He woke up on a stretcher in a truck, two dead Germans either side of him, picked up from some other incident. That was the end of his war for a few weeks while he recuperated in England. When he went back, in the final months of the war, he did some remarkable things. He caught a senior Nazi, an episode I turned into idiotic comedy for a novel. He helped liberate Belsen. But it’s those weeks in Normandy that are most significant to him. The mistakes he made, the things he didn’t do, how lucky he was. To finish up, I asked him if he thought he was brave in Normandy.
“I wasn’t brave! I wasn’t asked to be brave… I wasn’t Bert Scaife! I wasn’t individually brave; that’s how you should say it for the paper.” Is that why he never spoke about it? “Not really… I s’pose when you realized you were playing your part in killing ordinary people, well, it’s an awful thing to think about… and then, well, I spent a year in Germany after the war, you see, working for the army and making friends with ordinary Germans. I almost married a German girl, from the country, with a strong jaw. Lovely girl. And in her house there was a photo of her brother, in a Nazi uniform, about eighteen. He wasn’t coming home. And my mate who came to visit her with me, he turned the photo to the wall. But I said no. These were just country people. There was so much evil in that war. And then they were just people like that, simple people.”
That’s the end of our interview on the tape. Afterward, he phoned me up several times to reiterate one point. He wasn’t brave. I said, okay, Dad, yes, I’ve got that bit.
During one of these conversations, I revised my earlier question to him. If he wasn’t brave, is he at least proud? “Not really. If I’d been one of the medicos on beach. Or done something like Bert Scaife did, then I’d be proud, I suppose. But I didn’t.”
Harvey Smith is not Bert Scaife-he wants me to make that very clear to you. When he caught that senior Nazi, his fellow soldiers wanted to kill the man. It was my father who persuaded them to settle for a lesser punishment: he set the Nazi walking in front of their tank for five miles before handing him over to the authorities. It is characteristic of Harvey that he was somewhat ashamed to tell me that story. He feels he behaved cruelly.
In sum, Harvey thinks pride a pale virtue. To his mind, an individual act either helps a little or it does not, and to be proud of it afterward helps nobody much, changes nothing. Still, I am proud of him. In the first version of this article, I wrote here: “He was a man able to retain his humanity in the most inhumane of circumstances.” Later I scratched it out because humanity is these days a vainglorious, much debased word and inhumanity is a deceitful one. My generation was raised with the idea that those who pride themselves on their humanity are perfectly capable of atrocity. I think I’ll put instead: he didn’t lose himself in horror. Which is a special way of being brave, of bring courageous, and a quality my father shares with millions of ordinary men and women who fought that miserable war.
Sixteen – DEAD MAN LAUGHING
My father had few enthusiasms, but he loved comedy. He was a comedy nerd, though this is so common a condition in Britain as to be almost not worth mentioning. Like most Britons, Harvey gathered his family around the defunct hearth each night to watch the same half-hour comic situations repeatedly, in reruns and on video. We knew the “Dead Parrot” sketch by heart. We had the usual religious feeling for Monty Python’s Life of Brian. If we were notable in any way, it was not in kind but in extent. In our wood-cabinet music center, comedy records outnumbered the Beatles. The Goons’ “I’m Walking Backwards for Christmas” got an airing all year long. We liked to think of ourselves as particular, on guard against slapstick’s easy laughs-Benny Hill was beneath our collective consideration. I suppose the more precise term is “comedy snobs.”
Left unchecked, comedy snobbery can squeeze the joy out of the enterprise. You end up thinking of comedy as Hemingway thought of narrative: structured like an iceberg, with all the greater satisfactions fathoms underwater, while the surface pleasure of the joke is somehow the least of it. In my father, this tendency was especially pronounced. He objected to joke merchants. He was wary of the revue-style bonhomie of the popular TV double act Morecambe and Wise and disapproved of the cheery bawdiness of their rivals, the Two Ronnies. He was allergic to racial and sexual humor, to a far greater degree than any of the actual black people or women in his immediate family. Harvey’s idea of a good time was the BBC sitcom Steptoe and Son, the grim tale of two mutually antagonistic “rag-and-bone” men who pass their days in a Beckettian pile of rubbish, tearing psychological strips off each other. Each episode ends with the son (a philosopher manqué, who considers himself trapped in the filthy family business) submitting to a funk of existential despair. The sadder and more desolate the comedy, the better Harvey liked it.
His favorite was Tony Hancock, a comic wedded to despair, in his life as much as in his work. (Hancock died of an overdose in 1968.) Harvey had him on vinyl: a pristine, twenty-year-old set of LPs. The series was Hancock’s Half Hour, a situation comedy in which Hancock plays a broad version of himself and, to my mind, of my father: a quintessentially English, poorly educated, working-class war veteran with social and intellectual aspirations, whose fictional address-23 Railway Cuttings, East Cheam-perfectly conjures the aspirant bleakness of London’s suburbs (as if Cheam were significant enough a spot to have an East). Harvey, meanwhile, could be found in 24 Athelstan Gardens, Willesden Green (a poky housing estate named after the ancient king of England), also by a railway. Hancock’s heartbreaking inability to pass as a middle-class beatnik or otherwise pull himself out of the hole he was born in was a source of great mirth to Harvey, despite the fact that this was precisely his own situation. He loved Hancock’s hopefulness, and loved the way he was always disappointed. He passed this love on to his children, with the result that we inherited the comic tastes of a previous generation. (Born in 1925, Harvey was old enough to be our grandfather.) Occasionally, I’d lure friends to my room and make them listen to “The Blood Donor” or “The Radio Ham.” This never went well. I demanded complete silence, was in the habit of lifting the stylus and replaying a section if any incidental noise should muffle a line and generally leached all potential pleasure from the exercise with laborious explanations of the humor and said humor’s possible obfus cation by period details: ration books, shillings and farthings, coins for the meter, and so on. It was a hard sell in the brave new comedic world of The Jerk and Beverly Hills Cop and Ghostbusters.
Hancock wasn’t such an anachronism, as it turns out. Genealogically speaking, Harvey had his finger on the pulse of British comedy, for Hancock begot Basil Fawlty, and Fawlty begot Alan Partridge, and Partridge begot the immortal David Brent. And Hancock and his descendants served as a constant source of conversation between my father and me, a vital link between us when, classwise, and in every other wise, each year placed us further apart. As in many British families, it was university wot dunnit. When I returned home from my first term at Cambridge, we couldn’t discuss the things I’d learned; about Anna Karenina, or G. E. Moore, or Gawain and his stagger ingly boring Green Knight, because Harvey had never learned them-but we could always speak of Basil. It was a conversation that lasted decades, well beyond the twelve episodes in which Basil himself is contained. The episodes were merely jumping-off points; we carried on compulsively creating Basil long after his authors had stopped. Great situation comedy expands in the imagination. For my generation, never having seen David Brent’s apartment in The Office is no obstacle to conjuring up his interior decoration: the risqué Athena poster, the gigantic entertainment system, the comical fridge magnets. Similarly, for my father, imagining Basil Fawlty’s school career was a creative exercise. “He would have failed his eleven-plus,” Harvey once explained to me. “And that would’ve been the start of the trouble.” When meditating on the sitcom, you extrapolate from the details, which in Britain are almost always signifiers of social class: Hancock’s battered homburg, Fawlty’s cravat, Partridge’s driving gloves, Brent’s fake Italian suits. It’s a relief to be able to laugh at these things. In British comedy, the painful class dividers of real life are neutralized and exposed. In my family, at least, it was a way of talking about things we didn’t want to talk about.