Thursday, 24 March 2022

Public Domain Film's in the United Kingdom

 

As previously stated, copyright is a constant headache by design. One area of special pain is determining the status of motion pictures. Most nations set copyright as dependent on the year of passing of a handful of the creative types who worked on it. Usually the Director, Screenplay Author (principal if more than one) and the Composer for the soundtrack. 

For the UK according to the Office for Intellectual Property the standard is this;

  • Films, 70 years after the death of the director, screenplay author and composer

So we have a framework, but it's a lot more work and potential pitfalls than the old American system, which was set at the year of release. Currently, in 2022 that date is 1926, so all motion pictures released in that year or earlier in the United States are in the public domain, so if we're not sure, we just have to look at its copyright date or if that's missing just check the registration year we think it was released, and we can find out.

For British films and other Berne Convention nations, we have to find out who occupied the director, screenplay author and composer of a film and then track down when they died. In the UK, the public domain date is set at 70 years after death, so for 2022 this means deaths up to 1951 count. So the author George Orwell who passed away in 1950 is in the public domain here, for authors it's a straight forward matter, but for film including some of the oldest and rarest films it's a bit more complicated. Some British film pioneers were surprisingly long-lived.

And while searching "Public domain movies" gives you hundreds of sites and lists for American motion pictures, I haven't been able to find a single one for British films or foreign films for any nation apart from the Soviet Union, which is a topic I'll cover another day. 

So to address that at least a little, I've decided to build my own list. 

 

Title of the filmYear of releaseDirectorDate of deathScreenplay authorDate of deathAuthor of dialogue(if different)Date of deathComposerDate of death
Other information
The Aerial Anarchists1911Walter R Booth1938Walter R Booth1938Silent
Silent
Lost
The Airship Destroyer1909Walter R Booth1938Walter R Booth1938Silent
Silent

The Miser's Doom1899Walter R Booth1938Walter R Booth1938Silent
Silent

Upside Down; or, the Human Flies1900Walter R Booth1938Walter R Booth1938Silent
Silent

A Railway Collision1900Walter R Booth1938Walter R Booth1938Silent
Silent

The Haunted Curiosity Shop1901Walter R Booth1938Walter R Booth1938Silent
Silent

Artistic Creation1901Walter R Booth1939Walter R Booth1939Silent
Silent

An Over Incubated Baby1901Walter R Booth1938Walter R Booth1938Silent
Silent

Cheese Mites, or Lilliputians in a London Restaurant1901Walter R Booth1939Walter R Booth1939Silent
Silent

Scrooge or Marley's Ghost1901Walter R Booth1938Walter R Booth1938Silent
Silent
The Magic Sword1901Walter R Booth1938Walter R Booth1938Silent
Silent

Undressing Extraordinary1901Walter R Booth1938Walter R Booth1938Silent
Silent
Also known as the Troubles of a Tired Traveller https://en.wikipedia.org/wiki/Undressing_Extraordinary
The Extraordinary Waiter1902Walter R Booth1938Walter R Booth1938Silent
Silent

An Extraordinary Cab Accident1903Walter R Booth1938Walter R Booth1938Silent
Silent
Is Spiritualism a Fraud?1906Walter R Booth1938Walter R Booth1938Silent
Silent

The Ariel Submarine1910Walter R Booth1938Walter R Booth1938Silent
Silent

The Waif and the Wizard1901Walter R Booth1938Walter R Booth1938Silent
Silent

The`?` Motorist1906Walter R Booth1938Walter R Booth1938Silent
Silent
Willie's Magic Wand1907Walter R Booth1939Walter R Booth1939Silent
Silent
The Automatic Motorist1911Walter R Booth1938Walter R Booth1938Silent
Silent
À propos de Nice1930Jean Vigo1934Jean Vigo1934N/A
N/A

Jean Taris, Swimming Champion1931Jean Vigo1934Jean Vigo1934N/A
N/A

Zero for Conduct1933Jean Vigo1934Jean Vigo1934Jean Vigo1934Maurice Jaubert1940
L'Atalante1934Jean Vigo1934Jean Vigo1934Jean Vigo1934Maurice Jaubert1940
Little Nemo1911Windsor McCay1934Windsor McCay1934Windsor McCay1934Silent

The Story of a Mosquito1912Windsor McCay1934Windsor McCay1934Windsor McCay1934Silent

Gertie the Dinosaur1914Windsor McCay1934Windsor McCay1934Windsor McCay1934Silent

The Sinking of the Lusitania1918Windsor McCay1934Windsor McCay1934Windsor McCay1934Silent
Bug Vaudeville1921Windsor McCay1934Windsor McCay1934Windsor McCay1934Silent

The Flying House1921Windsor McCay1934Windsor McCay1934Windsor McCay1934Silent

The Centaurs1921Windsor McCay1934Windsor McCay1934Windsor McCay1934Silent
Gertie on Tour1918-21Windsor McCay1934Windsor McCay1934Windsor McCay1934Silent

Flip's Circus1918-21Windsor McCay1934Windsor McCay1934Windsor McCay1934Silent

The Great Train Robbery1903Edwin S. Porter1941Scott Marble1919N/A
Silent
Dream of a Rarebit Fiend1906Edwin S. Porter and Wallace McCutcheon Sr.1941 (Porter) 1918 (McCutcheon)Windsor McCay1934N/A
Silent
The Seven Ages1905Edwin S. Porter1941Edwin S. Porter1941N/A
Silent

The Kleptomaniac1905Edwin S. Porter1941Edwin S. Porter1941Edwin S. Porter1941Silent

Terrible Teddy, the Grizzly King1901Edwin S. Porter1941Edwin S. Porter1941N/A
Silent

The Count of Monte Cristo1912Colin Campbell1928Colin Campbell1928N/A
Silent
Lost
Major Wilson's Last Stand1899Frank E.Fillis1921Frank E. Fillis1921N/A
Silent
Lost?
A Primitive Man's Career to Civilization1912Cherry Kearton1940N/A
N/A
Silent
Lost?
Scrooge1913Leedham Bantock1928Leedham Bantock1928N/A
Silent
released in 1926 in the US under the title Old Scrooge
Called Back1914George Loane Tucker1921Comyns Carr1916N/A
Silent

She Stoops to Conquer1914George Loane Tucker1921Bannister Merwin1921N/A
Silent

Trilby1914Harold M. Shaw1926N/A
N/A
Silent

Iron Justice1915Sidney Morgan1946Sidney Morgan1946N/A
Silent

The Brass Bottle1914Sidney Morgan1946N/A
N/A
Silent
Lost
The World's Desire1915Sidney Morgan1946N/A
N/A
Silent

Auld Lang Syne1917Sidney Morgan1946Sidney Morgan1946N/A
Silent

Democracy1918Sidney Morgan1946Sidney Morgan1946N/A
Silent

Because1918Sidney Morgan1946Sidney Morgan1946N/A
Silent

Sweet and Twenty1919Sidney Morgan1946Sidney Morgan1946N/A
Silent

After Many Days1919Sidney Morgan1946Sidney Morgan1946N/A
Silent

All Men are Liars1919Sidney Morgan1946Sidney Morgan1946N/A
Silent

Lady Noggs1920Sidney Morgan1946Sidney Morgan1946N/A
Silent
Also known as Lady Noggs; Peeress
A Man's Shadow1920Sidney Morgan1946Robert Buchanan1901N/A
Silent

The Black Sheep1920Sidney Morgan1946Sidney Morgan1946N/A
Silent

Little Dorrit1920Sidney Morgan1946Sidney Morgan1946N/A
Silent

The Woman of the Iron Bracelets1920Sidney Morgan1946Sidney Morgan1946N/A
Silent

The Scarlet Wooing1920Sidney Morgan1946Sidney Morgan1946N/A
Silent

By Berwin Banks1920Sidney Morgan1946Hugh Croise1950N/A
Silent

Moth and Rust1921Sidney Morgan1946Sidney Morgan1946N/A
Silent

The Mayor of Casterbridge1921Sidney Morgan1946Thomas Hardy1928N/A
Silent

The Lilac Sunbonnet1922Sidney Morgan1946Sidney Morgan1946N/A
Silent

Fires of Innocence1922Sidney Morgan1946Sidney Morgan1946N/A
Silent

A Lowland Cinderella1922Sidney Morgan1946S.R.Crockett1914N/A
Silent

The Woman who Obeyed1923Sidney Morgan1946Alicia Ramsey1933N/A
Silent

Miriam Rozella1924Sidney Morgan1946Sidney Morgan1946N/A
Silent

Bulldog Drummond's Third Round1925Sidney Morgan1946Sidney Morgan1946N/A
Silent

A Window in Piccadilly1928Sidney Morgan1946Sidney Morgan1946N/A
Silent

The Thoroughbred1928Sidney Morgan1946Sidney Morgan1946N/A
Silent

Her Reputation1931Sidney Morgan1946Sidney Morgan1946Sidney Morgan1946Silent

Scrooge1923Edwin Greenwood1939Eliot Stanard1939Eliot Stanard1939Silent

The Black Spider1920William J. Humphrey1942Carlton Dawe1935N/A
Silent

Thelma1918Arthur Rooke and A.E. Colby1930 (A.E.Colby) 1947 Arthur RookeMarie Correlli1924N/A
Silent

God's Clay1919Arthur Rooke1947Arthur Rooke1947N/A
Silent

The Garden of Ressurection1919Arthur Rooke1947Guy Newall1937N/A
Silent

The Lure of Crooning Water1920Arthur Rooke1947Guy Newall1937N/A
Silent

The Mirage1920Arthur Rooke1947Guy Newall1937N/A
Silent

The Mirage1920Arthur Rooke1947Guy Newall1937N/A
Silent

Brenda of the Barge1920Arthur Rooke1947Arthur Rooke1947N/A
Silent

The Blue Peter1928Arthur Rooke1947E. Temple Thurston1933N/A
Silent

The Education of Nicky1921Arthur Rooke1947Arthur Rooke1947N/A
Silent

The Sport of Kings1921Arthur Rooke1947Arthur Rooke1947N/A
Silent

A Bachelor's Baby1922Arthur Rooke1947Lydia Hayward1945N/A
Silent

A Sporting Double1922Arthur Rooke1947Arthur Rooke1947N/A
Silent

The Gay Corinthian1924Arthur Rooke1947Elliot Stannard1944N/A
Silent

The Diamond Man1924Arthur Rooke1947Elliot Stannard1944N/A
Silent

Nets of Destiny1924Arthur Rooke1947Elliot Stannard1944N/A
Silent

The Conjure Woman1926Oscar Micheaux1951Oscar Micheaux1951N/A
Silent
Private film
Shanghai During the Japanese Attack on China1938Anthony Hastings George1944N/A
N/A
Silent

 


Wednesday, 23 March 2022

Down the Mine by George Orwell

 


‘Our civilisation, pace Chesterton, is founded on coal, more completely than one realises until one stops to think about it. The machines that keep us alive, and the machines that make machines, are all directly or indirectly dependent upon coal...’

Our civilisation, pace Chesterton, is founded on coal, more completely than one realises until one stops to think about it. The machines that keep us alive, and the machines that make machines, are all directly or indirectly dependent upon coal. In the metabolism of the Western world the coal-miner is second in importance only to the man who ploughs the soil. He is a sort of caryatid upon whose shoulders nearly everything that is not grimy is supported. For this reason the actual process by which coal is extracted is well worth watching, if you get the chance and are willing to take the trouble.


When you go down a coal-mine it is important to try and get to the coal face when the ‘fillers’ are at work. This is not easy, because when the mine is working visitors are a nuisance and are not encouraged, but if you go at any other time, it is possible to come away with a totally wrong impression. On a Sunday, for instance, a mine seems almost peaceful. The time to go there is when the machines are roaring and the air is black with coal dust, and when you can actually see what the miners have to do. At those times the place is like hell, or at any rate like my own mental picture of hell. Most of the things one imagines in hell are if there — heat, noise, confusion, darkness, foul air, and, above all, unbearably cramped space. Everything except the fire, for there is no fire down there except the feeble beams of Davy lamps and electric torches which scarcely penetrate the clouds of coal dust.


When you have finally got there — and getting there is a in itself: I will explain that in a moment — you crawl through the last line of pit props and see opposite you a shiny black wall three or four feet high. This is the coal face. Overhead is the smooth ceiling made by the rock from which the coal has been cut; underneath is the rock again, so that the gallery you are in is only as high as the ledge of coal itself, probably not much more than a yard. The first impression of all, overmastering everything else for a while, is the frightful, deafening din from the conveyor belt which carries the coal away. You cannot see very far, because the fog of coal dust throws back the beam of your lamp, but you can see on either side of you the line of half-naked kneeling men, one to every four or five yards, driving their shovels under the fallen coal and flinging it swiftly over their left shoulders. They are feeding it on to the conveyor belt, a moving rubber, belt a couple of feet wide which runs a yard or two behind them. Down this belt a glittering river of coal races constantly. In a big mine it is carrying away several tons of coal every minute. It bears it off to some place in the main roads where it is shot into tubs holding half a tun, and thence dragged to the cages and hoisted to the outer air.


It is impossible to watch the ‘fillers’ at work without feeling a pang of envy for their toughness. It is a dreadful job that they do, an almost superhuman job by the standard of an ordinary person. For they are not only shifting monstrous quantities of coal, they are also doing, it in a position that doubles or trebles the work. They have got to remain kneeling all the while — they could hardly rise from their knees without hitting the ceiling — and you can easily see by trying it what a tremendous effort this means. Shovelling is comparatively easy when you are standing up, because you can use your knee and thigh to drive the shovel along; kneeling down, the whole of the strain is thrown upon your arm and belly muscles. And the other conditions do not exactly make things easier. There is the heat — it varies, but in some mines it is suffocating — and the coal dust that stuffs up your throat and nostrils and collects along your eyelids, and the unending rattle of the conveyor belt, which in that confined space is rather like the rattle of a machine gun. But the fillers look and work as though they were made of iron. They really do look like iron hammered iron statues — under the smooth coat of coal dust which clings to them from head to foot. It is only when you see miners down the mine and naked that you realize what splendid men, they are. Most of them are small (big men are at a disadvantage in that job) but nearly all of them have the most noble bodies; wide shoulders tapering to slender supple waists, and small pronounced buttocks and sinewy thighs, with not an ounce of waste flesh anywhere. In the hotter mines they wear only a pair of thin drawers, clogs and knee-pads; in the hottest mines of all, only the clogs and knee-pads. You can hardly tell by the look of them whether they are young or old. They may be any age up to sixty or even sixty-five, but when they are black and naked they all look alike. No one could do their work who had not a young man's body, and a figure fit for a guardsman at that, just a few pounds of extra flesh on the waist-line, and the constant bending would be impossible. You can never forget that spectacle once you have seen it — the line of bowed, kneeling figures, sooty black all over, driving their, huge shovels under the coal with stupendous force and speed. They are on the job for seven and a half hours, theoretically without a break, for there is no time ‘off’. Actually they, snatch a quarter of an hour or so at some time during the shift to eat the food they have brought with them, usually a hunk of bread and dripping and a bottle of cold tea. The first time I was watching the ‘fillers’ at work I put my hand upon some dreadful slimy thing among the coal dust. It was a chewed quid of tobacco. Nearly all the miners chew tobacco, which is said to be good against thirst.


Probably you have to go down several coal-mines before you can get much grasp of the processes that are going on round you. This is chiefly because the mere effort of getting from place to place; makes it difficult to notice anything else, In some ways it is even disappointing, or at least is unlike what you have, expected. You get into the cage, which is a steel box about as wide as a telephone box and two or three times as long. It holds ten men, but they pack it like pilchards in a tin, and a tall man cannot stand upright in it. The steel door shuts upon you, and somebody working the winding gear above drops you into the void. You have the usual momentary qualm in your belly and a bursting sensation in the cars, but not much sensation of movement till you get near the bottom, when the cage slows down so abruptly that you could swear it is going upwards again. In the middle of the run the cage probably touches sixty (miles an hour; in some of the deeper mines it touches even more. When you crawl out at the bottom you are perhaps four hundred yards underground. That is to say you have a tolerable-sized mountain on top of you; hundreds of yards of solid rock, bones of extinct beasts, subsoil, flints, roots of growing things, green grass and cows grazing on it — all this suspended over your head and held back only by wooden props as thick as the calf of your leg. But because of the speed at which the cage has brought you down, and the complete blackness through which you have travelled, you hardly feel yourself deeper down than you would at the bottom of the Piccadilly tube.


What is surprising, on the other hand, is the immense horizontal distances that have to be travelled underground. Before I had been down a mine I had vaguely imagined the miner stepping out of the cage and getting to work on a ledge of coal a few yards away. I had not realised that before he even gets to work he may have had to creep along passages as long as from London Bridge to Oxford Circus. In the beginning, of course, a mine shaft is sunk somewhere near a seam of coal; But as that seam is worked out and fresh seams are followed up, the workings get further and further from the pit bottom. If it is a mile from the pit bottom to the coal face, that is probably an average distance; three miles is a fairly normal one; there are even said to be a few mines where it is as much as five miles. But these distances bear no relation to distances above ground. For in all that mile or three miles as it may be, there is hardly anywhere outside the main road, and not many places even there, where a man can stand upright.


You do not notice the effect of this till you have gone a few hundred yards. You start off, stooping slightly, down the dim-lit gallery, eight or ten feet wide and about five high, with the walls built up with slabs of shale, like the stone walls in Derbyshire. Every yard or two there are wooden props holding up the beams and girders; some of the girders have buckled into fantastic curves under which you have to duck. Usually it is bad going underfoot — thick dust or jagged chunks of shale, and in some mines where there is water it is as mucky as a farm-yard. Also there is the track for the coal tubs, like a miniature railway track with sleepers a foot or two apart, which is tiresome to walk on. Everything is grey with shale dust; there is a dusty fiery smell which seems to be the same in all mines. You see mysterious machines of which you never learn the purpose, and bundles of tools slung together on wires, and sometimes mice darting away from the beam of the lamps. They are surprisingly common, especially in mines where there are or have been horses. It would be interesting to know how they got there in the first place; possibly by falling down the shaft — for they say a mouse can fall any distance uninjured, owing to its surface area being so large relative to its weight. You press yourself against the wall to make way for lines of tubs jolting slowly towards the shaft, drawn by an endless steel cable operated from the surface. You creep through sacking curtains and thick wooden doors which, when they are opened, let out fierce blasts of air. These doors are an important part of the ventilation system. The exhausted air is sucked out of one shaft by means of fans, and the fresh air enters the other of its own accord. But if left to itself the air will take the shortest way round, leaving the deeper workings unventilated; so all the short cuts have to be partitioned off.


At the start to walk stooping is rather a joke, but it is a joke that soon wears off. I am handicapped by being exceptionally tall, but when the roof falls to four feet or less it is a tough job for anybody except a dwarf or a child. You not only have to bend double, you have also got to keep your head up all the while so as to see the beams and girders and dodge them when they come. You have, therefore, a constant crick in the neck, but this is nothing to the pain in your knees and thighs. After half a mile it becomes (I am not exaggerating) an unbearable agony. You begin to wonder whether you will ever get to the end — still more, how on earth you are going to get back. Your pace grows slower and slower. You come to a stretch of a couple of hundred yards where it is all exceptionally low and you have to work yourself along in a squatting position. Then suddenly the roof opens out to a mysterious height — scene of and old fall of rock, probably — and for twenty whole yards you can stand upright. The relief is overwhelming. But after this there is another low stretch of a hundred yards and then a succession of beams which you have to crawl under. You go down on all fours; even this is a relief after the squatting business. But when you come to the end of the beams and try to get up again, you find that your knees have temporarily struck work and refuse to lift you. You call a halt, ignominiously, and say that you would like to rest for a minute or two. Your guide (a miner) is sympathetic. He knows that your muscles are not the same as his. ‘Only another four hundred yards,’ he says encouragingly; you feel that he might as well say another four hundred miles. But finally you do somehow creep as far as the coal face. You have gone a mile and taken the best part of an hour; a miner would do it in not much more than twenty minutes. Having got there, you have to sprawl in the coal dust and get your strength back for several minutes before you can even watch the work in progress with any kind of intelligence.


Coming back is worse than going, not only because you are already tired out but because the journey back to the shaft is slightly uphill. You get through the low places at the speed of a tortoise, and you have no shame now about calling a halt when your knees give way. Even the lamp you are carrying becomes a nuisance and probably when you stumble you drop it; whereupon, if it is a Davy lamp, it goes out. Ducking the beams becomes more and more of an effort, and sometimes you forget to duck. You try walking head down as the miners do, and then you bang your backbone. Even the miners bang their backbones fairly often. This is the reason why in very hot mines, where it is necessary to go about half naked, most of the miners have what they call ‘buttons down the back’ — that is, a permanent scab on each vertebra. When the track is down hill the miners sometimes fit their clogs, which are hollow under-neath, on to the trolley rails and slide down. In mines where the ‘travelling’ is very bad all the miners carry sticks about two and a half feet long, hollowed out below the handle. In normal places you keep your hand on top of the stick and in the low places you slide your hand down into the hollow. These sticks are a great help, and the wooden crash-helmets — a comparatively recent invention — are a godsend. They look like a French or Italian steel helmet, but they are made of some kind of pith and very light, and so strong, that you can take a violent blow on the head without feeling it. When finally you get back to the surface you have been perhaps three hours underground and travelled two miles, and you, are more exhausted than you would be by a twenty-five-mile walk above ground. For a week afterwards your thighs are so stiff that coming downstairs is quite a difficult feat; you have to work your way down in a peculiar sidelong manner, without bending the knees. Your miner friends notice the stiffness of your walk and chaff you about it. (‘How'd ta like to work down pit, eh?’ etc.) Yet even a miner who has been long away front work — from illness, for instance — when he comes back to the pit, suffers badly for the first few days.


It may seem that I am exaggerating, though no one who has been down an old-fashioned pit (most of the pits in England are old-fashioned) and actually gone as far as the coal face, is likely to say so. But what I want to emphasise is this. Here is this frightful business of crawling to and fro, which to any normal person is a hard day's work in itself; and it is not part of the miner's work at all, it is merely an extra, like the City man's daily ride in the Tube. The miner does that journey to and fro, and sandwiched in between there are seven and a half hours of savage work. I have never travelled much more than a mile to the coal face; but often it is three miles, in which case I and most people other than coal-miners would never get there at all. This is the kind of point that one is always liable to miss. When you think of the coal-mine you think of depth, heat, darkness, blackened figures hacking at walls of coal; you don't think, necessarily, of those miles of creeping to and fro. There is the question of time, also. A miner's working shift of seven and a half hours does not sound very long, but one has got to add on to it at least an hour a day for ‘travelling’, more often two hours and sometimes three. Of course, the ‘travelling’ is not technically work and the miner is not paid for it; but it is as like work as makes no difference. It is easy to say that miners don't mind all this. Certainly, it is not the same for them as it would be for you or me. They have done it since childhood, they have the right muscles hardened, and they can move to and fro underground with a startling and rather horrible agility. A miner puts his head down and runs, with a long swinging stride, through places where I can only stagger. At the workings you see them on all fours, skipping round the pit props almost like dogs. But it is quite a mistake to think that they enjoy it. I have talked about this to scores of miners and they all admit that the ‘travelling’ is hard work; in any case when you hear them discussing a pit among themselves the ‘travelling’ is always one of the things they discuss. It is said that a shift always returns from work faster than it goes; nevertheless the miners all say that it is the coming away after a hard day's work, that is especially irksome. It is part of their work and they are equal to it, but certainly it is an effort. It is comparable, perhaps, to climbing a smallish mountain before and after your day's work.


When you have been down in two or three pits you begin to get some grasp of the processes that are going on underground. (I ought to say, by the way, that I know nothing whatever about the technical side of mining: I am merely describing what I have seen.) Coal lies in thin seams between enormous layers of rock, so that essentially the process of getting it out is like scooping the central layer from a Neapolitan ice. In the old days the miners used to cut straight into the coal with pick and crowbar — a very slow job because coal, when lying in its virgin state, is almost as hard as rock. Nowadays the preliminary work is done by an electrically-driven coal-cutter, which in principle is an immensely tough and powerful band-saw, running horizontally instead of vertically, with teeth a couple of inches long and half an inch or an inch thick. It can move backwards or forwards on its own power, and the men operating it can rotate it this way or that. Incidentally it makes one of the most awful noises I have ever heard, and sends forth clouds of coal dust which make it impossible to see more than two to three feet and almost impossible to breathe. The machine travels along the coal face cutting into the base of the coal and undermining it to the depth of five feet or five feet and a half; after this it is comparatively easy to extract the coal to the depth to which it has been undermined. Where it is ‘difficult getting’, however, it has also to be loosened with explosives. A man with an electric drill, like a rather small version of the drills used in street-mending, bores holes at intervals in the coal, inserts blasting powder, plugs it with clay, goes round the corner if there is one handy (he is supposed to retire to twenty-five yards distance) and touches off the charge with an electric current. This is not intended to bring the coal out, only to loosen it. Occasionally, of course, the charge is too powerful, and then it not only brings the coal out but brings the roof down as well.


After the blasting has been done the ‘fillers’ can tumble the coal out, break it up and shovel it on to the conveyor belt. It comes out first in monstrous boulders which may weigh anything up to twenty tons. The conveyor belt shoots it on to tubs, and the tubs are shoved into the main road and hitched on to an endlessly revolving steel cable which drags them to the cage. Then they are hoisted, and at the surface the coal is sorted by being run over screens, and if necessary is washed as well. As far as possible the ‘dirt’ — the shale, that is — is used for making the roads below. All what cannot be used is sent to the surface and dumped; hence the monstrous ‘dirt-heaps’, like hideous grey mountains, which are the characteristic scenery of the coal areas. When the coal has been extracted to the depth to which the machine has cut, the coal face has advanced by five feet. Fresh props are put in to hold up the newly exposed roof, and during the next shift the conveyor belt is taken to pieces, moved five feet forward and re-assembled. As far as possible the three operations of cutting, blasting and extraction are done in three separate shifts, the cutting in the afternoon, the blasting at night (there is a law, not always kept, that forbids its being done when other men are working near by), and the ‘filling’ in the morning shift, which lasts from six in the morning until half past one.


Even when you watch the process of coal-extraction you probably only watch it for a short time, and it is not until you begin making a few calculations that you realise what a stupendous task the ‘fillers’ are performing. Normally each o man has to clear a space four or five yards wide. The cutter has undermined the coal to the depth of five feet, so that if the seam of coal is three or four feet high, each man has to cut out, break up and load on to the belt something between seven and twelve cubic yards of coal. This is to say, taking a cubic yard as weighing twenty-seven hundred-weight, that each man is shifting coal at a speed approaching two tons an hour. I have just enough experience of pick and shovel work to be able to grasp what this means. When I am digging trenches in my garden, if I shift two tons of earth during the afternoon, I feel that I have earned my tea. But earth is tractable stuff compared with coal, and I don't have to work kneeling down, a thousand feet underground, in suffocating heat and swallowing coal dust with every breath I take; nor do I have to walk a mile bent double before I begin. The miner's job would be as much beyond my power as it would be to perform on a flying trapeze or to win the Grand National. I am not a manual labourer and please God I never shall be one, but there are some kinds of manual work that I could do if I had to. At a pitch I could be a tolerable road-sweeper or an inefficient gardener or even a tenth-rate farm hand. But by no conceivable amount of effort or training could I become a coal-miner, the work would kill me in a few weeks.


Watching coal-miners at work, you realise momentarily what different universes people inhabit. Down there where coal is dug is a sort of world apart which one can quite easily go through life without ever hearing about. Probably majority of people would even prefer not to hear about it. Yet it is the absolutely necessary counterpart of our world above. Practically everything we do, from eating an ice to crossing the Atlantic, and from baking a loaf to writing a novel, involves the use of coal, directly or indirectly. For all the arts of peace coal is needed; if war breaks out it is needed all the more. In time of revolution the miner must go on working or the revolution must stop, for revolution as much as reaction needs coal. Whatever may be happening on the surface, the hacking and shovelling have got to continue without a pause, or at any rate without pausing for more than a few weeks at the most. In order that Hitler may march the goose-step, that the Pope may denounce Bolshevism, that the cricket crowds may assemble at Lords, that the poets may scratch one another's backs, coal has got to be forthcoming. But on the whole we are not aware of it; we all know that we ‘must have coal’, but we seldom or never remember what coal-getting involves. Here am I sitting writing in front of my comfortable coal fire. It is April but I still need a fire. Once a fortnight the coal cart drives up to the door and men in leather jerkins carry the coal indoors in stout sacks smelling of tar and shoot it clanking into the coal-hole under the stairs. It is only very rarely, when I make a definite mental-effort, that I connect this coal with that far-off labour in the mines. It is just ‘coal’ — something that I have got to have; black stuff that arrives mysteriously from nowhere in particular, like manna except that you have to pay for it. You could quite easily drive a car right across the north of England and never once remember that hundreds of feet below the road you are on the miners are hacking at the coal. Yet in a sense it is the miners who are driving your car forward. Their lamp-lit world down there is as necessary to the daylight world above as the root is to the flower.


It is not long since conditions in the mines were worse than they are now. There are still living a few very old women who in their youth have worked underground, with the harness round their waists, and a chain that passed between their legs, crawling on all fours and dragging tubs of coal. They used to go on doing this even when they were pregnant. And even now, if coal could not be produced without pregnant women dragging it to and fro, I fancy we should let them do it rather than deprive ourselves of coal. But-most of the time, of course, we should prefer to forget that they were doing it. It is so with all types of manual work; it keeps us alive, and we are oblivious of its existence. More than anyone else, perhaps, the miner can stand as the type of the manual worker, not only because his work is so exaggeratedly awful, but also because it is so vitally necessary and yet so remote from our experience, so invisible, as it were, that we are capable of forgetting it as we forget the blood in our veins. In a way it is even humiliating to watch coal-miners working. It raises in you a momentary doubt about your own status as an ‘intellectual’ and a superior person generally. For it is brought home to you, at least while you are watching, that it is only because miners sweat their guts out that superior persons can remain superior. You and I and the editor of the Times Lit. Supp., and the poets and the Archbishop of Canterbury and Comrade X, author of Marxism for Infants — all of us really owe the comparative decency of our lives to poor drudges underground, blackened to the eyes, with their throats full of coal dust, driving their shovels forward with arms and belly muscles of steel.

1937

THE END

Thursday, 17 March 2022

No More Compromise - Pierre Besnard

 

 No More Compromise 

by Pierre Besnard 



Note: Pierre Besnard (8 October 1886 – 19 February 1947) was a French revolutionary syndicalist. He was the Secretary of the Confédération Générale du Travail-Syndicaliste Révolutionnaire (CGT-SR) from 1929, and the Secretary of the International Workers' Association (IWA). 

During the Spanish Civil War Besnard was a vocal critic of the increasing collaboration of the CNT's national committee with the Spanish Republic and the resulting reversals of revolutionary gains. The CNT's national committee in response mounted a campaign to replace him in the IWA and also launched a sort of rival organisation the Solidaridad Internacional Antifascista (SIA) to handle solidarity and support from abroad.

An article by former IWA secretariat Pierre Besnard about avoiding the mistakes of the CNT during the Spanish Civil War.

Originally appeared in The Vanguard (May 1939)
Provided by the Workers Solidarity Alliance archives in New York

No More Compromise

The following article by Comrade Pierre Besnard, a former secretary of the I.W.M.A. to which the CNT is affiliated, opens up a discussion on the lessons of the Spanish tragedy which we will continue in the Vanguard. While we agree with Comrade Besnard that the fundamental tenets of Anarchosyndicalism were not so strictly adhered to by our revolutionary Spanish comrades, and that these tenets still occupy first place guiding our relations with the capitalist world we find it incumbent upon us to point out that the actions of our comrades in Spain cannot be judged apart from the international situation to which the civil war gave rise. We reaffirm our conviction that collaboration with the bourgeoisie should be shunned, but we must again insist that tribute should be paid to the CNT for the heroic struggle it was capable of maintaining. Our comrades understood their responsibilities and, not being dogmatists, were able to conduct their work as an integral part of the Spanish struggle against the formidable intervention of the fascist powers.

The struggle that is at an end in Spain shows beyond the shadow of a doubt that all collaboration and compromise with the bourgeoise must henceforth be banished from our midst. Between us, one thing exists: The Class Struggle. It is within the power of no one to conceal this fact and only the elimination of classes and the institutions of economic and social equality will result in the disappearance of this struggle. On every occasion that we do not recognise this basic truth, we shall inevitably be defeated in the ensuing struggle.

Each time it finds itself in difficulties, the bourgeoise accepts and even demands collaboration with the proletariat. But when the crisis is over, it resumes its freedom to do as it pleases and, naturally, turns its weapons in full upon the working class. This pattern of events has been followed in all periods of history, not just in revolutionary ones. But, however disastrous might be its practical consequences in the ordinary day to day struggle, it takes on catastrophic proportions when it concerns such elemental societal conflicts as was the case in Spain.

Let bourgeoisie be “left” or use ultra-leftist phrases, invariably they are for a line of action contrary to the interests of the people. Even if they wished to be otherwise, it cannot be so for their interests are forever fundamentally opposed to that of the workers. Let them rally enthusiastically and even aid the revolution in periods when they cannot help doing otherwise, it is only to have their past actions forgotten or overlooked. And when the leading figures and politicians of the dying regime proclaim themselves openly for the new order and support the most radical groups, as they did in Spain, one can be sure that it is only to bore from within and to secure positions of prestige which will permit them in time to strangle the revolution which in a moment of weakness called for and made use of their cooperation.

Too feeble at the outset to speak as masters, they will begin by silently worming themselves into the revolutionary councils where gradually they gain a certain authority and undermine that of true revolutionaries. With an air of innocence they push the sincere into stupid blunders, and one fine day, they show their true colours. When the role these men played will finally be understood, it will be already too late to repair the damage inflicted in the name of some “technical advantage” or other worthless pretext.

The desire to defeat the politicians in the field of politics is the greatest mistake that revolutionaries can commit. The desire to overthrow the bourgeoisie in collaboration with certain of its elements is no less dangerous. These two things are to be avoided at all costs. Nothing must be allowed to effect a reconciliation with our enemies. Not even the most imminent peril! A sudden and certain betrayal is in store for us if we disregard this historic truth, if we place even the slightest faith in those who are destined to be our enemies. Whatever mistakes we make in the course of the revolution, none can be so serious as those which involve us with the opposing class, even if they assume a democratic guise.

The bourgeoisie, since its birth in 1789, has never deviated from its course of deceiving the people and stripping every social upheaval of its accomplishments. So, it was in 1830, 1848 and 1871. The results were identical. The Spanish Revolution of April 14, 1934 followed in the footsteps of its predecessors and the seal has just been placed on the revolution of July 19th. These facts should prevent anyone from still maintaining that collaboration with the bourgeoisie and its politicians is able in some way to insure the success of the revolution. Cold doctrinaires such as we can derive no advantage from the unhappy conclusion of the struggle, but we have the right, in spite of having ardently wished for another end, to say that we had foreseen it. Beyond some relative merit, much in Spain followed the general line of social history. Our one desire is not to see these errors repeated and we will do all in our power toward that end.

Improvements that can possibly be made in society at the expense of solidly entrenched interests are indeed puny. They will merely affect some derail but leave intact the foundations. So it will be as long as we have the class struggle. This fundamental fact has convinced us of a doctrine which experience has tested and which no one can therefore dare modify, presumptive as he might be. Those who for one reason or another have transgressed, have been convinced much to their regret of the law’s inflexibility.

Let us then remain on our own ground where we are strong. I believe that I have sufficiently covered this in my books[1] where I have treated the ideology, the plan of realisation and the morality of our movement on both national and international scale. We have here and in other works by militants since Bakunin, Kropotkin, Rocker and numerous others, all that is necessary to accomplish our task without having recourse to the advice of the bourgeoisie.

Let us then study our literature, take heed of our international congresses and shun false departures from a doctrine which is and must become the practice of tomorrow. We will thus be on the right road. All other roads are misleading which will either get us nowhere or lead us to defeat.

Let us stress the idea that even under the most favourable circumstances all compromise only guarantees us the perpetuation of the authoritarian state and the triumph of our enemies, the politicians, whose program carries but two articles: One, to take power, and Two, to keep this power by all means even the worst. If we sincerely wish to liberate our class and all of humanity we must work towards our goal: for federalism and liberty, and not for centralised power and dictatorship.

Let us go in this direction and in no other, without compromise of any kind. We have the means. Let us have the will!

 

 



[1] “Les Syndicates Ouvries et La Revolution Sociale”
“Le Monde Nouveau”
“L’Ethique du Syndicalism”

Sunday, 13 March 2022

When You Meet A Member Of The Ku Klux Klan


 

Robert L. Poston (1921)

When you meet a member of the Ku Klux Klan,
Walk right up and hit him like a natural man;
Take no thought of babies he may have at home,
Sympathy’s defamed when used upon his dome.

Hit him in the mouth and push his face right in,
Knock him down a flight of steps and pick him up again.

Get your distance from him and then take a running start,
Hit him, brother, hit him, and please hit the scoundrel hard.

Pour some water on him, bring him back to life once more
Think of how he did your folks in the days of long ago;
Make a prayer to heaven for the strength to do the job,
Kick him in the stomach, he, a low, unworthy snob.

Call your wife and baby out to see you have some fun,
Sic your bulldog on him for to see the rascal run.

Head him off before he gets ten paces from your door,
Take a bat of sturdy oak and knock him down once more.

This time you may leave him where he wallows in the sand,
A spent and humble member of the Ku Klux Klan.

 



___________________________________________________

This poem by Robert L. Poston is an excellent demonstration on the importance of a public domain system. Despite its obvious merits it and its author were obscure for decades. It wasn't until the book of poems it was published in had its copyright term expire that it became famous when the book was scanned. The poem first became notable as an image on tumblr and continued to be shared and circulated from there.

Saturday, 5 March 2022

An Occurrence at Owl Creek Bridge

AN OCCURRENCE AT OWL CREEK BRIDGE
I

AMAN stood upon a railroad bridge in northern Alabama, looking down into the swift water twenty feet below. The man's hands were behind his back, the wrists bound with a cord. A rope closely encircled his neck. It was attached to a stout cross-timber above his head and the slack fell to the level of his knees. Some loose boards laid upon the sleepers supporting the metals of the railway supplied a footing for him and his executioners—two private soldiers of the Federal army, directed by a sergeant who in civil life may have been a deputy sheriff. At a short remove upon the same temporary platform was an officer in the uniform of his rank, armed. He was a captain. A sentinel at each end of the bridge stood with his rifle in the position known as "support," that is to say, vertical in front of the left shoulder, the hammer resting on the forearm thrown straight across the chest—a formal and unnatural position, enforcing an erect carriage of the body. It did not appear to be the duty of these two men to know what was occurring at the centre of the bridge; they merely blockaded the two ends of the foot planking that traversed it.

Beyond one of the sentinels nobody was in sight; the railroad ran straight away into a forest for a hundred yards, then, curving, was lost to view. Doubtless there was an outpost farther along. The other bank of the stream was open ground—a gentle acclivity topped with a stockade of vertical tree trunks, loop-holed for rifles, with a single embrasure through which protruded the muzzle of a brass cannon commanding the bridge. Midway of the slope between bridge and fort were the spectators—a single company of infantry in line, at "parade rest," the butts of the rifles on the ground, the barrels inclining slightly backward against the right shoulder, the hands crossed upon the stock. A lieutenant stood at the right of the line, the point of his sword upon the ground, his left hand resting upon his right. Excepting the group of four at the centre of the bridge, not a man moved. The company faced the bridge, staring stonily, motionless. The sentinels, facing the banks of the stream, might have been statues to adorn the bridge. The captain stood with folded arms, silent, observing the work of his subordinates, but making no sign. Death is a dignitary who when he comes announced is to be received with formal manifestations of respect, even by those most familiar with him. In the code of military etiquette silence and fixity are forms of deference.

The man who was engaged in being hanged was apparently about thirty-five years of age. He was a civilian, if one might judge from his habit, which was that of a planter. His features were good—a straight nose, firm mouth, broad forehead, from which his long, dark hair was combed straight back, falling behind his ears to the collar of his well-fitting frock-coat. He wore a mustache and pointed beard, but no whiskers; his eyes were large and dark gray, and had a kindly expression which one would hardly have expected in one whose neck was in the hemp. Evidently this was no vulgar assassin. The liberal military code makes provision for hanging many kinds of persons, and gentlemen are not excluded.

The preparations being complete, the two private soldiers stepped aside and each drew away the plank upon which he had been standing. The sergeant turned to the captain, saluted and placed himself immediately behind that officer, who in turn moved apart one pace. These movements left the condemned man and the sergeant standing on the two ends of the same plank, which spanned three of the cross-ties of the bridge. The end upon which the civilian stood almost, but not quite, reached a fourth. This plank had been held in place by the weight of the captain; it was now held by that of the sergeant. At a signal from the former the latter would step aside, the plank would tilt and the condemned man go down between two ties. The arrangement commended itself to his judgment as simple and effective. His face had not been covered nor his eyes bandaged. He looked a moment at his "unsteadfast footing," then let his gaze wander to the swirling water of the stream racing madly beneath his feet. A piece of dancing driftwood caught his attention and his eyes followed it down the current. How slowly it appeared to move! What a sluggish stream!

He closed his eyes in order to fix his last thoughts upon his wife and children. The water, touched to gold by the early sun, the brooding mists under the banks at some distance down the stream, the fort, the soldiers, the piece of drift—all had distracted him. And now he became conscious of a new disturbance. Striking through the thought of his dear ones was a sound which he could neither ignore nor understand, a sharp, distinct, metallic percussion like the stroke of a blacksmith's hammer upon the anvil; it had the same ringing quality. He wondered what it was, and whether immeasurably distant or near by—it seemed both. Its recurrence was regular, but as slow as the tolling of a death knell. He awaited each stroke with impatience and he knew not why—apprehension. The intervals of silence grew progressively longer; the delays became maddening. With their greater infrequency the sounds increased in strength and sharpness. They hurt his ear like the thrust of a knife; he feared he would shriek. What he heard was the ticking of his watch.

He unclosed his eyes and saw again the water below him. "If I could free my hands," he thought, "I might throw off the noose and spring into the stream. By diving I could evade the bullets and, swimming vigorously, reach the bank, take to the woods and get away home. My home, thank God, is as yet outside their lines; my wife and little ones are still beyond the invader's farthest advance."

As these thoughts, which have here to be set down in words, were flashed into the doomed man's brain rather than evolved from it the captain nodded to the sergeant. The sergeant stepped aside.

II

Peyton Farquhar was a well-to-do planter, of an old and highly respected Alabama family. Being a slave owner and like other slave owners a politician he was naturally an original secessionist and ardently devoted to the Southern cause. Circumstances of an imperious nature, which it is unnecessary to relate here, had prevented him from taking service with the gallant army that had fought the disastrous campaigns ending with the fall of Corinth, and he chafed under the inglorious restraint, longing for the release of his energies, the larger life of the soldier, the opportunity for distinction. That opportunity, he felt, would come, as it comes to all in war time. Meanwhile he did what he could. No service was too humble for him to perform in aid of the South, no adventure too perilous for him to undertake if consistent with the character of a civilian who was at heart a soldier, and who in good faith and without too much qualification assented to at least a part of the frankly villainous dictum that all is fair in love and war.

One evening while Farquhar and his wife were sitting on a rustic bench near the entrance to his grounds, a gray-clad soldier rode up to the gate and asked for a drink of water. Mrs. Farquhar was only too happy to serve him with her own white hands. While she was fetching the water her husband approached the dusty horseman and inquired eagerly for news from the front.

"The Yanks are repairing the railroads," said the man, "and are getting ready for another advance. They have reached the Owl Creek bridge, put it in order and built a stockade on the north bank. The commandant has issued an order, which is posted everywhere, declaring that any civilian caught interfering with the railroad, its bridges, tunnels or trains will be summarily hanged. I saw the order."

"How far is it to the Owl Creek bridge?" Farquhar asked.

"About thirty miles."

"Is there no force on this side the creek?"

"Only a picket post half a mile out, on the railroad, and a single sentinel at this end of the bridge."

"Suppose a man a civilian and student of hanging should elude the picket post and perhaps get the better of the sentinel," said Farquhar, smiling, "what could he accomplish?"

The soldier reflected. "I was there a month ago," he replied. "I observed that the flood of last winter had lodged a great quantity of driftwood against the wooden pier at this end of the bridge. It is now dry and would burn like tow."

The lady had now brought the water, which the soldier drank. He thanked her ceremoniously, bowed to her husband and rode away. An hour later, after nightfall, he repassed the plantation, going northward in the direction from which he had come. He was a Federal scout.

III

As Peyton Farquhar fell straight downward through the bridge he lost consciousness and was as one already dead. From this state he was awakened—ages later, it seemed to him—by the pain of a sharp pressure upon his throat, followed by a sense of suffocation. Keen, poignant agonies seemed to shoot from his neck downward through every fibre of his body and limbs. These pains appeared to flash along well-defined lines of ramification and to beat with an inconceivably rapid periodicity. They seemed like streams of pulsating fire heating him to an intolerable temperature. As to his head, he was conscious of nothing but a feeling of fulness—of congestion. These sensations were unaccompanied by thought. The intellectual part of his nature was already effaced; he had power only to feel, and feeling was torment. He was conscious of motion. Encompassed in a luminous cloud, of which he was now merely the fiery heart, without material substance, he swung through unthinkable arcs of oscillation, like a vast pendulum. Then all at once, with terrible suddenness, the light about him shot upward with the noise of a loud plash; a frightful roaring was in his ears, and all was cold and dark. The power of thought was restored; he knew that the rope had broken and he had fallen into the stream. There was no additional strangulation; the noose about his neck was already suffocating him and kept the water from his lungs. To die of hanging at the bottom of a river!—the idea seemed to him ludicrous. He opened his eyes in the darkness and saw above him a gleam of light, but how distant, how inaccessible! He was still sinking, for the light became fainter and fainter until it was a mere glimmer. Then it began to grow and brighten, and he knew that he was rising toward the surface—knew it with reluctance, for he was now very comfortable. "To be hanged and drowned," he thought, "that is not so bad; but I do not wish to be shot. No; I will not be shot; that is not fair."

He was not conscious of an effort, but a sharp pain in his wrist apprised him that he was trying to free his hands. He gave the struggle his attention, as an idler might observe the feat of a juggler, without interest in the outcome. What splendid effort!—what magnificent, what superhuman strength! Ah, that was a fine endeavor! Bravo! The cord fell away; his arms parted and floated upward, the hands dimly seen on each side in the growing light. He watched them with a new interest as first one and then the other pounced upon the noose at his neck. They tore it away and thrust it fiercely aside, its undulations resembling those of a water-snake. "Put it back, put it back!" He thought he shouted these words to his hands, for the undoing of the noose had been succeeded by the direst pang that he had yet experienced. His neck ached horribly; his brain was on fire; his heart, which had been fluttering faintly, gave a great leap, trying to force itself out at his mouth. His whole body was racked and wrenched with an insupportable anguish! But his disobedient hands gave no heed to the command. They beat the water vigorously with quick, downward strokes, forcing him to the surface. He felt his head emerge; his eyes were blinded by the sunlight; his chest expanded convulsively, and with a supreme and crowning agony his lungs engulfed a great draught of air, which instantly he expelled in a shriek!

He was now in full possession of his physical senses. They were, indeed, preternaturally keen and alert. Something in the awful disturbance of his organic system had so exalted and refined them that they made record of things never before perceived. He felt the ripples upon his face and heard their separate sounds as they struck. He looked at the forest on the bank of the stream, saw the individual trees, the leaves and the veining of each leaf—saw the very insects upon them: the locusts, the brilliant-bodied flies, the gray spiders stretching their webs from twig to twig. He noted the prismatic colors in all the dewdrops upon a million blades of grass. The humming of the gnats that danced above the eddies of the stream, the beating of the dragon-flies' wings, the strokes of the water-spiders' legs, like oars which had lifted their boat—all these made audible music. A fish slid along beneath his eyes and he heard the rush of its body parting the water.

He had come to the surface facing down the stream; in a moment the visible world seemed to wheel slowly round, himself the pivotal point, and he saw the bridge, the fort, the soldiers upon the bridge, the captain, the sergeant, the two privates, his executioners. They were in silhouette against the blue sky. They shouted and gesticulated, pointing at him. The captain had drawn his pistol, but did not fire; the others were unarmed. Their movements were grotesque and horrible, their forms gigantic.

Suddenly he heard a sharp report and something struck the water smartly within a few inches of his head, spattering his face with spray. He heard a second report, and saw one of the sentinels with his rifle at his shoulder, a light cloud of blue smoke rising from the muzzle. The man in the water saw the eye of the man on the bridge gazing into his own through the sights of the rifle. He observed that it was a gray eye and remembered having read that gray eyes were keenest, and that all famous markmen had them. Nevertheless, this one had missed.

A counter-swirl had caught Farquhar and turned him half round; he was again looking into the forest on the bank opposite the fort. The sound of a clear, high voice in a monotonous singsong now rang out behind him and came across the water with a distinctness that pierced and subdued all other sounds, even the beating of the ripples in his ears. Although no soldier, he had frequented camps enough to know the dread significance of that deliberate, drawling, aspirated chant; the lieutenant on shore was taking a part in the morning's work. How coldly and pitilessly—with what an even, calm intonation, presaging, and enforcing tranquillity in the men—with what accurately measured intervals fell those cruel words:

"Attention, company! . . . Shoulder arms! . . . Ready! . . . Aim! . . . Fire!"

Farquhar dived—dived as deeply as he could. The water roared in his ears like the voice of Niagara, yet he heard the dulled thunder of the volley and, rising again toward the surface, met shining bits of metal, singularly flattened, oscillating slowly downward. Some of them touched him on the face and hands, then fell away, continuing their descent. One lodged between his collar and neck; it was uncomfortably warm and he snatched it out.

As he rose to the surface, gasping for breath, he saw that he had been a long time under water; he was perceptibly farther down stream—nearer to safety. The soldiers had almost finished reloading; the metal ramrods flashed all at once in the sunshine as they were drawn from the barrels, turned in the air, and thrust into their sockets. The two sentinels fired again, independently and ineffectually.

The hunted man saw all this over his shoulder; he was now swimming vigorously with the current. His brain was as energetic as his arms and legs; he thought with the rapidity of lightning.

"The officer," he reasoned, "will not make that martinet's error a second time. It is as easy to dodge a volley as a single shot. He has probably already given the command to fire at will. God help me, I cannot dodge them all!"

An appalling plash within two yards of him was followed by a loud, rushing sound, diminuendo, which seemed to travel back through the air to the fort and died in an explosion which stirred the very river to its deeps! A rising sheet of water curved over him, fell down upon him, blinded him, strangled him! The cannon had taken a hand in the game. As he shook his head free from the commotion of the smitten water he heard the deflected shot humming through the air ahead, and in an instant it was cracking and smashing the branches in the forest beyond.

"They will not do that again," he thought; "the next time they will use a charge of grape. I must keep my eye upon the gun; the smoke will apprise me—the report arrives too late; it lags behind the missile. That is a good gun."

Suddenly he felt himself whirled round and round—spinning like a top. The water, the banks, the forests, the now distant bridge, fort and men—all were commingled and blurred. Objects were represented by their colors only; circular horizontal streaks of color—that was all he saw. He had been caught in a vortex and was being whirled on with a velocity of advance and gyration that made him giddy and sick. In a few moments he was flung upon the gravel at the foot of the left bank of the stream—the southern bank—and behind a projecting point which concealed him from his enemies. The sudden arrest of his motion, the abrasion of one of his hands on the gravel, restored him, and he wept with delight. He dug his fingers into the sand, threw it over himself in handfuls and audibly blessed it. It looked like diamonds, rubies, emeralds; he could think of nothing beautiful which it did not resemble. The trees upon the bank were giant garden plants; he noted a definite order in their arrangement, inhaled the fragrance of their blooms. A strange, roseate light shone through the spaces among their trunks and the wind made in their branches the music of aeolian harps. He had no wish to perfect his escape—was content to remain in that enchanting spot until re-taken.

A whiz and rattle of grapeshot among the branches high above his head roused him from his dream. The baffled cannoneer had fired him a random farewell. He sprang to his feet, rushed up the sloping bank, and plunged into the forest.

All that day he traveled, laying his course by the rounding sun. The forest seemed interminable; nowhere did he discover a break in it, not even a woodman's road. He had not known that he lived in so wild a region. There was something uncanny in the revelation.

By nightfall he was fatigued, footsore, famishing. The thought of his wife and children urged him on. At last he found a road which led him in what he knew to be the right direction. It was as wide and straight as a city street, yet it seemed untraveled. No fields bordered it, no dwelling anywhere. Not so much as the barking of a dog suggested human habitation. The black bodies of the trees formed a straight wall on both sides, terminating on the horizon in a point, like a diagram in a lesson in perspective. Overhead, as he looked up through this rift in the wood, shone great golden stars looking unfamiliar and grouped in strange constellations. He was sure they were arranged in some order which had a secret and malign significance. The wood on either side was full of singular noises, among which—once, twice, and again—he distinctly heard whispers in an unknown tongue.

His neck was in pain and lifting his hand to it he found it horribly swollen. He knew that it had a circle of black where the rope had bruised it. His eyes felt congested; he could no longer close them. His tongue was swollen with thirst; he relieved its fever by thrusting it forward from between his teeth into the cold air. How softly the turf had carpeted the untraveled avenue—he could no longer feel the roadway beneath his feet!

Doubtless, despite his suffering, he had fallen asleep while walking, for now he sees another scene—perhaps he has merely recovered from a delirium. He stands at the gate of his own home. All is as he left it, and all bright and beautiful in the morning sunshine. He must have traveled the entire night. As he pushes open the gate and passes up the wide white walk, he sees a flutter of female garments; his wife, looking fresh and cool and sweet, steps down from the veranda to meet him. At the bottom of the steps she stands waiting, with a smile of ineffable joy, an attitude of matchless grace and dignity. Ah, how beautiful she is! He springs forward with extended arms. As he is about to clasp her he feels a stunning blow upon the back of the neck; a blinding white light blazes all about him with a sound like the shock of a cannon—then all is darkness and silence!

Peyton Farquhar was dead; his body, with a broken neck, swung gently from side to side beneath the timbers of the Owl Creek bridge.

Labels

1770s (2) 1800s (1) 1810s (2) 1820s (1) 1840s (2) 1850s (1) 1860s (1) 1880s (4) 1890s (7) 1900s (7) 1910s (11) 1920s (19) 1930s (15) 1940s (14) 1950s (5) 1960s (4) 1970s (6) 1980s (1) 2000s (2) 2010s (1) 2020s (5) Activism (1) Adverts (1) Animation (8) archive matters (1) Canada (1) cartoons (6) comics (5) Copyright Reform (2) Disney (6) Documentaries (3) Drama (2) Essays (46) Europe (1) Fantasy (4) Film (21) George Orwell (10) Germany (3) Greta Garbo (1) horror (4) images (20) Japan (1) letter (1) LGBTQ (1) Maps (1) music (2) news (2) Newspapers (2) Newsreels (3) Noir (1) Open Media (3) pamphlets (5) patents (3) photography (1) poetry (8) Reviews (4) Robert frost (1) Romance (2) Science Fiction (5) Silent (3) texts (42) thrillers (1) trademarks (2) translation (1) UK (6) Videogames (3) War movies (3) Westerns (1)