150:, November 11, 1918, in Valentine Wannop’s school, and the three chapters which make up the first Part are punctuated by fireworks exploding and the celebrations taking place in the surrounding streets. Valentine is on the telephone, having been called away from her duties as a physical instructor. It is around 11 a.m., and the excessive background noise means she cannot hear who it is on the phone. It eventually transpires that Edith Ethel Duchemin (now Lady Macmaster) is informing her that Christopher Tietjens is in London once more and in need of help. It is a tortuous conversation. Edith Ethel is malicious, and has managed to link Valentine’s name compromisingly with Tietjens’ in an earlier part of her conversation – which she had with her headmistress. By the end of this call, and the other conversation in Part I (between Valentine and the Head) we have been reminded of significant events from
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learn about his war experiences as men from his unit arrive, honouring their promises to look him up; Tietjens, meanwhile, has confessed something of his continuing psychological and emotional terrors to Mrs Wannop. The drunken celebration and dance which ensues contains within it all the tensions of the inter-relationships between the men, as well as their combined experiences. Valentine finds herself thinking of Sylvia
Tietjens more than once. The energy of the dance is compelling, and, a microcosm of
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in order to meet
Christopher. Mrs Wannop, Valentine’s mother, and wife of Christopher’s father’s oldest friend, finds out, and seeks to prevent them becoming lovers. She telephones them, appealing to them both in different, highly manipulative, ways. While she talks to Tietjens, Valentine begins to
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Part II shifts time and place dramatically, returning us to the front on a morning in April, 1918. Tietjens is enjoying a brief period of calm, and a conversation with his sergeant, but soon, the noises of war begin. The bombardments which take place in this novel are perhaps less bloody and
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William Carlos
Williams wrote that the four Tietjens books 'constitute the English prose masterpiece of their time': ‘’Sewanee Review’’, 59 (Jan.-Mar. 1951), 154–61; reprinted in
208:(New York: Random House, 1951), 315–23 (316). Malcolm Bradbury agreed, calling the sequence 'the greatest modern war novel from a British writer': 'Introduction',
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