Where working-class characters appear, it is usually either as comics (jokes about tramps, convicts, etc.) or as prize-fighters, acrobats, cowboys, professional footballers and Foreign Legionaries - in other words, as adventurers. There is no facing of the facts about working-class life, or, indeed, about working life of any description. Very occasionally one may come across a realistic description of, say, work in a coal mine, but in all probability it will only be there as the background of some lurid adventure. In any case the central character is not likely to be a coalminer. Nearly all the time the boy who reads these papers - in nine cases out of ten a boy who is going to spend his life working in a shop, in a factory or in some subordinate job in an office - is led to identify with people in positions of command, above all with people who are never troubled by shortage of money. The Lord Peter Wimsey figure, the seeming idiot who drawls and wears a monocle but is always to the fore in moments of danger, turns up over and over again. (This character is a great favourite in Secret Service stories.) And, as usual, the heroic characters all have to talk BBC; they may talk Scottish or Irish or American, but no one in a star part is ever permitted to drop an aitch. Here it is worth comparing the social atmosphere of the boys' weeklies with that of the women's weeklies, the Oracle, the Family Star, Peg's Paper, etc.
The women's papers are aimed at an older public and are read for the most part by girls who are working for a living. Consequently they are on the surface much more realistic. It is taken for granted, for example, that nearly everyone has to live in a big town and work at a more or less dull job. Sex, so far from being taboo, is the subject. The short, complete stories, the special feature of these papers, are generally of the 'came the dawn' type: the heroine narrowly escapes losing her 'boy' to a designing rival, or the 'boy' loses his job and has to postpone marriage, but presently gets a better job. The changeling-fantasy (a girl brought up in a poor home is 'really' the child of rich parents) is another favourite. Where sensationalism comes in, usually in the serials, it arises out of the more domestic type of crime, such as bigamy, forgery or sometimes murder; no Martians, death-rays or international anarchist gangs. These papers are at any rate aiming at credibility, and they have a link with real life in their correspondence columns, where genuine problems are being discussed. Ruby M. Ayres's column of advice in the Oracle, for instance, is extremely sensible and well written. And yet the world of the Oracle and Peg's Paper is a pure fantasy-world. It is the same fantasy all the time, pretending to be richer than you are. The chief impression that one carries away from almost every story in these papers is of frightful, overwhelming 'refinement'. Ostensibly the characters are working-class people, but their habits, the interiors of their houses, their clothes, their outlook and, above all, their speech are entirely middle class. They are all living at several pounds a week above their income. And needless to say, that is just the impression that is intended. The idea is to give the bored factory-girl or worn-out mother of five a dream-life in which she pictures herself - not actually as a duchess (that convention has gone out) but as, say, the wife of a bank-manager. Not only is a five-to-six-pound-a-week standard of life set up as the ideal, it is tacitly assumed that that is how working-class people really do live. The major facts are simply not faced. It is admitted, for instance, that people sometimes lose their jobs; but then the dark clouds roll away and they get better jobs instead. No mention of unemployment as sometimes permanent and inevitable, no mention of the dole, no mention of trade unionism. No suggestion anywhere that there can be anything wrong with the system as a system; there are only individual misfortunes, which are generally due to somebody's wickedness and can in any case be put right in the last chapter. Always the dark clouds roll away, the kind employer raises Alfred's wages, and there are jobs for everybody except the drunks. It is still the world of the Wizard and the Gem, except that there are orange-blossoms instead of machine-guns.
The outlook inculcated by all these papers is that of a rather exceptionally stupid member of the Navy League in the year 1910. Yes, it may be said, but what does it matter? And in any case, what else do you expect?
Of course no one in his senses would want to turn the so-called penny dreadful into a realistic novel or a Socialist tract. An adventure story must of its nature be more or less remote from real life. But, as I have tried to make clear, the unreality of the Wizard and the Gem is not so artless as it looks. These papers exist because of a specialized demand, because boys at certain ages find it necessary to read about Martians, death-rays, grizzly bears and gangsters. They get what they are looking for, but they get it wrapped up in the illusions which their future employers think suitable for them. To what extent people draw their ideas from fiction is disputable. Personally I believe that most people are influenced far more than they would care to admit by novels, serial stories, films and so forth, and that from this point of view the worst books are often the most important, because they are usually the ones that are read earliest in life. It is probable that many people who could consider themselves extemely sophisticated and 'advanced' are actually carrying through life an imaginative background which they acquired in childhood from (for instance) Sapper and Ian Hay. If that is so, the boys' twopenny weeklies are of the deepest importance. Here is the stuff that is read somewhere between the ages of twelve and eighteen by a very large proportion, perhaps an actual majority, of English boys, including many who will never read anything else except newspapers; and along with it they are absorbing a set of beliefs which would be regarded as hopelessly out of date in the Central Office of the Conservative Party. All the better because it is done indirectly, there is being pumped into them the conviction that the major problems of our time do not exist, that there is nothing wrong with laissez-faire capitalism, that foreigners are unimportant comics and that the British Empire is a sort of charity-concern which will last for ever. Considering who owns these papers, it is difficult to believe that this is unintentional. Of the twelve papers I have been discussing (i.e. twelve including the Thriller and Detective Weekly) seven are the property of the Amalgamated Press, which is one of the biggest press-combines in the world and controls more than a hundred different papers. The Gem and Magnet, therefore, are closely linked up with the Daily Telegraph and the Financial Times. This in itself would be enough to rouse certain suspicions, even if it were not obvious that the stories in the boys' weeklies are politically vetted. So it appears that if you feel the need of a fantasy-life in which you travel to Mars and fight lions bare-handed (and what boy doesn't?) you can only have it by delivering yourself over, mentally, to people like Lord Camrose. For there is no competition. Throughout the whole of this run of papers the differences are negligible, and on this level no others exist. This raises the question, why is there no such thing as a left-wing boys' paper?
At first glance such an idea merely makes one slightly sick. It is so horribly easy to imagine what a left-wing boys' paper would be like, if it existed. I remember in 1920 or 1921 some optimistic person handing round Communist tracts among a crowd of public-school boys. The tract I received was of the question-and-answer kind:
Q. 'Can a Boy Communist be a Boy Scout, Comrade?'
A. 'No, Comrade.'
Q. 'Why, Comrade?'
A. 'Because, Comrade, a Boy Scout must salute the Union Jack, which is the symbol of tyranny and oppression,' etc. etc.
Now, suppose that at this moment somebody started a left-wing paper deliberately aimed at boys of twelve or fourteen. I do not suggest that the whole of its contents would be exactly like the tract I have quoted above, but does anyone doubt that they would be something like it? Inevitably such a paper would either consist of dreary uplift or it would be under Communist influence and given over to adulation of Soviet Russia; in either case no normal boy would ever look at it. Highbrow literature apart, the whole of the existing left-wing press, in so far as it is at all vigorously 'left', is one long tract. The one Socialist paper in England which could live a week on it
s merits as a paper is the Daily Herald, and how much Socialism is there in the Daily Herald? At this moment, therefore, a paper with a 'left' slant and at the same time likely to have an appeal to ordinary boys in their teens is something almost beyond hoping for.
But it does not follow that it is impossible. There is no clear reason why every adventure story should necessarily be mixed up with snobbishness and gutter patriotism. For, after all, the stories in the Hotspur and the Modern Boy are not Conservative tracts; they are merely adventure stories with a Conservative bias. It is fairly easy to imagine the process being reversed. It is possible, for instance, to imagine a paper as thrilling and lively as the Hotspur, but with subject-matter and 'ideology' a little more up to date. It is even possible (though this raises other difficulties) to imagine a women's paper at the same literary level as the Oracle, dealing in approximately the same kind of story, but taking rather more account of the realities of working-class life. Such things have been done before, though not in England. In the last years of the Spanish monarchy there was a large output in Spain of left-wing novelettes, some of them evidently of Anarchist origin. Unfortunately at the time when they were appearing I did not see their social significance, and I lost the collection of them that I had, but no doubt copies would still be procurable. In get-up and style of story they were very similar to the English fourpenny novelette, except that their inspiration was 'left'. If, for instance, a story described police pursuing Anarchists through the mountains, it would be from the point of view of the Anarchists and not of the police. An example nearer to hand is the Soviet film Chapayev, which has been shown a number of times in London. Technically, by the standards of the time when it was made, Chapayev is a first-rate film, but mentally, in spite of the unfamiliar Russian background, it is not so very remote from Hollywood. The one thing that lifts it out of the ordinary is the remarkable performance by the actor who takes the part of the White officer (the fat one) - a performance which looks very like an inspired piece of gagging. Otherwise the atmosphere is familiar. All the usual paraphernalia is there - heroic fight against odds, escape at the last moment, shots of galloping horses, love interest, comic relief. The film is in fact a fairly ordinary one, except that its tendency is 'left'. In a Hollywood film of the Russian Civil War the Whites would probably be angels and the Reds demons. In the Russian version the Reds are angels and the Whites demons. That also is a lie, but, taking the long view, it is a less pernicious lie than the other.
Here several difficult problems present themselves. Their general nature is obvious enough, and I do not want to discuss them. I am merely pointing to the fact that, in England, popular imaginative literature is a field that left-wing thought has never begun to enter. All fiction from the novels in the mushroom libraries downwards is censored in the interests of the ruling class. And boys' fiction above all, the blood-and-thunder stuff which nearly every boy devours at some time or other, is sodden in the worst illusions of 1910. The fact is only unimportant if one believes that what is read in childhood leaves no impression behind. Lord Camrose and his colleagues evidently believe nothing of the kind, and, after all, Lord Camrose ought to know.
1939
My Country Right or Left
Contrary to popular belief, the past was not more eventful than the present. If it seems so it is because when you look backward things that happened years apart are telescoped together, and because very few of your memories come to you genuinely virgin.
It is largely because of the books, films and reminiscences that have come between that the war of 1914-18 is now supposed
to have had some tremendous, epic quality that the present one lacks.
But if you were alive during that war, and if you disentangle your real memories from their later accretions, you find that it was not usually the big events that stirred you at the time. I don't believe that the Battle of the Marne, for instance,
had for the general public the melodramatic quality that it was afterwards given. I do not even remember hearing the phrase
'Battle of the Marne' till years later. It was merely that the Germans were twenty-two miles from Paris - and certainly that was terrifying enough, after the Belgian atrocity stories - and then for some reason they had turned back. I was eleven when the war started. If I honestly sort out my memories and disregard what I have learned since, I must admit that nothing in
the whole war moved me so deeply as the loss of the Titanic had done a few years earlier. This comparatively petty disaster shocked the whole world, and the shock has not quite died away even yet. I remember the terrible, detailed accounts read out at the breakfast table (in those days it was a common habit to read the newspaper aloud), and I remember that in all the long list of horrors the one that most impressed me was that
at the last the Titanic suddenly up-ended and sank bow foremost, so that the people clinging to the stern were lifted no less than three hundred feet into the air before they plunged into the abyss. It gave me a sinking sensation in the belly which I can still all but
feel. Nothing in the war ever gave me quite that sensation.
Of the outbreak of war I have three vivid memories which, being petty and irrelevant, are uninfluenced by anything that has come later. One is of the cartoon of the 'German Emperor' (I believe the hated name 'Kaiser' was not popularized till a little later) that appeared in the last days of July. People were mildly shocked by this guying of royalty ('But he's such a handsome man, really!') although we were on the edge of war. Another is of the time when the army commandeered all the horses in our
little country town, and a cabman burst into tears in the market-place when his horse, which had worked for him for years,
was taken away from him. And another is of a mob of young men at the railway station, scrambling for the evening papers that had just arrived on the London train. And I remember the pile of peagreen papers (some of them were still green in those days), the high collars, the tightish trousers and the bowler hats, far better than I can remember the names of the terrific battles that were already raging on the French frontier.
Of the middle years of the war, I remember chiefly the square shoulders, bulging calves and jingling spurs of the artillerymen, whose uniform I much preferred to that of the infantry.
As for the final period, if you ask me to say truthfully what is my chief memory, I must answer simply - margarine. It is
an instance of the horrible selfishness of children that by 1917 the war had almost ceased to affect us, except through our
stomachs. In the school library a huge map of the Western Front was pinned on an easel, with a red silk thread running across on a zig-zag of drawing-pins. Occasionally the thread moved half an inch this way or that, each movement meaning a pyramid
of corpses. I paid no attention. I was at school among boys who were above the average level of intelligence, and yet I do
not remember that a single major event of the time appeared to us in its true significance. The Russian Revolution, for instance, made no impression, except on the few whose parents happened to have money invested in Russia. Among the very young the pacifist reaction had set in long before the war ended. To be as slack as you dared on OTC parades, and to take no interest in the
war, was considered a mark of enlightenment. The young officers who had come back, hardened by their terrible experience and disgusted by the attitude of the younger generation to whom this experience meant just nothing, used to lecture us for our
softness. Of course they could produce no argument that we were capable of understanding. They could only bark at you that
war was 'a good thing', it 'made you tough', 'kept you fit', etc. etc. We merely sniggered at them. Ours was the one-eyed pacifism that is peculiar to sheltered countries with strong navies. For years after the war, to have any knowledge of or
interest in military matters, even to know which end of a gun the bullet comes out of, was suspect in 'enlightened' circles.
1914-18 was
written off as a meaningless slaughter, and even the men who had been slaughtered were held to be in some way to blame. I have often laughed to think of the recruiting poster, 'What did you do in the Great War, daddy?' (a child is asking this question of
its shame-stricken father), and of all the men who must have been lured into the army by just that poster and afterwards despised by their children for not being Conscientious Objectors.
But the dead men had their revenge after all. As the war fell back into the past, my particular generation, those who had been 'just too young', became conscious of the vastness of the experience they had missed. You felt yourself a little less
than a man, because you had missed it. I spent the years 1922-7 mostly among men a little older than myself who had been through the war. They talked about it unceasingly, with horror, of course, but also with a steadily growing nostalgia. You can see
this nostalgia perfectly clearly in the English war-books. Besides, the pacifist reaction was only a phase, and even the 'just too young' had all been trained for war. Most of the English middle class are trained for war from the cradle onwards, not
technically but morally. The earliest political slogan I can remember is 'We want eight (eight dreadnoughts) and we won't
wait'. At seven years old I was a member of the Navy League and wore a sailor suit with 'HMS Invincible' on my cap. Even before my public-school OTC I had been in a private-school cadet corps. On and off, I have been toting a rifle ever since I was ten, in preparation not only for war but for a particular kind of war, a war in which the guns rise
to a frantic orgasm of sound, and at the appointed moment you clamber out of the trench, breaking your nails on the sandbags, and stumble across mud and wire into the machine-gun barrage. I am convinced that part of the reason for the fascination that the Spanish Civil War had for people of about my age was that it was so like the Great War. At certain moments Franco was
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