A Chaplain at Gallipoli

BestJohn Masefield, mentioned in an earlier post could have been describing a different war to the one witnessed by Kenneth Best.
Best clearly writes from personal experience, while to me, Masefield’s account of Gallipoli seems to lack the authenticity that experience alone provides.

As an Australian my main interest is the Australian involvement at Gallipoli and why it has become such a focal point of our national identity.

Masefield described the Anzacs as if they were semi-divine in appearance, true Olympians and nothing like the scrawny troops from his own country but Best’s view was less complimentary describing the Aussies as reckless and undisciplined.

He has this to say about the Australian troops in Egypt prior to their departure for Gallipoli:

“No discipline. They obey commands, turn up on parade only if it suits them. They go for a route march, take towels and go swimming whatever the objective of the route march may have been”..

“General Maxwell desires not to be left alone with Aussie troops. Source of anxiety to medics, despair to officers and menace to Egypt and yet papers are full of their loyalty and efficiency. Why not put them in the front line, as David did to Uriah?” *

Masefield and Best also portray the battleground very differently from each other.
Best doesn’t pull any punches when it comes to describing the conditions and the overwhelming presence of the dead:

“Blood flies and smell – I shall never forget it. As one crawled along the trench, hands and legs of the dead hanging over the edge would strike one’s face. Here and there a familiar face, cold in death. Heartbreaking work”

Masefield’s battleground seemed to remain well-swept and spick and span (except of those dirty Turks who intentionally bred flies in their trenches to inconvenience the invaders).

It’s been helpful to read different perspectives of the Gallipoli campaign, but while I’ve found contemporary reports very interesting, I see the benefit of viewing events from a distance: the later historian can weigh up evidence from various sources away from the fervour, prejudices and limited viewpoint of those caught up in the actual events.

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* a biblical reference to this:

2 Samuel 11:14-15 “In the morning David wrote a letter to Joab and sent it with Uriah. In it he wrote, ‘Put Uriah out in front where the fighting is fiercest. Then withdraw from him so that he will be struck down and die.’ ”

Full context can be read here: https://www.biblegateway.com/passage/?search=2 Samuel+11&version=NIVUK

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The Water Diviner

water divinerRussell Crowe’s film The Water Diviner is part of the growing focus on the 1915 Gallipoli campaign leading up to the event’s centenary.

It’s the story of a bereaved father who travels to Turkey to find the remains of his three sons killed in the conflict and return them to Australia.

Crowe plays the father, Joshua Conner, an Australian farmer with a talent for water divining, a skill useful on his drought ridden farm. He’s confident that his skill can also locate his dead sons.

Through his quest Connor learns about the campaign that robbed him of his sons and its cost to fighters on both sides of the conflict. Despite an official end to hostilities, peace has not been obtained and he finds himself caught up in some of the continuing violence.

This film was another part in my attempt to find out more about the approaching Anzac Day centenary. While portrayal of the actual Gallipoli conflict plays a relatively small part of the film, it is at the heart of everything; its effects linger in the lives of all of the characters four years after that particular series of battles ended.

There are a few scenes depicting Connor’s sons in battle that show the brutality of a conflict fought with weapons ranging from machine guns to rifles, bayonets and any blunt instrument that comes to hand. Death came on open ground where there was little cover to stop a soldier being cut to shreds by machine gun fire, as well as in claustrophobic trenches where it was barely possible to recognise enemy from friend. Those battle scenes aren’t pretty, but it’s the human suffering afterwards that is harder to watch (and hear). This isn’t an action movie where death comes cheaply and frequently, usually with a wise-crack from the hero. Death lingers and delays its coming leaving victims wailing with the pain suffered in their torn bodies.

One of the things that makes this story different to others about Gallipoli, is its view of the Turkish side of things: that the Turks were being invaded and were protecting their homeland, and that they suffered greater losses than all other participants combined: over 86,000 dead and 164,000 wounded compared to 44,150 dead and 97,000 wounded from the British led allies. (http://www.anzacsite.gov.au/2visiting/tgallipoli.html and http://www.nzhistory.net.nz/media/interactive/gallipoli-casualties-country)

The film doesn’t glorify war and doesn’t set out to lay blame; it brings recognition of the dehumanising effects of war that can make anyone capable of regrettable acts and gives hope of the possibility of reconciliation and forgiveness afterwards.

Gallipoli and the Anzacs

gallipoli seriesIn 1915 British and French naval forces tried to force a way through the Dardanelles Strait, into the Sea of Marmara and then onwards to Constantinople, intending to end Turkey’s involvement in the war (WWI). Their ships found too much resistance coming from Turkish gun emplacements along the shores of the Gallipoli Peninsula so ground forces were sent to shut down the Turkish defences.

Landing on the Aegean coast, they faced more sustained opposition from the Turks than expected, and the terrain was found to be far more rugged and difficult than had been thought. British troops found themselves entrenched and held at bay in small coastal areas, unable to advance far to achieve the intended goal. A significant part of this invading army was the ANZAC force (Australian, New Zealand Army Corps). Their involvement with this Gallipoli campaign became central to ideas of Australian and New Zealand identity even though they were fighting a war as British and for the British.

The initial landing took place on 25th April 1915 that date has become known as Anzac Day, a day of commemoration when the dead of that campaign and subsequent wars are remembered in the Anzac nations. This year is the 100th anniversary.

Australian TV has recently screened Gallipoli, a TV series graphically depicting the experiences of the Australian and New Zealand servicemen at Gallipoli. There has also been a re-release of one of the modern classic books covering the topic, Les Carlyon’s Gallipoli from 2001, which was one of the guiding authorities behind the program; and several other books about that conflict have been released.

CarlyonI started my own “Gallipoli Campaign” (attempting to understand what Anzac Day is really about) by reading Carlyon’s book. It’s a sizable brick of a book, a solid 540 pages with another 50 pages making up the notes, bibliography and index. It was quite daunting to pick up at first because I know what an ordeal I’ve found history books to be; but most of this was quite easy to get through, with character studies of the major participants interwoven with excerpts of letters and diary entries written by officers and soldiers, and the author’s personal experience of visiting the various battlegrounds of the Gallipoli peninsula almost a century later. He gives a very raw and graphic account of what the men went through and the conditions they had to endure. He also makes it clear that the senior officers in charge of the campaign were completely unsuited for their roles, and the men under them suffered for it.

The only difficulty I had was trying to keep up with the many different battle venues and the various regiments and their officers. I think part of my problem was my ignorance of the geography. Until reading the book the only locations I’d ever heard of were Anzac Cove and Lone Pine, the places at the centre of Australian Anzac mythology. I sometimes felt overwhelmed by the many names of people and places. At times it was hard to remember who was who, where was where and who was where at what time.

When I neared the half-way point of the book I bought a similarly sized volume, also called Gallipoli, by Peter Fitzsimons. To get a foretaste of that book I read Fitzsimons’ introduction where he advised the reader to use the book’s maps to become familiar with the geography of the region before starting to read. Following that advice would have probably helped me through parts of the Carlyon book, and might have prevented me from imagining the events taking place on the peninsula’s eastern coast instead of the Aegean coast to the west.

MasefieldI also found another book with the same title, written by John Masefield. Having recently read Les Carlyon’s highly respected account of the Gallipoli conflict I was keen to read a contemporary view. Masefield wrote his short book in 1916, the year after the Gallipoli campaign.

When I saw that he had dedicated his book with the inscription: “deepest respect to General Sir Ian Hamilton” I suspected his view might be a little different to the one expressed in the Carlyon book which had been very critical of the British leadership of the campaign, and my suspicion was soon confirmed.
Compared to the Carlyon book, Masefield’s gives a different sense of the horror of what was experienced. Carlyon’s view is grittier, giving a stronger sense of the soldier’s daily life surrounded by death, decay and omnipresent flies. Masefield doesn’t hold back the details of death and sacrifice, but his descriptions seem more sanitised and palatable, having an aura of honour and glory, vivid but with a poetic grandeur. And while he does mention the plague of flies he writes: “Our camps and trenches were kept clean; they were well scavenged daily. But only a few yards away were the Turk trenches, which were invariably filthy: there the flies bred undisturbed”. Unlike Carlyon he gives no mention of the countless decaying bodies between the trenches that were the more likely breeding ground for the flies.

Maybe that sanitising is predictable considering Masefield was writing in 1916 and there were still men “gloriously” dying in the trenches of Europe at the time and there was a constant need to recruit replacements. A true picture of what they would encounter might make them think twice. Instead Masefield emphasises the bravery of the men fighting. The men and their actions are portrayed in an elevated and mythical way. “All that they felt was a gladness of exultation that their young courage was to be used. They went like kings in a pageant to the imminent death”. Such a portrayal would likely appeal to young men seeking an adventure to prove themselves.

Masefield’s strength is that he strips everything back to the basics to give a good “beginner’s” introduction, uncomplicated by analysis of character and strategy. He doesn’t go into complex detail but describes what happens at a few select locations, and through his poet’s eye adding vivid images like this, describing the landing at Anzac Cove:

“All the blackness was shot with little spurts of fire, and streaks of fire, and malignant bursts of fire, and arcs and glows and crawling snakes of fire, and the moon rose, and looked down upon it all”

But despite the poetic view he gives, and despite the clarity he gives to a series of events, he also gets carried away with strange interpretations of events, that are clearly coloured by the romanticised and mythic viewpoint encompassing his account:

“At Bulair, one man, Lieutenant Freyberg, swam from a destroyer towing a little raft of flares. Near the shore he lit two of these flares, then, wading to the land, he lit others at intervals along the coast; then he wandered inland, naked, on a personal reconnaissance, and soon found a large Turkish army strongly entrenched. Modesty forbade further intrusion.”

Would it be “modesty” that prevented a solitary naked and unarmed man from wandering around and confronting “a large Turkish Army” or the fact that naked or otherwise, he was in no position to achieve anything by engaging that army by himself. The implication that I read into Masefield’s account, is that Freyburg wouldn’t have withdrawn from the situation had he at least been wearing a pair of speedos to protect his modesty.

To me that example betrays a sense of unreality where the actual horrors of war are obscured by the same kind of heroic rhetoric used to recruit the war’s countless willing participants. The difference between the experience of the men on the ground and the mythicised images of glorious battle is as wide as the gulf between the conditions endured by the average soldier who couldn’t keep flies out of his food and drink and those experienced by the senior officers, away from the death and decay, sipping their port or whiskey each evening as they consider the day’s events.

Blood, Paint and Marble.

memorial

I have watched from the dirt ramparts of the base at Tarin Kot…
I have heard the noise of battle in the distance; taken the radio call…
I have awaited their return and tended their wounds…
I have worn their blood.
So many of us have worn their blood.

(excerpts from an address given by Wing Commander Sharon Bown before the Anzac Day Dawn Service, 2014)

A few months ago I visited the Australian War memorial in Canberra to see an exhibition of paintings by Ben Quilty based on his visit to Afghanistan as an official war artist. https://www.awm.gov.au/exhibitions/quilty/

TroyPark

Near his work was an exhibition of sculpture by Alex Seton, commemorating the Australian servicemen who lost their lives in the Afghanistan conflict. https://www.awm.gov.au/exhibitions/seton/

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Also during that visit I came across a quote very similar to the one above, taken from a speech given by Wing Commander Sharon Bown. The evocative sentence “I have worn their blood” stayed with me afterwards and I tried to find where it came from.
I found it in a transcript of the speech, found here: https://www.awm.gov.au/sharon-bown-anzac-day-2014/

Through the combined effects of Ben Quilty’s paintings, Seton’s sculptures and, Sharon Bown’s statement, an interest in the human cost of warfare was stirred, as well as a desire to learn more about those who deal with that cost.

I started by read a couple of military autobiographies from participants in the Afghanistan conflict. I wrote about the first of them in my previous blog post.
I’ve also been reading about the events behind the Australian commemoration of Anzac Day.
April 25th this year will be the 100th anniversary of those events .

I’m sure that few Australians know the reality behind those legendary Anzacs (Australian New Zealand Army Corps) so I’ve decided to deal with my own ignorance and will try to share some of the journey in the weeks leading up to that approaching centenary.