The Great War – Research Notes (16) The Art Of War

When war broke out in August 1914, no one on either side of the conflict believed that it would rage on for over four bloody, devastating years. Many in fact, welcomed the war, believing it to be an opportunity for adventure —glorious and brief. The famous declaration that the whole thing would be finished ‘before the leaves fell from the trees’ or at the latest ‘by Christmas’ contributed to the romantic notion of going off to war. These fantasies were soon shattered by the gruesome reality of modern warfare.

The responses to the war evolved as time passed; from initial enthusiasm, nationalistic fervor and patriotism to shock, horror, anguish and remorse. These various and sometimes contradictory emotions are reflected in the art of the time. Photography and film news reels brought the carnage to life, so that even those at home got a taste of the true nature of war. Many artists and writers saw the war from the front lines and composed poetry, authored literature and created works of visual art reflective of those dreadful experiences. The following are samples of some of the works of art produced during and following The Great War:

I.  At the outset, many believed that the war would bring an end to the old social and political systems and usher in a new order of equality and progress. This optimism can be seen in the following lithograph from a collection called, Mystical Images of War. The artist, Natalia Goncharova, a Russian living in Paris at the outbreak of war, depicts the angelic host watching over the soldiers as they march away.

The Christian Host ~ Natalia Goncharova, 1914

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II.  Paul Nash is one of my favorite artists and he’s been featured here previously. The painting Ypres Salient At Night heads my poem: Tales Of War. Despite the optimistic title, Paul Nash’s painting depicts a scarred landscape with shell-holes, mounds of earth, and leafless trees –the resulting devastation of World War One.

We Are Making a New World ~ Paul Nash; 1918

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III.  Kathe Kollwitz used her art to portray the grief of loss from war. The following two pieces show the heartbreaking agony and hardship experienced by those left behind.

Killed In Action (Gefallen) ~ Kathe Kollwitz, 1920

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Mothers in different stages of life, held together by one common bond: the need to protect their children.

Mothers (Mütter) ~ Kathe Kollwitz, 1919

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IV.  Christopher Richard Wynn Nevinson revisits the desolation of No Man’s Land with insect-like planes buzzing overhead in That Cursed Wood, a title taken from a line in Siegfried Sassoon’s poem, At Carnoy: “Tomorrow we must go / To take some cursed wood… Oh world God made!”

That Cursed Wood ~ Christopher Richard Wynn Nevinson, 1917

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V.  I’ve featured Otto Dix twice before in my Great War posts. Shock Troops Advance Under Gas was the image for a post on chemical weapons and I used The Wounded Man to head my post about the disfiguring injuries to soldiers. You can click on the links to view those pieces. Otto Dix served for four years as a machine gun operator in the German army on the front lines in Belgium and France. He was grievously injured and suffered terrible nightmares about his experience. After the Armistice, during the height of these nightmares, he produced a series of drawings and etchings called The War (Der Krieg). Here is one more from that collection. In sharp contrast to the nationalist propaganda featuring war heroes like Baron Manfred von Richthofen (The Red Baron), Lens Being Bombed shows the terror and desperation of the citizens of the town in Northern France as they run for their lives.

Lens Being Bombed (Lens wird mit Bomben Belegt) ~Otto Dix, 1923-1924

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There are many, many more significant artists and artwork to consider, so this will be one of several posts on the subject.

Research Notes – The Great War (12) Passchendaele 1917

My current work in progress is a historical novel partly set during the Great War. In order to write the time period accurately, I’ve been spending many hours reading and researching. One of my characters will be in the mud of Passchendaele in 1917. I visited the area in 2013. It is still chilling to think of the horrors that the soldiers endured.

The stalemate along the Western Front in 1917 looked like it might finally be breaking, with successes by British and Canadian forces in taking Messines and Vimy Ridges, respectively. The German salient had been pushed back and the plans to break the line were being formulated. The forthcoming battle would officially be known as the Third Battle of Ypres, but would be more famously known as The Battle of Passhendaele, after the little village a few miles to the east of the site.

The area from Ypres to Passchendaele slopes continuously uphill—not an ideal way for the British to forge into battle. Even the soil around the area was about to become an obstacle. It had the consistency of clay—dense and heavy and prone to holding water. Before the war, the farmers who worked this land had needed to build up an elaborate drainage system to draw off the water during the rainy season. The battles fought in the area over the course of the war had demolished this fragile system, with the result that rain-soaked fields would become mires of thick, clinging mud. The success of the British advance in the Third Battle of Ypres was dependent on the weather cooperating.

June 1917 proved to be a good month for getting ready. In July the weather was for the most part agreeable, and the gun batteries came forward and took up their positions. The standard means of attack was to use heavy artillery to bombard the enemy in their trenches and then to send infantry ‘over the top’ to fight man to man. The initial bombardment could go on for weeks at a time, rendering the field into which the soldiers would follow a nightmare landscape of craters, rubble and ash. Though this approach had so far not proven to be an effective method, the generals were still enthralled by the idea of ‘more’ —more artillery cannons, more guns, more men, and not to mention, more casualties.

Airplanes had become a means of reconnaissance and the reports brought back by the pilots stated that the German morale was low and conditions looked good for an attack. However, British intelligence-gathering during the war was neither very objective nor accurate. The spies were told what the commanders hoped was true, and the spies basically confirmed that it was.

The artillery began raining death on July 18th, with the infantry attack scheduled to begin on July 31st. But as the shriek and blast of the heavy mortars went on for those two weeks, the weather began to turn. At first, occasional heavy rains filled the myriad shell holes littering the fields and due to the poor drainage, they remained that way. Still, on that last day of July 1917, the men crawled from the trenches at day break, carrying 60-80 pounds of gear on their backs and began to advance. They made two miles by nightfall and considered it a good start.

The next day, the first of August, it began to rain in earnest. This was no summer shower; it was a steady, soaking, continuous downpour. It rained for two weeks straight. The already saturated soil began to dissolve. The shell holes filled and the engineers tried to build up wooden walkways around them. The soldiers were slipping in the mud, falling in, and with their heavy packs weighing them down, drowning. The boards laid down to create footing were little better. In the rain, they became slick so that the soldiers had to tread carefully. The Germans shot the slow moving infantrymen off the boards, they fell in the mud and drowned.

August gave way to September and still the rain fell. Despite all this misery, the attack went on and finally Canadian troops took and held the village of Passchendaele. The advance on the Ypres Salient had gained the British four miles at the cost of a quarter million men.

British military historian Basil Liddell Hart relates the story of a staff officer who visited the battlefield after the fact. As he gazed out at the sea of mud, he said, “My God, did we send men to advance in that?” He then broke down and wept as his escort led him away.

There would never be another battle like Passchendaele. F. Scott Fitzgerald wrote in Tender Is the Night that battles like those fought on the Western Front could never be fought again:

“See that little stream we could walk to it in two minutes. It took the British a month to walk to it a whole empire walking very slowly, dying in front and pushing forward behind. And another empire walked very slowly backward a few inches a day, leaving the dead like a million bloody rugs. No Europeans will ever do that again in this generation. …This took religion and years of plenty and tremendous sureties and the exact relation that existed between the classes.”

He meant the only people that could fight that sort of battle were those who possessed a sure faith in their countries, their institutions, and their own unquestioned value systems. Only that kind of faith and confidence could prepare men sufficiently to endure the hell of such battles. Men like that were now gone: rotting in the fields of Belgium and France or if they lived, no longer in possession of such faith.

Nevertheless, the war itself had another year to run. New methods and new weapons were about to change the practice of war forever.

Images courtesy: Canadian War Museum, The Times of London, The Spectator, and Wikipedia

An Introduction to Copyediting

I finished a month-long workshop on copyediting last week and learned a few new things. I was also relieved to find that I haven’t been making too many mistakes in my own writing. So what exactly does a copyeditor do? And what’s the difference between editing, copyediting and proofreading?

Copyeditors work in the world of publishing, whether it be book, newspaper, magazine publishing, or online publishing. Any industry which requires written material will need a copyeditor. The copyeditor will perform his or her complex set of tasks behind the scenes: fixing awkward sentences, correcting mistakes in grammar, punctuation and spelling, and checking that titles and other proper names are accurate. Copyediting is much more than proof reading; it requires a mastery of the rules of grammar and a desire to make the written word shine. A copyeditor will transform an awkward or clumsy sentence into one that is as smooth and graceful as a choreographed dancer.

The process begins with the writer producing the article, feature or novel. This raw material is presented to the editor, who reads it with an eye to the story and structure of the piece. The changes they may recommend will include: plot modifications, character adaptations; and in nonfiction pieces, adding additional resource material. After the writer has made the changes and the editor has approved the manuscript, deeming it to be ready, the piece will passed on to the copyeditor.

Using the company stylebook, Chicago Manual of Style or the Associated Press Stylebook, the copy editor reads the manuscript with an eye toward lucidity, consistency, and errors. He will closely scrutinize punctuation and spelling, check the accuracy of titles and other proper names, and modify sloppy or lazy sentences. When changes are made, the copyeditor does so while keeping in tact the author’s voice and meaning. If the author’s meaning is unclear, the copyeditor will include a note asking for clarification. When the changes made are satisfactory to the writer, editor and copyeditor, the manuscript is passed along to the proof reader to check for typos or other errors that may have sneaked into the copy. The manuscript is nearly ready for publication and if the editor and copyeditor have done their jobs, the piece is now the best it can be.

I’m sure you can see how learning the basics of copyediting would be beneficial to an aspiring author. A submitted manuscript that is clean, free of errors and smoothly written will be much more attractive to potential agents and publishers than one that is sloppy and clumsily written. And especially for the Indie author going the self-publishing route, having a copyeditor’s eye is absolutely essential!