Ferry Los Cristianos, Tenerife to Santa Cruz de La Palma

Volcan de Tuberiente at Los Cristianos

Volcan de Tuberiente at Los Cristianos

Ferry Los Cristianos, Tenerife to Santa Cruz de La Palma

Ferries are the most important communication links between the Canary Islands and although there are direct flights from the UK to the airport of Santa Cruz de La Palma they are all (to the best of my knowledge) for those on package holidays and not suitable for the independent traveller. There are inter-island flights but they are expensive if you are not a Canary resident – who get subsidised travel. Here is some practical information for those wishing to travel from Los Cristianos in the south of Tenerife and Santa Cruz on the island of La Palma. Tenerife Sur is the busiest airport in The Canaries and as both Ryanair and Easyjet fly there opportunities exist for cheap flights.

To get from the airport to the centre of Los Cristianos you don’t need to get a taxi as there are two buses that serve the route. The 111 and 343 both stop at the airport. The cost one way is €3.10 and takes about 20 minutes. It’s about a 10 minutes walk from the bus station in the centre of Los Cristianos to the port.

Two companies offer an option on this route. Naviera Armas run the slower boat whilst the Fred Olsen Express run the jet propelled fast ferry. This used to have a reputation as a whale killer – the lack of a propeller mean they have a low sonar signature. The normal boats that cover this route are the Volcán de Teide (Armas) and the Benchijigua Express (Olsen) and have a passenger capacity of 1,500 and 1,291 and top speeds of 26 and 38 knots respectively. With such foot passenger capacity you would have to be extremely unlucky to not get the boat on the day you might wish to travel.

However, although turning up and getting on board might not be a problem it’s well worth while booking in advance (both have that facility on their web sites) as the prices are cheaper if you book some days before departure. In the low season you can expect to pay up to €35 for Armas and €43 for Olsen. In both directions the two lines call in to San Sebastian de La Gomera. The scheduled time for the ‘slow’ boat 3 hours 45 minutes and the fast one is 2 hours 50 minutes. When I took the slow boat from Los Cristianos in January 2014 it left 15 minutes late and somehow lost another 30 minutes in what seemed, at least to me, favourable sea conditions.

The difference of an hour shouldn’t make much difference unless you might be catching a flight from either of the Tenerife airports. What might well be worth considering, though, is any desire you might have to spend time out of the interior of the boats. The Volcán de Teide has bar facilities, which are open in the summer, on the top deck which is a great place to soak up a bit more of the Canary sun and take a look at La Gomera as you pass along its eastern side.

The only place you can stand outside on the Olsen boat is at the stern as the speed of the boat will have you swimming the rest of the journey if you get caught in the wind. When I first went on the Olsen boat some 12 years ago another down side was the noise but these vessels and becoming more powerful and quieter all the time. Maybe not good news for whales but perhaps for the passengers.

As for facilities on board they’re much of a muchness. The normal bars, cafés, restaurants (not on the Olsen) and shops as well as some sort of place for young children to play. But if the weather is good it makes sense to just watch the world go by, soaking up the sun with a cold drink in hand.

As for departure times the Volcán de Teide leaves Los Cristianos at 18.30 Monday- Friday and 12.00 on Sunday. There’s no sailing on Saturdays. From Santa Cruz de La Palma it’s a crack of dawn touch as it leaves at 04.00 Tuesday-Saturday and 16.00 on Sunday. There’s no sailings on Mondays. As far as I can tell this is the timetable throughout the year.

The Benchijigua Express leaves Los Cristianos at 19.00 Monday-Friday and 11.30 on Sundays. There’s no departure on Saturdays. From Santa Cruz de La Palma it leaves at 05.30 Tuesday-Saturday and 15.00 on Sunday. There’s no option on Mondays.

These times mean that much of the journey will be in darkness for much of the year, only around June and July will there be a chance to get a good view of both La Gomera and La Palma as you sail past. That’s unfortunate as both these islands are impressive if you travel or walk their hills so seeing them from the sea is a bit of treat.

Art Turning Left – Tate Liverpool – 2013/14

 

La chien lit c'est lui - Atelier Populaire - France 1968

La chien lit c’est lui – Atelier Populaire – France 1968

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Art Turning Left – Tate Liverpool – 2013/14

Art Turning Left: How Values Changed Making 1789-2013 at The Tate Liverpool advertises itself as the first exhibition to look at how art has been influenced by left-wing values. I don’t believe that claim is strictly correct as a visit to the People’s History Museum in Manchester presents many examples of the material, from posters, pamphlets, Trade Union banners and many other artefacts, where art has been employed by different British working class organisations to promote and explain their ideas and values. But that quibble aside this is a very good, insightful and intelligent presentation of the way that art has influenced politics internationally and has itself been influenced by the level of technology and the political environment in which they are produced.

Taking that the sub-title gives a time frame for the exhibition I was expecting that the exhibits would be in some sort of chronological order so it would be possible to see if there was an evolution in thinking and designs. That isn’t the case – in fact, the earliest piece is encountered at the far end of the second room. There’s no order whatsoever and no specific connection between neighbouring presentations. What we have instead are small examples from a number of countries throughout the globe to give just an idea of how art and the left-wing have co-existed in different historical epochs.

Before going any further perhaps it’s worthwhile quoting from Atelier Populaire, the group of students from the École des Beaux Artes (the Fine Arts School) in Paris in 1968. This was not reproduced in the exhibition but is from the preface of a book they reproduced of examples of their work in 1969:

‘The posters produced by the Atelier Populaire are weapons in the service of the struggle and are an inseparable part of it.

Their rightful place is in the centre of conflict, that is to say in the streets and on the walls of the factories.

To use them for decorative purposes, to display them in bourgeois places of culture or to consider them as objects of aesthetic interest is to impair both their function and their effect. This is why the Atelier Populaire has always refused to put them on sale.

Even to keep them as historical evidence of a certain stage in the struggle is a betrayal, for the struggle is of such primary importance that the position of an “outside” observer is a fiction which inevitably plays into the hands of the ruling class.’

I would agree with the majority of those sentiments with a proviso. I would like to think that many who have already visited (and those yet to visit) this exhibition on Liverpool’s waterfront would be doing so to gather ideas so that they could be put into practice in future struggles against capitalism and imperialism, but I think that’s more like wishful thinking. Future revolutionary artists shouldn’t need to start from scratch and an analysis of what has been produced in the past can become a springboard for the future. This doesn’t mean slavish imitation but more of a synthesis of what has come before to produce even better in the forthcoming struggles.

So what of the exhibition itself?

Although the time line suggests a period of more than two centuries the overwhelming number of the items on display are from the 20th century. The only item from the 18th century is Jacques-Louis David’s 1793 painting and etchings of ‘The Death of Marat’. I’m familiar with this painting but didn’t know until seeing it at the Tate that David’s workshop copied the original and many reproductions were distributed throughout France. The same with some of the etchings that he made as preliminary studies. This was done to break down the exclusiveness that surrounded paintings. We sometimes forget that extensive public access to the great art of the past is a very recent development and David was way ahead of his time in getting his poignant image of his friend and popular hero out to the greatest audience. It also played a political role in that he would hope that this would make the people angry and pursue those enemies of the revolution who sought to rein in the working people.

There’s then a big jump towards the end of the 19th century where we encounter a couple of the British examples on display.

First there’s a Trade Union banner from 1898. Here I have a major criticism of the curator. These banners were made to be carried through the streets as part of a march or a demonstration, the public expression of the ideas of those who followed behind. In the Tate this banner is lying flat. Not only does this make it difficult to appreciate fully it also goes against the whole meaning of its production in the first place. The manner in which they are displayed in the Manchester Peoples’ History Museum stands in strict contrast.

The second British subject from the end of the 19th century is the work of William Morris, specifically his designs for wallpaper. His inclusion doesn’t necessarily go against the general theme of the exhibition but it does take a slight veer away from art as political. Morris’s idea that good quality design shouldn’t be just for the rich is all very well and good but there would have been few working class homes indeed that could have afforded his wallpaper. As far as I could make out the work produced by Morris was the only one on display that was intentionally produced for the market. The fact that many other artefacts now have a value which the originators had not intended is just an example of how capital appropriates anything it can and tries to place a value that bears no relationship to its cost of production.

Not surprisingly the Soviet Union is well represented. Immediately after the 1917 Revolution and up to the Great Patriotic War (22nd June 1941 – 9th May 1945) artists of various schools were active in the young Soviet Union. They included: drawings made by the Futurist Eil Lissitzky, who believed in the production of propaganda for the new workers’ state through all forms of art and is represented in the exhibition by drawings he made in relation to a theatre production; posters produced by the Constructivist Alexandr Rodchenko, his work being represented by posters of a photomontage that he produced in 1925 commemorating an anniversary of the All Russian Communist Party; and the Productivist Liubov Popova who designed, amongst others, products which were of everyday use and believed that the just because something was ‘basic’ it needn’t lack aesthetic merit. What’s interesting about one of Popova’s designs is that the curator has taken the plan of a display board created in the early 1920s and has used that for the information about Tucamán Arde, the Argentinian collective, which is just a few metres away in the same room.

Five Year Plan - Artists' Brigade - 1933

Five Year Plan – Artists’ Brigade – 1933

I’ve already mentioned Atelier Populaire and there’s quiet a few of their posters on display. I would like to think that most of the young students involved in the silkscreen workshop during the heady days of May 1968 would be horrified if they saw their work on the walls of such a bourgeois institution as the Tate Liverpool but, at the same time, wouldn’t be over surprised if some of them had entered main stream social-democratic parties in their home countries, as have some other ‘revolutionaries’ of that time such a Daniel Cohn-Bendit and Regis Debray.

One of the principles of Atelier Populaire is the involvement of the artists in the struggle. It’s not just designing and printing in the comfort of a school basement. It’s going out on the streets and demonstrating when the call is made as well as walking around with wallpaper paste in a plastic bag and fixing those posters where they will have an effect on the current struggle, at times playing hide and seek with the police – which in France in 1968 meant the neo-Fascist Compagnies Républicaines de Sécurité (CRS), the riot police, who were responsible for an unknown number of deaths.

Also having to face the dangers of a fascistic military government was the Argentinian art collective known as Tucamán Arde (Tucamán (a region of Argentina) Burns). This is a group I’ve never encountered before and they believed that the unity of art and violence was not a choice but a given and challenged the military junta from the late 1960s onwards. One of their slogans in an English translation is ‘We must always resist the lure of complicity’.

China is represented by four posters from the era of the Cultural Revolution, 1966-76. Many thousands of these posters were printed during that period and distributed all over the world, as well as being published in magazines such as Chinese Literature and Peking Review. Many of these used traditional techniques but the subjects were the life and times of the workers and peasants, at that time the rulers of the country who were attempting to build a socialist society.

The New Classroom - Ou Yang - Cultural Revolution 1966-76

The New Classroom – Ou Yang – Cultural Revolution 1966-76

During the Cultural Revolution one of the ways ordinary people could express their points of view was by writing something and posting them on the Da Zi Baos (the wall newspapers) were people would congregate not only to read but discuss the matters raised. Social Media might claim to play that role nowadays but, to me, that lacks the spontaneity and personal interaction that made the wall newspapers so special in all Chinese communities. An effort of the American Group Material in the 1980s to transfer the idea into the home of the beast met, as far as I read, with mixed results, but if people wrote and remained to fight their corner then the principle of the practice would be retained.

One small ‘installation’ that caught my attention was by the Brazilian conceptual artist Cildo Miereles. This is a small presentation of three Coca Cola bottles, on one of which are instructions on how to make a Molotov Cocktail (petrol bomb). If Coca Cola was to adopt this policy then there would be reason for buying this expensive addictive sugar drink but I would have thought the glass in the bottles is too thick to make a truly effective weapon.

There were many other artists and groups on show, as I said before each installation was small, allowing for many to be mentioned the whole affair being much more of a ‘taster’ than a full meal. It’s worth mentioning: OSPAAAL and posters they produced in conjunction with the Cuban magazine Tricontinental; a US TV programme from the 1960s discussing the impact of Bertolt Brecht on both the American artistic and left-wing communities; the Hackney Flashers, a group of worker photographers which used their skills in community campaigns in the late 1970s; Equipo 57, a group I’ve never heard of before, who were a group of Spanish exiles from Franco’s Fascism who set up a Marxist orientated collective in Paris in May 1957; Guerilla Girls, an international women artist collective who campaign for more by women to be made available in art galleries throughout the world – I thought their small section gave the impression of whingers rather than innovative and imaginative artists; an interesting and amusing banner of The International Union of Sex Workers; an installation called ‘A Jukebox of people Trying to Change the World’ by Ruth Ewan, where visitors are invited to select from an ever-expanding collections of CDs of protest songs (and to suggest any new ones) – although when I went to the exhibition one of the attendants was making her selection so it was impossible to extrapolate the political leanings of fellow visitors; as well as a few audio-visual presentations I (foolishly) didn’t have the time to fully appreciate.

There were a few areas where I think the curator had gone slightly off beam, especially on some of the projects that took place in the last few years. Although taking pictures of, and displaying the results in places and locations normally reserved for the wealthy or just advertising of consumer goods I don’t consider that is necessarily looking at art in relation to the left in politics. Neither was the collection of photographs of locations throughout the country where individuals had decorated their homes in a peculiar way. Yes, this might well have been ignored and deserves to be recognised as valid an art form as other by professionals but this is not art that has been created in order to get across a political message

There was also, I believe, a glaring omission and that was any real reference to Socialist Realism. The small collection of Chinese posters was the only place in the gallery where workers were shown carrying out their everyday activities, even though in a stylised form. Now I accept that this could be a big topic and could flood the galleries but I would have thought the subject merited some reference. Although much of this material is not on show in the same way that it was before 1990 there is a vast treasure of Socialist Realist riches to be found and I would like to think that at some time ij the not too distant future someone at the Tate will consider a special exhibition sourcing material from Europe and Asia.

Building Socialism - National Art Gallery - Tirana

Building Socialism – National Art Gallery – Tirana

What I realised on leaving the floor was that this field is really vast and its unfortunate that political activists on the left don’t always appreciate the contribution they have made to culture through the very fact of their activity and the publicising of it. For example, how many silk screen posters have been totally lost form the late 1960s and 1970s which were the cheapest and most common medium for advertising meetings, demonstrations and making statements on the issues of the time?

Although I have a few quibbles this was an interesting and innovative exhibition. It’s a pity that once in finishes in Tate Liverpool next month there are no plans for it to go travelling to other galleries in the country. I also hope that it has been successful enough (I’m sure it hasn’t brought in such crowds as some of the recent special exhibitions at the riverside gallery) for further ventures along the same lines in the future.

Art Turning Left: How Values Changed Making 1789-2013 is at the Tate Liverpool, Albert Dock, Liverpool until 2nd February 2014.

Entrance: Adults: £8.00

Concessions: £6.00

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Ypres Salient – The Menin Gate and Tyne Cot Cemetery

Menin Gate, Ypres, Belgium

Menin Gate, Ypres, Belgium

Ypres Salient – The Menin Gate and Tyne Cot Cemetery

Ypres, in south-west Belgium, was totally destroyed between 1914 and 1918 being, as it was, the area on the Western Front, known then as the Ypres Salient, that the British Army would never concede to the German forces, whatever the cost in human life. Now the rebuilt town lives on that destruction.

Thousands of visitors go there every year in order to remember, commemorate and mourn over the useless sacrifice of so many (mainly) young men from whatever country involved in the conflict. Those 4 years of slaughter are shamefully described by the British as the ‘Great War’, known in history as the First World War, but really is another example of where the working class fight out the disputes between the rich. Commemoration of those killing years only makes sense if that war really was (as it was ‘advertised’ and propagandised at the time) the ‘War to End All Wars’ if, indeed, 1918 saw the end of the useless and wasteful slaughter of lives that is an integral part of the capitalist and imperialist system.

But instead of being the end of the history of war this ‘Great War’ only presaged a century of even more destructive and murderous conflicts.

Ypres was in the wrong place at the wrong time. So it had to be destroyed. Not by design but just because it was there. It’s history stretching back almost a thousand years meant for nothing to the heavy artillery of the Kaiser’s army and the ruins of the fleeing residents homes’ became the brothels for the soldiers of the British Empire, seeking solace and relief from the horrors of the front.

Many of them returned home to a ‘land fit for heroes’ where they were ignored by the state that had sent them to Flanders Fields in the first pace and for a future that offered less as time advanced to an even more destructive conflict that would see the death of many millions of lives that made WWI seem like a picnic in comparison.

In Ypres the Gothic Lakenhalle (Cloth Hall), originally built in the 13th century, was reduced to a huge pile of rubble by German artillery fire, as was the nearby St Martin’s Cathedral. Both have now been rebuilt, perhaps in an effort to try to convince the population the past had not really happened and the good times could return. This falsification of the past has obvious negative effects as even some present day visitors don’t seem (as can be seen in TripAdvisor reviews, for example) to understand that the city is not as old as it looks.

Even though that anti working class, neo-Fascist, staunch champion of the rich and privileged Winston Churchill wanted the town of Ypres to be turned into a memorial to the British dead the Belgians were able to get their homes back as long as they allowed the British imperialists to build a memorial arch that fitted in with their perception of Imperial splendour. The result is the Menin Gate, at the north-eastern end of the town’s principal (reconstructed) thoroughfare.

Officially unveiled on July 24th 1927 this monument records the more than 54,000 combatants of the British Empire (later to become the Commonwealth) who have no known grave. These monuments are always emotional – you can’t help but think of the useless waste of life for something so lacking in substance and relevance to those who actually did the dying. On both sides of the arch facing the road that passes beneath are two carvings that maintain that those who died did so ‘Pro Patria’ – For Country – and ‘Pro Rege’ – For King. Not for themselves, their families, their class but for a bunch of parasitical aristocrats who use tradition and so-called ‘loyalty to the Crown’ to keep the forelock-tuggers in their place.

Class follows you to the grave, Menin Gate, Ypres, Belgium

Class follows you to the grave, Menin Gate, Ypres, Belgium

I remember a couple of years ago listening to a Radio 4 play where one of the characters stated that he understood why the ruling class sent its sons to die in the trenches but not why the industrial and agricultural families gave white feathers to their sons if they didn’t rush to volunteer to suffer in the mud of Flanders fields. I still don’t understand why the working class are so keen to see their children eaten up by what is now known as the military-industrial complex.

And that’s what makes a visit to Ypres, and the memorials that litter Flanders, such a contradictory experience. Yes, you feel for the young men torn from their homes in the countryside or the industrial centres of their homeland. Here I draw no distinction between any of the ‘sides’ in the First World War – a distinction that has to be made in World War One – Part Two, that started in 1939 (at least in Europe) to kill and be killed by their international brothers. They died needlessly but there was a general perception amongst the populace that such a war was so destructive, so ludicrous, so meaningless, so wasteful, that such could never happen again.

But here we are, in 2013 on the eve of the centenary of the outbreak of the ‘Great War’ and Britain has been involved in one of the longest wars in its modern history where an unrecorded number of dead (residents of the invaded country) number in their hundreds of thousands – but they really don’t count as they are Iraqis, Afghans or Libyans.

The Last Post ceremony that takes place EVERY day at 20.00 is an even more disgraceful for that reason. As are the ceremonies that take place every year at 11.00 on November 11th. If other wars, with the same rationale, that is the perpetration of the rule of one class over another, as was the case in Greece, Malaya, Korea, Vietnam to mention only a few, continue to take place (with our connivance or acceptance) then nothing has been learnt and the celebration of the dead of the Ypres Salient becomes a sham, if not worse, an insult to those whose disappeared under the sticky Belgian mud – good for leeks but a killer for northern factory hands.

The class nature of the war is even demonstrated by the way that the names of the dead are recorded. It is not the individual who is commemorated but his rank, each name coming in descending order depending upon the insignia on their uniform. This is a situation where the last continue to be the last as the ordinary private foot soldier is the last to be recognised in his regiment’s roll of honour.

Big as it is the Menin Gate is not big enough to hold the names of all those who have no known grave. For that reason another monument in the Ypres area was constructed at the Tyne Cot Cemetery, just to the south of Passendale (about 8 kilometres to the north-east of Ypres).

Tyne Cot Cemetery, Passendale, Belgium

Tyne Cot Cemetery, Passendale, Belgium

Here another 35,000 names of those who became manure for the farms that were re-established in the years after the slaughter can be found.

And more than 12,000 graves.

Tyne Cot is a ‘typical’ First World War cemetery, with its serried ranks of white marble headstones, some of which have a name, many of which don’t. It’s also the biggest cemetery of the ‘Empire’ dead and therefore has the most visitors from the 21st century. If you are buried in one of the smaller cemeteries that abound in this region only aficionados of the war, obsessed ex-servicemen/women or ghouls will pass by your last resting place.

If a war memorial such as the Menin Gate which lists thousands of names is emotional that takes a step up when you see these rows upon rows of headstones. Carefully carved with the insignia of their regiments and their names, rank, age and date of death (if known) most of these men had more time, effort and money spent on their deaths than on their lives.

Soldiers of the 'Great War', Tyne Cot, Passendale, Belgium

Soldiers of the ‘Great War’, Tyne Cot, Passendale, Belgium

This is the sort of place that the present UK warmongering Prime Minster hopes to send schoolchildren next year. Bored out of their minds, but glad to be away from home with their mates, what will they learn about that war? That it was the valiant British fighting against the evil Hun? That they died fighting for freedom – but for whose freedom, that of the poor or of the rich? That those from the colonies were there because they believed in the glory of the British Empire? That they thought that, should they survive, they would return to a better life in Britain? That they would return as heroes? That they would be respected as people and not as the dross of society, that many of them would have been considered coming from an unskilled background?

That they came back realising that once they had ‘seen Paree’ they could do anything? That they returned home with their weapons and organisation to see off for good their oppressors and exploiters, as their international comrades of the Russian army did in consigning Tsardom to the dustbin of history? Unfortunately not.

They returned to the same lies they, and their ancestors, had been told for generations and for the same reason we are still sending out young men (and now women) into battle situations. (The only truly ‘honourable’ war in history was that fought against German and Japanese Fascism – and the result of that war, at least in the UK, was the welfare state, not socialism but a considerable improvement to that which the 1914/18 heroes returned.)

Those lies haven’t change substantially so we are caught up in this seemingly never-ending trawl of death. Young men and women looking for an escape from the banality of modern-day society, with its emphasis on mindless consumerism and excess in everything are looking to the ‘excitement’ of warfare. In battle they can test themselves, feel real, feel ‘free’ – even when under the orders of those above them, have individuality even when the armed services by definition deny such individuality, find a meaning in life away from the debt ridden hedonism that continues in Britain even after the crisis/crash of 2008.

But many of them are now coming back home as screwed up psychologically as they did a hundred years ago (although I have less sympathy for those who join a volunteer army as it is today than those who were conscripted between 1914 and 1918). At the beginning of the 20th century most people weren’t aware of what war really meant but there’s no excuse nowadays – if you don’t watch the news then fictional films give some idea of what being shot entails. It hurts if the bullet hits you so why should it be any different for the ‘other side’? What makes present day wars more ‘acceptable’ is the advance in protective body armour and the ability to get the injured out of the combat zone within minutes and a medical infrastructure which can prevent death.

In this way modern armies end up ‘shooting themselves in the foot’. The more they protect their soldiers from death the more they create an army of seriously maimed. Just look at the images from the Vietnam war and you’ll see American conscripts going into combat zones with no more protection that a cotton shirt. Now they are more like the knights in shining armour of the age of chivalry. If their protection is greater this reduces the headline figure of fatalities but results in a greater number of seriously injured who survive, many with disabilities which will need a lifetime of support. This creates a virtual ‘hidden army’ of wounded. Some people might be able to tell you the number of killed in Afghanistan and Iraq – but the number of wounded?

In Ypres and Passendale (and, of course, the notorious Somme – but they were French so they don’t really count) your chances of survival if injured were drastically reduced, hence the thousands of names of those who lingered to death in a septic, stinking bomb crater, eaten by rats who took away their identities as well as their bodies. That’s why different headstones at Tyne Cot show no name, but perhaps a regiment, an occupation, a reason for being on the battlefront.

The returning heroes today, the ‘lucky’ ones, might have got a ‘Royal’ Wootton Bassett welcome back to the UK, in a flag draped coffin, weeping ghouls lining the street, a funeral procession formally reserved for the ‘great and the good’ – but hated by the army hierarchy and government as this turned war into a sentimental exercise.

But no more.

Wootton Bassett has become ‘Royal’ but the dead of any present and future war will have to come back in the cargo hold of an RAF transport plane and think themselves lucky if there are family members to greet them.

The fate of those involved in the war of 1914-18 was different. The state didn’t really want to know about the dead, they had done their job and that was it. However, there was still a class bias to the aftermath of the ‘Great War’. Haig didn’t like, and wasn’t liked by, Lloyd George but he still got an earldom and a not insubstantial cash payment. On the other hand family members of the ‘disappeared’ had to pay French and Belgian workers to dig up the remains of their fathers/sons/brothers etc. who had been identified. This financial burden upon people who had little extra after their own daily maintenance probably accounted for the hundreds of thousands who had a grave only ‘Known unto God’ – the most common inscription in the cemeteries in the environs of Ypres.

There was a reason to create these iconic cemeteries in the 1920s. The establishment had to be seen to be recognising the sacrifices of ordinary working men without accepting any real change in the structure of society. Winston Churchill who had been in government roles both before and after the war had sent the warship HMS Antrim up the Mersey to intimidate the transport strikers in 1911 and was equally willing to use the army against workers in the General Strike of 1926.

This isn’t happening now and won’t in the future. It’s bad PR to be confronted with a mass of white headstones. People could get too emotional. It’s doubtful the dead in the 21st century conflicts (so far) will have a separate national memorial. It’s bad enough that small memorials are sprouting up around First World War cenotaphs, a national war dead cemetery is going too far.