Volume 9
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The Military Philosophers is unique in Dance to the Music of Time as the only book containing actual people who function as characters in the work. (Lots of other real people are mentioned, such as Winston Churchill and Wallace Simpson, but very few appear on stage and actually speak.) One is the CIGS ( Vicount Alanbrook), who produced an "extraordinary current of physical energy" (53). Most important among these is, however, "The Field-Marshal." 
"Bernard Law Montgomery, arguably the most celebrated British military commander of the twentieth century, began his army career in 1908 and by the date of his retirement in 1958 had risen to the rank of Field Marshal, as well as being created Viscount Montgomery of Alamein.
"In August 1942 he was sent to Egypt to take over the 8th Army and, following the victory at El Alamein, spearheaded the steady push through North Africa, before continuing it first into Sicily and then Italy itself. In early 1944 he was given command of the 21st Army Group for the invasion of mainland Europe and after the fighting in Normandy guided them through the liberation of North West Europe in a successful but controversial advance which culminated in the surrender ceremony in May 1945 on Lüneburg Heath. "After commanding the British Army on the Rhine, Montgomery served as Chief of the Imperial General Staff between 1946 and 1948 before playing an important role in the formation and development of NATO until 1958." http://www.iwm.org.uk/collections/docs/monty.htm. 3/28/02
Synopsis Character List Haiku to the Music of Time Letters from Nick Birns and Michael Skaife d'Ingerthorpe (2002) Essays: 2001-2 Learning the ABC of Military Affairs -- Will Story Up and Down the Chain of Command -- Doug Presley The Cost of War: Nick's Loss in WWII -- Luke Spears Man Hater or Man Lover? -- Madeleine Fawcett Heading for Disaster -- Gauri Kirloskar 2007-8 Pamela Flitton: The Black Widow -- Becca Zinsmeister Katyn Massacre -- Nicole Lee Deliberate Bitterness: The Calculated Cruelty of Pamela Flitton -- Corey Simpson The London Bridge Keeps Falling Down -- Cassidy Carpenter Pluto: Not Just the Planet We Loved -- Mike Donelan Above and Below Ground: Nick's Place in the Army -- John Bukawyn The Military Philosophers: An Explanation of Pamela Flitton -- Jay Park Szymanski's Story -- William Koven Templer's New Attitude -- Erica Bakies The Greatest Tragedy -- Nick Anschuetz Military Philosopher -- Dana Feeny The Poles In Exile -- James Seman Exiting the Dance: The Passing of Nick's Earliest Friends -- Jimmy Yang Katyn: A necessary evil? -- Alex Svec |
The Military Philosophers begins in 1942. Jenkins is working with Pennistone under Finn as liason with the Poles. At a meeting to discuss the release of thousands of Polish officers from Russia, he runs into Widmerpool, Farebrother, and Templer. Through work he later has dealings with Blackhead, a bureaucrat of the highest degree. Pamela Flitton, an AT driver, takes Jenkins to various meetings around London. From her we learn of Stringham's death as a POW in Singapore.
Norah Tolland brings Pamela to Ted Jeavons's party. At work, Jenkins meets Kucherman, the Belgian attache, and learns that Szymanski - a mythologically difficult Polish officer - has escaped from dentention barracks. With Isobel, he attends The Bartered Bride, where Pamela turns up. Widmerpool, also present, asks about her. Others speak of her notoriety, numerous sexual conquests. Widmerpool becomes a full colonel. Jenkins meets Pamela and Odo Stevens at an air raid shelter. Mrs. Erdleigh turns up and is eager to read Pamela's palm, predicting marriage to "a man a little older." When Stevens tries to stop Pamela from going outside during the raid, she slaps him. Mrs. Erdleigh reports the death of Dr. Trelawney. Finn and Jenkins conduct the various military attaches to France for a tour. When Maj. Prasad says he requires a bathroom "for religious reasons," Jenkins must request that Gen. Asborjornsen yield his room. Jenkins runs into his former unit, commanded now by Kedward, who remembers him with difficulty. The Field-Marshal gives the attaches an audience, and lectures the Belgians about their Resistance fighters, who are causing the Allies difficulty. Jenkins has a drink with Bob Duport, and learns that Templer has been killed. As the War winds down in the Pacific theater, Jenkins's fellow officers begin to return to civilian life. He reads of the engagement between Pamela Flitton and Widmerpool and later attends a party at Prasad's Embassy with Isobel, where he meets Widmerpool and Pamela, Sunny Farebrother and his new wife "Tuffy" Weedon (widow of General Conyers), and Matilda Wilson with her husband Sir Magnus Donners. Pamela and Widmerpool argue whether Widmerpool was responsible for Templer's death. At the St. Paul's celebration of the end of the war, Nick allows Colonel Flores to take his seat and meets Jean Templer (Mrs. Flores) again for the first time in several years. The book ends with an unexpected meeting with Archie Gilbert, the cosmopolitan partygoer from ABM. |
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These are the major characters in this volume, organized by chapter. The military abbreviations may be determined by consulting Will Story's list of abbreviations, below. Chapter 1 Lt. Col. (Lysander) Finn - head of military liason at the War Office Maj. David Penniston - colleague of Jenkins in military liason Blackhead - obstructionist civil servant Lt. Col. Kenneth Widmerpool - himself, in charge of a committee in Cabinet Office Lt. Col. Sunny Farebrother - attached to a "secret show" in military espionage Peter Templer - old friend of Jenkins, working in MEW Pamela Flitton - AT driver, niece of Charles Stringham Prince Theodoric - Baltic prince Chapter 2 Ted Jeavons - ARP warden, widower of one of Jenkins's in-laws Norah Tolland - Jenkins's sister-in-law Major Kutcherman - Belgian military attache Isobel Jenkins - Jenkins's wife Chapter 3 Maj. Odo Stevens - "secret show" officer, acquaintance of Jenkins Mrs. Myra Erdleigh - fortune-teller, old friend of Jenkins's late uncle Chapter 4 Major Prasad - Indian military attache Gen. Asborjornsen - Scandinavian military attache Field-Marshal - Montgomery Capt. Idwal Kedward - CO of Jenkins's former company Capt. Bob Duport - old friend and former brother-in-law of Peter Templer Chapter 5 Geraldine "Tuffy" Weedon Farebrother - Sunny's new wife, works in MI5 Col. Flores - South American military attache Jean Templer Duport Flores - among other things, Jenkin's old heart-throb |
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Nick did not expect That on that day he would see Senora Flores. -- Madeleine Fawcett Banana in eyes, Widmerpool's face is slavish: Now it's Barbara's turn. -- Gauri Kirloskar High up in the eves Bureaucrat extraordinaire Blackhead waits for prey -- Doug Presley A polite request: Please amplify, notes on soap: Blackhead is not pleased. Whining Widmerpool Receives Barbara's good graces: Sugar on his head. -- Luke Spears Sillery has dreams, He plots to have influence, But stays powerless. -- Will Story Languid snake in black -- Icy motion by the vase: Pam, in passing, pukes. A swirl of blue robes, As Trelawney's flock runs past: Vision of Visions. -- John Gould |
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Will Story This glossary of all the military abbreviations in the war trilogy of Dance is set up in alphabetical order. The abbreviations, each with definition. are given, followed by the first book and page number that it appears. ACI-Army Council Instruction, The Soldier's Art-P 60 ADC-Aide-de-Camp, The Valley of Bones-P 93 A & Q-Adjutant & Quartermaster, The Soldier's Art-P 22 ARP-Air Raid Precautions, The Military Philosophers-P 75 AT-Auxiliary Territorial, The Military Philosophers-P 33 ATS-Auxiliary Territorial Service, The Military Philosophers-P 34 Battalion HQ-Battalion Head Quarter, The Valley of Bones-P 80 CB-Confined to barracks, The Valley of Bones-P 62 CBE-Commander of the Order of the British Empire, The Military Philosophers-P 228 CD-Corps Diplomat, The Military Philosophers-P 232 C. of E.- Church of England, The Valley of Bones-P 20 CIGS-Chief of Imperial General Staff, The Soldier's Art-P 80 CO-Commanding Officer, The Valley of Bones-P 15 CRA-Commander, Royal Artillery, The Soldier's Art-P 28 CRASC-Commanding Royal Army Service Corps, The Soldier's Art-P 62 CQMS-Company Quartermaster Sergeant, The Valley of Bones-P 176 CSM-Company Sergeant-Major, The Valley of Bones-P 6 DAAG-Deputy Assistant Adjutant General, The Valley of Bones-P 222 DADMS-Deputy Assistant Director Medical Services, The Soldier's Art-P 65 DAPM-Deputy Assistant Provost Marshal, The Soldier's Art-P 54 DCO-Divisional Catering Officer, The Soldier's Art-P 64 Div HQ-Divisional Headquarters, The Valley of Bones-P 194 DR-Dispatch Rider, The Soldier's Art-P 55 DSC-Distinguished Service Cross, The Valley of Bones-P 162 DSD-Director of Staff Duties, The Military Philosophers-P 195 DSO-Distinguished Service Order, The Soldier's Art-P 196 ENSA-Entertainment's National Service Association, The Soldier's Art-P 116 FSO-Field Security Officer, The Soldier's Art-P 59 GHQ-General Headquarters, The Military Philosophers-P 46 GOC-General Officer Commanding, The Military Philosophers-P 17 ITC-Infantry training Centre, The Valley of Bones-P 169 LAD-Light Aid Detachment, The Soldier's Art-P 57 L. of C. Captain-Lines of Communication Captain, The Military Philosophers-P 172 MA-Military Attaché, The Military Philosophers-P 86 MBE- Member of the Order of the British Empire, The Military Philosophers-P 239 MC-Military Cross, The Valley of Bones-P 50 MEW-Ministry of Economic Warfare, The Military Philosophers-P 15 MI5-Military Intelligence 5 (secret service), The Military Philosophers-P 73 MGA-Major-General in charge of Administration at Corps HQ, The Soldier's Art-P 199 MM-Military Medal, The Soldier's Art-P 60 MO-Medical Officer, The Valley of Bones-P 82 MP-Military Police, The Valley of Bones-P 112 MS officer-Military Secretariat Officer, The Military Philosophers-P 240 MT-Motor Transport, The Valley of Bones-P 10 NCO-Non-commissioned Officer, The Valley of Bones-P 18 OBE- Officer of the Order of the British Empire, The Soldier's Art-P196 OC-Officer in Charge, The Soldier's Art-P 217 OCTU-Officer Cadet Training Unit, The Soldier's Art-P 44 PM-Prime Minister, The Military Philosophers-P 20 POW-Prisoner of War, The Military Philosophers-P 204 PT-Physical Training The Valley of Bones-P 71 QM-Quartermaster The Valley of Bones-P 10 Q (Ops.)- Quartermaster Operations, The Military Philosophers-P 30 RAF-Royal Air Force, The Valley of Bones-P 19 RAOC-Royal Army Ordnance Corps, The Valley of Bones-P 157 RASC-Royal Army Service Corps, The Soldier's Art-P 62 RC-Roman catholic, The Valley of Bones-P 20 RAMC-Royal Army Medical Corps, The Military Philosophers-P 103 RMC-Royal Military College, The Military Philosophers-P 55 RTO-Railway Transport Officer, The Valley of Bones-P 142 RV-Rendezvous, The Valley of Bones-P 77 SOPT-Staff Officer, Physical Training, The Soldier's Art-P 69 TA Reservist-Territorial Army Reservist, The Valley of Bones-P 35 VC-Victoria Cross, The Valley of Bones-P 14 VD-Venereal Disease, The Soldier's Art-P 66 WOASAWL-While-On-Active-Service-Absent-Without-Leave, The Soldier's Art-P 149 W/T-Wireless Telephony, The Soldier's Art-P 42 Thanks to the following for their contributions: Julian Allason, Nick Birns, John Gilks, Dr. Keith C. Marshall, Nick Nash, Philip Stokes |
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Doug Presley The basements in The Military Philosophers seem to be where all of the real action takes place. Repeatedly throughout the novel, Powell describes the basements, catacombs, and crypts of various locations as the realms of action, places where things get done quickly and efficiently. In contrast, as altitude rises the efficiency level of the inhabitants drops. Nick's place in this all, with a second floor office, illustrates his rank in the military hierarchy of importance: above, and therefore below, the likes of Finn, Farebrother, and Widmerpool. When Nick is sent to the Cabinet Office meeting in place of Pennistone, he is led down "flight after flight of stairs" into "a room in the bowels of the earth" (11). He describes the office as "a brightly lit dungeon" in which "lurked a sense that no one could spare a word, not a syllable, far less gesture, not of direct value in implementing the matter in hand" (12). At the conclusion of the meeting, Widmerpool not so politely requests that Nick remove himself from the room, insisting that he has "some highly secret matter to deal with," (19), further augmenting the atmosphere of "extreme pressure" (12) in the basement room . Other references to different subterranean nerve centers abound throughout the book. The Combined Operations Headquarters, also given the imposing name "the Fortress," is described as "more or less underground" (119). After the war is over and its functionality has been lost, however, the fortress is "covered by a building of many stories" (119). Widmerpool, in reference to his office, describes it as "that basement where [he] work[s] night and day" (203). Finally, during the Victory Day service at St. Paul's, the ambulance and medical services are set up in the crypt below the cathedral. Once again the duties of vital importance have been stationed below ground level. While the lower levels are filled with efficiency, the upper reaches of the same offices seem to undo the diligent work going on beneath them. One night Nick and Corporal Curtis are relegated to fire-duty on the upper level of the iron gangway that sits atop the building. Through the course of the raid, all they can do is sit and watch as the V.1s crash into the city, acting merely as spectators in the war (147-8). On the higher levels of Nick's building "dwelt the Civil branches and their subsidiaries… all diminishing in official prestige as the altitude steepened" (38). Proceeding further towards the roof, Nick finally reaches the offices "under the eaves" (38) where Blackhead, the ultimate antithesis of the hard-working denizens of the lower floors, works and lives. "The essence incarnate of arguing, encumbering, delaying, [and] hairsplitting," Blackhead perfectly demonstrates the inverse relation between physical location and importance to the army, his rank having been forgotten over the years (40). The contrast between the various floors is striking. On one end of the spectrum lie the underground, yet permanently bright nonetheless, offices of the upper echelons of the military machine. High above them, the dark and cramped rooms of Blackhead and his kind seem perfectly situated, far from anything important, where they can do the least damage. Quite appropriately, as the war draws to a close, Nick goes to say goodbye to the Belgians and has a drink in one of the "upper rooms" (238). The war is over, wine is plentiful, and the basement is no longer needed. |
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Luke Spears Though Nick himself does not explicitly say so, the Second World War represents a dramatic, unfavorable, and in some ways permanent change in his life. As he is thrust into a rigorous, unfamiliar military world, he loses most of the things that characterized his life throughout the first two movements of The Dance. First of all, his literary career is put on hold for six years. In addition, he is estranged from his friends and family; indeed, the regular social interactions that played such a large role in the first two movements of The Dance are all but nonexistent during the War. Also, by the end of The Military Philosophers, Nick has lost many friends and acquaintances from his pre-war life, either to the war itself or to old age. Beyond limiting the scope of his social sphere, this loss of friends and relations also effectively wipes out many of his connections to the past. He comments on the residual effects of such a powerful change in his life at the beginning of Books Do Furnish A Room-how "depressive symptoms ... were ... to be accepted as delayed action of the last six years," and how he is forced to patch together the "traditional textures of existence ... in an attempt to reaffirm some sort of personal identity, however blurred" (1-2). Ultimately, the War gives Nick his first taste of old age. Though we see little of Nick's own personal life throughout The Dance (except as it interacts with the other characters), it is apparent that he is a relatively well-known literary figure, and also a man with extensive social connections. With the outbreak of war, however, he does all he can to get into the army, despite the radical change in lifestyle that the army will mean. Because Nick never expresses his feelings on whether he enjoys or despises army life, it is difficult to say exactly how the war affects him. It is clear, however-through the "mystic sense of relief" he feels when he hears Germany has invaded Russia, and through the constant fear of being bombed-that the overall tension of the war with the Nazis affects him just as it affects everyone else (227, TSA). In addition, he certainly doesn't relish being under the direct authority of Widmerpool, and expressly mentions, in The Valley of Bones, that he finds it impossible to write anything while in the army (113).. What is probably the worst part of army life and the war for Nick is how little time he is able to spend with his friends and, more specifically, with Isobel and (once he is born) his son. In the first two movements of The Dance, relatively few characters die, and those that do (with the exception of Maclintick), die peacefully, from old age. Mr. Deacon, St. John Clarke, Lady Warminster, and Uncle Giles are the most notable of these. In the third movement, not only does the older generation continue to pass away, and in greater numbers, but we also see Nick's contemporaries become casualties of war. Nick does not offer us any insight into his feelings on the plethora of deaths that occur during the third movement, but I think that, beyond a general grief, his feelings vary according to generation and cause of death. Among the deceased of the older generation are Mrs. Foxe, General Conyers, Albert, Lady Molly, and Dr. Trelawney. Nick had fairly close relationships with all of these people, but though their passing is surely hard for him, it is also somewhat expected (with the exception of Lady Molly). As the elderly gradually die, Nick becomes more and more aware of his own steadily increasing age. More difficult for him to bear, however, are the deaths of his two schoolmates Stringham and Templer, and of his family members Chips Lovell, Priscilla Lovell, Robert Tolland, and George Tolland. Lost in the horror of war are Nick's two oldest friends and a significant percentage of his extended family. These deaths are not expected; they are not part of the "natural order"-they are the sad cost of war, and as such undoubtedly evoke much more grief in Nick than do the deaths of his elderly friends. When Pamela Flitton informs him that Stringham was at Singapore in The Military Philosophers, he gives us no description of his shock, horror, or grief. But what he does say - "Oh, God.... He used to be a great friend of mine" - is enough to show that he feels all of the latter emotions (59). He may not reveal much to Pamela (who he has, after all, just met), but for the reader accustomed to his characteristic understatement, his pain is evident. When he hears of Templer's death from Duport, he makes absolutely no references to his feelings or his fondness for Templer. Instead, he questions Duport about the reliability of such a report for almost two pages, as if he cannot quite accept that Templer is finally gone (187-189, TMP). Rather than leave Nick feeling old, the deaths of his friends leave him feeling cheated by and angry at Hitler, the Nazis, and war in general. It is this loss that permanently changes his life. World War II undeniably has meant a drastic change for Nick. For all intents and purposes, his life - his writing, his friends, his family - has been put on hold because of duty to his country. But by the end of The Military Philosophers he is ready to get on with his life. He has a family and is ready to return to writing. What he is missing are friends. The only good friend still standing is an increasingly dispirited Moreland. The social sphere that has been growing for so much of The Dance is cut in half, and though Nick may make new friends, nothing can negate this loss. Also, his physical connection with times-gone-by has been severed. The only living remnant of his career at Eton is the abrasive Widmerpool, and no one is around to help him recall the days when he and Chips wrote low-budget film scripts. In the end, World War II has taken a part of Nick's life - his friends, his memories, and his youth. |
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Madeleine Fawcett Pamela Flitton is a dangerously striking predator of men. She uses her good looks to seduce them, no matter what their status is, and proceeds to make living hells of their lives. One can't help but wonder where the great resentment she feels for men comes from. We know that Pamela is the daughter of Flavia Wisebite and the niece of Charles Stringham. Although these two characters are fairly familiar, we do not know anything about her father, Cosmo Flitton, other than that he is a drunk gambler. Because a father is the first significant male figure in a woman's life, they usually have a large impact on how women feel towards other men for the rest of their lives. Pamela clearly has a deranged view of men, which could be partly due to the fact that she never had a positive father figure in her life. Nick first meets Pamela when she is his AT driver. One of the first traits he notes about Pamela is her "rankling animosity against the world" (57). He tries to make conversation with her, but she is disinterested until finally, she brings up his aquaintance with Stringham. The conversation is short-lived. She remains very distant, almost mysterious. Stories of Pamela's notorious conquests with men continue to be mentioned. Nick discovers that she has had an affair with one of her relations, Milton Wisebite; she has caused two RAF officers to be court-martialed; she caused a married, senior official in the Treasury to be transferred because of suspicions; and she emptied a bottle of wine over Howard Cragg's head once when he took her out to dinner. These are just a few of the stories people have spoken of. She is very notorious and almost any time her name is mentioned in The Military Philosophers, someone has something negative to say about her. Any interaction she has had with a man has ended badly. As Nick thinks more about Pamela, he realizes something quite significant: Pamela does not pursue these men to gain anything. "Her indifference to the age and the status of the men she decided to fascinate" suggests that it is more than a money or power issue. "She was just as happy deranging the modest home life of a middle-aged air-raid warden, as compromising the commission of a rich and handsome Guards ensign recently left school" (74). This suggests that her malice is an act of revenge and self-reassurance. Her appearance with Odo Stevens further supports this. When Pamela hears Odo say something about his feelings for Priscilla, she is quick to jump in and remind him that he always tells her he feels strongest about her. But, in reality, she doesn't care if he likes her because she knows she is just going to leave him soon enough. Pamela makes men fall crazy in love with her, and then walks out on them, or hurts them in some fashion. It seems that she boosts her self-confidence by having men swoon over her, and then she feels satisfied after she knows she means something to someone when she has hurt them...the way her father hurt her. Lastly, her affair with Widmerpool is one, that at first, no one can understand. However, it is clear that Widmerpool will tolerate ANYTHING from Pamela and continue to bow down to her, no matter how she treats him. The bottom line is that Pamela does not court these men for sex, money, or power. She seems to be avenging her father, who walked out of her life when she was young, and never really bothered to come back and care for her. In fact, this theory is stated by Norah Tolland, after the Widmerpool marriage: "Pam must need a Father-Figure.... I think it's a tragic mistake. Like Titania and Bottom" (199). |
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Gauri Kirloskar In The Military Philosophers, the surprising marriage of Widmerpool to the "dangerous" Pamela Flitton could well lead to his social and emotional downfall. Through preceding books we have witnessed the recent rise in Widmerpool's social and economic status, and this could be the turning point. The difference in their personalities is a huge one, and revealing; Pamela is sadistic whereas Widmerpool is masochistic. His masochism has shown through when Budd throws a banana in his face early in the series, and Widmerpool has an "almost slavish" expression on his face. What could be the outcome of this strange alliance? It seems almost inevitable that a divorce is not too far along the way. The most important reason for supposing this outcome is the difference in Widmerpool's and Pamela's sexual reputations. In fact, they are quite opposite. As Jenkins notes: "Widmerpool's [sex life] had more than once shown himself an exceptional mixture of vehemence and ineptitude; the business of Gypsy Jones, for example, in his early days; then the disastrous engagement to Mrs. Haycock..." (109). In fact, Widmerpool's engagement to Mrs. Haycock ends because of his inability to perform in bed. Pamela, on the other hand, is notorious for her sexual conquests. Duport says, "I only stuffed her once, against a shed in the back parts of Cairo airport, but even then I could see she might drive you round the bend" (190). In spite of her numerous sexual encounters, she is still sought after, because she is beautiful and knows how to keep men on their toes. As Duport remarks, "That girl gets a hold on people" (190). Sex is obviously an important aspect of her relationships, and this is what she uses to control the men she has relationships with. "You're pathetic as a lover. No good at all. You ought to see a doctor," she says to Stevens on page 135. Even Templer, famous for his success with women, is told of his sexual incompetence with her. Will Widmerpool be able to stand up to her domination? Another difference in their personalities that could lead to their break up is their behavior in social situations. Widmerpool is always eager to put up a façade of professionalism whereas Pamela doesn't care one way or another about what people think of her. At the party on National Day, these differences are evident. When Widmerpool tells Pamela that she should meet the Ambassador, she replies, "Stuff the Ambassador" (209). This makes Widmerpool nervous, in case anyone might hear her "and not understand" (210), but she dismisses his concerns. When he then proceeds to tell her that he has to leave for dinner, she insists that he should dine with her. Widmerpool is uncomfortable in this situation. He has recently had experience as the boss of everyone; will he succumb to Pamela's demands? Later, in the same conversation, Pamela accuses Widmerpool of murdering Templer. Widmerpool gets furious at her accusations but finally gives up arguing and leaves. A break-up is almost inevitable it seems, but only a few pages later, their marriage is announced. Even Widmerpool's mother, whom he used to talk so fondly about, does not approve of his relationship because of their differences in age. However, even though a marriage has taken place, there is plenty of doubt for its success. "Barbara Goring once poured sugar on his head at a ball of the Huntercombes,'" says Archie Gilbert in the last page of the book. What will Pamela throw in Widmerpool's face? |
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John--Finally read the war papers--my favorites were `D. Presley's on continuity between military and civilian life (exactly diagnosed Gwatkin's soldierly illusions)...Katherine Leonard's paper on Stringham and Tuffy (which I thought was slightly too tough on Tuffy, as it were, but provided an interesting angle), and Luke Spears' excellent essay on the effect of the war, although I think the ultimate point is that Jenkins and the narrative e come through the war years intact. I also thought the basement essay was an interesting, and original, take on the book. best Nick I was impressed by Will Story's ABC in the Military Philosophers section and especially by his getting CBE right, viz. Commander of the Order of the British Empire; this sort of thing is often got wrong in this country (England). However, I was then disappointed that he made the usual sort of mistake regarding the equivalent OBE and MBE. Just in case anyone's interested, it goes like this (from lowest to highest rank): MBE Member of the Order of the British Empire OBE Officer of the Order of the British Empire CBE Commander of the Order of the British Empire KBE or DBE Knight Commander or Dame Commander of the Order of the British Empire GBE Knight Grand Cross or Dame Grand Cross of the Order of the British Empire There are similar (though not identical) gradations for other orders. (I can take some comfort in presuming to correct you on this sort of thing, from the fact that AP was evidently also liable to be annoyed by mistakes of this sort!) With best wishes and in admiration of what I've seen of the site and certainly of the enterprise as a whole, Michael Skaife d'Ingerthorpe (Note: Michael's corrections to Will's "Learning the ABC of Military Affairs" have been added to his text. Will, the rest of the class, and I are grateful for Michael's expertise.) |