“Liberté… J’écris ton nom”: Eluard’s poem and the Cambridge UL Liberation collection

The police killing of 17-year-old Nahel Merzouk on 27 June in Nanterre (in the suburbs of Paris) and civil unrest that occurred subsequently in France show how challenging it is to uphold the values of equality and fraternity, both socially and institutionally. For Bastille Day this 14th of July, we focus on the famous poem ‘Liberté’, initially entitled ‘Une seule pensée’, composed by Charles Eluard under the German occupation of France in 1941. This love poem to Nusch was turned into a celebration of and aspiration to Freedom. It is marked by the leitmotiv “J’écris ton nom”, reminding us of the power of both speech and writing. While the collaborationist Vichy régime had replaced the French revolutionary motto from “Liberté, Egalité, Fraternité” to the conservative “Travail, Famille, Patrie”, the poem “Liberté” became emblematic of French resilience throughout the Second World War and beyond. This blogpost gives an overview of the early publications of the poem: many of which are available at Cambridge University Library, including special editions with the Eluard’s signature and dedications, within the Chadwyck-Healey Liberation collection.

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“Sous la botte” (2): the German boot in the illustrated book covers of the Liberation collection (1944-46)

In 2019, I started working on a project aimed at providing access through Cambridge University Library catalogue (iDiscover) to digitised images of book covers of the Chadwyck-Healey collection (about 3000 books in French about the Second World War, the Occupation and the Liberation, published between 1944 and 1946), with photographer Fanny Bara. We were struck by the number of titles and cover illustrations featuring the German boot (see my previous blog post on the use of the expression “sous la botte” in the literature of the Liberation). More than half of the Liberation collection books whose title refers to the German boot feature illustrated covers including an actual depiction of a boot (five covers) or German soldiers in uniform (six covers, three of which are photographic). Only the comic book Biroulet sous la botte by Raymond Sempé, (Liberation.a.37) features a strictly black and white cover illustration: while a stern looking German soldier goose steps, Biroulet, depicted as a mischievous peasant child, wearing clogs and beret, and holding a simple wooden stick, cocks a snook at him.

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“Sous la botte” (1): the German occupation of France and Belgium in the literature of the Liberation (1944-46)

Black jackboots or “marching boots” (Marschstiefel), already used by the German infantry during World War I, were still part of the German army uniform during World War II, though they were gradually replaced by lace-up ankle boots (Schnürschuhe) from 1941 onwards. Although the phrase “sous la botte” was already used to describe German domination during World War I, it became widely used in reference to World War II, sometimes associated in the titles of books from the Liberation collection (1944-46) with a more or less precise time-span, ranging from 1940 to 1943, 1944 or 1945. The expression has become synonymous with that period of German occupation of France and Belgium. The military boot has become strongly associated with the image of the German soldier/officer in popular imagination and cultural representations, from contemporary posters to current historical movies. According to Google search results, they seem to be a particularly successful retail item nowadays, whether as (presumed) original artefacts, or as faithful reproductions. The footwear was used as a potent symbol of the German occupation of France and Belgium and of the oppression endured by the local populations. In particular, the recurring use of the expression “sous la botte” provided an evocative image of the German occupation as an oppressive regime of (military) tyranny (eluding the responsibility of the Vichy government and the question of French collaboration).

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A Tragedy of Betrayal and Revenge

A single photograph reveals the division, distrust and betrayal that tore France apart both during and after the war. It is of a local football team in a village (possibly Maintenon) in the Eure-et-Loir region, in which four of the players are related. They are Francis Fermine, fourth from the left, with his arms folded, in the back row. His two cousins, Omer and Noé Sadorge are at each end of the row and his brother-in-law, Pierre Sadorge is in the front with his arm round the captain.

Sans titre

Comment meurt un réseau by ‘Colonel Rémy’, Liberation.b.663, p.112-113.

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Songs of freedom : “Les chants de la liberté, 1789, 1830, 1848, 1870, 1944”

Political songs play an important part in popular culture and are powerful means of fostering and transmitting a sense of community and identity. Songs cross cultures and languages, as we discussed in an earlier blogpost on the French and American songs sung at the Liberation. On 14 July, Bastille Day, we want to shed light on another item from the Chadwyck-Healey Liberation collection: the Chants de la liberté (Liberation.b.130), a wonderfully illustrated collection of songs, accompanied by musical notation, which puts into perspective French political and historical struggles. Each song is accompanied by a didactic note, which provides some historical context.

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Les chants de la liberté 1789, 1830, 1848, 1870, 1944 / réunis et harmonisés par Vincent Gambau ;                        préface de Bracke A.-M. Desrousseaux ; illustrations de Robert Fuzier.                                  Paris : Les Éditions de la liberté, 1945. (Liberation.b.130)

The title of the collection, which echoes the name of the publisher (the socialist Éditions de la liberté, well represented in the Liberation collection), places the Liberation of Paris at the end of August 1944 as the last of a series of revolutions in the history of France (brushing over the fact that the uprising led by the military resistant group FFI, French Forces of the Interior, could only be successful thanks to the arrival of the Allied forces). The editor and harmoniser, Vincent Gambau, specialised in popular, traditional and regional songs. The illustrator, Robert Fuzier, a member of the SFIO (Section française de l’Internationale ouvrière), participated in the Front populaire government in 1936. Engaged in the Résistance and in clandestine publishing, he was arrested in August 1943.

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Songs of the Liberation for VE Day

The Chadwyck-Healey Liberation Collection (1944-46) consists mainly of books, but also contains a number of French and English songs and music scores, some with striking illustrations. They appear either in individual leaflets or in larger compilations, including the lyrics and in some cases notated music. On the 70th anniversary of VE Day (Victory in Europe), on 8 May 1945, we would like to shed light on two illustrated covers for songs of the Liberation that we displayed on the occasion of the 2019 Liberation lecture (Normandy ’44 by James Holland).

1PR-LIBERATION-A-00104Le chant de la libération : le chant des partisans, paroles de Maurice Druon et Joseph Kessel, musique de Anna Marly. Paris : Éditions Raoul Breton, 1945. Liberation.a.104

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Covers from the Liberation Collection

The Liberation Collection consists of over 3000 books published in French between 1944 and 1946. They all share a common subject – the Second World War – and reflect the interest of the collector for book history (quality paper, limited editions, signed copies, etc.); this aside, they differ widely from each other in the way they treat the subject, what they talk about (or don’t talk about), their format, pictorial content, audience, tone and genre. One way to give an insight into the variety of the collection is through its most striking book covers, most of them having been photographed for our thumbnail project. Here is a random sample taken from books catalogued in 2019:

Fiction

Fiction represents nearly one sixth of the collection and includes literature for children. Below are a spy novel, an adventure tale about the life of a fighter pilot and a theatre play about the army draft in France.

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Funding opportunity for a PhD on France and the Second World War: the Cambridge Chadwyck-Healey Liberation Collection (1944-1946)

Cambridge University Library is delighted to have received an Arts and Humanities Research Council (AHRC) Collaborative Doctoral Award, and invites applications for PhD studentships, starting in 2020-2021. The successful PhD candidate will receive funding to work on the Chadwyck-Healey Liberation Collection (1944-1946), as part of the Doctoral Training Partnership with The Open University.

The recent 75th anniversary of the D-Day landings underscored the importance of the Liberation of France in the history of the twentieth century. This PhD project aims to make use of the Cambridge University Library Chadwyck-Healey Liberation Collection to explore particular aspects of France during the Second World War, the Liberation, and/or in the immediate post-war period (1939-1946). The Collection consists of about 3000 books and pamphlets in French on these subjects, published from the Liberation of Paris in August 1944 to the end of 1946, encompassing a wide range of material, including novels, poetry, illustrated books, photographic albums, literature for children, testimonies from the camps, military works and political publications. Continue reading “Funding opportunity for a PhD on France and the Second World War: the Cambridge Chadwyck-Healey Liberation Collection (1944-1946)”

The Liberation of Paris, 19-29 August 1944: “Images de notre délivrance” by Georges Duhamel and Claude Lepape

1On the 75th anniversary of the Liberation of Paris, we would like to talk about Images de notre délivrance (Liberation.a.7), published in December 1944 by the Editions du Pavois (the publisher in 1946 of L’Univers concentrationnaire by David Rousset, which was awarded the Renaudot prize, Liberation.c.119 and Liberation.c.918). The book, clearly of a bibliophile nature, is presented by the editor as a documentary, the result of an accidental collaboration between a writer, Georges Duhamel (1884-1966), and an artist, Claude Lepape (1913-1994), both reacting to a unique historical event:

Ce livre est un document. Il est né de la rencontre fortuite de deux sensibilités. L’Ecrivain et le Dessinateur ne se sont pas concertés, mais leurs réactions, si diverses et en même temps si proches, constituent l’un des documents les plus émouvants sur les glorieuses journées de la libération.

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“Sombre est noir” by Amy Bakaloff and Óscar Domínguez (1945): war poetry, from anthologies to illustrated collections

Bakaloff Amy, Sombre est noir, orné d’une gravure à l’eau-forte et de deux dessins de Domínguez. Paris, 1945. Liberation.b.356

One of the last books acquired through the Liberation collection is Amy Bakaloff’s Sombre est noir (Liberation.b.356), a collection of French poetry written during the Second World War and dedicated to Paul Éluard and Georges Hugnet, a writer and publisher engaged in the Résistance. It includes an engraving signed by Óscar Domínguez and two drawings. It is a rare work, one of 232 copies, some numbered on Annam paper, some on blue vellum, and some on vélin des Marais. Continue reading ““Sombre est noir” by Amy Bakaloff and Óscar Domínguez (1945): war poetry, from anthologies to illustrated collections”