WILLIAM KING relishes a cinematic realisation of a great musical moment
There was a time when I never thought of visiting YouTube, believing it to be full of cat videos uploaded by doting owners. Later I discovered my error – it was, in fact, full of a wide range of pointless videos. Then I came to discover that there are many worthwhile grains to be found among the chaff and Eroica is surely one of them. I think myself exceptionally fortunate to have accidentally discovered this British film, and this is my justification for reviewing something made over two decades ago, in 2003.
Eroica is a dramatisation of the first, private premiere of Beethoven’s third symphony, the ‘Eroica’ or heroic symphony. The film’s most remarkable feature was the brave decision that saw the full symphony – all 49 minutes of it, plus a little bit of Mozart – incorporated into a film that is only 83 minutes long. This might seem to leave little time for any drama as well: surely the drama – the main plot and an amorous sub-plot – must cease when the music commences? That this is not the case is due to the excellent screenwriting of Nick Dear, the intelligent direction of Simon Cellan Jones, and the emotional sensitivities displayed by the cast. And, of course, the very fine playing by the Orchestre Révolutionnaire et Romantique, conducted by Beethoven in the film, and by John Eliot Gardiner ‘behind the scenes.’ As a result, music and drama become inseparably fused throughout the film.
It might be best to sketch briefly some of the known facts relating to the private premiere of Beethoven’s third symphony. As we shall see, it should perhaps be called the first rehearsal, rather than the first performance.
It was held in June 1804, in the Vienna palace of the Bohemian nobleman Prince Joseph Franz von Lobkowitz, one of Beethoven’s principal patrons. It took place in a small hall – still known as the Eroica Hall – usually reserved for chamber music, but which could accommodate over two dozen musicians and guests. Lobkowitz was born with a deformed hip, and needed to use a crutch all his life. As a young man he inherited a fortune in money and estates and was known for his lively disposition and warm-heartedness. He was also renowned for his extreme passion for music, employing his own orchestra and chorus – a passion that was ultimately financially ruinous to him. As Count Razumovsky, a Russian nobleman and ambassador in Vienna, later noted: “This Prince was as kindhearted as a child and the most foolish music enthusiast. He played music from dawn to dusk and spent a fortune on musicians.”
A cynic might say Lobkowitz squandered his fortunes on music; I prefer to think that he sacrificed his fortunes to music. Certainly it was he, and a small number of other patrons, who gave Beethoven the financial security to devote himself to composition.
Rehearsals were unusual for symphonies at that time. Professional musicians were expected to give a competent performance by sight-reading the score – even at a premiere. The ‘Eroica’ was different however: almost twice the length of a conventional symphony, the complexity of the score and Beethoven’s perfectionist attitudes rendered rehearsal imperative. The – thankfully private – premiere rehearsal/performance did not go well. With Beethoven himself conducting, errors crept into the playing.
However, one of the most famous incidents came when Ferdinand Ries, pupil and friend of Beethoven, interrupted the playing when he incorrectly thought the horns had come in too early. As Ries recalled: “’That dammed hornist,’ I said. ‘Can’t he count. It sounds frightfully wrong. I nearly got my ears boxed and Beethoven did not forgive me for a long time.’”
Joseph Haydn, revered as the Grand Old Man of music in the early 1800s, arrived at the palace in time to hear the final movement of the symphony, and to make a number of prophetic comments about it.
The public premiere did not take place until April 1805. We may be certain that the orchestra was properly rehearsed this time, but the length, scope and sheer power of the piece, especially the first movement, was too much for some. One member of the audience was infamously heard to cry out: “I’ll give another kreuzer [a copper coin] if the thing will only stop!” There was muted applause at the end.
So much for history; what of the drama? It is a sad fact of life that film and TV dramatisations have rarely more than a nodding acquaintance with historical reality. All too often dramatists, whether through ignorance, an ‘agenda,’ or a desire to ‘jazz things up,’ see no reason to let reality get in the way of a good drama. A bit like newspaper editors never letting the facts get in the way of a good story! Thankfully there are few such blemishes here, and when they occur they can be excused on the grounds of dramatic licence. A few examples should however be mentioned.
Wenzel Sukowaty, Beethoven’s copyist, rushes in shortly before the performance is due to start to give out the sheet music to the orchestra. Cue much baffled incomprehension from the players – “The fingering. Have you seen bar 34?” and indeed, “Bloody hell.” The copyist quietly explains to Prince Lobkowitz, “The piece is a monster… It may not be music at all.”There are a few false starts when Beethoven commences conducting, and he has to explain that the orchestra are to play ‘sforzando,’ attacking each note, for maximum intensity. The sad plea “Can’t we play a bit slower?” is answered with a resolute no. However, from then on the orchestra sight-reads, at first time of asking, a piece that is exceptionally long, complex and not like anything they have played before, without error.
This is surely not what happened in real life, but – and this is a huge but – it means we get to hear the Eroica as Beethoven wished it to be heard, played on historically authentic instruments by a first-rate orchestra, under a leading conductor, fully in sympathy with the music. If dramatic licence is not forgivable here, then when is it?
More examples of such licence may be given. The long-suffering Ries does indeed interrupt the playing, leading to a volcanic eruption of rage from Beethoven, but did he really cry out, “Piss off!” to his hapless apprentice, in front of Prince Lobkowitz and his assembled guests, many of them ladies? No doubt Nick Dear, the writer, felt it necessary to ‘update’ the language for 21st century ears. One can only say, O tempora, O mores…
Finally, towards the end there is a ‘flash-forward’ scene when Beethoven and Ries visit a tavern after the performance. Ries there discovers from a friend that Napoleon has declared himself Emperor. He nervously informs Beethoven of this, knowing that Beethoven was a great admirer of Napoleon, regarding him as an embodiment of republican virtues. Beethoven, in a towering rage, rips out Napoleon’s name from the dedication to him on the front page of the manuscript score. Historical accounts vary slightly but it would seem Beethoven did hear of Napoleon’s declaration from Ries, and he did destroy the dedication to Napoleon, but probably not immediately after the premiere performance. This is, of course, why the third symphony is called the Eroica symphony, and not the ‘Buonaparte’ symphony as originally planned. A little dramatic licence is surely excusable here.
These minor quibbles aside, what are the most noticeable virtues of Eroica? Apart, of course, from the exquisite playing by the orchestra. First and foremost Eroica is superb in its exploration of the relationship between music and society as a whole: specifically, in this case, the musical revolution that Beethoven is about to unleash against the backdrop of the social and political changes after the French Revolution, and symbolised by Napoleon Buonaparte.
This is, for the most part, done with much subtlety. For example. the film opens with the lead violinist of Prince Lobkowitz’s orchestra playing a piece by Mozart, before the guests have arrived and the new symphony is to be first aired. It is very beautiful piece, calm and serene, but it is not in any way threatening – it will never, as it were, be the backing track to a revolution. Playing it serves as a counterpoint to what will come. No wonder Beethoven laughs on hearing this music on his arrival – he knows just how much of a shock his music will be.
There is much debate about music and its place in society. The opposition to Beethoven, and all he stands for, comes from Count Dietrichstein, a nobleman friend of Prince Lowkowitz. He is very much a supporter of ancien régimes – if you don’t have a title your views scarcely count. Wisely he has not been presented here as an ignorant buffoon. Rather he is an intelligent man but with fixed ideas – fixed about the nature of society and fixed about what music is. Since the feelings and opinions of the ‘lower orders’ count for little he condemns, to Beethoven’s face, the first movement as “Violent, needlessly violent” and “a tasteless intermarriage of the diatonic and chromatic.”
Dietrichstein is however honest: as the symphony progresses, he is clearly emotionally affected. Nonetheless he explains to Beethoven,
That wasn’t bad. It’s not a symphony though… The symphony has a structure. This is a formless mass. A mere arrangement of noise. A great piling up of colossal ideas. It’s very moving. In parts it has elements of the sublime. But it is also full of discord… But it is not what we call a symphony.
Mozart can be enjoyed by Count Dietrichstein – it does not threaten his musical tastes or the social order he inhabits. He simply does not understand the Eroica – and we are all unsettled by that which we do not understand. But he does understand that this is new music, which challenges the established musical order, and he worries that he does not know what the broader impact on society might be.
Beethoven is in more congenial company among the lower orders: he joins the members of the orchestra as they enjoy a mid-symphony lunch break. They discuss Napoleon: is he a threat or a liberator? Should he be resisted if he leads an army to Vienna? And will the existing social order continue?
Prince Lobkowitz has long believed that music is not just for the nobility. He is keen to have his servants enlightened and educated by exposure to high culture, thus the sound of Eroica has echoed throughout his palace. Downstairs in the servants’ quarters, an inexperienced footman is discussing it with Gerhardt, a senior servant, evidently one who has received a significant musical education through his years with the Prince:
“What do you reckon to the band, then?”
“They’ve taken the symphony to new heights.”
“Christ, have they?”
Thus the first wholly-unequivocal praise given to Eroica in the drama comes from a servant. Should we be surprised? Probably not.
There is a brief romantic sub-plot, centering on Beethoven’s unsuccessful proposal of marriage to the Countess Josephine von Deym, but most of the film relentlessly focuses on the symphony and reactions to it. Much of the film consists of shots, often quite long shots, of people listening to the music and their reactions, intercut with the sight of the orchestra playing. This depiction of the listening process is surely one of the keys to the film’s success. The facial expressions of members of the audience, variously showing delight, distaste, excitement and incomprehension carry the plot forward without the need for dialogue. There is also the aesthetic benefit that one can enjoy the music without people talking over it. This was quite a risky directorial decision: the slightest trace of ‘ham’ overacting could have left the film liable to ridicule. Thankfully what we got was acting at its best, from the actor playing Beethoven, through to those portraying the assembled nobility and down to the kitchen staff. Every part was played excellently. It would be invidious to single out any of the actors for especial praise – but I fear this is what I must do. Three of the finest British actors demand special praise.
First, Ian Hart as Beethoven. His face is alert, alive, the face of a man who cannot but show all his emotions. From towering rage, to marital disappointment, to sublime joy as he hears his creation come to life, Hart is excellent. As the last of the symphony ends, Hart is left in total silence – a grim foreshadowing of Beethoven’s forthcoming deafness.
Secondly, Tim Pigott-Smith as Count Dietrichstein. His haughty dialogue with Beethoven – always on the verge of verbal fisticuffs – is good, but the unspoken scenes, when he is listening to the symphony, clearly not wanting to like it, yet becoming emotionally affected by it, are sublime. A lesser actor could easily have ruined these scenes.
Finally, Frank Finlay, in a cameo role as a frail, elderly Joseph Haydn, the only man that Beethoven calls ‘Master.’ Arriving late to hear the finale of the symphony his words are a fitting conclusion to this review:
He’s done something no other composer has attempted. He’s placed himself at the centre of his work. He gives us a glimpse into his soul. I expect that’s why it’s so noisy. But it is quite, quite new – the artist as hero. Quite new. Everything is different from today.
Eroica, directed by Simon Cellan Jones, screenplay by Nick Dear. Music by the Orchestre Révolutionnaire et Romantique, conducted by John Eliot Gardiner. Run time: 1 hour 23 minutes
Kenneth Fuchs is Professor of Music Composition at the University of Connecticut. Born in 1956, Fuchs belongs to a generation of modern composers who, whilst creating a sound-world clearly of our time, have partially turned their backs on earlier avant-garde trends, in favour of symphonic music that is optimistic, open, communicative, cohesive and completely accessible to a wide audience — an important consideration in these times of dwindling arts funding and an audience that is not getting any younger.
Inspired by a painting by his compatriot, Morris Louis — and entitled Pointof Tranquility — Fuchs’s work of the same name is a mind-clearing, subtly dazzling eleven-minute tone-poem of sudden, shimmering sunlight. There is a sense of a sea dancing beneath silvery horizons, of new pages turning in life — or even a return to old haunts, refreshed and renewed after a long period of absence. A masterly deployment of orchestral colour, the Buffalo Philharmonic and their conductor, JoAnn Falletta, set us on course for an album that gives us a further three revelatory scores.
Next comes Russell Platt’s Symphonyin ThreeMovements, inspired again by an artist — this time, Clyfford Still (1904-80), creator of what has been described as “dramatically jagged colour fields” and “abstract expressionism.” This work is the most modern item on the CD, with an outdoor, breath-of-fresh-air tonality sharing the orchestral platform with more dissonant forms, and showing in that exciting brew the tremendous virtuosity and flexibility of the Buffalo orchestra, which emerges here as a top-flight US ensemble. (Why haven’t they been invited to the Proms? Why do we never hear them on BBC Radio 3?)
However — for me — the most intoxicating work on the recording is the Oboe Concerto by Randall Svane (born 1955, although the CD notes list his birth-date as 1972). As a lover of Vaughan Williams’s 1944 Oboe Concerto, I was anxious to hear Randall’s piece — a classic example of new Americana. A composer of church music and late-Romantic symphonic works, with distant echoes of Roy Harris, Samuel Barber or the melodious Howard Hanson, the new concerto begins in a pastoral dream: a long, languid span — a haze — of bittersweet reflection; similar in pace to the opening of Walton’s Viola Concerto. The oboe soloist (in this case the Buffalo Philharmonic’s principal, Henry Ward) clearly believes in the work with all his heart, and hearing this gently-questing, passionate piece makes you believe that a new Vaughan Williams is at work in the world. The three movements are entitled: ‘Flowing,’ ‘Very slow,’ and ‘Quick and light.’ Notice the simple titles, no arcane or technical musical notation, just names that provide an easy guide for listeners, particularly newcomers to classical music.
The album concludes with Chinese-American composer, Wang Jie’s orchestral tour de force, The Winter that United Us — a brilliant Stravinsky-like orchestral showpiece, culminating in a broad, noble, hopeful finale; showing the listener that music can help us to overcome the shadows that pass over our world — in this instance, the Covid pandemic and the suffering and anxiety that forced all of humanity to face up to a common crisis.
Recorded at the Kleinhans Music Hall and superbly recorded by sound-engineer, Bernd Gottinger, I have no hesitation in recommending this collection.
CD details: Contemporary Landscapes, Beau Fleuve Records, 605996-998593. bpo.org
I’ve always been impressed by the ones who leave a note. Not just any note, mind you. I mean something along the lines of “You’ll find the key to my safe in the sock drawer,” or “Don’t forget to water my prize rose bush,” or even “Give an extra hundred to the cleaning gal for the mess.” No accusations, no justifications, no pontification—none of that. Just something simple, pragmatic, to the point. Elegant, you might even call it. Or perhaps you find that word queer in this context, even distasteful. Fair enough. There’s no point arguing matters of taste. But as for myself, I’ve always admired the ones who can write something so matter-of-fact a few moments before their brains are dripping from the ceiling.
I had the good fortune of knowing several such men during my time in the armed forces. Quite intimately, in fact. You see, I was their superior, and it was on my orders that they carried out the acts that inspired them to pen those pithy little sign-offs. They died by bullet, buckshot, belt—and in one case band saw, if you can believe it. Though in that instance the gentleman’s civilian occupation was carpentry, so I suppose it made good sense. One returns in the end to what one knows best, after all. And though the methods were varied, the cause of death was singular, even if it eluded the coroner: to a man, they all died of a bad conscience.
It’s the source of that bad conscience that you’ve come to hear about tonight, I gather. Unless you’ve come for the free meal, sponsored by your editors. Please extend my gratitude to them for that courtesy, by the way. I was half expecting to have to pay my own way, miserly as they are in the journalism industry nowadays. In any case, I guess we’ll see by the end of the evening whether my story earns the meal. The head chef is trained in the finest pre-Collapse French tradition, so I wager I have my work cut out for me.
Speaking of which, I took the liberty of ordering us a few hors-d’œuvres just before you arrived.
My pleasure. Apéritifs are on the way as well. Dry vermouth, a 2059 vintage, I think.
That’s right, from just before the bombs fell. Supposedly there’s still a trace amount of cesium-137 in the bottles. But you needn’t fret: all the especially nasty radioisotopes decayed away ages ago. The only danger now is a hangover. Do take care, though—vermouth sneaks up on you, in my experience. Anyhow, I hope you don’t mind drinking on assignment. Alcohol is included in the reimbursement, surely?
Splendid. I suspect you’ll need it. It’s liable to be a long night.
I understand that you have your work cut out for you as well: winning over today’s jaded readership takes something altogether more charged than death by perforation, laceration, or asphyxiation. Don’t worry, I intend to make your job as easy as possible in that respect. And since I don’t expect muckraking to prove overly difficult here, I hope you won’t take exception if I ask something else of you, something a bit more… pressing. You might even call it a matter of life and death. But I’m getting well ahead of myself.
Before you agree to anything, I imagine you’ll want some reassurance that I am who I claim to be: the man who’s dodged interviews for three decades now, yet on the thirtieth anniversary of the armistice finds himself knocking on a journalist’s door instead of slamming his own in her face. To remove any doubt, I’ve curated my prepared remarks to open with some as-yet-unpublished details about the anecdote that earned me my fifteen minutes of fame—or infamy, as the case may be. It’s all the same to me. No publicity is bad publicity, as they.
So let’s start things off with a bang and get on with the fireworks, shall we?
Brilliant!
It was March 2143, two years into the war with the North, and I was a major stationed in the Garrisoned Zones. That’s what leadership had taken to calling the bombed-out husk of a former megacity located fifty kilometers north of our border. It had been nuked to rubble during the Firestorm of 2060 and left uninhabitable for the better part of a century—at least, for anyone who wasn’t keen on getting a sunburn in the dark or losing their teeth at age twenty-five. That is to say, anyone who didn’t wish to end up like the Zonees: the remnant population of some hundred thousand urbanites, plagued by sundry mutations and malformations resulting from congenital radiation poisoning.
My battalion was barracked alongside a community of three hundred such holdovers, on account of a very particular task we’d been assigned. Their enclave lay in the ruins of a rail yard, with dilapidated boxcars serving as single family condominiums. It was rather quaint, as scrap heaps go. They practiced subsistence agriculture using pre-industrial techniques, supplemented by the few functional Old-World relics remaining to them.
The first sabbath after we arrived was a local high holiday marking the vernal equinox. It was considered an auspicious day for nuptials, and several couples were to be wed at a church service. Consequently, the entire community had turned out in their Sunday finest: the broodmares with all their little sucklings in tow, widows and widowers in their stooped dignity, preening debutantes, teenagers exchanging furtive glances with their paramours, men chattering about work or the weather or God knows what. From our position on a nearby hillock, I studied them closely, as I often did, with an anthropologist’s eye. Overall, it was a veritable cross-section of humanity, just like one would encounter in the civilized world.
I waved to several of the parishioners as they filed past, and I encouraged my subordinates to do the same. At one point, a village girl, perhaps five or six, left her mother’s side and came bounding up the slope toward us. The woman didn’t appear to notice until her daughter had almost completed the foray. She called after her, but by then the girl was already reaching up to caress the neck of my black stallion.
I fished around in my saddlebag and retrieved a foil-wrapped chocolate and hazelnut bonbon, the kind I had regularly shipped to me from the finest confectionery in the capital. She reached up and grasped it with her chubby fingers—all six of them. I gently spun her around and nudged her back in the direction of her parent. After they were reunited, the woman raised a hand in appreciation, and a smile spread across her face. The two disappeared into their house of worship, hand in hand.
The church was a curious edifice, a collection of what looked to be Old-World portable privies. They had been welded together with some of their walls removed, so that they formed a single large chamber with windows sizeable enough for us to observe the proceedings from our elevated vantage point. The toilets themselves had been left in place as seats for the congregants, with the tanks serving as elbow rests for the person to the rear when kneeling in prayer. Conveniently, the bowls were still connected to plumbing so that they could double as replenishable holy water receptacles.
The structure was made almost entirely of plastic, which was no arbitrary design choice. In fact, its composition was integral to the Zonee faith, a kind of cargo cult that elevated Old-World materials and artifacts to the status of sacred relics from a mythical age. According to their eschatology, the accumulation and consecration of a threshold amount of such antiques would bring about a “return of the gods” and a restoration of twenty-first-century glory. There was just one small problem with that belief, from our perspective: we too had aims on pre-Collapse synthetics, though for a much more worldly reason.
You’ll forgive the history lesson, but I’ve found I can’t take anything for granted with your generation, what with the state of schooling nowadays. Why, just look at our company in this very establishment, full as it is of half-naked and semi-literate libertines! Besides, I gather from the microphone you’ve affixed to my lapel and the tape machine in your purse that I’m not only addressing you. Who knows how long your little recording might survive and garner interest. So there’s posterity for me to consider as well. Therefore, I’ll save my unborn audience a trip to the library and tell the whole story, beginning to end, in its full historical context.
Now, where was I? That’s right, the sacred cesspit. In my view, a church is still a church—whether affiliated with the Bible movement or the bowel movement—and I was determined to see that particular service through to its climax. By the time the procession of bathroom-goers tapered off, the building was filled to overflowing, a real squatting-room-only affair.
The ceremony began somberly, as was their custom. The priest intoned a sonorous dirge, which I took to be some kind of lament over their travails as a people, or else over the sorry state of the world in general. From there the pitch increased in turns as more voices joined in—first the men, then the women, finally the children. The mood brightened and the pace quickened, building at last to a crescendo of fervent ululation as their sacred totem—a rusted old can of air freshener, I think—was revealed to the congregation.
I couldn’t help but wonder about that. Perhaps they misunderstood “air freshener” as applying not only to the scatalogical, but the radiological as well. Perhaps they considered the relic some sort of mana from heaven that had the powers of a cure-all and was thus deserving of their adoration. Or maybe I’m reading too much into it, and the can was simply the shiniest thing they had on hand. Whatever the case, it was long since empty and no good to them for purifying the air—so I figured I’d do my part and light a match instead.
Consequently, it was in that instant—just as the priest raised the deodorizer overhead in triumph—that I gave the signal. I’m not a person devoid of a healthy sense for the theatrical, you understand. Neither am I without feeling, and it seemed to me right and proper to allow them that moment, if nothing else.
The lead sapper glanced up at me, flipping his switch after only the briefest hesitation—and the entire assembly ascended to the heavens in a great fireball of religious ecstasy. The explosion took our breath away and rocked the enclave to its foundation, breaking windowpanes half a kilometer away. Debris from the sundered structure littered the vicinity, and the central pile of rubble began coughing up thick plumes of acrid black smoke.
It was only after we recovered our wits and surveyed the results that we realized the townsfolk had left behind a few bodily mementos before departing on their journey skyward. You’ll have trouble believing this, I’m sure, but the head of the priest had landed directly in a toilet bowl, where it was spinning in circles as the broken mechanism flushed uncontrollably. His mouth, still agape in its final “Hallelujah,” was issuing forth a jet of toilet water three feet into the air, like a fountain cherub. That’s the God’s honest truth. From his lips to God’s ears, as they say.
You see, it had occurred to me the night before that the engineers attached to our command happened to be in possession of several crates of dynamite, on hand for the purpose of blowing bridges or clearing obstacles. I instructed them to take the whole lot of it—two hundred kilos in all—and plant it in the church under cover of darkness, in the toilet tanks and otherwise out of sight. A curfew was in place at the time, so we could proceed with confidence that our work would go unnoticed. I could go on, but I’m sure you’ve already seen the photos. They made something of a splash when they were published after the war. Shreds of flesh dangling from tree branches like red lingerie drying on a clothesline, as I recall.
My bluntness appears to have rankled you. I do apologize, but I’ve never been one to mince words—bodies, yes, but not words. And you must understand that I didn’t know who my dining partner would be tonight, so I prepared my remarks with a general audience in mind. That audience includes those of a gruffer breed than you—you, a twenty… five-year-old female journalist? Educated, at least by today’s standards; cultured enough to know her ristretto from her macchiato; unattached, save for maybe a cat or two; someone who’s waded through her share of muck and sludge, but still holds out hope for that elusive kernel of human goodness—perhaps even secretly yearning to land the scoop on some great “Kumbaya moment” that redeems us of everything. Right on all counts, no?
Very good. I’ve always been a real people person, a true empath, as you’ll glean soon enough. Consequently, matters of character rarely escape me. Don’t mistake me, though: none of my observations were meant as insults. I’m well acquainted with your work, and I admire you as an impartial newswoman of the old school, in spite of your youth.
Why, the mere fact that you didn’t put a microphone on your own lapel tells me just the kind of reporter you are: the kind who’s not infatuated with the sound of her own voice. In fact, if it weren’t for your reputation as someone who does her damnedest to keep herself out of the story, who forbids her own scruples and foibles from clouding her work, I wouldn’t be planning on asking for that personal favor I mentioned—a favor that involves me placing complete faith in your professional judgment.
What’s more, I’m sure you understand that anecdotes of that sort are precisely why your editors sought me out for the past thirty years, and why they leapt at my invitation tonight. Your rag was the first to print the dynamiting photos—the photos that scandalized a nation—so it makes perfect sense that they’d go out of their way to land the first interview with its orchestrator.
And aside from your bosses, I have other listeners of this recording to consider as well—listeners a hundred years hence, who may not be quite as dainty and starry-eyed as you. Indeed, if history is any guide, they may well be even more blood-thirsty and jaded than today’s lot. Perhaps even as jaded as the twenty-first-century set, before they melted each other’s faces off with atom bombs. So I hope you won’t hold it against me that in opening my story, I chose to heed an age-old newsroom adage: “If it bleeds, it leads.”
I trust you’ll now allow me to explain my foray into high explosives, since some context is necessary to fully appreciate things of that… nature. Without it, I can sense that misleading first impressions are a real danger. In fact, based on how feverishly you’re scribbling in your jotter, I’d wager you’re jumping to conclusions already. And it’s easy enough to guess from your facial expression exactly what sort of conclusions they are. I’m not blind, after all. To save you from having to scratch out anything later on, I should clarify this act of mine, an altogether monstrous one, I suppose—to the untrained eye, at least. So let’s train our eyes before proceeding further.
To accomplish that, I’d like to backtrack a little, to April of ’42. I was a freshly minted captain then, bound by rail for my initial field posting in Z-4, a northeastern Garrisoned Zone. On account of my background in jurisprudence, I’d been assigned to the Security Echelon, a paramilitary police agency tasked with safeguarding our assets in the city.
As our steam locomotive wound alongside an urban waterway toward the central rail station, fog lay low and still over the riverbanks, undisturbed by flap of wing or stroke of oar. The water fowl had long since left those parts, or else fallen motionless from the sky. The fishermen and their boats followed close behind. The birds that remained were sickly things: flightless, often blind, they toddled in circles and pecked fruitlessly at the lifeless ground. The people, it was said, were little better. At least, according to the orientation literature I’d been reading as the train rumbled along, cutting through the fog and sending the birds perched along the tracks skittering away.
Eventually, the wheels began to squeak as we decelerated into the station. A sergeant leapt aboard and barged into the enlisted men’s boxcar before the train had fully ground to a halt. “All right, you lot!” I heard him exclaim from my private quarters, one car over. “Welcome to the Exclusion Zones.”
I poked my head out of my cabin to observe the spectacle through the window of the door separating our cars. The sergeant’s underling, a corporal, whispered something into his ear.
“Garrisoned Zones, I mean!” the NCO corrected himself. “As of two weeks ago, at least. Don’t let that ‘exclusion’ bit scare you. I can guarantee you won’t get more than a healthy dose of rads here—just enough to put some hair on your virginal chests. So long as you stay within the yellow lines, of course.”
The corporal whispered to him again.
“Oh, you’re the ones who’ll be painting those yellow lines. Well, then… I can guarantee that if you do get more than a healthy dose, you won’t feel a thing—until your insides are a chunky pudding dribbling out your anus. And by then, you won’t have anything more to worry about anyway.”
I cracked a smile and listened to another couple minutes of the sergeant’s theatrics. That sort of cheeky hazing—carefully orchestrated, to be sure—was exactly the reason I preferred the enlisted initiation to the officers’ briefing. But just then I caught sight of a lieutenant beckoning me insistently from across the station’s platform. I gathered my belongings and strode out to meet him. After we exchanged curt pleasantries, he ushered me into a nearby command hut, where said briefing had just begun. I claimed an unoccupied seat at the back of the room.
A gaunt major with an exceedingly erect posture was addressing the dozen fresh officers in attendance. “Gentlemen,” he said, “there’s one thing you simply must understand about the Garrisoned Zones. This isn’t a city—not to us. It’s an oil well. Every plastic-shingled shanty-town, every bottle-laden garbage dump, every prosthetic-legged old woman—they’re all latent fuel, waiting to be tapped. Coal is history, fossil fuels are a memory, so plastic is the name of our game here. Petroleum pyrolysis, the boffins call it: going from plastic to oil to gasoline. But you don’t have to worry about that part. That’s what the civilian contractors are for.”
He picked up a misshapen human skull perched conspicuously on his desk. I couldn’t tell whether it was a fossil or from a more recent kill. “What you do have to worry about,” he said, “are the locals, like this one. Thirteen hundred cc cranial capacity, about a hundred less than ours. They make up for it with a few extra teeth, though: many of them have thirty-four instead of thirty-two, as you can see here. That combination means they’re prone to bite first and ask questions later. We’ve only been here a month, and they’re already at our throats every time we so much as rustle a prehistoric tampon lying in a garbage heap.”
The line elicited a few chuckles from the assembled.
“Two weeks ago, things got out of hand and they killed a worker in Z-3. Ripped him limb from limb, I’m told. The contractors refused to continue unless they were assigned a dedicated force of gendarmes, so here we are.”
He went on for some time, but my thoughts were elsewhere. His address was mostly a rehashing of the orientation pamphlet anyway, and I was eager to see with my own eyes what I’d only ever experienced through bedtime stories or schoolroom lessons. As soon as we’d been dismissed, I headed for the garrison stables, a short walk from the hut. Although the frontline infantry were mostly mechanized, scarcity of fuel meant that horses were still a mainstay of transportation for rear echelon troops like us. I tacked up and mounted a black stallion that seemed docile enough.
I rode along the camp’s network of trails until my destination came into sight in the distance—the local plastic extraction hub. It was a massive earthwork, the grandest I’d ever seen in person: an open pit mine that looked about as large as the crater from the rock that ended the dinosaurs. It was situated directly atop a buried Old-World garbage dump, a relic from the days when polypropylene and PVC were waste products rather than worth their weight in gold. I took in the length and breadth of the operation, observing laborers shipped in from back home, police reservists standing guard, and the occasional officer milling about.
“Quite the thing, isn’t it?” a voice to my right said, startling me out of my awestruck reverie. An NCO on horseback had sidled up alongside me. He introduced himself as Sergeant Meyer.
“You’re an officer, so your parents were probably well-off, right?” he asked.
I nodded, a bit surprised by his forwardness. In fact, my family were only upper middle class. My father was a lawyer, like me. But I wasn’t inclined to go into details with someone I’d only just met.
“I bet yours was one of those clans that could afford pre-Collapse plastic for their fine China. Do you still remember drinking from straws?”
I nodded again. “My mother did keep a few in the pantry for special occasions, as a matter of fact.”
“God, I remember straws too. But only from before the re-industrialization, when plastic became a commodity. I swear milk tasted better sucked through them. The dissolved micro plastics added a little sweetness, I think. You recall the plastic drives of the ’30s, don’t you? When every family had to turn in their synthetics in exchange for government bonds? How old were you?”
“Sixteen,” I said.
“Heavens, only sixteen. I had already fought in my first war by then. That one was all about rubble, and this one’s about garbage. Go figure.”
“Indeed,” I said.
“Well, here’s to the poor bastards who died for bricks in the last war—and to the ones who’ll end up dying for disposable utensils in this one.” He removed a pocket flask from his jacket and took a swig, offering it to me afterward. I obliged him. Bad luck otherwise, I figured.
Regardless, it wasn’t too long until someone in our battalion earned the toast. Six weeks later, one of the the sentries on night watch at the mine was ambushed and shot through the throat. His corpse was subsequently defiled—emasculated, to be precise. His testicles were found stuffed into his mouth, giving him the appearance of a chipmunk hoarding acorns for winter. We never did find his penis, which led us to surmise it was kept as a trophy. To top things off, a placard had been hung around the man’s neck with a piece of twine, on which a single word was scrawled in his blood: “Plunderer.”
The news quickly filtered up the chain of command. As it turned out, the assassination was just what High Command had been waiting for. The week before, Zonees in Z-2 had orchestrated the sabotage of a major synthetics hub. It was a real bloody nose for the SE and a serious embarrassment for leadership. There followed some half-hearted attempts at negotiation with village elders, but High Command concluded that religious fanaticism around Old-World esoterica left little room for compromise. The only fitting solution, they determined, was an equally fanatical policy on our part. Since the farming settlements were thought to form the agricultural bedrock sustaining the budding uprising, they were seen as ideal targets of reprisal for any attacks.
In this way, the belligerents—“bandits,” as the higher-ups disparaged them—would be “torn out root and stem” before their harassment could bloom into an insurgency proper. Though it wasn’t shared with us at the time, the tactic was also in alignment with High Command’s intention to bring about a diminution of the Zonee population by two-thirds over the course of the occupation, with an eye toward freeing up living space for post-war resettlement by our own citizens. The remaining third would be kept alive to serve as forced laborers.
All that was lacking was a catalyst to incite the troops—a catalyst that the guard’s killing and desecration provided. The very next day, for reasons ostensibly personal but ultimately well above our pay grade, it was ordered that “any village found nourishing even a single bandit be eradicated down to the third generation, razed to the ground, and defoliant spread across its agricultural tracts, such that anyone escaping the firing line is taken by hunger.”
Oh, and there were a few flowery addendums about “liberating the material heritage of mankind from those who blindly trample it underfoot” and “letting rubble and bone serve as a testament to our strength of will, and to the terrible but righteous judgment handed down upon the bandits and their kin, and their kin’s kin.” You get the picture.
That was the exact text of the order as it came across the wire and subsequently seared itself into my brain, where it remains lodged to this day. It was titled the “Hardening Decree,” laden as it was with High Command’s usual penchant for machismo and sexual innuendo, or more fully, “a decree promulgated for the purpose of hardening our resolve against organized crime and banditry.”
With the swipe of a pen, hundreds of policemen, jurists, and scholars—entirely ordinary people, all things considered—were given carte blanche to kill. Some did so reluctantly, others with great zest and enthusiasm. But all of us, with very few exceptions, dutifully took up the occupation of murderer for the better part of the next four years. Or as long as we lasted.
The sentry’s assassins likely didn’t hail from the nearby village, a community of two-hundred-odd residents cultivating crops in the middle of a dilapidated football stadium. Most of the bandits were nomadic: they relocated their tent camps every few days to avoid being found out by our long-range patrols. In fact, they could have originated from almost anywhere in the city, realistically. But it didn’t matter. The settlement was proximate to where the outrage had taken place, so its inhabitants would have to shoulder the burden—and how!
I won’t go into all the finer points of a reprisal action here. There’ll be plenty of time for that later on. Besides, that first one was so badly bungled that it was hardly representative of those to come. It was a real ham-fisted, amateur operation, as could be expected of men who had, for the most part, never before fired a single round at a live target of any kind, let alone a six-year-old.
Some of the shooters broke down in tears; others fainted. Still others really lost the plot and collapsed into trembling heaps. Several pissed themselves. One even shat his pants, as I recall. Rounds fired from rifles held in tremulous hands missed the mark or struck outside center mass, necessitating follow-up shots, sometimes two or three.
Children were shot before their mothers, wives before their husbands, leaving the strongest among them with nothing to lose. Many of the initial survivors chose to fight to the death with fingernails and teeth rather than be put down quietly. One lieutenant had a chunk bitten out of his face by a mother who had just seen her preteen daughter shot six times before finally receiving a well-placed round. When all was said and done, fully a quarter of them escaped. Our men had by that point had enough, and they were in no mood for a foot pursuit. We opted to let the survivors go.
My own reaction to popping my cherry was somewhat more muted. I was the “thousand-yard stare” type, as I learned that day. I’d always been more inclined to introspection than exhibitionism, so it made good sense. In later actions, officers were rarely assigned to the shooting detail. But for that first one, it was decided that everyone would participate directly, regardless of rank, so as to share in the onus and culpability. I wasn’t opposed to the arrangement on principle—fair is fair—but in practice it did end up posing something of a problem for me.
Sergeant Meyer was overseeing us younger officers on the firing line, and I can hear his words like they were spoken only yesterday. “All right, you’re up.” After I drew my sidearm, he was kind enough to rack the slide for me. I was a bundle of nerves by then and couldn’t manage to work the pistol’s action myself, especially after I had seen my target: a waiflike girl in a pretty floral dress who looked all of sixteen. She had pulled the garment’s hemline up to her thighs before kneeling on the ground, presumably to avoid dirtying it. It was the damnedest thing, looking back on it now. But somehow it made perfect sense to me in the moment, out of my wits as I was.
Anyway, to make a long story short I blew her brains out.
Quite literally, too. You see, my pistol had been unwittingly loaded with hollow-point rounds. The sergeant apologized and promised I’d be issued full metal jacket from then on. “With these expanding bullets,” he explained, “it’s ‘in like a pebble and out like a boulder.’ Makes a real mess of things. Entirely avoidable with FMJ, mercifully.”
I thanked him, returned to my private quarters, and threw up my lunch into my helmet.
Chapter 2
I see that you’ve beaten me to the bottom of the glass, and you rather look like you could use another. I hope it wasn’t something I said.
Garçon, another round for me and my honored guest, if you please!
I’m sorry if my choice of table talk strikes you as untoward, or my delivery comes across as uncouth. We soldiers sometimes forget that civilians don’t share our acquired taste for mess hall banter. With any luck, the next drink will be a boon to my eloquence—or, failing that, at least infuse you with some liquid courage. Besides, there’s a point I’m driving at with the little romp I just related, something more instructive than pure sensationalism.
Like I said, I’m aiming to establish my motivation for the affair with the dynamite, as you’ll grasp shortly. And aside from that, what I suppose I’m trying to communicate, however inelegantly, is that the confidence and authority I project when discussing this dirty business now was hard-won. It was earned only after many months of “putting lead on target,” so to speak. Becoming a businessman of my sort—someone whose business is death at a time when business is good—constitutes the profoundest rupture in any psychologically normal man’s life, a break with everything believed and hallowed up to that point. My bad conscience had to be ejected, violently and repeatedly, until my stomach was empty and spasming, and vomit gave way to blood-laced spittle from my excoriated trachea.
Our second action went a bit better than the first logistically, but the rawness, the shock, were still very much at play. Nausea too, naturally. That time there were only a hundred Zonees, but far fewer of us as well: a single squad of ten men and a lieutenant under my command. The bulk of our unit was engaged in a skirmish with bandits over possession of a plastic-rich garbage dump several miles to the south. Apparently, it was something of a Zonee Mecca to which pilgrims came from far and wide to pay homage, and they weren’t prepared to surrender it without a fight.
Back home, surface deposits like that had been thoroughly tapped during the ’30s. By the end of the decade, the easy pickings were exhausted and we’d resorted to digging for microplastics a quarter mile underground. But plastic lying undisturbed in the open was still a common sight in the Zones, where subsistence farming created little demand for petrol, and local superstitions actively encouraged its preservation. By 2140, fuel-hungry powers on both sides of the city were drawing up plans. Hence the war with the North—and the occupation, after we mobilized to seize the Zones first.
The village nearest the pilgrimage site had been singled out for extermination, in keeping with the new policy. It was another agrarian enclave, as stipulated, but rather than soil farming, the residents had created a hydroponic system in the ruins of a five-story high-rise. The entire surface area of the building, top to bottom, was covered in edible plants of myriad types and strains. All quite healthy, from what I could tell. It struck me as an ingenious method that cleverly avoided soil and groundwater pollution—which was especially high in that area, according to our dosimeters.
I announced our presence via loudspeaker and demanded that the inhabitants present themselves outside. “Census-taking” was the excuse I gave, which wasn’t entirely false: I merely neglected to mention that our count would be of their dead bodies.
After a good number of occupants had exited and their egress slowed to a trickle, a five-man entry team conducted a full sweep of the tenement that netted a few stragglers. I surveyed the resulting crowd of Zonees with growing consternation: I didn’t know how we were going to dig a hole big enough for a hundred people with the ten enlisted men we had on hand—especially since those hundred people would have just as soon not gone into the hole, all things being equal. That meant there’d only be five of us digging, as anything less than five on watch was asking for trouble.
Sergeant Meyer was with us, and I asked him how long he thought it would take. He was a veteran of the last war, twenty years prior, and things had supposedly gotten nasty during that one too. Though from what I’d heard, the summary executions back then were of enemy combatants, not civilians.
Meyer pressed his boot into the poppy field directly adjacent the building to gauge its pliability. “In this soil, it should take about an hour.”
“How’s that?” I balked. “Fifty people couldn’t dig a hole big enough in an hour, and we’re only twelve.”
“There’ll be a hundred digging.”
“You mean them?” I pointed to the pajama- and knicker-clad contingent of tenement rats dawdling in the field, ringed by my subordinates.
The sergeant nodded.
“Does that really work, in your experience?”
“Better than asking them to stand around, actually,” Meyer said.
“Unbelievable.” I removed my cap and ran my fingers through my hair.
“Believe this.” Meyer raised his submachine gun and fired a five-round burst into the air. “Attention! Every Zonee, grab a shovel from the back of the truck until they’re gone. Then line up two by two and start digging. Women and children, dig with your hands. We’ll tell you when to stop.”
The haggard lot did as instructed without a word of protest, trotting up to the idling armored personnel carrier and retrieving the wooden shovels. I watched in amazement as they dutifully took up their task, breaking ground in the soft earth. Fifteen minutes passed and the hole grew deeper, until their shins were no longer visible. Finally, I could take no more: I had to know. I approached a group of five women kneeling in the dirt, their hands blackened and bloody.
“Excuse me, ladies,” I interjected. “Pardon the interruption, but do you happen to know that you’re digging your own graves?”
They nodded.
“May I ask why? Why are you doing that?”
“Because he told us to,” a young woman said, gesturing to Sergeant Meyer. She was quite pretty, in a rustic sort of way—but her under-eyes were puffy, as if sodden with a deep and rising well of tears.
“Why not refuse?” I asked.
“Then you’d dig it yourselves, and we’d have to wait longer.” Her manner was calm, her speech measured, but I perceived a slight tremble in her lower lip, and her voice quavered on the last word.
“Wouldn’t you rather live a little longer anyway?” I pressed, in spite of my own growing discomfort. “Are you in such a hurry to die?”
With that, the dam burst, and her tear ducts loosed a torrent. She let out a long, piercing wail that dropped my stomach like a lead anchor and drew the rapt attention of everyone within earshot, briefly wrenching them out of their own personal hells.
An old woman wearing a polka-dot headscarf intervened, gently stifling the girl’s sobs. “We’re already dead,” the elder declared flatly, locking eyes with me. “All that remains for us now is crossing the Styx. We may as well help the ferryman by rowing the oars ourselves.”
I considered her words carefully. “Very well,” I said, my voice hoarse. “I won’t prolong your journey a second more, then.”
I handed her my canteen—from which she took a healthy swig—then parted from her with a little bow of gratitude. An hour later, she was four feet below my boots. I lit a cigarette. Meyer joined me and did likewise.
“Hell of a thing, isn’t it?” he remarked.
“Hell of a thing,” I concurred.
We stood there in silence for a few minutes. In the distance, from the direction of the Northern Front, I could hear the muffled patter of machine guns and the low rumble of artillery fire. Air bursts, I think. The horizon was bright with tracers and the orange glow of a burning skyline. I found it strangely comforting, a reminder that somewhere out there soldiers were still soldiering—instead of whatever the hell it was we were doing.
“What did you talk to the old lady about, by the way?” Meyer finally asked.
“Nothing important. I asked her why they agreed to do it. Dig the grave, I mean.”
“Oh. What did she say? Anything enlightening?”
“In a way,” I said, gazing into the distance.
Meyer waited a moment for further elaboration, but I wasn’t prepared to offer any. “Well, here’s to her, then,” he said, flicking his cigarette butt down and grinding it into the freshly turned soil with his heel.
After the men had finished stowing the shovels and other gear, the twelve of us climbed into our open-topped APC. One corporal manned a forward-mounted machine gun and another drove. I was in the front passenger seat. The others sat in back, singing.
“What’s dug by a hundred and covered by ten?” their ditty went. “What swallows the young and the wives with their men? What gobbles a village but leaves every hen? What’s sure by next week to get hungry again?”
I suddenly realized I’d lost track of my own hunger. I’d been too anxious to eat anything before the operation, and now twelve hours had passed since my last meal. I felt rumbling as blood returned to my stomach from my limbs, where it had evidently migrated during the shooting. I knew it would be at least another half hour before I could eat: it was only several miles back to camp, but the roads were treacherous. What had been smooth asphalt a hundred years prior was now a pockmarked, undulating mess, melted and warped in some places and fragmented in others. The APC crawled along at ten miles per hour, zig-zagging as it went.
I rummaged through my pack and retrieved a small pouch of rodent jerky, a squirrel and vole mix. Despite my hunger, I stared down at the jerky with revulsion. The strips of flesh appeared remarkably similar to the flaps of scalp I had just seen dangling from the old woman’s skull, after a rifle round blew her head apart from ten paces away. And seeing those yellow polka dots smiling up at me from the pulsating leftovers of her gourd certainly didn’t help matters, either. I’m told yellow on red never goes out of fashion, but in that case I’d beg to differ.
I hadn’t participated in any of the shooting myself. After the first reprisal, that was the purview of the enlisted men alone. Still, I had a front-row seat, which seemed to be enough to set my stomach churning.
The driver noticed my distress. “Won’t be much longer, sir,” the young man said. “Then we’ll be able to have potatoes or beans or… anything other than meat, really.”
I looked over at him with a twinge of embarrassment.
“Don’t worry,” he said. “The rest of us were just as close to losing our breakfasts as you. The lads back there are putting on a good show of things, but it’s just that—a show. Can I be honest with you, sir?”
I nodded.
“I don’t know how we’re going to keep this up for much longer.”
Yet somehow, we did exactly that. Nausea aside, our technical proficiency with the procedure increased rapidly. Within six months we were already old hands, and I’d been promoted to major. Being proficient at something is different from being accustomed to it, though, and I’m afraid one never grows entirely accustomed to such things.
Those of us who know what it means to see a hundred corpses lying together—or to see five hundred, or a thousand lying there—know well the invariable unease in the stomach, the shakiness in the extremities, the weakness at the knees. And we know, what’s more, the genuine mental anguish of seeing in the vacant faces of the dead the faces of our own wives, children, and parents. Whatever may differentiate us from other men—I promise you, it isn’t much—we’re still men at bottom, with all the weaknesses inherent to that condition.
By spring of ’43, I’d witnessed the terrible toll the shootings had taken on the men. Outright shock had long since worn off, only to be replaced by a more subtle and insidious degradation, a drip torture of blood spatter from each of the many victims in a soldier’s ever-increasing personal tally.
And indeed, attrition was mounting. More than a handful of the lads had broken down into nervous fits, leaving them gibbering idiots. Others had become documented alcoholics or permanent depressives. Even the ones who escaped the worst of it were at risk of being taken off the line for weeks at a time to convalesce in a sanatorium. I myself was at my wit’s end. Something had to be done, you understand.
The last straw was the string of suicides in March. First a corporal, then a few privates, then a sergeant and a lieutenant all decided that they wouldn’t be returning from their furloughs after all. As the unit commander, I was responsible for investigating their deaths. That’s how I became so well acquainted with those little notes I mentioned earlier, the ones they left for their next of kin. And it’s what gave me such an affinity for those of the pragmatic variety, I think—the kind that betray no resentments, make no excuses, and most importantly, tell no tales.
To a man, the decedents had taken the secret of our actions in the rear combat areas to their graves. Their letters gave no indication of the deeds that weighed so heavy on them, eating away at their brains like tapeworms until there was nothing left but a writhing mass of regret and shame. Call me juvenile, but I was always rather proud of that. Whatever my faults as a leader, I didn’t breed tattletales.
And while we’re back on the subject, I’d like to pause and ponder over those notes a while longer. That way you’ll discern that I’m a reasonably well-rounded and well-adjusted individual, capable of something more than brutishness and bloodlust. You see, I’m a philosophic sort, and leaving behind something so matter-of-fact has always struck me as stoicism of the first order, an act of real philosophical power. What I mean is, it’s a veritable philosopher’s stone of a suicide note, transmuting death into something as mundane as a trip to the post office. Surely there’s power in that.
There’s another reason, too. I can’t help but see genuine self-effacement in the decision that one’s final words on this Earth—one’s legacy and apotheosis—should be a reminder to pay the utility bill on time. It’s a little bow before the eternity of the species, an admission that the show must nonetheless go on. Instead of “After me, the deluge,” it’s “After me, the rubbish still has to be taken out to the curb.”
But perhaps I’m wrong to admire such notes. Maybe I’m incorrect in my assessment of them as laconic masterpieces, theses in ten words or fewer, a dissertation in a fortune cookie. Maybe instead of demonstrating deep philosophical insight, they result from some particular deficiency: the inability to properly envision death as the absence of not only bodily functions, but obligations and desires as well. If you recognize that you’ll no longer have to eat, shouldn’t you recognize by the same token that it won’t make much difference to you whether your kids eat, either?
What I’m saying is, it makes little sense to project one’s desires beyond the point in time when the physical substrates of those desires cease to exist—the point at which one’s hippocampus is passing through the digestive tract of a maggot. Why bother providing for a future that won’t ever arrive, insofar as you’re concerned? Isn’t that just as foolish as a business setting aside contingencies for an event in which it’s no longer a going concern? Nowadays we laugh at the Egyptians for leaving food in their tombs; maybe in a thousand years they’ll laugh at us for leaving wills.
Twenty-five centuries ago in Greece, when Alexander was asked to whom he bestowed his earthly empire, he arrived at the only truly sensible answer: “To the strongest.” So much for wills! Yet even amongst that nation of thinkers, there were those who lived with an eye toward posterity: the Spartans were willing to sacrifice much in life—life itself, in fact—for the prospect of a marked grave, for something that would outlive them. They were only too happy to die on the point of a spear in exchange for the chance to leave behind the most laconic of all possible notes: their name alone.
You might find this little more sensible than leaving behind food for a corpse. What good is an inscription if you’re not around to see it? Yet what lacks in logic for the individual often makes perfect sense for the collective. Our legacies—military, artistic, or otherwise—don’t serve us, ultimately, but rather those who come after us. “Oh you passerby, go and tell the Lacedaemonians that here, loyal to Spartan law, we lie.” Those men built a legacy for themselves and their people on the backs of twenty thousand Persian corpses, along with their own.
And so too with my men, the clear-eyed killers who threw themselves into a moral abyss, sometimes never to return, leaving behind only a sentence or two as a testament to their strength of character. They found it within their hearts to bear an unbearable duty for as long as they were able, and then, when the time came, to end their watch with tact. I’m likely dating myself, but in my view obedience of that rarefied sort is a virtue—so long as it’s not given blindly to human authority, but in submission to the dictates of necessity. It then becomes resolve, humility, love of fate. For circumstance fated us with the duty, the moral obligation, to seize the resources necessary to rekindle the five-thousand-year-old flame of human ingenuity… even if that flame burned a hundred villages to ash. And “not even the gods fight against necessity.” What business, then, had we to?
It remains to be seen if history will give due respect for shouldering that burden in spite of all human weakness, in spite of all revulsion and shock and horror. Regardless, one thing is certain: in a hundred years, people will read our history not on scraps of paper, like my men left behind, but on digital wonders made possible by the very plastics we hauled out of the Earth at the barrel of a gun. But there I go getting wistful and sentimental. I try my very best to avoid that. These days, such moods invariably lead me to the bottle.
And what’s that, you say? Reading too much into it? Maybe you’re right. Maybe things are simpler than all that. Sometimes a note is just a note. Perhaps I’m giving too much credit to my fellow man. I’ve certainly been guilty of that before. Still, I’m something of an optimist, and I prefer to think the best of people, to look on the bright side—even of a suicide. I’m sure you can see that by now. Aside from the occasional opioid high, it’s the only way I’ve found to get by, to keep myself from writing a note of my own, jumping inside a meat grinder, and dissolving into a happy little puddle of blood and shit. And you can be sure that if I did, I’d leave a few coins to the restaurateurs for borrowing their equipment. I’m not a boor, after all.
Incidentally, you really must try some of this steak tartare! The chef’s preparation is a true delight.
Suit yourself.
But let’s return here to ’42. There were other concerns at the time than the suicides of the shooters, certainly—namely, the agony of the victims. The long minutes awaiting their turn on the firing line, seeing their kin shot to ribbons in front of them, all the while trying to soothe their toddlers with some bogus story or other about why Nana’s head just exploded. And after the shooting was done and the death pits covered with soil, mercy still proved elusive. We often observed a distinct heaving of the earth, which couldn’t be fully explained by post-mortem off-gassing. This led us to suspect that some of the villagers had been buried alive… All in all, a real sordid affair, as you can imagine.
Simply put, we couldn’t go on like this. It was impossible. Discipline was beginning to break down: the men were often drunk on duty, many had stopped saluting. I was risking a real crack-up if something wasn’t done. Truth be told, I too had grown liberal with the vodka, which was never a habit of mine before the war. Not that I’d ever been a teetotaler—“μηδὲν ἄγαν,” “nothing to excess,” was always my philosophy. In my career as well as in my personal life, I’d long subscribed to the middle path, to a certain Buddhist sensibility of avoiding excesses on both ends.
Aside from its philosophic appeal, I found that temperament beneficial to advancement, practically speaking. For the most part, people seem to trust and favor the man who keeps his head when everyone else is losing theirs, whether out of euphoria or despair. It was how I made major by the age of twenty-eight. More importantly, it was how I’d avoided putting a bullet through my skull, like the last major to lead the outfit before me.
By that time, though, I wasn’t quite myself any longer. The war had brought out the extremes in me. And so it was one evening that, faced with the prospect of yet another village roundup the next day, I found an empty quart of vodka in my lap and a loaded pistol in my palm. As I felt the coolness of the aluminum muzzle dissipate against the heat of my throbbing temple, I snapped out of my stupor as out of a fever dream.
From the depths of despair, something providential had been wrested; from somewhere in the pits of my drunkenness, the undeniable solution had stumbled forth. I holstered my sidearm, threw myself together, and roused the engineers from their bunks. They must have thought me as mad as Diogenes with his lantern, but I shrugged off their bewilderment, ordering them to gather all available explosives and make hasty preparations before dawn, exactly in the way I described.
That brings us full circle, back to the church dynamiting—which I hope by now you’ve developed a bit more of an appreciation for, considering all the above-mentioned ugliness that it spared both us and the Zonees. Still, there’s the matter of those equally ugly photos of the aftermath. They open up a whole other can of worms, don’t they? Or perhaps a can of Spam, given the thorough emulsification of the congregants.
Indeed, I imagine it must be difficult for someone like you, whose experience of war is limited to news articles one page removed from the Sunday funnies, to understand how turning a wedding group into wedding soup is more of a mercy than leaving them intact, save for a few holes in the head. Especially when that soup comes with all the fixings: vocal chords hanging from signposts like meat left out to cure; faces ripped from their skulls, floating in a fountain basin; filleted cocks lying on the ground like discarded banana peels… And have you ever seen a labia perched on a rose bush? With just a bit of artistic license, you might say it looks like a butterfly.
Ah, here’s the server at last. I’m thinking of the thirty-ounce porterhouse. I’ve worked up quite an appetite with all this talk, and it’s supposed to be excellent here, a prime cut with a nice layer of adipose tissue. “A little fat on a piece of meat can be a wonderful thing.” That’s what my grandfather used to say. Back in his day, he’d tell me, guests of honor were always served the fattiest piece. Those were the days when calories were scarce, and people weren’t so soft and sated as they are now. That’s half our problem nowadays, I suspect. Anyhow, you surely want more than salad, don’t you?
Not in the mood for fat? How about a nice rare filet, then?
As you wish. Suum cuisine—to each her own meal.
Now, where was I? That’s right, those photos. What bears repeating about them is that, despite the volume of bodily detritus—or rather because of it, as the case may be—the villagers felt nothing at all, save for their final moment of jubilation, immortalized forever and ever, amen. I almost envy them that, in truth… Almost. And as for the odds and ends, which proved so offensive to the squeamish here at home—what’s it to the Zonees? They had little use for ears or eyes or spleens in the afterlife. They were no Egyptians. The integrity of mortal remains is a matter of concern and handwringing for the living, not the dead. Besides, the villagers no longer had hands to wring, hands being among the most numerous detached bits we recovered.
I jest, of course. A little humor, however dark, can brighten even the dourest subject, in my considerable experience. It’s one of many defense mechanisms I’ve acquired over the years, I suppose. In truth, I myself wasn’t immune to the same profound disgust at the disassembly of fellow humans into their raw physical components, like appliances pulled apart on a scrapyard. Nor did I escape sheer existential terror at the alacrity with which the universe allows sentient beings to be reduced to unthinking globs of meat.
As I said, though, such things are a source of consternation only to us onlookers. Thinking rationally, they ought not factor into our decision-making whatever, as regards the disposition of the victims. To act otherwise is folly and fallacy—anthropomorphizing the dead, you might call it. And beyond not feeling a thing, let’s not forget that the congregants never suspected a thing either. It’s not death itself that’s intolerable, under the right circumstances: that’s but one fleeting moment, hardly even worth mentioning, especially if the executioner understands his craft.
No, it’s the knowing—the knowing and the waiting—that are the worst parts of the whole business. As I learned from the insightful gravedigger at my second reprisal, it’s standing around twiddling one’s thumbs, awaiting the blow, that allows the mind to make a dragon out of a dove. I slew that dragon, I blew it apart with dynamite—certainly no small accomplishment, if you’ll forgive the boast.
The new arrangement proved wholly satisfactory to the men as well. We were able to carry things off with only a fraction of the personnel required for a shooting action, sparing most of them involvement at all, save for employment as cordon guards to machine gun any survivors who fled the building. But the engineers had done their work expertly—a real bang-up job, you might say—and no one left the church in fewer than a dozen separate pieces. As a consequence, not a round was fired. It was an immense relief for men used to staring their quarry in the face, as you can imagine.
But I can discern by this point that you still find me morbid and peculiar, even after my explanations, and I sense that I’m in danger of being misunderstood. Perhaps you’ve detected a certain glibness in my tone, even a flippancy. I can’t really argue with the observation, but I’ll append the following qualifier: in a life as full as mine, I’ve found that one is often confronted with the choice to either laugh or cry. Bitter experience has taught me that it’s almost always better to laugh.
And the truth is, I’ve cried myself dry already. A river of tears is soaked into every seam of my old duty uniform. So what choice am I left with, really? Simply this: either to become, in the end, a dried-up husk of a human being—hollow, stuffed, like a taxidermied relic of times best forgotten—or to remain a generally lighthearted and jovial fellow in spite of it all. Call it an instinct for self-preservation, if you will, but I’ll choose laughter in most every case.
Even apart from its tone, I know full well that my tale will compel any thinking person to form a judgment as to my character, and perhaps even arouse the fiercest of passions. It’s not exactly the kind of story one tells over tea and cucumber sandwiches. Indeed, I can see that you’ve already begun to form just such an opinion from what you’ve heard so far. It’s only natural, and you can hardly be faulted for it. Maybe you’ve even started to entertain the wildest fantasies about me—that I torture small animals, perhaps, or that I was myself tortured in some way as a child.
Let me allay those suspicions right off. I had a perfectly normal upbringing. Not that everything with my family was always sunshine and roses, naturally, but it was entirely satisfactory as childhoods go. What’s more, I’ve always had a particular fondness for animals, and they seem to like me well enough too. All five of my cats died of natural causes after long and contented lives. I don’t really have the heart to take on a sixth. It breaks so easily nowadays. So I would ask that you kindly refrain from fixing any opinion about my character as a matter of established fact until you’ve heard the whole story, beginning to end. That’s simply common courtesy, and not, I think, asking too much.
As things stand, though, I can tell that my good cheer has fallen on deaf ears, and my humor has landed about as well as flatulence at a funeral. That might pose a problem, seeing as how there’s still the matter of that small favor I keep bringing up. It’s one that involves considerable judgment on your part, and for my own sake I’d do well not to tip the scales too heavily against myself solely for the sake of a cheeky little laugh.
So I’ll try another tack. With my next anecdote, I promise to be as sober and forthright as possible, and to refrain from any puns of the anatomical variety. As for the anecdote itself, I suppose I should try something a bit more relatable, more human. Hmm, what would serve us well in that respect?
Let me shuffle through my papers. One moment… No, that story won’t do. Not one little bit. Especially since there’s only a single toilet in this restaurant, and we can’t be sure it’ll be available to you on demand. What else, what else… Egad, certainly not that one, either. Not with ground beef sitting on our table. There must be something here for us…
Oh, I’ve got just the ticket! How about a love story?
Chapter 3
Very good, a love story it is. So let’s return now to April of ’42, before mass graves had become my stock in trade, to a time when my smile was still an innocent thing—not a facial contortion intended to hold back a mountain of corpses piled behind my eyes.
And let’s return as well to fair Z-4, crown jewel of the Garrisoned Zones, whose crimson poppy fields and storied hanging gardens would have been the envy of the German romantics of yesteryear. In reality, those gardens were the carcasses of towering Old-World high-rises, undisturbed by human trespass for a hundred years and reclaimed by nature. Still, that didn’t lessen their appeal—in my eyes, at least. If anything, it amplified their majesty through an added aura of historical gravity. Standing at the feet of those mysterious, slain giants and peering up into their lofty canopies left me with a distinct awareness of how frail and fleeting are all works of man, ultimately.
In my case, then, although I had come as an occupier, the Zones had conquered their rude conqueror, for I was well and truly smitten. At the time, I styled myself a real Schiller or Heine, and had taken to waxing poetic in my off-duty interludes. Looking back on it now, as I sometimes do, my scribblings were more kitsch than genuine craft—but show me an artist who’s capable of something greater than imitation at the age of twenty-seven, and I’ll show you someone who fizzles out equally young.
Oh! Mind the spider that just landed on your head! Here, let me help you. I’ll keep him under this spare wine glass until we can relocate him safely outside later on. A plump fellow, isn’t he? By the look of things, he hitched a ride here from the Zones. You can tell from his web in the corner there. See? It’s not a taut, organized, symmetrical web, like we’re used to. No, it’s loose, messy, irregular, with no discernible pattern to the latticework. I guess a few dozen Sieverts of radiation per year is all it took to make abstract artists of our arachnid friends. I always did suspect those twentieth-century expressionists had something wrong with their brains, and this development seems to bear that out.
Anyway, as for my own Zonee artistry, it wasn’t just the landscape that inspired me. I had become quite enamored of a local girl whose delicate features and fine proportions gave no indication of her people’s unfortunate legacy of intergenerational radiation poisoning. I had at first no idea whether my feelings were requited, though I liked to think so. When our eyes met sometimes in passing, at the vegetable market or near the local plastic mine, she often smiled and laughed a little before turning away.
One day, as chance would have it, I was startled out of my flirtations by the shouts of a mine overseer. He was a contractor, one of the skilled civilians shipped in to supervise the Zonee forced laborers. A rotund man, and a rather slovenly one too. He was lambasting a whimpering ten-year-old working on the sorting line. The girl had mistakenly mixed thermoplastic and thermoset scraps into a single bucket.
“Not like that, you ignorant bitch!” he exclaimed. “How many times will it take to get this through your radiation-addled brain: these ones get melted down and the others don’t!” He raised his right hand, preparing to strike her.
“Hey!” I shouted. “If you hit that girl, you won’t answer to the disciplinary committee. You’ll answer to me.”
He lowered his arm and looked at me incredulously. “What’s it to you?” he snapped.
“Tell me,” I said, “haven’t you ever heard that there are no failed students, only failed teachers?”
He nodded slowly, jowls jiggling.
“What does that make you, then?” I asked.
Apparently, he had finally noticed my rank tabs. He removed his cap and clasped his hands nervously. “Sorry, Captain. I know we ought not be too harsh with the young ones. It’s just so hard getting through to these pinheads—I mean, microcephalics, that is—without a little tongue lashing. We already stopped the actual lashings, though, just as instructed. A momentary lapse on my part was all. It won’t happen again.”
“See that it doesn’t. Oh, and have one of your own men clean up the puddle of waste over there. The kids aren’t trained for that.” The mine was located near a melted-down nuclear reactor, and remnants of the liquified reactor core still occasionally bubbled up to the surface.
The overseer scurried off, cap in hand. I looked back around in search of my love interest, but she was nowhere to be seen.
I did spy her again the next day, though, and from then on I found my glances reciprocated more readily. As the weeks passed, her gaze lingered longer and drifted lower, hovering over the outline of my pectorals beneath my field tunic and the bulge in my riding breeches. Her expressions grew more serious and less coy, until one day she abandoned all pretense and failed to avert her gaze at all, daring me to do so first. Her eyes held me fast and bore me along after her, through the marketplace and into an empty pole barn nearby. She had already stripped bare by the time I entered. I quickly did likewise.
“That was my sister,” she said after I removed my trousers.
I regarded her with confusion.
“The girl at the mine,” she clarified. “Three weeks ago. You protected her. Why?”
I shrugged, unsure how to answer.
“You’re a good man. And…” she said, looking downward, “a gifted one too.”
I saw her there in her nakedness, skin glistening and mons swollen, and she saw me in mine, engorged and trembling, and we knew each other for the first time in a horse stall, again and again and in every arrangement, pausing only to gulp air and water, until the sun was low in the sky and the calls of her parents were rising in the distance. Throughout the whole encounter, not another word passed between us, save for her name: Claire. We parted with a long embrace and the shared, unspoken intention of repeating the act as soon and as often as possible.
For days thereafter, I felt wild and unconstrained by duty or circumstance. I laid mad plans to wed Claire and abscond with her to our own little republic of love and harmony, somewhere unsullied by smokestacks and dead rivers and barbed wire. I longed for the war to be behind us and men the world over to become brothers once more. I even dared to write as much in my journal—in iambic pentameter, no less… Pure kitsch, as I said!
Regardless, fate swiftly intervened to stymie universal human brotherhood, as it often seems to. The very next week came that first reprisal I told you about earlier, after issuance of the Hardening Decree and the assassination of the sentry at the plastic mine. Unfortunately, it was Claire’s community on the chopping block.
My entire battalion was awoken pre-dawn and summoned to muster in the courtyard of the garrison fort, where our colonel read us the full text of the decree. You could have heard a pin drop—or a helmet drop, as the case may be: one stunned private actually did lose hold of his. The men were by and large shaken, anger at the sentry’s murder quickly giving way to shock at the scale of what was being asked of them. Many looked from side to side to ensure that they had heard correctly. Some fell out of attention, and a general murmur went up along the line.
“Silence!” the commander’s adjutant shouted. “The colonel hasn’t finished!”
“Men,” the colonel resumed after everyone had snapped back to attention, “that was the full text of the order, just as it crossed my desk. I’ve now delivered it to you, as required of me as your commander. But as a fellow human being… I cannot in good conscience demand that you carry it out.
“Therefore, I ask only that you search your own hearts. No man who absolves himself of this duty will be subject to any official reprimand, so long as I remain in command. Neither will anyone be questioned who chooses to join the firing line and do his duty to the Director in good faith.
“That is all. Those who wish to depart may do so now and return to their bunks. Those who prefer to stay, gather rifles and shovels. God alone knows which of us chooses rightly. Victory guide us all. Dismissed.”
After we had fallen out, some of some men chattered in small groups, laughing nervously. Others paced back and forth alone. A few knelt in prayer, evidently looking to the heavens for guidance. One simply sat on the ground with his head in his hands, crying. Cigarette smoke was ubiquitous, and a white haze formed over the entire forlorn assembly.
Plans were quickly drawn up by the executive officers, a conversation to which I was privy. I was only half-listening. My thoughts were fixed entirely on Claire and how best to ensure her survival. We spent a scant half hour in the briefing room. It wasn’t nearly sufficient, in hindsight, but the colonel wanted to beat first light.
Just before dawn, we rolled into the derelict football stadium the locals called home in full force, horses whinnying and sirens blaring. The residents were ordered out of their domiciles in the stands with bullhorns. After they assembled, groggy and befuddled, they were kept under guard as we readied to dig a pit in a poppy-studded section of turf. Unlike the rest of the field, which sported a variety of fruits, vegetables, and grains in carefully cultivated lots, the poppy patch been left unsown and allowed to grow wild as a space for children’s play.
“They mean to bury us!” came the apt cry from one of the local women, shortly after we’d broken ground with engine-powered excavation equipment. Several others shushed her, insisting she was mistaken. Now, the Zonees aren’t exactly known for their smarts, but it doesn’t take a higher mind to realize we weren’t digging for buried treasure. Still, there was no precedent for such a thing in living memory. And apparently, they found what we were preparing to do as unbelievable as we ourselves had just a few hours prior.
Within thirty minutes, the pit had been dug to the engineers’ specifications. It was a best guess—but not nearly deep enough, as it turned out. The shooting then began posthaste. The first batch of ten Zonees were ushered to the edge of the death pit at bayonet point. The thirty riflemen of the firing squad took their positions, ten yards from the condemned. A private who doubled as a percussionist gave three quick strikes with his drumsticks, silencing the assembled.
“Ready!” a fellow captain barked.
The riflemen shouldered their weapons, bringing the muzzles into line with the Zonees.
“Aim!”
They aligned their sights with the condemned, so that three rifles were aimed at each of them—one at the head and two at the chest. The percussionist began a slow drum roll. It gained speed, steadily building to a crescendo.
“Fire!”
The guns let out a sharp report that cut right through me. Wisps of unburnt powder spilled out of the barrels, and in the same instant puffs of dust arose from the villagers’ shirts and blouses, along with clouds of red mist from their crania.
The shooters immediately racked their rifle bolts, ejecting the spent cartridges. The casings fell to the ground at the same moment the victims did—all except one, who had somehow gone unscathed and remained standing.
One of the riflemen trotted up to the man and dispatched him with a shot to the forehead, point blank. The muzzle energy blew the back of his skull off and popped his right eyeball out of its socket, leaving it dangling by the optic nerve. Some of the townsfolk began to weep. A few fainted.
Sergeant Meyer paced up and down the line of the fallen, firing a pistol round through the head of any corpse twitching excessively. He sometimes leaned onto one foot while he did this, adopting an air of nonchalance that spoke of experience and comfort with the act. The captain signaled to the grave detail, who pushed the bodies into the ditch with their boots.
It continued in that fashion, wave after wave, until finally the ceremonial drumrolls were abandoned and shooters were left to fire at will, choosing their aim points themselves. In several cases, three rounds penetrated a single head. Their skull caps were propelled ten feet into the air by powerful spouts of brain matter. Other crania blew out to the sides, evacuating their contents in a gentle cascade. Heads that remained intact discharged their insides forward, through the eye sockets, nose, and mouth. Even at a distance of twenty feet, one shooter received a smattering of brain to his face. He threw up immediately. That set off a vicious cycle, with five others vomiting in quick succession.
From there it was all downhill. The shakes set in and shooters began to miss, resulting in some residents clutching wounded limbs and others left standing entirely unharmed. The men fumbled their reloads. One woman even made it past a second volley unscathed. A baby-faced private approached and shot her in the head, but his pistol round only succeeded in ripping her nose off, otherwise failing to penetrate.
The private hesitated, then fired again. I couldn’t see where his second round went, but the woman was still standing. He began to scream, firing over and over until he had emptied his entire magazine into the oozing, quivering vestige of her head. Still she refused to fall, and suddenly it became clear that her body was being propped up by a small tree stump tangled in her dress, pressing into the small of her back.
By then it was apparent that discipline was at risk of fracturing, so the colonel ordered a temporary halt to rest the riflemen and ply them with liquor. The pit was only halfway full. In the interim, officers were ordered to the line with pistols to do their bit. I was third in the queue—and, as I’d arranged, so was Claire.
The lieutenant before me shared a cigarette with his victim-to-be as they awaited their turn, chatting. His Zonee was an elderly man who appeared unperturbed by the proceedings, as if he’d been ready to go for some time, and this was as good a way as any. The cigarette was still burning between his fingers when they shoveled him into the pit.
“All right, we’re waiting on you now,” Meyer said to me soon after. He had been assigned to babysit me on the firing line in case I really lost it. It’s difficult to predict how a given individual will respond under such circumstances, as I would learn. “It only takes one moment of resolve,” he added softly, with what seemed like genuine empathy.
I drew my sidearm but for the life of me couldn’t fully retract the slide to chamber a round. The pistol had scarcely been fired except in proofing, and its recoil spring was still exceedingly tight. I finally managed to pull it back far enough to unseat a cartridge from the magazine, but my stroke was too short and the round failed to feed properly.
Meyer held out an open palm. I stared at it in bewilderment. He gestured with his fingers until I realized he was inviting me to give him the gun. I handed it over, happy to be rid of the thing. He examined the pistol for a moment, then methodically cleared the jam. He drew the slide back and released it in one smooth motion, chambering a round. Finally, he retracted the slide a few centimeters to check that the cartridge was seated properly.
“All good now, sir,” he said with a reassuring smile, returning the pistol and closing my fingers around the grip. He patted me on the back. After a few seconds, the pat turned into a gentle nudge toward the death pit.
Claire had already taken a kneeling position on its lip, preparing to join her family and neighbors therein. She appeared serene, unflappable, her breathing steady and unlabored. It was as if she had already come to terms with her fate, despite that fate calling her to an early grave. Before raising her eyes to the horizon, she cast a final glance at me over her shoulder. Her hazel eyes were full of compassion—compassion, I imagine, for what she knew was a fate worse even than her own.
My legs were rubber as I approached and came to a halt directly behind her. I raised my shaking pistol, centering her cascade of red locks between the sight posts. After a moment of panic-stricken indecision, a sense of tranquility came over me, quite inexplicably. My hand steadied and my heartbeat slowed. My senses seemed to heighten, and the ticking of my timepiece became the beating of a bass drum. The duration between strikes lengthened until the watch’s gears shuddered and ground to a standstill.
Then, suddenly, everything reversed, picking up speed and gaining momentum, faster and faster, like a freight train hurtling toward a bend in the tracks, entirely out of the conductor’s control. My heart thundered against my rib cage, a prisoner pounding the bars in impotent defiance.
Just as it felt ready to explode out of my chest, I jerked the trigger forcefully—forcefully enough to pull the entire pistol to the left, so that the shot missed wide. Claire’s hair fluttered as hot gas exited the bore and the bullet grazed her temple, lacerating the skin.
Before the smoke had even cleared from the barrel, I kicked her on the back, hard. She lurched forward and tumbled into the pit. Her fall was broken by the body of a pregnant woman whose swollen belly, violently compressed by the impact, discharged a meter-high jet of reddened amniotic fluid through a dime-sized bullet wound.
Meyer stepped forward a few paces, flattening red poppies under his hobnailed boots. He paused at the lip of the pit and gazed down in. Claire lay completely still. Her face and arms were smeared with blood, excrement, and bits of placenta; it was impossible to determine whose. In fact, it was difficult to tell where one body ended and the next began. Her right arm and left leg were intertwined with the limbs of the corpse beside her, a young mother with a gaping chest wound whose nipples were discharging a pinkish slurry of milk and blood.
“Good shot,” Meyer said. “Now go wash up and hit the rack. You look exhausted.”
I rode back to camp in a daze. Behind me, the shooting continued unabated. Rifle and pistol reports reached my ears like corn popping on a stovetop, first continuous and indistinguishable, then regular but distinct, finally sporadic. That last bit was the worst, actually. Each shot, I knew, represented a father or a brother, a woman or her infant—or perhaps both of the latter two, since mothers were allowed to hold children under three years of age to their breast on the firing line. That seemed to calm both mother and child, as well as allowing a single bullet to pass through both; a tidy cost-savings, the higher-ups figured. The engorged belly of one baby killed in this way burst like a water balloon, spraying a liter of milk in all directions.
After I arrived at our garrison stables, I struggled to tie up and untack my horse, nauseated and trembling as I was.
“Here, let me help you with that, sir,” a private said, jogging up to me. He was one of only several men who had elected to sit out the action, claiming stomach distress. Everyone knew it was a pretense. “It’s the least I can do,” he declared with a little bow of shame.
“It’s I who should be bowing before you,” I said, patting him on the shoulder.
I excused myself and stumbled into my quarters, barely making it to the bunk before my legs gave out. In spite of my fatigue, sleep refused to take me. It was 6 p.m. For the next six hours, I lay awake, eyes fixed on the ceiling. I thought in equal measures of the last twelve hours and the next.
At the stroke of midnight, I arose and exited the hut as quietly as I could. I fed my horse a carrot to stifle any whinnies and tacked him up. After mounting, I rode the mile back to the stadium. The death pit was covered with only a thin layer of dirt—not enough to deter the jackals that had come to scavenge by night. They fled as I approached, a few carrying off hands or feet.
I immediately set to work, clearing the earth from one section and pulling corpses out one by one.
“Claire,” I whispered. “Cry out if you can hear me.”
“Here!” she sobbed at once, as if a dam had burst from her lungs. Her voice came from what sounded like a few feet below and to the right.
“Hold on, my love. Please hold on.”
As I hoped, the bodies had been stacked loosely enough, and the dirt shoveled on sparsely enough, to allow for air to pass through. I dug faster, dropping my shovel and switching to bare hands when I reached the last few inches of soil. After uncovering her, I brushed the dirt off her face and made certain her airway was clear. She coughed forcefully, then took deep gulps of air punctuated by sobs. I cleared the earth from the rest of her body and hoisted her out of the pregnant woman’s collapsed abdomen like a chick plucked from an egg.
Throwing her over my shoulder, I clambered up the side of the pit. I set her down and examined her. All the blood appeared to belong to others; she had no wounds of her own. I helped her to her feet and she threw her arms around me, still wailing.
“I’m sorry,” I said, holding back my own tears. “Ever so sorry.”
I knew we hadn’t a moment to spare. I gave her my canteen, which she drained in one quaff, then threw a woolen blanket around her shoulders. I hoisted her onto the stallion and swung myself up. We set off into a nearby wood on the outskirts of the city, following a trail that led to parts unknown. It didn’t matter. Anywhere but that godforsaken football field would suffice.
We rode and rode, further and further into the forest and away, I hoped, from those who would tear her from me, given the chance. The sun had already started to rise when I spied it: a small log cabin that looked to be abandoned. Perhaps an unattended hunting lodge, I thought.
I tied up the horse outside and helped her down. The door of the cabin was unlocked, and there were two small cots inside. She was already asleep on one of them before I had even closed the door behind us. I lay down and did likewise, falling immediately into a dreamless slumber.
Some hours later, I don’t know how many, I awoke with a jolt. Claire was gone from the other cot, which was made up neatly. I threw myself out of bed in a panic. Had I dreamt the entire thing? Was she still back in the death pit, moldering away, while I in a fit of mad grief rode alone to this place?
No, I soon realized. Her voice was rising from just outside, soothing my stallion in spite of her own recent torments. I was equally comforted by what I didn’t hear—shouts of soldiers, screams of the dying, idling of engines or the crack of rifles. Aside from Claire’s words and the chirping of songbirds, there was only welcome silence. All was as it should be. Reassured, I left the dwelling and quietly made my way to the edge of the tree line, stepping over scores of poppies along the way.
I hadn’t noticed the flowers when we arrived. Their vibrant red hue stood in stark contrast to the greens and browns surrounding them. But it wasn’t the flowers that interested me in the moment: my sights were set on a willow tree. I broke off a thin, pliant stem from one of its low branches, looping it several times and carefully knotting the ends to form a ring small enough to fit Claire’s finger.
Satisfied with the result, I returned to the vicinity of the cabin, where I saw her outside. She had just finished bathing in a stream and was donning her pretty, homespun dress. The garment was clean again, free of any traces of blood or muck from her time spent below ground. After she pulled it on and wrung out her hair, she knelt in the garden, collecting a few carrots to feed the horse.
My heart was pounding in my ears as I approached her kneeling figure from behind. I did so in silence, hoping to surprise her with the ring and declare my intentions. She didn’t notice my steps and remained turned away, her face in a rosemary bush.
When I had come within a few feet, I raised my arm up and toward her, toward her cascade of auburn tresses, which I wanted more than anything in the world right then to stroke, to caress and let flow through my fingers like water, until she knew how dearly I loved her. In my hand was the ring, grasped between my thumb and pointer.
I suddenly felt it slipping from my grasp, as though I were about to lose hold of it. Instinctively, I tightened my fingers to prevent it from falling—and in that instant a shot rang out. It was then that I realized: I wasn’t standing in a forest at all, but in the poppy patch. There was no cabin and no freshwater stream before me—only the death pit and the stream of blood running into it.
No, there had been no missed shot, no clever ruse, no daring rescue, no moonlit ride to safety. Nothing of the kind. I was back in the moment of decision, from which there was no escape, then or ever. And the ring? It was no ring at all. It was the trigger guard of my pistol. The decision had been made.
No sooner had my fantasy disintegrated than Claire’s head did likewise, exploding in a shower of gore that scattered blood, brain matter, and shards of bone in a dramatic arc onto the ground in front of her.
The dry, thirsty soil was quick to absorb the moist bits, soon leaving only her skull fragments, which were embedded into the earth like splinters of bark from a pine tree after a lightning strike. The lifeless husk of her kneeling body remained upright until Sergeant Meyer gave it a firm shove with the sole of his boot. It tumbled end over end into the death pit, discharging the remaining contents of its braincase on the way down.
“A messy one for your first time, sir.”
That’s what he said. I remember that clearly.
And then, “Sorry about that. But don’t worry, it’s not the norm. Most of the time at this distance it’s a clean through-and-through and the skull stays intact… Come to think of it, mind if I have a look at your sidearm?” Or something to that effect. He held out an upturned palm, inviting me to give him the gun.
I handed it over. He cycled the slide, ejecting a live round and deftly catching it in mid-air. Holding it up to his face, he studied the tip of the bullet protruding from the case. Then he quipped, “Ah, there’s your problem right here, sir. Hollow point. See?” And then that line about “in like a pebble and out like a boulder.”
Thus concluded my first punitive action, which I already mentioned previously, though perhaps in a little less intimate detail. My own participation lasted only half a minute in reality, but a bit longer in my mind’s eye, as I’ve just elucidated. The human mind is curious that way. We ourselves are our own deepest mysteries; we carry universes in our heads. If I learned nothing else from the experience, it’s exactly that.
After confiding the vision to our field doctor, he assured me that the whole thing was the result of an antimalarial medication we’d been issued. Apparently, visual and auditory hallucinations are a well-known side effect. He took me off the drug, but I still had half a bottle left. I downed the pills in an attempt to return to the cabin in the forest, without success. I never did make it back to that place.
Some weeks later, after the bitterest of my tears had already been shed, I was feeling inspired by the strange occurrence on the lip of the death pit, that liminal space at the edge of nothingness where wondrous possibilities abound, both exhilarating and excruciating. So I took occasion to jot down a little poem. I’ve held onto it all these years. Would you believe it? Here, let me show you.
Still legible, yellowed from age and stained with teardrops as it is. I’ll give you a brief recitation, if you’ll pardon the lilting of a mawkish old man. Here goes.
Claire.
Nightly, while I lie in bed, dreaming dreams—though she be dead—
Of freckled skin and windswept hair and all the goodness that was Claire,
Throwing round her frame my arms, I embrace her with alarm—
My love, you see, slips through my grasp in wisps of flesh and puffs of ash.
Though I’m not a maudlin man, human wonts mean I still can
Perceive the sights I used to see: the lilac, lark, and bumblebee;
Hear, too, sounds that I once heard: her gentle laugh, the hummingbird;
And smell what once beguiled my nose: her rain-soaked clothes, the fresh-cut rose.
Sights and scents of yesterday serve me now to ward away
Those that take root here today: the dirt, the grave, her sweet decay.
Claire, in grace, returns to me in spite of how she left—You see,
I loved so much that, ere we wed, I loved the brains out of her head.
Très romantique, no?
Chapter 4
No publishers would bite at the poem. Odd thing, that. But there’s no accounting for taste. Besides, any artist worth a damn isn’t understood until at least a hundred years after his death, for the most part. I suppose artists and war criminals have that in common.
Anyway, you’ll forgive the romantic interlude, but I thought it prudent to finally lay our scene properly. After all, you came to hear the story of a conscientious killer, a person who, in service to the state and in pursuit of ends not of his own design—in spiteof his own designs, in fact—set about systematically liberating human brains from their skulls. And the beginning of that story—an altogether atypical one, I’ll admit—was the precise point at which my life diverged from the typical. For it’s not every day that a man toasts his engagement with cerebral fluid, you’ll concede. Not all biographies are so clear-cut in their inflection points, but if nothing else, mine has the virtue of clarity in that respect.
You’ll also want to know, of course, why I did it. I suppose I could tell you that had I refused, Claire and the others would have been killed all the same. I could remind you that the only one I would have saved is myself—not my love, not her family, certainly not the other poor bloke who would have had to ventilate her skull in my stead. I could insist that any morality that takes as its chief duty sparing one’s own tender sensibilities at the expense of one’s comrades is no morality at all.
I could tell you those things, but I won’t, because the truth is they’d be nothing but fancy post-hoc rationalizations. In the moment, such thoughts were as far from my consciousness as they are from a chimpanzee’s. My mind was entirely blank; higher order thinking had abandoned me. I was an automaton acting by rote, a creature reduced to base physical impulse. And whether by training or by instinct, by fault in myself or in my stars, my hand held steady, my aim was true—and Claire, poor Claire, a mound of goo.
So much for insight! But perhaps I’m still the wisest perpetrator of them all, in the same sense that Socrates was the wisest Athenian: I’m the only one who’ll honestly answer you, “Fuck if I know.” But as to why I kept it up and saw things through to the finish in action after action, even with my wits about me, I can only state the following: In the end, I had a job to do, and I did it to the best of my ability.
It’s the duty that chooses the man, not the other way around. And those of us chosen by that heaviest duty became for the nation a forlorn hope, charging headlong through the breach of a moral chasm, many never to see daylight again. We did this without the expectation of fame or recompense, or even a marked grave. We knew that ours was a page in history destined either to be torn out, if the war were won, or held high for public ridicule if it were lost. No, we persevered simply because we wished to spare others the same burden.
That was our code, our fundamental decency. And through it all, I like to think we remained decent fellows on the whole, even if the only decent thing we could offer was a cigarette, a sip of fresh water, or a bullet to the back of the head instead of the front. We offered these things not because we expected to be held to account if we didn’t, nor because we were beholden to some half-baked moral dogma like the self-righteous screamers and sensationalists of virtue back home, but simply because it pleased us to.
That’s just the kind of men we were. That was our nature; it couldn’t be helped. And ultimately, we shouldered the burden for them too—the screamers and sensationalists who slapped us across the face with the very hands we kept clean; the fuel-drunk hypocrites who were only too happy to enjoy the bounties of our campaign while condemning its unavoidable exigencies; the effete dandies whose lifestyle of coffee-sipping malcontent was built on the backs of more stolid, uncomplaining men. Theirs was the fruit of our labors, the luxury of morality in a nation of abundance. Ours was perseverance in harder times that demanded harder hearts, a world less than a century removed from collapse. Ours was, in short, the cross, the grave, the skies. There’s nothing more to be said.
So when they write the history of the whole godawful mess a hundred years from now, after the wounds have long scarred over and cooler heads prevail, it’ll be us, not the hypocrites, not the phony do-gooders and impotent well-wishers: we’ll be the ones unlike the rest, the kindhearted few who did what was necessary—and not a thing besides. We, the earnest killers, the men whose deeds were the terrors of the Earth: we’ll be the decent ones, we’ll be the men apart.
But I don’t have a hundred years to wait—not even ten, in all likelihood. I need an impartial judge in the here and now, a dispassionate arbiter of my life’s work. That brings us at long last to the subject of the little favor I mentioned, the token I’ll ask of you now. A trifling thing, really. You see, I didn’t come here tonight for a disquisition, but rather a deposition. What I mean is, I had in mind not just a sharing of accounts, but a settling of them. You might even call it a trial of a sort: the same trial, in fact, that was denied to me at the end of the war, when we were granted clemency as part of the accord. And it’s you who’ll be presiding.
You seem a bit bewildered, so allow me to explain. As I said earlier, the worst parts of this whole living business are the knowing and the waiting, and that applies equally whether one has five minutes remaining or fifty years. I spared the Zonees that, but I couldn’t spare myself. In my case, it’s knowing that after yielding the best years of my life trying to wrest some semblance of decency and order from a horror show, what remains to me now isn’t vindication or absolution—not even judgment. No, firing lines have been replaced by waiting lines at the bureau of motor vehicles, plugging skulls with plugging leaks, signing death warrants with signing pension checks. In short, the horror of the extraordinary has been displaced by the horror of the ordinary, the mind-numbing march toward oblivion.
The real horror, you see, isn’t judgment, isn’t elevation to heaven or consignment to hell. The real horror is abeyance, purgatory, limbo. It’s the state of clemency, non-judgment, of no one caring enough to even bother putting a noose around your neck. And then, when you finally do die, someone will read about it in the newspaper while they’re on the shitter. Only it won’t say anything about whether you did good or bad, whom you loved and whom you loathed, the things you hoped for or feared or despaired of. It’ll simply say “veteran, registered war criminal, died of natural causes.” And then they’ll pinch off their loaf and close the page on your existence.
So I hope you won’t begrudge me that, whether out of defiance or terror or simple boredom, I’ve come to you for judgment instead. Since the legal system has sworn me off, I figure you’re the next best thing. Who better than a hard-nosed, no-nonsense journalist to take a cold, disinterested look at the issue and give an honest accounting of the facts, free of any obfuscation or prevarication—even if the issue under interrogation is a human life? I need a person unafraid to sift through shit and sludge, a muckraker to rake through the muck of my existence. I need to know whether, in your eyes at least, all my dutifulness and good cheer, all my striving after decency and fair play, amounted to anything more than a piss in the wind. I need to know, in other words, whether I’ve made my case.
Your judgment in the matter should wrap up the proceedings of my life nicely and end things with a bang rather than a whimper, as befits me. You might wonder why I don’t simply make the determination myself and settle things in the privacy of my own home, if it comes to that. The truth is, it’s clear to me that I can no longer trust my own judgment. Why, just last week I confused a child at the park for a Zonee girl whose brains I couldn’t extricate from under my fingernails for a good two weeks, thirty years ago. I suspect dementia and other cognitive maladies are fast approaching, if they haven’t taken root already.
The time for delay and indecision is therefore at an end. I hereby recuse myself; my fate rests entirely in your hands now. Enough talk. Ten words sufficed for my men, so fifteen thousand should be more than enough for me, whether as an apologia or an epitaph. Indeed, it’s not what remains unsaid that matters now: it’s what remains undone. The time has come for me to shrug off the infirmities of old age and become a man of action once more—and maybe a trigger man too.
You see, all this business about notes and meat grinders and band saws was no idle chatter. No, I’d like to put some skin in the game, as it were. So I brought an old friend along tonight. He’s been with me the entire time, waiting patiently, right here in my trousers. Allow me to introduce you to my old duty sidearm, freshly cleaned, lubricated, and checked for function just this morning. I figure it’s fitting that he’s here with me now to bring things full circle.
So what’ll it be, Your Honor? Will your recording be my exoneration or my adieu? Are you prepared to absolve a war criminal—or shall I blow my fucking brains out the back of my skull, right onto that lovely young couple sitting behind me?
I’d wager that ought to earn me a little more than an overlooked obituary in the Sunday paper, don’t you think? And if I can’t win my legacy the Spartan way, at the business end of an enemy spear, I may as well earn it like my men—at the end of my own barrel. That way I’ll restore some of the blessed simplicity I’ve foregone with all this blabber, in the form of tomorrow’s news headline. I imagine it’ll be short, to the point, but memorable enough. I’d fancy something like “Diner turns own head into bowl of soup at Le Ranch Radioactif,” if I had my druthers.
And say, would you look at that! Here comes the waiter with our mains, right on time. I hate to rush your decision, but I’ve never been one to eat and gun. So if it’s all the same to you, I’d just as soon learn straight away whether I’ll be eating my steak or eating a bullet.
Now tell me, will this be a full course meal—or a soup-and-salad affair?
RICHARD DOVE is blown away by an ambitious brass ensemble
A Saturday morning concert always puts a spring in my step, particularly when the sun is shining and the venue is the ancient barn at Pilsdon in West Malling. This is the second day of the ever ambitious annual Music@Malling festival. Cups of coffee and tea and custard creams are being consumed as we listen to the fast-rising young quintet Connaught Brass tune their gleaming instruments. They arrived in the early hours after a trek across the country following a concert in Wales. Despite this they look fresh-faced and eager.
They stand in a semi-circle – tuba, horn, trombone and two trumpets. Elliot Carter’s arrangement of Purcell’s Fantasia on One Note sets the tone for a wonderfully varied repertoire. It is explained that Carter thought the one note was underdone and so this 20th century composer put his own slant on this Baroque piece. Indeed, we bounce between Baroque and the 20th century throughout the programme.
The interplay is stunning as the trumpeters take the lead and the tuba takes the pulse of the piece. After a resonant Vivaldi Concerto in F Major we move to unmistakable Leonard Bernstein and one of his final compositions, Dance Suite. These are brass vignettes with a quirky, bouncing, exuberant character which match the zest and energy of the ensemble.
Then, a surprise; the musicians move to all four corners of the barn to replicate Giovanni Gabrielli’s surround sound textures in St Mark’s, Venice. I stare at the high timbered ceiling as the sound merges and seemingly floats. This is virtuosity with imagination and a dash of daring.
We are transported from Venice to New York with Gershwin’s Three Preludes – a slice of Manhattan in West Malling. With their jazz traditions it is evident that Gershwin and Bernstein relish the sounds of brass and exploit the range of the instruments to the upmost. The mood changes with Dowland’s Flow My Tears, and this glorious melancholy embraces the Barn. How could such a varied programme be concluded? Well, the Connaughts deliver a magnificent finale with trombonist Will Foster’s arrangement of Kurt Weill’s Threepennny Opera. It has spoken interjections, piccolo trumpet, flugelhorn, multiple muted sounds (muting a tuba involves a very elaborate contraption) and even a pause for a custard cream as one trumpeter soloist seemingly gives up the struggle and wanders to the back of the barn. They first performed the piece at the Lucerne Festival where the guiding theme was “Crazy.”
The sheer verve of the playing just makes one smile with wonder and astonishment. It is evident why this chamber group won first prize in the inaugural Philip Jones International Brass Ensemble Competition. After a Gershwin encore they stride purposefully out of the barn as the applause resonates. We have all witnessed something very special and it’s not even lunchtime. As we head out, the musicians are all sitting around a picnic table chatting. Friendship and virtuosity is a winning formula. Do keep a watch out for Connaught Brass.
Derek Turner sojourns in Andalusia and Extremadura
I started awake as the plane came into land. The cactuses along the edges of the runway suggested even to my stupefied senses that we were no longer in Birmingham. Distinctly un-English heat fell heavily on our heads and draped itself around our shoulders as we walked into the terminal below the giant, magic word, “Sevilla.” As our taxi whizzed along the Avenida Kansas City into the long sought-for metropolis, we moved surreally sideways in culture, space and time.
Once established in Seville’s old town, we ventured out for a first foray into a streetscape which had not altered in its essentials for several centuries – narrow calles, often cobbled, lined with white several-storeyed houses, with a whiff of drains, interspersed with baroque churches of gilt-encumbered altars, wounded Jesuses and weeping Virgins.
In August, these churches are eerily expectant, open only briefly in the evening, lavish theatrical sets for rare individual worshippers. It is hard to visualize them in Holy Week, when they thrum with eldritch energy, as hundreds of pointed-hooded ‘penitents’ parade monstrances and lurid Passion tableaux into the streets under the regard of thousands – phone-pressing tourists of course, but among these also true believers, witnesses to a faith that still subsists in this land long ago hard-won from Islam.
Wilting after our early start, and unaccustomed to 38˚ heat after an English summer hitherto notable only for its almost complete absence of sunshine, we dined gratefully on Greek salad in the Alameda de Hercules, under the gaze of the Greek god and Julius Caesar standing on the tops of Roman columns – statues of the mythical founder of the city, and the emperor who gave it its first urban statute.
Seville is ancient indeed, its locale inhabited by ‘Celtiberians’ at least a millennium before Christ, who founded a town called El Carambolo (later absorbed into Seville’s western suburbs) and traded in precious metals mined in the hills around. Greeks and Phoenicians came to trade in copper, silver and gold, and some settled along the banks of the broad river then called the Tartessos.
The Phoenicians’ settlement was called Hisbaal (a reference to their deity Baal) or Spal, the dankly powerful remnants of which underpin one of Seville’s latest landmarks, built between 2006 and 2011 – the huge wooden structure (perhaps the world’s largest) nicknamed ‘Las Setas’ (The Mushrooms) because of its shape, from the top of which on an August afternoon there are near-blinding views of the brilliant-white contemporary skyline.
The Romans took Spal from the Phoenicians’ Carthaginian successors (Hannibal’s wife is said to have come from this area), and dubbed it Hispalis – although their chief settlement hereabouts was the colony of Itálica, founded by Scipio, whose well-preserved ruins are just northwest of the present city. They renamed the Tartessos the Bætis, and the surrounding province of Hispania Ulterior (later Hispania Bætica) became prosperous and prestigious, with Emperors Hadrian and Trajan both born in Itálica (possibly also Theodosius) – and the poet Martial a long-time resident, who interestingly records seeing castanet-clicking Tartessian dancers some seventeen centuries before the word ‘flamenco’ was first recorded.
The name Andalusia comes from the Arabic term for the entire Iberian peninsula, al-Andalus, ‘land of the Vandals’ – a reference to the Germanic tribe that overran Iberia after the fall of the Western Empire, and then fought enthusiastically among themselves. One eighth century Visigoth kinglet had the bright idea of requesting military assistance from nearby North Africa, within view just across the Pillars of Hercules. Like many an importer of mercenaries before and since, the unhappy kinglet then found himself unable to get his ‘guests’ to go.
From 711 onwards, Moorish armies surged across much of present-day Spain and Portugal, and famously menaced even France, before ultimate downfall more than seven centuries later, in Europe’s pivotal year of 1492. The Moors were more than formidable fighters; they were also agricultural innovators, instigating impressive irrigation schemes and introducing lemons and the oranges with which Seville is now synonymous. They gave the Tartessos/Bætis its ‘final’ name, Guadalquivir, derived from the Arabic for ‘wide river,’ erected some still-extraordinary edifices and presided over some highly cultivated courtly cultures which both perpetuated Greek learning and encouraged new intellectual experimentation (within politic limits).
Moorish Andalusia is often adduced as an historical example of ‘tolerant’ Islam – a rhetorical counterpoint to other portrayals of Islam as a narrow-minded and rebarbative force bent on global domination. One suspects this is overdone; many of the Christians and Jews who lived under Moorish suzerainty cannot have seen their situation so sunnily. They were subject to onerous special taxes, and there would have been daily indignities. Even by the standards of the early Middle Ages, the annual tribute of one hundred Christian virgins to the Moorish monarch must have grated, while the most tendentious Moorish apologist cannot deny the frequently vicious internecine conflicts of the courts. Some Moorish dynasties were ostentatiously brutal, like the 11th century Abbadid ruler who ‘decorated’ his forts with flowers planted in the skulls of enemies.
Moorish influence is nevertheless everywhere to be seen in southern Spain, and indelible – from repurposed former mosques, and the characteristic castellation of their forts, to the plashing fountains in private courtyards that afford psychological as well as visual relief amidst August’s punishing heats. The Mozarabic Christians living under and influenced by Islam were later mirrored by the Mudéjar Muslims living under and influenced by Christianity, and their cultures run into each other in all kinds of ways – from architectural styles and the colourful azulejo tiles for which modern Spain and Portugal are noted, to cuisine and language. Even the Spanish national hero known as ‘El Cid’ – the eleventh century warrior Rodrigo Díaz de Vivar – fought both with and against Moorish forces, depending on circumstances. Andalusia’s still notable Christian ardency may also be a paradoxical legacy of Islam – its defensive fervency a reaction to humiliating centuries of second-class status.
It is probably impossible to separate ‘Moorishness’ from a more generic ‘Mediterranean’ culture, where modes of living on all coasts have always borne similarities, because of the shared climate and geography on top of millennia of intellectual or more violent interactions. But there is ‘un-European’ exoticism to be found in the culture of Andalusia – a culture which for many outsiders has become a kind of shorthand for all of Spain. Specifically Andalusian traditions such as flamenco, bull-fighting, and tapas – as well as its arid, olive-treed, ruined castle-dotted landscapes – have become stereotypical images of the whole country, which must surely irk many Aragonese, Asturians, Basques, Castilians, Catalonians, and Galicians.
The Moors, so long militarily dominant, eventually became etiolated – divided among themselves, and some of their rulers possibly too ‘civilized’ to worry about their frontiers. Burgeoning Christian kings of an increasingly self-conscious and gradually coalescing Spain placed ever-growing pressure, and Seville was retaken by the Christians in 1248. In 1492, the last Moorish ruler in Spain, King Boabdil of Granada, was forced to hand over the keys of the Alhambra – famously weeping as he looked back on Granada for the last time, for which his mother rebuked him, “You do well, to weep like a woman for what you failed to defend as a man!”
Seville’s most expansive days were now to come, as it became first the launching pad of epic expeditions, and then chief port for the Spanish Empire, safely upriver from dangerous Barbary corsairs, but with easy access to the Atlantic. Audacious navigators set off down the turtle-haunted waterway, most celebratedly Columbus, who may have been Italian but had a crew made up largely of local men. A modern statue of one local boy, Rodrigo de Triana, stands in the Triana riverside district, his plinth bearing the laconic inscription “Tierra!” (Land!) – the single word he shouted when he was the first to espy the Americas.
Magellan’s equally world-altering expedition set out from here in August 1519, five tiny (approximately 50 tons) carracks like the Victoria, tasked with finding a western route to the spice islands. The Victoria was the only one to return, in September 1522, the first ship to circumnavigate the world. Magellan had been killed in the Moluccas, and the Spanish are proud that it was one of their own, the Basque captain Juan Sebastián de Elcano, who completed the voyage. As he wrote in his none-too modest memoirs, “I was the first to close the globe in my wake…my journey has become a legend.”
A seaworthy replica of the Victoria – harbinger of whole Indies fleets – is tied up alongside at Seville, beside a small museum explaining something of the context and consequences of that world-changing voyage. Coloured late fifteenth century portolan charts show carefully inked coastlines as far north as Britain, as far south as the Cape of Good Hope and all around the Mediterranean littoral – but blank or simply sketched spaces almost everywhere else, conveying the immensity as well of excitement of the navigators’ tasks.
The Golden Tower nearby, which was once used to store the vast treasures brought home from the Americas, now holds a small naval museum, in which the achievements of earlier Spanish sailors are linked proudly to the modern navy. By the late sixteenth century, Seville had become fabulously wealthy, with a population of over 150,000. Between the 16th and 18th centuries, the Spanish controlled an estimated 80% of the world’s silver, mined in South America (Argentina is named after the Spanish word for silver).
A less well-known commodity was cochineal, which arrived in Seville by the shipload (in 1587 alone, an estimated 72 tons – equivalent to over 10 billion beetles), and sold on under Spanish monopoly – dyeing the famous velvets of Venice, crimsoning cardinals’ robes across the Catholic world, and even Buddhist temples in Siam. This is not to mention Spain’s long domination of the tobacco trade – symbolized in Seville by the Antigua Fábrica de Tabacos, where Bizet’s gypsy Carmen rolled cigars and dreamed of her toreador.
In Spain – at least, in Andalusia – there is little public evidence of the angst presently eating at other Western countries with colonial pasts. To make an anecdotal but possibly not wholly worthless point, many obvious tourists as well as residents (we met Seville residents from Colombia and Venezuela) appear to bear Mesoamerican physical traces, suggesting not just the length of these connections but also an ease with them. Road names and statues referencing the Empire remain sturdily in situ, and buildings like the many national pavilions built for 1929’s hugely ambitious (but unluckily-timed) Ibero-American Exposition retain their original names. Evocative documents like the crew lists, cargo manifests and royal charters of globe-redrawing expeditions are guarded by serious-faced security at the Archive of the Indies, beside the Cathedral. Epic imperial undertakings are almost as intertwined with ‘Spanishness’ as Catholicism.
Inside the Cathedral – built on the site of a grand mosque, and the world’s largest church by cubic area – is the late 19th century tomb of Columbus designed by the sevillano sculptor, Arturo Mélida. This was originally intended for the cathedral at Havana, but was erected here instead after the Spanish-American War showed Spain’s imperial glory-days were finally over. Columbus’s coffin (which may not actually contain his remains, which were moved several times) is upheld by four imposingly inhuman figures, symbols of the kingdoms of Aragón, Castile, León and Navarra. The lance held in Castile’s free hand once impaled a secondary symbol, a pomegranate – Granada in Spanish, a lapidary insult to the last of the Moors.
The main surviving part of the old mosque is the Cathedral’s bell-tower, the Giralda, which was once the minaret. Those uneasy with such old Christian triumphalism ought to recall that the mosque itself had been a triumphalist structure, symbolically built on a base of smashed Roman statuary. The Giralda – named after its sixteenth century giraldillo (weather vane) – is now the stereotypical symbol of Seville, seen everywhere on tourist ephemera, and more lastingly in the many old paintings seen around the city, showing the city’s two patron saints, Justa and Rufina, upholding the tower to prevent it falling during the Great Lisbon Earthquake of 1755. The Cathedral displays a fine Justa y Rufina by Goya – although the most famous painters associated with Seville are Murillo, Velázquez and Leal, all born in the city, with examples of their works on display in churches, museums and former palaces.
The most beautiful artwork in the Cathedral itself is undoubtedly the altarpiece designed by the Flemish carver Pieter Dancart, which was begun in 1482 and took 80 years to complete (the Spanish controlled all or most of modern-day Holland and Belgium between 1556 and 1714). Showing 45 scenes from Christ’s life, it is the world’s largest altarpiece at almost 90 feet high and 72 feet wide, and is coated with an estimated three tons of gold. The Spanish love of precious metals also extends to silver, with the word “Plateresque” (‘in the manner of a silversmith’) coined to describe first Spanish, and then any architecture, of the 15th-17th centuries that combines Gothic proportion and scale with especially ornate or flamboyant designs.
The ponderous lugubriousness of the Spanish brand of Catholicism is everywhere evident in Seville – perhaps most searingly in the Hospital de la Caridad, founded by Don Miguel de Mañara (1627-1679), and completed in 1674. Mañara had been a notorious youthful libertine, until one day he had a terrifying ‘preview’ of his own funeral procession. Shaken to his soul by this ‘sight’ (and an outbreak of plague, which killed thousands of Sevillians), he joined a local brotherhood, whose avocation it was to inter the bodies of criminals, plague-victims and vagrants, and used his family fortune to found the Hospital for the relief of the poor and dying – for which it is still used. Dignified venerable men saunter in and out of the stately complex, or sit outside the front in short-sleeve shirts, composedly awaiting destino.
The Hospital’s magnificent chapel was decorated by eight paintings by Murillo, and four of his works are still here; the others, looted by the French during the Peninsular Wars, ended up ecumenically in London, Ottowa, St. Petersburg and Washington. There are also two striking paintings by Leal, on the theme of the Triumph of Death – one showing a trampling skeleton pointing to the words In ictu oculi (‘in the blink of an eye’), and the other, inscribed Ni más, ni menos (‘no more, no less’), showing a rotting coffin and a decomposing bishop so gruesomely realistic Murillo marvelled “you have to hold your nose to look at it.”
Mañara himself decomposes in the crypt, although his stone was set at his request in the chapel’s doorway so it could be stepped upon by all comers. He also left a small body of disconsolate writings, translated as Discourse on Truth. Here is a characteristic extract:
Seek out Alexander, call for Scipio, and perhaps their ashes will be in some mud wall or in the soil of a garden…Who would believe that the body of Julius Caesar, whom the whole world feared, is now growing cabbages in an orchard?
From Seville’s Roman fathers, Mañara came even closer to home:
Consider a vault; enter it with consideration, and set yourself to looking at your parents, or your wife (if you have lost her), or the friends you knew; consider the silence. Not a sound is heard; only the gnawing of the maggots and the worms can be heard. And where is the noise of pageboys and lackeys? Everything comes there; observe the jewels of the palace of the dead: some spider webs.
Upstairs in the Hospital’s hot, still and silent treasury, possibly overcome by the horror of the human condition, a security guard dozed at his desk.
Alcazar is another word derived from Arabic, and examples may be found in many Spanish towns. Seville’s Alcazar is one of the best known and largest of these citadel-palaces – begun in the eighth century on the site of a Roman barracks, and later strengthened and adorned by the Abbadids, and then the 12th/13th century Almohads. The Alcazar we see today is however mostly a Christian construction, begun not long after 1248. King Pedro I of Castile and León (r. 1350-69), amusingly nicknamed both “The Cruel” and “The Just,” carried out major reconstruction cannibalising other Moorish buildings, and much of this is still visible today.
Pedro was certainly capable of cruelty, notoriously murdering the Archbishop of Santiago – and, here in the Alcazar, his own cousin (Pedro himself was later murdered, stabbed to death in a tent). On the other hand, he generally protected Jews, merchants and peasants, and sided with the Moors on occasion. One emir gave him an enormous ruby as reward for assistance rendered, which ended up in the English Crown Jewels. The English took Pedro’s part in the Castilian Civil War of 1351-69, the Black Prince personally helping him win the Battle of Navarette of 1367. Two of the daughters Peter had with his pulchritudinous mistress, María de Padilla – so beautiful it was said courtiers vied to drink her bath water – married sons of England’s Edward III, so becoming wives to the first Dukes of both York (Edmund of Langley) and Lancaster (John of Gaunt). He is honoured in Chaucer’s ‘Monk’s Tale’ – “O noble, O worthy Petro, glorie of Spayne.”
Back in Pedro’s dream-palace, there are marble-columned windows, arched and vegetation-shaded verandas, pierced pendant friezes and fretwork and overhanging rooves, and syncretical juxtapositions, with Christian lion symbols ‘guarding’ the gates, and Holy Roman Emperor Charles V’s personal motto Plus Ultra (‘Yet Further’) appearing on walls near older Kufic inscriptions still lauding Allah. The frantic and repetitive geometric patterning of Moorish wall-tiles seen here and in many other places strongly suggest artistic frustration of not being allowed to depict figures; beautiful though the tiles undoubtedly are, they offer little human interest.
Through a great door to the right is the Salón del Almirante, named in honour of Columbus’s official title of Gran Almirante (Great Admiral). In this suite of rooms, Columbus, Balboa and others discussed and plotted some of the earliest American voyages, and changed the world. In the Capilla de los Navigantes, a striking 16th century altarpiece shows the Virgin protecting precisely-drawn Spanish ships under her cloak, as well as Columbus and Charles V.
Outside, sun-punished brick walls and Roman-to-medieval columns surround green rectangles of water gulped by goldfish, while red dragonflies oviposit eggs doomed too to be engulfed. Tourists wearing alarming ensembles sip endlessly from plastic bottles, dutifully press audio-guides to moisture-beaded ears, and photograph themselves with fountains. Green parakeets make a similar chattering commotion high up in the crowns of palm trees and among the prickly pear and rosemary, and higher still screaming swifts dash in search of dipteran dinners. Choruses of cicadas chirr and click halfway-down, and ground-level grasshoppers perform prodigies of propulsion flying from your feet. Blackbirds bounce across browned grass, sparrows spik in verdant box-hedges, and geckos charge up the plinths of classical heroes.
Trees are among the chief adornments of southern Spain, valued by enlightened planters over the centuries not just as shelter-givers and food-providers, but often for their own sakes. These trees come from everywhere – Africa, Asia, the Americas and even Australia – planted by botanical benefactors but now abundantly naturalised in this country which scarcely knows snow. Cypresses and pines define boundaries, and mark out classical prospects. Oranges and lemons aromatise and stud even the severest streets, offering festive-hued fruits among arsenic-green foliage. Three-hundred-year-old planes peel picturesquely and susurrate in public squares. Bays and laurels offer flavours for gazpacho, and evergreen crowns for victors. Almonds, avocados, bananas, figs, pears and pineapples prosper in gardens and parks. Enormous rubber trees with writhingly restless trunks spring dynamically skywards and drop hard small seeds with a clack onto the pavements. Cactuses stand stark as skeletons, and palms like punctuation marks, their fronds often fondly intertwined in city balconies by those recalling Christ coming to Jerusalem.
The Holy City comes to mind again not far from the Alcazar, in the Casa de Pilatos – ‘Pilate’s House’ as conjured by the Marqués de Tarifa upon his return from Jerusalem in 1519, where he was said to have seen the study in which the Roman decided the Galilean’s fate. A charmingly anachronistic ‘replica’ of this room stands within a ducal home rich in realer antiquities, including a statue of Athene that may go back to the fifth century BC. Black and white mosaics and reflecting fountains cool down courtyards, and creeping plants climb vermilion walls towards unbroken blue. A column in the chapel is supposed to represent the one at which Christ was flogged at Pilate’s order. Another Rome-recalling tradition tells of an orange tree in the garden sprouting from the spot where a servant unthinkingly dumped the ashes of the Emperor Trajan.
Out beyond the city limits, old olives define the rustic scene, twisted veterans of countless droughts somehow still standing on red earth and endlessly recirculating dust, offering oils for the people and shade for black belligerent bulls. Holm oaks shed acorns for the long pigs whose desirable dried jamón hangs from hooks in supermarkets and delicatessens alike, sweetened and wizened from air-curing, or stained by old smokes.
We come into Cádiz – which claims to be the oldest city in Europe, founded in the second millennium BC – from the north, along an equally venerable highway. Navies of Carthage, Rome and Spain were stationed here, and still are (it is also the base of the US Sixth Fleet) – sleek grey frigates visible from the road, elegantly dangerous presences among the Atlantic haze. Its strategic importance attracted unwelcome English attentions often during England’s long wars against ‘the Don.’ In 1587, Drake made havoc in the harbour, ‘singeing the king of Spain’s beard’ as he exulted to Elizabeth, provoking the metaphorically scalded Spaniard to launch the following year’s unlucky Armada. In 1596, the Earl of Essex did more singeing, and Nelson in 1797.
Cádiz shimmers with sea-longing, poised perfectly on the very edge of Europe, every azure horizon beckoning to adventure. A botanical garden along the front contains rare trees from as far away as the Antipodes, and huge cruise ships bulk along the seafront. We raced across burning beach sands to plunge into welcome waves, among tourists but also natives (gaditanos) – a very ‘continental’ blend of highly respectable matrons in voluminous one-pieces, and tattooed and topless young. Salt affects the very stone of Cádiz, coating, pitting and weakening buildings, including the austerely grand Cathedral, which towards the end of the 20th century began weeping stone onto the congregation.
We downed paella in the plaza before the Cathedral, the sun refracting through soap-bubbles blown by a children’s entertainer. Small children chased these sprites across the square, while a saxophonist playing pop excited epidemic chorea among slightly older tourists, with groups of up to 50 dancing along despite the heat. It seemed appropriately Saturnalian in a city celebrated for exuberant Carnaval.
The Cathedral crypt contains the remains of Manuel de Falla, born in Cádiz in 1876, composer of Nights in the Gardens of Spain and most famously, El Amor Brujo – notes from which sound out upon the hour from the clock of the town hall. His cantata La Atlántida is inspired by the view of the Atlantic from Cadíz, and the tenth of Hercules’ Twelve Labours, the task of capturing the cattle of the three-bodied monster Geryon, whose island of ‘Erythia’ is identified with this area.
As well as evocative, the city is elegant and prosperous, chic with 19th century promenades and smart restaurants, and famously liberal in its politics. In 1812, the Cortes of Cádiz was set up as the first Spanish parliament which aimed to represent all classes, and all parts of Spain and its dependencies. It ratified the Constitution of Cádiz, Spain’s first constitution (and one of the world’s first written constitutions) – which established the country as a constitutional monarchy under Joseph Bonaparte, theoretically with almost universal male suffrage and a free press. It was suppressed just two years later, after the French had been expelled and Fernando VII restored – at the urgent demand of the populace. That Constitution is now, arguably ironically, seen as something of a democratic landmark.
In 1832, the American writer Washington Irving published his fourth book on aspects of Spanish history, Tales from the Alhambra. The bestselling author of The Legend of Sleepy Hollow and Rip van Winkle had been much influenced by Walter Scott, and it shows in all his Spanish works, which range from highly romanticised histories to straightforward historical fiction. He sparked a huge interest in what had long been an overlooked era, in a poor part of a declining country. He was besotted with Spain, which he had first visited in 1826 while attached to the American Embassy, and saw the Alhambra as the country’s mystical heart. Granada in particular captured his imagination, and he had already published The Conquest of Granada (1829), which fictionalised the centuries-long struggle which ended in 1491, with the capitulation of Boabdil the Unlucky. As he wrote in Tales, “To the traveller imbued with a feeling for the historical and poetical, the Alhambra of Granada is as much an object of veneration as is the Kaaba or sacred house of Mecca to all true Moslem pilgrims.”
He spent several months in the dilapidated and war-damaged old fortress, in a state of exaltation, sleeping fitfully in former palatial apartments and breaking fasts in the celebrated Court of the Lions. His panegyrics encouraged other writers to come, and so ineluctably today’s tourists, who descend on the town by the million each year.
The 2023 edition of Rough Guide to Andalucía waxes Washingtonian in calling the Alhambra “the most exciting, sensual and romantic of all European monuments.” But were Irving to visit now, he would find it stripped of most of its melancholy mystique, erased by sheer numbers of sightseers – including, of course, ourselves! But it is still a highly suggestive silhouette in reddish stone – a place seemingly worth toiling towards although on top of a steep hill, even at noon in August when the sun beats back up at you from the flinty cobbles, and even the trees have been stunned into stupor.
There was a Roman settlement here, which the 711 invaders renamed and reused, but it was always less important than Cordoba. It was not until the 1240s that Granada would become prominent, and over the next 250 years ever more precious to the Moors as their other kingdoms went under one by one. Most of the present complex dates from the middle of the 14th century, when the Emirate was at its apex.
By 1491, Granada was the last Muslim state in Europe, and embroiled in civil war even as Fernando and Isabella’s forces encircled the city. After a ten-month siege, by November all was over, and Boabdil’s vizier handed over the keys to the fortress on 2 January 1492. Boabdil was granted an estate not far away, but the same year left Spain forever, along with many other Muslims, and he died in Morocco in obscure circumstances sometime between 1518 and 1533.
The Christian monarchs treated Boadbil and his retinue chivalrously, but a triumphal reaction was inevitable from the moment their silver cross banner first fluttered from the fortress’s ramparts. They converted the last of Spain’s mosques into churches, and stipulated the expulsion or forced conversion of Spain’s Jews, and then those Muslims who hadn’t left, understandably regarding them as a potential fifth column.
Fernando and Isabella lived and worked in the Alhambra for some time – it was allegedly at the Alhambra that Columbus first broached the idea of sailing west in the hope of finding India – and they are both buried in the city, in the nearby Capilla Real. This is a moving building in its own right, where the monarchs’ unpretentious lead coffins may be glimpsed (but not photographed) through the gate of their vault below their showier effigies above. The sacristy contains central national-religious relics that still radiate romantic force – Fernando’s sword, Isabella’s crown, and even the banners that flew on 2 January 1492.
Back at the Alhambra, Fernando and Isabella’s grandson Charles V built a Renaissance palace (now containing an excellent late medieval art collection) by demolishing one of the palace’s wings. Napoleon’s troops wreaked terrible damage between 1812 and 1814, and planned to destroy the whole complex on their retreat, but a crippled Spanish patriot (and benefactor of all humanity) named José García removed the fuses. What remains after these vicissitudes is as beautiful as it is stately.
Visitors enter through the remains of the 13th century Alcazaba, a fortress built on top of an earlier fortress. There are stupendous views from the Torre de le Vela (Tower of the Bell) down over the Rio Darro, the vast white-brown vega, and the stage-set-like Sierra Nevada, whose peaks in winter can be capped with snow. This is a landscape of the grandest proportions, that might have been designed equally for acts of great chivalry or acts of great cruelty. Many famous Western films were made in central Spain, to transfer the toughly uncompromising psyche of Spain to even more epic vistas.
A garden softens and sweetens the senses, an ordered paradise of creepers, myrtles and roses – leading to the Palacios Nazaríes, a strange confection to find amid such mighty walls. Built quickly, and intended partly as a pleasure house, the suite of splendid rooms is decorated with Islamic calligraphy and motifs, below which successive rulers held court, conducted business, received guests and relaxed. In the case of Yusuf I (1333-54), it was also a place to die, the sultan stabbed to death while he prayed.
The harem is approached through Irving’s favourite Court of the Lions, named for the twelve stylized beasts supporting the fountain, which, an ingratiating inscription insists, are held in check only by their respect for the sultan. The Sala de los Abencerrajes has a ceiling of almost impossible ornateness – a sixteen-sided dome with frothy stalactite tracery and high windows covering a reflecting fountain, the delicately incongruous scene of an atrocious if apocryphal crime, when a sultan is said to have murdered 16 members of the Abencerraj family.
A set of atypically Islamic figurative portraits look down on the Hall of the Kings, followed by the domed hall of the favourite wife, and the quarters of all the others, ending in the Royal Baths, where sultans and sultanas would disport themselves to the strains of blind singers. At the end we reach the geometrical gardens of the Generalife, a high-up demi-paradise for fretful Berbers, a place to watch festive fireworks, stroll away the cares of state or plan a tryst, under the guardianship of great walls and the gaze only of eagles.
We hired a car and headed north from Seville to see family, grateful to swop ring-roads for ever emptier highways. We were heading for Iberia’s parched and less-known heart, and the borderlands of Extremadura. Quiet roads, and even quieter fields – mile after mile after mile of olives, oaks and thorn trees, mile after mile after mile of thirsty terrain stretching to blue and purple distance or unreal mountains, the whole expanse almost without movement, except for rare and vast birds of prey gliding along on baking thermals – griffon vultures, coldly viewing the campo, Roc-reminiscent even in the distance, their very name suggesting fabulous creatures.
Armies have marched and counter-marched this way since always, trudging sandals or boots caked with dust, sweating and swearing in armour or uniform, from the Romans via the Visigoths, Moors, Christians, Wellington’s Britons and Soult’s French, up to Franco’s ‘Army of Africa’ who in 1936, in an early setback for the Republic, took the town of Mérida – our first stop outside Andalusia, and one of the most impressive Roman sites in a country with many such.
Founded in 25 BC, its original name of Augusta Emerita indicates its importance as imperial foundation, and nature as colony for ex-soldiers. It was one end of the Silver Way, the Roman road that ran to the mines of the south, and became capital of the province of Lusitania. Its aqueduct, bridge, triumphal arch and theatre are wonderfully complete, and the columns, walls and other features that are found in unexpected places all over town suggest much remains to be uncovered. A memorable museum preserves monumental sculptures and mosaics – a melange of classical culture, from fauns, funerary steles, huntsmen on the trail of fabulous beasts, satyrs and river deities, to a Laocoon and a massive bull’s head still so full of force it might be about to burst from the wall.
The theatre, which was built around 15 BC and seated 6,000 spectators, is the most striking structure, with its fantastically well-preserved first century AD façade of two tiers of Corinthian columns, with statues of gods. The more downmarket neighbouring amphitheatre was used for gladiatorial contests and held 14,000. Standing in its ring amid the great silence of Spain’s high summer, it is difficult to visualise such violence, to think of those thousands of tense or shouting voyeurs, to think of this sand spattered with gobbets of gore. Yet real men, pumped with adrenalin or in a state of terror, once had to run down these now largely unroofed walkways and blinking out into the sun, amid the bloodthirsty roaring of the town, to kill others who had done them no harm, or transfix bristling but terrified beasts from boars to Barbary lions.
More pacific thirsts could be slaked by waters brought from several miles north, along the city’s second greatest landmark – the 1st– 3rd century Milagros aqueduct. The 2,700-foot-long structure is one of the most intact of all aqueducts, its double deck arched outline proudly emblazoned on tourist ware, and attractive to nesting storks. Nearby is the 60-arched bridge over the Guadiana, at 2,600 feet one of the longest of surviving Roman spans.
Oblivious to architectural distinctions, the Guadiana flows on to the handsome if obscure town of Olivenza, whose chief claim to national fame is as having been a Portuguese possession between 1297 and 1801. In that latter year, French and Spanish troops invaded Portugal to prevent it supporting Britain, and the Spanish commander plucked oranges as trophies to send back to the queen (reputedly his lover), which has resulted in it being called the ‘War of the Oranges.’ The Spanish kept all the territory they took on the east bank of the river, although the Portuguese government’s official position even now is irredentist. The sundered nature of the area is emblematized by the late medieval Ajuda bridge on the road to the Portuguese town of Elvas, destroyed in 1709 during the War of the Spanish Succession, and never rebuilt. When we swam in the Guadiana’s opaquely green waters one evening, we were floating in international legal limbo.
Hispanicization programmes pursued by Spanish governments from the Bourbons to the Francoists are now being quietly dropped, with renewed interest in the area’s Portuguese heritage symbolised in bilingual street signs, and Portuguese nationals in the area permitted to vote in Portuguese elections. Olivenza’s best known son is probably Paulo da Gama, older brother of Vasco da Gama, who commanded one of the ships of Vasco’s fleet on the famous 1497 voyage to India, which opened up the sea route from Europe to the East by way of the Cape of Good Hope. Deep roots and spreading branches are to be found even in Olivenza, and could be symbolized by the unique Jesse Tree carving in the town’s chief church – at 45 feet tall probably the world’s largest, and filled with rich fruits.
Cáceres has been a UNESCO World Heritage Site since 1986, and its intact medieval Ciudad Monumental attracts film-makers, most recently those responsible for Game of Thrones. But medieval artefacts seem almost modern when compared with the prehistoric hand-prints in the close-by Cave of Maltravieso, at more than 67,000 years old the oldest known anywhere. Crude Celtiberian figures in the city museum speak of stories told and forgotten before the Romans were heard of – who got here as ‘late’ as 25 BC.
Pigeons and crows rise with a sudden flapping and fly in flocks across the otherwise deserted Plaza Mayor, their shadows accompanying them companionably across the cobbles, clearly outlined by the hardness of the light. The Cáceran cityscape suggests massy strength, with its parapeted towers and turrets of convents and grand houses, red-brick or limestone or white stucco, red-roofed and almost completely lacking vegetation. Rare windows look onto worn stone steps and burning back-alleys where every tall wall or gateway or church pavement may carry vaunting coats-of-arms of caballeros once militant in faith and family pride. Bears, castles, crosses, eagles, putti, swords and suns are everywhere in evidence – armorial cliches, but still strength as well as melancholy.
Carvings seen in Cácere’s churches are sometimes stranger, from the archway graffiti of centuries ago choristers (as artless as the hands of Maltravieso), to a rampant lion with an inconveniently erect penis, beset by snarling disembodied dogs’ heads. In one hushed interior is a startlingly sable Jesus close to a preternaturally pale one of alabaster, whose fine blue cracks could almost be the ‘blue blood’ once so prized by hidalgos.
Hidalgos were often also conquistadores, like Vasco Núñez de Balboa. His statue is one of the first things you see on entering his birthplace of Jerez de los Caballeros – although the caballeros in this case were the Templars, whose town this was. The Jerez of today is deathly still even by Spanish summer standards, at the junction of unimportant roads in a landscape as bereft of people as it is full of toponymic significance, with place-names referencing the nearby frontier with Portugal, as well as spiritual frontiers, on the boundaries of reality and reason – Eremita de Nuestra Senora de los Santos, Convento de Rocamador, Salvatierra de los Barros, Valle de Santa Ana, and the ominously evocative Valle de Matamoros (‘Valley of the Moor-Slayer’).
Balboa came from the lower nobility, a class often fiercely proud of their descent, but rarely rich. In 1500, he joined in an exploratory voyage to present-day Colombia. He tried farming in Hispaniola but failed, escaping creditors by stowing away back to Colombia, and then moving to Darién in present-day Panama. Here with a few others, he founded Santa María de la Antigua, the first permanent European settlement in all the Americas, and began to grow rich by barter or war with the local tribes. By 1511, he was Darién’s governor and captain general. He organized expeditions into the interior in search of gold and slaves, often using brutal methods, such as torture or using dogs to tear enemies to pieces.
Hearing folk-tales of a fabulously wealthy kingdom somewhere to the south, governed by an emperor who was initiated in gold (“El Hombre Dorado”), Balboa requested reinforcements, but although these were forthcoming, enemies at court ensured he was not given command. He started out without them, and in September 1513, standing with “wild surmise / silent, upon a peak in Darién,” (as Keats described the moment famously, although giving the credit erroneously to Cortés) was the first European to see the Pacific, which he promptly claimed for Spain. He was restored to royal favour, and named governor of this exciting new sea, and of Panama.
But rivals continued to intrigue against him, even as he persisted in his exploratory endeavours – in 1517/8, masterminding the transportation of a fleet of ships overland across the isthmus in pieces, to explore the Gulf of San Miguel (1517–18). In 1518, he was summoned home to Spain, whereupon he was indicted on trumped-up charges of rebellion and treason, and executed in January 1519.
Not content with birthing one restless spirit, this little town also gave rise to Hernando de Soto, the first European to penetrate deep into the territory of the modern United States, and the first to encounter the Mississippi River.
De Soto’s father wanted him to be a lawyer, but when Hernando was still a teenager he informed his father he wanted to be an explorer instead, and left for the New World in 1514. He prospered in Panama through daring and slaving, and came to control the area we now know as Nicaragua. Tiring of 16th century respectability, harum-scarum Hernando loaned Pizzaro two ships and sailed with him to Peru as his captain of horse. He was instrumental in the Incas’ downfall, but thereafter fell out with the less gentlemanly Pizarro, and returned to Spain.
Jerez must have seemed terribly limiting after such expansive experiences, although he dutifully endowed a chapel in the town’s church. Unsurprisingly soon he was back across the Atlantic, as governor of Cuba, with added extravagant royal remits – to conquer what we now call Florida, and explore modern Ecuador, plus special rights to whatever riches he could find along the Amazon. Seen from today’s perspective, it all seems like a fever dream, which makes it rather appropriate that de Soto should have died from that cause in 1543, in the hut of an Indian chief, about as far from parched Extremadura as it was possible to get in the 16th century. Many today would probably argue both men should have stayed in Jerez.
Cordoba rose to eminence in the second century BC, as the Romans’ Corduba, the capital of Hispania Ulterior. It supported Pompey, and was accordingly destroyed by Caesar, but rebuilt itself to become capital of the new province of Hispania Baetica. Lucan was born here in the first century AD, nephew of his fellow Corduban, Seneca the Younger. After the Moors conquered the area, Cordoba became a cultural and political powerhouse, one of the three chief cities in the Muslim world (after Baghdad and Cairo). In the 12th century, it was the birthplace of both the Muslim polymath (and pioneering interpreter of Aristotle) Averroës, and the Jewish philosopher Maimónides, although the latter had to leave Spain after refusing to convert to Islam (he later became Saladin’s astronomer).
The Mezquita, Corduba’s world-renowned mosque, which is now the city’s cathedral, was begun (and finished!) in 785. The ingenious architect economically re-used columns from the former Visigothic cathedral, and close examination of capitals reveals some ‘un-Islamic’ figurative carvings, including a demon, a monk and a bare-breasted woman. The Mezquita was originally open along one side, but that side was bricked up after conversion to cathedral, leaving a rather crepuscular interior.
A forest of columns, in a variety of handsome stones, stretches away in all directions, all made uniform in height and given aesthetic unity by alternating light stone and red brick in tiger-striped arches. Even crowded with tourists, the effect is very impressive, its stripped-down simplicity clearly designed to induce a state of raptness.
In the gardens of the old Alcazar, there is a statue showing Columbus meeting Fernando and Isabella here in 1486, and other kingly or classical sculptures define lines of sight, or stand at the tops of steps. Clipped cypresses give shade for shrill cicadas, and carp cluster in the warm baths of rectangular pools. Some of the prisoners of the Inquisition, which used the Alcazar buildings between the 16th and 19th centuries, could probably get tantalizing glimpses of the gleaming garden, although by the 19th century the whole town had become shabbily poor. Those sad buildings remained in use as a prison into the 1950s, but now shelter instead tremendous Roman mosaics, evidence of Augustan glory days.
Battling through thick undergrowth along the banks of the Guadalquivir, I looked out for snakes, but happily only disturbed ducks, egrets, and a frog, which hopped disgustedly away as I approached – a pleasingly amphibian touch for so dry a land. Another amphibian landmark then loomed into view – the reconstructed and seized-up Albolafia waterwheel, the last of many to whirl in these waters, grinding grain and pumping water for the Alcazar. Ungrateful Isabella found it too noisy, and demanded it be disabled during her stays – a circumstance demanding Tarot metaphors about Wheels of Fortune and a Queen of Swords.
I stepped outside Spain, to be greeted with a breezy “Good morning, sir!” by a burly West Midlander policeman. This is another of Spain’s disputed borders – the airport runway that both bridges and divides Spain from Gibraltar. Hundreds of tourists were streaming over from the Spanish side to sample the anomalous state of the Rock, so geographically Spanish, so culturally caught in a hard place.
This has often been a controversial frontier, as befits so unignorable and strategic a promontory – for ancient heroes, one of the limits of the known world, and even for moderns, a key to the Mediterranean. Even before the ancients, there were heavy-browed hominids here, who left their skulls for us to find – in 1848, the first adult Neanderthal skull ever discovered. Joint ancestors of ours still reside here – the several hundred Barbary macaques on the upper reaches of the Rock, which grab food and gurn and publicly clean their private parts to delight and disconcert visitors.
The duty-free shops for which Gibraltar is renowned seem like excrescences when seen against the massive ruggedness of the Rock, its notorious egg-and-chips and British newspapers more than usually unpalatable. But such are inevitable accompaniments to long British expatriate presence since its capture in 1704 – flavours of home for old-time sailors and soldiers and modern financial consultants alike.
Other British traces are pleasingly Ruritanian – a neat little courthouse, the Governor’s mansion, a modest cathedral, seat of the delightfully named Bishop in Europe, and Union flags everywhere. But there is seriousness here too, the colony a source of invisible earnings through taxation and e-gaming, a centre for ship repair and real wargaming and, not least, a psychological salve for British bad feelings about a century of ineluctable decline.
The mariners in the Trafalgar Cemetery would have scarcely understood this busy pleasure-seeking Gibraltar, which in their day must often have felt Godforsaken, a limit to their known world. They nevertheless defended it resolutely, right from the start when the Spaniards tried to take it back; on one occasion in late 1704, the whole defence rested on just 19 marines and one officer in one redoubt, who somehow held on as their numbers were whittled down to six. Generations of British army engineers since have used their service-time shrewdly to mine the monolith with batteries, emplacements, roads, stores, tunnels and walls to deter potential retakers.
Naval frigates still call here, but now most shipping is more pacific – cruise liners and yachts, and far more importantly, cargo vessels beating up or down the Inner Sea for Suez or Atlantic. Africa beckons beyond those storied Straits, almost within swimming distance, a blue coast once of legendary danger, but now just bad conscience for well-fed Westerners eating ice-creams at Europa Point.
The close-at-hand Catholic Shrine of Our Lady of Europe is in a fairly modern building, earlier incarnations having been sacked more than once. But it contains a fortunate 15th century wooden icon, a Virgin and Child so venerated the Shrine would be saluted by ships – except those of the English in 1704, who looted all the silverware and threw the decapitated icon into the sea. The pieces were fortunately found by a fisherman, who gave them to a priest. The statue was kept across the bay at Algeciras until 1864, when it was returned to the Rock, although unrestored until 1997. In 2009, Benedict XVI gave the much-tried Shrine a much-coveted (and surely deserved) Golden Rose.
We came back to Seville with the days ticking down, and too much still unseen, or unseeable. But there was time, just, for some secular shrines – shrines like the Palacio Lebrija. The countess who bought the 16th century house in 1900 was an inveterate collector, lucky enough to live before laws were brought in to protect historic sites. Perhaps the collected items were also ‘lucky,’ because they could have been scattered or destroyed by less appreciative discoverers.
Countess Lebrija lavished prodigious pesetas on antiquarian and artistic loves, making her house a salon for the most cultivated sevillanos, floored with mosaics from Itálica, remaking rooms to fit their floors rather than the other way around. She ransacked her own ancestral home too, removing hundreds of 18th century tiles from her country place, to give her sophisticated town interiors charmingly naïve rustic verticals. There are affectionate caricatures of countryfolk in the fashions of 250 years ago, got down with rapid strokes by journeymen painters – farms slumber on vanished afternoons, hunters pursue the hart, and hounds harry hares – glimpses of a Spain disappearing even in 1900.
The Palacio de las Dueñas is the Seville home of the Dukes of Alba, one of Spain’s oldest grandee families, prominent since the 12th century. The Dukes of Alba are descended from James II of England, and the family name Stuart recurs in their history. Behind the bougainvillea which blankets the façade are peaceful patios leading off state rooms holding an art collection dominated by 16th and 17th century Italian painters. There is also a later, uglier collection of bull-fighting ephemera, ranging from lurid posters to the stuffed heads of rare bulls that wreaked revenge on their tormentors.
Antonio Machado was born at the Palace in 1875, son of the Palace caretaker. Machado would become a Modernist poet, friendly with Verlaine and Wilde, earning a reputation for evocations of lost places and overgrown gardens. On a plaque on the Palace front is an extract from one of his poems: “This light of Seville … is the palace / where I was born with his rumour of fountain. / My childhood are memories of a patio /and a bright potager where the lemon tree ripens.” The lemons are luckily still there – and even more flavoursome, the chapel where Amerigo Vespucci may have married.
On our last evening, we found ourselves by ‘chance’ eating outside the oldest tavern in Spain, Las Escobas (The Brooms), close to the Cathedral – so named in allusion to a local broom-maker whose manufactures were bought by a whimsical former landlord to be stuck on the tavern ceiling.
A more famous habitue is said to have been Cervantes, who came to Seville in 1587 in search of work, and would stay there until around 1600. He applied several times to go to the New World, but was turned down, rather unsurprisingly, as his left arm had been rendered useless at the Battle of Lepanto. He had also spent almost five years as a slave, so could hardly be described as an optimal employee.
He found less exciting employment in Seville as a government agent, collecting produce for the ill-fated Armada. He was equally ill-fated, or maybe worse, in a later job collecting taxes, and spent some time in the prison at Seville. Don Quixote was almost certainly written elsewhere, but Cervantes’ experience of Seville’s seamier side did inspire his ‘Exemplary Novels. Rinconete and Cortadillo tells of Seville’s thieving fraternity, and Dialogue of the Dogs of the city’s slaughterhouses.
We sank a sangria to Spain’s greatest writer, and this captivating and connected city – and watched our bags and wallets, and regaled ourselves on meats, as the clangour of Cathedral bells echoed down the streets.
DEREK TURNER is the editor of The Brazen Head, as well as a novelist (A Modern Journey, Displacement, and Sea Changes) and reviewer. His first non-fiction book, Edge of England: Landfall in Lincolnshire, was published June 2022. Some of his writing may be found at www.derek-turner.com He is also on Twitter – @derekturner1964
STUART MILLSON finds royalist strains in the complex composer
Since the days of Purcell and Handel, English composers have often excelled at royal music, or more accurately, marches and anthems for great regal occasions. Ralph Vaughan Williams (1872-1958) did not quite fit into this tradition, with Elgar, Bliss and Walton largely assuming that role during his lifetime. He used to say he would never write such music. He nevertheless famously composed for Elizabeth ll’s coronation (‘O Taste and See,’ a setting of Psalm 34, and ‘All People That On Earth Do Dwell,’ based on Psalm 100) although in a way that stressed the link between monarch and people – which is characteristic of his complex character and work, bridging ancient and modern, mystical and democratic.
Vaughan Williams also wrote for monarchs less directly, in his many incidental orchestral and vocal pieces for (or inspired by) Shakespeare’s history plays – dramas laying bare the trials and tribulations of the kings of old, the dark moments of their reigns as well as the moments of jubilation. Ironically enough, on the strength of this latest CD release from Albion Records, it could be argued that Vaughan Williams was in fact the most prolific servant of the Royal remit of any English composer, commemorating England’s battles, bloodshed, dynastic struggles, civil wars and crownings of Kings across the entire span of the country’s life as a monarchy.
Shakespeare being the inspiration, the disc offers us such gems as the 1913 Stratford Suite, in which ‘Greensleeves’ and several other famous tunes from Tudor antiquity make an appearance. Throughout the 72 minutes of music carefully curated and conducted by Vaughan Williams expert, Dr. James Ross, the listener will recognise folk-tunes which appear in other guises, such as Henry lV’s ‘Princess Royal’ — also heard in the quick-march opening to the composer’s jaunty ‘Sea Songs,’ ‘Halfe Hannikin’ (found in Sir John in Love and Fat Knight), Dowland’s ‘Pavane Lachrymae’ which was used by Sir Granville Bantock in Old English Dances, and finally, the noble plainsong melody which makes an appearance in the semi-final movement of Tippett’s Suite for the Birthday of Prince Charles, and in the Allan Gray film score for the classic Powell and Pressburger film, A Canterbury Tale — the uplifting ‘Angelus ad Virginem.’
However, what makes this recording such an exciting find, the production such a success — so atmospheric and authentic, throughout — is the use of a smaller orchestra, in this instance the poised, elegant, silvery strings (listen out for the latter quality in Track 18) of the often-overlooked Kent Sinfonia. Recorded in Kent churches (Wye and Hythe) James Ross’s players bring an atmosphere of the theatre to the proceedings, but sacrifice nothing in the expansive and spine-tingling moments in Richard ll, or in Henry V’s appointment with destiny in the “vasty fields of France” (the seven-minute long ‘Henry V Overture’).
The recording has plenty of ‘air’ around it, so the dry acoustic of studios and modern concert-halls is, mercifully, avoided. A Tudorish brass sound, spot-on woodwind and martial side-drums ring out from the spaces of the mediaeval churches (so often the best recording venues), whilst the choral contribution of the Albion Singers in Henry lV – especially the rich baritones – suggests a larger number of singers than were actually present at the making of the record. Guildhall-trained soprano, Eloise Irving, also brings her magic to solo songs, such as in the famous melancholy setting from Othello, ‘Sing willow, willow willow.’
With informative programme notes, excellent photography and artwork from the Ralph Vaughan Williams Society’s John Francis, the CD is complete joy from start to finish: my ‘album of the year.’
CD details: Vaughan Williams, Royal Throne of Kings, Albion Records, ALBCD062
RICHARD DOVE loves a sonic celebration of ‘Czechness’
Snesi bych ti modre z nebe – I will bring you the blue from the sky. This Czech saying was writ large for the two nights the Czech Philharmonic, led by conductor Jakub Hrůša, took over the Proms. This was music and performance from the depths of the soul – the effort clearly in evidence as the conductor wiped sweat from his brow and dried his glasses. The performances were visceral, pure, undiluted Czech identity.
Dvorak’s Cello Concerto opened these strident proceedings, with soloist Anastasia Kobekina delivering both passion and power. It is difficult to comprehend why, initially, Dvorak considered the cello insufficient for a solo concerto, having considered the upper registers of the instrument too nasal and the lower register as a mumble. This work confounds both views, having been described by some as the greatest cello concerto. Kobekina’s playing exuded the gentleness of a breath and the crack of a crescendo.
The Symphony in C Minor (‘Asrael’) by Dvorak’s protégé and son-in-law, Josef Suk, saw the Czech Philharmonic at its passionate best with this highly emotional work. It was composed after his mentor’s death and the death at 27 of Suk’s wife, who was Dvorak’s daughter – a veritable dance with death. Like the poems of ecstasy by Zemlinsky and Scriabin, this intense, thickly-textured work is not played nearly enough. This music is almost a distillation of Czech identity, where life is arduous but the spirit can still soar. The reception was thunderous and enduring. We had all danced with death and triumphed.
The second night was devoted to Jancek and Dvorak and a premier performance of Vítězslava Kaprálová’s Military Sinfonietta. Kaprálová’s story is another tragedy – a brilliant student who died in 1940, aged just 25. This is a work that seems to define the triumph and desolation of war. It is no hymn to glorious victory but combines cries of despair and the rhythmic roar of a battalion advancing.
The fiendishly difficult Dvorak Piano Concerto in G minor provided the opportunity to view the intense technical and subtle skills of rising Japanese star Mao Fujita. When not playing, Fujita turned towards the orchestra embracing this complete work. He nodded, smiled and then focused, head down at the keyboard – a soloist not apart but integral to the work, the sound and the orchestra. There were quite a few Japanese people in the audience to appreciate their new star, as we did. His fluid playing defied belief on occasions. Was that really one piano and two hands? The cheers and applause was sustained and heartfelt. We had witnessed something very special and unique. Conductor Hrůša seemed to merge with the orchestra with his intense gestures and visual cues. This was not conducting, but living and breathing the music.
The evening closed with the gigantic Glagolitic Mass by Leoš Janáček. The orchestra was joined by the Prague Philharmonic Choir and soloists soprano Corinne Winters and mezzo soprano Bella Adamova, along with tenor David Butt Philip and bass Brindley Sherratt. As the orchestra and choir took up their places we steeled ourselves for a beautiful onslaught. The Archbishop of Olomouc had suggested to Janáček a Mass in Old Church Slavonic (which uses the Glagolitic alphabet). The final version of the work was completed in 1928, with the addition of a gargantuan organ solo. The idea appealed to the composer’s pan-Slavism; he saw the ancient language as the ancient wellspring of Czech culture. The orchestra played as if they embodied that culture and those traditions. The silvery strings and ‘Central European’ brass achieved an authentic Middle European sound in this extraordinary, atavistic work. Again, the thought occurs that the Czech Philharmonic was, before us, curating their heritage in this modern sound with ancient roots. We roared at the end and almost refused to let the performers leave the stage. In the slightly revised words of Czech playwright Tom Stoppard: “Notes are sacred. They deserve respect. If you get the right ones in the right order, you can nudge the world a little.” As we headed home, our worlds had all been nudged, not a little but a lot.
The pause was exquisite. The silence seemed to embrace the sold-out Royal Albert Hall. The conductor was momentarily lost in a sound world of his own. He sighed and slowly exhaled. And then the eruption of applause broke the reverie.
This was Sir Mark Elder’s last performance with the Hallé Orchestra: Mahler’s Fifth Symphony. I watched as he smiled and joyously relaxed, gesturing to the orchestra. In his valedictory speech, he reminded us that he had been leading the Hallé for 25 years from its base in Manchester. “Some of you may not know where Manchester is. Well, you get the train to Crewe and keep going.”
Sir Mark Elder is now 77 and whilst stepping down as Music Director, he will still be conducting around the world.
He introduced me to opera. I read an interview with him and David Poultney on their plans for the ENO in 1979. They wanted to create a stir and bring opera to new audiences. I gave it a go, and have been giving it as go ever since.
The triumph and tragedy, exasperation and exuberance of Mahler’s Fifth seemed an entirely appropriate swan-song; an unconventional composer and an unconventional conductor. Elder liked to do things differently and was not afraid to speak out. He abandoned evening dress for the Hallé and called into question the latent jingoism of the Last Night of the Proms at the time of the Gulf War. He lost the conducting gig as a result. He was a very talented bassoonist and keyboard player who found his métier in leading and conducting. He is a fervent advocate of music in schools and reminded us in his finale speech of the importance of music in the cultural life of this country and, indeed, our own lives. He also urged us to protect and nurture the Proms Festival and not to take its continued existence for granted. It was absolutely appropriate that someone who has never been afraid to speak out and challenge orthodoxy should issue not bland platitudes about his career (“Let’s not get too sentimental”) but warn us to be on our guard and ensure that “this unique festival of music” has a future.
Sir Mark should have the last word:
I’ve tried to make the Hallé so much a part of the fabric of the city that even people who don’t appreciate the music we produce at least recognise that Manchester would be a poorer place if the Hallé did not exist. We need different sorts of music. If you can show a five years-old child a concert orchestra, they may not need that music until they are 45, but they try that and remember these people who came to school. Music is a spiritual food. We need it as much as we need fresh air and companionship, a social life or sports. Music is something to share with others. It has to have an open door.
RICHARD DOVE enjoys African-European intercultural excellence
I still remember when I first heard the unusual rhythms and bell-like tones of the Ethiopian pianist and composer Emahoy Tsegue-Maryam Guebrou. The smell of burnt toast brought me out of a musical reverie. I could hear the patterns of African percussion in her playing even though I had no clue as to whom I was listening to. Emahoy was a reclusive nun who rarely gave performances. She died last year, prompting a reissuing of her sparse recordings.
She remained my main introduction to piano composition in Africa until the arrival of a new CD – African Pianism by Rebeca Omordia – where the work of seven contemporary African composers are featured, as well Chicago-born Florence Price who was the first black female composer to have a symphony premiered in that city in 1933.
There is much to enjoy, from the Arabic timbres of Algerian composer Salim Dada and Morocco’s Nabil Benabdeljalil to the polyrhythms of Soweto-born Mokale Koapeng, who explains that in his Prelude in D he “infuses the dance elements I grew up listening to and witnessing in various townships.”
South Africa’s Grant McLachlan composed his Sonatina for Double Bass and Piano in 2016 and the third movement, Senzeni Na? (‘What have we done?’) remains hugely popular across the country. He says, “It is a recreation for piano of an anti-apartheid protest song often sung at funerals and demonstrations…inextricably linked to the struggle for freedom and democracy.” The piece is slow and gentle, but with a quiet rage; it is easy to imagine it being played at sombre funerals.
In contrast, Fela Sowande’s Two Preludes on Yoruba Sacred Folk Melodies is a joyful, original and, as the excellent accompanying sleeve notes by Robert Matthew-Walker reveal, “a profoundly African print with a descending quasi-scalic theme in which seconds and thirds unfurl as leaves of a flowering plant.”
Akin Euba, who died in 2020 was regarded as the most distinguished Nigerian composer, musicologist and pianist of his generation. He was the originator of “African Pianism” which he described as a style of composition aiming to join the inherent musical syntax of Nigerian Yoruba music to the European keyboard with connotations of fundamental harmony. Euba was a siren voice for interculturalism in composition, pointing out the similarities between the piano as a Western instrument and several Nigerian traditional instruments. Wakar Duru is Euba’s arrangement of three of Nigeria’s most popular Yoruba songs. One can imagine the piece being played in a concert hall or in a rural village church with feet tapping or bodies swaying depending on location.
This recording is volume 2 of Rebeca Omordia’s exploration of the rich diversity of African piano compositions on the innovative Somm Recordings label. It is a constantly surprising feast of sounds, moods and emotions. Born in Romania to a Romanian mother and Nigerian father, she is hailed as an African classical music pioneer and is the artistic director of the world’s first ever African Concert Series at the Wigmore Hall in London. This is a perfect starting point for intercultural musical exploration, east, west and all points north and south.
A rain-soaked, windy, grey Sunday afternoon on the Deal seafront and around 50 valiant, anorak-wrapped hardy souls are in deckchairs facing the Royal Marines tribute (after the 1989 Deal Bombing, in which 11 Royal Marines died) bandstand listening to the Sandwich Concert Brass Band. Can there be a more enduring English scene? As I stand and observe, I wonder if any other genre of music could attract these people to this place, given the atrocious weather.
Brass bands have warmth, whiffs of nostalgia and an enduring empathy with audiences. We are not in awe of their virtuosity. A brass band is the friendly, helpful neighbour who always has that drill bit or lawn spiker to loan you.
Sir Arthur Bliss came to mind as I sheltered and listened. He adored brass bands and was often astounded by their virtuosity: “Hearing the sound these players can produce, it did not take much to persuade me to write Kenilworth.”
The previous few days I had been listening to a new Chandos CD, Bliss:Works for Brass Band, performed by the Black Dyke Band and conducted by that musical polymath, John Wilson. Kenilworth, F13 was composed in 1936 after a visit to four Lancashire towns and Kenilworth Castle. It has everything – an up-beat march, solemn ceremony, solo fanfares, touches of melancholy and a joyous concluding march. It is music that inspires the spirits and warms the heart whatever the weather.
John Wilson has ranged far and wide across Bliss’s brass band works. A highlight is ‘Things to Come’, a suite for Alexander Korda’s film based on H G Wells’ novel The Shape of Things to Come. Wells invited Bliss to compose the music for the film even before filming began. Bliss joined the production team to modify and embellish the score during shooting. The excellent sleeve notes note that the March melody is sorrowful in character, suggesting a weary humanity locked in never-ending strife, yearning for peace. Plus ça change.
Diaghilev’s Ballets left a lasting impression on Bliss. He recalled that leaving a ballet had led him to board the bus home with a Nijinsky leap. A meeting with Ninette de Valois led to the composition of his ballet Checkmate. The four dances on from the ballet soar and swirl as Love and Death compete for ascendancy. We hear rapid shifts of mood as elation and despair are played out. Hardly suitable for a wet Sunday afternoon in Deal – try evening twilight.
This wonderful CD encapsulates the moods and circumstances of a day, a week, a lifetime. John Wilson cajoles and nurtures the Black Dyke (have we lost all our Mills?) Band across this spectrum of Bliss and his love of brass.