The EU referendum campaign reminds me how much we
remain influenced by our national mythologies. The Brexit campaign often
implicitly evokes the memory of the Second World War as a time when Britain
stood alone in Europe against Hitler, then came together with our Allies to
defeat him. By contrast, the Czechs remember only that in September 1938, at
Munich, France
and Britain sided with Hitler against Czechoslovakia to avoid war, in
effect allowing the Czechs and Slovaks to fall under first Fascist and later
Communist dictatorship. Some even speak of a psychological ‘Munich complex’
that limited popular Czechoslovak resistance to both dictatorships and even
hampers efforts to build genuine civil society after Communism; this notion is
boisterously satirised in Petr Zelenka’s 2015 film, Lost
in Munich.
On his return from Munich, the British Prime Minister,
Neville Chamberlain infamously declared: ‘How horrible, fantastic, incredible
it is, that we should be digging trenches and trying on gas-masks here, because
of a quarrel in a faraway country between people of whom we know nothing...’ These words must have been especially painful for the
Czechoslovak leadership, which had spent the twenty years since the
establishment of independent Czechoslovakia in 1918 trying to ensure that the
world knew exactly what Czechoslovakia was and what it stood for. In the 1920s
and 1930s, Czechoslovakia worked to acquire and exercise what we now call ‘soft
power’, vigorously supporting the League of Nations project, building alliances
and promoting cultural exchange.
I am currently writing about how, in this period, Czechoslovakia
tried to raise its profile in Britain through literary translation. The Czechoslovak
elite felt close to the British, not only because some British intellectuals,
cultivated by Czech and Slovak counterparts, had lobbied hard for the creation
of independent Czechoslovakia, but also because they identified more with
imagined ‘gentlemanly’ British values - civility, tolerance, good humour,
pragmatism - than what they saw as German cultural aggression. The embodiment
of Czech Anglophilia was Karel Čapek, the
first Czech writer to win an international reputation, thanks to his 1921 play R.U.R., which gave the world the word
‘robot’. His tour of the British Isles in 1924 resulted in the travelogue Letters
from England (1927). It says
something about the self-centredness of the British reader that, though many
of Čapek’s plays and novels about the politics and landscape of Central Europe
were also published in this period, these quaint impressions of Britain – and The
Gardener’s Year (1931), about
that most British of hobbies, gardening – were by far his best-selling.