As The 100th
Anniversary Of The First Year Of World War I (Remember The War To End All Wars)
Continues ... Some Remembrances-Writers’ Corner
In say 1912, 1913,
hell, even the beginning of 1914, the first few months anyway, before the war
clouds got a full head of steam in the summer they all profusely professed
their unmitigated horror at the thought of war, thought of the old way of doing
business in the world. Yes the artists of every school but the
Cubist/Fauvists/Futurists and
Surrealists or those who would come to speak for those movements, those
who saw the disjointedness of modern industrial society and put the pieces to
paint, sculptors who put twisted pieces of metal juxtaposed to each other saw
that building a mighty machine from which you had to run created many problems;
writers of serious history books proving that, according to their Whiggish
theory of progress, humankind had moved
beyond war as an instrument of policy and the diplomats and high and mighty would
put the brakes on in time, not realizing that they were all squabbling cousins;
writers of serious and not so serious novels drenched in platitudes and hidden
gabezo love affairs put paid to that notion in their sweet nothing words that
man and woman had too much to do, too much sex to harness to denigrate
themselves by crying the warrior’s cry and by having half-virgin, neat trick, maidens
strewing flowers on the bloodlust streets; musicians whose muse spoke of
delicate tempos and sweet muted violin concertos, not the stress and strife of
the tattoos of war marches with their tinny conceits; and poets, ah, those
constricted poets who bleed the moon of its amber swearing, swearing on a stack
of seven sealed bibles, that they would go to the hells before touching the
hair of another man. They all professed loudly (and those few who did not
profess, could not profess because they were happily getting their blood rising,
kept their own consul until the summer), that come the war drums they would
resist the siren call, would stick to their Whiggish, Futurist,
Constructionist, Cubist worlds and blast the war-makers to hell in quotes,
words, chords, clanged metal, and pretty pastels. They would stay the course.
And then the war drums intensified, the people, their clients, patrons and buyers, cried out their lusts and they, they made of ordinary human clay as it turned out, poets, beautiful English poets (we will speak of American poets when they slip into war footing in 1917)like Wilfred Owens before he got religion, e.e. cummings madly driving his safety ambulance, beautiful Rupert Brookes wondering which way to go but finally joining the mob in some fated oceans, sturdy Robert Graves all blown to hell and back surviving but just surviving, French , German, Russian, Italian poets tooo all aflutter; artists, reeking of blooded fields, the battle of the Somme Muirhead Bone's nothing but a huge killing field that still speaks of small boned men, drawings, etchings that no subtle camera could make beautiful, that famous one by Picasso, another by Singer Sargent about the death trenches, about the gas, and human blindness for all to see; sculptors, chiseling monuments to the national brave even before the blood was dried before the last tear had been shed, huge memorials to the unnamed, maybe un-nameable dead dragged from some muddied trench half blown away; writers, serious and not, wrote beautiful Hemingway stuff about the scariness of war, about valor, about romance on the fly, among those women. camp-followers who have been around since men have left their homes to slaughter and maim, lots of writers speaking, after the fact about the vein-less leaders and what were they thinking, and, please, please do not forgot those Whiggish writers who once the smoke had cleared had once again put in a word about the endless line of human progress, musicians, sad, mystical, driven by national blood lusts to the high tattoo, went to the trenches to die deathless deaths in their thousands for, well, for humankind, of course, their always fate ….
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