RICHARD BLAKER

Te Awamutu Courier, Volume 64, Issue 4543, 2 March 1942, Page 3

RICHARD BLAKER

WORK OF ABIDING WORTH (By R.K.) The writings of Richard Blaker are not as well known as they deserve to be. Perhaps that is because there is a certain austerity, a sense of inner remoteness, about many of them. They vary, too, in themselves. Of modern writers, few have risen to the heights of “Medal Without Bar,” one of the greatest war stories ever written. At the same time, it must be acknowledged that some of his other work will remain for ever on the shelves of obscurity. Of the war writers of a previous generation, Richard Blaker and Edmund Blunden both presented aspects and portrayed characters that remain indelibly imprinted upon the mind. C. E. Montague is more harrowing, more tense, but Blaker is in a category by himself in his delineation of the incompetence of the higher command and his admiration of the unswerving courage of the ordinary man. There are several novels of this distinguished English writer that should leave an abiding mark upon tiie thought-forms of modern literature. In particular, two of his most beautiful stories. “Here Lies a Most Beautiful Lady” and “But Beauty Vanishes,” will long haunt the mind and probe the heart of the reader. The titles are taken from a lovely epitaph by Walter de la Mare— Here lies a most beautiful lady; Light of step and heart was she. I think she was the most beautiful lady That ever was in the west country. But beauty vanishes, beauty fades, And when I moulder You will remember This lady of the west country ? When Richard Baker wrote these novels in 1935 and 1936 respectively, he already had behind him an established reputation as a novelist and a long list of works to his credit. FAMOUS WAR STORY Born in 1893, he graduated from Oxford and published his first novel, “Voice in the Wilderness,” in 1922. From that time until his early death in 1940, he produced over a dozen novels, and at least several of these are outstanding, but his reputation

was ensured when he produced, in 1930, “Medal Without Bar.” This famous war story, coming twelve years after - the cessation of hostilities, is one of the greatest contributions to the literature on pacifism, while emphasising with .unstinting praise the heroism, devotion to duty, steady patience of the fighting mail. It lauds courage, while it condemns some of the causes for which courage spends itself, often fruitlessly, always gloriously. I It tells the story of Charles Cartwright, a solicitor, aged 36, who is caught up in a swirl of war. It is thought to be largely biographical, and depicts with insight and passion the futility of men being broken upon the wheel of war. It depicts them with their unshakable courage, ruthlessly smashed under the maw of giant forces against which it is futile to fight—ignorance, muddle, lack of consideration. Before the publication of this great book, Blaker had written “The Umpire’s Game” (1929), “Scabby Dickson” (1927), “Enter a Messenger” (1926), “Oh, the Brave” (1925), “ Geoffrey Castleton, Passenger ” (1923), together with the first novel already mentioned. Two years later he published “The Needle Watcher.” This is the strange, arresting story of Will Adams, pilot of an Eng'ish ship, who, after almost incredible privations ar. l adventures, reaches Japan in the early part of the 17th century. History is cleverly woven with tantasy. The character of Will Adams, resolute, far-seeing, ingenious, is in curious contrast to the mysterious people of the then unknown country of the Mikado. The Englishman carries the forthright quality of his breed into an atmosphere of duplicity and fear. He earns their respect, gains their confidence, establishes himself as their master ship builder. He found love, too; and a life-work that knit him for ever to the land whither the strong winds arid swift currents had borne him. He developed trade and strove to bring the little people of the strange islands into contact with the West. TWO SINCERE BOOKS After “The Needle Watcher” came “Night Shift” (1934), then “Here Lies a Most Beautiful Lady” (1935) and “But Beauty Vanishes” (1936). The intense sincerity of those two books, together with their unusual setting and story, makes them an abiding memory. The actual Story may vanish from the mind, but the lingering conception of beauty that is deeper than flesh, sweetness that can outlast the bitterness and tragedy I of life will remain. It is inefface- ■ able. | “Here Lies a Most Beautiful Lady”

opens with quick tragedy; | by warn - appreciation of tiiebeauty of a woman who keeps charm while she acquires age. Here. - ,);, th beginning.—' Twenty-live yer rS.' Ugn then I j . it was v< the immediate tho ight that she mu: . once have been a lovely girl. . .” The development of Hester’s chaiac ter, ler inner beauty, quiet st ngt'n enduring love, give the book its name and meaning. John Bill ter is an unusual man, adventurer, boaster and not always scrupulous, but a man ‘ Whistling a d swag! were his alternatives—lying heart! 1;. , chuck! g Hester under the c’d.j, giving her a bear’s hug and kissing her.”. • ■ 1 There, is a profound psychoiogi'jcd problem raised in tliesc novels concerning the fear tirnt haunts beeffus 1 .; :.'j' supposed cow:i.-;i:ce, the fear t- a T trails like a flickering, cqyi shadow after the man who las watched death and striven itr—wy ■ Hester from it. bother"’. P-h- b- B'ibl.-* screamed; possibly Polio - ,e.v:oi -J One man of the hi! !•?' : dr they saw blinking eg; t' o " - ;il in thei ■ fac s fl, n < •• I Tfiai’ < the high back or 'il'! rbniij banging its ar aert •’•e taUJ so as to hold Biiliter jammed into it ... . the Governor bundled forS ward over his plate and a bubbling mass of blood. . . .” It is the bi£ ginning of tangled tragedy for lies! ter Biiliter and Polloc!' - , though it wai the end for John Biiliter. And v hc* her end comes, Hester is st’iT “» .mist beautiful lady.’-’ Richard Blaker followed these tw« books by “David of Judah” (1937 J and “Love Went (1938); “David of Judah” is the presentation of the life and character l’j King as a modern story. Against thg dark background of Saul’s hatrcji.jir.4 bis country’s suffering, the Jlfung David rises slowly to the heights oj his regal manhood. It is a storv'tWl adds little to the vast mass of iiteFature extant upon the subject, buLje a thrilling story of a groat man. ; Richard Blaker did a good deal of screen writing, his last assignment being with Samuel Goldwyn on “Mac" Intosh.” He died at Santa Monica; California, after an illness of several weeks, in 1940. His prose style ’• -trong, although his method • ; - e« irospective ana’ysis is sometimes c-~ ■ fUB>ng. There is, however, a ; . » .donate sense of the tangible, a» understanding of the richness of oeiw tonality that gives Ids work an -biding Worth.