Peace, War, Literature and What Lasts - some responses to readers
Time for a few retorts and responses to comments here.
Let me first deal with Mr Courtnadge, who wrote of my complaint that it felt a bit lonely to be against the Iraq war: ‘A bit of an exaggeration, author. The Stop The War march in London was one of the biggest the capital has ever seen ; you weren't that lonely, every normal adult who didn't believe everything written in the Murdoch press was with you.’ What a pity he wrote this without reading properly what I said: ’I recall how lonely it was to be anti-war – unless you were on the pacifist Left, which opposes all wars, good or bad, except when they are attacks on Israel (My emphasis).’ The Left was against this war largely because it misunderstood it. Like some misguided Zionists, it also wrongly saw it as helpful to Israel, when it has been anything but and (if anything) followed a pro-Saudi rather than a Zionist agenda, even though the unintended outcome, by favouring Iran, was not helpful to either Jerusalem or Ryadh. .
More intelligent leftists, seeing its anti-sovereignty, globalist implications, supported it, as more of them had supported intervention in Yugoslavia. In the same way, many conservatives, thinking it some sort of revival of British greatness, idiotically supported it. So did the neo-conservatives, many of whom were aware that their point of view has its roots in disappointed Trotskyist utopianism. Not only did I lose nearly as many friends as I had lost when I abandoned the Left. I gained few new ones. I declined invitations to speak at one ‘Stop the War’ rally because I knew that I would then have to speak alongside anti-Israel persons, and beneath banners calling for ‘Free Palestine’, an absurd slogan given the unfreedom of the areas misruled by the PA and Hamas, and actually meaning the dissolution of Israel.Many non-Murdoch newspapers (including the ‘Observer’) supported the Iraq war. I think all supported the Kosovo dress-rehearsal. I believe the BBC coverage also aided both these wars.
Mr D.Reddin writes : ’ What does it matter what Hilary Mantel's political opinions are? You should be able to separate your political and moral values from your ascetic judgments. Your brother (and the "close-minded" Richard Dawkins) was able to appreciate literature that didn't conform to his notion of good morality such as the King James Bible. He also gave a very good review of Wolf Hall. Given his undoubted independence of mind it might just mean that some people like Wolf Hall because it's good literature and not because Mrs Mantel has the "correct" political opinions.
And by the way just because I disagree with you it doesn't mean I want to have you arrested, doesn't even imply it. Your shrieking of "thought crime" and "show trial" every time you are confronted by the "left wing mob" is as hysterical as any of your opponents.’
He is accompanied, of course, by ‘Bert’ (who is still after all these years searching for an alternative explanation, other than the EU Landfill directive, for the relentless abolition of weekly rubbish collections – for he has yet to acknowledged that he was wrong about this - but broke off from his research to contribute here in his usual instinctively sympathetic fashion):
‘Well, I thoroughly enjoyed Hilary Mantel’s Tudor books without knowing anything about her politics, and I thought the television dramatisation last week – modern speech included – was absolutely superb. Mr Hitchens may well take a different view, of course, but it’s rather a shame that the only reason, so it seems, to bring the subject up was resentment at what he perceives are the politics of the publishing industry.
As for whether ‘modern young actors can begin to understand the depth and scale of the convulsion that war caused in Britain in 1914’, what an odd question. Is it their youth, or the fact that they’re actors which gives rise to this doubt? And, more importantly, what does it matter, if they’re good enough actors?’
‘Paul R’ also entered the fray thus : ‘Does every novel or programme about the Tudors have to be in the language of Shakespeare? Does everything have to have a host of tedious pedants pointing out every so called inaccuracy?’
Mr ‘Mike B’ is there too (My earlier response to him is posted alongside his comment and also here) : ‘Peter Hitchens says that Hilary Mantel "is now a sort of Leftist Saint" because of her story about Margaret Thatcher. Does he have anything to back up that assertion or did it just trip, thoughtlessly, off his tongue?
Again he says that "her book about the horrible Thomas Cromwell", presumably Wolf Hall, is "bought and praised all over Guardianland", wherever that might be. In fact, it has received widespread praise from many reviewers, including those in the Times and the Telegraph.
This just strikes me as lazy journalism. Pick a caricature and stick to it. It's so much easier than thought and reasoned argument.’
***PH writes: ‘Don't be silly. Such statements or assertions are not of the same character as assertions on the lines of 'Charles Foster Kane has received billions of dollars from California oil interests', or similar. These are statements of alleged fact which can be proved or disproved. There is no formal method for creating a Leftist saint, nor any official list of such saints, and the remark is obviously a comment on the extraordinary praise and honour, and favourable coverage, and priceless publicity, heaped upon Ms Mantel and her books.
The book world, as I've pointed out here to cries of 'whingeing!' from leftists, is entirely dominated, in publishing houses, reviews, awards and festivals, by persons of the cultural, moral and political left. Ms Mantel is such a person. I think her success may have something to do with that.’
Finally, from ‘Louise’ 'Uniforms, trains, clothes are as usual carefully recreated – but not the way people actually talked or thought.
Alicia Vikander plays Vera in the moving film Testament of Youth, but can an actress as young as her understand the effect the First World War had on Britain?' And you can, I suppose?’
Yes, to some extent, I can. My surviving grandparents had both grown up before 1914, my older aunts and uncles, and many of my teachers had strong childhood memories of the War and of the changes it brought. Its memory and its effect pervaded much of our life and conversation, in a way that’s gone now. You can see how the bridge has been broken by watching the powerful BBC2 series on ‘The Great War’, in which most of the interviewees, then still healthy and alert men and women, recalled the war as an event in their lives. What’s more, I made it my business in my teens and later to read such telling contemporary memoirs as Robert Graves’s ‘Goodbye to All That’ and Siegfried Sassoon’s ‘Memoirs of a Fox-hunting Man’ , not to mention John Harris’s superb ‘Covenant with Death’ often mentioned here and based on detailed conversations with survivors of the Somme from Rotherham. And of course to read Vera Brittain’s ‘Testament of Youth’, something I was inspired to do by the BBC serialisation of the book in 1979.
If you have grown up on post-cultural-revolution Britain, the modernised, concretised, electrified, motorwayed , denatured place which sprang up after the 1960s, these nuances and indeed these profound differences between generations will escape you completely. Something similar, but not the same, can be said of the infinitely superior Television version of P.G.Wodehouse’s Jeeves and Wooster stories , featuring Dennis Price and Ian Carmichael, as compared with the feeble version more recently screened. Price and Carmichael had both experienced pre-war London, knew its accents, its signals and flavours and smells. They knew what Wodehouse meant.
As for Hilary Mantel, I think her generally leftist politics are pretty well-known, and became even more so after the publication of her short story ‘The assassination of Margaret Thatcher’. It matters because allegiance of this sort is undoubtedly helpful to writers of all kinds, but most especially in book publishing, where conservative ideas are despised by most reviewers. This was not only given full-scale publication by the ‘Guardian’, but also serialised on BBC Radio 4,. As it happens, I think ( and have often said ) that her short novel ‘Eight Months on Ghazzah Street’ , set in Saudi Arabia and obviously drawn from real life, is very good. So, despite its gruelling, horrible subject matter is her novel about Africa’ A Change of Climate’.
Having read these and thought them good, I attempted her book about the French Revolution ‘A Place of Greater Safety’, but after about 200 pages in which my interest never caught fire ( and I am fascinated by the French Revolution) I abandoned it. This is a thing I rarely do to any book after sticking at it for so long.
When the fuss began about Wolf Hall, I set it aside for a good moment, looking forward to it and assuming I would find it enjoyable and rewarding. I was surprised to find that it could barely hold my eye to the page. After about 30 pages, it seemed clear to me that I could only read it by forcing myself onwards with the mental equivalent of kicks and blows. It drained out of my brain as fast as I could get it in. I decided not to continue. For some time, I thought the fault was mine, as its sales climbed and the awards began to come in.
Then I began to notice that, if one whispered softly that one had not liked it, one would meet responding whispers and mutters of ‘Thank heaven! I thought it was only me!’ from a surprising number of people. Statistically, men were less likely to enjoy it than women, but it wasn’t as simple as that.
As for Thomas Cromwell, I think she has for some reason invested him with all kinds of qualities he probably did not have. I say ‘probably', because we actually know rather little about him personally (much less than we know about Thomas More, for example) . A recent biography of him frequently resorts to conditional verbs and what looks to me like guesswork. By contrast, we know a lot about him politically, and we have the great Holbein portrait in which he looks very much like the 16th century equivalent of a Russian gangster oligarch. In his public life he was merciless, and at the end was shown no mercy.
This isn’t some kind of beauty contest between him and Thomas More, and if it were I should choose neither . More is brilliantly undone in Josephine Tey’s indispensable historical novel ‘The Daughter of Time’, and simply wasn’t the admirable man of conscience portrayed by the great Paul Schofield in that fine film ‘A Man for All Seasons’ . Nobody was. The people of these times were not like us, did not think as we do, or act as we do.
They certainly did not speak as we do, and I don’t just mean that they still used the second-person singular and the ‘eth’ and ‘est’ verb endings which are now more or less confined to Yorkshire. Actually, Robert Bolt’s use of English in the script of that film, and the play that preceded it, is a good solution. Educated men and women are portrayed as speaking in a more deliberate, grammatical style than that of today. They refer without hesitation or embarrassment to God. They have utterly different attitudes towards such things as oaths. More’s small speech on how a man swearing an oath holds his soul in his hands like water is a lovely example of this, as is his stern explanation of why he will not speak of certain things in his wife’s presence so that she can in all honesty say under examination that she never heard him do so, and his tremendous speech about how easily the Devil would come after us, once we had flattened the great forest of man’s laws that grows all over England, are all examples of that. The film gave Norfolk a Northern accent, but he still avoided speaking too much like a spin-doctor from ‘The Thick of It’.
I think we can assume that Ms Mantel is aware of ‘A Man for All Seasons’, its hagiographical portrayal of More and its depiction of Cromwell (played by Leo McKern in the days before Rumpole made him famous) as a sordid schemer. No doubt it is an interesting idea to reverse the formula. But none of the people in this drama was a modern man or woman. They all lived, thought, believed, spoke and died quite differently from us. Power’s tendency to corrupt could not be obscured by propaganda, or given a velvet cloak by smooth civil servants who took on the actual dirty work. I suppose More was, in a way, a conservative figure (though he is the first Utopian) . And Henry was, of necessity, a radical reformer, and Cromwell his chief instrument . But I don’t think that makes Thomas Cromwell a sort of English Robespierre (or Oliver Cromwell, come to that).
By the standards of the French revolutionaries and all that came after them, all these men are severe and unbending reactionaries. It was Madame Guillotine that gave birth to the idea the left still love to this day, though some of those ideas had been in gestation for many decades before the Terror.
I do not ‘shriek’ ‘thought crime’ and ‘show trial’ every time I am confronted by the left-wing mob. Only when it fits.
You would have to have a completely tin ear ( and many do, it is true) not to realise that much of the Authorised Version of the Bible is great poetry. Truth, in all matters including literary merit, is the daughter of time, and it was no great leap by my brother (or Professor Dawkins) for him to acknowledge that King James version is beautiful. His problem was in understanding why this might be so and whether there is any connection between form and content.
If Hilary Mantel’s books are still around and being read with pleasure and instruction 400 years hence, then it will be clear that I was wrong, For now, I’d only say that the past is littered with the works of authors (Hugh Walpole, Herbert Spencer, Charles Morgan, Sinclair Lewis spring to mind) who were once loved by all the critics and bought by millions and now are so unread you can’t even find their works at the back-end of obscure second-hand shops.