God's Sparrows - Philip Child Voyageur Classics

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“stolid” man “who died without making a fuss, on the duckboards outside the battery.” Introduced as “Currie” initially, the spelling inexplicably changes to “Curry” at his death. Child certainly wished to pay homage to the most famous Canadian gunner of the war, General Arthur Currie, commander of the Canadian Corps. Like Peregrine Acland, who named a character for Robert Borden in his novel All Else is Folly (1929), Child continues the curious and distinctly Canadian war novel convention of naming noble, but minor, characters after major national personalities.

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      Canadian troops man a Vickers gun in the mud and shell holes near the front line at Passchendaele.

      Official CEF Photo, Seaforth Highlanders of Canada Museum and Archives.

      While the Battle of Passchendaele is raging, Quentin becomes a conscientious objector, and is arrested and charged for refusing a lawful order. Quentin eventually concludes that he must return to the war, but, significantly, this the only instance of a character in Canadian war fiction of the period who chooses conscientious objection.

      The final battle scenes in God’s Sparrows closely adhere to Philip Child’s own experience as a subaltern in the 262nd Siege Battery of the Royal Garrison Artillery during the German Spring Offensive of 1918 and the subsequent Hundred Days Offensive. Dolughoff’s descent into madness and his eventual suicide, as well as Charles Burnet’s heroic sacrifice to blow the bridge and slow the German advance, are both fictional, though Dan’s progressive shell shock and fever dreams are very much rooted in Child’s war experience.

      The elaborate and allegorical dream sequence toward the end of the novel is not only unique in Canadian war fiction, it is also a fitting climax for a novel that is so concerned with what motivates the characters, how they think, and how their thinking progresses throughout the course of the war. Philip Child does not rely on graphic description of the horrors of war to move his readers; he doesn’t linger on the grim details, as a writer like Charles Yale Harrison did in the infamous bayoneting scene in Generals Die in Bed (1930). Rather, he describes the effect of these innumerable horrors on the psyches of the characters in God’s Sparrows , shows how they persevere, falter, succumb to, or overcome what they have experienced. This is why God’s Sparrows concludes not with the image of Jobey’s corpse, or Dan broken on a stretcher, but with Quentin’s poem and its appeal to our shared humanity.

      Since 1937, there have been two brief revivals of interest in God’s Sparrows . In November of 1970, a battle scene from the novel was adapted by Philip Child for the CBC television program Theatre Canada: Canadian Short Stories . Directed by David Peddie and starring Donnelly Rhodes and Tim Henry, this half-hour drama was broadcast only once, aired to tie in with the network’s Remembrance Day programming. Eight years later, following Philip Child’s death on February 6, 1978, McClelland & Stewart published God’s Sparrows as part of its New Canadian Library series. It was dropped from the series after a single printing.

      Nearly eight decades after it was first published, and having been out of print for thirty-eight years, God’s Sparrows is now being republished as part of Dundurn Press’s Voyageur Classics series. It deserves a permanent place in Canada’s literary canon. It is a great Canadian war novel, with a large cast of characters and an epic scope that addresses Canada’s war experience in a way few Canadian war novels can match. At the same time, God’s Sparrows has the courage to challenge many of the prevailing tropes of the anti-war novels of the 1920s and ’30s, where senior officers were treated as if they were the enemy (or died in bed), those on the home front were hopelessly naïve, and where soldiers were frequently portrayed as either innocent victims or savage killers. As Child would write, in the most frequently cited passage from the novel:

      The thousands went into battle not ignobly, not as driven sheep or hired murderers — in many moods, doubtless — but as free men with a corporate if vague feeling of brotherhood because of a tradition they shared and an honest belief that they were doing their duty in a necessary task. He who says otherwise lies, or has forgotten.

      Philip Child could not forget. He was haunted by the First World War for his entire adult life, and would write about it continually for nearly fifty years in both poetry and prose. His best work, and one of the finest Canadian novels to emerge from the war, was God’s Sparrows.

      NOTES

      PART I

      THE SEED AND THE SOIL

      Chapter I

      In the beginning the wizened, cone-headed , shrimp-coloured little bundle of flesh tied with a diaper and known as Daniel Burnet Thatcher reposed like a vegetable in the midst of the family that was so much more aware of him than he of them. First he felt the fear of noise and the fear of falling, never entirely to be lost until Daniel Thatcher should lose hold and fall out of the body. Then came sight and smell. Then walking.… Pen, taking the baby by the hand walked on the snowy sidewalk and began to step high and stamp the snow off his feet; Daniel did likewise. Then came speech, and with it the binding sense of time. “Tomorrow is Christmas, Daniel, and you will see a wonderful tree, all lighted with candles.” “When is tomorrow? Is today tomorrow?” He was taken in to see the tree and his little tummy tight as a soccer football was distended with ice cream. “Do you think he will remember this, Pen?” Maud Thatcher asked her husband. “At two years? Hardly, Maud. He might remember seeing dim faces about a tree, but without

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