Saturday, 13 May 2017

Mental Health Awareness Week

It always amuses me when the media informs me that "many people have mental health".  For some reason, despite making efforts to dispel the stigma attached to it, they are still reluctant to use the term "mental illness". This is presumably because, for many decades, "mental illness" has been synonymous with "madness" and has been viewed as meaning that the person concerned has something wrong with them. That "something" is still not generally regarded as the equivalent of a broken leg or a bout of flu, and the victim is often thought of as dangerous and incurable.
It's true that some mentally-ill people are dangerous, though usually the danger is more to themselves than to others. It certainly isn't true that they are incurable, though, as with cancer, we have not discovered all the cures yet. Mental illness is also not contagious, and there is normally no need to avoid seeing or speaking to such people. Attitudes have certainly changed, but not always for the better. Even Siegfried Sassoon, a man of great compassion, referred to his fellow-patients at Craiglockhart Military Hospital as "dotty", and found it hard to relate to them.
Sassoon naturally did not like to think of himself as "ill" when he was admitted to the hospital through that slightly forbidding main entrance (which some of us will see when we attend the ALS conference in Edinburgh in just a few weeks' time). Many doctors thought likewise, even when they were treating soldiers who were suffering from what we now call post-traumatic stress disorder. They called those men cowards, shirkers, fakers, and many other things - as if they were not already feeling worthless enough.
Not only did many doctors not believe in or see any distinction between "shell-shock" and "madness", but even those who did, the sympathetic pioneer psychiatrists like William Rivers and Arthur Brock, were unsure how to treat such patients. Brock particularly favoured physical activity, which in some cases produced good results, and Sassoon certainly believed that his long conversations with Rivers were helping him recover.
A charity called Glenart uses music, art, and other activities to help rehabilitate injured military personnel and those who, for whatever reason, need assistance in returning to civilian life. Appropriately, one of Glenart's sponsors is Napier University, the establishment which now occupies the buildings at Craiglockhart and acts as custodian of the War Poets Collection, which is mainly housed in the former entrance hall of the military hospital. Performers from Glenart will also be providing some entertainment at the ALS conference. The charity takes its name from HMHS Glenart Castle, a hospital ship of the First World War that was torpedoed and sunk in the Bristol Channel during 1918, killing 162 people, mainly patients and medical staff.
If you have watched television or listened to the radio recently, you cannot have helped hearing that Mental Health Awareness Week is just drawing to an end. The experiences of soldiers returning from Afghanistan and Iraq have done a great deal in recent years to foster understanding of PTSD and other mental problems resulting from involvement in warfare. These are hardly any different from the experiences of soldiers a century ago, but we have a greater awareness of it now, and thank goodness for that. Even in the "normal" adult population, though, statistics suggest that only 13% of people have "high levels of good mental health", whatever that may mean.
Sassoon was one of the lucky ones, though he did not always feel that way himself. He survived the war, both physically and mentally, and went on to make a great contribution to English literature. Compare him with Ivor Gurney, a talented poet and musician, who wasted away in a mental institution for nearly twenty years before his premature death, or even with David Jones, a poet and artist who had two severe breakdowns, one brought on by the very process of reliving his memories for the purpose of writing his unique prose/poem "In Parenthesis". We should remember them all when we enter Craiglockhart and meet representatives of Glenart.

Monday, 24 April 2017

Dr Vaughan, Dr Williams and Dom Sebastian

This post is not exactly a sequel to the last, but it continues on a similar theme. On Sunday 23 April, the annual Henry Vaughan Memorial Service took place at Llansantffraed Church near Brecon. In recent years, I've made an effort to attend on behalf of the Sassoon Fellowship, but this year was a particularly significant occasion, for two main reasons, the first being that it marked the official opening of the new Visitor Area inside the church, towards which the SSF made a modest financial contribution. The new information panels include a mention of Sassoon's visit - of course - and his poem "At the Grave of Henry Vaughan", which is read out at the graveside each year by Wendy Camp during the wreath-laying ceremony that follows the main part of the service.
The Usk Valley, near Llansantffraed
The other significant point about this year's service was the fact that the SSF, for the first time, became an active part of the wreath-laying ceremony. The Brecknock Society's wreath was laid by Glyn Mathias, OBE, former TV journalist and the son of Roland Mathias (1915-2007), renowned local writer and critic who, as it happens, also wrote a poem on the subject of the grave, though his is less well-known than Sassoon's. Our wreath was made and laid by Anne Penton, the great-niece of David C Thomas - who was himself an old boy of the local public school, Christ College, Brecon.
The presence of Dr Rowan Williams, former Archbishop of Canterbury, who, as he put it, "cut the metaphoric ribbon" to open the Visitor Area, made this an even more special occasion. The Visitor Area is not in its final form at the moment as the information panels are not set up in their final location, which will include a stand displaying copies of works by and about Vaughan.
Dr Williams also gave the address, taking as his subject the theme of "Life as relation: Vaughan's images of reconciled living". Beginning with the poem "Quickness" (in its archaic sense of "being alive"), he took us on a whistle-stop tour of Vaughan's ideas on the subject, which gave me pause for thought simply because these are very close to the concept of "mindfulness" which is so much in vogue in the 21st century. Many are following the lead of Eckhart Tolle, whose 1997 book, The Power of Now, is so much more than just another best-selling self-help manual, and are practising the discipline so ably taught by individuals such as Jon Kabat-Zinn.
Dom Sebastian Moore, who gave Siegfried Sassoon his instruction in the Roman Catholic faith, was a great admirer of Tolle, as I have discovered while reading his own exploration of faith, The Contagion of Jesus. Dom Sebastian was awaiting final publication of this book at the time I interviewed him in 2007. He talked to me about how it had come into existence as a result of a friend having collated a series of essays and sermons he had written over a long period and linked them into distinct strands of thought. At that time, because of my lack of knowledge of Catholicism, I had little idea of the content of the book. He did not mention Tolle, nor could he have mentioned him to Siegfried Sassoon during their acquaintance; Tolle was only 19 when Sassoon died.
So it was a pleasant surprise, after returning from the service, to return to The Contagion of Jesus and find Sebastian quoting Rowan Williams. Whether his ideas were completely in tune with Dr Williams's ideas, I cannot verify, but it's clear that Dr Williams sees Henry Vaughan as having had a revelation similar to that experienced by Eckhart Tolle. It just goes to show that there are no new ideas under the sun, just ideas which haven't previously received the appreciation they deserve. Henry Vaughan was well ahead of his time, and this helps to explain the ongoing revival of his reputation.

Tuesday, 4 April 2017

Dr Williams, Dr Vaughan and Reverend Herbert


It's possible that many of those reading this will not have come across the poetry of George Herbert. What I knew about Herbert prior to writing my recent pamphlet Siegfried Sassoon: At the Grave of Henry Vaughan, could have been written on the back of a matchbox. Like Vaughan, Herbert was a seventeenth-century writer, a forerunner of the so-called metaphysical poets, and best known for his devotional verse. His 1633 poem, "The Pulley", begins with the words:

"When God at first made man,
Having a glass of blessings standing by..."

Barbara Pym used that phrase, "a glass of blessings", as the title of a 1958 novel, generally considered one of her best. That was the only reason I had taken any notice at all of George Herbert, who - much like Henry Vaughan - has fallen out of favour in recent decades. Nevertheless, among his fans is numbered Dr Rowan Williams, former Archbishop of Canterbury and current Master of Magdalene College, Cambridge. Dr Williams also dabbles in poetry but he did not read any of his own work when I heard him give the Annual Sir John Lloyd Lecture at Theatre Brycheiniog on 24th March. (Sir John Lloyd (1861-1947) remains the most revered of Welsh historians.)
As well as taking an interest in George Herbert and his successor Henry Vaughan (also a doctor, but not of the academic kind), Dr Williams is Honorary President of the David Jones Society, and officiated at the Westminster Abbey Service to "mark the passing of the First World War generation", which Meg Crane and I were privileged to attend on behalf of the SSF in 2009. As well as referring to David Jones in his sermon on that occasion, Dr Williams drew attention to an anthology called The Winter of the World, which was later used by Vivien Whelpton as the basis for the programme of readings the SSF hosted at Heytesbury Church in 2014.
So it should come as no surprise to anyone that the subject of Dr Williams's lecture at Theatre Brycheiniog went by the title of "A Poet's View of Henry Vaughan". Vaughan was born just a few miles away, close to the River Usk, beside which is his grave, visited by Siegfried Sassoon in 1924. Dr Williams took this opportunity to talk about the relationship between Vaughan's poetry and that of George Herbert, who died, aged 39, when Vaughan was still a child. He would not have known Herbert personally, but his boyhood tutor, Matthew Herbert, was a relation and Vaughan was certainly well acquainted with Herbert's poetry. Vaughan acknowledged Herbert's influence on his work, but many consider him superior to Herbert as a poet.
Herbert became rector of Bemerton in Wiltshire in 1629, and remained there, a dedicated priest, for the rest of his short life, even forking out for the upkeep of the church when funds were low. (He came from a wealthy family; his father was an MP and he was related to the Earl of Pembroke.) He was also a musician, capable of setting his own verses to music. In fact, dozens of his poems have been set to music by other composers, in contrast with Vaughan; only one of the latter's poems, "My soul, there is a country", is a well-known hymn.
Dr Williams' lecture threw light on the similarities and differences between the work of the two poets. I have to confess that on times he got into theological and literary territory that was somewhat beyond the boundaries of my knowledge, yet he was always interesting to listen to. (Even if he had not been, his mellifluous voice would have made the experience worth while.) There were clearly many people in the audience who were well-acquainted with both Vaughan and Herbert, and some demanding questions were asked at the end of the lecture, which Dr Williams fielded with great erudition.

Friday, 31 March 2017

Ask the Eggheads

Now that it's all over, and the programme has been broadcast, and everyone knows the result, I can talk a little about my experiences with the Alliance of Literary Societies on Eggheads, the popular BBC2 quiz show. In case you missed it, the programme was broadcast on 22nd March and is available on iPlayer at the time of writing. Failing that, you can expect it to be repeated in a year or so.
Not all TV quiz shows work the same way. One obvious difference is that some (like University Challenge, Mastermind and Pointless) have a studio audience, but others don’t. Eggheads is one of the latter.  Our reserve (David McNaught from the Wyndham Lewis Society) had the viewing area to himself.  Most BBC programmes are not made by the BBC in any case. Eggheads is made by 12 Yard Productions at the BBC Studios in Glasgow. It’s expensive to make a programme as you have to pay the contestants’ travel expenses, but I can assure you that there were no frills attached in our case. We were given some sandwiches when we arrived at the studio, and on the basis of that we were not allowed anything towards an evening meal or even a drink. The Eggheads themselves go to Glasgow for a fortnight at a time and record four or five shows a day, although they do at least work in relays. They all seemed really nice people, but we did not get to talk to them for more than a few seconds.
If you haven't watched the programme, you may not be aware of the format. I won't go into it in detail, but I will mention that the questions are arranged in categories and the teams have no idea which categories are going to come up, so it is difficult to allocate individuals to subjects in advance. All of us were prepared to do "Arts and Books" - which, fortunately, did come up and was efficiently dealt with by Robin Healey of the Charles Lamb Society. On the other hand, no one really wanted Science, so I ended up with that on the grounds that my job title includes the word "engineer".
The first two questions were straightforward; the third I like to describe as impossible, though actually I might have guessed it if I had thought long and hard enough. There is no excuse for this as there is no time limit on answering. I could have taken an hour to think about it and they would just have cut it out of the programme. But my feeling at the time was that I would not be able to make even an educated guess, as the fact that “ornis” is Greek for “bird” had completely slipped out of my head and would probably not have returned even if I had taken an hour. Lisa, the Egghead against whom I was competing, made me feel better afterwards by saying she would also have guessed wrong, and Kevin Ashman - generally considered the greatest quizzer in the UK at the present time - did not know the answer either. So I got plenty of sympathy from those of my acquaintances who saw the programme.
The other members of the team were Alliance of Literary Societies Chair Linda Curry, Mike McGarry of the Malcolm Saville Society and Phil Jones of the Dr Johnson Society.  Mike and Robin won their individual head-to-head battles with the Eggheads, while Phil and I lost ours and had to sit out the final in the notorious “question room”, where you can only hear Jeremy Vine’s voice, not the discussions of your fellow team members. I had envisaged that the question room would be a little soundproofed booth, but in fact it is just another studio, a long way from the other one. The Egghead against whom you are competing is sitting just a few feet away.
Linda, Mike and Robin made a brave effort in the final round but an unlucky guess resulted in them losing 3-2. In the final analysis, we all felt that we had put up a good fight and had not disgraced the good name of the ALS. I would like to think that you all felt likewise.

Sunday, 19 March 2017

Out of Obscurity

Those who were at The Lamb last weekend for our annual get-together with the Wilfred Owen Association were fascinated and moved to hear Richard Wilson talk about his illustrious great-uncle, the poet T P Cameron Wilson (1888-1918). Present in the audience was Merryn Williams, whose monograph in Cecil Woolf's War Poets Series has done much to arouse wider interest in his poetry.
Cameron Wilson
Cameron Wilson is one of many First World War writers who remain "obscure" in the eyes of the general public, having been eclipsed by a few people with more dramatic backstories and/or more glittering literary careers. ("Minor" poets is sometimes used as a blanket term for them.) Yet he had enjoyed comparative success with his work even before the war, and it is surprising that his output is not better known. Although writers like Owen and Sassoon have a genius that stands out, and were almost guaranteed to rise to the top of the pile at some stage, the final analysis of who is remembered and who is not suggests that chance has played almost as big a role as merit in deciding the content of the First World War's poetic canon.
Take Robert Nichols. Edmund Gosse compared him to Keats and Shelley, but latter generations have come to consider his work nothing out of the ordinary. Nichols and Sassoon got to know one another in 1917. Like Sassoon, Nichols had suffered psychological problems as a result of his war experiences, and it had already ended his military career. Also like Sassoon, he survived the war, though he didn't make old bones - he died aged 51, his reputation as a poet already much depleted. But it was Nichols who wrote the introduction to Sassoon's Counterattack collection in 1918, and Nichols who helped secure him a lecture tour of the United States in the following year, by recommending him to his own American fans. He describes Sassoon as "one of the leading young poets of England", somewhat condescending praise from one who was himself only about 25 at the time. I wonder if that is the reason he understates Sassoon's actual age.
Robert Nichols
There is a blog dedicated to the work of these "forgotten" poets, and the War Poets Association also works to enhance their reputations. There are also related groups, such as "Female Poets of the First World War", a subject on which a lot of great work has been done by the tireless Lucy London.
On our tours of the Western Front in the company of the remarkable Vivien Whelpton, we have encountered many of these lesser-known poets: Leslie Coulson, Ewart Alan Mackintosh, Noel Hodgson, Patrick Shaw-Stewart and innumberable others - and have argued over their respective merits. We have even stood on the spot where Vera Brittain's fiancé, Roland Leighton, was shot by a sniper in 1915, aged only twenty. Ironically, Leighton, who wrote only a few unpublished poems, seems to have acquired a literary reputation that rests almost entirely on the flattering picture of him painted in Brittain's memoir, Testament of Youth.
I wonder sometimes if there is a war poem for everyone. Who is to decide whether Cameron Wilson's "Magpies in Picardy" is better or worse than "Anthem for Doomed Youth"? We can say only that we prefer one or the other, find one or the other more moving, or that one strikes a chord with us that another fails to strike.
To find out more, read Lucy London's blogs at
http://femalewarpoets.blogspot.co.uk
and http://forgottenpoetsofww1.blogspot.co.uk .

Sunday, 5 March 2017

Living with a Genius

There never seems to be much time to read novels these days, and it takes a good one to divert me from the normal run of events - not only the work I have to do to earn a living but the time taken up by my many hobbies including the Siegfried Sassoon Fellowship. Historical novels, when properly researched and not over-romanticised, are my favourite kind of reading, and Robert Graves has a good reputation as a writer of historical fiction. Yet little did I think that I would become fascinated by a Graves novel of which I had never heard until recently.
I don't know how he came to write Wife to Mr Milton in 1943. My assumption that he had access to some pretty extensive primary sources seems to be supported by the existence of an earlier novel on the same subject, written - like Graves' version - in the first person. Anne Manning, a prolific Victorian author, wrote her fictional account of the Miltons' married life in 1849. It opens in the same place as Graves' novel, with the teenage Mary Powell celebrating her birthday by beginning a diary. However, Manning does not make Mary's life thereafter sound quite as disastrous as that of Graves' Marie.
The latter novel has been called "a relentlessly effective satire on masculine self-regard", which is ironic when you consider its author's life - how he married a woman almost as young as Marie Powell was when she married John Milton (though in the case of Graves and his first wife Nancy Nicholson, there was no age gap to speak of), how he effectively abandoned her when she declined to continue living in a menage-a-trois with him and his lover Laura Riding and how, throughout his life, he acquired a reputation not only as a ladies' man but as a somewhat self-centred one. Alternatively, you may see the novel as another critic did, as "a libel on a man 200 years dead" - poor old John Milton, in whose favour Graves hardly finds a word to say.
Marie - or Mary as her husband preferred to call her - was the daughter of a Royalist family with property near Oxford. Graves describes their rural lifestyle in a colourful yet credible manner that suggests familiarity with the customs of the time. It is obvious that he researched it thoroughly, but is it fanciful of me to imagine that he gleaned some of his material at first hand from living in a cottage in the village of Boars Hill just after the First World War? Sadly for Marie, the Powells were not as well-off as they appeared on the surface. It later became apparent that her father had fraudulently remortgaged his estate several times over, to different people, in order to pay off the debts resulting from his over-generous expenditure. Some sources actually describe her as having been "sold" to Milton in payment of a debt her father owed him.
Rather than continue the story and include spoilers in this post, I prefer to muse for a moment on what made this story attractive to Graves as the basis for a novel. Surely it must have had something to do with the English Civil War, which dominated the lives of Milton and his reluctant young bride in such a way as to have reminded Graves of the upheavals of the years 1914-1918? Whatever one thinks of John Milton - who does seem to have changed his mind quite frequently on a number of important topics - he had good reason to be troubled by the events of the 1640s and subsequent decades, even though he did not personally participate in the fighting.
As with Sassoon and Henry Vaughan, two poets shared similar experiences several centuries apart. Yet in the case of John Milton, Graves' sympathies appear to be more with Mrs Milton, whose family lost everything during the war. In a 1957 article, he is highly critical of Milton's work, calling "L'Allegro" a "dreadful muddle". He believes that Milton took such pride in his education at Cambridge that he writes in "a Latin straitjacket".
Perhaps Milton mellowed after Marie's death. In the 1660s, blind and short of cash, he was threatened with imprisonment and even execution as a result of his outspoken anti-monarchist views. His unlikely saviour would be a man he had employed as an amanuensis, the Teflon-coated Andrew Marvell, who had avoided becoming associated with either party by the expedient of spending the whole of the Civil War travelling in Europe and was now an MP. Milton himself eventually retreated sheepishly to the Buckinghamshire village of Chalfont St Giles, where the cottage in which he spent the last few years of his life can still be visited.


Tuesday, 21 February 2017

Outlook Positive

One question I keep being asked, by people who have seen the details of the forthcoming Alliance of Literary Societies conference, is "What is the Outlook Tower?" I admit I haven't been very forthcoming on that subject because I am not an expert. I've been to Edinburgh a couple of times but didn't know anything about this building until my colleagues from the Wilfred Owen Association filled me in on the subject.
The Outlook Tower contains what is known as a "camera obscura", which literally means a dark room, a name it gained from its origins in medieval times. Actually, while the Western world was experimenting with this phenomenon, it was already well known in other cultures, and may well have been used in prehistoric times as a drawing aid. Many believe that this was the secret of the Dutch Masters, such as Vermeer, enabling them to achieve the almost photographic realism of for which their paintings are noted.
Controversy arose early in the nineteenth century when an astronomer set up an observatory practically next door to Edinburgh Castle, by adding a couple of storeys to an existing house. The project was continued and improved on by Patrick Geddes (1854-1932), who turned it into a museum. This is how the building was organised during the First World War, when Wilfred Owen arrived in the city. Owen's psychiatrist, Dr Brock (not, as some mistakenly think, Dr Rivers, who treated Siegfried Sassoon), set him the task of writing a report about the building - a building which Owen describes as "an Allegory" and "a philosophical poem". He formed the impression that the building had a soul, which accompanied the visitor from room to room.
Brock encouraged Owen's interest in poetry, and among other things this resulted in the newcomer becoming editor of the Hydra, a magazine written by the patients, of which most copies are held in the War Poets Collection at Craiglockhart, which we will be able to see when we visit on 3rd June this year. It was to seek a contribution to the magazine that Owen tentatively approached an even newer patient, Siegfried Sassoon, a few months later.
Nowadays, the contents of the Outlook Tower have changed somewhat. Although the camera obscura is still in operation - Derren Brown has given it a testimonial, describing it as "the finest I've seen" - the building has become a modern visitor attraction, rigged out with "an amazing range of optical experiences", intended to appeal to all the family. The World of Illusions, as it is called, includes a display called "Edinburgh Vision", based on views of the city as it would have been in Victorian days, a picture that Owen and Sassoon might perhaps have found more familiar than the Edinburgh of today.