p. 71 They are dead and they are going to die: I have adapted Roland Barthes’ caption for Alexander Gardner’s 1865 ‘Portrait of Lewis Payne’, Camera Lucida (Hill & Wang, New York, 1981), p. 95.
p. 71 ‘I visualized an. .’: The Complete Memoirs of George Sherston, p. 540.
p. 72 ‘The past is. .’: Requiem for a Nun (Penguin, Harmondsworth, 1960), p. 81.
p. 72 ‘seemed more or. .’: quoted in Denis Winter, Death’s Men, p. 176.
p. 72 ‘the men appeared. .’: ibid., p. 187.
p. 72 ‘like a sleepwalker. .’: ibid. p. 189.
p. 72 ‘they come as. .’: In Parenthesis, p. 170.
p. 72 ‘with strange eyes. .’ and ‘a rippling murmur. .’: p. 210.
p. 72n ‘fog-walkers. .’: ibid., p. 179.
p. 73 ‘Now there came. .’, et al.: The Complete Memoirs of George Sherston, p. 362.
p. 74 ‘mysterious army of. .’: Akenfield (Penguin, Harmondsworth, 1972), p. 33.
p. 74 ‘men clawed at. .’: quoted in Leon Wolff, In Flanders Fields, p. 124.
p. 75 ‘We marched and. .’: Ivor Gurney, ‘Canadians’, Collected Poems, p. 87.
p. 76 ‘Men became reminiscent. .’: quoted in Ann Compton (ed.), Charles Sargeant Jagger: War and Peace Sculpture, p. 78.
p. 79 ‘I heal. .’: ibid., p. 15.
p. 81 ‘Survivor outrage. .’ and ‘Many survivors believe. .’: The Texture of Memory: Holocaust Memorials and Meaning, p. 9.
p. 81 ‘a sculptural language. .’: John Berger, Art and Revolution (Writers & Readers, 1969), p. 137. For an extended discussion of Zadkine’s Monument to Rotterdam see Berger’s Permanent Red, new edn (Writers & Readers, 1979), pp. 116–121.
p. 83n ‘the sculptor who. .’, et al.: ‘The Shape of Labour’, Art Monthly, November 1986, pp. 4–8.
p. 85 ‘No man in. .’: General Harper, quoted in Denis Winter (who goes on to suggest that Harper was exaggerating), Death’s Men, p. 110.
p. 86 ‘Leaning on his. .’: ‘Lullaby of Cape Cod’, A Part of Speech (Oxford University Press, Oxford, 1980), p. 109.
p. 86 ‘The angel does. .’: And our Faces, My Heart, Brief as Photos (Granta Books, 1992), p. 19.
p. 90 ‘to feel that. .’: F. Le Gros Clark, quoted in Samuel Hynes, The Auden Generation, p. 40.
p. 91 ‘terrific power. .’ and ‘last word in. .’: quoted in Ann Compton (ed.), Charles Sargeant Jagger: War and Peace Sculpture, pp. 84–5.
p. 91 ‘it looked as. .’ and ‘honourable scars of. .’: quoted in Peyton Skipwith, ‘Gilbert Ledward R. A. and the Guards’ Division Memorial’, Apollo, January 1988, p. 26.
p. 94 ‘. . a khaki-clad leg. .’: p. 272.
p. 95 ‘after leaving him. .’: letter of 22 August 1917, Collected Letters p. 485.
p. 95 For Owen’s use of Barbusse’s images see Jon Stallworthy, Wilfred Owen, pp. 242–3 and p. 256.
p. 95 ‘I too saw. .’: ‘Apologia Pro Poemate Meo’, Collected Poems, p. 39.
p. 95 ‘GAS! Quick, boys!. .’: ‘Dulce et Decorum Est’, ibid., p. 55.
p. 95 ‘Mental Cases’: ibid., p. 69.
p. 96 ‘S. I. W’: ibid., p. 74.
p. 96 ‘Disabled’: ibid., p. 67.
p. 96 ‘Red lips are. .’: ‘Greater Love’, ibid., p. 41.
p. 96 ‘Futility’: ibid., p. 58.
p. 96 ‘stuttering rifles’ rapid. .’: ‘Anthem for Doomed Youth’, ibid., p. 44.
p. 96 ‘spandau’s manic jabber. .’ and ‘Straggling the road. .’: New and Collected Poems (Robson Books, 1980), pp. 81–3.
p. 97 ‘Referring great success. .’: quoted by Christopher Ridgway in introduction to Richard Aldington, Death of a Hero.
p. 97 ‘a pastiche of. .’: quoted in Alex Dancher, ‘“Bunking” and De-bunking’, in Brian Bond (ed.), The First World War and British Military History, p. 49.
p. 97 ‘an imaginative leap. .’ and ‘live in the. .’: Strange Meeting, p. 183.
p. 98 ‘Well there, I. .’: ibid., p. 134.
p. 98 ‘I was always. .’: pp. 143–4.
p. 99 ‘often hold their. .’: Susan Hill, ibid., p. 149.
p. 99 ‘seemed unable to. .’: Birdsong, p. 204.
p. 99 ‘Those fat pigs. .’: ibid., p. 235.
p. 100 ‘ever-present dreamlike. .’: The Bells of Hell Go Ting-a-ling-a-ling, p. 49.
p. 100 ‘Terrified, I clawed. .’: ibid., p. 71.
p. 100 ‘not as factually. .’:, p. 145.
p. 101 ‘if that wasn’t. .’: The Bells of Hell Go Ting-a-ling-a-ling, p. 49.
p. 101 ‘ears popped and. .’: The Wars, p. 122.
p. 101 ‘What you people. .’: ibid., pp. 46–7.
p. 102 ‘The mud. There. .’: ibid., pp. 71–2.
p. 103 ‘a small train. .’: Birdsong, p. 67.
p. 103 ‘from Albert out. .’: ibid., p. 68.
p. 103 ‘where the Marne. .’: ibid., p. 83.
p. 103 ‘terrible piling up. .’: ibid., p. 59.
p. 104 The distinction between remembering and remembering the act of remembering together is derived from James E. Young, The Texture of Memory, p. 7.
p. 105 ‘the War itself. .’: Lions and Shadows, p. 296.
p. 105 ‘clean and new. .’: Wet Flanders Plain, p. 58.
p. 106 ‘Well might the. .’, et al.: ‘On Passing the New Menin Gate’, Collected Poems, p. 188.
p. 107 ‘sullen swamp. .’, et al.: p. 141 (my italics).
p. 107 ‘acute, shattering, the. .’: Armistice Day Supplement, 12 November 1920, p. i.
p. 108 ‘soul-shattering, heart-rending. .’: Death of a Hero, p. 34.
p. 108 ‘a terrible place. .’, et al.: The Challenge of the Dead, pp. 36–7.
p. 110 ‘memorial to all. .’ and ‘mourns for all. .’: Wet Flanders Plain, pp. 97–8.
p. 111 ‘Now the chlorinated. .’ and ‘the violent cough. .’: p. 130.
p. 113 ‘They sat or. .’: caption display next to Sargent’s painting in the Imperial War Museum.
p. 113 ‘gargling from the. .’: ‘Dulce et Decorum Est’, Collected Poems, p. 55.
p. 113 For more on football, see Modris Eksteins, Rites of Spring, pp. 125–6.
p. 115 ‘There were many. .’: p. 144.
p. 115 ‘murmuring the name. .’: Friends Apart, p. 91 (italics in original).
p. 115 ‘litany of proper. .’: The Tiger and the Rose (Hamish Hamilton, 1971), p. 72.
p. 115 ‘Passchendaele, Bapaume, and. .’: ‘The Great War’, New and Collected Poems (Robson Books, 1980), p. 63.
p. 115 ‘Cambrai, Bethune, Arras. .’ and ‘Passchendaele, Verdun, The. .’: ‘The Guns’, ibid., p. 110.
p. 115 ‘all things said. .’: ‘Crucifix Corner’, Collected Poems, p. 80; the other comparison, with Crickley, is in ‘Poem for End’, p. 201.
p. 115 ‘the copse was. .’: ‘Near Vermand’, ibid., p. 132.
p. 116 ‘Cotswold her spinnies. .’: from a different poem, also entitled ‘Near Vermand’, in Michael Hurd, The Ordeal of Ivor Gurney, p. 96.
p. 116 ‘a shattered wood. .’: from a letter of June 1916, quoted in ibid., p. 72.