Saying NO to the Great War

[We are happy to offer today a contribution by Alessandra Scotto di Santolo that was previously published in the Italian blog site "La Balena Bianca". A special thanks to the author and to Lorenzo Cardilli, editor of the blog.]

Where do mosquitoes go when the wind blows hard?

On 17th July 2014 the first of 888,246 ceramic poppies was planted in the moat surrounding the Tower of London in memory of the lives of British and Colonial soldiers lost during the First World War.

Not a single one of those red poppies was however in remembrance of the 16,000 British men who stood firmly and disagreed. Some disagreed on religious grounds, some on political ones, others disagreed on moral grounds; they disagreed because they knew that war was not theirs to fight.
Yet, a century later, so many of us are still reluctant to recognise these people as worthy of mention, and we struggle with the notion that standing up to someone to say I respectfully refuse to obey your orders” took courage. They knew they would pay a price for it and that’s no cowards’ business.

Members of the No-Conscription Fellowship, formed in Britain in the autumn of 1914 by those same men and women who will be later referred to as Conscientious Objectors, were expected to present their arguments before a panel of judges which was nothing more nor different from the Tribunals that had been founded to recruit people for the army. No guidelines or rules were set up to be followed in order to determine who would make the cut and qualify as a recognised CO and be exempted from military service. Needn’t say most of them were easily dismissed and either ordered to take part in active combats or offered the alternative to do non-combatant work in the army or any civilian work that would serve the country at war. If these alternatives still didn’t sound acceptable for the COs, they would have to face court martial which would inevitably give them a prison sentence. This being the eventual fate of about 6,000 of these men, later referred to as the absolutists”.


Kate Clements, Digital Editor at Imperial War Museum, has produced a series of podcasts called Voices of the First World War, using original recordings from the Museums’ archives and has put together some of these men’s testimony to mark the centenary of 1914. Podcast37 is dedicated to Conscientious Objection and gives us the opportunity to listen to some extraordinary encounters of both those who accepted the alternative to take non-combatant jobs in the army and those who kept objecting and therefore ended up in prison.
«A favourite [question] was, what would you do if your sister was threatened with rape by some German soldier or something like that? And I can’t quite remember what I answered but it was to the effect that that had nothing to do with being a CO against the war. I think that I said that I didn’t know what I would do and that it didn’t matter in the present context in the least what I would do. The thing was this was a protest against the war, that the war was wrong», says Eric Dott when recalling his experience before the Tribunal. He wasn’t awarded the legal status of CO and was sentenced to prison after his martial court hearing.

Maltreatment in jail was most likely a given for the majority of the COs, and some of the warders reserved inhumane remedies for those objecting to their duties in prison. Harold Bing remembers witnessing one distressing occasion: «I’m referring to a CO whom I saw a couple of warders drag down several iron staircases head first, with his head banging on each iron step as he came down.»

In March 1916 the Non-Combatant Corps were formed for those who refused to handle weapons. The press kindly re-named them the No-Courage Corps” and they were often looked upon and seen as nothing more than shirkers by the rest of the soldiers in the camps.

When in July 1916 the ‘Home Office Scheme’ was introduced, COs were divided between those who absolutely refused to help the war effort and preferred to remain in the bad prison conditions, and those who accepted to take part in the work scheme and left prison to work at labour camps around the country. Things didn’t work much better for the latter ones either, as some of them discovered they were getting underpaid for the jobs taken, they organised a strike and were sent straight back to prison.
The whole process was unprecedented and hard to get around: it was the first time Britain had decided to implement a conscription law.

Things were different in the rest of Europe. In Italy, for example, conscription was merely the norm and objecting men couldn’t do so conscientiously. The only option they had was to resort to illegal measures.
Last May 2015, Roberto Bui (aka Wu Ming 1, of the Wu Ming Foundation, an Italian collective  of writers), published a book entirely dedicated to the North-East of Italy and to the geographical, social and political consequences of World War 1 in those territories, in occasion of the celebrated centenary. Cent’anni a Nordest ("A hundred years in the North-East") also reveals some disturbing realities about the dissenters of the Italian front.

Desertion and insubordination were punished with immediate execution and thanks to General Luigi Cadorna the ancient Roman practice of Decimation came back in fashion. One in ten soldiers was randomly picked for execution in the event of indiscipline in the military camps or at the front.
Insubordination was more of an excuse, also used when it came to soldiers expressing doubts about suicidal and useless missions. Soldiers like Silvio Gaetano Ortis, Basilio Matiz, Angelo Massaro and Giovanni Battista Corradazzi, executed for «rebellion in the face of the enemy», for suggesting a better and safer plan to attack the Austrian machine gun nests on Mount Cellon.
“During the war 162,563 court martial hearings for desertion took place. Of these, 101,685 men were held guilty. The death sentences resulted in 4,028 cases of which 2,967 were issued in contumacy. […] From April 1917 the death penalty was automatically held for all of those who were three days late returning from temporary leave. These are record numbers.” (pp. 174-175)
This isn’t the first time in a hundred years that someone tried to rehabilitate the memory of these lives; then why is this yet to successfully happen?
«Because desertion and disobedience are not ‘water under the bridge’, but questions to be asked to those who want the war today.» (p. 185) Wu Ming 1 quotes the pacifist Lorenza Erlicher from Trento, in Trentino-Alto Adige, who says:
“Reversing the archetypes that have until now awarded the honours to the obedient soldier and dictated the banishment of the ‘coward’, often without taking into account the merits of the historical situations (are those who obeyed to Nazis more deserving of honour than the few deserters?), not only seems legitimate but also necessary, especially when it comes to the changes to the modern military structures […] with the introduction of the element of professionalism.” (Ivi)
A necessity that seems to have also driven the Italian MP Gian Piero Scanu to propose a bill in April 2015 for the immediate recognition of innocence for the soldiers unjustly executed during the Great War. He also asked for the installation of a commemorating plaque in the Vittoriano Museum Complex in Rome, defining them as ‘war dead’. The military Tribunal will have until April 2016 to consider the individual cases and decide on whether to grant the bill or not.

On 24th November 2015 the Wu Ming collective published another book, this time dedicated to four different stories of the Great War, with the theme of desertion as a common denominator, L’invisibile ovunque ("The Invisible everywhere"). From the Italian front to the French one and back, L’invisibile ovunque explores the (not so much) alternatives to obey to the war demands.

In the first story, Adelmo, a 17 years old boy who decides to escape his unpromising future at home in the suburbs of Bologna, by secretly volunteering to the front, is faced with the brutal reality of war. He realises that the only way to escape the excruciating images that have by now made of his moves between the dust clouds of the bullets an automatic and naturally insensitive reaction to the enemy’s attacks, is to move up in military ranks and stay away from the trenches. «The corpse of the Habsburg soldier was seated, […]. Adelmo looked at him closely. He could have been about 25 years old. […] He had fine features, he looked Italian, he thought.» (p. 32)

He looked Italian: they all looked like they could have been brothers, distinguished only by the patches on their uniforms. Writer Vera Brittain shared the same sentiment in her Testament of Youth (1933), when recalling a dying Prussian lieutenant whilst serving the country as a volunteering nurse in Étaples:
“[he] held out an emaciated hand to me as he lay on the stretcher waiting to go, and murmured: ‘I thank you, Sister’. After barely a second’s hesitation I took the pale fingers in mine, thinking how ridiculous it was that I should be holding this man’s hand in friendship when perhaps, only a week or two earlier, Edward up at Ypres had been doing his best to kill him. The world was mad and we were all victims;” (p. 343)
And it was that madness Italian soldiers recurred to when it came to find a way to evade the war. Simulation of mental illness became a sort of obsession for military forces to detect, amongst those who were accepted in mental hospitals of war zones. Psychiatric research was far behind what was achieved years later the Great War and the methods used to test the authenticity of sick soldiers could easily amount to torture today.

People started physically hurting themselves so they would be exonerated from the call and studies show how this was at first instance considered a mental illness effect in itself. When the doctors started recognising psychological disturbance caused by prolonged exposure to active warfare as a pathology (the shell shock), simulating soldiers tried to desert the front by preparing themselves to act according to the symptoms of such conditions. Life in mental hospitals was such an overwhelming and confusing experience though, that after a while, many of them couldn’t remember whether they were still faking it or not.
“even a war can cause inurement. […] At the beginning, I had to spend days trying to forget the battle. I had to force myself. I even invented a ritual for myself […] In the last months I no longer needed conventionalities. The wax of my memory had become as tough as granite, and the massacre didn’t leave any traces. The war, which was once a place, the front, and the images of corps, and the smell of burning and rottenness and roars of explosions, it’s now invisible, it’s everywhere, and no ceremony can root it out.” (L’invisibile ovunque, p. 56)
The founder of surrealism André Breton served in French psychiatric wards during the First World War and during his time in Nantes, he found himself psychoanalysing his shell-shocked war patients by way of questioning them with unusual methods. He would no longer start his sessions by asking questions such as «What year are we currently in?» or «Who is France in war with?», instead he would start the sessions by reading them poems and taking notes of the reactions they had to such readings. This was his way of escaping the reality around him and he would get lost in the stories these soldiers would make up for him.

The third story of L’invisibile ovunque, testifies the friendship between Breton and the writer Jacques Vaché. Wu Ming stages an encounter between Breton and Marie Louise Vaché, sister of the lost writer, years later the second world conflict, in which the surrealist was also involved. Breton explores the years of the Great War by recalling how important and influential his meeting with Vaché during those years had been in order for him to psychologically desert the war.
“Your brother, […] used to call the war «the de-braining machine». […] And what was it to me? A monster that camouflaged by licking itself, the more it licked itself the more it mingled with the world around it. Its eyes of the colour of an imprecise storm, eyes like vortices sucking in the worst of the world – rubbish, propaganda, patriotism – to then give it back multiplied in large fluorescent glances. […] It would be better to say that the last war (the Second World War, Ed.) has met more societies: more de-braining machines, more techniques to imprison and kill people. A bigger number of men, women and children has been slaughtered, but the first one… The first one will never have equals for the hypocrisy with which the carnage was carried out. […] Meeting your brother Jacques was a revelation: in the middle of the poisoning it became possible to self-inject the antidote and let it pulse in the arteries and the tissues. Jacques, his role, his humor, his writing, his drawings, were my antidote.” (pp. 115-116)
Desertion was a state of mind many conscientious objectors in the world courageously died for between 1914 and 1918. Some of them survived, like mosquitoes in the grass.


Where do mosquitoes go when the wind blows hard? Maybe they hide in the grass. Like an outlaw who finds shelter in a pagan temple. My dear friend, if I were a mosquito, I would do just that. I would be an outlaw, yessir!


[Here is the link to the Italian blog site "La Balena Bianca" where you can find also the Italian translation of this contribution]

"After the Final Whistle. The First Rugby World Cup and the First World War." An interview with Stephen Cooper


Once again we are happy to move our attention on a book by Stephen Cooper. His newest After the Final Whistle (Spellmount Publishers Ltd) is again about rugby and of course about rugby during the Great War years. We had a nice dinner in Varago (Maserada sul Piave, Italy) in September 2014 talking about the progress of the book and the new researches involving also the territory of Italy. The book has been released last year during the Rugby World cup. Here below is his interview for which we thank him.

Q: "The Final Whistle" and "After the Final Whistle". Already in the titles, it seems there's a clear connection between your two books dedicated to rugby and the First World War years. Could you explain this connection?
A: All history writing is work in progress because the past continually gives up more of its treasures. At the time of publication of ‘The Final Whistle’ I had discovered 87 rugby players from Rosslyn Park who had died in the Great War; now the total is 109. The book itself gave new impetus to the quest, both for me and for readers who contacted me with possible names, but also stories of other players from other clubs and countries. Although I started to work on other projects (like a novel) I found the subject would not let me go; it even ‘followed’ me wherever I went. In September 2014, I found myself staying in a XVI century villa in the Veneto; on the wall of my room was an English hunting print from the 1850s, showing the home and father of one of my rugby players.

There was also a sense of unfinished business for me. As a new writer with ‘The Final Whistle’, I was nervous of talking about my personal inspiration, preferring to keep the book an objective history. As far back as 2009, I had taken a junior tour to Compiegne in France, where we played a memorial game against a French club which had lost 58 of its 120 members. An army officer addressed the teams before the match and said (in French): ‘rugby and warfare share a common language, but we must remember they are very different.’ This directly led to the first words of my book, where I explored that language of rugby and war. But I never really examined WHY rugby and the military should be so closely connected.

Two months after my return from Italy in 2014, I chanced across a reference to a rugby tournament played in 1919 by soldiers returning after the Armistice. The tournament was known as the King’s Cup. Teams came from the armies of Australia, Canada, New Zealand South Africa, France and Britain. I realised this was in effect the first ever world cup, long before rugby created its first official one in 1987 - and even before the first football competition played in Uruguay in 1930. With the Rugby World Cup arriving in England in September 2015 in the middle of Great War Centenary commemorations, here was a great opportunity to examine the rugby/war link again.

Q: How did you collect the material that gave life to this second book?
A: For once - now I had become an experienced internet researcher - I found there was very little information on the web about the King’s Cup. But perhaps in the early days I did not know where to look. There were no books ( which was good for me!) and only a few brief mentions. In order to persuade myself (and my publisher) that there was enough material to make a book, I went to the archive of the World Rugby Museum at Twickenham. An afternoon of reading contemporary accounts convinced me there was a book to be written. It would be called ‘After The Final Whistle’ because the King’s Cup was played in a new springtime of 1919, after four hard years of war, but it would be a companion to my first book, not a sequel. I also decided that I would cover all the rugby nations of the era (including USA) and necessarily include stories of survivors, not just those who were killed. This, after all, was the message of the King’s Cup- we have survived, it’s time to return to peaceful ways and sport again, and build new nations and a new world from the ashes of war.

Once the research started in earnest, I encountered the same wonderful enthusiasm around the world as I did with my first book. The Rowers Club in Vancouver, Canada, told me their story and sent me material. At the Oxford Cambridge Varsity match in 2014, I met many South African ‘Blues’, which led me to the unpublished diary of Frank Mellish, who was a wartime artilleryman, and played for England and the Springboks after the war. Contacts in Italy, France and Australia were unfailingly helpful. A twitter contact sent me pictures and letters from his club in Glasgow. And I spent a small fortune on Amazon and eBay tracking down old rugby books. When that failed I spent many hours in the wonderful British Library, reading books that cannot be found anywhere else.

Q: How long did it take to write this second book and how long did it take to write "The Final Whistle"?
A: . ‘Final Whistle’ took me 2 years. This book took 10 weeks – my publisher awarded the commission on 2 December 2014 and gave me a deadline of 16 February, in order to meet publication in time for the Rugby World Cup. I had to write in personal time, as I was merging two charities in my dayjob. I set myself a target of 2000 words every day and did the research as I was writing. I worked on Christmas Day and, as the deadline approached, was awake most nights at 3am, tapping away at my computer.

Q: What did you change in your approach to writing (if something has changed, of course)?
A:I kept the same very personal style. Not everyone likes it, but I thought it was important to have some humour and present day references, and not just write a dry academic history. But, crucially, I wanted to celebrate the human triumph of those who lived, not just mourn the tragedy of those who died. I wanted to span the big international players and their national teams right down to the small clubs and the unknown men. I also explored sidetracks and byways, simply because they interested me, and I thought readers would enjoy them. And I wanted to look forward to today where rugby can play an important part in healing conflict, as the inspiring work of Asad Ziar the founder of the Afghan Rugby Federation proves. I described my first book about 15 men as a ‘portrait in miniature’; this is painted on a much bigger global canvas.

Q: Are you promoting the new book? Where and how?
A: The book was published in the UK in August 2015 in time for the World Cup. I spoke at a number of literary festivals and there is a podcast from the UK National Archive (actually two). It has sold well since the RWC ended - I think readers were too busy watching the games! Around the world, it is easiest to find it on online bookshops like Amazon. It has been released in USA/Canada and Australia, but it is a book to be discovered.

Q: Could you suggest other book titles related to sport during the First World War?
A:. Clive Harris and Julian Whippy wrote an excellent book of sportsmen’s biographies in ‘The Greater Game: Sporting Icons who fell in the Great War’, as did Gavin Mortimer in ‘Fields of Glory’. ‘The Final Over’ by Christopher Sandford is all about English cricket in summer of 1914. Gwyn Prescott’s fine ‘Call them to Remembrance’ covers Welsh rugby internationals. Andrew Riddoch wrote ‘When the Whistle Blows: the story of the footballers battalion’. In French there is La Melee des Tranchees by Francis Meignan. Floris Van der Merwe has written ‘Sporting Soldiers: South African troops at play during World War 1’.

Q: Are you already imagining a third book? Thanks for your time.
A: So many stories from my first book haunt me and they now inspire my ambition to write a novel (I have done enough non-fiction history), especially the story of Robert Dale, the kite balloonist, who died in 1918 and now lies in Giavera cemetery. I am also working on another set in Sicily (a long story full of magical realism) and have an idea for a prison camp story in Berlin. Too many stories, not enough time.

First World War one day itineraries through Italy. Suggestion no.20: The Monument area "L'isola dei Morti" in Moriago della Battaglia

It is not actually what people could consider a “one day itinerary” what we suggest today, but nobody prevents you from spending in this place a full day. When you travel the concept of time you spend in a place can be really variable. And while travelling in the Venice area and in the Treviso province in particular for your WWI battlefield tour, you might consider a stop in the village of Moriago della Battaglia, along the left bank of the river Piave. This was an area dedicated to agriculture and in October 1918 became strategic in the final stages of the conclusive Battle of Vittorio Veneto that ended the war in the Eastern front. Today this river side area is a Monument area. “A strip of land which juts out towards the stony bed of the river Piave, once known as the “Isola verde” [Green Island]. Here, on the night of  26 October, 1918, the courageous men of the 1st Infantry Division, with  brigades from the 8th Army close behind, crossed the river at Fontana  del Buoro, creating a bridgehead which made it possible to liberate the left bank of the river. Hence the new name, “Isola dei morti” [Island of  the Dead]. Today it is a memorial area with monuments and parkland commemorating the sacrifice of so many young lives, set amidst a stunningly beautiful natural environment which features walks, mature  trees, meadows and of course... the imposing River Piave ” 

We just want to leave you with three essential tools to organize a trip that can be undertaken in all seasons:

a) The localization in the village of Moriago della Battaglia;

b) A link where you can see some pictures of the area;

c) A PDF leaflet by the project moriagoracconta.it (in English and Italian) where to get important information and from where we took the above part in italics.

"Rites of Spring: The Great War and the Birth of the Modern Age". Some reviews of the 1989 book by Modris Eksteins

We believe we have to go beyond this Centenary mood to discover those that up to now remain the best books about World War One. This climate is indeed unfavourable to the conception of new studies able to go deeply inside a widely debated argument. It is not hard to understand the reason of this discomfortable situation, since the anniversary becomes often the excuse to spice or even to drug the premises and the expectations as well. For this reason, as far as our look goes, we can easily admit that no groundbreaking approach in the study of the First World War and no history book able to break with the tradition has been released in the last years (of course we hope something is going to happen). Rites of Spring: The Great War and the Birth of the Modern Age is a book by Modris Eksteins first published in 1989 by Houghton Mifflin. Today, instead of offering a new review of this book we simply link the most interesting reviews one can find online.

Rites of Spring, Rites of Destruction
CHRISTOPHER LEHMANN-HAUPT

Notes of reading Modris Eksteins, Rites of Spring
PHILIP JENKINS

Review: Rites of Spring
ROBERT THOMPSON

Modernism & Its Consequences
JOHN P. SISK
http://www.firstthings.com/article/1990/03/002-modernism-its-consequences

Photos of animals in World War One: rats

So far we have considered the animals in World War One as friends or somehow close partners of soldiers. But we cannot but consider the other side of this story of animals crowding the trenches. And of course it is not actually a story of friendship and cooperation. It's quite easy to realize how many pictures of rats were taken during the war. In the trenches at night the rats could gnaw the soldiers' feet and of course they were responsible of many other annoyances and diseases, beside worsening an already poor hygiene. Here below is a selection of what you could find searching for pictures of rats in World War One. It's not infrequent to read about rats in diary or letters and from this we deduce they were an important presence in the soldier's life. All the below gathered images share a common sense of pride for the rich outcome of the hunt.









The poets and the world war: "Vanity" by Giuseppe Ungaretti

VANITY


Out of the blue
high
on the ruins
the clear
wonder
of immensity

The man
has bended
on the water
taken unaware
by the sun
and a shadow
revives
rocked
and slowly broken
into recessing trembling
reflections
of sky


Vallone, August 19, 1917


VANITÀ


D’improvviso
è alto
sulle macerie
il limpido
stupore
dell’immensità

L’uomo
s'è curvato
sull’acqua
sorpresa
dal sole
e si rinviene
un’ombra
cullata 
piano franta
in riflessi insenati
tremanti 
di cielo


Vallone il 19 agosto 1917


* "La Riviera Ligure", ottobre-novembre 1917. The Italian version we publish is the one you can read in Giuseppe Ungaretti, Allegria di Naufragi, Vallecchi, Firenze 1919.

"Italy and the Great War diplomacy". An exhibition opening in Brussels

Sidney Sonnino
Sidney Sonnino portrayed here beside was the Italian Minister of Foreign Affairs during the First World War, and also the Italian representative at the Peace Conference of Paris in 1919. He is therefore a key figure to understand Italian diplomacy of that time. We presume there will be enough space also for him at the upcoming exhibition opening the next 14th of January in Brussels at the Italian Cultural Institute, result of the cooperation between the staff of the Italian Foreign Affairs ministry, professor Italo Garzia and the Historic Archive of the office of the President of the Italian Republic. As far as we can understand from the first news, this exhibition deepens the origins, the developments and the results of the diplomacy initiatives "along three thematic and chronological axes". As we read in the news the exhibition tries to follow "the origins (Italian diplomacy hinging on the principle of nationality and territorial security), the war (wartime diplomacy and propaganda), and peace (diplomacy of peace)." A special attention has been put on the virtual part of the itinerary, thanks to "exceptional iconographic sources from the office of the President of the Republic on the King, Italy's foreign policy and the Red Cross's Ospedale Palace".

Info
Italy and the Great War diplomacy
Istituto Italiano di Cultura
Rue de Livourne 38, 1000 Brussels
Belgium
Tel. 02/533.27.20
email: iicbruxelles@esteri.it
http://www.iicbruxelles.esteri.it/IIC_Bruxelles/
(it is necessary to book your visit in advance)

An exhibition at National World War I Museum and Memorial explores what happened to the world’s largest painting

Special Exhibition Rearranging History: Daniel MacMorris and the Panthéon de la Guerre Opens Dec. 15 at National World War I Museum and Memorial

Press release

KANSAS CITY, Mo. – The largest remaining intact sections of the Panthéon de la Guerre have been on exhibit at the National World War I Museum and Memorial for nearly 60 years. For the first time, since the painting was last shown in its entirety 75 years ago, the public has the opportunity to view additional fragments from the world’s largest painting.

Rearranging History: Daniel MacMorris and the Panthéon de la Guerre, a new special exhibition at the National World War I Museum and Memorial, helps answer the question:  what happened to the world’s largest painting?

“For the first time since the Panthéon de la Guerre was last shown as a complete painting in 1940, the public will be able to see key fragments from this important work of art,” Museum Senior Curator Doran Cart said. “It’s challenging to put in perspective how massive this painting was in its original form. Imagine a canvas longer than a football or soccer field – it was simply colossal in size and scope.”
At 402 feet in circumference and 45 feet in height, the Panthéon de la Guerre was not only the most ambitious artistic undertaking during World War I, but upon completion in 1918, it was the largest painting in the world at more than 18,000 square feet.
“Rearranging History: Daniel MacMorris and the Panthéon de la Guerre continues the Museum’s mission of providing compelling special exhibitions commemorating the centennial of World War I,” National World War I Museum and Memorial President and CEO Dr. Matthew Naylor said. “The majority of these fragments haven not been seen by the public in 75 years and we’re pleased to tell the fascinating story of this incredible painting.”

Forgotten after exhibitions in Europe and the United States, when artist Daniel MacMorris (1893-1981) learned from a 1953 Life magazine article that the Panthéon was in the U. S., he saw a golden opportunity. MacMorris, who was in charge of decorating the Liberty Memorial, knew the panorama intimately. He had seen it in Paris as a doughboy and had studied it closely in the 1920s as a student of the Panthéon artist Auguste Gorguet. MacMorris thought the Panthéon would be perfect for the one remaining wall in Memory Hall without a mural.
After acquiring the painting, MacMorris photographed it in detail. He cut out the figures in the photos and used these like movable puzzle pieces to work out how best to reduce and reconfigure the composition – an effort he compared to “whittling down a novel to Reader’s Digest condensation.” After deciding whom to include and where to place them, he took scissors to the canvas. He cut out selected figures, flags, and other passages and added these to either side of the original American section.

What happened to the unused portions of the original? By far most of what MacMorris did not use he threw away. He sent several larger, excised passages back to William Haussner, the Baltimore restaurateur and art collector who donated the Panthéon to the Liberty Memorial. Haussner displayed many of these in his eponymous restaurant until it closed in 1999, after which they were sold at auction. MacMorris doled out other pieces to the art students who helped him reconfigure the painting.  Still others he gave to influential Kansas Citians, some of whom have since donated the fragments back to the Museum.

Rearranging History: Daniel MacMorris and the Panthéon de la Guerre is open Tuesday, Dec. 15 through March 27, 2016 in Memory Hall. 

About the National World War I Museum and Memorial
The National World War I Museum and Memorial is America’s leading institution dedicated to remembering, interpreting and understanding the Great War and its enduring impact on the global community. The Museum holds the most diverse collection of World War I objects and documents in the world and is the second-oldest public museum dedicated to preserving the objects, history and experiences of the war. The Museum takes visitors of all ages on an epic journey through a transformative period and shares deeply personal stories of courage, honor, patriotism and sacrifice. Designated by Congress as America’s official World War I Museum and Memorial and located in downtown Kansas City, Mo., the National World War I Museum and Memorial inspires thought, dialogue and learning to make the experiences of the Great War era meaningful and relevant for present and future generations. To learn more, visit theworldwar.org.

The poets and the world war: "Dooleysprudence" by James Joyce

Joyce in 1915
Between celebration and parody. This is the main hybrid trait of Joyce's Dooleysprudence, a poem that the Irish novelist wrote in 1916 and first published in The Critical Writings of James Joyce (ed. Ellsworth Mason and Richard Ellmann) only forty-three years later, in 1959. In James Joyce A to Z: The Essential Reference to His Life and Writings by A. Nicholas Fargnoli and Michael Patrick Gillespie we read that this poem is "Joyce's short satiric piece mocking the combatants of World War I. It was written in 1916 while Joyce was living in neutral Switzerland and depicts the uninvolved Mr Dooley, whose tranquil life is juxtaposed with the war. The character of Mr Dooley is derived from the philosophical tavernkeeper created by the Irish-American humorist Finley Peter Dunne, who was also the subject of a popular song with which Joyce was familiar, "Mr. Dooley," by Billy Jerome (1901). It's really something different from all the World War I poems we have published so far.


DOOLEYSPRUDENCE


Who is the man when all the gallant nations run to war
Goes home to have his dinner by the very first cablecar
And as he eats his cantelope contorts himself in mirth
To read the blatant bulletins of the rulers of the earth?

It’s Mr Dooley,
Mr Dooley,
The coolest chap our country ever knew
‘They are out to collar
The dime and dollar’
Says Mr Dooley-ooley-ooley-oo.
Who is the funny fellow who declines to go to church
Since pope and priest and parson left the poor man in the lurch
And taught their flocks the only way to save all human souls
Was piercing human bodies through with dumdum bulletholes?

It’s Mr Dooley,
Mr Dooley,
The mildest man our country ever knew
‘Who will release us
From jingo Jesus’
Prays Mr Dooley-ooley-ooley-oo.
Who is the meek philosopher who doesn’t care a damn
About the yellow peril or problem of Siam
And disbelieves that British Tar is water from life’s fount
And will not gulp the gospel of the German on the Mount?

It’s Mr Dooley,
Mr Dooley,
The broadest brain our country ever knew
‘The curse of Moses
On both your houses’
Cries Mr Dooley-ooley-ooley-oo.
Who is the cheerful imbecile who lights his long chibouk
With pages of the pandect, penal code and Doomsday Book
And wonders why bald justices are bound by law to wear
A toga and a wig made out of someone else’s hair?

It’s Mr Dooley,
Mr Dooley,
The finest fool our country ever knew
‘They took that toilette
From Pontius Pilate’
Thinks Mr Dooley-ooley-ooley-oo.
Who is the man who says he’ll go the whole and perfect hog
Before he pays the income tax or license for a dog
And when he licks a postage stamp regards with smiling scorn
The face of king or emperor or snout of unicorn?

It’s Mr Dooley,
Mr Dooley,
The wildest wag our country ever knew
‘O my poor tummy
His backside gummy!’
Moans Mr Dooley-ooley-ooley-oo.
Who is the tranquil gentleman who won’t salute the State
Or serve Nebuchadnezzar or proletariat
But thinks that every son of man has quite enough to do
To paddle down the stream of life his personal canoe?

It’s Mr Dooley,
Mr Dooley,
The wisest wight our country ever knew
‘Poor Europe ambles
Like sheep to shambles’
Sighs Mr Dooley-ooley-ooley-oo.

Rediscovering Italian intellectuals: the new edition of the "Military Speeches" by Giovanni Boine. An interview with Chiara Catapano and Claudio Di Scalzo


Chiara Catapano, Claudio Di Scalzo and Andrea Aveto are the curators of an important forthcoming editorial project, namely the new edition of the "Military Speeches" (Discorsi militari, 1914) by the Italian writer and critic Giovanni Boine (1887 - 1917), probably the most neglected yet fundamental intellectual of the World War I period. We're pleased to offer you the following interview accompanied by the paintings of Stefano Parolari. 
Q: Could you briefly describe the book to the international audience of this World War I web site? 
A: The book offers, a hundred years after its release for the "Notebooks of the Voice" (“Quaderni della Voce”, a collection commissioned by Giuseppe Prezzolini with the publications of the literary journal "The Voice") the “Military Speeches” (Discorsi militari) of Giovanni Boine and some of its articles, really hard to find, which have appeared on some important national newspapers during the war years.
The “Military Speeches” are a kind of manual which intends to explain to every soldier concepts like homeland, honor, peace... and wants to be a compendium of the recent Italian history. It hasn’t be written for intellectuals, but for people who have just ended their elementary studies and it has been read by thousands of young people at the front. 

Q: Could you explain the original idea of this edition? Where does it come from? There are three curators: how did you cooperate? 
A: The idea came up to me and Claudio Di Scalzo studying the rich correspondence of the author, Giovanni Boine. We wanted to propose this study to the readers of our online magazine The Flying Dutchman (www.olandesevolante.com). We thought to create an anthology of some crucial literary passages to understand the cultural climate in Italy at the outbreak of the First World War. His correspondence (a wide work which has absorbed us for some years) has unveiled a refined wit, an argumentative mood with no compromise for anyone (the controversy with Benedetto Croce - David against Goliath - is perhaps the most evident example). Boine, like a lot of people at the time, was affected by tuberculosis: his premature death (he was 29) has allowed the dominant cultural groups to lead his opera to an equal premature oblivion. We don’t have to forget that after the II World War (the correspondence of the author was made available only from the 70s) the literary Critic wanted to interpret his work as fundamentally conservative, if not reactionary.
Nowadays we know that this schematically ideological "reading"is no longer sustainable.
Claudio Magris has written an incisive article in 2008 ("Why we must rediscover Boine," Corriere della sera, July 14, 2008), which invites us to read Boine.
The literary critic Carlo Bo who swept Giovanni Boine aside, in the years of his youth, in 2000, rediscovered the writer through his correspondence, and he formally apologized, admitting the mistake of reading it without grasping his genius.
Andrea Aveto has participated at the edition with a preface. He has intervened when the work was already at a good point but he gave us the occasion to learn more about Boine. He is one of the principal experts of the Ligurian author and he owns a correspondence with unpublished letters which have been recently discovered. It was natural to ask him to participate, and he gave a massive contribute for a different point of view on the re-presentation of "Military Speeches", something which no one had written yet and which enforced the luck of the text.

Q: What are the main points of intersection between the Italian writer and the First World War? 
A: The major point of interest, in our opinion, is the lucidity of Boine’s interpretation, of the historical events of his time and his surprising ability to predict the development of the future. When Italy had entered into the war, it ended up broken in two: neutralist and interventionists. There were movements such as Futurism of Marinetti, who supported the war as a "purification of the people"; and those who were against the "imperialist" massacre. The Boine’s point of view remains unique in the intellectual panorama of the time: he does not deny the past, as the futurists and the “vociani”, on the wave of a New Age and, at the same time, he doesn’t refer to the Tradition as a new religion to hold on to. He tries to solve within his conscience the node which dramatically involve a man in his historic contest and which, at his time, was supported by mass movements and ideologies. There are no "isms" that could mend the gap: he clearly states that each program will end in an ideology. The “Military Speeches” that we propose, as well as articles such as "Three Jews", which refers the thorny topic of Judaism are texts for which Boine has been crucified by some revisionist critics, but they were designed to open up the awareness of the complexity, even today, the theme.

Q: What did you discover while curating this new edition of the "Discorsi militari" ("Military Speeches")? What's new in your interpretation? 
A: The "Military Speeches" have to see the light after exactly a hundred years of their first release. This work has been too hastily judged by critics of the "left side" of the second middle of the '900 as propaganda and It has been misunderstood as justificatory thesis of the interventionism.
The truth is that this work shows its intents from the very beginning. It is an attempt to understand, to place this inevitable moment in the order of history. Boine tells us that from the reading of his book we might come out with new questions of a spiritual nature. It seems to suggest that the military life is also a form of freedom (the freedom to do our own duty); but between the lines Boine emphasizes the opposite: that the “civil” life has, without any doubt, no freedom as well. It is an illusion. So here is a “writer” who does not provide justification to anything, as they wanted us to believe. On the contrary, we see a man who thinks that before these events for which we can’t find a justification, it doesn’t exist a way to analyze them beyond any ideology and to place them in the world. Boine condemns this war in the letters to his friends and to the intellectuals who supported the interventionism. The “Military Speeches” is a manual that was distributed to the young people who were leaving to the front. There are summarized concepts like the homeland, the nation and the duty of a soldier. They are written in a language very different from what was his typical style. Here the language is intended for people who have received an education, but who are not writers.

Q: Let's go outside of Italy. Do they know Giovanni Boine? Why do you think we should encourage a wider and deeper knowledge of his work (with particular regards to the "Discorsi militari" ("Military Speeches")? 
A: Here in Italy Giovanni Boine is not really famous and rarely published. Often… If he is known he is, at the same time, misunderstood. Only few people have read his work, and what is know is what has been filtered by the critics who have made indigestible and contaminated his thought. Claudio Magris suggests that he remains a complex author, difficult to be read; the effort of the readers lays in leaving their prejudices, and in creating their own opinions. I do not think he is really well known abroad except for some University debate. Basically he is still unknown to the big audience. But I do believe that it is exactly in Europe that he could have his most fervent admirers, based on the fact that his thought is dip in the Mitteleurope philosophical musical and literary world. He studied Unamuno and Claudel; he attended lessons of Bergson and studied the best French literary tradition in Paris. He is interested even in Marx, whose works he wanted to read in German, because he wasn’t persuaded by other translations.

Q: Anything to add? (Even beside this book but keeping the focus on World War One and your studies and researches related to the war.) Thank you.
A: It would be necessary that all the work of Giovanni Boine, which is not a homogeneous collection yet, was rediscovered and translated for an international audience. For sure the author would find a big audience outside our borders. He was a spirit fell into the highest European literary and philosophical tradition; Italy, fragmented into a thousand provincialisms, cities, has not been able to understand him at that time. Today we would be ready to re-read him with a new spirit. Boine lived during the war and died a few months before its conclusion: his “eye which all-sees”, draws us into this world in an original way, creating new problems which we are not used to thinking about. He asks us to not be satisfied with the easy solutions that come from outside, but to become ourselves a sort of filter for the history. He asks us a greater effort with no promises of success. At the end of the day he lost: he died before reaching the destination. But it is precisely this effort, giving up everything which didn’t become evident in our conscious mind, that can the road to freedom. I would suggest to start to re-discover Boine from his letters, and then go deeper into his work: articles, studied philosophy, literature fragment which he interpreted in a very personal way. Boine is one of the best minds and spirits of our tradition, and it is time that we recognize it with honesty. 
Then I have to mention that the illustrations dedicated to the writer into the book, is a re-invention of painting which have been originated from real photographs by Stefano Parolari. 

Answers: Chiara Catapano and Claudio Di Scalzo
Paintings: Stefano Parolari
Translation of the answers: Martina Bradaschia

"The Darkness and the Thunder and the Rain". Bath Poetry Café remembers the victims of the global conflict 1914-1918

When it is peace, then we may view again
With new-won eyes each other's truer form
And wonder. Grown more loving-kind and warm
We'll grasp firm hands and laugh at the old pain,
When it is peace. But until peace, the storm,
The darkness and the thunder and the rain.


These lines from a poem by Charles Hamilton Sorley, who was killed at the Battle of Loos in 1915, provided the title for the Bath Poetry Café’s annual evening of readings to commemorate the Great War last Tuesday 10th November 2015. As well as well-known poems by Edward Thomas, Rupert Brooke, Wilfred Owen, Laurence Binyon and Rudyard Kipling, they presented works by Guillaume Apollinaire, Anna Achmatova and Giuseppe Ungaretti.  


The programme on 10th November was accompanied by a presentation of archival photographs which conveyed poignantly how fragile men and horses were in the face of the new industrial weaponry of war, and how terrible it was to send cavalry and infantry to their inevitable massacre as they advanced under shellfire against the guns. The choice of materials also tried to show that the tragedy of the Great War was the same whatever a soldier’s nationality. 


The next programme, in November 2016, will emphasise this international theme by concentrating in turn on the Battle of the Somme as seen by the Allies; the same battlefront as seen through the eyes of the young soldiers in Erich Maria Remarque’s harrowing novel All Quiet on the Western Front; the war on the Eastern Front; and the battles of the Isonzo in Italy. Wherever possible the readings will be presented by native speakers in the language of the original, alongside English translations read by poets from the Café.
Bath Poetry Café has already secured Giulio Passarelli to read Ungaretti’s I fiumi which the poet described as one of the fundamental texts of his collection Il Porto Sepolto. This was written on scraps of miscellaneous paper in the trenches of the Karst and published in Udine in December 1916.

The Great War and the Modernist Imagination in Italy. A study in "Annali d’Italianistica 2015" by The University of North Carolina at Chapel Hill

Today only a quick note about the periodical "Annuali d'Italianistica" by the University of North Carolina at Chapel Hill. The latest issue with the title "The Great War and the Modernist Imagination in Italy" (Volume 33, 2015) explores the role of intellectuals in the legitimation process of the war, the position of writers and artists, the internal front (namely Futurism and its public, the special case and example of Pirandello's Novelle per un anno and other aspects related to information and propaganda in the war time). Another section is entitled "Gendering the War" and we point out the promising contribution by Katia Pizzi  "From Marinetti's L'alcova d'acciaio to Giani Stuparich's Ritorneranno: Gender, Nationalism, Technology and the Italian Great War". The last part of the publication is about the aesthetics and politics of post-war Modernism, the popular figure of Enrico Toti and to the heritage of the Great War seen from the magnifying glass of the communist review "Rinascita". This final chapter fundamentally dwells upon the First World War between history and myth. You can take a look of the full index with direct access to the "Introduction" as PDF at this link.