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Julian Bell

Julian Heward Bell (4 February 1908 – 18 July 1937) was an English poet associated with the Bloomsbury Group, the influential circle of writers, artists, and intellectuals that included his parents, painter Vanessa Bell and art critic Clive Bell, as well as his aunt, author Virginia Woolf.^[1]^[2] Born in London and raised partly at the family's Sussex farmhouse Charleston, Bell attended Leighton Park School before studying English at King's College, Cambridge, where he engaged with leftist politics and literary circles.^[3]^[4] His poetry, marked by modernist influences and themes of displacement and conflict, appeared in publications such as his 1930 collection Winter Movement and Other Poems, establishing him as the group's sole dedicated poet amid its visual and prose-heavy output.^[1]^[5] After graduating, Bell taught English literature at Wuhan University in China from 1935 to 1936, where he documented cultural encounters in letters home that evoked parallels to Bloomsbury's experimental ethos.^[6]^[4] Drawn to political activism, he volunteered as an ambulance driver for the Republican forces in the Spanish Civil War in 1937, seeking frontline involvement despite familial opposition; he succumbed to shrapnel wounds from an aerial bomb near Madrid.^[3]^[7]^[8] Bell's brief life encapsulated the interwar tensions between aesthetic privilege and radical commitment, leaving a legacy through unpublished manuscripts, family correspondences, and biographical accounts that highlight his restless intellect and untimely end.^[1]^[9]

Early Life and Family Background

Birth and Childhood

Julian Heward Bell was born on 4 February 1908 in London to Clive Bell, an art critic and author, and Vanessa Bell, a post-impressionist painter.^[10] His mother was the elder sister of writer Virginia Woolf, placing the family within an extended network of literary and artistic figures, though Bell's immediate upbringing centered on his parents' London home initially.^[11] In autumn 1916, amid World War I, Vanessa Bell relocated with her sons to Charleston Farmhouse in Firle, East Sussex, a rural property that became the family's primary residence for much of Bell's childhood.^[12] There, Julian, then aged eight, grew up alongside his younger brother Quentin (born 19 August 1910), in an environment marked by artistic experimentation, including painting and decorative arts integrated into daily life.^[13] The household dynamics reflected his parents' open marriage, with Vanessa maintaining a long-term relationship with painter Duncan Grant, who contributed to the farm's artistic transformation and later fathered Bell's half-sister Angelica (born 25 March 1918), whom the siblings regarded as a full sister during their early years.^[12] Bell's childhood involved typical rural activities interspersed with exposure to his parents' creative work, such as Vanessa's studio practice and Clive's periodic visits from London.^[11] No major documented health issues disrupted this period, though the family's unconventional structure—marked by absent conventional paternal oversight from Clive—fostered an independent streak in Julian from a young age.^[10] Summers often included stays at other family properties or coastal areas, reinforcing a pattern of mobility tied to artistic and familial obligations rather than formal travel.^[12]

Connection to the Bloomsbury Group

Julian Bell, born on February 4, 1908, to Vanessa Bell—a pioneering painter and core member of the Bloomsbury Group—and Clive Bell, the group's influential art critic and advocate of "significant form," inherited direct familial ties to the circle as its second-generation offspring. His maternal aunt, Virginia Woolf, connected him to its literary vanguard, immersing him from infancy in an environment of avant-garde aesthetics and intellectual experimentation centered around Bloomsbury's London squares and, from 1916, the Sussex farmhouse at Charleston. This setting, shared with Duncan Grant—Vanessa's artistic partner and frequent household presence—exposed Bell to collaborative painting sessions and domestic fluidity that embodied the group's rejection of bourgeois conventions.^[14]^[6] Bell's early years were shaped by interactions with Roger Fry, the art critic who, after organizing the Post-Impressionist exhibitions of 1910 and 1912, became a mentor to Vanessa and a proponent of formalist analysis emphasizing color, rhythm, and structure over narrative content. Fry's visits to the Bell household and his role in fostering Vanessa and Grant's decorative experiments likely instilled in the young Bell an affinity for visual abstraction, influencing his nascent poetic interests by blending sensory immediacy with intellectual detachment. The group's Thursday evening gatherings and ongoing debates on aesthetics, ethics, and sexuality further enveloped him, privileging empirical observation and personal authenticity over traditional moralities.^[15]^[14] This inheritance conferred cultural privileges, including proximity to progressive ideas on art and free expression, yet also imposed expectations of alignment with Bloomsbury's norms, which Bell later critiqued for their escapist tendencies and inadequate preparation for rigorous education. The circle's ethos of open relationships—manifest in Vanessa's ménage with Clive and Grant—normalized hedonistic pursuits and emotional candor, potentially fostering Bell's own exploratory inclinations while highlighting the group's detachment from wider political realities. Critiques of Bloomsbury's elitism, stemming from its upper-middle-class insularity and preference for private refinement over public engagement, underscore how such an upbringing could both enrich and constrain autonomy, as evidenced by the circle's general aversion to militarism amid rising European tensions. Bell's immersion thus represented both an artistic boon and a subtle pressure toward conformity, setting the stage for his eventual divergences.^[16]^[17]^[6]

Education and Formative Influences

Schooling at Eton and Early Interests

Bell attended Leighton Park School, a Quaker boarding institution in Reading, Berkshire, from approximately 1922 to 1926.^[10] This progressive yet disciplined environment, rooted in pacifist and egalitarian principles, contrasted with the bohemian unconventionality of his Bloomsbury family upbringing at Charleston Farmhouse, where intellectual freedom and artistic experimentation prevailed over formal structure.^[11] Despite the school's emphasis on moral and communal values, Bell chafed against its perceived rigidity, later describing it as akin to "Fascism" in its constraints, reflecting early personal rebellions shaped by his home influences.^[6] Academically, Bell did not excel in the classical curriculum typical of elite preparatory education, prioritizing independent thought over rote conformity. His time at Leighton Park marked the emergence of nascent poetic talents, with writings including essays, notes, poetry, and plays composed from school age onward, foreshadowing his later literary pursuits.^[18] These early efforts, preserved in archives, demonstrated an initial engagement with verse that blended personal introspection and social observation, uninfluenced yet by mature ideological commitments. Parallel to his literary inclinations, Bell developed early leanings toward socialist politics, influenced by the interwar era's economic upheavals and the post-World War I disillusionment shared by his generation. His divided interests in poetry and politics—evident even pre-university—stemmed from a uncertain navigation between aesthetic individualism and calls for collective reform, though full ideological alignment with communism crystallized later.^[19] This duality, nurtured amid the Quaker ethos of social justice but tempered by familial skepticism of orthodoxy, set the stage for his evolving worldview without yet propelling overt activism.

University Years at Cambridge

Julian Bell matriculated at King's College, Cambridge, in the autumn of 1927, following a preparatory year in Paris, to study English literature.^[20] ^[21] His time there marked a period of intellectual maturation, distancing himself from familial Bloomsbury influences toward independent rationalist inquiry and poetic experimentation. Bell engaged deeply with the university's intellectual elite, joining the Cambridge Apostles on 17 November 1928, a secretive discussion society emphasizing philosophical debate and personal truth-seeking. Through this group, he interacted with contemporaries fostering critical discourse, though his own views remained pragmatic rather than doctrinaire.^[10] At Cambridge, Bell honed his rationalist outlook, prioritizing empirical reasoning over ideological orthodoxy, while contributing to student literary ventures that amplified emerging voices. He played a central role in editing The Venture, a publication showcasing avant-garde poetry and prose among undergraduates.^[11] ^[21] This involvement nurtured his development as a poet attuned to modernist forms, yet grounded in first-hand observation rather than abstract theory. Socially, Bell formed key relationships, including a romantic liaison with Lettice Ramsey, a photographer and intellectual whose Cambridge circles intersected with his own, influencing his personal and aesthetic explorations.^[21] ^[22] Ideologically, Bell's university years seeded a shift toward socialism, shaped by discussions on economic inequality and political instability, though he eschewed rigid Marxism for a non-orthodox stance emphasizing individual agency.^[21] This formation prefigured his later anti-fascist commitments, rooted in rational opposition to authoritarianism rather than partisan allegiance, as evidenced by his aversion to dogmatic collectivism even amid rising European tensions.^[10] By graduation around 1930, these experiences had solidified Bell's blend of poetic ambition and pragmatic critique, setting the stage for broader engagements beyond academia.^[6]

Literary Career

Early Poetry and Publications

Bell's initial foray into published poetry occurred during his final year at Cambridge University, with the release of Chaffinches in 1929, a slim volume reflecting his student-era compositions.^[6] This was followed shortly by his debut full collection, Winter Movement and Other Poems, issued in 1930 by Chatto & Windus.^[23] ^[11] The publication through this press, rather than the Hogarth Press associated with his aunt Virginia Woolf, has been interpreted by some observers as an assertion of independence from familial literary circles.^[11] Prior to these volumes, Bell contributed verses to university periodicals, though specific pre-1929 appearances remain sparsely documented beyond archival holdings.^[23] A substantial body of early work exists in unpublished form, including schoolboy poems, drafts, and notes preserved in the Julian Bell papers at King's College, Cambridge, spanning from 1922 onward and offering glimpses into his evolving creative output through personal letters and manuscripts.^[24] Contemporary reception of Winter Movement included notices deeming it promising among youthful poets, yet sales figures were modest, consistent with the niche market for avant-garde verse in interwar Britain; no large-scale commercial breakthrough occurred, despite connections to the Bloomsbury milieu that facilitated initial exposure.^[21]

Themes, Style, and Critical Reception

Bell's poetry centered on naturalistic observations of the physical world, particularly landscapes and seasonal changes, rendered in traditional lyric forms that prioritized clear, empirical depiction over abstract symbolism or modernist fragmentation. Influenced by the Bloomsbury Group's emphasis on formal honesty and intellectual restraint, his work exhibited rationalist undertones, favoring precise sensory detail and causal sequences in nature—such as the mechanics of growth and decay—over unchecked romantic effusion. This approach aligned with a realist divergence from the era's more esoteric poetic trends, though elements of conventional romantic sentiment persisted in themes of love and transience.^[22]^[25] Stylistically, Bell employed accessible rhyme and meter, drawing from English pastoral traditions while avoiding the political didacticism of peers like Auden; critics observed a lyrical fluency but critiqued occasional derivativeness from earlier poets and immaturity in execution, evident in uneven tonal shifts and underdeveloped conceits. Later efforts, post-1930, experimented with neoclassical structures like the heroic couplet, yielding mixed results marked by forced archaism rather than innovation.^[22]^[20] Contemporary reception in 1930s literary circles offered modest acclaim for the lyricism and promise in Winter Movement, positioning Bell as a talented newcomer amid the Auden generation, though commercial sales lagged and some reviews highlighted insufficient depth or originality. Posthumous evaluations in biographical studies, such as Stansky and Abrahams's 1983 analysis, affirm his strengths in evocative naturalism while attributing limitations to youthful inconsistency and abrupt cessation of output, rendering his body of work a footnote of unrealized capability rather than enduring influence.^[26]^[10]

Travels and Personal Development

Teaching in China

In October 1935, Julian Bell arrived in Wuhan to take up a position as professor of English at Wuhan University (also known as National Wuhan University), where he taught English literature to Chinese students.^[27]^[10] His tenure coincided with heightened Sino-Japanese frictions, as Japan's occupation of Manchuria since 1931 fueled nationalist resentments and preparations for broader conflict, though Wuhan itself remained inland and relatively insulated from immediate coastal threats.^[6] Bell's classroom duties involved navigating cultural and linguistic barriers, emphasizing canonical English texts amid a student body grappling with modernizing reforms and anti-foreign undercurrents inherited from the May Fourth Movement.^[11] Bell's immersion yielded direct observations of Chinese society, including its landscapes, urban centers, and rural hardships, which he documented in letters home; he acquired basic proficiency in the language and embraced physical pursuits like hiking to counter the enervating subtropical climate.^[28] These encounters tempered his Bloomsbury-influenced aestheticism with pragmatic realism, prompting critiques of Western complacency toward colonial legacies without endorsing romanticized Eastern exceptionalism or ideological dogmas like Marxism.^[6] Discreetly, he formed a romantic liaison with Ling Shuhua, a married Chinese author and wife of his colleague Chen Xiying, conducted amid the university's insular expatriate circles and navigated with mutual caution to avoid scandal.^[29] By January 1937, Bell departed China for England, carrying empirical insights that refined his worldview—highlighting inefficiencies in both imperial exploitation and nascent revolutionary fervor—yet reinforced his aversion to abstract theorizing in favor of firsthand causal analysis of societal dynamics.^[28] His Wuhan stint marked a pivot toward greater political engagement, informed by tangible encounters rather than inherited leftist sympathies, though he remained skeptical of uncritical admiration for non-Western systems.^[6]

Relationships and Ideological Shifts

Bell's romantic involvements during his time abroad reflected the Bloomsbury Group's ethos of sexual openness, yet often revealed personal emotional constraints and contributed to his evolving self-understanding. In China from 1935 to 1937, he engaged in an intense affair with Ling Shuhua, a married writer and wife of his colleague Chen Xiying, which unfolded amid cultural and social barriers. The relationship, marked by passion but eventual discovery by her husband, led to Bell's professional dismissal from Wuhan University and his departure for Europe in early 1937, prompting a turn toward introspection and preoccupation with escalating European conflicts.^[30] This entanglement, characterized by what biographers describe as underlying emotional reluctance in his pursuits, underscored a pattern of hesitant commitment amid Bloomsbury-influenced experimentation, fostering disillusionment that paralleled his broader detachment from insular liberal circles.^[20] These personal experiences intertwined with Bell's ideological evolution, as exposure to global unrest eroded the pacifist inclinations inherited from his family's Bloomsbury milieu. Initially aligned with the group's aversion to militarism, Bell participated in a large anti-fascist demonstration in London's Hyde Park on September 7, 1934, signaling early divergence toward active opposition.^[31] By 1936, he articulated a decisive shift, arguing that "to be anti-war means to submit to fascism, to be anti-fascist means to be prepared for war," rejecting passive restraint in favor of direct confrontation with authoritarian threats.^[22] While harboring socialist sympathies—evident in his critiques of fascism as tied to economic tyranny—he spurned organized Marxism, viewing it as doctrinaire and disconnected from pragmatic anti-fascist exigencies, preferring independent engagement over partisan alignment.^[20] Family dynamics amplified tensions between Bell's privileged background and his risk-prone commitments, with his parents, Clive and Vanessa Bell, actively opposing his ventures into peril. Upon learning of his plans to join the Republican cause in Spain in 1937, they implored him to reconsider, citing the dangers and his obligations as heir to their artistic legacy.^[10] This friction highlighted a causal rift: Bell's travels and liaisons abroad had intensified his sense of detachment from familial pacifism and aesthetic detachment, driving him toward ideological action as a means of authentic self-assertion against the perceived complacency of his upbringing. Vanessa's subsequent grief underscored the unresolved privilege-commitment divide, as Bell's choices prioritized causal confrontation with fascism over inherited security.^[32]

Involvement in the Spanish Civil War

Motivations and Departure for Spain

Julian Bell's decision to travel to Spain in 1937 stemmed from a combination of recent experiences in China, where he had witnessed the Japanese invasion and its disruptions, and a broader intellectual commitment to opposing fascism, rather than adherence to a rigid political ideology.^[33] Returning to England in spring 1937 after 18 months teaching in Wuhan, Bell viewed the escalating Spanish Civil War—triggered by the July 1936 military rebellion against the Republican government—as an opportunity to engage directly against what he perceived as fascist aggression, drawing parallels to the threats he had observed in Asia.^[22] His motivations emphasized practical action over doctrinal purity, reflecting a belief that personal involvement in conflict could sharpen his worldview and poetic sensibilities, though this romanticized view overlooked the Republican faction's internal divisions, including violent clashes between anarchists and communists, and reliance on Soviet military aid amid limited Western support.^[34] Despite initial intentions to join the International Brigades as a combatant, Bell arranged to serve as an ambulance driver through the Spanish Medical Aid Committee, a noncombatant organization accredited for humanitarian efforts, departing England on June 6, 1937, and reaching Spain with co-driver Richard Rees by June 13.^[10]^[35] This compromise masked his underlying eagerness for frontline exposure, as evidenced by his subsequent pursuit of combat roles, prioritizing experiential intensity over the aid unit's nominal restrictions.^[26] Bell's parents, Clive Bell—a known pacifist—and Vanessa Bell, along with aunt Virginia Woolf and friends like David Garnett, mounted strenuous efforts to dissuade him, arguing that his literary talents warranted domestic political activism instead of risking death in a chaotic foreign war marked by foreign interventions and Republican disunity.^[10]^[2] These appeals, including Garnett's visit to the family home at Charleston, failed to sway him, underscoring Bell's independent resolve amid familial pacifism and the war's grim realities, where even noncombatants faced high casualties from aerial bombardments and ground assaults.^[14]

Ambulance Service and Combat Death

Bell arrived in Spain on June 6, 1937, as a driver for the British Medical Aid Unit, agreeing to a non-combatant role transporting wounded personnel near Madrid.^[10] His unit operated in support of Republican forces during the ongoing siege of the capital, where ambulance drivers faced risks from aerial bombardment but were barred from frontline combat under the terms of his enlistment.^[10] The Battle of Brunete, a Republican offensive launched on July 6, 1937, to relieve pressure on Madrid by capturing villages to the west, drew Bell's unit into intensified action around Villanueva de la Cañada.^[10] Despite his designated support duties, Bell pursued opportunities for closer involvement, including road repairs to enable ambulance advancement amid disrupted supply lines.^[3] On July 18, 1937—the first anniversary of the war's outbreak—a German Luftwaffe bombing targeted the area where Bell was repairing a road for his ambulance unit's forward movement.^[36] Struck by shrapnel, he sustained a severe lung injury, with fragments penetrating his chest.^[10] Evacuated to a military hospital at El Escorial near Madrid, Bell was treated by Dr. Archie Cochrane, who noted him arriving conscious and initially optimistic about recovery, though he soon lapsed into coma from blood loss and organ damage; he died later that day without regaining full awareness.^[36]^[10] Bell's six-week tenure precluded substantive engagement with Republican internal dynamics, such as emerging factional tensions between communists and anarchists, limiting his activities to medical aid logistics under bombardment.^[10]

Legacy and Posthumous Assessment

Biographies and Family Memoirs

Virginia Woolf and Vanessa Bell, Julian Bell's aunt and mother respectively, penned memoirs shortly after his death in July 1937, offering firsthand family recollections of his childhood, education, and personality within the Bloomsbury milieu. These documents, composed amid profound grief, prioritize affectionate anecdotes—such as Bell's precocious intellect and rebellious streak—over detached analysis, potentially amplifying emotional distortions like idealization of his idealism while downplaying familial tensions or inconsistencies in his character.^[16] Woolf's contribution, for instance, emphasizes Bell's literary promise and familial bonds, drawing from diaries and letters, yet reflects her own psychological strains, including fears of hereditary mental fragility shared across the Stephen siblings.^[16] Vanessa's account similarly highlights maternal pride in his artistic leanings inherited from her, but archival cross-references reveal selective omissions, such as his strained relations with father Clive Bell.^[16] Subsequent scholarly biographies provide more systematic treatments, grounded in broader archival evidence. Peter Stansky and William Abrahams's 1966 work, Journey to the Frontier: Julian Bell & John Cornford: Their Lives and the 1930s, contrasts Bell's trajectory with fellow poet John Cornford's, utilizing letters, university records, and eyewitness accounts to document his evolution from Cambridge intellectual to Spanish combatant, while noting the era's ideological ferment without uncritical endorsement.^[37] The authors access Bloomsbury papers to reconstruct Bell's personal conflicts, including romantic entanglements and political radicalization, but acknowledge limitations from destroyed or withheld documents.^[38] Stansky's 2012 monograph, Julian Bell: From Bloomsbury to the Spanish Civil War, expands on these foundations with deeper dives into private correspondence and Vanessa Bell's studio archives, yielding precise details on Bell's 1935–1936 China tenure and pre-war ambivalence toward communism.^[1] This account tempers family narratives by integrating critical perspectives, such as Bell's pragmatic motivations for enlisting—partly financial and adventurous—over pure altruism, evidenced by his ambulance-driving preference before frontline insistence.^[1] Yet, Bell's death at age 29 curtails primary sources, forcing reliance on secondary recollections prone to Bloomsbury's self-mythologizing, which later biographers counter with external validations like Spanish Republican dispatches confirming his July 18 wounding and demise from shrapnel.^[1] No comprehensive family memoir beyond the 1937 pieces exists, underscoring gaps in post-war kin accounts that avoid hagiography by prioritizing verifiable chronology over eulogistic flourish.^[16]

Evaluations of Life and Work

Julian Bell's poetic output has garnered modest recognition, primarily for competent nature verse and observations of rural life, but lacks the innovative impact or enduring influence associated with contemporaries like W.H. Auden or Stephen Spender.^[2] ^[22] His 1930 collection Winter Movement received some favorable notice, yet his turn toward traditional heroic couplets and rejection of modernist obscurity—critiquing T.S. Eliot as a "symbolic enemy"—has been viewed as a retreat from contemporary vitality, limiting his literary footprint.^[22] Virginia Woolf, his aunt, expressed relief post-mortem that, despite his "admirable good sense & observation," he was "no poet," a judgment echoed in assessments attributing greater interest in his work to Bloomsbury affiliations than intrinsic merit.^[22] ^[26] Bell's life invites critique for channeling interwar idealism into high-risk action that clashed with the Bloomsbury ethos of aesthetic detachment and inner exploration, which he himself derided as "mysticism, fantasies, escapes into the inner life."^[6] His insistence on joining the Spanish Republican cause, despite entreaties from figures like E.M. Forster, Stephen Spender, and family members to prioritize domestic political engagement or safer contributions, underscores a perceived naivety in equating anti-fascism with personal combat readiness.^[26] ^[22] Vanessa Bell argued that the young could aid more effectively without sacrificing themselves, a view framing his ambulance role—even as a compromise—as an unnecessary gamble amid a conflict marked by strategic missteps, such as the Brunete offensive deemed a "strategic irrelevance" by historian Paul Preston.^[22] Posthumous reappraisals position Bell as emblematic of radicalism's perils in the 1930s, where fervent opposition to fascism overlooked the Republican faction's internal brutalities, Stalinist purges among international volunteers, and the war's mutual atrocities, rendering his death less a noble martyrdom than a "terrible waste" of untapped potential in poetry and scholarship.^[2] ^[22] Biographers note his biography's eclipse of his verse, transforming a struggling poet into a war casualty whose "poetic persona" dissolves under the weight of familial tragedy and ideological fervor, cautioning against romanticizing such interludes without accounting for their causal follies.^[26]

References

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Julian Bell | Stanford University Press
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Jul 2, 2012 · Bell was the son of painter Vanessa Bell and nephew of Virginia Woolf. In a sense, he was a child of Bloomsbury, that group of artists that ...
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Julian Heward Bell (1908-1937) was an English poet and the son of Vanessa Bell and Clive Bell. He was educated at King's College, Cambridge and, in 1935 ...Missing: facts | Show results with:facts
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Julian Bell, the nephew of Virginia Woolf and son of Vanessa Bell, wrote to his mother about a Chinese literary and artistic coterie which reminded him of home.
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Julian Heward Bell (1908-1937) - Find a Grave Memorial
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A mainstay of Bloomsbury's 'Thursday evenings' and an important figure within the Bloomsbury circle, he also introduced his cousin Duncan Grant to the group.
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From 1911, when they became close friends, Vanessa Bell, Duncan Grant and Roger Fry often worked together painting the same things. ... Julian Bell, Essays, Poems ...
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Bloomsbury allusions to Roger Fry, E. M. Forster, and Desmond MacCarthy were left out along with Julian's criticism of Bloomsbury's attitudes toward education.
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Sep 11, 2017 · The Bloomsbury artists had an undeniable tendency to intense snobbery and cultural elitism, qualities for which they've been roundly derided.Key Ideas & Accomplishments · The Borough Polytechnic... · Art Theory And CriticismMissing: pacifism hedonism
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[PDF] Articles
Jun 28, 2024 · The internationalist and anti-fascist song “Defense of Madrid” responded to and explored the activism of left-wing literature during the war.
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Bell, Julian - Universität Zürich
Bell, Julian. China diary. In : The papers of Julian Heward Bell. Cambridge University, King's College Archive Centre. http://www.nationalarchives.gov.uk ...
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The Paths That Led From China - STANFORD magazine
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Ling Shuhua - Wikipedia
While at Wuhan University, Ling met Julian Bell in 1935 when he was temporarily an English teacher in China. ... love affair while Ling was still married.
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Nov 11, 2015 · ... Julian Bell had recently told his mother of his intention to fight in Spain. ... Vanessa Bell was inconsolable with grief at Julian Bell's death.Missing: opposition | Show results with:opposition
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'Shanghai-Madrid Axis'? Comparing British Responses to the ...
Sep 20, 2012 · ... Spain, China and British anti-fascism concerns the LBC. The ... Conversely, Julian Bell, who had recently returned from China when he ...
[36]
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[38]
Archie Cochrane - Spartacus Educational
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