My review of the book appears in the latest edition of The Spectator. I thought it an engaging read and a well-researched, comprehensive work of scholarship. Based on a mass of primary research, especially the RGASPI material in Moscow, he’s written a very even-handed, ‘warts and all’ account. And his conclusion is, I think a fair one:
‘There was nothing perfect about the brigaders and attempts to paint them as 20th century saints only serve to highlight their failings. These were (mostly) men at war. They killed and were killed. Some fought bravely, others did not. Some were noble and brave in their actions, others were cruel, cowardly or callous. Some fought for an ideal, others for adventure. And, for some, those ideals would take them on a journey of oppression that placed them closer, in their behaviour and blind defence of Stalinist communism, to the fascists whom they declared as their enemies than to the democratic Republic that they defended. All fought, however, against the most destructive and evil force unleashed by 20th century Europe’s violent politics and history. As Bernard Knox – by then a distinguished Classics professor at Yale – pointed out, there could be nothing ‘premature’ about anti-fascism.’
Giles Tremlett, The International Brigades: Fascism, Freedom and the Spanish Civil War. London: Bloomsbury, 2020, p. 528.
The following recommendations are aimed at the casual reader, who does not necessarily have access to journal articles and rare and out of print books. My list is not exhaustive and is, of course, subjective. You may well feel that there are some books on the list that shouldn’t be in and others that I have missed. If so, let me know! If your wish is simply for a more extensive bibliography, you might be interested in the list of sources consulted when researching for my study of the British in Spain, Unlikely Warriors, which can be found here. I also included some suggestions for further reading, which can be found here.
Tom Buchanan’s two studies, Britain and the Spanish Civil War and The Impact of the Spanish Civil War on Britain are both thoroughly recommended. Jim Jump’s edited collection of the annual Len Crome Memorial lectures, Looking Back at the Spanish Civil War is also useful and available from the IBMT.
Peter Day’s recent Franco’s Friends is the most recent examination of the links between elements of the British establishment, particularly M.I.6, and Franco’s Nationalists during the civil war. It’s a good read, even if few will be surprised by ‘British establishment wanted Franco to win’ shock.
Lewis Mates’ incredibly detailed and thorough The Spanish Civil War and the British Left bears the mark of a Ph.D. thesis, but I don’t think it’s any the worse for that. Perhaps the only real drawback is the price, so it would be good to see it in paperback.
The best of these are Daniel Gray’s work on Scotland and the Spanish Civil War, Homage to Caledonia and Hywell Francis’s on Wales, Miners Against Fascism. Both are available as paperbacks. Robert Stradling’s Wales and the Spanish Civil War; The Dragon’s Dearest Cause is well-researched and interesting, though some may find that the author’s antipathy towards the over-glorification of the International Brigades sometimes gets in the way. The most recent work on the Welsh volunteers is Graham Davies’ You Are Legend, a comprehensive account containing a useful list of the men and women who went to Spain from Wales.
The Basque Refugee Children
The story of the arrival in Britain of 3000 Basque children in June 1937 has now received the attention it deserves. Adrian Bell’s Only for Three Months is the standard account and is very good. To this have recently been added two moving collections of memoirs (in both English & Spanish) edited by Natalia Benjamin: Memorias and Recuerdos. Hywel Davis’s Fleeing Franco focuses on the niños in Wales.
The British volunteers
Histories of the British Battalion
Many histories of the British volunteers in Spain (some excellent) are out of print. However, the following are all widely available:
If you are looking for a short introductory text, the IBMT’s Antifascistas is useful and very well-illustrated.
James Hopkins’ Into the Heart of the Fire is extremely thorough and well-researched. The first to draw substantially on the Moscow archives, it is sympathetic to the volunteers, though at the same time extremely critical of the battalion (and International Brigade) leadership, arguing that the volunteers were sacrificed not for the cause of the Spanish Republic, but for Stalin (I disagree). It’s available in both hardback and paperback.
The most recent additions to the genre are my oral history of the British in Spain, Unlikely Warriors and David Boyd-Haycock’s I am Spain. Both were reviewed in, amongst other places, the February 2013 issue of the London Review of Books and the January 2013 issue of the IBMT newsletter.
Ben Hughes’ They Shall Not Pass is a forensic examination of the British Battalion’s first action at Jarama, between 12-14 February 1937. There’s much of interest, though the author’s tendency to put words into the mouths of protagonists has not proved to be to everyone’s taste. Perhaps more interesting is Tom Wintringham’s first-hand account of the battle, English Captain (see below).
Elizabeth Roberts’ Freedom, Faction Fame and Blood, a comparative study of British volunteers in Greece, Spain and Finland is probably too academic (and expensive) for the casual reader.
Orwell aside, one of my personal favourites, and which is still in print, is the British anti-tank battery member Fred Thomas’s To Tilt at Windmills. It’s a wry, modest and extremely honest account. Unusually it is based on a detailed and extensive diary, so his account is fixed both in terms of time and space.
The commander of the British Battalion during the first few days of the Battle of Jarama was Tom Wintringham, whose personal account, English Captain, has just been republished and is definitely worth a look. Interestingly he fails to mention his extra-curricular activities with the American journalist Kitty Bowler, which would eventually lead to him leaving the Communist Party.
George Wheeler’s charming To Make the People Smile Again is a really good read and, like Walter Gregory’s The Shallow Grave, gives a graphic account of the appalling conditions in the Francoist prisoner-of war camp at San Pedro de Cardeña. Gregory’s memoir is now a standard text, for it covers his experiences during nearly two years of civil war from December 1936 onwards.
Many people enjoy Laurie Lee’s A Moment of War and it is certainly a beautifully written and engaging account. I certainly did, just as I liked the other parts of his ‘autobiographical’ trilogy, Cider with Rosie and As I Walked Out One Midsummer Morning. However, the reliability of A Moment of War as a historical source is questionable, to put it mildly. For more on Laurie Lee, take a look at my chapter in Jim Jump’s edited volume of Len Crome lectures, or Valerie Grove’s excellent biography A Well-Loved Stranger (even if she is a bit soft on him, in both senses of the word).
Alun Menai Williams’ From the Rhonnda to the Ebro is a dramatic account of the terrible dangers facing a first-aider and stretcher-bearer in Spain. It is often forgotten that their job was more dangerous than a soldier’s. Nan Green’s A Chronicle of Small Beer provides insight into life behind the lines in Spain (she worked as an administrator with British medical units) and the potentially tragic experiences of volunteers’ families.
There are a number of collections of interviews, such as Max Arthur’s Fighters against Fascism: British Heroes of the Spanish Civil War (a reissue of his The Real Band of Brothers) though, sadly, Ian MacDougall’s wonderful collection of interviews with Scottish veterans, Voices from the Spanish Civil War, no longer appears to be in print. Shame. Come on publishers!
There are way too many to list, many of which only have one chapter on Spain, so here are one or two of my favourites:
John Wainwright’s account of Ivor Hickman, The Last to Fall, in addition to being terribly poignant is also invaluable to historians, for it draws strongly on Hickman’s eloquent letters home. Also very good is the meticulous biography of Julian Bell and John Cornford, Journey to the Frontier, by Peter Stansky and William Abrahams. An updated version of the biography of Bell, by Peter Stansky, was released by Stanford University Press in 2012
I enjoyed Angela Jackson’s biography of the English nurse, Patience Darton, For Us it was Heaven, partly because the author knew her subject personally. It’s therefore very sympathetic, but I found this to be part of its charm. I have written a more detailed review that you can find here.
Steve Hurst’s recent Famous Faces of the Spanish Civil War is pretty much as it says on the cover, drawn from other secondary sources. Well-written, interesting and informative, but not really ground-breaking.
The ILP & Anarchist Volunteers
George Orwell’s Homage to Catalonia remains, by some margin, the most widely read book in English on the Spanish Civil War. It’s undoubtedly an important work, though as Orwell only spent six months in Catalonia, it is important to read a general history of the war alongside it. Paul Preston and Helen Graham have both written brief, though very good, introductions to the war, its causes and consequences.
Chris Hall’s (out of print) Not Just Orwell, has been updated and re-published as In Spain with Orwell. In addition to an account of the Independent Labour Party’s role, it provides useful biographical details of those serving in the unit.
Chris Dolan’s portrayal of the experiences in Spain of the Scottish Anarchist, Ethel MacDonald, An Anarchist’s Story is justifiably popular, but read it with care. There are a great number of factual errors in the text.
The medical services
With Jim Fyrth’s The Signal was Spain seemingly out of print, Linda Palfreeman’s Salud! and her most recent publication, Aristocrats, Adventurers and Ambulances: British Medical Units in the Spanish Civil War, are the only general histories of the British medical services. Both are useful and describe in detail the terrible conditions in which the Republican medical services were forced to operate. For those looking specifically for an account of the medical advances made during the war, Nicolas Coni’s Medicine and War is excellent. Linda Palfreeman’s Spain Bleeds (2015) focuses on the innovations in blood transfusion. Seb Browne’s Medicine and Conflict looks interesting but at around £100.00 for the hardback, is probably out of reach of most readers.
For a study of the British nurses, Angela Jackson’s British Women in the Spanish Civil War and her biography of Patience Darton are both required reading. Angela also contributed an introduction to the most recent publication, Firing a Shot for Freedom; the memoirs of Frida Stewart (2020).
I found Robert Stradling’s biography of Frank Thomas, Brother against Brother extremely useful, but it seems to have been priced out of the market (it’s currently over £90.00 online). Judith Keen’s Fighting for Franco is better value, though most British readers will probably find Christopher Othen’s Franco’s International Brigades to be of greater interest. It’s packed with entertaining anecdotes and bizarre characters.
The British Media & Public Opinion
This has been a hot topic in recent years. The republication of Henry Buckley’s memoir, The Life and Death of the Spanish Republic is something to cheer. The Daily Telegraph reporter’s account is, I think, one of the very best first-hand accounts of the war written in English (alongside Orwell’s Homage to Catalonia and Arturo Barea’s Forging of a Rebel).
The memoirs of two other correspondents have also been reissued and both are well worth reading: Geoffrey Cox’s Defence of Madrid and John Langdon-Davies’s Behind Spanish Barricades. Paul Preston’s We Saw Spain Die is a terrific overview of foreign correspondents in Spain, not just the Brits.
There are three new studies of British media portrayals of the conflict. Brian Shelmerdine’s British Media Representations of The Spanish Civil War, Hugo García’s The Truth About Spain and David Deacon’s British News Media and the Spanish Civil War are all well-researched and thorough, but none are particularly cheap. As with Lewis Mates’ book, it would be good to see them (particularly García’s) released as paperbacks.
The British volunteers in fiction
Unfortunately, my personal favourite, Ernest Hemingway’s For Whom the Bell Tolls, is about an American, rather than a British volunteer, so I can’t include it. Still, it’s always worth a plug, not least because it’s both widely known and a great book, even if not to everyone’s taste.
C.J. Sansom’s Winter in Madrid, published in 2006, is the tale of an English volunteer for the International Brigades, who is captured by Franco’s forces. It’s an entertaining and easy read, but has suffered from mixed reviews, mostly for its slightly far-fetched plot and clunky dialogue. More far-fetched still, is W.E. Johns’ Biggles in Spain, on which I have written a separate post.
I very much enjoyed Lydia Syson’s A World Between Us, released in 2012. It’s marketed as ‘young adult fiction’ though it seemed pretty grown-up to me. recounting a triangular relationship between three volunteers played out in London and Spain, it’s very well written and plotted and the author clearly did her research. Recommended. (N.B. I should declare an interest, as I know the author and was consulted about the book. For balance, here’s a review of the book by the grand-daughter of an British International Brigader, from issue 33 of the IBMT’s newsletter).
John Simmons’ Spanish Crossing tells the story of Lorna, a young English woman who becomes involved in the plight of the Basque refugee children. The book is elegantly written and well-paced, though it contains a number of glaring factual errors and anomalies. I think it would benefit greatly from a fact check.
Not centred on the volunteers as such (though one of the characters does end up joining the International Brigades) is Jessie Burton’s The Muse, focus of 2018 CityRead London. Split between Britain in the 1960s and Spain in the 1930s, it’s a well-crafted novel and definitely worth a read.
Barbara Lamplugh’s The Red Gene, published in 2019, tells the story of a young English nurse who volunteered for the Spanish Government’s medical services and fell for a Republican soldier. The story touches on the awful conditions during the civil war and the scandalous forced adoptions in Franco Spain. It was reviewed in the January 2020 edition of the IBMT newsletter.
Based in his farmhouse in Andalusia, Jason Webster has spent much of the last fifteen years writing with great affection about Spain, its people, culture and history. Many readers will already know Duende, his account of years obsessing over flamenco, or Guerra, an examination of the enduring legacy of the civil war and Franco dictatorship. His latest publication, Violencia, is a bold attempt to write the history of Spain in less than 400 pages. This has earned one or two disdainful remarks on social media, unfairly, for this book is aimed at the everyday reader, rather than specialist academics. It’s very engagingly written and should be read as an – occasionally irreverent – introduction to Spanish history.
The author’s fondness for his adopted country is made abundantly
clear by a detailed description of its influence around the world. ‘Without
Spain,’ he points out, ‘emblematic aspects of “Western” civilisation as diverse
as rational thought, modern surgery and the American cowboy would all be
missing.’ Likewise, he highlights the powerful impact of centuries of Arab rule
over Spain. The ‘Moors’, he argues, were not (and are not) ‘the other’, but a vital
part of Spanish history and culture.
However, as the book’s title would suggest, it is not just a celebration of Spain’s past greatness. The main tenet of the book is an argument that Spain has a long and unfortunate tradition of turning to violence as a means of solving political crises. Spanish history, Webster argues, has been an enduring struggle between two sides, personified by the two faces of Santiago, the patron saint of Spain: on the one hand Matamoros, the violent Moor-slayer, and on the other the peaceful Sage. This ‘dark side’ of Santiago has been turned against many different forms of enemy, for Spain has always needed an ‘other’ to unite a disparate country against. Sometimes that enemy has lain overseas, but on other occasions it has existed within the ‘indivisible’ Spain itself. The expulsion of the Jews, the Reconquista, the Carlist wars of the nineteenth century and the civil war itself thus all become symbols of this struggle.
At the end of the book, the author considers whether this thesis might be applied to contemporary Spain. Franco’s dictatorship was, of course, built on violence and though the transition appeared to signify that Spain was at last turning away from violence, many would argue that the transition is still not over. As Paul Preston and others have pointed out, there was never a denazification (or de-Francoisation) in Spain. Many on the Right still resent any perceived challenge to their inalienable right to rule. The government’s heavy-handed response to the Catalan referendum of October 2017 and the draconian sentencing of the separatist leaders up to 15 years for their crimes – originally portrayed as rebellion – could be seen as further evidence of the trend.
The author is certainly right to state that Spain currently faces many challenges. Yet another election beckons, in which concerns about Catalan nationalism and immigration are likely to see support for the neo-Francoist Vox spread well beyond its Andalusian cradle. The recent disinterring of Franco’s remains from the Valley of the Fallen was not supported by a third of the population (according to a recent poll in El Mundo) and has infuriated the family and supporters. In these circumstances, the author wonders if Felipe VI might be the last King of Spain. Does the country’s future lies with democracy or authoritarianism? Could Spain return to the violence of the past? Personally, despite the recent angry protests in Catalonia, I think that’s unlikely. Franco is long dead and Spain has been a democracy for more than 40 years. In many ways, the importance of disinterring Franco’s remains was symbolic, more than anything else. However, it’s hard to disagree with the author when he concludes that ‘pretending that the ghosts from the past don’t exist, only makes them stronger in the long run.’
This review first appeared in ¡No Pasarán!, 1-2020, p. 19.
Having read quite a lot about the Spanish Civil War over the years, I tend to approach novels set during the turbulent period of 1930s Spain with a fair degree of trepidation. While fiction is not constrained by the rules of historical non-fiction, it still grates when authors make lazy, factual errors. Fortunately, Jessie Burton has obviously researched thoroughly; not many novels would include Henry Buckley’s wonderful memoir, The Life and Death of the Spanish Republic, in the bibliography.
The Muse opens in 1960s London, where we meet the young, Caribbean immigrant Odelle Bastien. Fed up with her tedious job in a London shoe store, she manages to land herself a job in an obscure London art gallery, along with a posh boyfriend who seems to have little to show for himself, apart from ownership of a mysterious, strikingly beautiful painting.
The book then shifts to Spain in early 1936 and the affluent, British ex-pat family of frustrated teenager Olive Schloss. She’s been offered a place to study art at Slade in London, but her bipolar mother and out-of-touch father take neither Olive, nor her painting seriously. We also meet Isaac and Teresa, siblings from the nearby Andalusian village who, through their desperation for work, open our eyes to the appalling inequalities and class-hatreds of pre-civil war Spain.
As the book progresses and the narrative switches backwards and forwards with increasing rapidity, we begin to understand that the two stories are indelibly linked. Burton manages to inject a real sense of foreboding, which builds steadily as the plot develops and the pace quickens. It’s an extremely well-crafted novel, with strong, three-dimensional characters and a convincing portrayal of the two very different worlds in which they reside. It’s also very knowing, touching on themes such as racism in 1960s London and the long-standing lack of recognition of female artists.
The Muse is a powerful follow-up to the author’s debut, The Miniaturist, which sold over a million copies and was made into a BBC TV series. If you’re on the lookout for an intelligent, literary pager-turner, this might well be it.
When Robert Stradling published his study of Wales and the Spanish Civil War, The Dragon’s Dearest Cause, in 2004, he was careful to pay homage to the earlier work of Hywell Francis, declaring that ‘it was never my intention to attempt the task – both impossible and gratuitous – of replacing his superb book Miners Against Fascism.’ Instead, Stradling declared his intention was to ‘complement’ Francis’s book, though in many ways his work was a critique. Now in 2018 we can add a new study to this contested field: Graham Davies’ You are Legend.
Wisely steering clear of the Francis-Stradling arguments, Davies opts for a more conventional account, concentrating on the personal experiences of the 200 or so Welsh volunteers in the war itself. Beginning with an overview of the background in Spain, the author then turns to 1930s Wales, before looking at the creation of the International Brigades, the motivations of the Welsh for joining and a chronological account of the war.
The inspiring story of Potato Jones and his fellow mariners is included, as is an account of the selfless role Welsh men and women played within the Republican medical services in Spain and accommodating and supporting Basque refugees at home. The author has included a number of photographs of Welsh volunteers that I haven’t seen before, together with some helpful photographs of his own, presumably taken on trips to Spain. Perhaps most useful of all, Davies has gone further than previous researchers, by including brief biographies of 149 Welsh survivors of the war. His definition on who to include in his list, incidentally, is eminently sensible: those who were born in Wales ‘or had strong Welsh connections’.
Aside from the inevitable small errors in a work of this scope (for example, Davies mistakenly claims that the Thaelmann, Garibaldi and Dombrowski battalions were part of the 15th International Brigade at Jarama) there’s no doubting that You Are Legend is a very a comprehensive account. This is not to say that all will agree with some of the author’s conclusions, of course, and there are certainly some areas in which I would take issue; for example, I think he overstates the power of the Russian Intelligence Services – and consequently the Soviet Union – in the recruitment and day to day control of the brigades. He also has a tendency to quote some of the propaganda from IB memorial leaflets rather uncritically; I very much doubt that when Billy Davies was killed at Villanueva de Cañada in July 1937 ‘his clenched fist shot up in salute as his body fell, riddled with machine-gun bullets’. To the author’s credit, however, he generally avoids over-eulogising, recognising that ‘not every volunteer for such a stressful and horrific theatre of war will be a hero.’ As has been said before, these were mostly ordinary men and women who chose to do something extraordinary.
How much the experience of Welsh volunteers differed from those from other parts of Britain, particularly from mining communities in Durham or Fife, is difficult to say. Certainly, as Davies acknowledges, ‘the Welsh did not develop as strong a national identity as the Irish.’ However, perhaps this is to miss the point. While the experiences of the Welsh volunteers may not have been ‘exceptional’, their contribution both individually and collectively is beyond doubt and Graham Davies should be applauded for helping make sure their efforts will not quickly be forgotten.
The review first appeared in the IBMT’s No Pasarán, 1-2019, pp. 20-21.
For anyone who spends their working days immersed in the turbulent events of Twentieth Century Spain, the notion that anyone could have forgotten General Franco and his brutal regime seems far-fetched. However, the eminent Spanish historian, Enrique Moradiellos, believes that the gradual removal of the physical evidence of the Franco dictatorship – street-names, monuments, etc. – has led to a situation where many Spaniards, particularly the young, have forgotten the awful realities of life under Franco. Hence this new study of (or, rather, anatomy of) the dictator which examines in turn, Franco the man, Franco the ‘Caudillo’ and, finally, Franco’s regime.
The first section provides the reader with an astute depiction of Franco. Clearly the author – though scrupulously fair – is no supporter of the dictator, pointing out that even Franco’s own sister admitted that ‘cunning and caution define his character’. Commander of the Rebel air-force, General Kindélan, was apparently no more polite, portraying Franco in terms that might remind readers of someone rather more contemporary: ‘a man in the enviable position of believing everything that pleases him and forgetting or denying that which is disagreeable. Puffed up with pride, intoxicated by adulation and drunk on applause.’ ‘Franco’, wrote the American chargé d’affairs succinctly in 1950, ‘is the kind of Spaniard who likes to get into the movie without buying a ticket.’
Moradiellos outlines clearly Franco’s extraordinary rise to Generalissimo, pointing out (as have others, not least Franco himself), that his involvement in Spain’s colonial war in Morocco is key to any understanding of the man. The author remarks on Franco’s legendary skill in paying off Rightist groups against each other and his ruthlessness towards opponents, demonstrating that Franco always intended his dictatorship to be permanent. Moradiellos does concede that, despite his support to the Axis during the Second World War, Franco deftly ensured the survival of his regime. However, at the same time, he is very critical of the ‘bankruptcy of Western policy to oust him peacefully’ and their decision to allow the ‘Sentinel of the West’ back in to the fold. The author agrees with others that Franco’s abandonment of his disastrous policy of autarky in the 1950s led to much needed growth in Spain’s economy, though pointing out that it was not until the 1960s that Spain was transformed economically from an essentially agrarian feudal state into a modern industrialised nation.
Yet Spain was still a dictatorship, even if Franco was getting old and his regime was crumbling, beset by challenges: labour disputes, student protests, Catholic support for democracy & ETA terrorism. It was the assassination of the Prime Minster, Admiral Carrero Blanco, on 20 December 1973 that marked the beginning of the end for Franco’s regime and Moradiellos logically concludes his initial section with the dictator’s death in November 1975.
He then moves on to briskly discuss the notion of Franco as Caudillo. Moradiellos argues that the association of Franco with the term (and his quasi-religious ‘crusade’) was due mainly to Franco’s successful advance on Madrid in the autumn of 1936, though also to his iron control of the press and propaganda. Franco knew full well that Rightist conspirators understood that the coup depended on the army, giving him huge leverage and allowing his conscripted army to predominate over volunteer groups such as the Falange and Carlist militias. As Moradiellos argues, the military, Church and Falange authority ‘cemented the consistent cult of charismatic personality that would continue until his death in 1975.’
The book’s final section is much more discursive, academic even, looking to establish an over-arching definition of Franquismo, even though, as Moradiellos recognises, the longevity of Franco’s regime means attempting to provide one single definition is difficult. His fundamental question is: was it a traditional conservative military dictatorship, or a Spanish version of European fascist regimes? Clearly Franco felt it was a dictatorship and most historians would accept that labelling it simply as fascist is problematic: ‘Franco wasn’t a fascist, he was something much worse’, argues Paul Preston. Nevertheless, fascism was a part of the regime, even if it was absorbed into Francoism or used as ideological window-dressing. As Moradiellos argues, Franco’s regime was fascist for social rather than political reasons; it was fundamentally ‘a violent and extreme expression of a movement of reaction’.
While Enrique Moradiellos’s biography of Franco is undoubtedly scholarly, it’s not immediately clear that it contains enough new material (the final academic section aside) to appeal to someone who has already read one of the numerous earlier biographies. Still, clear and concise and well-written as it is, it will, no doubt, prove to be an important resource for students of contemporary Spanish history.
This review first appeared in ¡No Pasarán! 3:2018, pp. 20-21.
When General Franco died in November 1975, he was convinced that his regime would continue after him, that ‘everything is tied down and well tied down’ (todo está atado y bien atado). Yet within three years, Spain had – surprisingly peacefully – been transformed into a democracy. This transition, however, demanded a huge sacrifice from the victims of Francoism, asking them to set aside their grievances and sign up to el pacto del olvido, the pact of forgetting. Fearful of sliding back into dictatorship, Spaniards kept the pact, though two generations later the consensus has essentially broken down. Grandchildren of the victims, far removed from the years of civil war and dictatorship, are proving to be less restrained than their parents and are demanding answers. For them, difficult and painful memories, like the thousands of unmarked graves by Spanish roadsides, are something to be unearthed, not forgotten.
Unsurprisingly, efforts to establish the truth behind the murder and persecution of thousands of victims has encountered considerable resistance from certain quarters in Spain. Consequently, battles over very different historical interpretations, the so-called ‘memory wars’, are currently being heatedly fought out within Spanish culture and society. It is onto this battlefield that Sebastiaan Faber, co-editor of ALBA’s excellent magazine, The Volunteer, and author of Anglo-American Hispanists of the Spanish Civil War has bravely ventured.
Laid out in five main sections, Memory Battlesof the Spanish Civil War is an attempt to find answers to three key questions: How have fiction and photography shaped memory? How has democratic Spain dealt with the legacy of the civil war, the dictatorship and the transition and, finally, how have media producers and academics engaged with the process of ensuring that Spain progresses as a unified functioning democracy?
Sebastiaan begins an erudite, wide-ranging and thought-provoking discussion with a re-examination of the work and impact of Robert Capa, Gerda Taro and David Seymour (Chim), and the great Catalan photographer Agustí Centells. He amply demonstrates how the meaning of an image changed dramatically during the war, depending on its use and its context within a photographic montage. However, the author is no doubt correct when he argues that fascinating though they are, the images are unlikely to actually change historians’ view of the civil war.
The second section of the book tackles the central theme of historical memory and the conflicting narratives that exist in Spain, the argument between the value of recovering historical memory and the dangers of reopening of old wounds. As the author states, witnesses to the past, including historians, can also be witnesses in a trial of Francoism. Books such as Paul Preston’s Spanish Holocaust certainly provide ample evidence for the prosecution.
Alongside Helen Graham, Angel Viñas, Gabriel Jackson, and Pablo Sánchez León, Paul Preston appears in the third section, an examination of how current historians are interpreting, or ‘reframing’ the past. As you’d expect from this stellar collection of voices, there’s much of interest here. Angel Viñas is in typically bombastic form and I enjoyed Helen Graham’s optimistic assertion that history ‘is the ultimate antidote to any kind of over-simplification.’ While all historians choose the stories they want to write about, that doesn’t necessarily prevent them from doing so fairly and – relatively – objectively.
After a discussion of the contribution of three Spanish intellectuals, the book’s final section examines the role of fiction. It concludes with a look at some of the work of Javier Cercas, who has been widely translated into English. Cercas offers good advice, noting that ‘the first thing to do when reading a novel is to distrust the narrator.’ The same could be said of history itself, of course, where the eminent E.H. Carr famously advised students to ‘study the historian before you begin to study the facts.’
This book should prove to be of great interest to anyone interested in the history of (the history of) Spain and provides ample evidence that artists and writers are not neutral bystanders in these contemporary ‘memory wars’. It also asks intelligent questions of historians and academics: What is their role in all of this? Should they just comment from afar? Or should they positively engage? Sebastiaan Faber’s involvement with the Contratiempo collective and the open-access Universidad del Barrio in Madrid show his views clearly enough and will, I suspect, chime with many members of the IBMT. As the author states, ‘fields like history and politics are not just too important to leave to the experts; they are fields that should be of interest to everyone because they are everyone’s concern.’
This review first appeared in ¡No Pasarán! 2:2018, pp. 19-20.
It is now eighty years since the failed military coup which marked the beginning of the civil war in Spain. During the bitter conflict some half a million Spaniards were killed, a sombre warning of the greater slaughter to follow. For while the civil war was at its heart a Spanish tragedy, the internationalism of the war conferred on it a lasting significance beyond the Iberian Peninsula. Crucial military support from Mussolini’s Italy and Hitler’s Germany for Franco’s Nacionales was countered – to some degree – by that from Stalin’s Russia for the Republic. Meanwhile, the western democracies did their utmost to ‘keep out of it’, making ineffectual efforts to encourage other regimes to do the same. The ‘non-intervention agreement’ (as it was called) was therefore not akin to neutrality and decisively helped the Nacionales, later openly acknowledged by the Francoist minister Pedro de Sáinz Rodríguez. Britain may have been the main guilty party, but other western democracies also bear culpability for the Republic’s defeat, including the United States. As a new book by the award-winning author Adam Hochschild reminds us, President Franklin D. Roosevelt came to much the same conclusion in January 1939, admitting to a cabinet meeting that the embargo on arms for the Spanish Republic had been a ‘grave mistake’.
Hochschild’s Spain in our Hearts is subtitled ‘Americans in the Spanish Civil War’, though the book is not, in fact, about the 2800 American volunteers in the International Brigades. Instead, his account is told through the experiences of a select number of individuals (not all of whom are American) within the cataclysmic war in Spain. And they are select, for Hochschild’s characters are all highly-educated, middle-class writers. The notion of a poets’ (or writers’) war is clearly still attractive to writers and publishers, which neither time, nor the undoubted presence of an overwhelming proportion of manual workers among the volunteers, seems to have dispelled.
Admittedly, the author has chosen his stellar cast shrewdly, including the two most famous writers of the civil war (in English at least), Ernest Hemingway and George Orwell. While Hochschild seems to have little new to say about the latter, his account of Hemingway’s participation in a guerrilla raid behind enemy lines, which clearly inspired Robert Jordan’s mission in For Whom the Bell Tolls, may come as a revelation to some readers. Jordan’s real-life counterpart, the Professor of Economics and Abraham Lincoln Battalion commander, Robert Hale Merriman, also features, as does society debutante and reporter Virginia Cowles and journalist and International Brigader, Louis Fischer.
Accounts of the war’s impact on the characters’ personal relationships are a recurring theme; Hemingway and Martha Gelhorn obviously, but also Bob Merriman and his wife Marion, POUM supporters Lois and Charles Orr and the cross-Atlantic war romance between American nurse Toby Jensky and English sculptor and International Brigader, Jason ‘Pat’ Gurney, who had suffered a nervous break-down after the appalling carnage of the Jarama battle of 12-14 February 1937.
Gurney’s account of the war, like Hemingway’s and Orwell’s, has been frequently cited and retold and it’s difficult to find much within Hochschild’s account that is strikingly original. Certainly the author’s debt to earlier studies, particularly those of Paul Preston and Peter Carroll (which he generously acknowledges) is clear. So, why then, should this new book be of interest? Principally, it is because of the sheer quality of the writing and story-telling. Spain in our Hearts is a rewarding and enjoyable read, for the elegant prose is littered with some of the most telling anecdotes from the literature.
It is also a pretty fair and balanced account. The author is fortunately too sophisticated to fall for the simplistic, binary notion of a war between two equally repugnant totalitarian philosophies, in which ‘Spain’ is merely a passive bystander. Nor does he make the mistake of seeing Republican Spain as a satellite state of the Soviet Union, though not denying that the supplies of military materiel and the organisation of the International Brigades gave Stalin great influence. This ‘devil’s pact’ was really the only option left to the Republic, once the western democracies had refused to come to their aid.
Hochschild will, no doubt, come into some criticism for justifying what has become seen as ‘the Communist line’ regarding the argument over ‘war or revolution first’ that Orwell discusses in detail in Homage to Catalonia. Yet it is often forgotten that, after the war, Orwell himself came to the reluctant conclusion that the military necessities of the war should take precedence, though he nevertheless remained furious about the Communist Party’s use of the argument as a smokescreen for the suppression of other parties of the left. Like Orwell, Hochschild clearly has great sympathy for the POUMistas and Anarchists, yet he is not dewy-eyed, dryly observing that ‘the ideal of “from each according to his abilities, to each according to their needs” however splendid in theory, proved hard to enforce, especially when many workers felt that what they needed was more time off.’ (p. 146)
Balanced, of course, is not the same as neutral and Hochschild’s Republican sympathies are plain to see. Perhaps the clearest example is his illuminating account of the role of Torkild Rieber, the pro-Nazi C.E.O. of the American oil company, Texaco, in supplying millions of gallons of oil to Franco on credit. To this can be added the 12 000 trucks received by Franco from General Motors, Studebaker and Ford. As Hochschild points out, the admission by the Under-Secretary of the Spanish foreign ministry that Franco could not have won the war without U.S. trucks and U.S. oil credits reveals just how significant this contribution really was to the Nationalists’ cause.
Hochschild’s Spain in our Heart is much more than just another account of Orwell and Hemingway in Spain. It offers the reader a window into the personal, emotionally searing experiences of those who decided to make the Spanish cause their own. As Albert Camus, from whom the book’s title is drawn, wrote just after the end of the war, ‘it was in Spain that [my generation] learned that one can be right and yet be beaten’. Hochschild’s beautifully crafted book explains why, for them, the Spanish drama was and remained a personal tragedy.
When the Spanish Civil War began in July 1936, many saw the conflict not as a remote war in a far-away country, but as the latest battlefield in an ongoing struggle between fascism and democracy. As the western powers sat on their hands, thousands became consumed with a burning need to act, to do something, in support of the beleaguered Spanish Republic. Famously, some 35 000 of them went as far as volunteering to fight in the International Brigades. Others, however, turned their efforts towards trying to help alleviate the suffering of those caught in the turmoil, either by collecting money for medical supplies or, in the case of more than 200 men and women from Britain and Ireland, by going to Spain to join the Republican medical services. One of these was a young Quaker from Northallerton in Yorkshire, called Alec Wainman. Lacking medical knowledge, but able to speak both Russian and Italian, Wainman volunteered to drive an ambulance in Spain, bluffing the recruiters that he was a qualified driver, fluent in Spanish…
Set on a minimalist stage with a cast of two, Dare Devil Rides to Jarama is a surprisingly successful account of the International Speedway star from Oldham, Clem Beckett, during the economically and politically turbulent 1920s and ’30s. The play’s central story – and its climax – recounts his time spent fighting in the Spanish Civil War alongside the writer, Christopher St. John Sprigg (more familiar under his nom de plume of Christopher Caudwell) with whom Beckett struck up a powerful friendship.
David Heywood makes a convincing Beckett and Neil Gore shows off his versatility by playing a number of parts from Sir Oswald Mosley to Christopher Caudwell. The play has some nice touches which (on the occasion that I was there) went down well, including a clever representation of the ‘wall of death’ with a puppet and a lusty sing-a-long to Euan McColl’s Manchester Rambler. There were many opportunities for audience participation (should you be in such a mind); such was the atmosphere, I even noticed a professor of history joining in. No mean feat.
It’s often difficult for historians at these events, particularly if (as is often the case) they are asked how accurate the production is. Often the answer is ‘not very’ though, of course, it should be remembered that the the constraints placed on fiction are rather less demanding than those placed on historical studies. It would be most unwise to take Shakespeare’s plays, John Ford’s westerns or George MacDonald Fraser’s historical novels too literally. To their credit, Townsend Productions‘ writer/actor Neil Gore and director Louise Townsend have clearly worked very hard to tell Beckett’s story as honestly and accurately as possible. I certainly think that the play does a remarkable job in explaining why so many men and women from Britain and Ireland (not to mention another 50 countries from around the globe) chose to leave their homes, families and friends to fight in a foreign civil war.
My only small criticism is that I felt the play was a little unkind to Caudwell/Sprigg. His character was something of a caricature, a bumbling upper-class twit, with the voice of John le Mesurier, yet little of the knowing, ironic humour. In ‘Dare Devil’ Sprigg rather seems to have ended up in the International Brigades, influenced by the strength of character of Beckett, whereas my impression is that ‘Spriggie’ volunteered to fight in much the same way as the other 2500 British and Irish volunteers. Likewise, in the final scene [spoiler alert], Sprigg is nowhere to be seen as Beckett, his French machine-gun having typically jammed, meets his end on the Jarama battlefield. Yet accounts from other member of the battalion fighting that day in February 1937 suggest that Beckett and Caudwell fell side by side, as inseparable in death as they had become in life. To be fair, a cast of two – one of whom needs to be operating the lighting – does rather limit one’s options.
But don’t let this small gripe put you off. Dare Devil Rides to Jarama is a powerful, atmospheric production and you have the additional satisfaction of knowing that, by going, you are supporting the work of the IBMT, who helped fund it. The play is on tour around the country at the moment, with dates available up to March 2017. Catch it while you can.