Tumult and Tears Read online

  First published in Great Britain in 2016 by

  Pen & Sword History

  an imprint of

  Pen & Sword Books Ltd

  47 Church Street

  Barnsley

  South Yorkshire

  S70 2AS

  Copyright © Vivien Newman 2016

  ISBN: 9781783831470

  PDF ISBN: 9781473881914

  EPUB ISBN: 9781473881907

  PRC ISBN: 9781473881891

  The right of Vivien Newman to be identified as Author of this Work has been

  asserted by her in accordance with the Copyright, Designs and

  Patents Act 1988.

  A CIP catalogue record for this book is

  available from the British Library

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  Contents

  Abbreviations

  Introduction

  Chapter 1

  When ‘Pierrot Goes Forward, What of Pierrette?’

  Chapter 2

  The Power of the Cross: Religion in Women’s Poetry

  Chapter 3

  ‘Lay Your Head on the Earth’s Breast’: Nature in Women’s War Poetry

  Chapter 4

  ‘I’ve Worn a Khaki Uniform … Significant Indeed’: Serving Women’s Poetry

  Chapter 5

  Giving Sorrows Words: Grief in Women’s Poetry

  Conclusion

  ‘Whose the harder part?’

  Acknowledgements

  Appendix 1

  Biographies of the Poets

  Appendix 2

  The Publishers

  Appendix 3

  The Birmingham War Poetry Scrapbooks Collection

  Dedication

  This book is for the Chelmsford Adult Community College English Literature A-Level students who, in 1996, humoured their tutor and studied women’s war poetry, particularly Keith Dolan who reluctantly decided to give poetry a chance and continues to do so, and Clare Russell who still listens while we walk – as she has done for nineteen years.

  Thanks are due to:

  Jen Newby, formerly of Pen & Sword, who greeted the suggestion of an anthology of women’s war poetry with such enthusiasm. Her meticulous editing has eliminated many faults – those that remain are my own.

  My daughters Rosalind and Elizabeth have continued to indulge their ‘Funny Mummy’ and have succeeded in never appearing bored by women’s war poetry. John Connell-Smith, Debbie Deboltz, Warrant Officer Christopher Earl and Lucinda Semeraro have all achieved a similar feat.

  Frances Hall – another of those first students – frequently ferrets out World War One newspaper snippets which are always fascinating.

  Dr Vicky Holmes for taking on the task of compiling the index at the eleventh hour – such help at sort notice was invaluable. That this book has seen the light of day owes much to her.

  Maria Weiss rose to the challenge of following a contemporary pattern and knitting ‘twin socks the Anzac way’. The end result would have been as warmly welcomed by its lucky Great War recipient as by the current one.

  Professor Pam Cox of the University of Essex who so many years ago believed that there was a story behind women’s war poetry and guided my telling it.

  Finally, as always, my thanks and love to Ivan Newman. Despite living with 500 women poets for more than two decades, he is still able to ask probing questions about them and their work and point out the flaws in my arguments.

  Abbreviations

  AFFW

  American Fund for French Wounded

  AMS

  Army Medical Service

  APO

  Army Post Office

  ASC

  Army Service Corps

  BEF

  British Expeditionary Force

  CCS

  Casualty Clearing Station

  CWGC

  Commonwealth War Graves Commission

  DORA

  Defence of the Realm Act

  FANY

  First Aid Nursing Yeomanry

  KIA

  Killed in Action

  QAIMNS

  Queen Alexandra Imperial Military Nursing Service

  QAIMNS(R)

  Queen Alexandra Imperial Military Nursing Service (Reserve)

  QMAAC

  Queen Mary Auxiliary Army Corps (formerly WAAC)

  RAMC

  Royal Army Medical Corps

  SWH

  Scottish Women’s Hospital for Foreign Service

  TFNS

  Territorial Forces Nursing Service

  VAD

  Voluntary Aid Detachment

  WAAC

  Women’s Auxiliary Army Corps (became QMAAC)

  WLA

  Women’s Land Army

  WRAF

  Women’s Royal Air Force

  WRNS

  Women’s Royal Naval Service

  YMCA

  Young Men’s Christian Association

  Introduction

  ‘Women’s war poetry’?

  In September 1996, I was teaching A-Level English Literature at my local Adult Community College. The syllabus had recently changed and I told my new class of eager, predominantly female, adult students that we were going to study an anthology of women’s war poetry. Expecting enthusiasm, I was taken aback by the sea of disbelieving faces that surrounded me. The women surreptitiously looked at each other and then a brave soul, acting as self-designated spokesperson, echoed, “Women’s war poetry?” The question mark was audible.

  On behalf of her colleagues, she sought to put me right, “Women didn’t write poetry about or during the First World War. And what can women tell us about war anyway?” Another student added, “ ‘The War Poets’,” this time the capital letters were audible, “were Rupert Brooke, Wilfred Owen, Siegfried Sassoon, Edward Thomas. They were ‘There’ ” – another audible capital letter. “We’d like to study them, please.”

  I stood my ground. This was the poetry text I had selected to study and study it we would. I told myself that my own enthusiasm for women’s poetry as well as my love of history, in particular the history of the First World War, would win the students round.

  During the first session, we watched the BBC documentary The Roses of No Man’s Land, commissioned to commemorate the, then recent, eightieth anniversary of the Battle of the Somme. Mesmerized by the harrowing eye-witness accounts of these now very elderly ladies who had served as nurses during the Great War, the class sat in stunned silence as the final credits rolled. It was obvious that these nurses had been in the midst of the blood, the suffering and the horror that up until then had been accepted as the masculine preserve of the War.

  A few of the students
began thumbing through their anthologies, wondering if maybe a nurse had written a poem. One woman found one, she nudged her neighbour. The mood of the class altered dramatically. Perhaps women poets did have something to say about war. Soon they wanted to know more. Who were these women, what sort of backgrounds did they come from, what education had they received, how old were they, and were there more women war poets than the seventy-nine in the anthology we were studying? Were they writing about their own experiences? Were the poems, other than those written by the nurses, ‘true’?

  From having initially felt that the students were rather humouring me in my choice of text, it soon became obvious that they were as enthralled as I was. I tried to keep one step ahead of the class but soon realized that I was unable to answer many of their often probing questions, not because I wasn’t making the effort to find the answers but because, quite simply, the answers were nowhere to be found. It became obvious that we were only glimpsing the tip of a poetic iceberg. Submerged beneath it was a body of under-researched, indeed unresearched women’s literary history – and it appeared increasingly likely that I would have to do the research myself.

  One of my first discoveries was that of the well over 2,000 British poets whose work was published during the First World War, more than a quarter were women. Initially this figure seemed amazing and then it became obvious that if the war that lasted from August 1914 to November 1918 had truly been a ‘Total War’ (in which all of a country’s resources are mobilised towards the war effort), then women would also have written about it.

  Although, with one notable exception, women did not bear arms, they were naturally affected by the waves of patriotism, excitement, resignation, despair, grief and finally muted relief that swept the nation for four long years. If war poetry is a response to intense emotions, it would have been deeply surprising if women had not written poetry. This was a point that seemed to have escaped most literary critics in the 1990s and who even today have a tendency to dismiss women poets as at worst irrelevant and at best peripheral.

  The shibboleth of gender is such that in wartime women’s views and voices are considered secondary to war’s main business – and its poeticization – namely the killing of males by males. Yet, in terms of subject matter women’s poetry is often broader than men’s, reflecting that fact that warfare involves far more than writing about the trenches and the camaraderie of those who live and die in battle.

  Another surprising discovery was poetry’s commercial value. During and immediately after the First World War, anthologies featuring men and women war poets were reprinted multiple times, some 42,000 copies of one American compilation, George Herbert Clarke’s A Treasury of War Poetry, were printed. National and local newspapers across the English-speaking world had a voracious appetite for poetry. Association magazines and local works journals published verse. Jobbing printers produced poems as broadsides and many of these, like anthologies, were sold to raise funds for ‘Good Causes’ including one that aimed to provide ‘beef tea for our soldiers’ and another with the charitable purpose of purchasing tobacco.

  Poetry was, quite simply, everywhere. At a 1917 meeting of the Poetry Society, Professor George Saintsbury confided in his colleagues that if anybody could be killed by reading poetry, he should have been for, in three years he had read ‘7 cubic feet’ written by both men and women.

  Contemporary editors were noticeably gender-blind. To keep poems rolling in, many papers ran weekly competitions offering lucrative financial prizes. Suggested categories ranged from ‘the best poem by a poet On Active Service’ (a category open to both men and women in uniform) to a poem that could serve as a ‘Hymn to be sung in war-time’. Parodies were suggested, as were poems with Latin or Greek tags. Wilfred Owen was far from alone in spotting the possibilities lurking behind ‘Dulce et Decorum Est’ – at least four women poets did too and I have lost track of how many women leapt at the chance to outdo Rudyard Kipling’s ‘If’.

  However, I did not know any of this when I first chose the A-Level text. I had soon begun to feel that ground-breaking as the collection was, the poems appearing in alphabetical order by poet, with little historical context and giving only limited biographical information, placed considerable demands on the reader. Occasionally my students and I struggled as we tried to navigate our poetic way round a particular woman or indeed her gender’s war.

  I began to dream of compiling a different sort of collection to the slim one we were studying. Mine would take a different approach, in the hope that it would be more accessible, more informative and maybe even more rewarding to read. Tumult and Tears is the result of that dream and it is indeed very different to the one those initially reluctant students opened twenty years ago, although a few of the poems appear in both.

  This anthology presents readers with a wide range of women’s poetry, and places it within the context of the War, be this in a general sense or the ways in which the War was impacting upon the individual woman’s life. From the outset, my guiding principle was what the piece might tell us about the reality of the War for the poet – and by extension other women, rather than the intrinsic literary ‘value’ of the poem. Another, equally important aim was to give readers a sense of the sweep of the poetry, both in subject matter and also poetic ‘skill’. Some of the poems included are undeniably little more than ditties – albeit heartfelt ones; a few are amongst the finest in the English language.

  Finally and crucially, because I am above all a social historian, I wanted readers to have the opportunity to get to know the poet in terms of her social and educational background, age, war service and even, where possible, glimpse her post-war world. All but the last of these factors inform her poetry, although occasionally the future she anticipates for herself informs it as well. The poets’ biographies and information about their printing houses, which comprise the second section, are integral to the anthology – and, unlike the poems, these are arranged in alphabetical order.

  To help readers to gain an understanding of women’s war poetry in general, the poems are grouped in thematic chapters, each has sufficient cultural/ historical background to help readers understand why such poems were written. The aim was to show twenty-first century readers that, just like women’s contribution to the Allied Victory in 1918, women’s war poetry is integral to the genre and not just a sideshow.

  Having selected the poems and the chapter themes, I began detective work relating to the poets. Using information contained in local, national and international newspapers and archives including the Red Cross database for VAD nurses (still a work in progress; in July 2015 volunteers had digitalised extant records up to the letter L), census and other official records, some poets emerged from the shadows. Of course, a minority such as VAD Vera Brittain are already relatively well-known; the majority, however, enjoyed, at most, a brief moment of fame when their poem or collection of poems was published and, for the lucky few, even reviewed in publications ranging from the poet’s local paper to the Times Literary Supplement.

  There were occasional Eureka moments, when cracking a poem’s code helped to unravel the poet’s personal history and this has even led to contacts and friendships. On one occasion family members of one poet (Alexandra Grantham) were discovered in New Zealand. Although they were aware of her existence, they knew nothing about her truly extraordinary war story. Such moments have been rare but the satisfaction when they occur is immense.

  Yet, despite intensive research, some poets remain obstinately in the shadows. While the individual’s life may be shrouded in mystery, her poem casts light on her war. Thus, we may never know who Paula Hudd was, but we know that she was outraged by war being waged upon children, whilst the periodical or indeed publisher with which a poet chose to publish her poem may give a clue to her political leanings, educational background and even financial status.

  As you join me in discovering these women’s lives through their poetry, I hope that you derive as much pleasure from reading t
heir poems and finding out about their wartime stories as I have had.

  Dr Vivien Newman,

  Chelmsford 2015

  Chapter 1

  When ‘Pierrot Goes Forward,

  What of Pierrette?’

  When Great Britain declared war on Germany in the dying hours of 4 August 1914, many of the 27.6 million British women – and indeed women from across the combatant nations – asked themselves a key question. What was a woman’s role in wartime?

  A British man, if he were aged between eighteen and forty-one, could immediately offer his services to the Armed Forces but, apart from the tiny numbers of professional nurses, no obvious role appeared for women to fulfil. Although some women had professional training and expertise that the nation would, in due course, realise it needed, in the early days there was little for most women to do. What would happen to them in wartime?

  This gulf between men and women’s wartime roles is perfectly summed up by American poet Gabrielle Elliot.

  PIERROT GOES TO WAR

  In the sheltered garden pale beneath the moon,

  (Drenched with swaying fragrance, redolent with June!)

  There, among the shadows, someone lingers yet –

  Pierrot, the lover, parts from Pierrette.

  Bugles, bugles, bugles, blaring down the wind,

  Sound the flaming challenge – Leave your dreams behind!

  Come away from the shadows, turn your back on June –

  Pierrot, go forward to face the golden noon.

  In the muddy trenches, black and torn and still,

  (How the charge swept over, to break against the hill!)

  Huddled in the shadows, boyish figures lie –