Love in the Blitz

Copyright

William Collins

An imprint of HarperCollinsPublishers

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London SE1 9GF

WilliamCollinsBooks.com

This eBook first published in Great Britain by William Collins in 2020

Letters copyright © 2020 Eileen Alexander

Compilation copyright © 2020 David McGowan

Cover design by Jack Smyth

Cover photographs: Couple kissing © Hulton Deutsch/Getty Images; St Paul’s © Popperfoto/Getty Images

David McGowan asserts the moral right to be identified as the editor of this work

A catalogue record for this book is available from the British Library

All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on screen. No part of this text may be reproduced, transmitted, down-loaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins.

Source ISBN: 9780008311209

Ebook Edition © April 2020 ISBN: 9780008311223

Version: 2020-03-24

Contents

1  Cover

2  Title Page

3  Copyright

4  Contents

5  Foreword by Oswyn Murray

6 Historical Introduction by David Crane

7  1 Drumnadrochit, summer 1939

8  September 1939–April 1940

9  2 ‘No time to sit on brood’

10  May–September 1940

11  3 My Young Fellow

12  September–December 1940

13  4 Blitz

14  January–March 1941

15  5 Intentions

16  March–September 1941

17  6 A Rill Civil Servant

18  September–December 1941

19  7 Your Intended

20  January–May 1942

21  8 Separation

22  May–December 1942

23  9 Limbo

24  January 1943–March 1944

25  10 The Long Wait

26  April 1944–March 1946

27  11 Twin Compasses

28  Postscript

29  Dramatis Personae

30  Picture Section

31  About the Author

32  About the Publisher

LandmarksCoverFrontmatterStart of ContentBackmatter

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Foreword by Oswyn Murray

In the autumn of 2017 I received an email from an unknown correspondent:

Dear Mr Murray,

I hope you will forgive the intrusion, but I recently purchased a large quantity of wartime correspondence, via eBay, written by Eileen Alexander (soon to be Ellenbogen) in which I have found many references to your father, as Eileen worked with him in S9 at the Air Ministry during World War Two. I attach details of a weekend she spent with your family in Summer 1943. I have considered long and hard whether this is the right thing to do, and am basing my decision on the fact that if there were written details of my own family from over 70 years ago I would very much like to read them. Eileen held your father in the very highest regard and her letters are bejewelled with words like kind, intellectual, understanding, humanist regarding him. Although it is only just over 70 years ago – the idyllic weekend she describes seems to certainly belong to a lost era …

With very best wishes,

David McGowan

I replied enthusiastically:

I have often blessed my parents for giving me a name (my grandfather’s) that is unique on the world wide web, but never more so than on receiving your email at the age of 80. Yes I still remember Corners vividly, our home from before my birth in 1937 to 1945, the doodlebugs, the air raid shelter, the 1945 election (when we were the HQ of the local Liberals), the garden and its wood. Your extracts are however the only written record I know of that period, and they are lovely. I do remember vaguely the name of Eileen Alexander, who sent Christmas cards every year, and I can locate most of the places and people she mentions.

It seems my father was still in the Air Ministry in 1943; but in that year he moved to be civil service head of SOE under General Gubbins, an experience he claimed had been expunged from his memory by concussion at the end of the war; but my first suitcase was one designed to hold a radio transmitter to be parachuted into France … Subsequently Patrick went on to the Ministry of Power, where he headed the electricity division, being responsible for the nationalisation of electricity and its denationalisation twenty years later, and for the creation of a nuclear power industry. He retired in 1965, and went to live in the south of France and Weybridge.

Thus began an unexpected friendship during which David and I researched his find. For thirteen years he had been the sole carer of his aged mother and confined to the house much of the time; to occupy himself he decided to buy letters on eBay and perhaps make a book out of them. By pure chance he bought a small bundle of letters from Eileen Alexander, and realised that these were truly remarkable; so he contacted the seller and offered to purchase the rest. A year passed, and he had given up hope, when finally the seller offered him the remaining letters for the original auction price.

Eileen Alexander graduated in 1939 with a brilliant first-class degree in English from Girton College, Cambridge; her subsequent accident in a car driven by her future husband, Gershon Ellenbogen, begins the correspondence and their love affair. There were approximately fourteen hundred of these letters, written almost daily, covering the years 1939 to 1947. David began transcribing them; he sent me a first volume and then three further ones, over sixteen hundred pages covering roughly half of the correspondence. I began to quail at the thought of a book as long as Proust, and suggested that he try to edit it down to a single volume with the idea of publication. Within ten days that volume arrived, covering the years of courtship up to Eileen’s reunion with Gershon and marriage. We christened it Love in the Blitz, and I introduced him to a family friend, the literary agent Felicity Bryan. She read it while confined with flu on her sick bed, and the next day phoned David and offered to be his agent. Together the three of us began to research the history of the correspondence.

The letters appear to have been first auctioned at Bridport Auction House in a bundle of miscellaneous papers shortly after Gershon’s death in 2003; presumably they had been part of his house clearance. The lot did not sell, and was taken away by an employee, who sorted the letters out from the rest of the papers and identified the writer, but found the task of transcription too difficult. A decade later, in January 2015, she put them back into the auction house as a separate lot:

Large quantity of correspondence (1939–1947) written by Eileen Ellenbogen (née Alexander) to Gershon Ellenbogen. Eileen Ellenbogen, a graduate of Girton College, was a noted teacher, writer and translator – especially of George Simenon’s Maigret books. In WWII Gershon Ellenbogen, who was in the RAF, worked for British Military Intelligence in Cairo.

The letters were bought for £250 by the dealer who subsequently began offering them on eBay until David’s intervention. Meanwhile David researched the family and friends of the couple, and Felicity tracked down Eileen’s grandchildren, who gave their assent for the letters to be published.

So these letters, surely some of the most beautiful and vivid love letters ever to be written during the Second World War, have survived through a series of chances, to be rescued from oblivion by David McGowan, their devoted transcriber and editor.

We plunge into the correspondence and follow the young writer’s experiences day by day with little knowledge of what lies ahead, as she lives through the war years. Slowly we learn to know her idiosyncrasies, her growing love, her relations with her rather ‘odd’ – as she describes them – family, her experience of the Blitz in London. We learn to trust her judgements on her circle of friends and acquaintances and we find them increasingly hilarious. Everything is seen through her eyes: even her beloved is only dimly reflected in her comments. We are amazed at her naivety and her ignorance of sex. We may admire her independent stance on Judaism and some of her progressive views on politics.

We begin, too, to appreciate that Eileen is involved in a new literary genre with a multiple purpose. The first is to enmesh her beloved in her life, to keep him engaged with herself and prevent him straying during their long separation – the sort of narrative letters that Ovid imagines Penelope writing to Ulysses. She wants to display all her talents, her knowledge, her first-class degree, her ability to find a quotation in Elizabethan literature for every eventuality. There is also much about her friends’ liaisons – perhaps in order to warn Gershon to keep faith with her.

The second is to create an intensely personal narrative, a type of Bildungsroman, so rich that it holds us as we follow the daily experience of a young woman setting out on life, with all its uncertainties, exploring her environment and learning from the mistakes of those around her.

The third is perhaps inadvertent; without knowing it, she is fashioning a feminist vision of war, a description of war as it is seen by women, not men – a time of absence and waiting, of hoping and doubting, of being caught between tradition and modernity, desire and faithfulness. That makes the narrative almost unique, the outside world impinges, disasters hit her, but she never acts, only reacts: and yet life goes on apparently normally. Elias Canetti’s famous description of contemporary London, Party in the Blitz, seems mean-spirited and randomly vicious beside Eileen’s instantaneous, daily, witty and loveable take on the undisturbed rhythms of Cambridge and London Jewish life in wartime Britain.

Did she ever think of publishing? She knew she had a talent for ‘the Art of letter-writing’, but publishing was never part of her plan. In September 1943 she wrote: ‘Pan has just come in to say: “Really, the care you take over your letters to Gershon – one would think that you were writing for future publication.” I looked at him Sternly, my dear love, & said: “Oh! no, I’m writing for a far more important reason than that.” But one day, he’ll learn, my love. Pan is the sort of person who will love a woman as I love you.’

Rather, her letters and her love for Gershon were her life: ‘I once thought that I had a genius for writing,’ she told him, ‘but I find instead I have a genius for love.’

As far as I’m concerned all my creative energies, all my critical & social faculties, all my moods and thoughts, and, above all, all the boundless sea of my love for you go into my letters to you … My letters are only a translation of my love, my darling. I can only give you my love itself when I’m with you, when I’m lying back in your arms – then, darling, I can give you my love with my voice & my eyes & my body. I am tired of being a translator, my darling. I want to be a creative genius again. If I have any creative genius, my dear love, it is in my love & not in my writing, which is insignificant & meaningless beside my love. What would the outside world know of my love for you, darling, if they were to read my letters? They would know what I know of the Odyssey when I read it in translation – but you are the only person, my darling, who has read the story of my love in the original and you are the only person who understands it fully & truly. That’s good, darling. It was a story which was written for you & only for you. I don’t want anyone else to understand it. It is not their story – it is only our story. I’m as arrogant & exclusive about our love as Ouspensky is about his Esoteric Knowledge.

This was ultimately the point: ‘I wonder what anyone would think if they suddenly came across my letters to you & started reading them in chronological order? I think they’d say “This girl never lived till she loved” – and it would be true, darling. Until I loved you, I was in the process of undergoing intellectual and emotional dry-rot. If I’d never known you – people, in later years, would have looked at me as though they’d taken a mouthful of vinegar – with the corners of their mouths screwed up, & said “Wormwood! Wormwood!” – but now they’ll say “While she lived she was a true lover & therefore she had a good end.”’

As she wrote these letters Eileen was surely thinking of the portrayal of courtly love in her favourite book by C. S. Lewis, The Allegory of Love, published in 1936, which she described as ‘the finest piece of Medieval literary criticism of our time & perhaps of all time’. She seems to see herself half ‘in the precarious dream-world of medieval love poetry’, as the faithful damsel of troubadour tradition in her chastity belt, creating a romance as she writes to her beloved lord away on the Crusades about the strange deeds at home in their feudal castle. She moves between ‘the allegory of the Body and the Heart’. And she follows C. S. Lewis in believing in the continuity of courtly love into the English literary tradition of Shakespeare, Thomas Wyatt and John Donne. She is a supreme writer of modern literary prose, schooled by her love of English literature from Malory to Elizabethan and modern literature, yet with all the wickedness of a Stella Gibbons in her delight in ‘mollocking’. Compared to these, Eileen seems scarcely aware of Jewish antecedents, such as the Song of Songs or the books of Ruth and Esther, let alone the Jewish and Arabic love poetry of medieval Spain, still to be discovered. Yet she has written a masterpiece worthy to stand with these earlier writings in the Jewish tradition, alongside Giorgio Bassani’s The Garden of the Finzi-Continis (1962); and perhaps her insistence on the virtues of chastity and faithfulness, so at odds with her contemporaries, owes much to her Jewish upbringing.

The experience of love is both unique and universal, but it changes almost imperceptibly in each generation. Too often it is reflected in recollection, when, for whatever reason it is lost, its intensity dispersed or transformed by memory, as in Proust or the late poems of Thomas Hardy. There are many accounts of love from the two world wars, beginning with Vera Brittain’s Testament of Youth (1933) and Helen Thomas’s memoirs (1926 and 1931). Diana Athill – Eileen’s exact contemporary, who graduated from Oxford in the same year – may have experienced some of the same emotional highs and lows as Eileen as she corresponded with her fiancé, also in Egypt, but their relationship failed: he betrayed her (Instead of a Letter, 1963) and the letters themselves are lost. One of the nearest accounts in both time and place is Laurence Whistler’s numinous The Initials in the Heart (1964) about his love for the actress Jill Furse in the early years of the war, her death and his subsequent grieving for the rest of his life. But that too is about loss, and, like Athill’s account, is written twenty years after the event in an attempt to assuage his grief.

The one thing that such historical narratives lack, however personal they are, is ignorance of the future, and so they cannot capture the vividness of living in the present as this book does. This is what makes Eileen Alexander’s letters such an immense literary discovery. It is a description of love as it unfolds, ‘suspended between unborn tomorrow & dead yesterday’, as she wrote in the middle of war, an emotion as it is experienced by a young woman day by day, existing in a moment of history, unique to its time but universal in its meaning.

Historical Introduction by David Crane

On 19 July 1939, as Europe drifted towards war, a short report from the police courts under the mildly sardonic heading ‘DIFFERENT TYPE OF STUDENT HAD SIMILAR SORT OF ACCIDENT’ appeared in the inside pages of the Cambridge Daily News. ‘When a research student at Cambridge University,’ the piece began, ‘was summoned at the Maidenhead Borough Police Court on Monday for alleged dangerous driving and for failing to conform to a “Halt” sign at Braywick cross-roads on June 29th, he said to the magistrates, “I want to persuade you that I am not one of those reckless undergraduates about whom you have heard from time to time. I have already spent four years at Cambridge University, having gained a State Scholarship and two other scholarships and am now beginning my fifth year of study as a research student. During the four years I have been there, I have held various positions of responsibility in the life of the university, and have never come into contact with the Cambridge police or other authorities at all. I am not just a reckless undergraduate, but a research student of four years.”’

‘It was an accident that might happen to anyone,’ he told the court – the car roof was down, the sun was in his eyes, the road unfamiliar – but that was probably not a wise line to take. ‘It was alleged in evidence,’ the report went on, that he had driven over a major junction ‘at colossal speed’, smashed into a car coming from his right on the main Maidenhead to Windsor road, spinning his car over onto the far side of the road twenty-eight feet away and hurling his ‘lady passenger … herself a Cambridge student’ out of the passenger seat and onto the tarmac.

The ‘lady passenger … on her way to London to meet her parents who were coming home from Egypt the next day’ was Eileen Alexander, and the driver – banned from driving for a year, fined £3 and ordered to pay costs – was the Liverpool-born son of devoutly Jewish parents, with a double-first in classics and psychology, called Gershon Ellenbogen, the recipient of these letters. At the time the case came to court Eileen was in Maidenhead hospital, slowly and painfully recovering from her injuries, her nose and collarbone broken, her teeth and left eye-socket damaged, her face bruised and swollen.

If there was one event in her life, however, that Eileen would not have seen undone it was that car crash. She had first met Gershon Ellenbogen in the summer of 1938 but it was the accident that changed their lives, turning a friendship that might have naturally ended with their Cambridge days into the all-consuming love affair celebrated in these letters.

Eileen’s remarkably forgiving letter from her hospital bed, with which this volume opens, was just the first trickle in an unstoppable flood of words that passed between them over the long years of war. At some stage Gershon’s letters to her were either lost or destroyed, but he preserved hers to the end of his life, more than a thousand of them in all, written from air-raid shelters and office desks, on buses and station platforms, in hotel foyers and under hair-dryers, in that minuscule hand of hers that could have damaged stronger eyesights than Gershon’s.

Like the lovers in a poem of Donne’s – a God in her pantheon second only to Shakespeare – Eileen lived through Gershon, happy only when she was writing to him or when a letter from him arrived to obliterate the space between them. In many ways the letters are closer to a diary than love letters, and closer still to an uninhibited and unstoppable stream of consciousness than either – a ‘complete chronicle’ of her life, waking and sleeping, as she put it – with that ‘little room’ of Donne’s lovers that she inhabited, peopled with a wonderful array of characters and incident.

Even were these letters less brilliantly written they would still be of historical interest for the people Eileen knew, from wartime cabinet ministers, financiers, soldiers, philanthropists and art collectors to some of the major figures in the Zionist movement and the future State of Israel. She was lucky to have been part of a very bright Cambridge set, and yet it is just as much the London beyond her friends and family, the London of chance meetings in cinema queues and Lyons Corner Houses, of overheard snatches of conversations in restaurants and shelters – the London of the Blitz – that gives her letters their life and their colour.

These letters – vibrant, intimate, joyous, dark, angry, obsessive, neurotic, generous, scurrilous and very, very funny by turns – can speak for themselves, but something needs to be said of the remarkable woman who wrote them.

Eileen Helen Alexander was born in Cairo on 13 April 1917, the oldest of three children of Vicky Mosseri and Alec Alexander, a much-loved and highly successful South African-born and Cambridge-educated Cairo barrister of impoverished Polish Jewish parents. While it was from her father that Eileen inherited her intellectual rigour and fierce attachment to Cambridge, her Italian Jewish mother’s influence was equally marked. Each summer the Alexanders would escape the Cairo heat for the Highlands of Scotland and London’s Mayfair Hotel, but it was as ‘a poor little rich girl’, surrounded by the uncles, aunts and cousins of her mother’s sprawling, immensely wealthy, and interrelated Mosseri family that she spent her cosseted and unhappy childhood. ‘I think I should inform you that she is a very brilliant daughter of a very brilliant father,’ Eileen’s headmaster at the Cairo English School began a letter in support of her application to Girton in the summer of 1934 – a reference that tellingly says more about her parents than it does Eileen:

Mr Alexander is a Jew and Mrs Alexander is a member of the Mosseri family, one of the principal Jewish families in Central Europe and the Near East. She also is a woman of very great ability and the widest education … Mrs Alexander is extremely particular, not to say old-fashioned, in the upbringing of her daughter and until the time comes for her to go to Cambridge she would, I know, hesitate to send her to England alone or leave her there after her own departure … Eileen, herself … hopes to be called to the Bar and it is her ambition eventually to enter Parliament.