Brian Aldiss - Forgotten Life

In this surreal landscape, the British were surreal objects. The ethos of the Forgotten Army was to look as wild as possible. We wore trousers with puttees and boots, to keep out insects, and bush hats. Our torsoes were mahogany brown, our backsides alabaster white. It was the custom to tie bits of the coloured signal scarves dropped with our airborne rations round our hats to serve as puggarees, and to grow our hair long. ‘In the depths of the Burmese jungle lived a strange white race …’ For me, this costume remained a kind of dressing up; for the older members of the army, it had become second nature. Many of them described themselves as puggle. It was the sun, the heat, the awful food, they’d tell you.

The maddest in ‘S’ Relief was Steve Dutt. It was rumoured that his father was a general; Steve was just a private and an orderly. A sweet-natured man, he was never heard to raise his voice in conversation. He would sit about, listening to our talk, smiling, stroking his moustache. His recreation was to drill himself as if he were a platoon. On these occasions, he put on a sergeant-major’s voice.

‘Steve Dutt, Steve Dutt, harten-shun. As you were. Wait for it. Steve Dutt, harten-SHUN. Saloope arms. By the right, quick – wait for the order, Dutt. Quick – MARCH. Ep, ep, ep, right, ep. Let’s see you swing that arm. Plenty of bullshit. Keep in line.

‘Steve Dutt, Ri-ight TURN. Chin up. Look to your front, man. Harbout TURN. Ep, ep, ep, right, ep.’

And so on. True, we all on occasions drilled ourselves, but it was Steve Dutt who drilled himself continually, for a half-hour at a time, up and down in whatever clear ground there was. We would hear him at night, outside the bivouacs. No one thought anything of it.

‘By the right, number. One, two, three, four, five – six. As you were. Wake up, Dutt, you know what comes after five, don’t you? Dutt, by the right, number. One, two, three, four, five, SIX, seven, eight, nine, ten. Pick up your dressing. Squad, diss – I want to see you smartly away. Diss-MISS.’

Then he would come in. ‘Sergeant put me through it today,’ he’d say cheerfully, lighting up a cigarette.

A few of us in ‘S’ Relief had small lanterns. We would sit and chat in the entrance of someone’s bivvy after dark. We spoke our own lingo of English and fractured Urdu. The conversation would often turn to London. There were frequent arguments about which number bus ran through Cockfosters, or where it went after it left the High Street.

My mates were homesick, and would talk about ‘our mum’ doing this or that, or ‘my old woman’ doing this or that, or how they went down to see the Spurs play every Saturday. Their small home worlds were continually resurrected. Homesickness was something I never felt. The present was too vivid.

Another favourite topic was how forgotten we were in this unearthly part of the world, and how we never featured in the news. It was the rule to find nothing good about overseas. To declare that one felt passionately about Burma would have been to invite ostracism, or else the scornful, ‘Wait till you’ve got a bit of service in.’

The man I was most fond of in ‘S’ Relief, after Bert Lyons, was Ron Grade. Ron was a slow-spoken farmer from Pinner way. One of his eyes was beyond his control and would wander about in the course of conversation. Ron was the only man with a camera; perhaps it was a sign of the interest he took in the world for which the others cared little.

Ron never ran out of film. He seemed to photograph everything, dead Japs, distant landscapes, ‘S’ Relief in transit. It must have been his roving eye. The few snaps I have of those times come from Ron’s camera. He photographed us when at last we reached the Mu river. So delighted was ‘S’ Relief by the charm of running water that Sid Feather drove us to bathe every time we were off duty.

Since the spirit of Romanticism is connected with ruin and destruction, the Mu site must be one of the most romantic places to choose for a swim. Two railway bridges had once crossed the river at this point, a low wooden bridge and a grander one, metal on sturdy brick piers. Both bridges had been blown up by the British in their retreat from Mandalay. Both had been blown up with engines and rolling stock on them, so that the invading Jap should have no use of them.

The wooden bridge had disappeared – swept downstream or eaten by ants. What remained to mark the spot was a small tank engine, only half-submerged by the river in its shrunken dry season state.

The greater bridge had left greater remains. Two stout double piers had not fallen in the doubtless hasty explosions, so that between it and the eastern, Mandalay-bound shore, a totally unworkable span of line had stayed in place, slightly buckled and laden with two locomotives and a selection of carriages and trucks which straggled back to the land. Vegetation was already devouring the rearmost trucks.

The next span, the one which, in the wet season, would cover the mid-point of the Mu, had fallen down. Left balanced on its pier were a locomotive and tender. The tender stood with its tail in the air on top of the pier; the engine, to which it remained attached, hung down, buffers clear of the water by some feet. There it dangled, in that precarious position, for three years of war. The metals were too hot to touch – that we knew from the sunken tank engine, on which we could climb only after splashing it with cooling water.

We went every day to the surviving narrow, green, fast-running channel of the Mu, rushing deeply entrenched in its bed of sand; and every day the engineering ruin presided over our relaxation.

In her book, The Pleasure of Ruins, Rose Macaulay remarks, ‘The ascendancy over men’s minds of the ruins of the stupendous past, the past of history, legend and myth, at once factual and fantastic, stretching back and back into ages that can but be surmised, is half-mystical in basis. The intoxication, at once so heady and so devout, is not the romantic melancholy engendered by broken towers and mouldered stones; it is the soaring of the imagination into the high empyrean where huge episodes are tangled with myths and dreams; it is the stunning impact of world history on its amazed heirs.’

Our three-year-old ruin was also part of world history; it had already become a symbol of the end of a myth, the myth of white supremacy. We did not know it then, but never again would the British ride from Mandalay to Dimapur in their first class carriages, relegating the Wog to the third, as if the land belonged to them. The Forgotten Army might – indeed, would – drive the Jap from Burma; but it was beyond even our powers to restore the country to the British crown. The tide of history had turned and, whatever his later victories, the white man had been defeated – in many cases with remarkable ease, in Hong Kong, the N.E.I., Singapore, and Burma. The British, not the most pragmatic of races, recognized their defeat in victory, and left their former colonies and dependencies with comparative good grace, so that some measure of good will attached to their memory. Not so the Dutch and French. The latter, in particular, clinging to Indo-China – a struggle in which the Americans soon rashly involved themselves – would bring further chaos to the regions of S.E. Asia, with the battle of Dien Bien Phu breaking out not ten years after the time we bathed below the broken bridge over the Mu.

I still have a faded photograph of the bridge, with ‘S’ Relief naked below it. Ron took the photograph.

Ron was not just a keen photographer. He was a pleasant man to be with – one of those people who, by some inner quality, make us feel slightly better than we are.

Ron never showed irritation or swore like the rest of us. ‘S’ Relief benefited from his presence when the battle for the Chindwin was on.