Murdering your darlings.

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thejester
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Murdering your darlings.

Post by thejester »

Academic work can be cruel. You put your best prose into a work, but as it's not the analysis, argument and evidence it doesn't make the final cut. I wrote the following piece basically on the spur of the moment - I had found a collection of documents relating to Peter Crosby in the AWM archives, including Hodge's letter and a translation of a Danish newspaper article detailing the visit to Esjberg. It didn't mean much at the time and I didn't take the notes I should have; it was only when I read an interview with Robert Brooks that my interest was aroused. A bit of ferreting in 460's squadron history, Strike and Return, and the Official History turned up brief description's of the evening. I smashed out the first draft in an afternoon and then justified it to my supervisor as an example of how I could mesh a variety of sources. It ended up being the prologue.

Sadly I ended up being over the word limit and the prologue got the arse, on the basis that it was redundant. My supervisor called it 'murdering your darlings' - nice prose falling victim to the practicalities of history. But I was still disappointed. Not only was it (IMO) a nice little tidbit, it also set the grim tone that persisted for the rest of the piece.

Although it's a bit presumptuous, this links into a wider debate occurring in historical circles. Some historians are arguing that in a quest for impartiality and under influence from the social sciences, faculties are deliberately destroying the vivid writing of history. Tom Griffiths wrote an excellent essay, 'The Poetics and Practicalities of Writing', in which he bemoaned the way in which historical writing had declined - "it's because so many scholars compromise communication with pompous posturing; they are too busy staking out intellectual territory and warding others off it...they are so furiously in pursuit of 'objectivity' that they delete themselves from their scripts and employ a weird passionless prose."

Griffiths references Judith Brett and her article on 'The Bureaucratisation of Writing' as an example. Brett suggests academics still have something important to say but do not have the urgency or the correct picture of their audience to say it well. Taking this further, Griffiths argues it is Universities who are at fault - they 'reward us for writing obscurely for distant, small, specialised audiences made up of people educated exactly as we are!' I'd agree to this with an extent but I think the changing nature of education and society as a whole has an effect. Alistair Horne springs to mind immediately as a historian whose education in the classics and the humanities as a whole has left him with a powerful pen - even when applied to modern subjects such as Verdun in Price of Glory and Algeria in A Savage War of Peace. Manning Clark and Alan Clark are two others who, despite their pretty gaping flaws as historians, were able to bring their narratives to light through writing that echoed the flare and scope of more classical writers. On the other hand, my favourite historian is Richard Overy and whilst he could hardly be accused of the 'pompous posturing' Griffiths attacks he's not much of a novelist, either. In his case, I think, brevity is a strength; he's more of an analyst than a storyteller and thus keeping it sharp and clear suits his purposes.

But enough of me. What have you? Murder the darlings or let the pen run riot?
One Particular Night

Yet it was characteristic of the bomber offensive that each squadron, cut off on its lonely airfield somewhere down the lengthy of eastern England, lived in its own private world and knew little of what went on outside…Bomber Command could sometimes have a disastrous night, losing scores of aircraft, yet a squadron came home unaware of anything amiss, having attacked in a wave that missed the nightfighters. Conversely, on one trip a squadron for no definable reason could lose four, five, six aircraft – far above Bomber Command’s average.
- Sir Max Hastings, Bomber Command.
On the evening of the 9th of April, 1944, the airfield of Binbrook on the Lincolnshire wolds reverberated to the sound of engines. Fourteen Lancasters of 460 Squadron, Royal Australian Air Force left their dispersal areas in the dusk and taxied onto the runway. At the appointed hour, the pilot and flight engineer of the first – ‘helmeted, masked and confined in perspex cages’ - opened the throttles, released the brakes and sent the enormous plane thundering down the runway. Thirteen aircraft made it airborne. The fourteenth, piloted by F/Sgt McKenzie, crashed on takeoff. It was the crews first mission; all aboard were killed. The remainder joined the enormous throng of aircraft orbiting north-east England. Two went south, toward France, part of two big raids on railyards in Lille and Villeneuve-St-Georges. The other eleven turned east, out over the North Sea.

Their target was the Gulf of Danzig, their cargo five mines. Mining operations were generally seen as an easy way to familiarise new crews with ‘ops’, but the length of the flight – a nine hour round trip – made it a difficult mission. As with most Bomber Command targets, the Gulf was being attacked to fulfil multiple aims. It would disrupt U-Boat training, an important aim in the lead-up to D-Day; and it would menace German lines of communication to forces on the Eastern Front, an important political sop in the absence of the long-awaited Second Front. Heavy flak greeted them over the Gulf, and both P/O Wade and F/Lt Willis had to struggle to bring their badly damaged Lancasters back to Binbrook.

The flak was just a precursor, though, to the carnage over Denmark. AR-Q, piloted by P/O Burke D.F.C, was attacked by a nightfighter over the Kattegat and destroyed; one of the gunners, F/Sgt Sydney Cooper, was the only man to bail out successfully. At 3.30, AR-M, piloted by F/Lt Peter Crosby, was attacked as they approached the east coast of Jutland. Crosby sounded the bailout order at 18,000 feet, but another attack by the persistent nightfighter saw the Lancaster plummet in a spin. Righting the aircraft, Crosby again told his crew to ‘hurry up and get out, we’re below 6,000 feet.’ The rear-gunner, F/Sgt Stanley Hodge, tumbled from his turret and made a safe descent to earth. Shortly after he did so, AR-M exploded; the navigator, F/O Charles Suffren, was found badly injured nearby, and died in February 1945 in a German hospital. To complete 460’s sortie, P/O Robert Proud’s Lancaster was shot down half an hour later. There were no survivors.

460’s horror night goes some way to demonstrating the myriad dangers faced by the men in Bomber Command. F/Sgt McKenzie discovered, tragically, the inherent dangers in attempting to lift a complex piece of machinery laden beyond the point of safety with bombs and fuel. The four-engined heavies needed the entirety of the runway to safely lift off; the loss of an engine and consequently power was almost always fatal. Pilot inexperience, as always, could also play a big role. If pilots did not build up sufficient speed before attempting to lift off, they risked stalling and a fiery end. The danger of mid-air collision was also ever-present; the bomber ‘stream’ typically concentrated five hundred to eight hundred aircraft over the target within a fifteen minute window, minimizing the exposure to German defences but in conditions of darkness greatly increasing the chances of collision.

The German defences remained the greatest threat, however. Flak – an abbreviation of Flugabwehrkanone, aircraft defence cannon – was present at virtually every target the bombers visited. It was a tremendously inefficient method of destruction, requiring thousands of shells for every hit. Yet a direct hit from the 88 or 105mm guns used was an experience few bombers or their crews were likely to survive. By far the biggest threat to crews, however, were the Luftwaffe nachtjager, or nightfighters. It was the men of Nachtjagdgeschwader 3 who got amongst the Lancasters over Denmark, claiming nine of the bombers in just under half an hour. Faster and more manoeuvrable than the prey they stalked and equipped with a devastating combination of cannon and radar, single nightfighter crews could shoot down five or six bombers in a single night.

All told, 9 of the 103 Lancasters dispatched on the mining mission failed to return. Three were from 460; of the twenty one men aboard, only two survived. The loss of F/Sgt McKenzie and his crew brought the totals up to four and twenty eight, respectively. Bomber Command did not measure it losses in lives, however; what was considered important was the loss rate per sortie, expressed as a percentage. Viewed in isolation, 460s was positively catastrophic – 28.5% of the aircraft dispatched to Danzig had failed to return. In comparison, the raid on Nuremberg in March 1944 was considered the Command’s biggest defeat of the war, with a loss rate of 11.9%. Yet taken as a whole, the night was considered a success for Bomber Command. 697 sorties were flown and 11 aircraft lost, a rate of 1.6% - more than acceptable for those at Bomber Command headquarters at High Wycombe.

At Binbrook, the casualties sustained over Denmark were quickly submerged in the relentless tempo of operations. New crews arrived from the Operational Training Units to take the places of those who had been lost, new Lancasters from the factories scattered through the northern districts. By April 1944 the machinery for replacing losses was well oiled; in the previous six months Bomber Command had lost more aircraft than it had on strength in November but had still grown in size. The psychological mechanisms for coping with such losses were less certain, but life in Bomber Command left no room for open grief. The night after 460’s disaster over Jutland, thirteen Lancasters went to the Aulnoye marshalling yards. The night after that, five went to Aachen.

Yet while the 9/10th April was soon remembered as just another night in Bomber Command’s long war, consequences of that night over Denmark persisted long after the last Lancaster had straggled home to Binbrook. James ‘Jim’ Brooks had been on Burke’s Lancaster, and had done twenty two trips – including ten to Berlin. He had grown up next door to his cousin Robert in Mackay in far north Queensland. Robert flew his first mission with 49 Squadron the same night Jim was killed and vividly describes the jolt it gave him. He completed a tour with the Pathfinders – no mean feat, even in 1944 – and eventually returned home to Australia. Exiting the train in Mackay, the first people he saw were his Uncle and Aunt – and Jim, standing behind them:
And just behind them was Jim, standing there and he said straight out, "I'm not coming home." Well that's the end of it. I can't tell you any more. I can't even remember giving my mother a hug or a kiss or anything. I can't remember anything else.

The spectre of his dead cousin would continue to haunt Robert Brooks dreams for years after the end of the war, a powerful reminder of the tragic cost of Bomber Command’s war.

The crews of all three Australian Lancasters were buried in Esbjerg Cemetery over the next few months; by the end of the war, thirty four Australians would be interred there, alongside another 238 Commonwealth servicemen. All were airmen, almost all of them from Bomber Command. Peter Crosby’s parents visited his grave in 1957. Their only clue to their son’s exact fate was in a letter from the only surviving member of the crew, Stanley Hodge. But Hodge’s memories were maddeningly slim; he had only heard his skipper’s frantic bail out order before he had exited the aircraft, and had not heard AR-M explode. While the Crosby’s were at least able to visit their son’s grave – many Bomber Command aircraft and their crews simply disappeared, and Esbjerg alone had the remains of twenty-five unidentified airmen within it – there would always be the lingering doubt of just how he died.

Peter Crosby and the other young men who died with him over Denmark are remembered in two very different ways. As members of Bomber Command, their war has been well documented. Hundreds of books have been published detailing the lifestyle and experiences of men in Bomber Command, the aircraft they flew, the targets they bombed. Controversy continues to rage about both the morality of area bombing and its effectiveness. In many ways, the war over German skies remains one of the most visible parts of the Second World War some sixty years on. But as Australians, Peter Crosby and his comrades remain virtually invisible. Despite the fact they made up over 20% of Australia’s combat deaths, the men who served in Bomber Command have been forgotten in their own country.
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Re: Murdering your darlings.

Post by phongn »

thejester wrote:Griffiths references Judith Brett and her article on 'The Bureaucratisation of Writing' as an example. Brett suggests academics still have something important to say but do not have the urgency or the correct picture of their audience to say it well. Taking this further, Griffiths argues it is Universities who are at fault - they 'reward us for writing obscurely for distant, small, specialised audiences made up of people educated exactly as we are!' I'd agree to this with an extent but I think the changing nature of education and society as a whole has an effect.
For me - I'm used to dry, super-technical writing (unsurprising, I'm from the computer science world). I've combed through more IEEE and ACM papers than I really cared to and they're all generally dry, precise and to-the-point. If nice prose isn't valued so much in history anymore, it certainly isn't at all in the engineering and natural science fields.
Alistair Horne springs to mind immediately as a historian whose education in the classics and the humanities as a whole has left him with a powerful pen - even when applied to modern subjects such as Verdun in Price of Glory and Algeria in A Savage War of Peace. Manning Clark and Alan Clark are two others who, despite their pretty gaping flaws as historians, were able to bring their narratives to light through writing that echoed the flare and scope of more classical writers. On the other hand, my favourite historian is Richard Overy and whilst he could hardly be accused of the 'pompous posturing' Griffiths attacks he's not much of a novelist, either. In his case, I think, brevity is a strength; he's more of an analyst than a storyteller and thus keeping it sharp and clear suits his purposes.
Your opening reminded me a bit of Frank's prologue to Downfall - in that case, his rather vivid description of the March 1945 firebombing raid on Tokyo. Might there be more flexibility in books (especially 'popular' books) rather than academic theses and papers?
But enough of me. What have you? Murder the darlings or let the pen run riot?
Does it have to be an either/or dichotomy? In your case - that prologue definitely set the tone of things and I would've preferred it kept in. Surely there can be a balance between murdering one's darlings and letting the pen run riot?
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Re: Murdering your darlings.

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phongn wrote:For me - I'm used to dry, super-technical writing (unsurprising, I'm from the computer science world). I've combed through more IEEE and ACM papers than I really cared to and they're all generally dry, precise and to-the-point. If nice prose isn't valued so much in history anymore, it certainly isn't at all in the engineering and natural science fields.
Yeah, and a major criticism of Griffiths' is that faculties are now taking their cues from these fields in a search for for objective writing. It's fundamentally misguided because history cannot be broken down into basic, indisputable mathematics/facts in the same way engineering and the sciences can be.

Griffiths also takes a shot at the practice of 'writing up' - that is, gathering your evidence and then writing your piece. I thought this bizarre at first because that is surely the most basic and sound practice in creating any kind of argument, historical or not. It was the only part of the essay I really disagreed with. But I later read 'The Breath of Antarctica', a talk of Griffiths' that he later expanded into a book. He opens with a description of the wrecking of the HMS Guardian on an iceberg in December 1789 near South Africa in the roaring forties and goes onto explain how the 'breath of Antarctica' is felt by those well away from it - specifically the inhabitants of his native Tasmania - and the way in which Antarctica was imagined long before it was known. He'd gone to Antarctica in 2002-03 as a humanities fellow on an Australian expedition and, as I said above, is from Tasmania. As such he's very much present in the narrative, and suspect that's what he refers to by not necessarily writing up; I'm sure his thoughts, if not his pen, were being organised well before he had specifically researched the Guardian etc.
Your opening reminded me a bit of Frank's prologue to Downfall - in that case, his rather vivid description of the March 1945 firebombing raid on Tokyo. Might there be more flexibility in books (especially 'popular' books) rather than academic theses and papers?
There's definitely more flexibility in books, especially those published for a mainstream audience - and that's what Griffiths' bemoans. There's a perception that if you're a serious historian you can't write an entertaining book...and frankly, most populist 'historians' can't write for shit anyway. Likewise, someone drew the analogy that this piece of writing was like your drivers test - you don't normally drive like that but you have to pass.
Does it have to be an either/or dichotomy? In your case - that prologue definitely set the tone of things and I would've preferred it kept in. Surely there can be a balance between murdering one's darlings and letting the pen run riot?
Hopefully some faculties wake up to themselves, but I wouldn't hold my breath. :wink:
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Re: Murdering your darlings.

Post by Slacker »

I think the 'drying out' of academia, and specifically, history, is a big reason why the average person doesn't give a rat's ass about our field of study. Think about it-history class, if you didn't have a good teacher, was probably pretty damn boring growing up. People who aren't innately interested in something are generally not going to really care about it, and the material, when presented in a dry, factual way, really doesn't connect with most people.

Look at how Theodore Roosevelt or Churchill wrote their books-sure, they're full of nonsense in some places, but they're certainly interesting to read, even for people who aren't normally inclined to be interested in the material. We may be a bit more intellectually dishonest if we introduce a bit of interesting narrative or humanize the story a bit, but on the other hand, at least people might actually want to learn something.
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Re: Murdering your darlings.

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On the other hand, I have heard that the English historical 'industry' or output is considered less stringent or quality than the French or English scholarship in Europe. This could well be due to the more narrative style of writing common in English-language history making it seem more 'pop history' than it otherwise might.
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Re: Murdering your darlings.

Post by Zixinus »

But this kind of prosaic writing would be definitely handy for elementary- and high-school textbooks where grabbing attention is important. They're usually biased already, even if only minor ways, so less-objective writing helps if anything. Save the highly-objective style for serious historians.
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Re: Murdering your darlings.

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Stark wrote:On the other hand, I have heard that the English historical 'industry' or output is considered less stringent or quality than the French or English scholarship in Europe. This could well be due to the more narrative style of writing common in English-language history making it seem more 'pop history' than it otherwise might.
Yes, English and by extent american scholarship is usually not that well regarded in continental cycles due to them oftentimes ignoring problems in favor of a clearer writing style and more output. This can lead to such oddities as an otherwise respected scholar displaying glaring mistakes in his scholarship, mistakes even a fifth semester student would not have made.
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Re: Murdering your darlings.

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I don't think it's a case of historical accuracy having to go out the window for the writing to be interesting, and I don't think a work being popular means it's well written either. Most populist works of history are that way because they tell a simple story in a simple fashion. As Peter Stanley points out in Invading Australia, a truly enormous amount of literature has been produced in the last few years on Kokoda - most of it simply re-hashing what we already know. The biggest bestseller on Kokoda, Peter FitzSimmons Kokoda, has been likened to a telling of a rugby tour where some people die. More than that, FitzSimmons juices up the narrative by pulling stuff out of his arse - the death of Private Bruce Kingsbury VC, for example, contains considerably more detail than was every relayed by the men who were there with him.

That's the extreme example, though - most popular Australian military history sells because people love to read about plucky Diggers proving Australians are awesome. That, and the explosion in family history means people are looking for the connection in the past and it'd be a rare Anglo-Celtic Australian family that didn't have a relative who fought in one of the wars. I stress that these aren't necessarily well written; the emotion comes purely from the action described, and the descent into cliche is frequent. Compared to, say, Manning Clark, they're amateurs. The first volume of his History is still a revelation, turning the odd foray by Dutch or Spanish ships into northern Australian waters into a chapter of the struggle for the heart of the Christian man and ultimately the entire continent. That's exciting history.
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Re: Murdering your darlings.

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thejester wrote:I don't think it's a case of historical accuracy having to go out the window for the writing to be interesting, and I don't think a work being popular means it's well written either.
That is something that does not really address my point. For example, one thing you often find is that while a german historian may go "well, there is a chance of X and the evidence is inconclusive", while an English historian will more generally go the "This is what happened route." You can always find this at conferences as well - the english are very straightforward and to the point, while the germans will always hem and haw at least 10 minutes about their methodology first.
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Re: Murdering your darlings.

Post by Stark »

I'm not particularly well-read, but that is my experience with English sources (at least in my area of interest). The German and French sources (which I must read in translation) are far more prosaic and scientific, whereas the English texts are often full of footnotes like 'xyz says 5, abc says 3, and jfk says 20. So... it's 5'. I could well just be reading the wrong books, but in other languages there seems to be a more scientific approach (or willingness to accept that no solid conclusion is possible).

Oh dear. In my above post I meant 'French and German' not 'French and English'. :S
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