'Jon Stallworthy’s last public appearance was as
patron of the English Association’s conference on British Poetry of the First
World War, held at Wadham College, Oxford, to mark the 100th
anniversary of the outbreak of hostilities.’ (Times, 26.11.14, Obituary of Jon Stallworthy)
Nearly right. Jon Stallworthy was indeed
patron of this conference (about which I have written before);
sadly, however, by September he was already too ill to appear at Wadham. He had
been due to speak after the Conference Dinner so, with characteristic care not
to disappoint, he’d sent his speech in advance to be read by Tim Kendall,
the conference convener. All of us sitting in Wadham’s splendid Hall agreed
with Tim: if it hadn’t been for Jon, none of us would even have been at a
conference on war poetry. I wish Jon could have heard the applause when Tim said
that, but the Guest of Honour’s chair was empty.
For forty years after publishing his 1974 biography
of Wilfred Owen, Jon presided over war poetry as a field of study, and his two-volume
edition of Owen’s Complete Poems and
Fragments (1983) stands as a monument to his editorial scholarship and sleuthing
alike. His own account of this detective work (in an essay modestly entitled
‘Wilfred Owen and his Editors’), identifying and - by matching watermarks - dating
sheets torn from different notebooks reminded me of Sherlock Holmes instructing
Dr Watson (in The Sign of Four) how
to distinguish different brands of cigar ash. He did much to ensure that war
poetry never became a narrow academic byway. What, he once asked rhetorically,
does Owen’s poem ‘Dulce et Decorum Est’ do? His answer was:
First of all, it
persuades us that it is true; secondly, that its truth is shocking; and,
thirdly, that we should do something about it. Owen offers us what a medieval
rhetorician would call an exemplum,
an example, an illustration of a man choking to death on poison-gas; that followed
by a moralitas, a moral coda of
passionate indignation. (‘The Mire and the Fury’)
Whether as teacher, writer or lecturer, he
was always accessible, enthusiastic, even self-deprecating – though few people in the Humanities had less cause to be modest
than Jon Stallworthy. His anthology The
Oxford Book of War Poetry (1984) traced a 3000-year-long trajectory from
Homer to Seamus Heaney, and for many readers opened up an entirely new
perspective on what war poetry was and could be.
Stallworthy never wanted ‘war poetry’ to
mean simply ‘First World War Poetry’; indeed, the term itself worried him. In Survivors’
Songs he described ‘War Poetry’ as ‘an unsatisfactory category’ and ended a
chapter on Rupert Brooke by saying: ‘Rupert Brooke is not a War Poet. He is a
poet of peace, a celebrant of friendship, love, and laughter.’ He began the
next chapter:
Siegfried
Sassoon is commonly called a ‘War Poet’ – hardly a satisfactory label at the
best of times, and more than usually unsatisfactory in Sassoon’s case. (p.178)
I heard him once admit to an audience of
sixth-formers and teachers that he was worried he’d been responsible for the
way the poetry of the First World War is today overvalued at the expense of the
poetry of the Second. He was still worried this year: in the Foreword (‘Thirty
Years On’) to the New Oxford Book of War
Poetry (2014) he wrote:
The widespread
ignorance of Second World War poetry is disturbing. Why it persists is a
question cultural historians should address and a curriculum imbalance that
educationalists should urgently correct. Too many schoolchildren (and too many
teachers) need to be reminded how warfare – and poetry – have changed since
1918. (p.xxxv)
His books are beautifully written: compare
his detailed, moving but utterly unsentimental account of Owen’s death with
accounts offered by others – Dominic Hibberd’s, for instance, or Pat Barker’s
at the end of The Ghost Road. You’ll see what I mean. Owen indeed came to define Stallworthy’s life
as powerfully as he defined his reputation. In the Foreword to his 1994
edition, Wilfred Owen: the War Poems,
Stallworthy thanked his wife ‘who so good-naturedly and for so long accepted
Wilfred Owen as a ghostly addition to the family’; and of course that ghost
makes a dramatic appearance at the end of his own biography. On the evening of
11th November 1918, a week after being killed on the banks of the Sambre-Oise
Canal, Wilfred appears to his brother Harold, who has not yet heard news of his
death. Harold is stationed on a ship off
the coast of Africa, and comes down to his cabin to find a smiling Wilfred
sitting, waiting for him. Stallworthy offers this account of their strange meeting,
told in Harold’s own words, as the first evidence of what he calls elsewhere ‘Owen’s
afterlife’.
But, as biographers and scholars sometimes
discover, you can spend too long with ghosts, and I think Jon Stallworthy may
have come to find Owen a troublesome presence. In ‘Goodbye to Wilfred Owen’ he
described in unsettling terms his
cold struggle to
break free – from whom?
I am not myself,
nor are his
hands mine,
though once I was at home
with them.
I think his much-admired biography Louis MacNeice (1995) was another
attempt to break free and, certainly, Stallworthy deserves credit for reviving
interest in MacNeice’s poetry. But he could never quite leave the war poets
behind. In ‘Voice Over’, his valedictory introduction to Survivors’ Songs, he wrote
I have spent
many of the most rewarding hours of my life listening to the voices of absent
friends – Thomas Hardy, William Yeats, Wilfred Owen, David Jones, Wystan Auden,
Keith Douglas, and Old Uncle Tom Eliot and all … and I think of the essays in
this book as thank-you letters expressing gratitude in terms that, I hope, may
lead other readers to listen to their
voices and hear in them what I have heard. (p.x)
Teaching readers to listen is why teaching poetry matters; and I shall always be
grateful to Jon Stallworthy for sharing with us what he himself had heard.
Adrian Barlow
(This
post is an adapted and extended version of an appreciation to accompany the report
in the English
Association Newsletter of the Wadham Conference, of which Jon Stallworthy
was patron.)
‘Voice Over’, ‘The Mire and the Fury’ and
‘Wilfred Owen and his Editors’ are essays in Jon Stallworthy, Survivors’ Songs (Cambridge: Cambridge
University Press , 2008)
‘Goodbye to Wilfred Owen’ is collected in
Jon Stallworthy’s volume of his own poetry of war, entitled War Poet (Manchester: Carcanet, 2014)
[illustrations:
(i) some of Jon Stallworthy’s publications; (ii) the Sambre-Oise Canal today,
close to the spot where Wilfred Owen was killed.
Visit the English Association’s Discover War Poets website.
Text and illustrations © the author
Thank you, Adrian, as ever for a fine piece of writing - the first thing I've read this morning and setting an excellent tone for the day.
ReplyDeleteWhenever I see chestnuts sold on the street, I think of Jon Stallworthy's poem Walking Against The Wind:
'Roast chestnuts, a shilling
a bag.' Shilling and bag
change hands by brazier light.
And there they stand shelling
plump kernels to plug
each other's mouth as tight
as with a kiss....'
Mant thanks, Tom. I hope very much that Stallworthy’s reputation as a poet can now be revived to stand alongside his reputation as a critic, scholar and teacher. His poetry came first.
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ReplyDeleteIn many cases, shorter sentences can have a greater impact. You may have heard of a six-word story that was supposedly written by Ernest Hemingway, which reads, “For sale: Baby shoes, never worn.” More help with essays here http://1writingservice.com.
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