Somme Mud is a memoir by E. F. Lynch, written in the 1920s, and published in 2006. This book has been repeatedly called the Australian All Quiet on the Western Front, and has apparently started to be included on school reading lists to try and make callow young school children understand What Their Forefathers Went Through. This book is an absolutely startling testament to the psyche of the soldiers. It will resonate with anyone who is interested in the ANZAC experience, but I think it has broader appeal as well.
The story of Somme Mud’s genesis captures the imagination. After his tour in Flanders from 1916 to 1919, Lynch returned home and got on with his life. He went to teacher’s college, married, and had children. But during the 1920s and 1930s he wrote the first draft of Somme Mud into notebooks. Later, he typed it up and tried to get it published to earn some money during the depression, but there was no appetite for books about the war, and it sat in the family archives until 2002 when Lynch’s grandson showed it to academic Will Davies, who was enthralled by the story and had it published. I picked up Somme Mud because of the story of its inception. My grandfather wrote a similar memoir of his time in the Merchant Marine and the Navy during WWII, the five bound copies of which are passed from hand to hand around my family. So I identified personally with Lynch’s family and the eighty-year journey this book has been on to get published.
Somme Mud has the same feeling as All Quiet on the Western Front of the author trying to work through the images and memories of Flanders that are stuck in his mind. It reads as a series of vignettes, covering some moments in detail and in other places skipping over months at a time. Both reflect at length on the futility and cost of war; Nulla often reflects on people who have gone west, and is particularly bothered by the suddenness and meanness of death in the trenches, and the number of Australian soldiers buried so far from home. He reflects ironically at one point on Rupert Brooke’s “corner of a foreign field that is forever England.” There is no context of where the engagements Nulla participates in sit in the overall battles, or where the battles sit in the war. It’s written for an audience that is familiar with at least the general shape of the WWI Western Front (or is comfortable going with the flow). I suspect this is partly due to a hatchet job by the editor, trying to cut it down to a readable length.
Like All Quiet, Somme Mud operates exclusively at the level of the narrator. Like Paul Baumer, the narrator, Nulla, is commonly understood to be the author himself, probably with a few details of his friends and cronies thrown into the mix. But where All Quiet is ultimately pessimistic, as Baumer watches his friends die and be crippled until he loses himself entirely, Somme Mud is more optimistic, and peppered throughout with what one might characterise as the ANZAC spirit. As a result, Nulla is probably a more interesting narrator than Paul Baumer. Despite periods of exhaustion, depression and trauma, Nulla remains essentially upbeat. He epitomises mateship, that great ANZAC virtue, and enjoys the simple pleasure or stealing an officer’s kit, a relief’s clean blanket, or a French farmer’s goose (and blaming it on the Liverpudlian regiment next door). You also get a better sense of the totality of infantry operations from Nulla, who moonlights as a runner and signaller at various times, and of the fundamental resilience to trauma that enabled these men to come home from the war and somehow take up civilian life. You see the discipline and determination that allowed the ANZACs to distinguish themselves at Pozieres, Amiens and Mont-St-Quentin. You also see the lack of respect for authority and the juvenile sense of humour that annoyed the British so much.
However, Somme Mud doesn’t employ any of the literary techniques that All Quiet does. If there was a sense of narrative developing, it was lost in the editing. It’s a pity that Lynch wasn’t alive when this was prepared for publication, because it would have benefited from the author being able to go in and provide bridging passages in places, to try and develop (or preserve) the sense of narrative. As a result, there are bits of this book that are a hard slog, and I wouldn’t necessarily recommend it to someone who wasn’t innately interested in the subject matter. Other books have done a better job of blending memoir and fiction.
I would be inclined to include Somme Mud on a compulsory reading list for WWI, which may be partly my Aussie bias speaking, but I think it is a fascinating view of everyday life in the war, and a tribute to the men who went through it: those who died and those who survived.