England Your England
England Your England
复制标题
英格兰 你的英格兰
DOI:
10.1177/0047117806066716
复制
发表时间:
2006
期刊:
影响因子:
--
通讯作者:
A. Danchev
中科院分区:
文献类型:
--
作者:
A. Danchev
How appropriate, the sceptics may say, and how reminiscent of Margaret Thatcher’s more truculent moments (‘They are weak, the Europeans. Weak’). In the case of the Falklands, what might be called the comic-opera temptation is a constant pitfall. ‘My aim was to get it across to the US public that this was not an act from Gilbert and Sullivan’, recorded our man in Washington, the admirable Nicholas Henderson, ‘which was how the press were representing it, but a serious transgression of the peace that, in its outcome, could have a direct impact on the Americas.’ Who conducts a campaign in this debased day and age? Cut-price politicians and advertising agencies, the two categories frequently indistinguishable. As a term of art in the military sphere, a campaign is roughly a series of operations, battles even, in the field (dans la campagne, the very etymology). The history of a campaign, official or otherwise, would seem to promise a concentration at that level: battle studies, to use a time-honoured phrase; more or less straightforward military history, old-style if not old-fashioned, beginning at the beginning and ending at the end, focussing on man and man, smoke and fire, mud and blood. There is some of that on offer, but it is parsed differently. The Official History of the Falklands Campaign begins at the beginning, not of the campaign, but of the sovereignty dispute. Give or take a concluding chapter, the whole of volume I is a recapitulation or condensation of that dispute, starting with the first sightings, themselves disputed; taking issue with the inimitable Samuel Johnson (‘What, but a bleak and gloomy solitude . . .’), a gallant effort but forlorn; rehearsing the diplomatic minuet. It is efficiently done. But it has been done before, more thoroughly, if not more officially. The ticking-clock storyline is well known – partly through the famous Franks Report, dished here, but carefully gutted for information and estimation; partly through the previous work of Lawrence Freedman himself – the plot in its basic elements almost formulaic: prevarication . . . frustration . . . explosion. The motifs are well established: playing for time; having ‘no strategy