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    By Anne Booth

    (Post by Marie-Louise Jensen)



    Jessie is excited when her gran gets a white Alsatian puppy, but with Snowy's arrival a mystery starts to unfold. As Jessie learns about Nazi Germany at school, past and present begin to slot together and she uncovers something long-buried, troubling and somehow linked to another girl and another white dog…
    Family troubles, dementia, a longed-for pet and a mysterious past: I wasn't far into this book before I began to realise there were many layers in the narrative and that the way the tale was unfolding was unusual but exciting. The writing is gentle, warm and caring.

    When Jessie's grandmother begins to have episodes of forgetfulness and fear and to say things that make no sense to her family, Jessie becomes afraid for her. Strangely, the things she is saying begin to link uncomfortably with Jessie's aunt, who blames immigrants for all the troubles in the area, with the brick that is thrown through Mr Gupta's village-shop window and with an attack on the young man with Down's syndrome. Her grandmother's condition also seems to coincide with her unexpected acquisition of a white puppy for whose safety she is irrationally afraid.
    Jessie grows curious about her grandmother's past, which no one in her family knows anything about. This becomes especially important when Ben's grandmother visits the school to talk about Nazi Germany as part of a history project. Eventually she decides to look through her box of photos and letters which Snowy has found and chewed.
    All the threads in the story are linked and connect past and present. The tale is a lesson in remembering the past and making sure it doesn't repeat itself horribly in the present. My favourite line, without doubt, and the main message I myself will take from the book is in the very last section: "a story [...] is being told that we believe in [ ... ] But we have not checked who is telling it."
    Do we always think about who is telling us something and what their agenda might be? If we don't, we should. Otherwise we are easily manipulated.
    Jessie tells us this is a fairy tale, and like all fairy tales it begins by being sad. And you have to make up your own mind about whether the ending is happy or sad. It may be different things to different readers.

    It’s difficult to pinpoint an appropriate reading age for this book. It seems to be set in secondary rather than primary school, as the subjects are divided and taught by different teachers. The voice is young and the writing highly accessible. The subject is upsetting in places but always gently told and never graphic. My feeling reading it was that a child would understand the story on different levels depending on their age and would draw an age-appropriate message from it. There is plenty here for an adult reader too, especially those readers who aren't all that familiar with the Third Reich - and anyone who enjoys a sensitively-told tale, beautifully written.

    With thanks to Catnip Books for a review copy.

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    This post came about because I was reading a memoir by Mikey Cuddihy about her childhood, orphaned at 9 and uprooted from her New York family and sent away to the alternative school in Suffolk, Summerhill, in the 1960s. It's called A Conversation About Happiness and it's a lovely read by the way. Anyway, in the book Mikey recounts the parcels from other students' parents containing girls' comics - Bunty and Judy - and how they were passed round and devoured even though much of what happened in them, boarding school punishments  and the like were foreign to Summerhill students.

    This got me thinking. What strange beasts those comics were. I think most of them staggered on into the 1980s desperately trying and failing to re-invent themselves. I read them in the late sixties at my friend Sheila's house. Her older sister Jean got them every week, and not having English parents myself they offered a window onto - for me at least - an equally foreign world.

    What I remember most of all is the thick strand of masochism - Wee Slavey always toiling away for the upper classes and being treated horribly. Ballerinas beaten by evil dancing instructors (of both sexes by the way),  and also The Four Marys who never suffered quite so horribly but who had incredibly weird and strange haridos presumably so readers could identify one from the other. When you compare them to the American Comics that I can remember from the period, Archie, Richie Rich, there was none of that out and out suffering, that know your place Englishness going on at all.



    There were ponies and dancing and orphanhood and ghosts - quite a bit of seeing things and psychicness  (although having since done a bit of research rather than just remembering, this was Misty, the horror themed comic)- the odd tomboy - modelling, air hostesses, and plenty of suffering.

    It was in these pages I learnt what a Bobby Dazzler was - she was Roberta on the cover of Judy. And how it was to be a boarding school girl even though I lived in a terrace house in North London. But most of all I learnt that to be a girl which always seemed involved a veil of tears and knowing one's place and of course, naturally, you had to be white. Luckily since I wasn't I knew that the world I read about was one that didn't apply to me.


    Catherine Johnson's latest book is Sawbones published by Walker books.




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    Why children, I wonder?   

    On Monday, I went to the Victoria and Albert Museum to see the Shakespeare Puppet show mentioned by Louisa Young in her History Girls “Fear of Puppetry Overcome” post a few weeks back.

    I took two children - 7 & 10 - and the noon-time show was the first public performance. 

    As well as displaying and demonstrating different kinds of puppets, the script was cleverly woven through with lines from Shakespeare’s great plays to introduce his phrasing and poetry, and very enjoyable it all was.

     
    However, the quantity of very small children in the audience set me thinking. Why, here in England, are puppets almost always seen as something for young audiences? Even those magnificent Warhorse puppets – like the horse on display in the V&A Theatre Gallery – originated in a story written for children.

    I started wondering whether this attitude had any historical link. Might our national response to puppets go back to the Reformation,and the destruction and defacing of so much religious statuary and images? Did that great ferment turn all forms of images into suspicious objects, especially any used in processions or plays and likely to deceive souls by seeming "alive"? 


    Did whatever puppets existed back then – in whatever was street theatre or as part of mystery plays -  become deceits of the devil and casualties of the Puritan view? Or were puppets far too close to  the venerated icons and miraculous statues of enemy Papist practices, and all those other suspicious customs of “foreigners”?  

    (European puppet companies still have a tradition of producing shows for adults as well as for children, and many other world traditions are intended for all ages.)


    Would the fear of witchcraft or, worse, accusation of witchcraft, make people shun puppets in case such objects were seen as evidence of their crimes?  Were children's "poppets" and "babies", used to encourage mothering skills, seen as innocent when puppets themselves were not?

    And if so, does that mean that Henry VIII, Good Queen Bess and Old Noll killed the English love of puppets? Note: I'm just wondering here. I don’t know, not yet. Do you?

    However puppets are still around, hanging on at the edge of our culture.  We still have Punch and Judy shows, even though the rascal originated in Italy. Occasionally, the art of puppetry resurfaces in the theatre, or on our televisions whenever Spitting Image's satirical caricatures become newsworthy.


    We still have human puppets like the “’Osses” of the mumming tradition, and speaking dolls like the ventriloquist’s dummy. Sometimes whole communities get involved with puppets: the town of Skipton has a bi-annual puppet festival and procession, next due in 2015, and not so long ago a huge Elephant puppet paraded through London to great audiences and acclaim.  


    Even so, I bet any publicity about a puppet show will be – unless there are very explicit warnings - read and seen as “for children” - and very little children at that.


    By the by, I once read that the violent destruction of so much religious art during the Reformation created such intense trauma that English visual tradition ceased. The main means of expression shifted towards words, which brings me very back nicely to the glory of Shakespeare’s language and that V&A puppet show.





    Penny Dolan
    www.pennydolan.com

    ps. I'm rather fond of puppets and created an old Punch and Judy man as an important character in my children's novel. A Boy Called M.O.U.S.E. (Bloomsbury)


    ,



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    So begins The Walking Song, composed by Bilbo Baggins and sung in J.R.R. Tolkien's Hobbit and sometimes in the Lord of the Rings. They do a lot of walking in both, so a walking song must have come in handy. Both books are quests and quests often involve a lot of journeying, often on foot, sometimes on horseback. Quests never seem slow moving, although the characters might move slowly. That is because being on the move allows things to happen. Journeying allows the characters to have new experiences; to learn more about the world and about themselves. 

    Quests and journeying are most often associated with fantasy but they are the mainstay of all kinds of fiction. If you want things to happen, send your main character on a journey, voluntarily, or not. If they don't want to go, have them kidnapped.

    I often take my characters on journeys. It gets them out of the house, out of their comfort zone, puts them on their mettle, presents them with new challenges, new places to see and new characters with whom they can fight or fall in love. In Witch Child, Mary goes to America and then off into the wilderness in Sorceress,. In Pirates! Nancy leaves Bristol for the West Indies and in the company of her friend Minerva, she sails the seven seas. In Sovay, the eponymous heroine journeys first to London and then to Paris.  In The Fool's Girl, Violetta travels from Illyria to London. I don't write about stay at home kind of girls.

    Sending your heroines (or heroes) on journeys demands a certain kind of research: modes of travel (beyond shanks's pony), travel times - how long to x from y using z transport, where to stop on the way.  This, in turn, leads the writer to a certain kind of writing, in particular travel journals. It is always best to read a contemporary account of the kind of journey that you want your character to make if said account is available, particularly if it is written by an excellent writer, as these accounts often are. Daniel Defoe's  A Tour Thro' The Whole Island of Great Britain, Divided into Circuits or Journies , for example, or Through England on a Side Saddle in the Time of William and Mary, Being the Diary of Celia Fiennes

    Memorial to Celia Fiennes
    Even if the intrepid traveler is not an exact contemporary of your fictional character, I always reason that, until quite recently, travel didn't change markedly for quite long periods of time. Fifty years here or there doesn't make a whole lot of difference. The detail and insights such writers provide are far more important than a slavish adherence to dates.




    Research has introduced me to a whole new area of literature and one I have come to thoroughly enjoy, especially since I don't have to stir from chair or study to have the most fantastic adventures, visit places, landscapes, cityscapes, even countries that are not there any more. Books like Rebecca West's Black Lamb and Grey Falcon, her account of her travels in Yogoslavia before the Second World War, or Patrick Leigh Fermor's A Time of Gifts and Between the Woods and the Water where he describes his journey on foot from the Hook of Holland to Constantinople, allow us to time travel, which is what the writer of historical fiction wants to do most of all.


     Books like these, or Robert McFarlane's The Old Ways make me want to pack an old knapsack like Bilbo Baggins and be on my way, off to find my own adventures, but if that's not possible,  and it rarely is, then reading about someone else doing it is the next best thing. The other best thing is writing about it: taking the journey in your own head, with someone like Patrick Leigh Fermor or Celia Fiennes guiding your every step.

    Does anyone else have favourite travelling companions of a literary kind?



    Celia Rees

    www.celiarees.com




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    Image Copyright Scarpa

    John Muir, considered to be the founder of the world’s National Park movement, is one of my big heroes.
    He was born in Dunbar on the east coast of Scotland, where you can visit his home and museum, and there is also a rather lovely statue of him on the main street of the town. 

     
    His family left Scotland when he was eleven years old. They moved to Wisconsin, and it was in the USA that he was particularly active in his conservation work.Although he lived over a hundred years ago he recognised the potential destructive force of increasing industrialisation 
    and actively campaigned to preserve the natural landscape. 

    He is widely revered in the USA as the founding father of their National Parks. I visited the John Muir Park just outside San Francisco, home of some stunning redwood trees
     
    Image Copyright Scarpa


    Image Copyright Scarpa

    An inventor, naturalist, artist, mountaineer, geologist, glaciologist and writer, John Muir spent his life exploring wild places and it is due to his efforts that there are still a lot of wild places left for us to enjoy.

    2014 is the 100thanniversary of his death and to help young people develop a deeper understanding and awareness of the natural environment a graphic novelJohn Muir, Earth – Planet, Universe has been published by Scottish Book Trust

    The novel, based on the key moments and life adventures of John Muir, is illustrated by artist William Goldsmith and written by award-winning author Julie Bertagna. 

    Julie Bertagna is the perfect fit to be the author of the book. Passionate about the environment, she wrote the hugely popular trilogy of books - Exodus, Zenith, and Aurora - about a future flooded world.


    When I asked her about writing the John Muir book Julie said:


    There's a lot of appeal for children today in the story of a Scottish boy from Dunbar who grew up to be a world famous global explorer and adventurer -  an American hero who ended up on stamps and coins, with all sorts of places and things named after him, from mountains to millipedes.

    As a youngster, John was a real wild spirit who escaped every moment he could from schoolwork and Bible studies to roam outdoors, getting into scraps and all sorts of mischief. Dunbar is where his love of nature began so we've included funny, quirky stories from his early life that proved a real hit with when we trialled the book in schools across Scotland.

    Young people today are deeply interested in the future (as seen in the current craze for dystopian, futuristic books and films, including my Exodus trilogy about an environmentally-devastated world) and as the first modern environmentalist John Muir speaks to them about the kind of world they want - and don't want - to live in.

    My aim was to tell John Muir's story in a lively and page-turning way, combining powerful images (by illustrator William Goldsmith) with Muir's own words that would resonate with a young audience - the head-spinning idea that they are citizens of the universe, spinning through space with all the other planets and stars, and as the up-and-coming new caretakers of the Earth, its future soon will be in their hands.


     Another major event of the anniversary year will be the opening of the John Muir Way on the 21stof April. Stretching from his birthplace in Dunbar, through Scotland’s first National Park at Loch Lomond and the Trossachs, to the River Clyde and Helensburgh, it carves a path through the splendid scenery of central Scotland.  

    There’s a whole John Muir Festival going on just now with walks conducted by the Ramblers Association plus a street ceilidh and firework festival finale at Loch Lomond on the evening of 26thApril.

    See you there!  


    NOTE: There will also be an accessible pdf version of John Muir, Earth – Planet, Universe available to download from www.scottishbooktrust.com/johnmuir
    as well as teaching support notes and pupil activities which accompany the book.

    Images and Photographs Copyright:  © SCARPA
    Book Covers via publishers

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    Marie-Louise Jensen: Today on the History Girls blog, I'm pleased to introduce Anne Booth, author of Girl With A White Dog, which I reviewed here on the 15th of this month. Anne has written a fabulous guest post for us today. Welcome, Anne!


    Anne Booth: I feel very honoured to have been asked to write something for this blog, as I have been following it and enjoying it for ages, and I was very proud that my debut book ‘Girl with a White Dog’ was reviewed on it last week, and loved what was said about it. Thank you so much!

    I was wondering what I could say for this post, and I thought I might write about my research and influences. I thought I would start with a quote that frequently came into my head during the research for ‘Girl with a White Dog’, and I think, motivated my story telling.

    1) ‘Those who do not learn from the past are doomed to repeat it.’

    I realised when I started writing this post that I still wasn’t sure who wrote it, and whilst trying to find out just now, discovered that it has been attributed to a number of people, including Winston Churchill. However, (and I trust ‘The History Girls’ to put me right if this is incorrect) it seems to be by Edmund Burke (1729-1797) whose work I remember reading when I was at university 30 years ago.

    http://www.goodreads.com/author/quotes/17142.Edmund_Burke

    Looking at the other quotes from him, I realise that other things he said may well have lodged in my unconscious and have also driven my story, like:

    2) ‘The only thing necessary for the triumph of evil is for good men to do nothing.’

    This seems to be a very apt quote for anyone looking at the rise of Nazism, and is something I believe to be true in life in general, and in particular in reference to the way the disabled and the sick, immigrants and ‘the other’ are being treated in our nation today. I read about the rise of ant-semitism and the far right in Europe, the links that ‘nice’ UKIP have with far right groups in the European Parliament, and I worry.

    I see now that I practically paraphrased this following quote at the end of ‘Girl with a White Dog’:

    3) ‘Nobody made a greater mistake than he who did nothing because he could do only a little.’

    I know that I can easily get overwhelmed when I read about bad things happening and think that things are hopeless, and remembering that quote, though forgetting who said it, has helped me over the years to avoid despair. So I have Ben’s grandmother on page 124 of ‘Girl with a White Dog’ telling the children

    ‘Please, do not despair. Do not think that kindness is worthless, or because you cannot do everything, you should do nothing.’

    So here are three quotes which I probably first read 30 years ago, when I was past my childhood, by a man whose name I had forgotten, and which seem to have helped form my attitude to the past and its relevance to the present. I had never realised how influential Edmund Burke’s thoughts have been on my life and perhaps I should have acknowledged him at the back of ‘Girl with a White Dog’ ! I have to be careful though. I can’t remember what else he wrote, and I want to re-read him to see if I agree with everything else he said. I don’t want to say Edmund Burke has been a major influence on my life until I find out more about him!

    Steve Biddulph, the educational psychologist, on page 4 of his excellent book ‘The Secret of Happy Children’ says that

    '...hypnosis is an everyday event. Whenever we use certain patterns of speech, we reach into the unconscious minds of our children and program them, even though we have no such intention......’

    He says

    ‘Parents, without realising it, implant messages in their child’s mind, and these messages, unless strongly contradicted, will echo on for a child’s lifetime.’

    (I give you the Amazon link as you can look inside and read the first pages. It is an excellent book which I strongly recommend getting from wherever you get your books from!)

    http://www.amazon.co.uk/Complete-Secrets-Happy-Children-Parents/dp/0007161743/ref=sr_1_1?s=books&ie=UTF8&qid=1397823049&sr=1-1&keywords=the+secret+of+happy+children

    Imagine then, the power of words explicitly taught to children in Nazi Germany as they were growing up, as illustrated by a display of Nazi textbooks and toys at the Jewish Wiener Library in London. This exhibition had a major influence on my book.

    http://www.wienerlibrary.co.uk/Nazi-Childrens-Books


    Dr. Lisa Pine’s wonderful history books ‘Education in Nazi Germany’

    http://www.amazon.co.uk/Education-Nazi-Germany-Lisa-Pine/dp/1845202651

    and ‘Nazi Family Policy’

    http://www.bloomsbury.com/uk/education-in-nazi-germany-9781845202651/


    were vital for my research, and I consciously drew on them for Chapter Fourteen of ‘Girl with a White Dog’, when Ben’s Gran is telling the children about what it was like growing up in Nazi Germany. I actually saw a copy of the poodle-pug-dacshund-pinscher book mentioned by Ben’s Gran, in the Wiener Library exhibition.

    So, in my unconscious were (amongst other things!) quotes from Edmund Burke, and I consciously set out to read as many history books as I could about what it was like to grow up in Nazi Germany. I read political history, social and economic history, and books based on oral history. I watched documentaries and films. I read as many children’s books - fiction and non-fiction- about the war as I could, including some reviewed on this very blog. I have an M.A. in Children’s Literature from Roehampton Institute, where I studied part-time from 1993-95; I first studied German fairytales and first learnt about Bruno Bettleheim’s book ‘The Uses of Enchantment’ on that course.

    I went to Germany and to Dachau itself. I visited the concentration camp. I went to Dachau town and (with the help of my German-speaking friend ) talked to people in the Art Gallery. I prayed in a Catholic church in Dachau, and wondered about my fellow Catholics who prayed there during the war, and their feelings about the concentration camp on the outskirts of their town, and the starving prisoners they saw marched through their streets. Did they feel guilty? Powerless? Would I have done anything if I had been in their position?

    There were other, even more fundamental influences that guided how I told the story and related to the History.

    Things like the fact that I am myself the daughter of immigrants, and have found myself present in conversations where people are criticising immigrants in front of me, taking it for granted that I am English for generations back. And that makes me feel worried. I try to always challenge them, but it doesn’t take much imagination to think ‘what if I was a German Jew in Nazi Germany, and the government was explicitly telling my neighbours over and over again for years and years that I was the cause of their troubles? How long would neighbourliness last under such sustained propaganda? When would challenging such talk be infinitely more dangerous than risking simply creating an embarrassing pause in a conversation?’

    l also found myself asking - ‘what if I wasn’t a German Jew at all? What I was an Aryan German in Nazi Germany, and if I questioned the government I could be punished? Would I have found relief in blaming my family’s problems on others, whilst knowing I was regarded as blameless and ‘hard-working?’ I must at least acknowledge that I would be tempted. I am not a rebel by nature.

    And then, now, looking at our nation’s economic difficulties, I see in our headlines today the same tendency to blame the outsider. We have the same rhetoric we saw in the early years of the Nazis - respectable people against scroungers, nationals against immigrants, We are constantly being told that we are being bled dry or cheated by sections of our own people - we have headlines about people pretending to be disabled, or lying or cheating, or simply about the cost of looking after the elderly and the sick, and how our health service cannot sustain this, whilst we can still afford to pour vast amounts of money into weapons.

    And so in my story I have Jessie and her Aunt Tess soaking this propaganda up, hypnotised by the stories we are being told by our press and politicians.

    But because I don’t want to despair, or cause others (especially children) to despair, I want to go back to Steve Biddulph and Edmund Burke.

    I want to remind us of what Steve Biddulph, the educational psychologist says:

    ‘Fortunately...hypnosis can be countered if the subject becomes aware of the process.(p.4)

    and in the light of that I want to re-present Edmund Burke’s saying as

    ‘Those who learn from the past are freed to not repeat it.’

    I really hope and pray that the way history is dealt with in ‘Girl with a White Dog’ will help readers - child or adult- be more aware of when they are being manipulated or hypnotised, and to be able to stop past terrible mistakes being repeated in the present and future.

















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    Gerorge I, King of Great Britain and Ireland, Elector


    Britain is going 18th century crazy. I know that because I read it in The Times. 

    We have good reason to take this chance to pay a bit more attention to this crucial and often over-looked period of British history. 2014 marks the 300th anniversary of the Hanoverian Succession when the British Crown, after doing a surprising number of back-flips through the family tree and landing on the lap of Sophia, Electress of Hanover, slid thence onto the head of her eldest son Georg Ludwig, who became George I on the death of Queen Anne. 


    Just to confirm how important this is, Lucy Worsely is presenting a series on BBC4 about the Georgians starting on 1 May, the Historic Royal Palaces are having a Glorious Georges Season; the V&A are focussing on the leading architect of the period, William Kent and the music of Handel is going to be everywhere.  

    If you want to be part of the cognoscenti, then I heartily recommend a visit to The First Georgians: Art & Monarchy 1714-1760 at the Queen’s Gallery, Buckingham Palace. I also recommend a certain series of brilliant mysteries set towards the end of the century, but that probably doesn’t come as a great shock. Theft of Life is out 22 May, by the way.

    A Natural History of English Insects
    Eleazar Albin (c. 1680- c. 1742)
    Writing for this blog brings many pleasures, and this time it was the chance to have breakfast at Buckingham Palace and get a preview of the exhibition in the company of its curators, including Desmond Philip Shawe-Taylor, Surveyor of the Queen’s Pictures. He's a brilliant communicator, and they do a mean bacon croissant, the Royals. I had a lovely time. All the items here are from the Royal Collection, and many of the pictures, pieces of furniture and even the silver gilt tableware are in regular use in the Working Palaces. 

    ‘We have to replace whatever we take, of course,’ one of the curators told me. ‘We can’t just leave a gap.’ It gave me a pleasurable image of members of the Royal Family being in a constant state of mild confusion, putting down a glass on the coffee table and thinking, hang on, didn’t that used to be white marble, or wandering down to breakfast and finding one of the portraits has changed clothes and is now looking in the opposite direction. Then again, that’s probably not the oddest thing about being an HRH.

    Johann Sebastian Müller (1715-1792) (engraver)
    It’s a great little exhibition, complete with a education room done out as a Coffee House where you can eavesdrop, via tricorn hats with built-in headphones, to the gossips in St James’s Park, and thumb through copies of the Gentleman’s Magazine. It opens with a room of portraits to explain the succession from Anne to George I, and by clever use of a pair of images in the corridor into the first large exhibition space, shows the violent tensions underlying it. On one wall is an engraving of Britannia and Liberty crowning George I, and stamping down Catholicism in the process, and on the other a very elegant oil of the other Royal Family in exile, James II and a young Old Pretender - if you see what I mean.

    The exhibition also gives us the chance to see some of the paper treasures of the Royal Collection and the juxtaposition of a display of plans of Royal Palaces with a collection of battle maps, including that of Culloden remind us of those tensions. 


    Melchior Baumgartner (1621-86) (clockmaker (case))
    In the rooms that follow, visitors get to see some of the decorative works and paintings the first Georges collected or had made for them. The Old Masters include a superb Holbein, and a there is a ridiculous rock crystal and enamel dust-magnet cabinet which plays various Handel tunes, and turns out to be a clock. 

     There are side rooms with displays of miniatures and cameos, botanical works, and cases of fancy wear - snuff boxes, porcelain etc, all of which suggest the wit, sensuality and confidence of the Georgian artists. The pair of Canelettos showing a panoramic view of the Thames from Somerset House is worth the price of admission alone, and in the final room there is a silver gilt dinner service that I think would look excellent in my flat. Particularly the golden crab salts.  Just in case Queen Elizabeth is wondering what to get me for Christmas. 

    William Hogarth (1697-1764)
    Harlot's Progress 
    It’s important to remember the shadows behind all this delicious flim-flam. So much of the wealth that poured into Britain, funding a flowering of the arts and sciences, was the result of colonialism at its worst and the turning of slavery into a profitable industry. The rich and poor lived side by side, but in completely different worlds. I’m glad to say that while celebrating the Georgians, the exhibition doesn’t ignore those contradictions. Hogarth gets a room of his own and he was an exemplar of these paradoxes which make the period so fascinating. He painted his confident, charming portraits of his contemporaries - the example here being the portrait of David Garrick and his wife - at the same time as he was chronicling the horrors of urban poverty and the hypocrisies of the elite - the greed and ruthless use of force which now fills our galleries and museums with such civilised treasures. 

    St James's Park and the Mall 
    British School c.1745
    The exhibition runs until 12th October 2014, but for those who can’t visit in person it’s worth pointing out the superb website. You can see high quality images of all the items in the exhibition, watch videos introducing the period, and listen to Robert Woolley playing Handel on the harpsichord made for Frederick, Prince of Wales. 

    All the images above are from the site, and clicking on them will take you to the Royal Collection's information page on each. For those in town, there are various events, including lots of music, linked to the exhibition.





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    The Hero: 
    Flight Lieutenant Richard Hope Hillary
    1919 - 1943

    Fear no more the heat o' the sun; 
    Nor the furious winter's rages, 
    Thou thy worldly task hast done, 
    Home art gone, and ta'en thy wages; 
    Golden lads and girls all must, 
    As chimney sweepers come to dust. 

    - William Shakespeare

    Few lads were more golden than Richard Hillary. One of the 'Brylcreem Boys', an Oxford grad, who is described as 'mobile, graceful, beautiful, coolly objective'. He was tall, slim, fair - a knight of the modern round table, whose battles were fought in the air. He wanted to fight and die on his own terms. His brief, and glorious life was lived on an heroic scale, his character at once brave and selfless yet full of hubris. I first read 'The Last Enemy' researching 'The Beauty Chorus', along with Richey's 'Fighter Pilot' and Wellum's 'First Light', trying to get under the skin of my wounded, male pilot protagonist, Beau. All are extraordinary first hand accounts of what it is like to be at war - the stress, fear and ecstasy of being a fighter pilot, the sense of only really belonging in your squadron. Something about Hillary stuck with me, niggling away at the back of my mind in the way that the seed of a story does. He was certainly tenacious in life - he pursued the publisher Dickinson relentlessly until he gave in and published Hillary's account of the war. I'm not sure any of us would storm into a publisher's office and refuse to leave until he read the manuscript - on the spot, while we waited - these days.

    'The Last Enemy that shall be destroyed is death'
    -Corinthians

    Hillary wrote 'The Last Enemy' during World War II, while he was recovering from horrific injuries sustained in the air. He was shot down on 3rd Sept 1940, and became one of the legendary NZ surgeon McIndoe's 'guinea pig club' in East Grinstead. McIndoe, know to 'his boys' as 'The Boss', pioneered facial reconstructive surgery at Queen Victoria Cottage Hospital (or 'the beauty shop' as the boys called it), and part of the convalescence involved going out into the local community, visiting local pubs, dating local girls. East Grinstead became known as 'the town that didn't stare'.


    The surgeon - Archibald McIndoe

    From the biographies of Hillary, he evidently fell into the category of 'fly fast, live faster' pilots - his injuries did not affect his success with women, and during a tour of the US to drum up support for the war effort in 1941, he had a passionate affair with the movie star Merle Oberon. When his US hosts cancelled his planned public appearances, Hillary coolly said he had 'a good face for radio'. It didn't stop Oberon falling for him.

    The Lover - Merle Oberon

    When I decided to write about this moment in time for the RNA anthology, it made sense to focus on Hillary's romantic history, rather than his well-documented heroism. His adoration of his best friend Peter Pease's wife, Denise Maxwell Woosnam, who he called 'the most beautiful person I've ever seen' was well known. Then there was his well documented affair with Mary Booker. I began to wonder about the other, faceless women who fell under Hillary's spell. He may have lacked his old beauty, but not his old manner. The East Grinstead hospital was full of nurses and civilian volunteers. The nurses looked down on the VADs, declaring that they just wanted to sit on the bedsides and hold the officers' hands. Hillary himself wrote that he was 'a little in love with Sue and Anne ... Bertha preferred a cup of tea to talk of sex during the night'. Then there was kind Sister Hall, who gave the men brown make up: 'you want to look your best for the girls'. Who were these women? Once the seed of a story takes root, and your imagination begins to play fast and loose with history, you begin finding all these 'what if' questions shooting up, don't you? What if a young volunteer fell head over heels in love with him? What if two people from vastly different backgrounds were thrown together? What if she was just as deeply wounded by the war, but her scars were not on the surface? 

    From those questions that wouldn't go away emerged 'The Language of Flowers' about a young, damaged girl who brought flowers to a young, damaged airman's hospital ward. What shines through in the accounts of the hospital are instantly understandable feelings of bewilderment, loneliness, a hunger for humanity and humour. And there, in the middle of all this emotion was Hillary, with his red pyjamas the nurses nicknamed his 'passion pants' - and his 'ghoul' like face, with 'livid eyes, lips in a grimace, with a cigarette holder and hands in lint bandages'. Such contrast, tragedy and romance - the story practically wrote itself. I've always loved 'Brief Encounter', so the train station at East Grinstead was the obvious place to begin their story.


    Hillary's real story ends with predictable, tragic grace. He begged, badgered and fought to get back in the air, and a few short weeks after 'The Last Enemy' was published, Hillary was flying again. He died, aged 23, shot down in flames in 1943. His life is the stuff of myths - the beautiful golden boy transformed into a disfigured creature, whose legend soared again in death, beauty restored for eternity.

    The Friend - Arthur Koestler

    His friend, Arthur Koestler, wrote about the timeless, instinctive appeal of stories like Hillary's in 'The Birth of a Myth: In Memory of Richard Hillary'. 'A myth may grow and appeal to us,' he wrote, 'may make us respond like tuning forks to the vibration of the right chord - and yet we may not know why.' Perhaps there are historical figures you have responded to like this? Hillary, Koestler pointed out, was 'burnt thrice' - 'after the first time they patched him up and made him a new face. It was wasted, for the second time his body was charred to coal ... They burned him a third time on the 12th January 1943 (in cremation), and the coal became ashes.' Just like all the golden lads' and lasses'.

    'The Language of Flowers' has just been published as part of 'Truly Madly Deeply' the RNA's new anthology, and in a shorter ebook of historical stories with Anna Jacobs and Sarah Mallory.





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    My grandfather's WW1 medal, the one everyone
    got for taking part, with the black-red-white
    Imperial colours.

    Last year I was asked to contribute a story to an anthology that does what it says on the tin: 'Stories of World War One.' It is published this month by Orchard. Tony Bradman, the editor, asked me to write about the German side of WW1 for 10-14 year-olds. I demurred: I said the German experience of the trenches wasn't so different from the British experience (except that, by all accounts, their trenches were a bit better built and equipped), but Tony said what he really wanted was a story about a young girl in Berlin during wartime. That seemed much more attractive and interesting, and there was a bit of family history I could integrate. None of my English family fought in World War 1 - except for Uncle Sam, my great-aunt Nellie's husband (who she had, it was said in the family, reclaimed from a life of Vice and Drink). He was an ex-soldier, so he must have fought, but I never knew him or heard any stories about his wartime experience.

    On the other hand, my German grandfather was a teenage soldier (he joined up, as a trainee non-commissioned officer, when he was seventeen) and my German grandmother lost two of her brothers in the war, including her favourite brother, Leo.

    German soldiers in a trench. Photo: Bundesarchiv
    The other thing I really wanted to do was to write about the German revolution, which occurred just two days before the Armistice was signed. I have discovered that a great many British people don't know anything about the German revolution; when I've asked them they've said that they vaguely supposed the Kaiser was removed by the Allies, as part of the Treaty of Versailles.

    This was not the case. There has been a bit of a spat between historians recently, and what it has usefully opened up is that in Imperial Germany, in 1914, all adult males had the vote (though you still hear people suggest that the Kaiser's regime was as bad as the Nazis. That is viewing WW1 through the prism of WW2, a great mistake, historically). Many of the British Tommies who fought and died did not. But just as in Britain, before the Parliament Act of 1911, the dead hand of the Lords lay on the Commons, in Germany the Kaiser and his ministers kept the Reichstag  (The Parliament) firmly on the constitutional leash.

    The German Social Democrats had been gaining ground however. They needed to; as in Britain, there was an enormous gulf between rich and poor and the workers in the factories were badly exploited. The slums of Berlin were as big a disgrace as the slums of London, and when during the war the British blockade cut off food supplies, the poor suffered worse than anyone else and unrest grew. There was a winter called the 'Kohlrabi winter' when kohlrabi was literally almost all there was to eat. Though I like kohlrabi as a salad vegetable, I would hate to have to live on it.Towards the end of the war the Kaiser's government tried to save itself through the carrot of parliamentary reform; the military government was replaced by a democracy and various electoral and economic reforms were promised. But it was too late.
    Sailors in revolt: the placard says SOLDIERS' COUNCIL; LONG LIVE
    THE SOCIALIST REPUBLIC. Photo: German federal archive
    The revolution began in October 1918 (only a year after the Russian Bolshevik revolution), when the sailors of the German navy refused to go out and fight the British in the channel. Arrests were made, but there was further unrest and demonstrations: Freedom and Bread was the slogan. The military fired on the demonstrators, killing seven people and severely injuring twenty-nine. The demonstrators fired back. The protest became an uprising, spreading all over Germany. It was very much a grass-roots revolution, with the people forming 'workers' councils' and 'soldiers' councils.' I can't put my finger on chapter and verse right now, but I am pretty sure that at the Front whole regiments threw down their arms and surrendered. They were motivated by war-weariness and a revulsion from the pointless slaughter, but many also were sick of fighting other 'small people' just like themselves, at the behest of the military/capitalist/aristocratic authorities. On the 9th November (a recurringly fateful date in 20th-century German history) the Revolution came to Berlin.

    Demonstration Berlin 1918. Photo: German Federal Archive
    The fourteen year-old young girl in my story has a brother at the front, and is falling in love with a bright worker's son, Lukas, who lives near her in Prenzlauer Berg in Berlin. Her elder brother, Leo, was killed at Verdun, like my own great-uncle Leo. She is aware of the war-weariness and really wants her brother Paul to survive, yet is reluctant to let go of the idea of her eldest brother's heroic sacrifice. Lukas gets her to join one of the marches, and she ends up witnessing the Social Democrat Scheidemann announcing the Revolution and the abdication of Kaiser Wilhelm II, from the balcony of the Reichstag.
    Before I wrote the story, I spent some time reading the war-time diaries of the great print-maker and sculptor Käthe Kollwitz, who lived in Prenzlauer Berg and lost one of her own sons early in the war. Honest and anguished, they gave me a handle on what it felt like to go through those times. Kollwitz was a Social Democrat, not a rightist, and certainly didn't reverence the military or Kaiser Wilhelm, but like many people, when war happens, she was swept along by what Vera Brittain called 'those white angels who fight so naively on the side of destruction.' Ideas of self-sacrifice, of courage in the face of loss (and both her sons went willingly to the Front), of endurance and solidarity with the nation. And one must remember that the main threat the Germans saw in the war to their freedom was Russia, and that means Tsarist Russia with its secret police, its prison camps in Siberia, its autocratic government and its pogroms.
    The Grieving Parents; monument by Kollwitz to her dead son Peter,
    in Vladslo, Belgium. Photo: Wikimedia Commons
    The other tremendous value of Käthe Kollwitz's diaries was that they gave me a day by day account of what was going on, so I owe her a great debt of gratitude. From the memoir of Sebastian Haffner, called in German Geschichte eines Deutschen, and in English Defying Hitler, I got some more thoughtful insight into the problems posed by the Revolution, and also that invaluable and hard to come-by information, what the weather was like. It was foggy. I thought that was a marvellous metaphor for the uncertainty of the future for defeated Germany.
    The trouble was that the new Republic was sabotaged from the start by the conditions of the Treaty of Versailles. They had announced that the war would end; the German envoy was already in France discussing the Armistice; and the only way they could have got a better settlement was by fighting on, which was impossible. So they told the envoy to sign. This was the basis of the 'stab in the back' legend, which was so useful to Hitler later on, and yet, looking at the circumstances, I cannot see what else the new Government could have done.
    I have read historians stating that this treaty was perfectly 'fair' because Germany had imposed just as harsh a treaty on Russia a year earlier, or else because Germany began the war (though in fact it was Austria who began it). They then go on to say that because the treaty was fair, it couldn't possibly be blamed for the rise of Hitler. This strikes me as an irrational and slightly childish argument.
    Fairness is not the issue here: what matters is cause and effect. Though all countries were hit by post-war depression, it hit Germany worse, because she had lost the industrial base in the Ruhr to France. The treaty imposed enormous reparations on Germany, while depriving her of the means to pay them. The result was hunger, the traumatic hyper-inflation of 1919, when people had to spend their wages within hours before they became valueless, and my grandmother's family once exchanged their grand piano for a loaf of bread - and a fragile economy. If you want to understand what those times felt like, read Hans Fallada's Little Man, What Now? (Kleiner Mann, was nun?).
    Five-million Mark note. Photo: Boeing 720 via Wikimedia Commons.
    When the double-whammy of the Wall Street crash hit, those who had hated the Revolution from the start thought democracy had failed Germany, and looked for an alternative. Leftists despaired of capitalism and voted Communist. Those inclined to vote for the Right looked to the nascent Nazi movement, which promised the restoration of prosperity and order, which meant no more pitched battles on the streets.
    Going back to November 1918, even if it had been sensible to pulverise the German economy as revenge for 'starting the war,' the war had been started and conducted bythe Imperial government, which was no longer in place. The Germany that was punished was the new democracy. Clearly, those who made the treaty, especially the French, could not know what was to come, but the lesson was learned and put into practice by the victors of World War II, who took care to let Germany build herself up again.
    This may seem too much weight of history and foreboding for a short story for teenagers to carry, but I had five thousand words, which helps, and also what matter most are the feelings; grief, fear, hope, humiliation, hunger. A bespectacled boy comes out of the fog and says: 'We'll have to fight them again'; an old Conservative, tears running down his face, accuses the Socialists of betraying Germany with the treaty; a young working-class man who has lost his right arm during the war, shouts back, furious with the military ethos of Wilhelmine Germany which he blames for the conflict. And people are still queueing up for scarce food. Those were the feelings which drive voting patterns, then as now.
    And on the Western Front, shedding tears of fury that day, was a young skinny man with a dark moustache who was to rise to the head of his party at just the most hideously appropriate moment.
    Hitler, on right, with fellow soldiers in WW1. Photo Wikimedia Commons




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    The other day there was a discussion on a historical list I'm on concerning the warhorses that would have been around during the days of William Marshal - knight par excellence in the mid 12th and early 13th centuries. The Ardennes breed (example in photo) was suggested as the type of great beast that William would have ridden to high success in the tourneys in which he took part.


    It's amazing how this stereotype continues to prevail despite the amount of research that has been done on the fighting horses used at this time in history and despite all the pictorial and historical evidence we have to show that the medieval warhorse of the 12th and 13thc's little resembled the animal above.

    As horse historian Daphne Machin Goodall says: 'The shire horse type may be comfortable at the walk, but he would be impossible at the trot, and heaven help the knight if his steed broke into a canter.' As Tim Severin found out when he tried to ride an Ardennes cart horse to Jerusalem and ended up having to have a special saddle made before he could even sit the horse!

    So, what do we know about the medieval warhorse of this time?
    Anne Hyland, a historican of equine matters, carried out detailed assessments of horse in relation to horse transport ships and came to the conclusion that 'early medieval destriers were of a very moderate size!
    'I estimate the build as stocky, and a height range of between 15 and 15.2 hands.'
    The heavy horses of today are bred for haulage.  Weight to pull weight.  Even those said to throw back to the war horses of the Middle Ages have been bred to be taller and weightier than their ancestral counterparts. By the Tudor period Henry VIII was declaring that no heavy horses under 15 hands were to be kept for breeding, but that was not true of earlier centuries.
    The ideam 12th and 13thc medieval warhorse wasn't bred to pull weight.  it was bred for speed, responsiveness, and to withstand the short, sharp shock of the charge and clash. In other words far more like a steer roping horse (an American Quarter Horse for example)  than a draught animal. It had to be sturdy enough to bear the weight of a man in a mail shirt and chausses; and to exist on what fodder was available in times of battle campaign. It also had to be trainable, intelligent and feisty but not umanageable.
    Breeds are not mentioned - it was too early in history for that, but countries and regions sometimes turn up as providing the most desireable beasts. Spanish horses were hugely valued. William the Conqueror was presented with one on the eve of Hastings, and Norman baron Robert de Belleme had a stud of Spanish grey horses that he grazed on his Welsh Marcher lands. Arabian horses were prized too and one Oliver de Rohan brought nine of them back from the Holy land to run on his pastures.
    In the Histoire de Guillaume le Mareschal, horses from Lombardy are highly prized, although there is no indication as to what these kind of mounts might have looked like.
    You will often find the Percheron horse cited as the descendant of the destrier, but don't be taken in by today's beautiful modern greys, active and fine though they are.  The medieval warhorse that came from the Le Perche region of France was 'of less massive conformation and generally brown in colour. In fact the early horse of le Perche, looked much like his neighbours, the Breton and Norman cobs.'So says Daphne Machin Goodall in her 'A History of Horse Breeding.' She also makes the point that if such wonderful horses had existed in Charlemagne's time, he'd have been portrayed sitting on one of them to display his might, and not a basic cob!
    So, if someone was looking around in today's market for a horse that best resembled the look if one was to go back in time to watch a tourney, what would one be looking for?

    Possibly an Andalusian - a Spanish horse of ancient lineage and the correct characteristics.
    Modern Andalusian - compare with the 13thC warhorse below

    13th century warhorse - Matthew Paris. Nothing like a 'heavy horse' is it?

    Or perhaps a Morgan horse - a breed believed to be suggestive today of resembling the destrier type by historian Matthew Bennett.

    One of the four horsemen of the apcalypse - 13thC


    Or perchance the Welsh cob.




    For anyone further interested, there is a clip of a modern destrier in Terry Jones' programme on the crusades at 38 mins 54 seconds. Medieval warhorse, example of the type

    Suggested further reading:
    The Medieval Warhorse from Byzantium to the Crusades by Ann Hyland published by Sutton
    A History of Horse Breeding by Daphne Machin Goodall published by Robert Hale (out of print)
    The Medieval Warhorse reconsidered: Essay by Matthew Bennett in Medieval Knighthood V: Papers from the Sixth Strawberry Hill Conference 1994






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    There are more than three months to go until the actual centenary of the outbreak of the First World War, and already some of us are feeling twinges of battle fatigue. There has been some tremendous stuff (and some horrors – not least the grotesquely over-sanitised nursing serial on the BBC) but let’s take a break from the centenery, and go for the double. I thought today I would see what was going on exactly two hundred years ago: on 25th April 1814 – just another humdrum day in history.

    In Parliament they were talking about treason. Not because of any particular outrage (though it was only two years since the assassination of the Prime Minister, Spencer Percival - a straightforward case of nurder as far as the courts were concerned) but to modernise the punishment of traitors, which for centuries had been hanging, drawing and quartering before beheading the culprit and displaying the mutilated body afterwards.


    One of Britain’s great legal reformers, Sir Samuel Romilly, then MP for Arundel, had proposed removing the more disgusting elements of the execution. Traitors would now be hanged to death.

    The member for Liskeard, Charles Philip Yorke, didn’t like the change and moved an amendment: That after the words, 'and there be hanged,' the words, 'and then be beheaded,' should be inserted.


    He argued that only with such a horrible and public desecration of the body would other potential traitors be deterred.

    The argument took on a tone we could recognise today.  Romilly countered with the assertion that he did not think that the exposing to public view of the mangled remains of a criminal could have any good effect.  
    Men could not be accustomed to look on such horrid sights without becoming hardened and insensible, he said.

    Yorke’s repost could have come straight from Any Answers. According to the Hansard writer: he said, 
     
    When they were making laws for the infliction of punishment, they must, necessarily, use those words which the hon. gentleman so much disliked. It seemed, however, most extraordinary, when measures of this kind were under consideration, that gentlemen should feel all the pity, for those culprits whom the enactments meant to curb and control; and none at all for the evils which the public might suffer, if they were not in existence. In the case, for instance, of a successful treason, where war was levied within the realm, what evils would the public be subjected to? How many houses would be burned—how many murders perpetrated—how many rapes committed! These circumstances were all, it appeared, forgotten, in commiseration of the criminals.

    Another member made the point that dismembering the corpses of criminals to teach the public a lesson was no different, morally, from the sentence passed on some criminals, which decreed that their bodies should be given for medical dissection.

    Others camee to Romilly's side, including the MP for Norwich, William Smith, who was one of Florence Nightingale's grandfathers.  He is remembered (in so far as anyone has heard of him at all) for his opposition to slavery, and for being the person nearest to Spencer Perceval when he was shot.



    Smith said,

    The objection to decollation did not arise from any wish to lessen the punishment, but from a desire to prevent the occurrence of spectacles which tended to destroy every vestige of feeling in the breasts of those who witnessed them. As to the giving up of bodies for dissection, it was, with respect to the study of anatomy, attended with good effects.






    In the end, Yorke got his ammendment, and beheading stayed on the statute book - indeed it remained (unused) as an alternative means of execution until 1973, and the death penalty for treason was not abolished in England until 1998.

    Lord Haw Haw in custody

    By the time the last executions for treason took place in 1945 and 1946, when John Amery and William (Lord Haw-Haw) Joyce were convicted, the punishment was straightforward hanging within the precincts of the prison.
    In more recent years, the most public transgressors of the letter of the law (Princess Diana’s lovers) were not prosecuted.

    But back in April 1814, capital punishment was a reality outside parliament. At the Old Bailey alone, twenty people were sentenced to death that month. Some were lucky, and were later transported to the colonies.
    Among those sentenced to hang was a 30-year-old man who was a namesake of one of the MPs: William Smith. Indeed, in one set of records he is listed as having been sentenced on the very day of the parliamentary debate: 25th April. But his crime was far less serious than treason. He had stolen some wet clothes from a wash-house in the Fulham Road. He was caught in the a act of wringing out:
    Eight glass-cloths, value 8 shillings
    A pinafore, value 18 pence
    Two aprons, value 1 shilling,
    and
    Seven remnants of cloth, value 1 shilling.

    It seems likely that this William Smith ended up in Australia. Someone with that name and age is listed among the convicts on the transport ship Indefatigable which sailed in October 1814, reaching Sydney on 26 April 1815 – as it happens, 199 years ago tomorrow.

    www.eleanorupdale/com

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    Gold is the most exquisite of all things… Whoever possesses gold can acquire all that he desires in this world.’ Christopher Columbus, 1503, in a letter to the King and Queen of Spain. 


    He was referring to the gold rumoured hidden deep in the forests of Colombia. Even now in the 21st century, Colombia is still a place of secrets, brought to our attention with the recent exhibition of artefacts from the Museo del Oro in Bogotá, entitled Beyond El Dorado, at the British Museum and brought especially into our minds this last week with the death of Gabriel García Márquez.

    It was odd to see the exhibition after I’d already completed an Indiana Jones-style adventure story for 9-12 year olds, set in the Colombian forest… odd because so much of what I’d put into the book about where the gold might have been hidden was mirrored by what was portrayed in the exhibition. In my story there is a waterfall and a cave. In the Beyond El Dorado exhibition there were records of a sacred lake.   
    It was the fabulous stories of gold, which the first explorers of Colombia took back to Europe that fuelled the rush to South America. Explorers and adventurers including Sir Walter Raleigh, set out in search of this mythical place. On a map of the world in 1529, the region is shown as Castillo del Oro by the Spanish Crown. It was believed gold offerings were thrown into a deep lake by a ‘golden man’ to placate the gods. Lake Guatavita was thought to be the lake where the gold would be found. An etching from 1813 shows a notch cut into the lake by the explorer Antonio de Sepúlveda who attempted to drain the lake in the 1500’s. 

    Indigenous people from ancient times believed the glow of gold imbued it with special qualities that would connect them to the sun. Certain animals were repeatedly used in the designs of the pectorals, nose ornaments, ear spools, necklaces and masks. Snakes, bats, birds, monkeys, frogs, crocodiles and the jaguar – all creatures of the forest. But more importantly, creatures who lived in two realms – earth and sky, water and land – or in the dark, as with bats and jaguars. They were seen as the significant bridge between the world of the living and the spiritual world.


    Often the pieces had hanging discs and moving parts that reflected and make flashes of light or a tinkling sound as the wearers moved through firelight or sunlight. 
    A hammered nose ornament with dangling strips of gold.  
    It’s interesting that the goldsmiths used techniques that are still used today, including hammering and lost wax casting. Beeswax was used to make the most intricate coils and design details. The wax was then covered in clay leaving tiny openings as pouring holes. The clay piece was baked so that the wax melted out through the holes but left behind a mould that could have molten gold poured into it. Once the gold had hardened inside the clay mould, the mould was broken to release the gold piece. For this reason seldom are two pieces the same. 

    Amongst the exhibits were numerous lime dippers that were licked first and then dipped in pots of lime, which when mixed in the mouth with a wad of coca leaves enhanced the stimulating affect the leaf had on the person. Some of the lime dippers go back as far as 200BC. Producing cocaine might be a fairly young industry in Colombia but growing the coca plant and chewing the leaves aren't. 
    Gold cast finials of lime dippers.
    My story, Oliver Strange and Forest of Secrets, tells of the present day Embera people who live deep in the forest and hunt using a special poison obtained from the sweat of the highly poisonous phylobates terrribilis, a drop of whose poison can kill up to 20 people. The boy hero in my story has a father who is a herpetologist. 

    At one point in the story when the Embera have saved their forest and protected their secret horde of ancient gold from the hands of the guerrilla fighters, they conduct a special ceremony. What I found fascinating is that today’s Embera people use carved wooden rollers dipped in plant dye, to make patterns across their arms and legs for their ceremonies. I decided my character would make a jaguar and a snake design. Then discovered after seeing the exhibition, that this method of roller stamping the body goes back as far as 200 BC when ceramic rollers were made with complex patterns. I saw rollers with representations of jaguar spots and snake coils. In the ceremonial dance the person would take on the spirit of the creature whose patterns covered their arms and legs.
    Ceramic body rollers with snake and jaguar patterns 
    This book is the final in a series called The Frog Diaries, which were written to encourage children to connect with the natural world and to understand that we have the power to take action to save this world. Fiction allows writers to broach subjects and make things more accessible and immediate than might be possible in non-fiction. Oliver Strange and the Forest of Secrets is based on the fact that the forests of Colombia have always hidden secrets… whether ancient gold treasure, plantations of coco, guerrilla hide-outs or the deadliest frog known to man.
    Cocaine production in the heart of the forest

    And all these factors have contributed to the destruction of a swathe of irreplaceable rain forest. The 22nd of April was World Earth Day so my book published in April seems timely. Oliver Strange and Forest of Secrets, published by Tafelberg, is available in South Africa, but will soon be available in eBook format online. Unfortunately the Beyond El Dorado exhibition has already closed. A trip to the Museo del Oro in Bogotá anyone? 

    www.diannehofmeyr.com 
    My most recent picture book, Zeraffa Giraffa, illustrated by Jane Ray, was chosen by Nicolette Jones as Children’s Book of the Week in the Sunday Times Culture Magazine 20th April... 'a magical book about a true story' 




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  • 04/27/14--03:15: Today's post
  • There is no History Girls post today.

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    During a recent sort out, my mum found a small square of newspaper, cut out and neatly gummed onto a piece of glass cut to size. It had been sellotaped too, protecting the ink and turning the paper a deep golden-yellow, but before it was stuck down someone had penciled their name on it in three different places, as well as scratching their initials on the back. The date, handwritten alongside, is 28 June 1919.

    The clipping is from the ‘London “Daily Express” Aeroplane Post’, and the headline is ‘Peace Proclaimed.’ You don’t get much of the story, but everything important is captured in sixteen words: ‘The Peace Treaty was signed by the Peace Emissaries of the Allied and Enemy Countries today’.


    Dick Mulley's keepsake of the announcement of peace, 1919

    The penciled name is ‘R Mulley’. This was my grandfather, Richard Mulley, better known as Dick, then a fourteen-year-old boy with very tidy writing. He was clearly hugely aware of how momentous that day was, marking the end of what was then known as The Great War. Little wonder, since one of his older brothers had served in the Royal Navy and was twice on ships that were torpedoed - although amazingly he survived to run a toyshop in the peace. Dick’s deep sense of moment is captured both in the number of times he scribbled his name on the paper, and in his determination to write so neatly on this small keepsake of history.


    I have very little that once belonged to my dad’s dad, although there are a few photos of his many naughty, handsome brothers and long-suffering sisters. I love the fact that this small plaque has survived, a momento of a boy who had clearly been following the war, and had a sense of history as well as of victory. It is also a momento of my father, who must have cautiously held this fragile square of paper and glass, just like I have, and wondered about the boy who grew up to become his father. These two men carefully kept this small cutting safe for ninety-five years.



    My husband, Ian, has similarly precious little from his father’s father; in fact he has even less. However, as a child he did inherit his father’s stamp collection, which he carefully stuck in an album bought for the purpose in the 1960s, adding to it as he went. Looking at the individual stamps, however, some of these must have come down from another generation, from Ian’s father’s father, Reiner.


    This album contains stamps from all over the world. The smaller the country, the more fabulous the stamp, my dad once told me, looking at his own childhood collection with me. The same is true here, but the most fascinating stamps in this album come from Ian’s grandfather and father’s birth-country; Germany.


    Germany first issued stamps in 1872. Sadly there are none in this album from then, but there are two Germany pages, very neatly distinguishing stamps dating from 1949 which were issued in the Deutsche Demokratische Republik, ie post-war Eastern Germany, and look suitably Soviet, from an older collection from the Deutsche Reich.


    These Reich stamps are fascinating. The oldest, perhaps, is a pretty dark blue one showing a stylised hunting horn for a value of 6 marks. The collection quickly moves up in face-value however to 200, 400 and 500 marks. In the years after the First World War the value of the German mark fell rapidly, mainly as a result of reparation payments and the penalties imposed on German trade, combined with the depression. As the German government printed money, the country experienced rapid, debilitating inflation. German stamps in circulation were overprinted to reflect this. A pink stamp in the album that had been issued at a face-value of 500 marks, had been given a value of 250,000 marks in around 1923, while below it a paler pink 200 mark stamp is overprinted with a value of 2 million marks! Some of these stamps do not even look used, as though even when revalued in the millions they could hardly cover the cost of delivering a letter.



    Deutsche Reich stamps from the album, c.1920s

    So while, as a lad, one grandfather, Dick Mulley, was cheerfully sticking his newspaper cutting on to some glass to keep it nice, another, Reiner Wolter was - possibly less cheerfully - not sticking stamps onto envelopes, but keeping them safe nonetheless, with a sense for preserving history that was just as keen as Dick’s.

    So what happened to these two boys when they grew up? In the Second World War my father’s father, Dick, served as a chef in the navy, cooking Christmas dinner for 1,400 men one year; ie for two troopships. He survived the war, and later worked for the New Zealand Shipping Company. Story has it that one day, in a storm, he chopped his own thumb off but simply sewed it back and got on with dinner.

    Ian’s grandfather, Reiner, was drafted too, but he was less lucky. There are several stories as to his end, but the one that seems most likely is that he was sent to the Russian Front, and died or was killed at Stalingrad, with so many others. We don’t really know. His widow, Ian’s beloved German grandma, fell in love again a few years later, with an English soldier based in the British-occupied zone of post-war Germany. They married, and although her older sons chose to stay in Germany, she brought her youngest son, Ian’s father, with her to England when her new husband was posted home. Very little came with them, no photos that we know of, but a few Christmas tree baubles and a small collection of stamps. And she sang wonderful German carols in their house at Christmas time.


    So my children have great grandfathers who fought on both sides of that second terrible world war: men who were boys once, and collected small souvenirs of peace – little bits of gummy paper that still survive to tell us something rather wonderful about them, something about being aware of the zeitgeist that they might have recognised in each other.


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  • 04/28/14--16:01: Saints, Spies and Saboteurs
  • Our guest this month is Ann Swinfen, one of those multi-talented women who seem to be able to do anything, juggling a large family, academia, historical research and writing fiction.




    Ann Swinfen (http://www.annswinfen.com) published three novels with RandomHouse, but her three latest – The Testament of Mariam, Flood and The Secret World of Christoval Alvarez – she has published herself. Loving the whole independent publishing process, she thinks it unlikely she’d ever return to conventional publishing. Short stories previously in magazines and on BBC radio are now on Kindle. She’s reissuing her backlist and continuing the Christoval series set in 16th century London, featuring a young physician coerced into becoming a code-breaker and spy in Walsingham’s secret service.

    Over to you, Ann and many thanks for visiting

    Sometimes a story seizes you by the throat and won’t let you go until it is told. That is what happened to me with The Testament of Mariam. For a long while there had been a vague, half-formed thought at the back of my mind – What would the real man Yeshûa have been like? The peasant from Galilee who, over the course of a few short years, changed the course of human history? Yeshûa was his original, Aramaic name, though down the years it has been transformed into Iesu, Jesu, Jesus, and many other variants. The man of blood and bone has been so buried under the accumulated detritus of doctrine and years that he is hidden from us.

    I have never doubted that there was a real man, but I had never given it any serious thought until one day a question formed, without any conscious volition on my part: What would it have been like, to be the sister of such a man? To have grown up with him in that humble carpenter’s family, in an insignificant northern village, in a Roman-occupied province, where all the wealth and any surviving power was concentrated in the south of the country? At that point Mariam walked into my head and began to talk. She was elderly and ailing, living as an exile in southern Gaul, having shut away the memories of her girlhood, too painful to recall. But then a series of events occurs which brings back those times, and I – we – relive them with her.



    Unusually, I did not do a lot of research before I began to write, because the story was pressing itself on me so urgently. Instead, I wrote and researched in parallel. Having been, in my time, a classicist, I already had a good grounding in the culture and history of the first century AD, so I was on familiar ground as I wrote during the day. In the evenings I read voraciously about the areas of the history that were new to me. I discovered that a great deal more was known than I had realised. Galilee was a hotbed of insurrection. Revolts against the Roman occupation, and also against the time-serving southern aristocracy, had been erupting for a couple of generations. Some of the leaders of these revolts were even called Yeshûa. Now there was food for thought! Also, I had recently read The Gospel of Judas, which caused me to rethink that whole strand of the story. In the course of my research I discovered a fascinating study on the content and poetic structures of the psalms, so when I needed a psalm, I wrote one myself, based on that research.

    I had dipped into the translation of The Dead Sea Scrolls before, but now I read them from cover to cover, and the commentaries relating to them. I became convinced that Yeshûa must have spent time amongst the Essene community, where the Scrolls originated. The Essenes had ritual meals involving sacred bread and wine. Their medical practices included techniques used by Yeshûa in his ministry (and I learned that amongst his contemporaries, he was renowned above all as a healer rather than a religious leader). However, the Essenes were an exclusive, hierarchical sect, regarding the rest of mankind as sinful and doomed, and permitting only those from the priestly castes to rise to high rank amongst them. This would have been anathema to Yeshûa, given his later teaching. Therefore, I reasoned, if he had spent time amongst the Essenes, he could not have remained there.
    A fragment of the Dead Sea Scrolls

    What about women? Where would this fictional sister fit into the story? The social mores of the time meant that women and girls were kept very close to home, under the strict supervision of their fathers or husbands. Yet it is clearly documented in the New Testament that a group of women formed part of Yeshûa’s following, travelling with him about the country, living, like him, on the charity of the communities they visited. They came from many different walks of life and they were there at the end, at the crucifixion. Therefore it was perfectly reasonable that Mariam, Yeshûa’s younger sister, should be one of those women. I was writing a secular novel – it was never intended to be a religious book – and I felt that Yeshûa’s sister would be confused. She loves her charismatic brother. She fervently believes in his vision of a new dispensation, when all shall be free, the common people no longer downtrodden. But she has known him all her life, a son of the same parents. How can she accept his divinity? She constantly tries to rationalise the miracles, never quite sure…

    And then, there are the saints. Saint Peter, after all, starts out as a peasant fisherman called Shim‘ôn. A blunt, practical man of his hands, nicknamed Kêphas, ‘The Rock’, a solid reliable man, on whom Yeshûa depends. Yet we know he denied his leader three times. He was human. He was frightened. He too could have been crucified. Even saints are very much like the rest of us.

    Hence the strand of ‘saints’ in these musings of mine. In writing historical fiction, I have never wanted to write about kings and queens, mighty warlords or powerful politicians. What interests me are the ordinary people, the common mass of humanity, who sometimes do extraordinary things. So fishermen, tax collectors and prostitutes can become saints. The other two historical novels of mine that I want to discuss involve small communities, commonly overlooked in the general scheme of things, but sometimes remarkable for all that.

    The first is the Marrano community in late Tudor England. Most history books will assert that there were no Jews in England from the time of their expulsion in 1290 by King Edward I (who owed them a great deal of money) until Cromwell did a deal with Menasseh ben Israel in 1655-6, keen to lure wealthy and experienced Jewish merchants to London at a time when the country was in dire financial straits after the Civil War.

    However, there were Jews in England during the intervening 365 years. There are occasional references to Jewish merchants in the fourteenth and fifteenth centuries, but the real influx began as a result of the Inquisition in Spain and later in Portugal (after an aggressive Spain under Philip II invaded and seized control of the latter). Ironically, when a large part of the Iberian peninsula was under Arab control, both Christians and Jews were tolerated, even if they did not have full citizen rights. Once the Spanish had driven out the Moors, an inflexible Spanish Catholic Church turned on anyone outside its confines, which meant anyone with suspiciously Protestant leanings and above all, the Jews. Spanish and Portuguese Jews, if they were to avoid death, were forced to convert to Christianity, becoming the conversos, or novos cristãos, or New Christians. They were also known as Marranos, which is, in fact, a term of insult.

    Despite their conversion, the New Christians continued to be regarded with suspicion by the Catholic Church. They were regularly rounded up by the Inquisition and tortured. Those who did not give satisfactory answers were killed in the mass public executions called autos-da-fé. (It was considered beneficial for local people to attend these edifying spectacles – it would chalk up advantages for them in the afterlife.) Those New Christians who were deemed to have shown true penance were paraded through the streets half naked, while they were scourged. Their property was confiscated and they were driven from their occupations. As many of them were wealthy merchants or distinguished scholars, this was no minor affair, and Iberia lost many men of great talent.

    Auto da Fe
    One recourse for those who had the means of escape was to take passage on one of the merchant ships trading with the Protestant countries of northern Europe, in particular England and those parts of the Low Countries which were not under Spanish control. Although some of the Portuguese Marrano immigrants who settled in London were poor, earning their living as pawnbrokers or by trading in secondhand clothes, a large number were from the professional classes. The merchants dealt in exotic goods – spices and silk and gems – sending their ships along the new routes to the near East, the Indian subcontinent and the East Indies. The physicians, some of whom had been university professors, brought with them their advanced knowledge of Arab medicine.

    So it was that the two leaders of the Marrano community in late Elizabethan England were Dunstan Añez, merchant and Purveyor of Groceries and Spices to Her Majesty the Queen, and Hector Nuñez, merchant and physician to (amongst others) Lord Burghley. The most famous of them all was Roderigo Lopez, who rose from a position as physician in St Bartholomew’s Hospital for the poor of London to personal physician to the Queen herself.

    Into this established community of Marrano London comes twelve-year-old Christoval Alvarez. Baltasar Alvarez, New Christian professor of medicine at Coimbra university, fleeing the Inquisition, has brought Christoval (Kit) to London, where he assumes a post as physician at St Bartholomew’s. At the point when my novel The Secret World of Christoval Alvarez opens, Kit is sixteen and working as an assistant physician at the same hospital.

    I was drawn to this story by this little-known community living discreetly but quite successfully in Shakespeare’s London. And although they took care not attract attention to themselves, they were not entirely free from danger even here, for there was a good deal of racism and anti-semitism in Elizabethan London, where there were substantial foreign groups, mostly escaping persecution on continental Europe. As well as the Marranos fleeing the Inquisition there were Hollanders persecuted by the Spanish overlords of parts of the Low Countries and those French Huguenots who had managed to survive the Massacre of St Bartholomew’s Day and who now plied their silk-weaving trade in Petty France. There were, however, bad winters, unemployment and periods of famine at the time, and it took little enough to set loose the bands of armed apprentices on the streets of London, crying, ‘Clubs! Clubs!’ and looking for easy victims. Both Marlowe and Shakespeare drew on this vein of racism and anti-semitism in The Jew of Malta and The Merchant of Venice.

    It was a dangerous place, late Tudor England. And one of the greatest threats came from the constant – almost innumerable – plots against Elizabeth and the English State. Elizabeth had been excommunicated by the Pope and his blessing had been given to any man who tried to assassinate her. There were plenty willing to make the attempt. Some plots were simple affairs, involving just one or two men, but the most dangerous were backed with money and troops by the Duke of Guise, cousin of Mary Queen of Scots, who wanted to see her on the English throne and Protestantism wiped out. Philip II of Spain – always an expansionist – also had his eye on the throne. While he was married to Mary Tudor he styled himself King of England. Had the Armada succeeded, he would have reclaimed the title.
    Sr Francis Walsingham
    Into this morass of traitors and plots stepped Sir Francis Walsingham, who formed England’s first secret service of spies, intelligencers and code-breakers. His network extended over the whole of Europe and reached even into the Ottoman Empire, often making use of the channels of communication provided by the Marrano merchants. The amount of work accomplished by his service (and financed by him personally) was phenomenal, and kept the country safe for years. His chief code-breaker was Thomas Phelippes, who survived him and had a colourful subsequent career. One of his agents was Robert Poley, a slippery, ambiguous character, probably a double agent, possibly a traitor, certainly an agent provocateur, and a thoroughly nasty piece of work. It is not without significance that he was one of the three unsavoury characters present when Marlowe was ‘accidentally’ stabbed to death.
    An encrypted letter
    Through the connivance of Robert Poley, Christoval Alvarez, who is mathematically gifted, is coerced into becoming a code-breaker and later an agent in Walsingham’s service. Kit has a secret which Poley has uncovered and which could lead to burning at the stake. The only way to ensure Poley’s silence is to comply.

    Although Christoval is a fictional character, the secret service and its activities are factual, and amazing some of those activities are. I was drawn both to the history of the Marrano community and to Walsingham’s organisation. It seemed fitting to make a young Marrano one of Walsingham’s agents. The first book in the Christoval series covers the year 1586 and the foiling of the Babington plot, while the next will cover the period up to, including and after the Armada, 1587-8. The Counter Armada of 1589 is rarely spoken about, for it was a total disaster. Undertaken to avenge Spain’s attack on England, its alleged purpose was to put the pretender, Dom Antonio (himself half Jewish), on the Portuguese throne, but through incompetence, arrogance and greed it deteriorated into a catastrophe which cost thousands of lives. Subsequently, it has been swept under the carpet of history, and it has not been allowed to tarnish the fame of the hero Drake, who was largely responsible for what happened. It will be the subject of the third book in the series. The whole history of espionage, plots and counter-plots, the rivalries of men and the battles of nations is so rich it will carry Kit forward into the next century and the next reign.

    Saints, spies and . . . saboteurs. Another of those neglected corners of history concerns the Fenland Riots of the seventeenth century. I stumbled across them while pursuing a different piece of research and was immediately intrigued. The enclosure of the common lands of England is one of the more disreputable parts of our history, when all over the country men of wealth and power seized land which had been held ‘in common’ by villagers, ‘enclosed’ it – thus shutting out its rightful owners – and exploited it for their own ends. In many parts of the country, the land was turned over to sheep, an outcome foretold in Jim Crace’s recent novel Harvest. In the East Anglian Fens, it was rather different. This strange, remote, marshy country had its own mode of farming the land, which went back generations, at least to Roman times and almost certainly earlier. Every winter the rains washed alluvial soil from the inland wolds down on to the flat fenland fields. When these winter floods drained away into the marshes – the Fens – the arable fields were left covered with some of the best soil in the country. The whole area, from Cambridgeshire through Suffolk and Norfolk to Lincolnshire, was a patchwork of these field and marshes, interspersed with natural waterways and other channels which had been constructed over the centuries by local people who understood their land and its peculiarities. There was an abundance of fish and waterfowl, the peat bogs supplied fuel, and the thickets of willow and rushes provided material for thatch, baskets, hurdles and eel traps. It was a rich and varied landscape. The people worked hard, but the land yielded a good living.


    When ‘adventurers’ turned their greedy eyes on the Fens in the seventeenth century, they claimed that the land was useless and their enclosures and drainage would turn the area into a pot of gold for investors. They were, in fact, a sort of prototype of today’s venture capitalists. Once the land was drained, it would be rented out to immigrant peasant farmers, still coming in (as they had been in Christoval’s time) from France and Holland. The rents paid by these farmers to the investors would return their investment a hundredfold.

    The first wave of drainers arrived in the early part of the century and the capital came primarily from the nobility and even the king. Francis Russell, fourth Earl of Bedford, was notorious for his appalling treatment of local people and their rights. However, unlike most other areas where enclosure took place, the fenlanders fought back. This was the start of the Fenland Riots and is reckoned to be one of the underlying causes of the English Civil War. Women as well as men fought against the drainers. When their cases were dismissed in court, often through corrupt and unscrupulous practices, they took up their scythes and pitchforks and attacked the men digging the new drains, who were protected by armed guards. In massive and persistent acts of sabotage, they tore down pumping mills, smashed sluice gates and set fire to the immigrant farmers’ hastily built houses. A number of them were killed or seriously wounded in the counter-attacks.

    Then the Civil War came, and the balance of power shifted in the country. Oliver Cromwell, who himself came from East Anglia and had promised support for the fenlanders, seized control of the government, expelling all members of Parliament who disagreed with him (including John Swinfen, but that’s another story!). The fenlanders thought their homes and livelihood were safe. There came the lull between the two phases of the Civil War, and with this temporary peace came a new wave of speculators, led by the new men risen to power, among them Cromwell himself. My novel Flood is set at this time, when the fenlanders found they must fight again, against both speculators and an ever more corrupt judicial system, which often fined and imprisoned those who brought court cases against the speculators.

    My central character, Mercy Bennington, daughter of a yeoman farmer, is one of those courageous women who were prepared to go out and fight alongside their men. Some of them were accused of being witches, on account of their unwomanly behaviour. For this was also the time of Matthew Hopkins, self-styled Witch-Finder General, who roamed East Anglia accusing and condemning to death hundreds of innocent men and women. It was also the time of the licensed Puritan iconoclasts, who were commissioned to go out and destroy any remnants of Anglican worship in local churches, smashing up mediaeval stained-glass windows, making bonfires of altars and altar rails, and beating up any clergymen who continued to use the Elizabethan prayer book.


    All the atrocities which occur in my novel actually took place – the soldiers urinating in a church font, the mock baptism of a trooper’s horse, the forcing of a village girl to become an army whore, the vicious attacks on clergymen and villagers who supported their traditional way of life, the torture and ‘swimming’ of witches. Everything was fully documented at the time. And what of the actual drainage works? Now here’s the irony of it all. Because the engineers brought in by the speculators did not understand the local terrain, they pumped water out of the Fens into drainage channels for the purpose of turning them into agricultural land. But from time immemorial the Fens had acted as sponges, absorbing the excess water when the winter rains came. The result was that the new channels filled up and overflowed, flooding villages and homes, and drowning those who could not escape. It wasn’t until the nineteenth century that water engineers were able to design a form of efficient drainage, but this turned the peat bogs of the Fens into shrunken, dried-up areas lying below the level of the local rivers, a precarious situation.
    "Swimming" a witch
    The fenlanders of the seventeenth century were persistent and courageous, but only succeeded in saving small areas of the Fens. Several people have commented on the fact that my novel Flood was published just at the time when the country was, once again, suffering from disastrous floods, many of them due to the ignorance and even arrogance of those who have ignored the lessons of history. Property speculators have built on flood plains. The ancient functions of water meadows and marshes have been ignored. The gradual dispersal of water in the uplands to avoid greater volumes downstream has been forgotten. One sign of returning sanity can be found along the coast of the Fens themselves, where some farmlands lying along the sea are being allowed to revert to salt marsh, a natural sponge to absorb flood water from the North Sea, as the Fens once absorbed the flood waters inland. Perhaps someday sense will prevail and historians will be able to point the way to the sound methods of our ancestors.

    One story famous throughout the world, and two neglected corners of history. Saints, spies and saboteurs – all of them people of little account amongst their contemporaries – but in their various ways fighting for what they believed to be right. Rich territory for any novelist.

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  • 04/29/14--16:01: April Competition
  • Ann Swinfen is generously offering one of her three recent titles to five Followers who provide the best answers to this question:


    "What novel would you recommend to other readers in which a small group fights for their rights against seemingly overwhelming odds"

    Write your answers in the Comments section below and don't forget to say which of Ann's titles you would like to win, out of The Testament of Mariam, Flood or The Secret World of Christoval Alvarez.

    Competition are open only to UK residents - sorry!

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    This could so easily degenerate into a post about writers and stationery lust. How many of us own something like the above - a delicious notebook bound in "Carta Marmorizzata," marbled paper, just waiting for the "right" or at least "good enough" ideas for a perfect book?

    Marbled paper is a rather generic term: there are examples that look far more like actual marble but it's the "peacock feather" design, as above, that always attracts me.

    If you'd asked me, I would have said that the technique of marbling paper had been born in Florence, or at least Tuscany. But it turns out to have come from the country we now call Turkey and also Persia and India. And this year for the first time I watched some being made.

    I was in Florence in April, teaching on Julie Foster Hedlund's Writer's Renaissance programme, which I've written about elsewhere. Julie had arranged to visit a shop called Alberto Cozzi, now run by Riccardo Luci, who was going to make some marbled paper on a Saturday afternoon. She kindly invited me to join her and we then watched a demonstration of a technique that goes back some four hundred years. Riccardo is the fourth generation in his family to carry it out and he does it expertly.

    These images of marblers and their equipment date from 18th century France, by which time the art had been well established for over a hundred years. And nothing much has changed in the centuries since.

    You start with a shallow tray filled with liquid; these days it is usually a size made from algae or some other form of seaweed - enough to make it a viscous carrier for the paint. Using a paintbrush to flick it, our marbler Riccardo dotted many colours on to the size.

    He had a vast range of colours laid out and prepared on the bench to his right. How he chooses what to use and in what order comes from long experience and - who knows? - perhaps something in his DNA.

    At this stage, I couldn't tell how this seemingly random collection of blobs could turn into the exquisite marbled paper we are familiar with. Riccardo added more sparingly smaller blobs of gold and silver.

    Only when he was satisfied with the arrangement of colours did he drag a comb through them and I could see some sort of pattern emerge. But there was another pass to come. I don't know what the technical term is but Julie and I decided that the side-to-side motion with the comb must be "wiggling."

    And there they were! The characteristic peacock feathering of the classic Florentine marbled paper.



    Now he was ready for the paper.

    It takes a very steady hand and a cool head to do this bit!

    And here is the end result. All shiny and wet. It will need to be pegged on a line to dry but here it is lying on a board.

    You can see all the different colours and possibly even pick out the odd splashes of silver and gold.

    It takes hours for the paper to dry and then it is stored flat in some narrow wooden shelves. I went back the next day to collect this piece, which had been made specially for Julie, and to buy a piece for myself. Each one is a unique work of art.

    All the colours have to be swept out of the tray with another device to clean the size before another set can be applied. One mixture of size will produce up to twenty-five sheets of marbled paper.

    The whole experience got me thinking about the traditional arts and crafts that have been handed down through the generations. I've recently been making things for my new granddaughter by knitting and crochet, both of which I must have learned how to do from my mother, though I have no recollections of any formal lessons. Knitting has a very long history, dating back to the first millennium in Egypt but crochet is a bit of a upstart, found only in the 19th century in Europe.

    Some of the same skills are involved: choosing colours, using traditional designs and patterns.

    How every stitch - as with every blob of paint above - carries forward a little bit of history!

    Do you have a story about traditional crafts handed down through the generations?













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  • 05/02/14--00:00: Matthew Lewis and The Monk
  • Matthew Lewis is one of the most famous of the original Gothic authors, and to my mind probably the most authentic. Most people, and certainly most students start out with Horace Walpole's risible 1764 publication Castle of Otranto, which if you've never read it, involves an opening chapter in which the 'sickly' and distinctly unpromising darling son of Prince Manfred is buried under an enormous armoured helmet and people rush around crying 'Oh! my Lord! the Prince! the Prince! the helmet! the helmet!' I never really recovered from that to be honest, so perhaps I'm being unfair. But I doubt it.

    Next on the list is Ann Radcliffe's Mysteries of Udolpho. Udolpho is often cited as 'the archetypal Gothic novel' and features heroine Emily St. Aubert. Emily's a bit of a drip, in true Regency heroine style, but she's actually quite likeable, although victimised by her author. Still, Radcliffe let's her show her true mettle and eventually, she triumphs, takes financial control of her property and is reunited with her somewhat feckless, though charming, true love Valancourt. Udolpho was hugely influential after its 1794 publication, not least I think because Emily is the central character and most other women in Gothic novels are rendered as little more than set dressing. Udolpho also plays a part in Jane Austen's Northanger Abbey, revealing its influence on impressionable readers of Georgian novels.

    The Monk was published in 1796, after Matthew Lewis had written in ten weeks just before his twentieth birthday. As such, it is a remarkable achievement. It is subtitled A Romance, so I warmed to it before opening the cover, having been warned by my university tutor that it contains all sorts of base transgression. And it really does. Corruption in the church, cross-dressing, homosexual overtones, incest, burning at the stake and eternal damnation are really just the start. It is quite horrifically dark and the mental and physical torture and death of a teenage girl is just one shocking part of it.

    To understand quite how Lewis wrote a work of such genius at such a young age, it's necessary to look at his life. Lots of people divorce writer and writing (or art and artist, but I'm wary of the comparison). For me, Matthew Lewis is hugely interesting because he was wholly English yet his money was made in the West Indies. No so unusual at that time, and the people he hung out with were often far more connected to the Caribbean than he was. He spent a lot of time in Marylebone literary and musical circles where he would have been a mere boy compared to the men and women who had served their time in the West Indies or the London investors who had never, quite, dirtied their hands. Although lots of them did, and revelled in it.

    Lewis was also (allegedly, I should add for academic purposes)a homosexual, whose parents had parted in difficult circumstances - his mother having a baby by another man during an estrangement. But Matthew went on to Christ Church, Oxford and then moved in grand circles. Like many who had made their money in the colonies, he was always concerned with being 'friends' with dukes and duchesses. He made a bond with a young boy, William Kelly, whose mother Isabella was a widowed novelist. People often cite this as a case of patronage, but William's particularly wilful abuse of his 'patron's' charity perhaps suggests otherwise.

    Following on from the success of The Monk, Lewis's play, Castle Spectre had been a hit in London. Yet real life was getting in the way and Lewis's father died, leaving him in charge of the estate aged 36. The Jamaica plantations had secured his income throughout his career, and launched him into London's social scene, but he was increasingly uncomfortable.

    So upon his father's death in 1812, Matthew was heir to a sturdy, if not oligarch-esque fortune. He was no social campaigner, let's not pretend. He was a socialite, probably openly homosexual and a strong player in London's theatrical scene. But he did care, in a way we might now find inappropriate, about the welfare of the people he owned.

    The concept of owning people now may be strange and abhorrent but when Lewis inherited his father's estate it was still legal in terms of government, illegal in terms of the judiciary, and ethically abhorrent to many of his contemporaries, yet profitable. Assigning modern morality to history is at best perilous.

    Lewis, concerned with his family's estates and taking care of his siblings (and his own fortune), shipped out to Jamaica. The stay on his estates almost made him tear his hair out, and was otherwise eventful, but Matthew came back and spoke to William Wilberforce about 'securing the happiness of his slaves after his death'.

    He spent the next eighteen months hanging out in Europe with Shelley and Byron. In terms of the Gothic imagination he'd bested them already (although Byron and Augusta may have given him pause for thought).

    But the flame of 'boring' slavery had been lit within him. There's no doubt that Matthew played a part in that strange Byronic storm at Villa Diodati. And what a storm. Manfred, Frankenstein...

    Yet that's not Matthew Lewis's story. He made a choice and came back to England, though not for long.

    On the 5th of September 1817 he set out to his Jamaica plantations. Jamaica was a horrific colony, with almost unmitigated brutality beyond the basic back-breaking trouble of cutting sugar cane. Lewis set out from Jamaica on Guy Fawkes Night, 1817 (probably not keen on staying too long in a colony with a 30% white settler attrition rate per annum). He died on the ship back to England on the 16 of May 1818. Legend has it they chained down the coffin and yet it slipped those chains and washed up in Jamaica.


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    This is not so much a post about history but about the vagaries of publishing historical fiction for a younger reader.  You see, I always ask my agent and publishers for feedback after they've been to Bologna and Frankfurt, usually prefaced by the question 'what's the big trend?'.  I've been doing this long enough to know that the publishing trade gets VERY excited VERY briefly about the next big thing.  We've had wizards, vampires, dystopian, New Adult, now it's real life stories in the style of John Green that are apparently the BIG THING.  Oh yes, and everyone wants middle grade fiction.  YA is out.

    And historical fiction?  Well, there's not much happening there apparently.


    But like Ozymandias, each conquering trend has its day and disappears into the sands of publishing.

    There is nothing like a book fair to get the gossip going.  Even my agent and editors reporting back do so with a roll of the eyes, meaning they know the trend is probably already on the out by the time they are talking about it.  I treat it somewhat like checking the barometer, giving it a tap to see if the weather is going to be fair.  I wouldn't make decisions about what I'm going to write next based on it.

    However, I think it is true to say that historical fiction for a YA audience has been struggling for some time, quite unlike the adult market for the genre.  A few core titles are considered enough by many schools to cover key topics - two of the main ones my own children have been handed are produced by Michael Morpurgo, War Horse and Private Peaceful.  (And I'm not envious - really I'm not ;-) )  I find this interesting as I also write for the thriller, fantasy and contemporary romance genres. I have noticed a marked difference in the kind of readers I get for my YA historical.  Dare I say it but they are the kind of girl I was when I was at school: usually bookish, probably quite mature for their age, and keen readers.  They've hunted the books down, rather than seen them on a table in a bookshop or talked about on Goodreads.  I'm the same writer under another pen name doing the same kind of 'reading level' work in contemporary romance but there I get everyone, from the girls who read everything to the ones who rarely pick up a book.  So is it that history just doesn't capture this age group?

    This is where I welcome your views.  You see, I love history so I can't see how it might come across as obscure or not their thing.  Complex fantasy epics are taken in their stride.  If you can follow the Byzantine plot Game of Thrones you can probably read War and Peace, let alone most YA historical fiction.  So I refuse to believe younger readers can't manage them.

    So perhaps it is part of the decline of a reading culture?  I think there might be more in this.  The English literature syllabus seems to have narrowed to a very few channels and I can't see much encouragement in the history syllabus for reading historical novels (and here I speak as a parent as I've got children doing A levels and GCSEs in the subject).  Outside of school, there is little suggestion in culture that history might interest teens unless it is wrapped up in some kind of fantasy.  Historical drama evokes Downton Abbey and the older age group of audience.  Dr Who does something to remind younger viewers that history can be adventure but there has been a lack of decent historical plots of late (Elizabeth I in the 50th Anniversary - oh dear...)



    And finally, there is the innate conservatism in a very difficult publishing world.  No one wants to commit resources to a part of the market which hasn't performed that well, forgetting that successes are unpredictable and can spring from anywhere. In recent times, both The Book Thief and The Boy in Striped Pyjamas have done well for new second world war stories. It might be that in a few years time the next Potter/Twilight/Hunger Games comes wearing an historical costume just as Gladiator shocked movie studios by turning into a hit.

    Has anyone else heard differently?  And those of you in the teaching profession or librarians, do you find teens are happy to pick up historical fiction?  Could the presentation be changed to help break down that barrier if it exists?

    My next book, Dawn (Penguin), is YA and set in WWI, concluding the two book series on the war as seen by teenagers.  Out 3 July.

    0 0







    This is my copy of the book I couldn’t find for my last month’s post – an Elizabethan farmer’s almanack in doggerel verse, providing a year’s supply of farming hints for the original readers, and a fascinating window into 16thcentury rural life for us moderns. This edition is Oxford University Press, 1984.

    Thomas Tusser's book was a Tudor best-seller, a do-it-yourselfer's delight, full of useful stuff like this set of memorable 'no-no's for the appearance of home-made cheese. (The list below is cribbed from wiki, for the sake of the links: but some of the puns go right over my head.  I have no idea why a bishop should have any connection with burnt milk. )

    Not like Gehazi, i.e., white, like a leper
    Not like Lot's wife, all salt
    Not like Argus, full of eyes
    Not like Tom Piper, “hoven and puffed”
    Not like Crispin, leathery
    Not like Lazarus, poor
    Not like Esau, hairy
    Not like Mary Magdalene, full of whey or maudlin
    Not like the Gentiles, full of maggots
    Not like a Bishop, made of burnt milk

    Do you, like me, remember the Rupert Bear annuals of childhood?  With their brief summary of the story at the top of each page, followed by rhyming couplets under the pictures, and a longer, more detailed prose story at the page foot?  Like this? 




    Well, Thomas Tusser’s almanack follows a similar pattern.  Each month opens with a brief abstract in short couplets, a rhymed list of contents of the advice to follow.  

    May’s Abstract

    Put lamb from ewe,
    to milk a few.

    Be not too bold
    to milk and to fold.

    Sheep wriggling tail
    hath mads[1]without fail.

    Beat hard in the reed
    Where house hath need.

    Leave cropping from May
    To Michaelmas Day.

    Let ivy be killed
    Else tree will be spilled.

    To weeding away
    As soon as ye may… etc.

    Then he expands into quatrains and explains things in more detail:

    At Philip and Jacob, away with the lambs
    that thinkest to have any milk of their dams.
    At Lammas leave milking, for fear of a thing
    lest (requiem eternam) in winter they sing.

    To milk and to fold them is much to require
    except ye have pasture to fill their desire
    Yet many by milking (such heed do they take)
    not hurting their bodies, much profit do make.

    If sheep or thy lamb fall a wriggling with tail
    Go by and by[2]search it, whiles help may prevaile:
    That barberlie handled I dare thee assure
    Cast dust in his arse, thou hast finisht thy cure.

    Where houses be reeded (as houses have need)
    Now pare off the moss and go beat in the reed.
    The juster ye drive it, the smoother and plain,
    More handsome ye make it to shut off the rain.

    From May to October leave cropping, for why?
    In wood sere, whatever thou croppest will die.
    Where Ivie embraceth the tree very sore
    Kill ivie, or else tree will addle no more. 

    1520-1530 Woman shearing sheep in book of hours by Jehan de Luc
     
    So – if you were an Elizabethan smallholder, this is what you would be doing right now at the beginning of the merry month of May. You thumb open Tusser’s fat little book and frown over the black-letter print as you decide how many of the lambs to wean so you can milk their mothers and make valuable cheese.  You’ve got three months of ewes’ milk ahead of you, if you’re lucky – but Tusser reminds you not to carry on beyond Lammas, the beginning of August, or you’ll be putting too much of a strain on them, and they may not survive the winter.  You nod wisely in agreement, grinning slightly at the idea of sheep baaing ‘requ-ie-emmm eter-namm’, and go out to take a look at your flock.  Do any of them have those wriggling tails Tusser talks about? That’s a sign of ‘flystrike’ – maggots from flies’ eggs laid in the soiled wool below the tail: and it can kill your animals if not dealt with. Shearing off the infested wool is the solution, and you throw lime-dust on the area to help cleanse it and discourage further attacks.

    Now you’re outside, you squint up at your thatched roofs over house and barn.  There are a few thin places, you know that, you’ve been putting buckets under the leaks all winter. Better climb up and scrape off the moss, and beat more reeds in.  And this is the growing time. If you want wood for next year, you’ve got to stop cutting it, but on the other hand, the ivy is really vigorous now – time to hack it back before it strangles your trees…

    There’s more! You read on and scratch your head. Tusser reminds you to weed your pastures, rake the furrows of the winter-set wheat, dig ditches to drain your marshy places, set someone to watch your bees in case you miss a swarm (a swarm in May, as the old rhyme tells, is worth a load of hay).  You’ve got to ‘twifallow’ or plough for a second time your unseeded land, and spread it with muck ‘if you will, to the knees’, and then sow it with peas or beans.  You need to hire the local children to pick up and clear away stones from the fields.  It’s time also to put your calves out to grass and make sure they have plenty of water. And you’d better start collecting fallen wood for winter fuel now, while the ways are dry and it’s easy to carry or cart it.  If there’s a surplus, you may even be able to sell some to the citizens of the nearest town!  Finally, in May your herb garden is at its best.  You make a mental note to tell Margery and Cicily to get on with distilling herbal drinks and remedies, for as Thomas Tusser says,

    The knowledge of stilling is one prettie feat,
    The waters be wholesome, the charges not great,
    What timely thou gettest, while Summer doth last,
    Think Winter will help thee to spend it as fast.

    It’s summertime, and the living is easy, but the work never stops.  And you always, always have your eye on the end of the year and the oncoming winter.  Still, it's encouraging for his hard-working readers to see Tusser's prediction of a lifespan going well beyond the Bible's threescore years and ten.

    "Man's age divided here ye hath, by prenticeships from birth to his grave":



    The first seven years bring up as a child,
    The next to learning, for waxing too wild,
    The next, keep under Sir Hobbard-de-hoy,
    The next a man no longer a boy, 
    The next, let lusty lay wisely to wive,
    The next, lay now or else never to thrive,
    The next, make sure for term of thy life,
    The next, save somewhat for children and wife,
    The next, be staid, give over thy lust,
    The next, think hourly whither thou must,
    The next, get chair and crutches to stay,
    The next to heaven God sends us the way.



    [1] Mads: maggots
    [2] by and by – straight away

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