Earlier this
year I opened a big can of worms. All his life my father kept significant
correspondence which he’d received,
letters of special import sent by friends of special closeness. I found them
after his death seven years ago, sorted into old brown envelopes and piled up
in two drawers of his old pedestal desk. They were carefully labelled – with
the names of individual correspondents, or “School”, “Oxford”, “Army”, “Senior
colleagues” and so on.
I couldn’t bring
myself to read them. For a start there were so many, and in so many different
hands. More to the point, we were all but estranged by the time of his death,
and I just didn’t want to know. But in the last couple of years I have been
writing a book which deals in part with the memory of him. He’s pretty much the
pantomime villain of the piece, which has been hard to write – so hard that
eventually I became blocked and couldn’t write any more. It was towards the end
of this writer’s block that I opened the heavy archive box which now contains
all his letters, and started to read.
Charles Henry Salter at his desk, c1938
They are
fascinating! They cover his entire adult life and of course show sides of him
which a son never sees of his father – the non-parental side, the adult among
peers, the friend of friends, the intellectual colleague. What emerges is of
course a much more rounded picture of the man than the one-dimensional cartoon
I have been sketching in words so far. Will I have to start writing my book all
over again? I can’t un-know this new full-colour picture I now have of the man
I’ve been painting in black and white.
But I realise
that it’s my memory of the parent which I am writing, not a biography of the
whole man. The letters provide a welcome counterpoint to my own perception of him,
but they don’t negate my own experience as his son. I’m glad to have them.
There are, quite apart from the personal insights into his character, many
delights amongst them: many characterful correspondents and many gripping
stories on their pages.
In the summer of
1939 my father was having the time of his life. He had won an unprecedented two Chancellor’s Prizes in his first year at Oxford University, and he spent the
summer with a group of student friends on holiday in Brittany. It was obviously
a very vivid time for him, although he never mentioned it even when I twice
holidayed in Brittany myself.
Pontivy, where my father and his friends spent the summer of 1939
Dad kept letters
from many of those who were there that last summer before the war, the summer
he came of age. He joined the party in Brittany after spending a few days east of Paris with
a French friend, Jeanne, who was also a fellow student at Oxford; and a letter
from her soon afterwards sets the pre-war tone of gaiety, fantasy and youth:
To
the gentle knight Charles Salter,
Beautiful
sweet friend,
I
am happy and reassured that you have received the magic gold ring which I sent
you before you left me for Brittany. It reminds me, the arrival of the ring and
its messenger (in this case the postman, which is horribly prosaic, I’m afraid)
of the ring which sweet Tristan sent from Brittany to Iseult his beloved, and
of the queen’s oath, and it makes me give thanks to heaven that you, sweet
sire, and I did not exchange similar oaths, although I ponder with despair on
the distance which separates us.
Tell
Elaine of the White Hands, if she is still near you, that the love which I
carry for you is still not so great that I have none left for her, and receive,
sweet sire, a tender platonic kiss from
your
friend
Jehanne
My father never felt
so vigorously alive as he did that summer. He and Elaine were something of an
item, and in a later letter Elaine (who was also in Brittany that summer) declares
to my father that she “would rather be your mistress once than marry a thousand
Bobs.” (Bob was Dad’s rival for her affections.)
In the end she did
neither. And other letters from the same circle of friends show that just below
the frivolous surface, war was on everyone’s mind.
Next week’s blog is about two letters from the friends’
host in Brittany, written in 1939 and 1946, which illustrate perfectly and
harrowingly what happened between the writing of them.
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