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The Palgrave Handbook of Artistic and Cultural Responses to War since 1914: The British Isles, the United States and Australasia Martin Kerby
Sir Philip Gibbs and English Journalism in War and Peace
Martin C. Kerby
Palgrave Studies in the History of the Media
Palgrave Studies in the History of the Media
Series Editors: Professor Bill Bell (Cardiff University), Dr Chandrika Kaul (Department of Modern History, University of St Andrews), Professor Kenneth Osgood (McBride Honors Program, Colorado School of Mines), Dr Alexander S. Wilkinson (Centre for the History of the Media, University College Dublin)
Palgrave Studies in the History of the Media publishes original, high-quality research into the cultures of communication from the middle ages to the present day. The series explores the variety of subjects and disciplinary approaches that characterize this vibrant field of enquiry. The series will help shape current interpretations not only of the media, in all its forms, but also of the powerful relationship between the media and politics, society, and the economy.
Advisory Board: Professor Carlos Barrera (University of Navarra, Spain), Professor Peter Burke (Emmanuel College, Cambridge), Professor Denis Cryle (Central Queensland University, Australia), Professor David Culbert (Louisiana State University, Baton Rouge), Professor Nicholas Cull (Center on Public Diplomacy, University of Southern California), Professor Tom O’Malley (Centre for Media History, University of Wales, Aberystwyth), Professor Chester Pach (Ohio University)
Martin C. Kerby
Sir Philip Gibbs and English Journalism in War and Peace
The author(s) has/have asserted their right(s) to be identified as the author(s) of this work in accordance with the Copyright, Design and Patents Act 1988. This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed.
The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made.
Printed on acid-free paper
This Palgrave Macmillan imprint is published by SpringerNature The registered company is Macmillan Publishers Ltd. London.
Dedicated to my wife, Margaret
M EMORIES OF M Y G RANDFATHER
Philip Gibbs was known in my side of the family as ‘Gruffer’. This came from my childhood attempt to say ‘grandfather’. I was very proud that both my grandfathers were ‘Sirs’. The other one, Charles Martin, was a successful medical scientist. But Philip was much the more famous of the two. Often, when I admitted my surname was Gibbs, people would ask, ‘Are you related to Philip Gibbs?’ And if they were middle-aged ladies they would very likely say they were waiting for his next book to come out. They generally did not have to wait long. Between 1899 and 1963 more than 90 of his books were published, an average of 1 every 8 months. His prolific output included both fiction and non-fiction.
But writing books was of course only one of his occupations. He had also had a successful career as a journalist and was probably the bestknown British war correspondent in the First World War. That was before I knew him but was what led to his knighthood and, in due course, the present book.
My earliest recollections of him were from the 1930s when he was about 60 and he and my grandmother Agnes were living at Bildens Farm, Ewhurst, Surrey. Soon afterwards they moved back to Dibdene in nearby Shamley Green, an early Victorian house that Agnes had been doing up for them. The property included a cottage by the village green which was used as a nursery school for many years. My sister Frances was one of their early pupils. Later the cottage was occupied by Philip’s sister Helen (a former nun) and her husband, Eric Ibbotson.
Philip was extremely sociable and loved to be surrounded by visitors. One couple whom I remember from the pre-war years at Dibdene was
General Ralph Wenninger, an official at the German Embassy, and his wife. They were regular visitors until war became imminent and the general was recalled to Germany. It is believed he was eventually shot dead by a Dutchman in a street in German-occupied Holland.
Regular entertainment required a significant number of staff. It was almost like the feudal system in that staff were expected to stay for life. This certainly applied to ‘Amy’ who started as a housemaid at the age of 14 and went on working for our family until she was in her eighties. The head gardener was Mr Batchelor, always known as ‘Batchelor’, whose wife and daughter also worked for Philip at times.
Agnes died from liver cancer in October 1939. Although she had been ill for some time her death was a tragic blow for Philip. They had been together for over 40 years, having originally had what Philip called a ‘marriage of babes’, and he relied on her for so many things. Being the practical one, she had always looked after matters such as house maintenance. And she could drive, whereas he could not.
Her death and the outbreak of the Second World War led to a considerable amount of family reorganization. My father, Tony, my mother, Maisie, Frances, and I went to stay with Philip. Our house at Peaslake, a few miles from Shamley Green, was lent to a group of nuns headed by Agnes’ sister Beryl Rowland, who wanted to escape the bombing in London. The cellar at Dibdene had been fitted out as a kind of air raid shelter with bunk beds, and the like. I do not think we ever heard any actual bombing there but the warning sirens went off occasionally and we all went down to the cellar, much to the excitement of Frances and me.
In June 1940 the war was going badly for the Allies. France had surrendered and it looked as though an invasion of England was imminent. Following a series of late night discussions at Dibdene it was therefore decided that our family of four should go to Massachusetts to stay with Philip’s brother Arthur and his American wife, Jeannette. We must have been rather a burden on them. After a while they put us in a house they owned across the road and charged us rent. But the rent was often unpaid because we had not been allowed to take any money out of England and Tony had not been able to earn as much from lecturing and writing articles as he had hoped. So we were eventually served notice to leave. Tempers flared and Philip decided he would have to come over to America to sort things out.
He managed to placate Arthur, whom he described as an ‘ugly-tempered man’, before setting off on an exhausting lecture tour of the USA. This
brought in a considerable amount of money because he was a good lecturer and his name was almost as well known in that country as in England. He generously gave most of his earnings to Tony before he returned to England having wangled a seat in a bomber through his brother Cosmo who worked in Whitehall as a government censor. Meanwhile our financial situation improved dramatically when Tony was given a well-paid job writing films in Hollywood and we went out there to join him.
Things gradually returned to normal after the war ended. We had come back from America and, having stayed for a while in Cambridge with my Martin grandparents, we said goodbye to the nuns and went back to live in our house at Peaslake. Philip had let Dibdene while he had been in America so he stayed at Shamley Green with an old friend, Dorothy Webber, who Cosmo felt was ‘straining every sinew to become her ladyship number two’. He must have been tempted by the idea because in 1943 he wrote The Interpreter, a novel in which the hero had recently lost his wife and was agonizing over whether it would be disloyal to her if he married again. But Philip resisted and was soon able to escape to the safety of his own house where Agnes’ nephew Barry Rowland, who worked in publishing, together with his wife, Joyce, and small son, Richard, often came to stay. They all called him ‘Gungy’, from Richard’s early attempts to say ‘Uncle’.
Philip’s eyesight began to deteriorate seriously but he went on writing books, hammering out ‘cryptograms’ on his typewriter that his devoted secretary was just able to decipher and retype. During this time I went on a trip to Paris with him and acted as his eyes, holding him particularly securely when we went up or down stairs, of which there seemed to be a great many in Paris. While there, we met his old friend Harold Callender, an American journalist, and his wife, Bessie, a successful sculptor.
On our return he had a cataract operation at the Charing Cross hospital, no doubt getting the best possible treatment available there because he was the chairman. At any rate the operation was a great success and he was able to see clearly afterwards.
He continued to live at Dibdene for the rest of his life, looked after by a succession of housekeepers. Tony visited him every week and I went there regularly on my motorcycle when I was not at boarding school or university.
He was a brilliant raconteur and always enjoyed telling the stories of his life, though I do not remember much being said about his experiences in the First World War. One of the stories I particularly enjoyed was when
he was lost in New York and went up to a traffic policeman and said in his polite English voice, ‘Excuse me but I want to go to the Plaza Hotel.’ This led the cop to reply, ‘Well, why the hell don’t you go there then?’
He loved games, the main ones at Dibdene being billiards, played on a small-sized table in the playroom, and a cut-throat form of croquet called ‘madders’, played on the well-cut lawn at the side of the house. The winner of the latter game was the one who got 30 points first (2 points being awarded for each hoop gone through and one for hitting the ‘stick’) but you could acquire many of your opponent’s hard-earned points if you hit their ball.
I sometimes walked round the village with him. He knew everyone and was always met by a cheerful ‘Hullo, Philip’. He made friends with several of the young mothers who lived in the village, including Eve Branson whose son Richard eventually achieved international fame as the head of the Virgin group of companies. Above all there were the children. He had a marvellous ability to communicate with children and often seemed to attract a little gathering of them, like the Pied Piper.
On one occasion we came across a group of German prisoners of war who had not been returned to Germany immediately after the war. As a poor linguist I was full of admiration for him when he went up to them and chatted to them in fluent German.
He was often short of money and, as might have happened in days long gone, was afraid of being ‘thrown into prison’ in consequence. This was partly due to his generous nature and his willingness to support other members of the family and partly due to the vagaries of the tax system. The bill for the tax on each of his books’ earnings arrived some years after those earnings had been received and spent. The only way to find the money for the tax was to write another book, which in due course led to another tax bill, and so on. And as he got older his ability to generate income from writing books gradually diminished. When I was a young accountancy trainee he once asked me to explain a royalty statement he had received from his publisher. To my lasting shame I just told him it showed he had not earned the advance he had been given. Ever since then I have wondered if I could not have put it more kindly.
Anyhow, he continued writing for the rest of his life, despite suffering from occasional writer’s block. I remember visiting him one weekend in the early 1950s when he was desperate for new ideas. I suggested he might write a novel about the American airmen who were being posted back to England as part of the Cold War, and meeting the girls they had
left behind after the Second World War. A week or two later I found him furiously typing so I asked him what he was doing. ‘I’m writing a novel about an American airman who comes back to England and meets the girl he left behind after the war’, he replied, apparently having completely forgotten our previous conversation. The book was published in 1953 as Called Back. It was the only one of his books to which I can claim to have made any contribution.
He smoked all his life but as he got older he hit on a clever idea for reducing the cost of this habit. As soon as he got a new packet of 20 cigarettes he would cut them all in half and then smoke them through a holder. That way the packet of 20 would give him 40 ‘lights’.
Despite a lifetime of smoking he lived until the age of 84 before he finally succumbed to pneumonia in March 1962. The typescript of his last book, a novel entitled The Law-breakers, had been delivered to the publishers a few days before his death. It was published posthumously the following year.
Martin Gibbs, Wimbeldon, 2015
P REF ACE
Sir Philip Gibbs (1877–1962) was one of the most famous and widely read English journalists of the first half of the twentieth century. Prior to the outbreak of the First World War he reported on the great crises facing Britain domestically and the technological advances which came to symbolize the age. Industrial unrest, Ireland, the suffragette movement, royal births, deaths and coronations, and the sinking of the Titanic were all topics which Gibbs reported on and interpreted for his countrymen. Advances in technology such as the advent of automobiles and the nascent years of aviation in Britain found their place in his articles alongside broader European events such as the revolution in Portugal in 1910 and the Balkan War in 1912. His articles, books, and correspondence are used to examine his life, subsequently contributing to an understanding of the role of the war correspondent during the tumultuous years from 1914 to 1918. His prodigious journalistic and literary output offers a broad insight into British social and political developments of the period; government/press relations, propaganda, and war reporting during the First World War; the state of interwar Europe; the Second World War; and the Cold War.
Though well regarded prior to 1914, it was his work on the Western Front which was to win him fame and, to a lesser extent, fortune. As one of five official correspondents accredited to the British Army on the Western Front, his articles, which appeared on both sides of the Atlantic, did much to shape civilian attitudes during the First World War and its immediate aftermath. Many critics, however, have dismissed Gibbs’ work
as propaganda and his acceptance of a knighthood in 1920 as little more than a reward for his participation in a conspiracy of silence.
Given the renewed interest in the role of the war correspondent generated by the continuing conflicts in Afghanistan and Iraq, it is surprising that there has not been a commensurate revival of interest in the war correspondents of the Western Front as individuals. There is regular and often quite derivative repetition of the charges against them—that they were willing participants in a cover-up which struck at the heart of the democratic system, or more leniently, they were the dupes of the military who manipulated them to report on the war as a patriotic duty rather than a journalistic one. They become a literary device, useful as a group representation of the lies of governments past and present rather than individuals who were, as Winston Churchill described Douglas Haig, ‘unequal to the prodigious scale of events; but no one else was discerned as [their] equal or better’.1 It is possible that their own post-war silences may have contributed to their lack of recognition as individuals. Martin Farrar found it ‘odd’ that three of the five who were subsequently knighted chose to ‘remain silent’ at the end of the war, an action which is suggestive of collusion, perhaps even of guilt.2
It is this need to place the correspondents in context, and to understand why they failed, which is at the heart of any assessment of their wartime writings. As the most prolific of them, Gibbs’ experience is particularly instructive. It is not a ‘calling back of ghosts’, however, as Gibbs described one of his autobiographies.3 We live in an age of mass media and instant news where battlefield analysis can be delivered in ‘real time’ with the accompanying sights and sounds of war. Though this immediacy gives both the reporter and his ‘dispatch’ instant credibility, he or she is just as subject to outside pressures as Gibbs and his compatriots. As with any individual in any profession, correspondents are not islands unto themselves, free to deliver an objective truth. They belong to a wide variety of media outlets and are subject to the dictates of officialdom, as well as the pressures of time, space, and deadlines, all exacerbated by their participation in a competitive profession. Yet even beyond that, they are citizens of countries, members of ethnic or racial groups, and adherents to religions,
1 J Terraine (1970) The Western Front 1914–1918 (London: Arrow Books), pp. 212–13.
2 M Farrar (1998) News from the Front: War Correspondents on the Western Front (Phoenix Mill, Gloucestershire: Sutton Publishing), p. 227.
3 P Gibbs (1946) The Pageant of the Years (London: Heinemann), p. 4.
products of educational institutions, and a wide variety of other social groupings whose influence will vary from individual to individual. These journalists are then, by the very nature of their profession, called upon to report on the most emotional, divisive, and tragic events, often involving their countrymen and women, yet all the while maintaining a veil of objectivity.
Brisbane QLD, Australia Martin C. Kerby
Fig. 1 Portrait of Henry Gibbs. All illustrations courtesy of Gibbs Family Archives
2 Helen Gibbs, circa 1885. All illustrations courtesy of Gibbs Family Archives
Fig.
Fig. 3 Gibbs (left) waiting for a train at Nova Zagora with Horace Grant (centre) during the Balkan War in 1912. All illustrations courtesy of Gibbs Family Archives
4 Philip Gibbs. All illustrations courtesy of Gibbs Family Archives
Fig.
Fig. 5 Gibbs in uniform sans helmet. All illustrations courtesy of Gibbs Family Archives
6 Gibbs with helmet. All illustrations courtesy of Gibbs Family Archives
Fig.
Fig. 7 Gibbs at the Western Front, back seat, right-hand side. All illustrations courtesy of Gibbs Family Archives
Fig. 8 Arthur Gibbs. All illustrations courtesy of Gibbs Family Archives
Fig. 9 Agnes Gibbs, circa 1920. All illustrations courtesy of Gibbs Family Archives
Fig. 10 Tony Gibbs, 1926. All illustrations courtesy of Gibbs Family Archives
11 ‘Overponds’, 1927. All illustrations courtesy of Gibbs Family Archives
Fig.
Fig. 12 Gibbs the artist, La Rochelle, 4 September 1928. All illustrations courtesy of Gibbs Family Archives
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