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Poem: “Peace” by Robert Graves

Plus a new cartoon by Ralph Steadman to mark the centenary of the First World War. 

A new cartoon by Ralph Steadman, a joint commission by 14-18 Now and the Cartoon Museum  to commemorate the centenary of the outbreak of the First World War. The cartoon is part of the exhbition 1914 Day By Day Cartoons at the Cartoon Museum, London WC1, until 19 October 
 
Peace
 
When that glad day shall break to match
“Before-the-War” with “Since-the-Peace”,
And up I climb to twist new thatch
Across my cottage roof, while geese
Stand stiffly there below and vex
The yard with hissing from long necks,
In that immense release,
That shining day, shall we hear said:
“New wars to-morrow, more men dead”?
 
When peace time comes and horror’s over,
Despair and darkness like a dream,
When fields are ripe with corn and clover,
The cool white dairy full of cream,
Shall we work happily in the sun,
And think “It’s over now and done”,
Or suddenly shall we seem
To watch a second bristling shadow
Of armed men move across the meadow?
 
Will it be over once for all,
With no more killed and no more maimed;
Shall we be safe from terror’s thrall,
The eagle caged, the lion tamed;
Or will the young of that vile brood,
The young ones also, suck up blood
Unconquered, unashamed,
Rising again with lust and thirst?
Better we all had died at first,
Better that killed before our prime
 We rotted deep in earthy slime.
 
 
This poem first appeared in the New Statesman of 21 September 1918. Graves, who survived the First World War despite serious injury in the Battle of the Somme, contributed to the NS from 1918 to 1975.

This article first appeared in the 23 July 2014 issue of the New Statesman, Summer Double 2014

Pompidou Centre
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Harry Styles: What can three blank Instagram posts tell us about music promotion?

Do the One Direction star’s latest posts tell us about the future of music promotion in the social media age - or take us back to a bygone era?

Yesterday, Harry Styles posted three identical, captionless blank images to Instagram. He offered no explanation on any other social network, and left no clue via location serves or tagged accounts as to what the pictures might mean. There was nothing about any of the individual images that suggested they might have significance beyond their surface existence.

And, predictably, they brought in over a million likes – and thousands of Styles fans decoding them with the forensic dedication of the cast of Silent Witness.

Of course, the Instagrams are deliberately provocative in their vagueness. They reminded me of Robert Rauschenberg’s three-panelled White Painting (1951), or Robert Ryman’s Untitled, three square blank canvases that hang in the Pompidou Centre. The composer John Cage claimed that the significance of Rauschenberg’s White Paintings lay in their status as receptive surfaces that respond to the world around them. The significance of Styles’s Instagrams arguably, too, only gain cultural relevance as his audience engages with them.

So what did fans make of the cryptic posts? Some posited a modelling career announcement would follow, others theorised that it was a nod to a Taylor Swift song “Blank Space”, and that the former couple would soon confirm they were back together. Still more thought this suggested an oncoming solo album launch.

You can understand why a solo album launch would be on the tip of most fans’ tongues. Instagram has become a popular platform for the cryptic musical announcement — In April, Beyoncé teased Lemonade’s world premiere with a short Instagram video – keeping her face, and the significance behind the title Lemonade, hidden.

Creating a void is often seen as the ultimate way to tease fans and whet appetites. In June last year, The 1975 temporarily deleted their Instagram, a key platform in building the band’s grungy, black and white brand, in the lead up to the announcement of their second album, which involved a shift in aesthetic to pastel pinks and bright neons.

The Weekend wiped his, too, just last week – ahead of the release of his new single “Starboy”. Blank Instagrams are popular across the network. Jaden Smith has posted hundreds of them, seemingly with no wider philosophical point behind them, though he did tweet in April last year, “Instagram Is A BlackHole Of Time And Energy.”

The motive behind Harry’s blank posts perhaps seems somewhat anticlimactic – an interview with magazine Another Man, and three covers, with three different hairstyles, to go along with it. But presumably the interview coincides with the promotion of something new – hopefully, something other than his new film Dunkirk and the latest update on his beloved tresses. In fact, those blank Instagrams could lead to a surprisingly traditional form of celebrity announcement – one that surfaces to the world via the print press.

Anna Leszkiewicz is a pop culture writer at the New Statesman.