Article
Art
Culture
Trauma
War & peace
5 min read

Forgotten soldiers and new narratives are shaping how we mark our wars

Writing our history of conflict is as much a war of images as of words.

Susan is a writer specialising in visual arts and contributes to Art Quarterly, The Tablet, Church Times and Discover Britain.

An actor reads a speech at a commemoration
Timothy Spall recites Churchill.
Sky News.

Heading into an intense summer of World War Two remembrance, with May’s commemoration of the 80th anniversary of VE Day followed by marking the end of war in the Far East in August, it is remarkable how well the essentially Edwardian model of honouring the war dead has stood the test of time. 

In The Edwardians Age of Elegance exhibition, at the King Gallery’s, a room is devoted to the passing of the extravagant turn-of-the-century era into the sombre age of war memorialisation, following World War One. George V commissioned traditional English artist Frank O Sullivan to paint the inaugural service for the Unknown Warrior in Westminster Abbey. The long canvas, with a domed frame at the centre to accommodate Edwin Lutyens’ freshly unveiled, lofty Cenotaph, captures the solitary King walking behind a flag draped coffin, mounted on a gun garage, as the parade passes the war memorial. Initially a temporary wood and plaster structure, Lutyens’ Portland stone monument commemorated over a million soldiers lost in the Great War, some buried near the battlefields near where they fell, and nameless others whose remains had been obliterated by mechanised warfare. 

Attended by widows, ex-servicemen and armed forces personnel, the 1920 Armistice Day ceremony marked a shift away from solely glorifying commanders and officers, placing the sacrifice of ordinary combatants centre stage. The monarch symbolised his gratitude to his people, rather the other way around. 

Ceremonial Great War gun carriages featured in the London VE Day parade on 5th May. And the King’s Troop, Royal Horse Artillery provides gun carriages and teams of six black horses for state funerals. Following World War Two, and complete mechanisation of artillery, George VI instituted a troop of horse artillery for ceremonial occasions, enshrining the continuation of practices from a previous era’s warfare. 

Layering memorialisation upon memorialisation was also evident in the 5th May ceremonies when actor Timothy Spall read an extract of Churchill’s Whitehall speech, given to the crowds when European hostilities ended.  

“In the long years to come, not only will the people of this isle, but of the world wherever the bird of freedom chirps in human hearts, will look back on what we have done and they will say do not despair, do not yield to violence and tyranny, march straight forward and if needs be, die unconquered.”  

Narratives around the present and recent past are codified with a focus on forecasting how future generations will view events when looking back.  

While Europe celebrated in early May 1945, the one million troops of the Fourteenth Army continued fighting the Japanese Army through Burma and the Pacific. Dubbed the Forgotten Army and the Forgotten War, their campaigns were underplayed in the Allies’ wartime narrative. Singapore’s fall to Japanese forces in February 1942 was seen as a shameful defeat. Remoteness from London of the Far East campaign, and the vastness of the theatre of war, made it near impossible to report on by radio and print journalists. Letters to and from the Fourteenth Army took months to reach their destinations.  Soldiers and civilians held as prisoners of war by Japanese forces were forbidden to make images or create records of their captivity, making contemporaneous images of their incarceration rare. But drawings of camps and hospitals by Jack Chalker hidden in hollowed out bamboo sticks, acted as preparatory works the artist to later make paintings such as his painting Medical Inspection, Chungkai Hospital Camp 1943, created in 1946, and now held by the Royal Army Museum. 

As traditions of commemorating the war dead evolve, new grey areas come to light, demanding space in the official narrative 

Contrasting the paucity of images of the war in the Far East, with the array of works depicting the Blitz in London - created with  American audiences in mind, in the hope of winning support for the Allied cause - together with photographic images of North African and Middle East operations, it is little wonder the Forgotten War struggles to be remembered. Veterans of the Far East campaign and POWs were far more likely to join ex services organisations such as the British Legion and Burma Star, than those who served in Europe. Marginalised from victory and peacetimes narratives, the Forgotten Army chose to remember together. 

Before Victory over Japan’s 80th anniversary is commemorated on 15 August, with the famous cover photo of an American sailor dramatically embracing a woman in a white dress showing on repeat, the 80 years since the dropping of atomic bomb on Hiroshima and Nagasaki will have to be faced. Mainly civilians died as a result of impact and sickness from the bombing of Hiroshima on 6 August and Nagasaki on 9 August, with estimates of between150,000 -246,000 deaths. Whether the only use of nuclear weapons in warfare was justified, as it prevented loss of life from not having to wage a military campaign to occupy mainland Japan, or the horrific sacrifice of so many civilians was a war crime, remains a morally grey area. 

As traditions of commemorating the war dead evolve, new grey areas come to light, demanding space in the official narrative. Actress Sheila Hancock wrote recently about the trauma and fear of being an evacuee, sent away from her London family as a small child, to an emotionally neglectful home in the ‘safer’ countryside. Forced adoption of children born to lone mothers, and the stigmatising treatment expectant women received at the hands of Christian denomination- ran mother and baby homes, is a wartime and postwar story now demanding to be heard. 

Lesser documented stories of marginalised civilians, and combatants in faraway places take time to emerge, fighting to be heard above familiar images of plucky cockneys in bombed out buildings and amorously celebratory sailors. Shaping a multifaceted history of conflict is as much a war of images as of words. And as families become more transnational, the search for a shared narrative can replace clinging to the right or official story. 

The idea of army chaplain, the Reverend David Railton, to commemorate an Unknown Warrior with honour, still resonates over a century later. Railton’s battlefield altar cloth, known as the Padre’s or Ypres Flag, covered the coffin on its journey from Boulogne to Westminster Abbey. 

Stretching and fraying to include the stories of groups previously overlooked, the Edwardian fabric of military remembrance is proving remarkably strong. 

 

The Edwardians: Age of Elegance, the King’s Gallery, until 23 November.

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Review
Belief
Books
Creed
7 min read

Alice Roberts’ new book is the Da Vinci Code without the pretence of fiction

Tomes like Domination are part of the problem of public discourse about Christianity, not the solution
A head and shoulder image of Alice Roberts against a purple background
Alice Roberts.
alice-roberts.co.uk.

Alice Roberts would like you to read her book, thank you very much.

She recently took to X to bemoan the “epidemic” of people offering thoughts about her latest offering, without actually having read it. The person who prompted Roberts’ exasperation was a senior lecturer in Biblical Studies and the latest in a long of professional scholars of Christianity who had greeted the release of the book with little more than a weary eyeroll. 

The reason so many people felt as though they didn’t need to read it is because it is utterly predictable. Even a cursory glance at any of the marketing that has accompanied the publication of Domination: The Fall of the Roman Empire and the Rise of Christianity really does tell you all you need to know. It really is the book you think it is. 

You already know what this book is going to argue. Just like you already know how this review is going to go. I’m a theology lecturer who works for the Church of England; Roberts is an outspoken atheist and former president of Humanists UK. Of course I’m going to disagree with this book. It’s hardly the sort of plot twist you endure an M. Night Shyamalan film for.

But, for the avoidance of doubt, let me be clear: I don’t dislike Alice Roberts’ book because I’m a Christian and she’s not. I dislike Roberts’ book simply because it’s not very good.  

Roberts seeks to “lift the veil on secrets that have been hidden in plain sight.” (Always be wary of someone who claims to have noticed something no-one else has for the last 2,000 years). These ‘secrets’, she suggests, are that “the main reasons [Christianity spread so successfully] were not to be found in the pages of the Bible, but in a powerful alliance born of complex – and very human – incentives”.  

For Roberts, the central, overriding reason why Christianity flourished was simply economic and political power. In her own words, “the worldly aspects of the Church are undeniable. Wealth and power go hand-in-hand, and the Church had both in abundance.” It’s never clear who actually is thought to be denying this, except a vague group described as “apologist historians (including some who claim not to be Christian, but seem to be suffering from some kind of Stockholm syndrome) and theologians”.  

And this power-grab has been the aim since the earliest moments of the Church’s existence. The Apostle Paul is painted in cartoonishly Machiavellian tones: “As a Pharisee, a member of an established Jewish sect, Saul would have been a small fish in a big pond. The switch to this new breakaway sect [Christianity] would make him a prominent figure in a small but rapidly growing movement”. 

A few pages later – in a section that made me laugh so hard I had to put the book down for a few minutes to collect myself – Roberts offers a genuinely baffling reading of one of Paul’s early letters, to a group of Christians in the city of Corinth. In the letter, Paul speaks about divisions in the Church, with Christians claiming to ‘follow’ different leaders (such as Paul and Apollos). Roberts writes that “there’s a hint that Paul may have viewed Apollos as competitor” and continues: 

“When Paul wrote his first letter to ‘the Corinthians’ … he exhorted them to see themselves as united, whether they were following him, [or] Apollos … Paul, however disgruntled he might have been about the competition represented by other, potentially more eloquent, preachers, had decided it was best to team up. Still, he couldn’t quite resist suggesting his superiority – or at least, his priority – to Apollos: ‘I have planted, Apollos watered.’”. 

See?! SEE?! It’s all about power!! 

Well, that last bit is a quote from Paul’s first letter to the Corinthians, the third chapter and its sixth verse. Now, what Roberts doesn’t tell the reader is that she has left off the rest of the verse, and the verse that follows. “I planted, Apollos watered, but God gave the growth. So neither the one who plants nor the one who waters is anything, but only God who gives the growth.”  

But this is very different indeed to the impression Roberts gives us. Paul is quite clearly not claiming any sense of superiority over Apollos. No, he claims they’re both nothing, and that God alone deserves credit for anything good done by either of them. Not that you would know this from Roberts’ butchering of biblical texts.  

(As a slightly technical aside, the bit Roberts does quote should read ‘I planted,’ not ‘I have planted’. This sounds trivial but in the Greek text, Paul writes in a different tense than the one Roberts translates it as. This made me wonder what translation of the Bible was using or whether it was her own. However, there are no notes in the book. At all. And no mention of Bible translation that I could find. If we’re engaging in character assassinations of folk no longer alive to defend themselves, we might think that attention to the precise wording of their thought might be important. Apparently not). 

And there’s the rub. Roberts leave precisely zero room for earnest belief in God. Not her belief in God, obviously, but that the people whose words she has hacked and placed before us might earnestly think that their actions seek the betterment of those around them because of their belief in God. No. It’s all about power. I’ve highlighted her treatment of Paul in particular (again, because I found it genuinely hilarious), but time would fail me if I tried to recount all the ways that other figures in Church history are treated similarly. 

Roberts’ has complained about Frank Cottrell-Boyce (whom, she notes, is “a Catholic” as though this is in any way relevant to whether he’s right) for describing Domination as ‘cynical’. But how else could we possibly describe this? Yes, it is – of course – completely reasonable to highlight the social, cultural, political, and economic forces at work in and around the development of Christianity (is anyone actually suggesting otherwise?). And yes, of course some people have used Christianity for personal gain (seriously: is anyone actually suggesting otherwise?). 

But Roberts goes far beyond both points. Instead, she is simply stripping back the theological content of Christianity and claiming to have found “secrets that have been hidden in plain sight” having done so. But of course human motivation is all that is left once you strip belief in God out of religion, because what else could there be? Roberts’ prose may be captivating, but her argument is deeply immature and reductive. It’s like a toddler who’s just read Michel Foucault’s work on social power for the first time: an impressive toddler, to be sure, but a toddler nonetheless.  

Roberts does acknowledge that “people are complex, human societies are complex”, but this is little more than lip-service to nuance. None of this complexity is found in the actual argument of her book. It reminds me of someone saying, “no offence, but …” before going on to say something deeply offensive. A fleeting caveat doesn’t redeem a simplistic argument. 

In this respect, it’s quite telling that the front-cover endorsement comes from Stephen Fry who describes it as “a historical thriller of the highest quality.” In one respect, he’s not wrong. It reads like a thriller and – questions of content aside – might easily grip read readers with its compelling prose and rhetorical flourishes. But that’s because this is The Da Vinci Code without the pretence of fiction. A compellingly told conspiracy theory dressed up in just enough spliced-together reality to feign plausibility.  

Public discourse about religion and faith is too often conducted with a sneering cynicism that seeks to ride roughshod over the sincerely held beliefs of actual people who would actually describe themselves as religious. Books like Domination are part of the problem, not the solution.  

Maybe this is why I find Domination bordering on offensive. Not because of its content. (If I got upset every time someone ascribed bad motivations to the Church I’d never leave the house.) No, I find it borderline offensive because of its sheer existence. Whether you like it or not, religion has been and is an irrevocably vital part of who we are and where we’ve come from. Religious belief deserves at the very least to be understood, even if not agreed with. And so, when I finished Domination, I was left wondering: is that is? Is this the highest standard of discourse society can really be offered about religion? Dan Brown in an academic gown? Heaven help us, if so. 

The covers may be similar, and the titles may sound alike, but this is not Tom Holland’s Dominion. Where Holland’s work remains one of the most insightful and thoughtful accessible books about the development of Christianity and modern society, Roberts’ cynicism (for that is what it is) is both tiresome and tiring. (Moreover, that Holland’s book is not even mentioned once speaks volumes about Roberts’ work. That Roberts insists she has read it only makes that absence more baffling). 

The Church deserves more rigorous champions of atheism to scrutinise its belief; society needs a better class of conversation about religion and its role in our history. I fear Alice Roberts is not the former; Domination is certainly not the latter.  

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