Tag Archives: Second World War

The End of an Era

This week on the Wednesday Blog, my perspective on the last century and a half as a time of tremendous change. — Click here to support the Wednesday Blog: https://www.patreon.com/sthosdkane

This week on the Wednesday Blog, my perspective on the last century and a half as a time of tremendous change.


On my first day in London this October I walked from the British Museum, my first stop in the capital, to Charing Cross Road where I made my way into Foyles, my favorite bookstore in that city. Foyles has a wider variety of titles than I’ve seen in most bookstores, and especially titles that catch my attention time and again. I didn’t plan on walking out with a new book, and I stuck to that plan, yet I saw several books which I’ve since acquired in other ways since I got home (I do kind of feel bad about that.) I didn’t pack for this trip with new acquisitions in mind, leaving little room for anything new in my luggage.

Still, I loved wandering through the aisles and shelves of Foyle’s and catching up on the latest that the British publishing industry has to offer, five years after my last visit to that island. Here in the United States, I see some reviews of books printed in Britain, usually in the New York Times or through interviews on NPR, but by and large I’d cut myself loose from the British press that I read, listened to, and watched throughout my adult years. Unlike previous trips back to London, a city that became a home-away-from-home for me in 2015 and 2016, I felt like I’d missed a great deal and had a lot of new things to discover on this trip.

One book that caught my eye several times was Michael Palin’s new book Great-Uncle Harry: A Tale of War and Empire which tells the story of the author’s own great-uncle Harry Palin whose life saw the end of an era and the beginning of our own tumultuous time. Harry Palin was working on a farm on the South Island of New Zealand when Great Britain and its Empire entered the First World War in August 1914 and enlisted with the New Zealand Expeditionary Force, one-half of the famed Australian and New Zealand Army Corps (ANZACs). The elder Palin survived the Gallipoli Campaign and for a while on the Western Front until he died during the Battle of the Somme in 1916. 

Two weeks after seeing Great-Uncle Harry on the shelves of Foyles I was reminded of it by something else and bought a copy of the audiobook on Audible to listen to, read by the author, in the car on my way to and from the school where I currently work. The life and story of Harry Palin animated my drives to and from the school where I now work over the last two weeks and left me both inspired to think about the end of the nineteenth century, a period in our recent history that I’ve always been fascinated by, and horrified by what became in the twentieth century.

I chose to not study the end of the nineteenth century and turn of the twentieth century professionally because of the looming specters of the World Wars ever on the horizon of my memory of those moments in history. Harry Palin’s story reminded me of what I love about that period as much as at the end of his life what horrifies me about the experiences of his generation.

The world that existed in 1914 was one which had a continuity with the generations that came before it. There were some major shifts, the revolutions at the end of the 18th century and in 1848 come to mind, yet none of those in Europe were permanent. The needle of change wavered throughout the century leading up to the First World War. All of that changed as old institutions, which had long weathered the storms and basked in the sunshine of Europe’s history now collapsed under the tides of change released by the hands of their own officials. That war is perhaps the greatest example of hubris among any political leaders yet seen in our long history. Men who thought they could expand their empires, enhance their prestige and honor by waging war against each other instead lost their crowns and left millions dead in the wake of the conflict they unleashed.

When I read histories of this period, I often want to shout at the characters to look out, to be wary of what is coming; for in a Dedalian way I worry we can become too complacent and hawkish yet again. Our caution is well learned, now after a century which saw two world wars and countless other conflicts born from those furnaces. In the wake of the first war a great instability allowed for experimentation to occur. This is a natural thing, something I see in the Renaissance and Wars of Religion (the period which I study) yet in the context of the twentieth Century it marks something far darker. This experimentation in politics and economics led to a further world war in which the three new dominant ideologies –– communism, liberal democracy, and fascism –– collided. Out of it, fascism fell but not before taking millions with it, and a cold war simmered which defined the rest of the century.

In my own life, a further reduction in the formalization of conflicts has played itself out. Now instead of great armies facing off in large-scale battles like those known in the world wars, or even the proxy wars fought by the superpowers we see violence wrought through terrorism. The front lines are not so far away when the threat of violence, whether foreign or domestic could be around the corner. Our children practice for the possibility of an active shooter in our schools because such an incident has happened time and again, and I’ve internalized the reality that in my profession I’m likely to experience such an attack as long as I continue to teach.

I go to places like Foyles to get away from these worries and horrors, to discover new ideas and ways of looking at the world that I was previously unaware of. On this trip, it occurred to me several days before my return to London that I was left bereft of worries, a feeling of calm that I hadn’t felt in a very long time. It almost left me feeling a loss for something I’d long known. I chose to work on a time period further removed from the present to have a refuge in my work from the horrors of the recent past that shaped my world; yet this is still my world, our world, and for as many problems as it has there is a lot that I feel nostalgic for about the century now passed. Even as I write now in 2023 and will likely be remembered as a voice of the twenty-first century, I will always think of myself just as connected to the twentieth, in which I was born and during which a great many of my formative memories occurred.

It occurs to me now that as much as we live in a continuation of the new era born out of the First World War, perhaps the general crisis we find ourselves in now, from the wars my country fought throughout my teens and twenties to the climate crisis we now witness, is bringing us into an even newer era. I hope it will be better than the last, and that maybe this time we’ll find a way to live up to the highest ideals of our predecessors.


Nolan’s “Dunkirk” – An Abstract Tribute

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Credit: Christopher Nolan [found at Cinemavine.com])

What I found especially gripping about Christopher Nolan’s latest film, a retelling of the Miracle at Dunkirk, was that each of the individual people in the story were not the main character. That role was filled by the seemingly indomitable human spirit, and will to survive and struggle ever onwards. Dunkirk might well be one of the most defining moments of the Twentieth Century for Britain, and quite possibly as well a crucial turning point for the whole world.

The film follows three main groups: the soldiers on the beaches, the sailors both civil and naval crossing the Channel, and the RAF in the air trying to keep the fighters and bombers of the Luftwaffe from wrecking further havoc to the men stuck at Dunkirk and the ships trying to ferry them to the safety of home, a mere 26 miles away. Though the plot is not in itself chronological, it nevertheless helps tie together each disparate group, connecting their experiences in a spiritual fashion as each come ever closer to the film’s climax.

For British and Commonwealth viewers this film will certainly reinforce that Dunkirk Spirit, that steely determination that even in the darkest of hours Britain and her sister countries will never surrender. I became quite emotional when, after witnessing the sense of doom the soldiers on the shore felt for a good hour, the hodgepodged fleet of little ships arrived in the waters off of Dunkirk. This moment, though one of the darkest hours in British history is also equally one of the most inspiring to have transpired in that island nation’s long story.

For American viewers this film should give us pause. In our present hour of immense internal divisions, of political unrest and civil discontent we should consider what it would mean for us as one people to come together for a cause we all knew to be necessary for the continued survival of our country and the liberty it’s Constitution assures. In this hour of great uncertainty we should be looking not to what divides us but what can unite us.

Hans Zimmer’s score is a welcome change from his usual set of loud brass, excessive strings, and choirs primarily singing “Ah” for far too many measures. While loud, this score adds to the energy of the film, and in a musical sense is largely understated. The music helps bring the viewer into the picture, onto the beach, aboard the small boats and naval ships, and in the cockpits of the Spitfires high above in the air. I really appreciated the echoes of Elgar’s Nimrod that played over the final scene as Britain and her forces came to rest aground again and prepare for the inevitable Battle of Britain to come.

Overall, I thoroughly enjoyed this film, and just a few minutes prior to sitting down to write this review I told my writing partner Noel that I have to go back and see this again soon. Dunkirk is a film that triggers both the conscious and sub-conscious, that calls upon one’s entire emotional and physical self. It is one of a number of films that are to me the new “talkies”; they address not only our visual and aural senses, but our emotional senses as well. I have a feeling there will be many more films like Dunkirk to come.

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