images

Back, then, to Dublin.

Summary— Chapter Six

Willie arrives at his father’s Dublin Castle quarters filthy after ten days in the line and the long journey back from Belgium. When he knocks on the front door his sister Maud does not recognise him. She and Annie are delighted to find her brother has returned home, but Willie insists that no-one touches him while he is lousy. The girls warm water to give Willie a bath.

Willie takes in the surroundings of his familiar home. He thinks of his father and finds himself unsettled by thoughts of the 1913 Bloody Sunday riot and his father’s role in the clashes. He ruefully reflects that, as a Dempsey builder during the lock-out, he was a scab. Once home, he feels traitorous to even think of these things.

Dolly and Willie’s father return home. Dolly embraces Willie. The two men regard each other affectionately. Willie thanks his father for writing to him; his father, calling his son a hero, says it was his honour. Willie’s clothes are bagged for cleaning and, in front of Dolly, Willie is washed clean in the tub by his father. Once dried, he puts on his father’s long johns and his old working suit. His father then hugs and holds Willie; though nineteen years old, Willie finds this comforting.

Willie’s leave passes quickly. He sees Gretta and learns her father will leave the army before being mobilised. He spends the last night of his leave with his father. He loves the older man deeply despite knowing his flaws. The two sit before the wood fire; Willie notices the marks his father made to measure his height. The two talk of his father’s impending retirement to Kiltegan after forty years in the force. His father asks about the war. Willie confirms that it is ‘rough’ in Belgium. His father confesses that he constantly thinks about and prays for his son.

Willie walks Gretta to her work as a seamstress on his last day in Dublin. He begs her to write more and she admits her failure to do so. He asks for their relationship to be formalized in an engagement but Gretta is firm. As much as she says she wants to be his wife, Gretta tells Willie they must wait to marry until after the war. Willie is not allowed near Gretta’s workplace so the pair must part. Willie glumly tells Gretta he loves her; she replies in kind and, despite himself, this cheers him up somewhat.

Later, before entering the Devoy barracks, Willie meets Gretta again. They kiss under the trees, lay down together by the canal side, and make love.

Questions

A chapter dedicated to Willie’s Dublin leave and the two most important people in Willie’s life at this point in the novel, his father and Gretta. It is revealing perhaps that the bulk of the chapter is dedicated to time that Willie spends at home, mostly with his father. It is only the end of the chapter, depicting Willie’s last day on leave, that features Gretta.

“The sentry at the castle gate gave him a right look as he walked in, like the ghost of war” (p. 70). Dublin Castle is an important location in the story, as the site of the Dunne family’s quarters, but it is also an important location in terms of Irish history and more specifically the 1916 rebellion. Learn about the history of Dublin Castle, especially in the years described in the novel. Does it alter or confirm your perception of the character of James Dunne (or indeed his family) to know its importance in the British administration of Ireland?

Dirt, infestation and cleanliness are important ideas in the opening scenes. What might these conditions represent for the different characters in the story?

“So James Patrick, a man of six foot six, stood his son William, a man of five foot six, into the steaming zinc bath, as indeed Willie’s mother had done a thousand times while Willie was a boy” (p.74). I found this a complex scene, full of pathos. Recalling the Dunne Family history, and the relationship between father and son, our sympathy is called on here at the same time as more complex and ambivalent feelings are evoked. Where in this sentence can we find the narrator provoking a sense of sympathy for the characters in the scene—and what detail do we find here that complicates this emotional response?

James Dunne is playfully referred to as “King of the Nits” (p.71) by Willie, and the narrator ironically observes later as he lathes his son’s body, “the lice must have been flying from Willie Dunne just like those poor men in Sackville Street from the batons” (p.74). The use of the metaphor here is revealing. In what ways might James Dunne be ‘King of the Nits’? Why are the drowning lice compared to assaulted workers? Don’t settle for one reading alone here. Try and tease out the ways in which these statements reveal or complicate character.

Read again the embrace between father and son described on pages 74 to 75. What exactly is so moving about this scene? In what ways do notions of masculinity and masculine reserve provide a key to understanding this scene?

‘We have to wait, Willie’ (p.77). What does this pragmatic judgement reveal about Gretta’s character, and her understanding of the situation she and Willie find themselves in? How is Gretta’s character developed here?

‘And they lay down together like ghosts, like floating souls, and she drew up her skirt in the greeny dark’ (p.78). What is being narrated in this scene? Is this the voice of the narrator alone, or does Willie’s response to Gretta indirectly intrude in this description? In what way does the description of Gretta drawing up her skirt complicate the description of “floating souls”?

Some thoughts

I must say I’m finding it an odd thing reading Barry. [Mysteriously deepens voice.] I’m not generally one for tears or getting choked up when reading books. I imagine it a bit like that old cartoon in The Beano where a load of little people live inside the skull of a bigger person, manipulating levers, shouting commands and getting into fights with each other as they control him or her (yes, I’m aware of Inside Out. I’m old, alright). So, I have this fantasy that sometimes when I’m reading, there’s this little guy wearing a ‘Critical Response’ t-shirt in my skull and he very often goes ahead and coshes the tiny chap wearing the ‘Emotional Response’ t-shirt in my head, and thus subdues him. And perhaps because of this I tend to like authors with a precision or violence about them: JG Ballard, HG Wells, Charles Dickens. Yet— and here’s the thing—when I’m watching movies, the roles tend to be reversed: Mr. Emotional Response gets to practice his choke-holds on Mr. Critical Response. So, on a Saturday morning with my five year old son, you may find me sniveling whilst watching Toy Story 3 or The Iron Giant.

Yet reading ‘A Long, Long Way’, I find myself so affected at times by events in the story I wonder whether the two hooligans in my head have forgotten that I’m reading a book. My emotional response makes me suspect myself. Is the source of the response I’m feeling actually there in the text, or is it largely within me? Am I, as a fairly repressed British man, projecting onto the text too much? Who knows.

This is a roundabout way of saying that I cried during the bathing scene, and I know there are good reasons for me doing so. I washed my own five year old son the night before reading the scene: it’s an everyday, intimate and wonderful thing for a father, to take care of his young son like this. I know that it can’t last: that my son will grow up, will take care of himself one day. So, in knowing your own hopes for your child’s future happiness and independence, there’s a pathos to this kind of physical care, because eventually it will needfully be rejected to some degree.

To bring this back to the experience of reading, I am therefore aware that I am approaching this particular text as a forty three year old father does (interestingly, Barry is himself a father who has spoken movingly about his relationship with his gay son). I am quite distant now from the experience of young love, and that may explain in part my lack of engagement in Willie’s relationship with Gretta. Which is to say that I am probably bringing my own limitations as a reader to my understanding of the text in a way that may be quite different to your understanding of the characters in the book. I’m assuming, after all, that you are probably a fairly young reader, an A-level student in all likelihood, and that this perhaps may mean that you read this novel with a mind to your experience of being parented (or not being adequately parented), or being a young lover, or whatever it is that you as a young person long for or find frustrating.

You will have your own insights and, yes, limitations too in reading novels. It’s good to be aware of these. You should engage in a little self analysis whilst doing your literary analysis. I’ve always found a piece of advice by the theorist Fredric Jameson useful when thinking about this. In his essay, ‘Beyond the Cave’ he tells us to “measure the whole extent of our boredom” when encountering texts, to judge our own alienation from different ideas, characters, narratives and cultures. Because if you have a problem with the text you’re reading, it may sometimes be a symptom rather of how you see the world. One of the joys of reading should be that it challenges you to broaden that understanding of the world around you. You know, I hated Charles Dickens when I was eighteen.

It’s dangerous to judge any novel by the simple mirror of your experience. It’s also an undoubted joy to find your experiences reflected in a book. It’s proved that way to me when reading this chapter at least.

Advertisements

images

I’m hoping to take a breather soon enough so that we can reflect on some aspects of the novel. Certainly I’d like to write something about Barry’s narration: its use of dialect, its lyricism, and thinking more broadly about omniscient and free indirect narration. The character of Willie, of course. Historical context, too, which still I’m somewhat shaky on, as the previous post admitted, and am currently trying to rectify by reading Diarmaid Ferriter’s fascinating history, ‘A Nation, and Not a Rabble’. All kinds of things suggest themselves. Onwards we must go, however, if we’re to get this book completed by exam-time.

Summary— Chapter Five

Willie’s battalion is on rotation from the front and, billeted in the French city of Amiens, he is finally given a few days of free time behind the lines.

Willie and Pete O’Hara decide to hit the town and are guided to a well-liked estaminet for private soldiers. They quickly get very drunk there. Willie’s head spins as he drinks away memories of Captain Pasley and Gretta.

He and O’Hara dance with two women who lead them both down into a basement. Willie, extremely drunk, finds that he is being propositioned by a prostitute. He is at first abashed by the woman’s approach: O’Hara, less naïve than his friend, quickly begins to have sex with the woman he entered with. Willie gives himself to the woman with wonder and lust, and thus loses his virginity. He falls asleep and, when he awakens with a headache, O’Hara tells him it is time to go. As they leave Willie notices a rash on the thigh of the woman O’Hara has slept with. They make their way back to their billet through the city night.

Willie, still working in the support trenches, writes a long letter to Gretta. He tells her he is now in a quiet sector of the front, though the weather is now icy. Though this is a longer letter, it has the same structure as his previous missive: Willie writes in careful detail telling of his life at the front, and ends with an outpouring of passionate declarations of love for her. He continues to have trouble ending his letters satisfactorily. As he writes, a wish to confess about his night with the prostitute weighs on him.

O’Hara, it transpires, contracts a sexually transmitted disease from his tryst with the prostitute. It seems that Willie, luckily, does not.

Willie’s company finds itself rotated back into the front line again. It remains a quiet sector. One day he is drinking tea in a corner of the trench when a soldier new to the front, a Private Byrne, carelessly lifts his head above the line of the parapet. He is shot in the eye: blood gruesomely jets from the wound. Willie wants to ignore the incident at first but then attends to the young man.

He is struck by his own uselessness in the face of this violence. The young man is tormented for hours as they wait for the medical corps to arrive. Willie responds to the incident with cold despair; he has become hardened by the war. He reflects that the youth would be better shot dead on the spot. His own anguish, however, tells of the compassion struggling to be expressed within him.

A few weeks later, rotated back behind the lines again, Christy Moran has good news for Willie. He has been given home leave for a few days. Delighted for the younger man, he pleads with Willie to stay alive until then.

Questions

A short but interesting chapter. Willie’s willie at last sees action and, unscathed, lives to see another day. Then a gruesome moment in the line conveys just how unexpected death could be in the trenches.

“But he liked the bolts to be loosened on his concerns like any other soldier” (p. 60). Research the world of the First World War estaminet. In what ways is the estaminet somewhere where soldiers could escape the war and the norms and disciplines of respectable society? In what ways does the estaminet attempt to reproduce something approximating a conventional or ‘normal’ life for the soldiers?

“Maybe there was a poison in this tepid water” (p. 61). What does this line suggest about the effect of the war upon Willie? In this chapter we find more examples of the way in which the war is beginning to take a psychological toll on Willie. From the moment when Willie’s hands begin to shake at the thought of the deaths of the men on the supply line (p.30), there are signs of Willie’s developing neurotic response to the war. Trace a timeline of these—noting where he displays significant signs of, for example, anxiety, depression, paranoia, anger and dissociation in response to events around him.

As the stupefied Willie gazes at the prostitute who offers herself to him, his response to her is revealing: “Thick, thick black hair like a smudge of night she had, and clear, clever eyes the colour of dark blue feathers in a magpie. My God, he thought, she was like a Goddess. She seemed to Willie more beautiful than any woman he had ever seen. ‘Money for fuck?’ she said.” (p.62). What does Willie’s metaphorical language about the woman before him reveal about his feelings and attitudes towards women (A-level students may find their previous study in Love Through the Ages useful here, in particular ideas informing the Courtly Love Convention)? In what ways is there a gap between Willie’s understanding of the transaction taking place in this scene and that of the young woman? Barry uses a technique known as intentional anticlimax at the end of this passage. What effect does this have on the reader?

“Why you call Willie?” said the beautiful girl, giggling” (p. 63). It’s a good question. Can you think why Sebastian Barry named his hero Willie?

There is an obvious hypocrisy in Willie and O’Hara’s actions, one that catches up with O’Hara when he catches an sexually transmitted disease and needs to see a nurse. “Oh, yeh, that’s great Willie, I’ll go and bring this to the nurses. Nice Irish girls. They’ll only be thrilled” (p.66). Similarly Willie, in writing his long letter, “every inch of it thought should he say something about the fallen girl of Amiens?” (p.65). What does this sexual encounter say about the lives of men at the front and how they relate this life to that at home? How do you judge Willie and O’Hara’s time at the estaminet?

“There needed to be a new sort of line officer like a veterinarian, he thought, because there was too much of this screaming and suffering. There was too much of it, too much of it, and it wasn’t love or anything close to it to leave a young fella screaming on the ground for three hours. It wasn’t love and it wasn’t even like being at a war and it wasn’t fucking right” (p.68). Follow the logic of Willie’s argument here. Is this a reasoned or an emotional argument? Indeed, is it an argument at all? Barry’s use of structure and language in this passage is revealing. What does it tell us about Willie’s state of mind?

I thought this an interesting chapter that developed Willie’s character. I’m warming to Willie a little, vacant though he often seems. Willie’s loss of virginity is another episode in his gradual disenchantment at the front, the loss of his innocence. The hardening of his attitude to the injured youth at the end of the chapter seemed a logical extension of this growth within him of “cold despair” (p.68). I felt the juxtaposition of the two encounters was clever by Barry—and I’m sure that the latter event, so revealing of Willie’s anguish, moved me in part because of the author’s clever use of structure.

images

 

Onward, into a disturbing account of one of the most wretched episodes in the wretched history of warfare. Chapter Four:

Summary

Months have passed at the front and Willie is upset that Gretta has not responded to his letters. He writes to her declaring his love, and retains the hope that she loves him too, but feels more and more angry and humiliated by her lack of reply. Before leaving Gretta, it transpires that Willie has asked her to marry him, and she refused. He once understood the reasons for her refusal, but longing for her without remittance, he writes short letters that veer between lumpen description of life in the trenches and blurted declarations of love. Writing in this way sharpens his self-consciousness and anxiety.

It is now spring and the Fusiliers decamp to a section of line near the village of St Julien. The men relax somewhat, skinny dipping in the river together and playing football. They find a joy in their momentary leisure together, though the noise and bustle of the front is near. Disarmed and naked, they talk frankly at the riverside; amidst the aimless chatter Captain Pasley speaks of his worries about the manning of his father’s farm at home.

Soon the men are back in the line. They first make it their business to tidy a trench once badly kept up by French soldiers. They settle into a time of distracted dull fear there, until the day when, as Captain Pasley censors his men’s letters home and the platoon are relaxing after a satisfying meal, Christy Moran sees a strange yellow cloud floating over no-mans land.

It is a German gas attack, but the men do not know this. It is an inexplicable sight as it advances towards them. At first the fusiliers fire into the yellow fog, but cease firing when there is no sign of an advancing enemy. The lieutenants consult their commanding officers, who are as nonplussed as their subordinates. The fog eventually reaches an Algerian trench to the platoon’s right. Screams of torment there prompt Pasley to the thought that the smoke is poisonous. The fog reaches the Dublin fusiliers’ trench and inspires panic as Irishmen, like the Algerians, begin to die. Christy Moran asks for permission for the company to retreat, but Pasley declares he has no orders to allow it. As the chlorine begins to fall into their section and men die in the trench, Pasley assents to withdrawal, but refuses to move from his post. Willie and the still-surviving men climb the parados and run for their lives amidst the general terrified scatter, every man for himself. Officers behind the line stand confused by the soldiers’ sudden, mysterious capitulation. Eventually, Willie finds himself in the air beyond the gas, and collapses.

He awakens to the aftermath of the attack. Blinded men move in lines. The countryside is poisoned. Eventually, later in the week, reserve battalions move up to replace the massacred soldiers. Willie is bereft. He makes his way back to the section of trench and amidst the now-grotesque bodies of his comrades discovers the corpse of Captain Pasley. He encounters Father Buckley, blessing the bodies of the dead. The two awkwardly console one another. Over five hundred men of their regiment are dead. Later, Willie (a protestant) politely refuses communion with the priest.

When Willie sees Christy Moran again, he is furious at his sergeant’s brutal assessment of Captain Pasley’s refusal to run. As more men are brought up to the line to replace his comrades, he also begins to have an inkling of the nature of the war.

The survivors see out the summer into the freezing winter of 1916, hearing of more Irish losses at Gallipoli. They are posted away from the front. Willie’s platoon traverse the countryside. His memories of building reviving within him, Willie admires the roads and particularly enjoys singing marching songs, especially the ubiquitous ‘Tipperary’. Willie’s singing voice is admired but has been weakened by his faulty lungs, damaged by the chlorine gas. He also notes the damage to himself. He mourns Clancy and Williams and feels haunted by the ghost of Captain Pasley. The grief of death has lodged within him, and he secretly rails against the world.

Questions

A shocking and moving read, this chapter, as it surely must be if well written.

The stalling of Willie and Gretta’s relationship while Willie fights abroad is perhaps unexpected, given the account of the relationship we read in the first chapter. She is, to use a phrase used in theory, an absent presence at this point in the story. What does the silence of Gretta suggest to you about this couple’s relationship? In what ways might her silence reflect a larger truth about the presence of women in literature of the First World War?

Captain Pasley, who reads Willie’s letters to Gretchen, judges that Willie is one of those soldiers who “tried to write the inside of their heads” when writing home (p.43). What do you think is meant by this? Given the evidence of Willie’s letter to Gretta (p.38), is Pasley’s assessment accurate? How would you describe Barry’s presentation of Willie in this letter? What does it reveal about Willie?

The narration often uses free indirect speech: that is, the voices of the novel’s characters often merge with or are articulated through the voice of the narrator. This creates interesting ways of manipulating and moving between different characters’ perspectives, but inevitably in the story thus far, we have most often presented with the perspective of Willie Dunne. In this chapter, however, the omniscient narrator is used to voice the thoughts of Captain Pasley as he censors the men’s mail (see the paragraph that begins, “Captain Pasley was in his new dugout writing his forms…” (p.42)). Why might the author decide to give the reader access to the thoughts of this particular character at this particular moment in the novel, before the gas attack? In what way is Pasley’s reading relevant, in terms of storytelling, to the events that follow? How effective is this narratological shift of perspective?

Barry’s description of the gas attack is memorable and shocking. He cleverly selects surprising foci in his description of the attack that make it particularly strange and frightening. What does the narrative describe that emphasises the transformation of the familiar world into one completely unfamiliar and peculiarly terrifying?

“All the Irish were on the fire-step now, all along the length of the trench, some fifteen hundred men showing their faces to this unknown freak of weather, or whatever it might be.” Reading this sentence, and the whole of the gas attack sequence (p.43-8), how does Barry create tension within the text?

As Barry builds a sense of scene in this chapter, he returns again and again to the colour yellow— at first “yellow world” of the wild flowers and caterpillars that hang on them, then the “strange yellow-tinged cloud” itself, and finally the “yellow world” that Willie awakes to, with its men wearing bleached uniforms and yellow, greased faces. What could these different kinds of yellowness represent?

“If it were a battle proper, these men would never have turned tail. They would have fought to the last man in the trenches and put up with that and cursed their fate” (p.48). Besides this odd (and surely redundant) bit of moralising narration, Barry is, I think, both clever and subtle in reflecting on a broad sense of shame felt in the aftermath of the attack. Why could a gas attack be seen as particularly shameful in the theatre of war? In what ways does the use of poison gas differ to other more traditional forms of warfare? How do the characters focused on in the novel respond to the trauma of the gas attack?

The passage at the end of the chapter, where Willie finds pleasure in singing marching songs like ‘Tipperary’, seems significant to the narrative as a whole. The novel, after all, is called ‘A Long, Long Way’, a metalepsis of the fuller song title, ‘It’s a Long, Long Way to Tipperary’ (see the entry ‘Opening Lines’ and comments beneath for an explanation of this term). Song, therefore, has meaning in this text (and indeed was ubiquitous in the trenches during the war: see these entries about the Ragtime Infantry and read these poems by Robert Graves, Siegfried Sassoon and Ivor Gurney.) At the end of this chapter, how does Willie’s singing, and song more generally, cause us to reflect on the gas attack on the Royal Dublin Fusiliers? How significant is it that now, “when Willie sang too mightily he felt a dire need to cough” (p.58)?

Some thoughts

The gas attack in this chapter was exceptionally well written. Before writing an appreciation, it’s best to make clear that I currently have questions about Barry’s presentation of the attack at St Julien. This is presumptuous to a degree— Barry has plainly read deeply around the subject— but I’m still trying marry up elements of the historical record with the movements of Willie’s company.

On first reading, I had assumed that the gas attack depicted in the book is the gas attack of the early evening of 22nd April 1915, the beginning of the Battle of Gravenstafel Ridge, itself the first battle of the murderous Second Battle of Ypres. I thought this because this was indeed the first German gas attack of the First World War, and the absolute incomprehension of the Irish troops in the face of the new weapon depicted in the book is more readily explicable than it would be in any depiction of the later gas attack of the 24th May, when the Royal Dublin Fusiliers were massacred. The April attack took place, as depicted in the novel, during the day-time: moreover, there was an Irish presence in the line during the attack of the 24th, the Royal Irish Fusiliers being positioned north of Wieltje, though not in a position that precisely reflects that described in the novel.

The attack of the 24th May 1915 is the more likely source of the massacre described in the novel: 666 men of the second battalion of the Royal Dublin Fusiliers’ were in the line that day, and of that number, 645 men died. This chimes with Willie’s observation that there were “five hundred men and more of Willie’s regiment dead” (p.53). Crucially however this gas attack took place at night, at 2.30 in the morning, quite unlike the attack described in the book. The question that presents itself, then, is what Irish battalion Willie is part of? Willie’s first letter home in the book gives as his address the “Royal Dublin Fusiliers… Fermoy” (p.16) yet even with joining up in August 1914, and training in Fermoy in December of that year, I can’t see how Willie would have seen action at all near St. Julien in May (as far as I can discover, the second battalion of the RDF was moved from Harrow to Bolougne in August of 1914).

I’m assuming that I’m missing something important here, and I’d appreciate any pointers from military historians as to how to make sense of Barry’s timeline in the novel. Of course, some might say that I’m making a category error here in bothering about this stuff. It’s fiction, you know? I think these things do matter in understanding a novel, however. If Barry has decided to conflate these two attacks, then he has done so with a purpose. That purpose would be well worth speculating on, especially as the presentation of the gas attack is so effective, so moving, so shocking. If however, I’m simply short of information, then that of course is well worth knowing too.

I don’t want to speculate on what is probably a matter of my own ignorance. The gas attack depicted in the novel may be historically accurate and it may not be. Indeed, the virtues of historical accuracy can weigh against the virtues of drama or plot or authorial intention, and art is one of the only pursuits in which we can say without blushing that sometimes by making things up we can get closer to the truth of things. Yet interesting ethical and aesthetic questions are opened up here regarding the lengths of literary invention desirable or permissible in writing a historical novel (as alluded to in my earlier post on the novel form).

Especially, I want to say, when reading something as convincing as Barry’s gas attack. What a piece of writing it is.

The great risk in writing about a First World War gas attack is to fall into cliché and simply retread where others have gone before. Two British works of art overhang any depiction of gas warfare during the first world war; Wilfred Owen’s ‘Dulce et Decorum Est’, of course, and John Singer Sargent’s ‘Gassed’. Both are referenced in Barry’s account of the St. Julien attack: in his description of “faces [that] were contorted like devils’ in a book of admonition” and the “long lines of men going back along the road, with weird faces, their right hand on the shoulder of the man in front”. A-level Literature students should as a matter of course read Owen’s and Barry’s texts together here, exploring their commonalities and differences.

Yet it seems to me that Barry’s creation stands well clear of the shadow of these more famous texts, and, by mark of its invention, to signal towards texts both more marginal and imaginative. In terms of the A-level exam, I would also want to explore the narrative strategy found in Robert Frost’s ‘Range Finding’ to explore how Barry uses the presentation of the natural world to momentarily decentre the human experience of war. Nature, it seems plain, is both a consolation and a source of grief in Barry’s novel, as it was for many of the poet-soldiers of the First World War. Its fecund life and beauty is a counterpoint to the ugly, wilful and mechanical destruction of man. The horror of the foaming caterpillars, fizzing grass, dying trees and silenced birds in the path of the chorine gas speak quite as loudly of the directionless violence of man’s death-dealing as does Barry’s horrifying description of the massacre of the fusiliers.

Another text I felt at the edge of Barry’s reference, peculiar though it may seem to some, is HG Wells’ ‘The War of the Worlds’ (1898). Peculiar because Wells’ story of an invasion of Earth by aliens from Mars might seem, at first blush, an irrelevance to Barry’s staunchly realist text. Yet Wells’ novel was one of the first to imagine such devastating gas attacks: Wells’ invading Tripod machines drop asphyxiating ‘black smoke’ over the cities and towns of Southern England in their march on London. Now, Jules Verne imagined a freezing gas used in artillery shells by dastardly Germans in his 1879 novel ‘The Begum’s Fortune’: but it is the message regarding imperialism that is made explicit at the start of Wells’ novel that I feel makes it peculiarly relevant to Barry’s novel. The narrator, who has lived through the Martian invasion, takes to task those who complain of the inhumanity of the invaders:

And before we judge of them too harshly we must remember what ruthless and utter destruction our own species has wrought, not only upon animals, such as the vanished bison and the dodo, but upon its inferior races. The Tasmanians, in spite of their human likeness, were entirely swept out of existence in a war of extermination waged by European immigrants, in the space of fifty years. Are we such apostles of mercy as to complain if the Martians warred in the same spirit?

It strikes me that the political roots of warfare are understated in the novel thus far, as the author focuses on the personal experience and horror of war. Yet in this description of the supposed inhumanity of the alien invaders and their deadly technology, Wells performs a similar trick to Barry. Colonialism and Imperial Wars—human pursuits, of which the First World War is a prime example— are refigured as assaults from beyond earthly nature, beyond humanity. Both writers manage to make the precarious empire of man both utterly strange and frightening. Indeed, I want to say that the gas cloud in chapter four is one of Barry’s most memorable characters yet: a “dark and seemingly infernal thing creeping along”, the disowned monster of the terrible and grasping intellect of man.

images

Eastward ho! For Willie and co. Now:

Summary

Chapter three begins with Willie and his company manning a trench ironically dubbed Sackville Street (the name of Dublin’s main thoroughfare, later the site of the Post Office where the Easter 1916 rising began, and today named O’Connell Street, after the Irish political leader). Willie does not know where he is but notes the flowered graves that mark a great battle nearby (in fact, Willie appears to be stationed somewhere near Ypres; later, in April, the second battalion of the Royal Dublin Fusiliers would see action north of the city in the small village of St Julien). Noticing the graves and the lingering grief of those on the front, Willie’s former romanticism begins to be replaced by traumatic fear. His hands involuntarily shake with the thought of the deaths of those in the supply party.

Sergeant Major Christy Moran satirically entertains Willie and company in a forward trench. He talks of how he longs to take a girl out on a date at home in Kingstown on Dublin bay, and contrasts the attractions of a woman with the revolting conditions (and revolting men) at the front. Captain Pasley then appears for the first time in the novel: he emerges from a dug out and consults Moran about missing rations. He appears generous and cavalier—he pleases his men by declaring he will ensure double rations the next day, and unselfconsciously alarms them by placing his head above the trench parapet to gaze out on no-man’s land. Pasley speaks admiringly of the beauty of the landscape and night sky, and evidently wins Willie and the company over, with his aristocratic air of confident and sensitive control. Pasley tells the men he will be leading a party out into no-man’s land that night.

Willie goes out that night as part of the wiring party with Pasley, Moran, Clancy and others. Willie carries immense wire cutters as they check four hundred metres of line in no-man’s land, looking for gaps in the barbed wire laid. As they fix the wire Captain Pasley spots a German patrol, and the group taking cover, Willie pisses himself in fear on the ground. Yet, as the Germans pass by, Willie is elated to find his fear has passed too. He grins in ecstacy at the knowledge he has passed this first test; that fear has not debilitated him. Moran and the rest of the crew, relieved, make their way back to the safety of their trench.

Questions

A short chapter, this, but important, and containing a first set-piece description of a common soldier’s task, wiring in no-man’s land. Barbed wire, first invented in the US as a way of penning cattle, was the first line of trench defence for armies on both sides of the Western Front: this Western Front Association article is particularly informative.

“Willie was not thinking of the killed supply party exactly. But his hands were.” (p.30) How does this sentence work? How does it describe Willie’s state of mind at this stage in the novel? How is it suggested that “thinking” works here? Try and answer these questions by breaking down the structure and possible meanings within the sentence; no shortcuts via Freud, please.

This chapter introduces the character of Captain Pasley to the novel. Earlier, Willie’s father is pleased to discover that Pasley would lead his son’s platoon, for “everyone knew the Pasleys and they were highly respected people and had a lovely garden there around their house”: he is sure the young Captain “would be a chip off the old block” (p.22). A number of questions suggest themselves about this figure. What kind of character is introduced to us in this chapter? What behaviour, what interests and observations mark Pasley out? In what way does he seem different to the men he commands? In what ways are these inflected by his class? What aspects of his character seem laudable—and what seem dangerous in this situation? How do the men regard him?

“So they rose up like shadows of the dead from their lair at the bulking of the night, a fierce frieze of stars rampant above” (p.32). A line like this, as the wiring party steps out into no-man’s land, has that remarkable poetic quality that Barry is well known for. Look again at this sentence, and consider how it works. What similes and metaphors does it employ, and what are their effect upon the reader? Where does the colloquial Irish voice emerge? What is the significance of the night sky here? (The sky is a focus again and again in trench literature, and not only because of the threat presented there to men). Barry writes in this lyrical way because, in all likelihood, he can write in no other way: so what does such a narrative voice bring to this First World War narrative? Are there any problems in using this narrative voice when writing about the First World War?

Drawing Links

This chapter’s focus on wiring in this chapter naturally calls to mind two important poems from the Oxford Anthology: Ivor Gurney’s ‘The Silent One’ and Isaac Rosenberg’s ‘Dead Man’s Dump’. Gurney’s poem describes the momentary dilemma a private faces as his commanding officer instructs him to crawl through a gap in the wire in no-man’s land. Gurney’s poem is a beautifully written masterpiece of irony and understatement, telling of a kind of heroic rationalism that is, at one and the same time, anti-heroic. As a poem it’s colloquial yet lyrical, just as Barry’s writing is. Rosenberg’s poem, on the other hand, is one of the most grueling written during the war. It describes a wiring party traversing no-man’s land after a battle. Their carriage, containing wire and stakes, runs over the bodies of the dead as the soldiers, numb, cross the infernal space. It is a horrifying, anguished poem, part documentary, part existential scream. The situation Willie faces in the novel is more akin to that described by Gurney’s protagonist, though Gurney’s speaker (like Rosenberg’s) is far more self-aware than Barry’s creation. Both Gurney and Rosenberg, however, were privates during the war, subject to the commands of their COs and NCOs, and this most important fact influences all their wartime poetry. It also establishes another commonality with Barry’s creation, which through the character of Willie brings a welcome focus on the experience of the private soldier.

On a personal note I found in this a chapter a number of things to like. First, the swan’s feet submerged beneath the elegant body of the text: Barry’s hard graft of research really begins to show here. His easy and unshowy employment of his knowledge of the Royal Dublin Fusiliers’ campaign is impressive. Next, there is the writing itself, which occasionally has that poetic precision you find in a great writer such as Joseph Conrad—a rare pleasure in prose. I also liked the presentation of the character of Captain Pasley, added now to that of the likeably rueful Christie Moran. I think Barry captures an interesting class dynamic in this character’s relationship with his men, something true of the way the war threw members of different classes together (all in their proper order, naturally).

images

Many apologies for the length of time between some of my posts here. For those not in the know, I’m off school at the moment, looking after my wife, who has leukemia. Thankfully this week I’ve found time to get back to the book.

So, without the slightest ado, let’s get to it.

Summary— Chapter Two

Chapter two begins with Willie Dunne reading a newspaper with his father on an evening. The paper that the pair read together runs impressive stories of patriotic commitment: accounts of different peoples from around the world mobilizing to fight on behalf of the British Empire. Willie recalls an Irish Times article recounting a (now famous) speech given by John Redmond that declared his conditional approval for the enlistment of Irish volunteers. Willie’s father notes scornfully that this call for enlistment in the cause of Home Rule is precisely the opposite reason many Ulstermen are volunteering. Willie’s father, as a loyalist, is hostile to both Redmond and nationalism, and instead extols to Willie the virtues of King, Country and Empire. Yet when Willie unexpectedly enlists, his father weeps. Willie’s sisters react excitedly, though his eldest sister Maud is tense.

Willie joins the Royal Dublin Fusiliers and by December is training in Fermoy, County Cork. He writes a letter home about the training there and his new friends, Privates Williams and Clancy. In January the soldiers hear with some ambivalence about Christmas truces with the Germans on the Western front. One of Willie’s particular problems at camp is finding the privacy to masturbate.

The narrative moves swiftly on to the day of the Fusiliers’ departure for Belgium. The regiment arrives at a railway station in Dublin and parades through the city on the way to the docks. The adulation of the crowd excites the marching men. Willie hopes to see Gretta and his sisters on the day, but does not.

The villages of England similarly salute the tired soldiers as they roll through on their troop train. The incongruity of Irishmen being cheered by the English is noted by some of the young men. Willie listens as they joke with one another. While his friends confidently talk, he remains reflective, dimly grasping a broader history and fate that takes men from all over Britain to the front. This confluence of soldiery in a great cause excites a sense of manhood in Willie.

The men arrive in France. They are thrilled to be abroad, taking in the small but significant differences of landscape to home. Willie’s sense of euphoria in his newfound vocation continues, but his overenthusiastic reverie ultimately overtakes him. After imagining a horse charge whilst travelling on a swaying transport, he vomits up his breakfast.

The men finally arrive at the trenches. The artillery bombardment they find is vicious and terrifying and ongoing. Willie feels the fear of war for the first time.

The narrative leaps forward. The platoon are eating together while Sergeant Major Christie Moran spies no-man’s land. Moran, exhausted and splenetic, curses the British Army to the amusement of his comrades. He damns it as the very institution that has repressed the Irish for centuries. Moran is on the edge; as he and his men perform their ablutions before taking the firestep at stand-to, his internal monologue escapes him and he talks ruefully to himself of his misfortune, overheard by the men.

Later, the men learn that the German bombardment of the night previous has destroyed the supply trench behind, killing the men there. There is nothing for the platoon to eat that night.

Questions

Here are some questions that occur when reading chapter two.

As Barry begins the second chapter he manages to convey some of the contemporary excitement in the press at the start of the war (pp. 14-15). How is this presented? How does Willie react to this excitement? In what ways does his father’s reaction to the news reveal tensions in Irish society?

Barry effectively conveys the emotional aftermath of Willie Dunne’s decision to enlist (p.15). How does Barry manage to do this- what relationships does he focus on? How do the reactions of his characters create an emotive impact?

Chapter two is largely preoccupied with Willie Dunne, his experiences, thoughts and feelings. He is presented as an innocent, even naive young man, subject to the desires of youth. What passages does Barry use to reveal important aspects of Willie’s character? Where does Willie seem innocent, where naïve, and where gullible to the reader?

Another feature of Chapter two is the introduction of Willie’s comrades-at-arms. These men are our most profound introduction to Barry’s notion of Ireland and Irishness so far. How does Barry first present Willie’s comrades? What kind of men are they? What kind of language do they use when they speak to each other? What sort of culture do they seem to come from?

It is important that you begin to get to grips with Irish history and the significance of the John Redmond speech referred to in this chapter. Follow the links I have inserted into the first chapter of the summary above. What do you now understand by the term ‘home rule’? Who was John Redmond– and what is his significance in the story of home rule? Why did John Redmond declare nationalist support for the enlistment of the Irish volunteers? By contrast, in ‘A Willie’s father in ‘A Long, Long Way’ is a loyalist and unionist. What do you understand by these terms?

For me, the second chapter of the novel is surprisingly brisk in pace— running from life in the Dunne household, to regimental training, to Willie’s departure from Ireland, journeying through England to Belgium and then finally seeing action on the Western Front in a swift fourteen pages. I thought the movement a little too theatrical for my liking, as if Barry were energetically shooing us to curtains up in Flanders (the use of a letter home to draw the sum of Willie’s training struck me as too economical, for example).

Barry is not afraid of utilising the worn stones of historical cliché in laying the path to his scene. Never such innocence, never before or since, and all that— and just because a saying is much repeated does not make it untrue. Yet Willie so far is an unremarkable character, performing the age-old narrative function of the wide-eyed youth thrust blinking into the fallen world of experience (see Candide, Oliver Twist, William Boot, Ballard’s Jim or any number of genre protagonists).

There’s the Irishness that’s undoubtedly interesting, of course, and the richness of the language that Barry reproduces in the dialogue and narration; but so far, the story rests on a too-easy sentiment that bothers me. But there is a reason why Sebastian Barry is a twice Costa-winning author, and I am just another maven, teaching English literature in a secondary school in West London.

images

 

So, we begin our reading. This post will hopefully be quite functional. You will need, come exam-time, a way to refresh your minds about the content of the novel. That will be the function of these summaries, and I will tag each of them (look right!) as ‘Chapter Summaries’.

After writing my summary, I’ll ask you a series of questions I want you to consider. You can answer these questions (or offer an opinion on the first chapter) below the line in the comments section.

I’ll write a more detailed response to the first chapter in a subsequent post. But for the moment, here is my summary of the first chapter of Sebastian Barry’s ‘A Long, Long Way’.

Summary— Chapter One

The novel begins in Ireland in 1896. A child, Willie Dunne, is born as a thunderstorm rages outside the Rotunda maternity hospital in Dublin city centre.

One of Willie’s early memories is recounted: the contentious visit of King Edward the Seventh to the city in 1903. Willie’s childish recollection is only that the King was “as big as a bed” and that his father, James Dunne, a policeman, was on duty on a “big white horse” that day.

Willie is brought up with great affection by both his mother and father; but his mother dies in childbirth when Willie is twelve, and Willie is brought up by his father and three sisters. As he grows, Willie deeply feels her loss. Moreover, his father’s hopeful expectations that Willie will follow in his footsteps and become a policeman are frustrated by Willie’s small physical size. Willie feels his inadequacy keenly.

The narrative leaps forward to early 1914, when Willie is just short of seventeen years old and has become a fairly contented apprentice builder. Willie regularly runs an errand for his father to take offerings of food to a Mr Lawlor, a neighbour living in a slum tenement dwelling nearby. There he meets Gretta Lawlor, a thirteen year old girl with whom he falls in love.

Mr Lawlor, a carter and marcher on behalf of trades union recognition, was severely injured in street fighting accompanying the Dublin lockout of 1913, beaten by Dublin Metropolitan Policemen under James Dunne’s command. He scorns Willie’s father’s sympathy for him as a sign of the policeman’s doubt as to the morality of the DMP’s violent strike-breaking. He seems to the young Willie a cussed but principled man.

Like many of the Dublin poor forcibly dismissed after the lockout, Mr Lawlor joins the British Army. His duties mean he is often away from home. At first lustily infatuated with the beautiful Gretta, Willie’s visits as the year progresses lead to a growing intimacy and love. The young couple’s relationship remains secret to their fathers, but even given the Lawlor’s poverty (set against the Dunne’s middle class respectability) Willie is confident that he can gain his father’s permission to marry.

At the outbreak of the war in August, Willie explains to Gretta that he is going to join the British Army. His motivation is hazy: he repeats early propaganda about murderous Germans, but more pertinently perhaps, his wish to please his father. Gretta is unhappy and does not want him to go, but Willie reminds her of his father’s opinion that a man should act according to his own thoughts and beliefs. The chapter closes as Gretta discloses that, ironically, these opinions are taken from the Christian philosopher, St Thomas Aquinas.

Questions

Here are some questions it occurs to me to ask about this technically accomplished first chapter.

The opening of the novel (pp. 1-2) seems concerned with beginnings and endings. What represents this in this early passage? Can you find examples of this tension within the text? Why do you think that Barry begins his novel in this way?

It seems to me that Barry very efficiently and economically manages to describe the life of William Dunne as a child (pp. 4-6). How does Barry manage to do this? What does he focus on to create a sense of depth of character? Why does this work?

Barry engages swiftly with the violent upheaval in Irish society at this time (pp.6-11). Why do you think that James Dunne sends food to Mr. Lawlor after the violent breakup of a union rally? Why does Mr. Lawlor tolerate the young William Dunne as he does? What, perhaps, might Barry be suggesting about conflict in Irish society in 1914?

William and Gretta’s relationship provokes some of the narrator’s most extravagant similes and metaphors in the opening chapter— “He was in love with Gretta like a poor swan was in love with the Liffey and cannot leave it, no matter how often the boys of Dublin stone her nest”, or “she looked like an angel, at least how an angel ought to look” (pp. 11-12). The narrator’s language is often lyrical, though it strikes me here that a note of irony is employed when describing their relationship. What does such language seem to say about Willie’s feelings for Gretta? What differences are there in the way the narrator presents Willie, and how the narrator presents Gretta? How does the lyrical narration affect the tone of the work?

I also wonder what interested you about this first chapter. I thought it a confident and above all controlled opening. This is a mature writer who has learnt that it is economy of detail that is most persuasive in establishing character and setting. I am also, however, somewhat perturbed by the elegiac and lyrical tone of the opening passages— this isn’t necessarily my kind of writing, but I’m keen to read on. Just as well, really.

images

 

As my last post noted, the AQA English Literature A exam has changed. The  poems from Jon Stallworthy’s Oxford Book of War Poetry are still examined, of course, and I hope my notes for those poems will continue to be useful for you in revising for their exams. The links to wider reading that you find here will continue to be relevant to your studies. But in the new exam, these poems will be read in tandem with another text– a novel or drama. Clearly, then, for this site to remain fully relevant to the exam, we need to engage with the new element, a post-2000 novel or drama, and find the ways in which Stallworthy’s selection of poems might be found to be relevant to such a text.

Here, then, is the beginning of what I hope will be a study project that allows us to explore some of the key texts in the 2016 AQA English Literature A-level examination.

Over the next few months my students and I will be reading and writing about Sebastian Barry’s novel, ‘A Long Long Way’. This is the text we have chosen at Southfields Academy to study in combination with the Oxford Book of War Poetry.

For revision purposes I will post onto the blog at the end of every chapter a brief summary of the events that occurred in that chapter, and pose some of the questions that I feel that the chapter opens up for the reader. My students will respond, giving their own commentaries on the text, and supplying resources to the project for their peers to read and consider.

You can respond to those commentaries, answer those questions and proffer an opinion on points of interest on the Barry’s novel as we go. Join us as we read, and help us to broaden our understanding of this newly examined text.

Moreover, because ‘A Long Long Way’ is examined by comparing what we find in the novel to what we find in the poems in Stallworthy’s anthology, we will consider exactly what poems from that anthology engage with or influence the text.

As we go, I will also offer links, resources and analysis for you to explore crucial parts of the text. What kind of novel is ‘A Long Long Way’? What social or historical contexts inform the text? What have been other readers’ responses to the text? These questions and others will allow us to take a critical stance on the text, and allow us to participate in ongoing literary debates.

Do read along with us.