The road to grantchester, p.1
The Road to Grantchester, page 1
For Marilyn
Contents
Part One War
One
Two
Three
Four
Five
Six
Seven
Eight
Nine
Ten
Part Two Peace
Eleven
Twelve
Thirteen
Fourteen
Fifteen
Sixteen
Seventeen
Eighteen
Nineteen
Part Three Faith
Twenty
Twenty-One
Twenty-Two
Twenty-Three
Twenty-Four
Twenty-Five
Twenty-Six
Twenty-Seven
Part Four Love
Twenty-Eight
Twenty-Nine
Thirty
Thirty-One
Thirty-Two
Thirty-Three
Thirty-Four
Thirty-Five
Thirty-Six
Thirty-Seven
Thirty-Eight
Thirty-Nine
Forty
Acknowledgements
A Note on the Author
Also available by James Runcie
PART ONE
WAR
1
London, 28 February 1938
They are in the Caledonian Club, dancing the quickstep. Sidney is eighteen. Amanda, his best friend’s little sister, is three years younger. The band is playing ‘Bei Mir Bist Du Schoen’: ‘To Me, You’re Beautiful’. He has asked her to dance out of politeness. He has good manners, everyone thinks so, but he enjoys the dance more than he had expected.
She is gracious, poised and moves more elegantly than he does, making sure they keep time and look good together. All around them there is gaiety. The guests are well prepared. They have practised their steps and their behaviour. Slow, slow, quick, quick, slow. The conversation is easy, the laughter assured.
When the music comes to an end, Sidney acknowledges his partner with a bow. Amanda returns with a mock curtsey and a complicit smile that he can’t quite read. He escorts her back to her seat as etiquette demands but, straight away, she leaves to find her brother, Robert. She wants to be by his side for their father’s speech and the midnight birthday toast.
‘This is the moment,’ Sir Cecil Kendall announces, after the twelfth stroke of the clock and a general hurrah, ‘when my son comes of age and we let him loose into the world. All I can say is’ – here he stops to make sure that he has command of the silence, ready for the laugh that will surely follow – ‘God help the world. A new star has arrived in the firmament, ready to set our lives ablaze.’
The room is filled with youth and age across the generations. There is wealth, ease and confidence, despite the political anxiety. No one believes there will be another war and, even if there is one, how can it possibly ruin the memory of this golden evening, with everyone in their finery, dancing on a polished wooden floor under the chandeliers with the orchestra playing and the candles ablaze?
Five years later, Sidney Chambers is on a transport ship with the 2nd Battalion, Scots Guards, preparing for landing south of Salerno. Officers tell the troops they have trained so well that victory is assured. They only have to stay alert, watch out for their comrades (a fighting force is only as good as its weakest link) and show no vulnerability.
The night is bright with barely a kiss of wind. Water hisses along the hull. A bosun’s whistle rings out. The ship swings on its moorings. Below decks, a group of men are gambling their rum rations on a game of cards.
Sidney checks his uniform and his kitbag. He pats his breast pocket to confirm that he has his notebook and recent letters from home. He doesn’t know if the queasiness he feels is hunger, seasickness or the fear of impending battle. He closes his eyes and tries not to think of anything at all.
During his peacetime education, the history of warfare had been academic. He read Homer, the classics, Shakespeare’s history plays. There had been debates at school. A gas-blind brigadier from the Great War, a man who had survived Passchendaele and yet never expected to grow old, spoke about the limits of diplomacy, the problem of conscientious objection and the necessary evil of a just war.
It was during Prize Day in the summer term of 1937, and the old-boy hero was wearing a double-breasted navy blazer with medals and grey flannel trousers. He appeared to have wet himself. He couldn’t keep his left hand still and clamped it over a walking stick with his right.
The brigadier went back to the Headmaster’s Lodge and said, after three large whiskies – Glenlivet, water, no ice – that ‘the young have no knowledge of terror. They can’t imagine the future. All they have is the present. That is the advantage of having a ready supply. It is their glory and their tragedy.’
Sidney never imagined he would become a soldier. In fact, he has thought very little about a career or how he might ‘turn out’. So far, his life has been one of study, friendship, peace and parties. He’s never even been abroad. His idea of Italy, before all this, had been of ancient Rome and the Renaissance; classical sculpture, architecture, rhetoric and philosophy, beautiful paintings in grand palazzi. He’d always imagined that his first visit to the country might be on a modern, updated version of the Grand Tour, with friends, family, or even someone he loved: a honeymoon, perhaps.
As they approach land, he’s given a government-issue guide to the Italian language. It includes not only the words for ‘lobster’, ‘oyster’ and ‘butter’, but five pages of medical instruction: Come Fermare un’ Emorragia. Sidney thinks that if his father, a medical officer in the Great War, were with them then at least he would know how to ‘stop the bleeding’ rather than command someone else to do it.
Some of the troops read bits out loud. ‘What is your name? Where do you live?’ Others make up phrases. ‘Ciao, bella. When are you going to take off your clothes?’
None of them can quite understand how they have come to be sitting in this boat, dressed in uniform, with guns over their shoulders and fear in their hearts.
Robert Kendall starts telling jokes. ‘What’s got six reverse gears and one forward gear? An Italian tank. The forward gear is in case they get attacked from behind.’
Freddie Hawthorne is pretending the invasion is just another show. ‘In peacetime, people would pay hundreds of pounds for this. Never mind “see Naples and die”. See Naples and live. That’s what I say.’
They sit on wooden benches, each soldier pressed against his neighbour, cramped by kitbags and equipment. The air is stale with the smell of men; sweat through thick battledress, tobacco breath, boot polish and excrement. Sidney thinks of Dante: the dead lining up for purgatory.
Aitchison, Armstrong, Brennan, Campbell, Carnegie, Clarke, Cummins. There are so many. Donaldson, Duff, Ford, Hart, Howe. Sidney has to remember the names – Gatchell, Gilchrist, Hawthorne, Kendall, Lawlor, Logan. If, and when, one of them dies – Macrae, McDermott, McDonald – their loved ones will ask how it happened. MacGregor, Mackay, McKenzie. Parents will want to know if their son felt fear – Naylor, Paterson, Quigley – if he realised he was dying – Redmond, Reekie, Robertson, Ronson – and how much pain he suffered at the end –Sweenie, Swint, Thomson, Thorburn. Can they be proud? Wallace, Ward, Wichary, Wilson.
The boat slows, the engine grinds down. After another anti-Italian joke (the national flag is a white cross on a white background) there’s an unexpected silence, an angel passing overhead, and Kendall says he doesn’t want to talk any more. Hawthorne is writing a ‘just-in-case’ letter to his parents.
If you get this, then you’ll know the worst.
There is a loosing of chains, the lowering of the gangplanks on each side of the bow, the rush of water and the start of light; a pale grey dawn, brightening to a duck-egg blue without its usual wash of pink, the day undecided.
Sidney jumps into a shock of cold water. The men wade towards the land in single file, holding their equipment above their heads. It is heavier going than anyone has anticipated. Even though the tide is coming in, the currents spill around their legs, pulling them under as their uniforms weigh heavy with the wet.
Lawlor, a young ginger-haired boy from Falkirk who has lied about his age in order to join up, calls out: ‘So, this is sunny Italy?’
As soon as he gets to the shore he treads on a landmine and is killed. Half a mile from the beaches, the Germans send shells over that throw up geysers all around them. Tracer fire bounces off the ramp. Machine-gun fire starts up.
Once ashore, the men are fighting in the open crescent of a plain without cover of vegetation or terrain. The plan is to get footholds in the hills so they can fight on equal terms, but the enemy knows every point on the bridgehead.
‘Bloody hell,’ says Hawthorne, ‘it’s like a theatre. We’re on stage. They can watch our every move and we can’t see a single one of the bastards.’
Luftwaffe planes attack with flares, bombs and torpedoes. Sidney’s battalion is ordered to take out a series of warehouses situated in a prominent defensive position between Bellizzi and Battipaglia. It is known as ‘the tobacco factory’ even though there is no sign of a cigarette. The two-floor buildings have been commandeered by the Germans as a munitions store, filled with grenades and sub-machine guns.
The men follow the battle drill they have been taught, moving forward behind an artillery barrage, covered by smoke from a burning farm silo, but they
are exposed too soon and repulsed by a German counter-attack that cuts them apart with its power, speed and brutality. Bodies are thrown back, uniform and flesh ripped open. Violent anatomy; death faster than pain.
They are fired on from behind. They keep their heads down as bullets from the first two rounds soar over them, but the next volley is lower, too low for some of the men. Watson cries out, ‘I’m hit. Help me . . . help me . . . I’m hit. . .’ and dies.
Those who risk a recce are shot so quickly they have no time to understand what has happened. The only way for a soldier to survive is to learn from the death of his friends.
‘I thought they were supposed to be on the point of surrendering,’ says Hawthorne.
‘We have to get round,’ Kendall replies. ‘There’re never as many of them as you think.’
‘It only takes one of them to kill us.’
‘Don’t think like that. Get at them.’
Kendall treats any fire directed towards him as a personal affront. At school, everyone loved him. What has he ever done to deserve being shot at? He repeats orders, shouts out instructions, rallying the troops as he did when he was captain of the rugby first fifteen. He isn’t interested in taking prisoners. He tells everyone that he will murder the entire German army on his own if he has to. ‘Have at you, scum,’ he shouts.
‘Get back,’ Sidney warns. ‘Keep low.’
‘Don’t let up, Chambers. We have to let the bastards know who they’re dealing with.’
They shift position while hiding out of sight, creating new angles of attack, getting the Bren guns going with sustained rounds before encouraging another assault with grenades and close fire. Sidney remembers an old commander saying that ‘you must never allow men to lie down in a battle’. His instructor believed that the more courageous you were, dashing straight into enemy lines, the swifter your chance of success. You just had to have the guts to do it.
They start another charge, ten yards apart and no two abreast. The Bren gunners fire first and then the riflemen advance, each man carrying four hand grenades. Sidney runs in a darting motion, throwing the first grenade on command and the other three as soon as he can. Each one weighs heavy in his hands. He worries about them slipping in his sweat, his own manual dexterity, getting the pins out in time. He doesn’t want to blow his own legs off. He’s seen Gascoigne do that already. The only thing he has to do is to keep on running, firing his rifle when he has finished off the grenades, moving left when he is out of ammunition. The man next to him has his jaw blown off. There is no time to reload. He can’t stop. If he stays on the move, he tells himself, if he keeps breathing, if he changes direction, he will be safe.
Between the bursts of explosion and commands he can just make out Germans shouting, ‘Grenade! Grenade!’, firing from their machine-gun positions before throwing their own and scrambling for cover.
Sidney concentrates on the immediacy of attack, defence and survival. He knows he has to feel more alive than he has ever felt before just to keep on living. He sees an object thrown in his direction: a grenade silhouetted against a blaze of gunfire. It lands three feet away, but he is gone by the time it explodes. He runs back low into cover, vaulting sandbags and barbed wire, throwing himself down on to the ground, bruising his right side, exhausted, breathless, relieved and yet exhilarated.
‘I’ve never seen you move like that,’ says Kendall. ‘You know you run like a girl?’
‘And you can bugger off too,’ Sidney replies.
‘So easy to get a rise out of you.’
‘How are we ever going to get out of this?’
‘You just have to keep on until there’s nothing left to do. Get up and be brave.’
The next day, the American forces open an airstrip near Paestum. They plan to set up a series of airborne attacks in support, but it is five days of fighting before it is operational. By that time, the battalion has lost a third of its men. Their training had assumed a full fighting force. No one has taught them how to cope when exhausted and under-strength. It doesn’t take long to work out the mathematics. At this rate, they’ll all be dead in a fortnight.
Sidney makes his way back to the bivouac area, passing the already decaying dead, listening to bursts of fire from far away. He can smell the tang of what he takes to be salt and blood in the wind; pine, earth and explosives. He looks out at the sea, struck by the unyielding rhythm of its tides.
He sees a bell tower in the distance, standing proud and unharmed, its brickwork the colour of warm sand at dusk. He wonders where the priest might be, if there are any faithful left to worship, when anyone last said Mass or prayed for peace.
He sits down on his helmet and reads from the prayer book his mother has given him. Thou shalt not be afraid for the terror by night; nor for the arrow that flieth by day; nor for the pestilence that walketh in darkness; nor for the destruction that wasteth at noonday. A thousand shall fall at thy side, and ten thousand at thy right hand; but it shall not come nigh thee. He hopes it is true, but he can’t quite believe it.
After their sixth attempt to take the tobacco factory, and with no returning fire, the Scots Guards realise the Germans have withdrawn to form a stronger defensive line further north, spanning the peninsula to the east of Naples.
‘It’s rude of them, really,’ says Kendall. ‘They could have let us know they were leaving. Saved us the bother.’
The battalion advances through destroyed villages, watching defeated Italians fleeing both sides of the war, following the railway line en route to their homes in the south. In the fields, a few remaining villagers are stripping the last of the corn, hiding from enemy fire, looking for chestnuts, fungi and plantains. They pick dandelions and put them in paper bags. Sidney is told that some of them have secret stores buried underground – ham, sausages, Parmesan cheese and last year’s wine – but it’s too dangerous to go back and recover them.
A couple of shepherd boys herd four sheep into the undergrowth to prevent them being requisitioned or stolen. There is only the odd roadside maize field standing, the brown stalks higher than a man. It would be a good place to hide, Sidney thinks, imagining being trapped there for weeks.
They find an empty palazzo near Avellino to use as a base; a brick-built villa with a bullet-pocked Palladian façade and a medieval oratory in the courtyard. The windows are broken, only one half of a swagged curtain remains, and the terrazzo floor in the hall is gouged down the middle. The washed-pink walls contain dark rectangles where the paintings have been. Even the nails and picture hooks have been taken. Nothing remains that cannot be sold or burned for warmth, apart from an old chandelier that was clearly too heavy to remove and a grand piano that is now badly out of tune. Kendall hauls over a munitions box, sits at the keyboard and starts vamping a piece of Gilbert and Sullivan. Freddie Hawthorne steps up to sing ‘A Wandering Minstrel, I’ from The Mikado but stops short of performing ‘I Am the Very Model of a Modern Major-General’, not out of tact but because he isn’t sure if he can remember all the words.
He is a small, boyish, blond man who was once a child star in the West End. He closes his eyes when he eats his rations, remembering first nights and number-one dressing rooms, pretending that he is at the Mayfair Hotel with his theatrical friends enjoying smoked trout or quails’ eggs and champagne. The bully beef is boeuf bourguignon, the hard tack is a cheese-and-rosemary sablé, the water is fine wine. ‘If you think you’re somewhere else, you can be somewhere else,’ he says. ‘It’s the only way to survive.’
Each night Hawthorne inspects his nails before trying to sleep, filing them down, ensuring they are smooth and clean. ‘I like to keep them neat.’
‘You know they grow on after you die?’ says Sweenie.
Kendall cuts in. ‘But he’s not going to die. No actor likes to leave the stage early. They want the applause.’
‘I’m glad you’re so confident.’
‘You have to keep cheerful.’
Other soldiers are amused by Hawthorne’s camp manner and tell him to watch out. There are going to be times when he is the nearest thing to a woman they can find. Every time he takes a shower or a tin bath, Kendall sings ‘The Strip Polka’, amused by how annoying his friend finds it.
‘My old man,’ says Sweenie, ‘never spoke about the last war, except to tell me about the time the mules got drunk or how his teeth were taken out by a Canadian doctor who had never taken out a tooth in his life. I spent my childhood thinking that war was about mules getting drunk and toothache.’
