Fascism

Towards the end of Dandelions, Thea Lenarduzzi’s imaginative and deeply affecting memoir, the author quotes her grandmother’s remark that there are tante Italie – many Italys. ‘Mine is different to hers, which is different to my mother’s, which is different to my father’s, and so on down the queue,’ she writes. These Italys – of fascismo, of Garibaldi, of emigrants living in Sheffield and Manchester, of 31 dialects – are not far-flung historical oddities confined to documentaries or textbooks but are, in Lenarduzzi’s account, the patchwork story of one family.

In 1919, an obscure political agitator called Benito Mussolini assembled a ragbag of Blackshirt diehards in the Lombard capital of Milan and launched the movement that was to become, two years later, the National Fascist Party. The party took its name from the classical Roman symbol of authority — an axe bound in rods, or fasces. Once in power, Mussolini introduced the stiff-armed Roman salute after the handshake was considered fey and unhygienic. At times he wore a richly tasselled fez and thrust out his chin pugnaciously for the cameras. For all his posturing and demagoguery, Mussolini was widely admired in pre-war Britain, where Lord Rothermere’s Daily Mail routinely carried flattering portraits of him.

In 1926, while putting in place the repressive laws and decrees that would define his dictatorship, Mussolini appointed a new chief of police. Arturo Bocchini was 36, a lawyer and former prefect of Brescia, a cynical, vengeful, witty and corpulent Neapolitan. Under his 17-year tenure, fascist Italy became one of the most sinister and efficient police states of the years between the wars, with overlapping and rivalrous legal and illegal police bodies, fed by a vast army of informers and spies. Said to number around 10,000 at their peak, these men and women were to be found in every corner of Italian life, from the civil service to the Vatican, from industry to the Royal household, from the army to universities.

It’s easy to dismiss the fascistic ideologues who populate Graham Macklin’s book as reactionary cranks of no significance. It’s also a mistake. Fascists have edged uncomfortably close to the mainstream of British politics ever since the British Union of Fascists was founded in 1932 by Oswald Mosley, who two years earlier had been a government minister. In 2009, two British National Party candidates were elected to the European Parliament. The seats were lost in 2014 because the BNP votes transferred en masse to Ukip. If you doubt that the spirit of the BNP infused Ukip, you have only to look at what has happened to it since Nigel Farage decamped.

With public life increasingly a din of personalised ringtones and phone chatter, we crave silence. Acoustic ecologists speak of ‘ear cleaning’ exercises that might attune us beatifically to a hushed environment. Silence itself can be quite noisy, of course. Even in the countryside the thoughts in one’s head and the sound of one’s breathing can disturb the peace. Music, at least, may help to restore a sense of quietude. Vaughan Williams’s 15-minute meditation ‘The Lark Ascending’ conjures a pastoral idyll untouched by the clamour and carnage attendant on the Great War. In 1921, when the music was premiered, the green fields of Europe had been psychologically altered by the bloodiest battles in recorded history.

‘Why would anyone write a historical study of it?’ asks Gavriel Rosenfeld about the Fourth Reich at the start of this rather confusing, but at times entertaining, book. His answer is that the phrase has been used as a metaphor since the earliest days of the Third Reich to mean a wide variety of things. It has permeated politics and culture, and seems to be a term susceptible to any meaning a writer or speaker wishes to impose upon it. Some of us — and I plead guilty to this — have used the term simply to describe the present German state in its reunified, Europe-dominating form. While of course such usage is a bit of a tease, it also seems to be a matter of fact.

All Among the Barley, Melissa Harrison’s third ‘nature novel’, centres on Wych Farm in the autumn of 1933, where the corn fields are ‘acres of gold like bullion, strewn with the sapphires of cornflowers and the garnets of corn poppies and watched over from on high by larks’. Our narrator, 14-year-old Edie, has finished school and her older brother Frank tells her: ‘Something will happen next, and you should choose it.’ In Edie’s provincial life, her choices are limited. Essentially, she can stay at home and help on the farm, marry like her older sister and ‘push out a baby a year’, or become a teacher — she is sufficiently clever, but finds children ‘exasperating’.

Enrico Fermi may not be a name as familiar as Einstein, Feynman or Hawking, but he was one of the greatest figures of 20th-century physics, with a reputation for infallibility. In Rome, pioneering atomic science under Mussolini, he was nicknamed ‘the Pope’. Escaping to America where he created the world’s first nuclear reactor, he was dubbed ‘the last man who knew everything’. Yet he was no Renaissance man: he knew everything about physics, and didn’t care much about anything else. It is testimony to David N. Schwartz’s excellence as a biographer that he can reveal the workaholic Fermi to have been such a fascinatingly complex figure. He was, we are told, a gifted teacher and natural leader.