“Which are we, Carruthers – workers, peasants or intellectuals?”
‘Misdefending the Realm’ was published by the University of Buckingham Press on October 26, and is available in the UK, as they say, ‘at all good booksellers’. But in case there are no booksellers at all left in your area, you can see it listed at amazon (https://www.amazon.co.uk/s/ref=nb_sb_noss?url=search-alias%3Dstripbooks&field-keywords=misdefending+the+realm ). It will be published in the USA next spring. I have prepared a page dedicated to coverage of the book at ‘Misdefending the Realm’ .
Here follows the blurb:
“When, early in 1940, an important Soviet defector provided hints to Britain’s Intelligence about spies within the country’s institutions, MI5’s report was intercepted by a Soviet agent in the Home Office. She alerted her sometime lover, Isaiah Berlin, and Berlin’s friend, Guy Burgess, whereupon the pair initiated a rapid counter-attack. Burgess contrived a mission for the two of them to visit the Soviet Union, which was then an ally of Nazi Germany, in order to alert his bosses of the threat, and protect the infamous ‘Cambridge Spies’. The story of this extraordinary escapade, hitherto ignored by the historians, lies at the heart of a thorough and scholarly exposé of MI5’s constitutional inability to resist communist infiltration of Britain’s corridors of power, and its later attempt to cover up its negligence.
Guy Burgess’s involvement in intelligence during WWII has been conveniently airbrushed out of existence in the official histories, and the activities of his collaborator, Isaiah Berlin, disclosed in the latter’s Letters, have been strangely ignored by historians. Yet Burgess, fortified by the generous view of Marxism emanating from Oxbridge, contrived to effect a change in culture in MI5, whereby the established expert in communist counter-espionage was sidelined, and Burgess’s cronies were recruited into the Security Service itself. Using the threat of a Nazi Fifth Column as a diversion, Burgess succeeded in minimising the communist threat, and placing Red sympathizers elsewhere in government.
The outcome of this strategy was far-reaching. When the Soviet Union was invaded by Hitler’s troops in June 1941, Churchill declared his support for Stalin in defeating the Nazi aggressor. But British policy-makers had all too quickly forgotten that the Communists would still be an enduring threat when the war was won, and appeasement of Hitler was quickly replaced by an appeasement of Stalin. Moreover, an indulgence towards communist scientists meant that the atom secrets shared by the US and the UK were betrayed. When this espionage was detected, MI5’s officers engaged in an extensive cover-up to conceal their misdeeds.
Exploiting recently declassified material and a broad range of historical and biographical sources, Antony Percy reveals that MI5 showed an embarrassing lack of leadership, discipline, and tradecraft in its mission of ‘Defending the Realm’.”
One day I might write a blog about the process of seeing a project like this come to fruition, but now is not the time. Instead I wanted to introduce readers to a sample of the cartoons that I selected to illustrate the period under the book’s microscope, that between the Nazi-Soviet Pact of August 1939 and Operation Barbarossa, Hitler’s invasion of the Soviet Union, in June 1941. (The sketch I selected for the frontispiece appears above.)
Ever since I first set eyes on Osbert Lancaster’s precise illustrations of architectural patterns, accompanied by their witty and ironic commentaries, I have been an enthusiast of the cartoonist and architectural critic. In another universe, I might have claimed that his influence propelled me into a career in theatrical design, but, alas (though at no great loss for the world of drama), all it did was to confirm me as a perpetual fan of his work. My father had acquired a few of Lancaster’s volumes, and I particularly recall how, before the age of ten, I pored over Homes, Sweet Homes & From Pillar to Post (combined later in one volume as Here, of All Places, with additions describing American structures), as well as There’ll Always be a Drayneflete, with their precise draughtsmanship, all too-human and familiar caricatures of citizens in history, and their satirical, but not malicious, commentaries. (Of course I was too young at the time to appreciate the texts.) The books displayed a sense of the unique continuity of habitation on the British Isles – unique, because of the lack of invasion over the centuries ̶ which brought history alive for me. The first date that a schoolboy in the 1950s would learn was 1066, and I can recall as a child regretting that I would not be around to enjoy the millennium of that occasion. There must have been something about the durability of certain things among monumental change that captured my imagination, and a strong aspect of that element can be found in Misdefending the Realm.
Lancaster wrote some entertaining memoirs as well (All Done From Memory and With an Eye to the Future), which are liberally sprinkled with his drawings. For those readers unfamiliar with him, you can also read about him in his Wikipedia entry at (https://en.wikipedia.org/wiki/Osbert_Lancaster). One fact I recently learned is that his second wife, Anne Scott-James (with whom he collaborated on the equally delightful Pleasure Garden), was the mother of the historian Max Hastings, whose books on WWII I have especially enjoyed. (I have read The Secret War, Retribution, and Armageddon this year. Hastings sadly did not have a good relationship with his mother, who died aged 96 only a few years ago.) As for Osbert, to gain a sense of the man, readers may want to listen to his second Desert Island Discs interview, by Roy Plomley (see https://player.fm/series/desert-island-discs-archive-1976-1980-44534/sir-osbert-lancaster). The subject’s understated but very patrician demeanour, and his aristocratic pronunciation of such words as ‘Alas’, suggest that the whole performance could have been a parody executed by Peter Sellers or Peter Cook.
‘Which are we, Carruthers . . .?’ is one of Lancaster’s most famous pocket cartoons. Lancaster was responsible for the success of the genre of ‘pocket cartoon’ after convincing his art editor at the Daily Express to publish such in the newspaper, as part of Tom Driberg’s column, early in 1939. The feature ran for the best part of forty years, interrupted primarily by Lancaster’s commitments abroad. Thus he provided a very topical commentary on many of the events that occurred in the time that interested me. As I declare when introducing Lancaster’s cartoons among other illustrations (I also use several Punch cartoons from the same period): “He skillfully lampooned authority figures during World War II, but never maliciously, and his insights into the ironies and absurdities with which the war was sometimes engaged brought entertaining relief to persons in all walks of life.”
I love this particular cartoon, which appeared in the Daily Express on July 18th, 1941, at the end of the period on which my study concentrates, because it suggests so much in such simple lines. Who are these blimpish and aristocratic characters, no doubt enjoying a tiffin in their London club? They have presumably been told that the Russians are now our allies, and that they had better acquaint themselves with the principles of Marxism, and learn more about the workers’ paradise over which Stalin prevails. It all appears to be something of a shock to the system for these two gentlemen, yet their confusion underlies the nonsense of the Marxist dialectic.
‘Carruthers’ is a poignant name, as it appears most famously in Erskine Childers’ Riddle of the Sands, where Carruthers is a Foreign Office member who goes sleuthing over German skulduggery in the Baltic Sea before the First World War. Ever since then, the name ‘Carruthers’ has epitomised that doughty and loyal comrade that any intrepid wayfarer would want to be accompanied by, as in the way that Times obituaries used, not so very long ago, to describe such men: ‘someone you would want to go tiger-shooting with’. Yet this Carruthers does not look like a tiger-shooter, or even an SIS spy. He looks more Wodehousian, perhaps a rather dim-witted younger son of an earl, and his territory is probably more Lord’s and Ascot, with a trip to the grouse-moors in August, than the coasts of the Baltic.
These two are supremely ‘superfluous men’, as Turgenev might have identified them, although they probably lack the artistic talent that was characteristic of the Russian novelist’s grouping. Lancaster’s caption wryly suggests that these fellows are not intellectuals. The pair of clubmen might well have been encountered in Boodle’s, or the Beefsteak, perhaps, of which club Lancaster himself was a member. Lenin and Stalin would certainly have considered them parasites, ‘former people’, and they would have been on the list as members of the class enemy to be exterminated as soon as possible, as indeed such people were treated in Poland and the Baltic States. They are clearly bemused by the radical division of the world found in Life in the U.S.S.R. Yet their simple question drives at the heart of simplistic class-based Marxian analysis.
That same Marxism, which grabbed so many intelligent persons’ fascination at this time – something that endures seventy-five years later, despite all its nonsense ̶ should surely by then have been shown as bankrupt. In my book, I describe how much damage the young Isaiah Berlin caused in his effervescent biography of Karl Marx, which gave an utter and undeserved respectability to the studying of Marxism, while gaining the eager approbation of such as Freddie Ayer and Guy Burgess. By 1940, it should have been obvious that the ‘dictatorship of the proletariat’ was a cruel nightmare, with Stalin, as a power-mad ex-peasant, ruling over a prison-camp more horrible than anything Hitler had yet prepared. Yet even MI5 fell victim to the appeal of ‘intellectual Marxism’. When the German general von Paulus was captured at Stalingrad, his interrogators tried to impress upon him the doctrines of the new world of communism. “You should know that Germany’s workers and peasants are among the most prominent supporters of Hitler”, he replied. Even Churchill hailed the Soviet Union as a ‘peace-loving nation’ in June 1941, and Roosevelt was to fall even more sharply under the delusion that Stalin was a man of peace.
What was different about Britain was that buffers like these two were tolerated. Even if they were on the way out, there was no reason that they should have to be eliminated through a bloody slaughter. Lenin is said to have abandoned hope of a revolution in Britain when he read about strikers playing soccer with policemen: class war would never reach the destructive depths into which it sank in Russia after the Communist takeover. And that is one of the points in my book: that liberal democracy in the Britain of the 1930s was certainly flawed, with the aristocrats in control, and position of power excluded from those without the proper background or standing. It did not have enough confidence in its structure and institutions to resist Fascism resolutely, and the Communists took advantage of that fact to propagandise the British, and cause the monstrosities of Stalin’s penal colonies, famines, purges and executions to be overlooked. Stalin ended up enjoying a massive intelligence superiority over the British and the Americans at Yalta. Yet the UK was eventually able to evolve into the more democratic and more fair country of Attlee’s administration, the days of imperialism were clearly over, and the realm was still worth defending.
For the endpaper of the book, I used the following cartoon, published just after Hitler invaded the Soviet Union on June 23rd, 1941. That is all the caption says.
It reminds me so much of a famous photograph of a gathering of communists during the Spanish Civil War, dated February 5, 1937. Could this not have been a caricature drawn by Lancaster?
Here we see the ice-cold demeanour of the French apparatchik, Maurice Thorez, the flamboyancy of the street bully in the leather-jacket, Antonio Mije, and the pious gaze skywards in the beatific pose of Francisco Antón (who eerily looks rather like the young Osbert Lancaster). They epitomise all the ghastly aspects of the Soviet totalitarian machine, the efficiency, the cruelty, and the self-righteousness. ‘What an absolute shower!’, as Terry-Thomas might have called them. Thus I can see this set piece as a tableau vivant by Lancaster himself, akin to his famous sketch of John Betjeman and others performing the madrigal ‘Sumer is icumen in’.
“A musical evening laid on for the Uffington Women’s Institute by Penelope Betjeman. At the piano: Lord Berners; back row: Adrian Bishop, Karen Lancaster and Osbert on the flute, Penelope, seated, playing ‘a strange instrument resembling a zither’; standing at the front, Maurice Bowra and John Betjeman.” [source: Cartoons and Coronets]
In my book, I use a total of ten of Lancaster’s cartoons, each one representing the theme of a single chapter, or pair of chapters. I gained copyright permission from the Daily Express owners, yet strangely the institution could not offer me images of the originals themselves, even in its fee-based archive on the Web. Nor is the Lancaster Archive of any use. I relied on my own collection of cartoon books. For readers who may be interested in pursuing this historical side-alley more extensively, they may want to investigate the following.
The richest guide to the work of Lancaster is probably Cartoons and Coronets, introduced and selected by James Knox, and designed to coincide with the exhibition of the artist’s work at the Wallace Collection, 2008-2009. The Essential Osbert Lancaster, a 1998 compilation, selected and introduced by Edward Lucie-Smith, contains an excellent introduction to Lancaster’s life and offers a rich representation of his graphic and literary work. Lancaster provided an illuminating foreword to his 1961 compilation of pocket cartoons, from 1939 to that year, titled Signs of the Times, which offers a solid selection of his wartime sketches. The Penguin Osbert Lancaster (1964) is a thinner and unannotated selection, including excerpts from Homes, Sweet Homes and From Pillar to Post. Earlier, Penguin also offered a fine glimpse into his wartime work in Osbert Lancaster Cartoons (1945).
And then there are the (mainly) yearly selections, all of which (apart from the very rare first 1940 publication) I have in my possession. They are worth inspecting for Lancaster’s Forewords alone. Many of the captions appear very laboured now (compared, say with Marc Boxer’s Stringalongs), and the references are often recondite, but the cartoons still represent a fascinating social commentary. Here they are:
Pocket Cartoons (1940)
New Pocket Cartoons (1941)
Further Pocket Cartoons (1942)
More Pocket Cartoons (1943)
Assorted Sizes (1944)
More and More Productions (1948)
A Pocketful of Cartoons (1949)
Lady Littlehampton and Friends (1952)
Studies from the Life (1954)
Tableaux Vivants (1955)
Private Views (1956)
The Year of the Comet (1957)
Mixed Notices (1963)
A Few Quick Tricks (1965)
Fasten Your Safety Belts (1966)
Temporary Diversions (1968)
Recorded Live (1970)
Meaningful Confrontation (1971)
Theatre in the Flat (1972)
Liquid Assets (1975)
The Social Contract (1977)
Ominous Cracks (1979)
My book also contains a few cartoons from Punch, likewise culled from my ‘Pick of Punch’ albums from the years 1940 to 1942. (Permission for use was also gained from the copyright-holder.) But, if you want to see any more, you will have to buy the book. You will also be treated to three Affinity Charts, which show the complex relationships that existed between various groups when war broke out, as well as a Biographical Index of almost three hundred persons who feature in the work. Enjoy!
The regular set of new Commonplace entries appears here.