In 2003-4 I spent a year in the British Army between school and university. Ten years later, having become a journalist, I returned to investigate what a decade of war had done to the institution I knew as an adolescent. In the years I spent researching and writing The Changing of the Guard I read reams of non-fiction. However, novels retain an ability to hit wider – or harder truths – and some of our greatest writers have fictionalised British Army life. Here is a selection of British Army novels, well-known and less so. They take in conflicts ranging from the First and Second World Wars through to Northern Ireland and Afghanistan.
I found this novel on a secondhand stall in Kenya when I was 18 or 19 and devoured it. Little known today, it was shortlisted for the Booker Prize and later adapted by the BBC.
Judd relates a tour by a fictional British Army unit in Northern Ireland in some of the most violent days of the Troubles in the 1970s. The protagonist, Charles Thoroughgood, is an Oxford graduate at a time when most army officers were school leavers, and the book chants his increasing disillusionment.
My early edition featured on the cover – next to a crouching individual in combats toting a pistol on a lanyard – an endorsement from Jack Higgins: “Quite simply one of the best novels of army life I’ve read in years.” Higgins was right.
FROM THE HIGHLY ACCLAIMED AUTHOR OF LEGACY AND ACCIDENTAL AGENT
After university and Sandhurst, Charles Thoroughgood has now joined the Assault Commandos and is on a four-month tour of duty in Armagh and Belfast. The thankless task facing him and his men -- to patrol the tension-filled streets through weeks of boredom punctuated by bursts of horror -- takes them through times of tragedy, madness, laughter and terror.
Alan Judd tells Thoroughgood's tale with verve, compassion and humour. The result is an exceptionally fine novel which blends bitter human incident with army farce.
I have a theory that great fiction about the British Army may require conscription – that system propelled individuals who otherwise would have never joined the military into the institution. They could then respond in writing in a manner that peacetime volunteers were never able to.
Evelyn Waugh, already in his late 30s when the Second World War was declared in 1939, was an unlikely soldier. However, he turned his experiences – notably in West Africa, Crete, and Yugoslavia – into a trio of fine fiction centered on a somewhat Waugh-like character, Guy Crouchback.
Waugh’s genius is to capture some of the eccentricities of army life – the discussion about the merits of porpoise skin as a material for boots will echo with anyone who has ever overheard, or participated in, an earnest discussion about the minutiae of kit.
This is the one First World War novel in which the characters actually talk like soldiers – i.e., they swear. It therefore provides a powerful counterpunch to our usual notion of what the trenches sounded like.
The scalding language survived intact due to the book’s complicated publication history. Initial release in an anonymous volume available only for subscribers meant that Manning, an Australian who had served on the Somme, could sidestep the mores of his time.
The result was lines like this: "“Fuckin' slave drivers, that's what they are!” said Minton, flinging himself on the ground. “What's the cunt want to come down ‘ere buggerin’ us about for, ‘aven't we done enough bloody work in th’ week?”” A bowdlerised version – “Her Privates We” – later followed, but the unexpurgated original is the one to read.
Ernest Hemingway, Ezra Pound, T.S. Eliot, and T.E. Lawrence all praised Manning’s work.
'They can say what they bloody well like, but we're a fuckin' fine mob.'
Deep in the mud, stench of the Somme, Bourne is trying his best to stay alive. There he finds the intense fraternity of war and fear unlike anything he has ever known.
Frederic Manning's novel was first published anonymously in 1929. The honesty with which he wrote about the horror, the boredom, and the futility of war inspired Ernest Hemingway to read the novel every year, 'to remember how things really were so that I will never lie to myself nor to anyone else about them.
Anthony Powell was another fundamentally unmilitary individual pushed into service by the demands of a world war.
However, while Evelyn Waugh depicts the run of regimental life and active service, Powell’s achievement in The Soldier's Art and The Military Philosophers, the seventh and eighth installments of his Dance to the Music of Time sequence, is to show the British bureaucratic war, the battle as (theoretically) run from Whitehall, with an equally acute eye. The central character - Nick Jenkins, a cipher for Powell - finds himself in a London desk job, a liaison officer to variously the Poles, Belgians, and Czechs.
On one occasion in The Military Philosophers an overextended memo - "three and a half pages on the theory and practice of soap issues for military personnel, with special reference to the Polish Women’s Corps" - is appended with the simplest yet most withering of comments. “Please amplify.” Anyone familiar with this kind of vicious paper combat will find something to recognise here.
Part eight in a 12-part oeuvre of the English upper class, as seen through the eyes of Nicholas Jenkins. It is 1941 and Nicholas settles for a stoical co-existence with the Blitz, though death is thinning the ranks of his pre-war associates.
In the interests of full disclosure, I knew Campbell at university so my judgment on this novel of the Afghan war cannot be fully impartial.
I found it powerful though. There are obvious overlays between the experience of Campbell himself and his central protagonist Tom Chamberlain – both serve in high-period Afghanistan as officers with cavalry units. (Campbell was in the Blues and Royals). That overlap grants the novel its authenticity – from its dissection of 'ally,’ British army slang for cool, to “rock star” bomb disposal officers capable of “squaring up to colonels” and coffins of blast victims reduced to a few scraps of ruined flesh subsequently weighed down with sandbags.
Campbell’s next novel, The Fires of Gallipoli, set in the First World War, will be out next year.
ONE OF THE EVENING STANDARD'S BOOKS OF THE YEAR 2015 Barney Campbell's Rain is a searingly powerful debut that reads like a British Matterhorn ********
'A wonderfully achieved, enthralling and moving novel of war. Its authenticity is as telling as it is terrifying' William Boyd
'No better on-the-ground description of Britain's war will ever be written. Rain is what Chickenhawk or, more recently, Matterhorn was to Vietnam. It's unputdownable, except for when the reader needs to draw breath or battle a lump in the throat' Evening Strandard
Corporal Thomas (my acting sergeant since Adams died) and I have to go…
Over the first two decades of the twenty-first century, the British Army fought two campaigns, in Iraq and Afghanistan, at considerable financial and human cost. Neither war achieved its objectives. This book questions why, and provides challenging but necessary answers. Composed from assiduous documentary research, field reportage, and hundreds of interviews, it is a strikingly rich, nuanced portrait of one of our pivotal national institutions under great stress. Award-winning journalist Simon Akam, who spent a year in the army when he was 18, returned a decade later to see how the institution had changed. His book examines the relevance of the armed forces today, but this is as much a book about Britain, and the politics of failure, as it is about the military.
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