Daily Archives: 2 February 2026

Indian Electrical Mechanical Engineers

From Burma ’44: The Battle That Turned World War II in the East, by James Holland (Grove Atlantic, 2024), Kindle pp. 167-169:

Ascham’s small band of brothers was one of the echelon units attached to any infantry brigade. The fighting heart of a brigade was its three 900-man-strong infantry battalions – one British, one Indian and one Gurkha – but there were also support troops, from artillery to mules to engineers and signals to Ascham’s Indian Electrical Mechanical Engineers, who were there directly in support of the brigade’s motor transport – MT – in the field. Ascham’s team were, in essence, a mobile workshop, and here in the jungle they were absolutely essential. In this treacherous fighting terrain, Slim and others had recognized that, as far as was humanly possible, fighting units had to be as self-sufficient at the front as they could be. It was no good a number of Jeeps and trucks slogging their way down Slim’s new brick roads from Bengal, across the newly hewn Ngakyedauk Pass and down into the Kalapanzin Valley only to suffer a collapsed axle or need a new gasket and discover there was no means of rectifying the problem. This, then, was where Ascham’s seventy-five Indian Electrical Mechanical Engineers came in. Their task was to maintain the fighting capacity of the brigade’s MT.

The single most important piece in their armoury was their large, 3-ton, four-wheel-drive workshop lorry. It had a powerful winch at the front and a canvas roof over a mobile workshop behind. This was kitted out with an impressive array of equipment: there was a lathe, a vertical drilling machine, a workbench with vices, racks for heavy tools, oxy-acetylene welding equipment, battery-charging gear, a vat of sulphuric acid, hydraulic jacks, hoisting equipment to lift engines, transmission blocks and other heavy items, as well as awnings, which could be slung from the sides of the truck or between trees. This meant they could, in theory, repair pretty much anything right there, in the field. They also had five further 3-ton lorries, a large-capacity water tank, three Jeeps with trailers and a BSA motorcycle, which helped them little, but to which Ascham had become quite attached. One of the Jeep trailers had been made into a generator from the engine of a wrecked Jeep they had discovered and they used this to power their welding equipment or to provide lighting. A second trailer was used to store spare parts, while the unit also had office equipment, tents, tables, benches, cooking gear, and weapons, including rifles, a machine gun and grenades.

Ascham’s engineers were a disparate bunch of young men, drawn from all corners of India’s vast reach and including Muslims, Hindus and Buddhists. Although some twenty-two different languages were used throughout the country, they had all learned to speak just one, Urdu, and were bound by a different type of language: mechanical and electrical engineering. As their officer, Ascham had made sure he learned Urdu, and fluently too, which understandably gave him a closer bond with his men. They all looked much the same too, after long months working out in the heat and sun; while trousers and shirt sleeves were religiously worn during the evenings, no one bothered much about wearing shirts during the day and so all were tanned the colour of coffee and, of course, everyone wore the same uniforms of olive-drab khaki drill, black boots and – the few Sikhs excepted – black berets.

The hierarchy was easily absorbed: Ascham was the boss, but the Indian NCOs were also held in very high esteem. A jemadar was the equivalent of a warrant officer, a havildar of a sergeant and a naik the same as a corporal, and yet Indian NCOs were accorded a level of respect and status that was higher than their British Army counterparts. ‘You were taught to look up to them,’ noted Ascham. ‘In a way, they were the Indian Army. It could not possibly have functioned without them. They advised, discreetly. They handled awkward incidents, privately. Their personal loyalty to you and the unit was essential.’ It was a system that Ascham certainly believed worked brilliantly well, and he was both proud and fond of his men, who, despite their differences of background, culture, religion and language, were all bound by what he felt was a palpable sense of honour, loyalty and, almost above all, good humour. They would undoubtedly need it in the weeks to come.

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Polish Poets Explore Haiku

My latest compilation from Culture.pl includes an article by Agnieszka Warnke on Polish poets who explored Japanese haiku. Here are a couple pieces of it.

Poland, 1937, issue no. 46 of Wiadomości Literackie (Literary News) dedicated to Japanese culture. Somewhere amidst an article on the erotic life of a Japanese man, practical advice on ‘Dziudo i dziudziutsu’ (Judo and Jujitsu), and an advertisement for Mitsubishi, there are references to haiku that inform the reader that they are ‘17-syllable poems’ and that ‘from the initial stanza of renga, another variation later developed, which was called hokku or haikai’.

The Polish Haiku Association was established nearly 80 years later. In the meantime, several volumes of Japanese poems (not necessarily translated from the original) were published, as well as Antologia polskiego haiku (Anthology of the Polish Haiku), in which Ewa Tomaszewska included works inspired – sometimes unconsciously – by the poetry and aesthetics of the Far East. How did the most popular Japanese poetic form come into being, and how has it evolved?

Yamoto Dojū, an expert on the genre, argues that kigo [season words] is ‘the highest taste, the essence of poetry’. The most famous anthology of Japanese miniatures in Poland, translated by Żuławska-Umeda, is organised into four seasons. In 14th-century Japan, there were several indicators of the seasons, but by the 16th and 17th centuries, their number increased to 599, soon exceeding a thousand. There’s an extensive list of Polish kigo on the website of the Polish Haiku Association: spring is represented, for example, by molehills and hay fever, summer smells of chives and hay carts, the beginning of autumn is heralded by deer rutting and its end by a bent umbrella, while in winter the fur of mammals thickens and brightens, and flies become sluggish.

Numerous references to nature appear in the lyrics of Maria Pawlikowska-Jasnorzewska, and the topic of Orientalism in her poems has frequently been discussed by literary scholars. The poet does not restrict herself to a careful observation of nature. She animates and personifies it: in the volume Pocałunki (Kisses), the sky can become angry, and in Surowy jedwab (Raw Silk), the firmament freezes in terror. Comparisons to the masters of the genre are inevitable when reading her works. Take, for example, the frog glorified by Bashō (in Czesław Miłosz’s translation: ‘Stara sadzawka, / Żaba – skok – / Plusk’; in R. H. Blyth’s translation: ‘The old pond / A frog jumps in – The sound of the water’).

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