This weekend The Guardian publishes two reviews of Piers Brendon’s The Decline and Fall of the British Empire, 1781-1997.
The first review, by Maya Jasanoff, argues that the book:
is a compelling and spectacularly detailed retelling of imperial “rise” as well as fall, from Yorktown to Hong Kong. Not since Jan Morris’s Pax Britannica trilogy has anyone recounted these events with such sustained panache. Brendon’s empire is a ramshackle affair, managed for decades out of a Colonial Office that boasted “an assortment of rickety chairs and old, baize-covered tables,” a basement “so damp that it had to be pumped out twice a day” and an attic that doubled as a fives court. Virtually every page offers up some memorable observation.
In addition Brendon emphasizes the peculiar characters of the British Empire. Jasanoff writes:
All told, The Decline and Fall of the British Empire presents a glittering panoply of decadence, folly, farce and devastation. Brendon’s characters alone could fill a pantomime stage many times over.
Jasanoff claims that this strength of the book simultaneously suggests its weakness.
This touches on the chief casualty of Brendon’s descriptive approach: the relative absence of explanation and analysis. After so much rich narrative, one is left craving synthesis - particularly comparison across regions, for such interconnections help make an empire what it is. How, for example, did the use of partition in Ireland in 1921 influence its subsequent application in Palestine and south Asia? How might British counter-insurgency tactics developed in one domain - South Africa or Ireland, Palestine or Malaya - have been replayed in others? (To say nothing of their influence on the Americans in Vietnam, or the French in Algeria.) To what extent did imperial personnel carry policies from region to region? What kinds of networks of influence existed among anti-colonial leaders, such as the black nationalists inspired by Gandhi, or advocates of non-alignment? Brendon nods in these directions, but readers looking for deep answers will want to turn elsewhere.
The second review, by Robert McCrum, emphasizes different aspects of the book. McCrum dwells more on the larger themes than in the individual personas (although the latter are sometimes indistinguishable from some of the more notable episodes of the Empire).
Piers Brendon’s prodigious volume is a brilliant account of acts two, three and four in this swelling drama of imperial themes from Yorktown to Goose Green. Despite his title, he knows he is not Edward Gibbon and is the first to concede that Decline and Fall casts a long shadow. While he has resisted ’setting up as a rival’ to the choleric county colonel and his rolling Augustan narrative of Roman decline, the awesome scale of a subject that includes Africa, the Far East and the Antipodes compels the faithful narrator into an enthralling mini-series of colonial adventure from Plessey to Omdurman, via the Zulu wars (Rorke’s Drift) and Baden-Powell’s defence of Mafeking.
Brendon’s empire, about which he has mixed feelings, is a liberal enterprise dedicated, however hypocritically, to the principle of liberty. Although its antecedents trace back to the 16th century and beyond, this empire was inspired by the loss of the American colonies and the ancient rivalry with France. It was made possible by the supremacy of the Royal Navy, by Britain’s industrial revolution, and by the relative weakness of rival European powers in the 19th century.
McCrum argues that the weakness of Pearson’s work is his lack of attention to the role of the United States during the twentieth century period of the Empire’s decline.
If Piers Brendon has a weakness, it lies in his insufficient attention to the role of America in Britain’s decline. Dean Acheson’s famous claim that ‘Great Britain has lost an empire and has not yet found a role’ is both a statement of fact and also a boastful assertion of late 20th-century American supremacy, however brief. Ironically, 1963, the year of Acheson’s comment, was the year of the Beatles’ first American tour and the beginnings of a new kind of Englishness, a global phenomenon but one unintelligible without an understanding of the empire. By 2007, Britain’s role in the world seems to have become more loosely cultural than political. But that’s another story.
Maya Jasanoff’s review in Saturday’s edition of The Guardian: “Last post for the oddball empire”
Robert McCrum’s review in Sunday’s edition of The Guardian: “From Empire to Oblivion”