother’s grave at Aughawillan church, passed the old school where his mother taught and walked the mile or so they used to walk every day to Corramahon, where they lived in a poor, rickety house in the middle of a field. All that is left from those times seventy-five years ago is a rusty gate in a prickly hedge and an empty, rushy meadow. It is extraordinary to think that out of this remote and unpromising place came a great writer and literature of world renown.

I also identify strongly with McGahern’s views on violence, the North and the “national question”. In a memorable passage in That They May Face the Rising Sun, a thinly disguised version of himself, Joe Ruttledge, met a local IRA leader, a thinly disguised version of John Joe McGirl (who is described as a “plain and decent” man who would only shoot you “if you stood in the way of the Cause”).

The speaker is the McGirl character, Jimmy Joe McKiernan:

“You don’t seem to have any interest in our cause?” “No,” said Ruttledge, “I don’t like violence.” “You don’t believe in freedom, then?” “Our country is free.” “A part of it is not free.” “That is a matter for that other part. I don’t think it is any of our business.” “I think differently. I believe it is all our business.” Ruttledge knew that as he was neither a follower nor a leader he must look useless or worse than useless to this man of commitment and action. As far as Jimmy Joe was concerned he might as well be listening to the birds like an eejit on the far side of the lake, and he made no further attempt at speech.

I would not go as far as McGahern in saying that the North is none of the Republic’s business. I think it is primarily the business of the politicians and people of Northern Ireland to work out their deep-seated problems, but unfortunately history has taught us that they are incapable of doing that without strong involvement from the Irish and British governments, working together.

But I agree absolutely with him about the utter impossibility of moving towards reconciliation and mutual understanding in Ireland through people killing and hating each other. In a 2010 article in the Journal of Cross Border Studies in Ireland, the novelist Colm Tóibín wrote: “It hardly needs saying that McGahern viewed this inter-tribal hatred and disgust with horror. The idea for him of attacking your own neighbours was a very shocking idea. He would say that if only people in Northern Ireland could improve their manners, then they might stop shooting each other, or when that stopped, hating each other or disliking each other in ways that caused pain or the slightest form of civil disturbance.”

The Northern Protestant character in That They May Face the Rising Sun, the anglicised advertising executive Robert Booth, also spoke the truth when he said: “If it came to an all-out conflict our people would render a very bloody account of themselves, but they would probably lose.”

John McGahern, like all great writers, was a truth-teller. In his 2010 article Colm Tóibín said he wished he had been able to introduce McGahern to Bob Bain, the pastor of the Darkley gospel hall in south Armagh, whose Sunday evening service was machine-gunned by the INLA in November 1983, killing three worshippers and injuring many others. Tóibín had been greatly taken with Bain’s charm, resilience and independence of spirit. Meeting him was “one of those moments when the partition of Ireland seemed to me immensely sad: my community in the South had been deprived of the presence of men like Bob Bain as a living, vibrant, fully accepted part of our religious and civic life. We could have been nourished by the sheer difference.”

Tóibín finished with the following words: “In their loneliness and their fierce dignity, I wanted to invoke both John McGahern and Pastor Bain as two figures who in one way lived close to the border, a place others might have called home ‑ but in a better way, in an exemplary way, they lived deeply and truthfully within themselves. It is as much as any of us can hope for.”

2/8/2018

He’ll Light the Fire

Ed Vulliamy writes: The French have an expression: on prend de la bouteille – literally, to drink from the bottle, but it can mean something different and more, especially when sent as a pun on birthday invitations. It can mean that we age like the best wine, improve with time.

This is happening to some of our finest musicians. Why should I be surprised that Leonard Cohen was even more poignant to hear in the unfriendly O2 in 2008 than he was in the more natural surroundings of the Isle of Wight festival in 1970? Why should not Joan Baez’s remarkable residency at the Olympia in Paris recently be every bit as moving as her appearances at the same festival and a benefit for Vietnam draft resisters in Chicago the following year? Baez sang deeper and darker in 2018, more than ever entwining, as she does, sincerity and grace. Why should not the Joshua Tree’s thirtieth anniversary tour out-power even the album’s debut? Why should not John Cale’s solo work, as he passes the age of seventy-five, be more restlessly innovative than anything he recorded with the Velvet Underground?

All this certainly applies to one of the greatest singer-songwriters of his generation, heading for Dublin, who is playing in the National Concert Hall tonight (July 31st): Graham Nash. The man who broke away from the Hollies and – as one song puts it – left the “cold rain” of Manchester for Los Angeles to live, famously, with Joni Mitchell in “Our House” (two cats in the yard) and team up with Crosby, Stills and Young to form the first and greatest super-group.

Those were, as another song by Nash calls them, “golden days”, and we all know that. But the tour he brings to Ireland, accompanied by Shane Fontayne on guitars and Todd Caldwell on keyboards – and, importantly, both on vocals ‑ really is like a vintage Clos St Denis you bought in 1969 and laid down to drink in its prime ‑ now.

These concerts have played through Italy and Germany and across the UK, touching down in Nash’s native Salford for the first time since he left England for California. And – I say this after having seen and heard him play countless times over five decades ‑ they are a revelation. And not just because Nash’s songs and the message they bring are like shafts of sunlight into dark times, which they are.

I completed a book to be published in September, about music, war and peace –a kind of musical memoir of life during which war was my work and music my great love. It reaches a fairly desolate place in the penultimate chapter I would not impose on the reader by way of dénouement, which I therefore hand over to someone else, whose music and essence resist stasis. This is Nash – for an epilogue entitled “We Can Change The World”, a line from his great song “Chicago”. The ensuing interview brings not only the book but my life full circle: it was Nash’s pleading in that song: “Won’t you please come to Chicago / No one else can take your place” that I took personally aged sixteen in 1970 – I saved up £67 for the fare and went.

Graham Nash.

Nash says now: “I have to believe we can change the world, and that music can be a driving force to that end.” And of course, the main reason for going to hear Graham Nash in the first place is that he is among very few to retain that faith; absolute integrity, in times when, as he observes: “we’re losing a lot of people among the musicians and songwriters who want to talk, communicate this stuff. Nowadays, the music industry throws any shit against the wall that happens to stick.”

So we can be gratefully assured of that rare probity and veracity of a Nash performance – he always cared, and he still does. His rage at Donald Trump is appositely incorporated into “Chicago”. “‘Teach Your Children’,” he says, “started out totally simple, about looking after kids on the road, and ends up being about the future of us all.”

The extra cogency is in something else. What distinguishes these recent concerts even from their predecessors is the raw intensity and poetic honesty of Nash’s communication of his lyrics and music. His songs have always been confessional, deeply personal as well as politically didactic. But now, sung in a deepened, oaken voice and more pensive timbre, they have an intimacy more direct, more devotedly attentive than ever.

In the book, Nash says that “when an audience sings ‘Chicago’ and ‘Teach Your Children’ like they do, it’s moving, it’s primitive, i’s primal chant. We’re all together at that point.” But the impact of this tour is that his more personal songs are delivered as though individually to each and every member of the audience – a quattro occhi ‑ as the Italians say, eye to eye.

Nash wrote a song that goes: “A man’s a man who looks a man right between the eyes”, and that is what he does from the stage. He himself knows this. “Sometimes,” he says, “when I’m singing to an audience, a feeling comes back that is real passion, real love, real yearning. There’s a conversation with the audience; during an entire show, whatever energy I give out comes back from the audience, there’s a cycle of giving and taking, emptying and filling. And with just Shane, that emptying and filling cycle is that much more intense, really communicating with people. I can see into their eyes, and they can see into ours.”

Of course this is more feasible in smaller theatres than those CS&N used to play in, but it is still a remarkable and even unnerving experience – he stares his audience down ‑ mindful, regardful ‑ so that each song becomes at once a personal conversation as well as a collective experience, in a new and engrossing way.

This could be because Nash is getting older, as are many in his audience – and his muses. In 1969, “Our House”– “I’ll light the fire / You put the flowers in the vase” ‑ was a charming hearthside love song at a time when domesticity was hardly a hallmark of rock and roll. On this tour, though, Nash introduces the piece with news, that “Joni suffered a brain aneurism” recently, was a while at home before she was found, and that “we’re lucky to have her still alive. Joni’s back.” The song, accordingly, began at slow tempo, Nash’s voice joyful at the bliss in “our house”, but down the years; Fontayne’s low notes like a rip-tide beneath them, the song wearing its half-century.

Anno Domini apart, there’s a purely musical alchemy at work too. The first time I heard this newly intensified immediacy was soon after two mighty concerts in London and Paris by the full CS&N band – including Shane Fontayne ‑ two years ago. Some months later came a performance at the Cigale Theatre in Paris ‑ Nash accompanied only by Fontayne. The latter concert formed part of a tour to promote a new collection of songs called “This Path Tonight”, and was more enthralling than that by the full, gale-force band. The new songs were pensive, reflective, shot through with doubt, sometimes foreboding – and the paring down of sound from the expansive musical horizons of CS&N to Fontayne’s hugely creative accompaniment made less so much more. That was 2016, this is now – and even more so.

The evening on this tour falls in two sets: one song in the second is “Myself At Last” ‑ about Nash having lost himself during the crazy days, but now found thanks to the song’s dedicatee, his fiancée, the photographer Amy Grantham. But Nash has found himself musically too.

By definition, he has played with the best: Crosby, Stills and Young. But this was always a collective, and as Nash’s memoir Wild Tales recounts, often a battle of egos.

Fontayne – who is also English, and also escaped young to America ‑ defies definition. He is more than a session man – a quintessential musician and accompanist par excellence in the way that Gerald Moore was to Dietrich Fischer-Dieskau, or Robbie Roberston to Bob Dylan. He was Bruce Springsteen’s partner of choice for two years and is certainly the only guitarist to play “Stairway to Heaven” to an audience including a visibly moved Jimmy Page grinning like a Cheshire cat and Robert Plant with a tear in his eye (President Barack Obama too, at a Led Zeppelin tribute event in Washington DC).

Nash reports that Fontayne “always supports the song”, which he does entirely. His technique and range of sound effects on this tour elevates such songs as Nash’s glorious, heartfelt homily to the great whale, “Wind on the Water”, and drives the “Marrakesh Express” along its tracks. His sonority enhances Nash’s song to articulate their sentiments afresh, be they the heavy-hearted rage in “Military Madness”, the existential ruminations of “I Used to be a King” or the layered spiritual meditations – and panic ‑ in “Cathedral”. And not just Nash’s songs: part one ends with the apparently audacious idea to cover The Beatles’ “A Day In The Life”, as recorded on Sgt. Pepper by a full, distorted orchestra. It works: thanks to Fontayne’s reworking of George Martin’s vision on a single guitar.

Todd Caldwell has for many years been the throb on keyboards beneath Crosby Stills & Nash, but plays further forward as part of a trio, never fanciful, always effective. He plays the full four octaves of his signature Hammond, as often at its high and low ends as through the middle ‑ sometimes eerie, sometimes an undertow – “I leave melody to the other guys,” he says.

And there’s another thing: Nash once told me that what he missed most about working with Crosby and Stills was the inimitable thrill of singing three-part harmony. He need do so no longer: this trio has manifestly worked and worked on vocals so that it is far from Nash plus two, rather a radiant polyphonic threesome. If tickets remain for tonight’s concert at the National Concert Hall, my advice is to get along and savour every musical drop, de la bouteille.

31/7/2018

When Words Fail: A Life with Music, War and Peace by Ed Vulliamy is published by Granta on September 6th.

A Funny Old Game

Ed Vulliamy writes: As the World Cup tears through its knockout phase towards the final denouement, it becomes ever clearer: this festival ‑ indeed football itself ‑ is not really about sport; it is anthropology.

Football at this level is popular globalisation, and it is completely, wonderfully bonkers.

People still hold out: “I’m not interested in sport”; “What could be more stupid than 22 men kicking a ball around?”; “How dare they earn so much money?” Some are killjoys, some are snobs, and this attitude among the intelligentsia is new ‑ at odds with that of football fanatics like Dimitri Shostakovich and Albert Camus. But even if the naysayers are right, they’re missing out ‑ on so much weirdness, so many laughs and much international subtlety ‑ interesting rip-tides cutting beneath those 1.5 acres of grass.

Inevitable political currents run through some games, but it’s not always obvious. Both Switzerland’s goals against Serbia were greeted by festivities in Prstina, capital of ethnically Albanian Kosovo, not just because Kosovars like to see the Serbs lose but because the scorers of both goals ‑ Granit Xhaka and Xherdan Shaqiri ‑ were sons of refugees from Kosovo, violently subdued by Serbia during the war of 1998-9. Both face discipline by football’s governing body, FIFA, for gestures resembling the Albanian eagle; Xhaka’s father was a prisoner in a Serbian camp.

The Kosovo narrative continued when star-studded teams of the world’s wealthiest and most famous players were rescued by the introduction of lesser-known, even obscure, team-mates as substitutes – one of them being Adnan Januzaj, a Kosovar-Belgian, who came in when his team of more illustrious names had failed to break a deadlock with England. When mighty Spain struggled 1-1 against humble Morocco, they were saved by a goal not from household names such as Iniesta or Diego Costa but Iago Aspas, one of few in the side who does not play for glamorous Real Madrid or Barcelona, but lowly Celta Vigo.

When Argentina faced national disgrace for failing to progress to the knockout stages, the winning goal that saw them through against Nigeria came not from superstars Lionel Messi, Ángel Di Maria or Sergio Agüero but Marcos Rojo, who often fails to make the first team at Manchester United. After he did so, a video went viral of wild celebrations in Bangladesh, nine time zones from Argentina, where fans rode in whooping columns of motorbikes, Argentinian flags aloft.

The serious arrival of the developing world and Asia into a game hitherto dominated by Europe and Latin America concludes football’s claim to be a genuine, popular globalisation. At one level, this is characterised by Arab money doing what one Parisian called: “making Paris St Germain no longer a football club, but a bank”. At another, it began with the football, not the money: with Reggie Miller of Cameroon taking the Italian World Cup of 1990 by storm. When Senegal knocked Sweden out of the 2002 World Cup in Japan, dawn was breaking in Harlem, and young men were skipping along parked cars in delight.

Some games are better than others, this time round. France and Argentina played a thriller as good it gets; England and Colombia were shameful, as the American referee lost control: a head-butt against Jordan Henderson and unpunished kick in the head for Radamel Falcao – England’s prize for this disgrace being a quarter-final place against Sweden this Saturday.

No doubt the usual footballing countries will close in on the final berths of this World Cup, but many have been lost on the way and there’s a new dynamic in football which runs counter to other branches of cartel capitalism, whereby the gap between the great (and very rich) and the good (not so rich) is closing. In Brazil during the 2014 World Cup, Colombia and Chile were shining stars. When the favourites met, the Brazilian hosts were thrashed by Germany 7-1, but the Germans had nearly lost to Algeria a few days beforehand and this time were dumped out by South Korea after losing to a radiant Mexico.

In Russia, Spain struggled to narrowly beat Morocco and went out to the Russian hosts – almost all of whom play against one another at home, for teams that make little impact on European club football – while the glamorous Spanish play for Real and Barcelona, which dominate Europe. Japan came close to ousting star-studded Belgium.

Mighty Portugal failed to beat Iran, Cristiano Ronaldo notwithstanding. Iran has had an estimable World Cup in the presence of thousands of women fans who are banned from stadiums back home, but filled those in Russia dressed in team shirts, their hair free and faces adorned with cosmetics and painted flags. The fact that they had to go to Russia to feel a sense of liberation might seem ironic to some – Iran’s ally in the devastation of Syria – but it’s yet another layer beneath the spectacle of men kicking a ball around. Record numbers of women have watched in the stadiums and on television – a welcome development accompanied by outrageous sexual harassment of female fans and TV presenters; Getty Images arranged a “hottest fans” gallery.

Players – especially from poor countries – have always left home to play their club football. The last team to win the World Cup with a side drawn exclusively from home clubs was Italy in 2006. But this globalisation of football has now become as surreal as it is total.  Teenagers find themselves in the most unlikely places: during Peru’s opening game against France, a commentator for the French channel TF1 commented that André Carillo “joue en Angleterre, pour le Watford”, a non-descript suburb on the outskirts of London – the weirdness is taken for granted, no question of “how did he get from the Andes to there?” Back home, for the first time, World Cup games were shown – and commentary given – on Peruvian Quecha language TV stations.

Another Peruvian, four Nigerians, a Brazilian, a Moroccan and an Iranian in this World Cup play their club football in the host nation or Russian Ukraine, despite infamously rampant racism in the crowds – what is going on when Russian skinheads have African or Arab heroes? A similar derangement plays out in Britain over the abomination of Brexit. Fans vote to leave Europe and for de facto deportation of hard-working Portuguese nurses, German and Greek doctors, Italian radiologists, Spanish bakers and Polish plumbers ‑ then boorishly swig Kronenbourg (French), Stella (Belgian), Carlsberg (Danish) and Peroni (Italian) lager to cheer on teams managed by José Mourinho (Portuguese), Jürgen Klopp (German), Antonio Conte and Maurizio Sarri (Italian), and starring Eden Hazard (Belgian), Paul Pogba and Olivier Giroud (French), David de Gea (Spanish),Andreas Christiensen (Danish), Krystian Bielik (Polish)- and the rest. Football may generate inimitable humour, but not always intelligence.

There are inevitable colonial connections: many of the Senegalese team narrowly beaten in this World Cup were born and play in France, and the French team itself was, in the year it last reached the final, 2006, subject to a racist jibe from Jean-Marie Le Pen, who thought it a shame that the team did not “represent” the nation. French star Lilian Thuram retorted that the players – eight of them black – had taken France to the World Cup final, which was more than Le Pen had done for the country. That was the last game in which Zinedine “Zizou” Zidane, a Marseille Algerian, played for France – an occasion he marked by head-butting Italian Marco Materazzi. Zidane is the living icon of French football, and was among the most successful managers of all time at Real Madrid. I’ve noticed an interesting difference between the next-door neighbours of two empires – British and French – with regard to football. Almost all Irish fans would adhere to a loyalty – or rather a disloyalty ‑ known on T-shirts as “AAE”, Anyone Against England, for obvious and visceral reasons. But at my local café du coin in Paris, it is the opposite: French-Algerians, Senegalese and Malians are fervent supporters of Les Bleus. Their logic: “We are all France.”

Icons like Zidane matter, cogently and often poignantly. Edin Dzeko, the Bosnian ace striker for Roma, was burned out of his family home in the Serb-occupied part of Sarajevo and grew up in his grandmother’s house under siege. Across the Bosnian refugee diaspora, Dzeko is adored for having renounced offers of more lucrative nationality to play for Bosnia-Herzegovina; a child survivor of the Srebrenica massacre living in St Louis, Missouri, told me once: “When Dzeko scores, every Bosnian scattered across the world scores with him”. Dzeko’s team-mate Vedad Ibšević was, as a child, hidden in a hole while his house was burned down and father killed in a town called Vlasenica. He scored the goal that qualified Bosnia for the 2014 World Cup, and said: “for some people, it was just a goal ‑ for us it was the whole story”.  The Bosnian football team is the only functioning ethnically-mixed organism in the riven, scarred country. Even the football federation operated, until UEFA intervened, a sectarian rotating presidency between ethnicities. But not the team: if Pjanić the Bosnian Croat passes to Misimović, the captain and a Bosnian Serb, who lays it on for Dzeko, a Bosniak Muslim, you do not refuse the ball, you play it all you can.

Football is a global conversation. There’s a world of difference between getting into a taxi at Madrid airport and consulting your city guide in the back seat, and engaging the driver in a discourse on whether he supports Real or Atlético, and how each team is doing. The latter may even get you a lower fare, as well as a good chat. I have been to Rio de Janeiro – arguably football’s Mecca ‑ once only, and my abiding memory is of the “Fla-Flu” derby between Flamingo and Fluminense – to have seen it set the course for a week’s chatter and made my stay an entirely different prospect and experience to that of a tourist or visitor on business.

This is not just true of the obvious Spain or Brazil. I watched a European Champions League final between Manchester United and Chelsea in Beijing, in bars packed all night with Chinese fans – it humanised and redeemed a city I confess to having otherwise disliked. When covering the aftermath of the Iraqi invasion of Kuwait in 1991, we reporters based in Baghdad were allowed one request each to the office of Saddam Hussein’s spokesman Tariq Aziz. While most colleagues sought political interviews, mine was to go to a football match, duly arranged. After the match (between the police and university – the police won) and a marvellous afternoon, I got talking to a begging waif on account of his (very unofficial) shirt of Juventus Turin. The lad knew all about Juventus players, games and statistics from Iranian TV – which, he said, “is better because they don’t interrupt the play with Saddam speeches” – but when I asked the boy his age, he replied: “I don’t know.”

Some supporters are better than others, for sure. Two years ago, at the European championships, while awful English and Russian fans kicked and punched one another and smashed windows in Marseille, rival Irish and Belgians staged such a funny joint street party in Bordeaux that mayor Alain Juppé said he hoped they would return and declared the fans “a disgrace to hooliganism”. (Ireland had lost 3-0 and of course the supporters cared, but not enough to spoil the occasion.)

But football does encourage tribal hatred ‑ and cause appalling violence – as well as generate banter and hilarity. My own trajectory as a supporter took a U-turn the night I watched the 1985 European Cup Final between Juventus and what had been my family team, Liverpool (my grandfather had been a Liverpool season ticket holder during the 1920s).

The scene that greeted us when we arrived at the Heysel stadium in Brussels was unforgettably horrific: two charges by Liverpool fans at Italians who for the most part had come in family groups from elsewhere in Italy rather than Juventus’s home of Turin, pinned them against a wall, whereupon a third, lethal charge collapsed the wall, and thirty-nine Juventus supporters were crushed to death. The reaction among Liverpool fans, at Liverpool Football Club and in the British media – excuses about the condition of the stadium and its policing and ticket sales policy – was so revolting I spent that summer driving to Turin, and, in shame and penance, joined the Juventus supporters club Primo Amore.

Juventus is the best anthropological example of football as a state of mind and way of life, a social, not just sporting, institution. Italians either adore or despise “La Juve”; there is no middle way. There exists a concept called Juventitá – Juventusness – which is supposed to encapsulate a set of values. The club, known as La Vecchia Signora – the grand old lady – is rich, successful, belongs to the Fiat car company, and prides itself on – as supporters’ banners proclaim – “Tradizione”, “Onore” – tradition and honour. The team is supported across the country but in Turin not so much by locals as by “immigrants” from the poor South who came during the 1950s to work for Fiat and adopted the boss’s team as a matter of identity in the North.

Juventus is what I call “Peronismo calcistico” – football Peronism: the pan-ideological, united organism of the leader and masses in one identity. Two great leaders of the Italian Communist Party, Palmiro Togliatti and Enrico Berlinguer, deployed much energy in the organisation of strikes at Fiat, yet both supported the company’s team, and were Juventino. In 2006, when the club was punished for corruption with purgatorial relegation to the second division for the only time in its history, most of the team’s stars – many of whom had just played in the Italian side which won the World Cup of 2006 ‑ stayed rather than desert the sinking ship for other top-flight teams. “Un gentiluomo non lascia mai una vecchia signora”, said striker Alex Del Piero, “a gentleman never leaves an old lady”.

I have spent much of my life as a war correspondent, and football has served me well in that regard, got me out of a few close scrapes. One night, I accompanied 1,600 Bosnian Muslims rounded up and deported for “ethnic cleansing” on a terrifying convoy at gunpoint and through a battlefield. When time came for drunken Serb militiamen – AKs at the ready – to haul the deportees from their cars in order to steal them and everything else they had, I dreaded our turn – a stowaway reporter, a “media spy”. In the tense huddle, I noticed a Red Star Belgrade badge on one of the armed men and said to my Slovenian colleague: “Andre, tell that man I saw his team win the European Cup in Bari last year”, which I had. The man –from the mountains and probably never having seen Red Star live ‑ was astounded. “Did you see our players, fans and flags? Did you hear our songs?” he asked, wide-eyed. “Yes, yes ‑ fantastic!” I lied (it was a boring  game and the supporters terrifying). The conversation went on some time, in detail. Then he waved us through.

Working on the narco-traffic wars in Mexico, when I find myself in cartel-controlled places like Tamaulipas or Sinaloa, I tend to wear a Mexican national shirt or, better, a T-shirt showing a scene from the 2014 World Cup in which Aren Robben of Holland collapses to the ground, ostensibly tripped by Mexican captain Raphael Márquez. There is clearly no contact, but the ensuing penalty eliminated Mexico – “No Era Penal” roars the T-shirt, it wasn’t a penalty.

When a gringo enters a bar in scary Matamoros or Culiacan, the cartel “halcones” or scouts are supposed to question him pretty thoroughly. But in this T-shirt, things go differently. Why are you wearing that? “Porque no era penal!” – and the conversation inevitably begins, and proceeds to other games ‑ maybe even a high-five, certainly another beer. Football changes the subject; they forget to kill you.

The World Cup is all about flags, nations ‑ and on the surface of things, the cynics would appear to be right. But there’s an important element of pastiche, almost self-mockery in football  ‑ hence the wig-wearing and dotty hats – that knows this is all ridiculous. One can debate forever when and where patriotism ends and nationalism begins (and as a British citizen, I abhor both, especially these days). But in stupid times of ugly nationalism, football can – though not always ‑ encourage the opposite, despite appearances – the “fan parks” in Berlin for the 2006 World Cup and beneath the Eifel Tower for the Euros of 2016 were hilarious global villages of fun and encounter.

Football can also turn the world upside down: this is a cogent time for Mexico to deprive the United States of a place in the World Cup, as they did. I remember watching Mexico beat the USA on television in Tijuana in 2008 – the victory followed by a spontaneous march to the borderline, flag-waving, giving the finger North. It’s a way of saying: you may have the power and money, but we have the football, and we’re better than you.

Then there was this: during interviews we were conducting for a film with Colombian government negotiators and generals and commanders from the Marxist FARC guerrillas forging the peace accord in Havana, almost all of them remembered a scene described by General Oscar Naranjo, who later became deputy president: “When the Colombian team was playing and they [FARC] arrived wearing their yellow shirts, the colors of the team, I thought: we have a country that is Colombia. Which we love, and we have to find a solution.”

My advice to those who yearn for this world-wide fiesta to end, who wonder why every bar along 34th Street in morning-time Manhattan was full of sky-blue striped Argentinians on a Monday lunchtime, green-shirted Mexicans on Tuesday, then yellow-shirted Colombians on Wednesday, is: lap it up! Look it up in what are more than just the “sports pages” for the next ten days or so; enjoy the fact that all this is crazy stuff, and the more world there is in the World Cup, the crazier it gets.

6/7/2018

Every third thought will be my grave

Dan A O’Brien writes: Philip Roth (1933-2018), the colossus of American literature who died on May 22nd, was no stranger to death. Along with sex, it propelled his creative process over fifty years and thirty books. Though Roth will always be remembered for his love scenes, from the summer romance that launched his career with 1959’s Goodbye, Columbus to the scandalous Portnoy’s Complaint (1969) which propelled him headlong into American popular culture, it is his graveyard scenes that today linger in the mind. In his 1981 novel Zuckerman Unbound Roth’s long serving alter-ego Nathan Zuckerman attends his father’s funeral, where he is confronted with the radical change wrought by age on the great Jewish men of his childhood: “the pitiful sight of those old family friends, looking down into the slot where they must be deposited, thirty, sixty, ninety days hence ‑ the kibitzing giants out of his earliest memories, so frail now, some of them, that despite healthy suntans, you could have pushed them in with his father and they could not have crawled out”. This is classic Roth, with all the inflated sentimentality of childhood nostalgia burst by the grotesque image of pushing elderly neighbours into an open grave.

This affecting moment was so deftly rendered that when the literary critic (and later friend) Hermione Lee interviewed Roth for the Paris Review in 1984, she assumed that he had drawn on his own father’s death, to which the novelist replied: “the best person to ask about the autobiographical relevance of the climactic death of the father in Zuckerman Unbound is my own father, who lives in Elizabeth, New Jersey. I’ll give you his phone number.” As Roth later said in mock exasperation: “If all these subtle readers can see in my work is my biography, then they are simply numb to fiction ‑ numb to impersonation, to ventriloquism, to irony, numb to the thousand observations of human life on which a book is built, numb to all the delicate devices by which novels create the illusion of a reality more like the real than our own.” Yet in truth Roth’s fiction always danced provocatively between art and life, and his great power as a writer lay in this forged confusion.

In 1989, the real world caught up with Roth’s imagination when his indomitable insurance agent father Herman, the embodiment of all that was ordinary and extraordinary in twentieth century Jewish-American life, died aged eighty-nine. From this experience, Roth wrote Patrimony, a book at once tender and transgressive, which tracks the last year of Herman’s life as his body begins to fail. Most movingly of all, the book sees Roth clean his father’s soiled body after he becomes incontinent; this moment is also the book’s most troubling, as the son promises his father, “I won’t tell anyone”, even while this indignity is revealed to the reader. As Roth reflects at the close, the “unseemliness of [his] profession” demands an unerring eye. For him, life too is unseemly, and ignoring its darker elements out of a false sense of decorum is to unforgivably diminish it. This does not prevent Roth himself from giving way to sentiment at his father’s funeral, when he refuses to allow the body to be buried in a suit:

“He’s not going to the office” … He should be buried in a shroud, I said, thinking that was how his parents had been buried and how Jews were buried traditionally. But as I said it I wondered if a shroud was any less senseless ‑ he wasn’t Orthodox and his sons weren’t religious at all ‑ and if it wasn’t pretentiously literary and a little hysterically sanctimonious as well …. But as nobody opposed me and I hadn’t the audacity to say, “bury him naked”, we used the shroud of our ancestors to clothe his corpse.

Roth’s great friend Edna O’Brien described Patrimony as “raw and searing” and cited it as an inspiration for her own memoir, Country Girl (2012). In a 1984 interview, Roth asked O’Brien why her fiction returns with such frequency to her past: “not all writers feast on their childhood as much as you have”. Considering Roth’s own repeated excavation of his youth, the question is laced at once with irony and genuinely curiosity. Like O’Brien, he is enchanted by the past and how it determines our present. Yet looking back can also be an escape from facing forward, and ultimately towards death.

Nowhere in Roth’s fiction is death more pervasive than in his ferocious novel of lust and decrepitude Sabbath’s Theatre (1994). Here the eponymous Sabbath, a ruined, aged, suicidal puppeteer, wanders through a Jewish cemetery looking for his family’s (and his own) final resting place, with eyes drifting from one epitaph to another: “Beloved husband and father Jacob. Beloved husband, father, and grandfather Samuel. Beloved husband and father Joseph … My beloved wife our dear mother Lena. Our dear father Marcus. On and on and on. Nobody beloved gets out alive.” At a relative’s house, Sabbath finds the final effects of his brother, Morty, from whose Pacific wartime death he has never recovered. Then, with farcical pathos, Sabbath dons Morty’s American flag and God Save America yarmulke, before making his way to the grave of his dead lover, where, in memory of their trysts, he urinates on the soil. This image captures all of Roth’s great themes: America, Jewish life, death, desire, and a relentless attack on what he elsewhere describes as the “fantasy of purity”. Sabbath’s Theatre takes its epigraph from Shakespeare’s The Tempest: “Every third thought will be my grave”. This late play, in which the sorcerer Prospero relinquishes his magic, has been read as Shakespeare’s own renunciation of his art: “I’ll break my staff, / Bury it certain fathoms in the earth, / And deeper than did ever plummet sound / I’ll drown my book.” It is fitting then that Roth choose to speak of Sabbath’s Theater’s graveyard scenes at his own retirement celebrations in his home town of Newark in 2013:

where love is great and loss real … there the guile disappears. Then even Sabbath, corpulent, cunning, imprudent, arthritic, defeated, unpardonable Mickey Sabbath … hurled perpetually from levity to gravity, from repugnance to melancholia, from mania to buffoonery … a kiln of antagonism, and like so much of flawed humanity, unable ever to tear free of himself, this very same Sabbath is carried off by extremes of misery … His refractory way of living ‑ unable and unwilling to hide anything and, with his raging, satirizing nature, mocking everything, living beyond the limits of discretion and taste and blaspheming against the decent ‑ this refractory way of living is his [unique]… response to a place where nothing keeps its promise and everything is perishable.

Roth once said of his fellow writers Saul Bellow and John Updike, “[they] hold their flashlights out into the world, [and] reveal the world as it is now. I dig a hole and shine my flashlight into the hole.” Throughout his fiction, there is no hole that Roth digs better than a grave, no instance more likely to bring forth his spilling, cacophonous sentences, his extraordinary eye for the nailing detail, and his meticulous passion for what he terms “the blizzard of specific data” that provides fiction with its lifeblood.

Roth’s most enduring achievement will remain his American trilogy, American Pastoral (1997), I Married a Communist (1998), and The Human Stain (2000) ‑ perhaps inspired by Edna O’Brien’s own 1990s Irish trilogy. Roth’s novels tackle the upheaval of the Vietnam War, McCarthyism, and the legacy of race in America. All three books see their protagonists’ lives blown apart by the death and destruction of the twentieth century, or what Zuckerman terms “the fury, the violence, and the desperation of the counterpastoral … the indigenous American berserk”. O’Brien would later describe Roth’s triptych and its creation:

Tearing himself loose from any worshipping family or friends, from marriage, and from what he once called the moral propriety of his earlier work, he went underground. There he wrote … some great books. There was still the ebullience that he likes, the precision that he insists on, the occasional blasphemy, and something else deeper, a gravity, a Greek gravity ‑ the artist’s dissection of fate and hope in a world, our world, gone berserk.

Before the 1990s, Roth was long dismissed by critics as a Jewish author obsessed with himself; after the trilogy, he was celebrated as an American author concerned with his country. In reality, throughout his oeuvre his investigation of sexuality and self sometimes obscured but never negated his exploration of history and nation.

In The Dying Animal (2001), Roth’s novella of desire and decay, the narrator David Kepesh reflects on the flimsy bulwarks humans construct against death’s unrelenting onslaught:

The loveliest fairy tale of childhood is that everything happens in order. Your grandparents go long before your parents, and your parents go long before you. If you’re lucky it can work out that way, people aging and dying in order, so that at the funeral you ease your pain by thinking that the person had a long life. It hardly makes extinction less monstrous, that thought, but it’s the trick that we use to keep the metronomic illusion intact and the time torture at bay.

Like the Imperial Japan of Roth’s childhood, death too can launch surprise attacks on unsuspecting foes. The body is susceptible to the blows of time and the merciless illogic of history. Yet The Dying Animal does not, as the Yeatsian title suggests, see the mind as merely lashed to the mast of a sinking ship. For Roth, far from being simply “a tattered coat upon a stick” the body is inseparable from and equal to the mind. This is borne out by the book’s epigraph, taken from his 1984 interview of O’Brien: “The body contains the life story just as much as the brain”.

In 2004 Roth published the alternate historical novel The Plot Against America, a reimagining of his own 1940s childhood that sees President Franklin D Roosevelt, the hero of lower middle class liberal Jews like Roth’s family, defeated by the aviator and antisemite Charles Lindbergh. Though read then as a roman à clé for the Bush years, the novel has been more recently reread as a prophecy of the Trump administration, and will soon gain an even greater cultural immortality by being transformed into a miniseries by David Simon of The Wire fame. Though Roth had often fictionalised his parents’ deaths, here he dreamed them back into life as they battle to protect their children from the regime’s incremental, insidious, assaults on the civil liberties of Jews and other “undesirable” minorities. His moving portrait is at once a eulogy for his parents and their stoic generation and a warning for generations to come: “Turned wrong way round, the relentless unforeseen was what we schoolchildren studied as ‘History’, harmless history, where everything unexpected in its own time is chronicled on the page as inevitable. The terror of the unforeseen is what the science of history hides, turning a disaster into an epic.”

In his seventies, Roth followed The Plot with a series of novellas, their pared back state reflecting what critic James Wood, sees as evidence of the late style of writers like Roth and O’Brien: “a certain impatience with formal or generic proprieties; a wild, dark humor; a fearlessness in assertion and argument; a tonic haste in storytelling, so that the usual ground-clearing and pacing and evidentiary process gets accelerated or discarded altogether, as if it were (as it so often can be) mere narrative palaver that is stopping us from talking about what really matters”. Everyman (2006) is so stripped of anything extraneous that the protagonist does not even have a name, yet this seeming poverty of detail is, paradoxically, one of the book’s deep riches, granting it universal application and poetic brevity.

After his brother’s funeral this unnamed Everyman watches as the gravedigger marks out a plot and explains his trade: “it’s got to be flat enough to lay a bed on it … you’ve got this hole, six foot deep, and it’s got to be right for the sake of the family and right for the sake of the dead”. John Banville, otherwise ambivalent about the book, said of this scene: “[it] is so deft, and this figure of friendly Death is described with such a mixture of lightness and sombre gravity, that the narrative draws to a close in an atmosphere that is almost Shakespearean in its magical softness and mysterious simplicity”. One of Roth’s great skills is his attentiveness to his characters’ trades, be it glove-maker, butcher, or gravedigger. For Roth, work makes the man, and for him writing was work. O’Brien recalls visits to his home in Connecticut, when he would “come in from his studio around six o’clock, like a labourer who had done his stint”. His books were painstakingly dug out from his own psyche, filled by his audacious imagination, and shaped by his exacting precision. He was nothing if not a craftsman.

Roth’s final book, Nemesis (2010), written in his seventy-seventh year, returns once more to alternative realities. At the height of the Second World War, a polio epidemic strikes Newark. For all its historical specificity, the book is most concerned with universal themes: the terror of unforeseeable death, the fear of outsiders and the chaos of contingency. On this soaring note he retired, though his promised biography from Blake Bailey apparently contains so much of Roth’s notes, queries, denials, rebuttals, and questions that it may be prove to be his final book ‑not unlike his autobiography, The Facts (1988), in which the dry narrative-proper is bookended by letters from Zuckerman warning Roth not to publish: “With autobiography, there’s always another text, a countertext, if you will, to the one presented. It’s probably the most manipulative of all literary forms.” Roth once wrote: “words generally only spoil things”, an extraordinary statement from someone who devoted his life to literature. Yet he was right: words have the power not only to enlighten, embolden, and move us, but also to bewilder, manipulate and deceive. His written work, full of missing chapters, lost diaries, and disappearing narrators, attests, ironically, to the potency of silence. Few better recognised the limits of language, for few ever pushed language so close to its limits.

It is difficult to imagine Roth, whose work so bursts with life, now lying inert under the soil of Bard College Cemetery. It seems impossible to visualise that explosive intellect, expansive curiosity, profound empathy and seething desire stilled and silenced. Yet of course we do not have to, for Roth has already done it for us. In his most daring novel, The Counterlife (1985), the middle-aged Zuckerman lives a range of different lives ‑ one of which ends in death. At Zuckerman’s funeral his estranged brother Henry discovers the deceased writer has secretly written his own eulogy: “the fiction and the man were one! Calling it fiction was the biggest fiction of all!” Henry recalls hearing Zuckerman being asked as a young author whether he wrote in quest of immortality:

If you’re from New Jersey … and you write thirty books, and you win the Nobel Prize, and you live to be white-haired and ninety-five, it’s highly unlikely but not impossible that after your death they’ll decide to name a rest stop for you on the Jersey Turnpike. And so, long after you’re gone, you may indeed be remembered, but mostly by small children, in the backs of cars, when they lean forward and tell their parents, “Stop, please, stop at Zuckerman ‑I have to make a pee.” For a New Jersey novelist that’s as much immortality as it’s realistic to hope for.

Roth did not reach ninety-five, nor did he receive the Nobel Prize, but he did in the end write thirty books, and these are his self-written elegy, his living testament. Bailey has said that as an atheist Roth wanted no Jewish ceremony at his funeral (cured perhaps by his lapse at his father’s burial). Yet, full of sly comedy and contradictions, Roth also wished to buried amongst Jews, so that, according to Blake, “he has someone to talk to”. Roth will live on, not in some afterlife or as a motorway rest stop, but in his body of work, the minds of his readers, and the conversations of his friends.

11/6/2018

Philip Roth: 1933-2018

Philip Roth, the great American novelist, died last night in a hospital in Manhattan of congestive heart failure. He was eighty-five.

The New York Times writes:

In the course of a very long career, Mr. Roth took on many guises ‑ mainly versions of himself  ‑ in the exploration of what it means to be an American, a Jew, a writer, a man. He was a champion of Eastern European novelists like Ivan Klima and Bruno Schulz, and also a passionate student of American history and the American vernacular. And more than just about any other writer of his time he was tireless in his exploration of male sexuality. His creations include Alexander Portnoy, a teenager so libidinous he has sex with both his baseball mitt and the family dinner, and David Kepesh, a professor who turns into an exquisitely sensitive 155-pound female breast.
Mr. Roth was the last of the great white males: the triumvirate of writers ‑ Saul Bellow and John Updike were the others — who towered over American letters in the second half of the 20th century. Outliving both and borne aloft by an extraordinary second wind, Mr. Roth wrote more novels than either of them. In 2005 he became only the third living writer (after Bellow and Eudora Welty) to have his books enshrined in the Library of America.

Roth decided to stop writing in 2010 after the publication of Nemesis, and announced the decision two years later. In an interview this year he said that his retirement was determined by the fact that he was “no longer in possession of the mental vitality or the physical fitness needed to mount and sustain a large creative attack of any duration”. He devoted his final years to reading, mostly history, seeing friends, going to concerts and communicating with his appointed biographer, Blake Bailey.

In a review of the novel Indignation (2008) in the Dublin Review of Books, Kevin Stevens wrote that “[a]cross a half century of writing that has produced twenty-nine books – satire, fantasy, memoir, masterworks of American realism – anger has consistently been subject, theme, tone, stance, and rhetorical device for Roth and his driven characters and unreliable narrators”.

He continues:

Why all the rancour? Well, like Swift and Twain, Roth is aesthetically propelled by anger; it supplies the energy needed for the massive, self-imposed task of dissecting, novel after novel, the suffocating paradoxes of twentieth-century America. And like Lenny Bruce, Roth in his early work used rant as a way of exercising his vitality and crafting an obscenity-fuelled response to a bland, hypocritical national environment. As he’s matured, however, his anger has grown more complex, manipulated as carefully as the shifting voices and points of view that help make his prolific body of fiction both deeply tragic and rich in comic expression. Sex, death, and American history are the subjects of his late period, relentlessly ravelled and unravelled, presented with willful ambiguity in a variety of dazzling narrative modes, marked by extended passages of highly articulate rage, and expressed in language of huge power and range.

Read Kevin Stevens on Philip Roth:
http://drb.ie/essays/everything-he-hated
Read the New York Times obituary:
https://tinyurl.com/y9e5ok9z

23/5/2018

Heart and Head

The abbé de Saint-Pierre, who has done me the honour of making me one of his correspondents, has sent me a fine treatise on the best method of re-establishing peace in Europe. The whole thing is very practicable: all that is required to make it work is the agreement of Europe ‑ and a few other small trifles of that kind.
Frederick the Great of Prussia, writing to Voltaire in 1736
A European: someone who feels nostalgia for Europe.
Milan Kundera, The Art of the Novel, 1986

Enda O’Doherty writes: Seventy years ago this week, and exactly three years after the German surrender in May 1945, a large group of statesmen, writers and intellectuals, animated by sentiments of European patriotism of varying strengths, met in the Ridderzaal (Hall of Knights) in The Hague for what became known as the Congress of Europe.

The distinguished attendance included former French prime ministers Paul Ramadier, Paul Reynaud, Léon Blum and Édouard Daladier; future French president François Mitterrand; Belgian prime minister Paul-Henri Spaak and former prime minister Paul von Zeeland; Italian prime minister Alcide de Gasperi; former British prime minister Winston Churchill and future prime ministers Antony Eden and Harold Macmillan; future German chancellor Konrad Adenauer and future president Gustav Heinemann. Also present were a number of literary and artistic figures and various committed European federalist intellectuals whose names are less well-known today, of whom the most important in terms of the work of the congress was probably the Swiss writer Denis de Rougemont (1906-1985).

Federalism was one of a number of idealistic, internationalist, peace-oriented movements of the mid-twentieth century which was able to draw enthusiastic adherents into its ranks, even in what one might have thought was the unsympathetic, isolationist political culture of Great Britain. In 1940 the British movement, Federalist Union, had 200 branches and 10,000 members, drawn principally from what Hugo Young called “the usual cadre of pious dreamers”, but not just from them: some powerful political figures also endorsed the idea. The federal movement in Britain lost ground, however, during the war, when the experience of conflict, sacrifice and eventual victory elevated the status attached to the nation. It also moved towards a split between those who wished to work towards a European federation and those with their eyes fixed on world government, the latter tendency, in Young’s words, having “the early effect of returning such credibility as federation had to parsonical irrelevance”.

Federalism in continental Europe had the support of some heavyweight political figures, such as Paul-Henri Spaak and Italy’s Altiero Spinelli. It also had philosophical underpinnings, in the French-speaking world in particular, in various movements dating from the 1930s such as “personalism”, a Christian tendency which rejected both liberal individualism and communist or fascist collectivism; there was, however, a tendency among some postwar federalist intellectuals to reject parliamentary democracy as a model or at least to despise “politicians”. Corporatist modes of thinking, even Pétainist inheritances, were not entirely absent.

The two main forces present at The Hague in May 1948 might be represented by two rival organisations, the United Europe Movement (UEM), which later became the European Movement, and the Union of European Federalists (UEF). In fact the latter eventually affiliated to the former, so as not to be locked out of whatever discussions on the future of Europe might be developing, one must assume. At this stage, however, the direction of the UEM, represented by Winston Churchill and his son-in-law Duncan Sandys, was largely focused on blocking the federalist option in the wider European movement, promoting instead the idea of enhanced cooperation between European governments.

Churchill’s standing among Europeans in 1948 was immense, even if the British people had in 1945 chosen to have the fruits of the peace distributed by a Labour government. And his pro-European rhetoric was eloquent and impressive, persuading most of his listeners of Britain’s deep commitment to unity, perhaps at times even himself. Churchill, Hugo Young argued, “remained always a European of highly romantic disposition. His idea of Europe was benign and passionate, informed by the prescience of the historian as well as of the public man. The flaw lay in his description of what Europe was, where its limits lay.” In other words, Churchill was all in favour of Europe and the European idea; he just did not believe that Britain was a part of it, seeing its destiny far more intimately tied with those of “the English-speaking peoples”. As early as 1930 he had written: “We have our own dream and our own task. We are with Europe but not of it. We are linked but not comprised.” This may well be the essential and authentic British position on Europe (or a benign version thereof), the Europhile Edward Heath, who led Britain into the EC in 1973, having been something of an aberration. True, Margaret Thatcher, in her famous speech at Bruges in 1988, told her listeners that Britain’s destiny was “in Europe, as part of the Community” but perhaps this was principally a by-product of her great confidence at the time that she could thoroughly reshape that Community on a new basis of the dominance of British – mercantile and liberal – values.

The ideological tussle at The Hague, which was principally fought out between Sandys and the federalist Denis de Rougemont, was represented by the former as a difference of approach between sensible men and utopian dreamers. The British did not want any undue emphasis on concrete structures or “machinery”, more a meeting of minds, a positive feeling, an alignment of aspirations. This would involve few or no actual commitments but perhaps a lot more meetings and fine-sounding resolutions. In the longer term some of those who at the time suppressed their own doubts for the sake of “unity” came to regret their weakness. The French socialist minister André Philip, active in the European Movement, wrote more than two decades later: “To the degree to which we buried the genuine problems we allowed ourselves to be sidelined by the establishment. In our fight for Europe we did not spill any blood, which is excellent and I am grateful for it, but we spilled too much champagne.”

Somewhat marginalised by the politicking skills of Sandys and the British, Rougemont stepped sideways into the realm of culture, presenting a document on “the responsibilities of the mind in the struggle for peace” that he had edited with the benefit of suggestions from a number of eminent European intellectuals including Raymond Aron, Alberto Moravia, Salvador de Madariaga, Karl Jaspers, TS Eliot and André Malraux. Even in this area, however, Sandys tried to undermine him by setting up a rival committee under British chairmanship. Meanwhile, wrangles continued over the inclusion in the Congress’s communiqués of references to “federation” or “federal union”. In the end Rougemont, blocked from delivering a defining introductory address, did manage to smuggle some of his ideas into the closing “Message aux européens”, not least the appeal to the “forces vives” of Europe (vital forces, that is churches, employers’ and union federations and other corporate bodies and not just political parties). (Interestingly, the message does not seem to have foreseen European decolonisation: the “greatest political and economic organisation of our time” was going to be built “along with the overseas people associated with our destinies”.)

One observer and marginal participant at the Congress, the French sociologist Raymond Aron, could not restrain his (habitual) scepticism at the sight of hundreds of earnest delegates, “representing no one but themselves”. The whole thing, he felt, was little more than an exercise in propaganda, “in the noble sense of the term, the art of open persuasion”.

It may be a little harsh to conclude that a gathering including so many eminent statesmen, who had in the past been and in the future would be elected to the highest offices in their nations, represented no one. For some of the pur et dur federalists, however, these men (and indeed they were all men) were not the future but the past, mere politicians slow to go anywhere and always conscious of the shocking lack of imagination and idealism of their electorates. Yes, one could imagine getting much further much more quickly with the vital forces …

It was not to be the Congress of Europe at The Hague and what has been called its forty-eightist (1848) spirit which was to launch European construction. What the Congress did quite directly lead to was the creation of the Council of Europe (in 1949), a body which of course still exists and which has responsibility – in an admittedly somewhat nebulous way – for matters of culture and values in Europe. Today’s European Union on the other hand grew out of the European Coal and Steel Community, an eminently down-to-earth and practical body sponsored by the French politician Robert Schuman and public servant Jean Monnet, strongly supported by various, chiefly Christian Democratic, European statesmen.

It is questionable whether this bicephalism (one organisation concerned with ideas and ideals, another with “practical matters”), dating from the first decade of European institution-building, is beneficial. Can the EU exist without idealism? Can values be promoted and their implementation where necessary enforced without political muscle? There are of course forces which are attempting to inject ideas and ideals into the EU project, but one sometimes has the suspicion that their project remains, often proudly, a rather EUtopian one (see, for example, https://european-republic.eu/en/).

It is sometimes said that the problem of creating a European democracy and a consequent sense of belonging to a common project (Zusammengehörigkeitsgefühl is the splendid German word) is that there is no European demos. But this is not quite true. There is such a demos, and it can be numbered in tens of thousands of people, perhaps even hundreds of thousands. It is represented in every member state of the European Union. Unfortunately it consists almost entirely of intellectuals.

The Hague Congress was seventy years ago and precedes the first concrete steps towards European union. Nevertheless, some of the main fault lines evident then still exist, in particular the gulf that can exist between driven, but quite unrepresentative, idealists and politicians who are either (as were the British in 1948) engaged in a rather cynical hot-air exercise or are reluctant to become too enthusiastic about a project that they see their electorates as being lukewarm to.

The great French socialist leader Jean Jaurès wrote about the necessity to “aller à l’idéal et comprendre le réel”, that is to move towards one’s long-term aspirations while keeping a firm grip on political reality. It would perhaps be better if today’s inheritors of the federalist mantle, who dream of a “European republic”, would fully take on board the actual state of public opinion in Europe; equally it would be better if mainstream politicians began to realise that given what is at stake they now have more to gain from clearly and openly opposing the ideas being put forward by populists and “national-conservatives” than from trimming their sails for fear of losing a few points of electoral share.

Sources
This Blessed Plot: Britain and Europe from Churchill to Blair, by Hugo Young (1998)
Denis de Rougemont: Les intellectuels et l’Europe au xxe siècle, by Nicolas Stenger (2015)

8/5/2018