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A Favourite Place to Write - by Ruth Eastham

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I’ve put pen to paper in a few unusual places over the years – in an ice cave, on a camel, by the crater of an active volcano… But there’s something about the Café San Marco in Trieste that finds me going back there time and time again.


From the front the café doesn’t look like much. Its entrance is pretty unremarkable.

By Tiesse (Own work) [Public domain], via Wikimedia Commons



But that door is a way in to another world.

Matt Dickinson

Maybe it's to do with the dark mahogany of the intricately carved walls, the smooth marble of the table tops. The lovingly polished copper of the hot water urn... Once living things, elemental forces at work. This is a place with stories to tell.


Matt Dickinson

You can feel them around you, the stories, in the faces of the portraits on the walls: the masked highwaywoman, the lady with closed eyes, the woman without a face...






Matt Dickinson


It’s a place where you can really feel you’re part of something.
History is a living thing after all, isn’t it? A continuum. We’re adding to it all the time.
In every future moment our present becomes history.


You might wonder about who’s been sat at the very table you’re sitting at now.
And might they have been creating a story?!

Ruth Eastham


You might wonder where James Joyce sat when he came by.

Ruth Eastham

You might wonder about the thousands of people who’ve come and gone through that café door in the hundred years since it opened.

1914 - 2014

And that grinning San Marco lion certainly looks like he could tell a story or two!

Ruth Eastham


So if you ever find yourself in a certain Trieste café one day in the future, sipping your espresso, or munching thoughtfully on your Sacher chocolate cake, look around you...

Let the stories whisper in your ear.

Let their past become your present.












The Elephant in the Room - by Eve Edwards

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This blog is coming out on my book birthday - Dawn is dawning, so think of me singing a little round of happy birthday as I sit in my study.

For my entry today I've been pondering the plight of animals in war.  The subject has become a rich seam for authors and film makers.  War Horse is too well known to even mention, but just looking along the shelves of children's fiction you can hardly fail to spot them: Soldier Dog, War Dog, Shadow, A Soldier's friend, The Amazing Story of Adolphus Tips, A Horse called Hero (see Sam Angus' blog on this site about her book), and my children's favourite, I am the Great Horse (a horse in ancient warfare by History Girl, Katherine Roberts).  I could go on.  Half of these are by the wonderful Michael Morpurgo who has really cornered the market in the animal + war story.  I will try to suppress my envy.  Consider it stuffed like the dormouse in my teapot of literary jealousy.

So when I came to write Dawn, the second and final part of my World War I series for teen readers, dogs, horses and cats were all familiar presences but what about elephants?

Research is a wonderful thing - a real treasure hunt for anyone with an imagination that latches onto the unexpected.  It proves time and again that real life is far stranger than fiction. My idea of London during the German bombing campaign did not include pachyderms but I found a by-the-by comment in Neil Hanson's The First Blitz that started my imagination off on a new track.  On one of the very first night raids, a troupe of performing elephants were evacuated from Chelsea Palace to the Embankment.  The animals belonged to Lockhart's circus which enjoyed a long fame since Victorian times, carrying on even though one of the original owner brothers had died in an elephant stampede.  (Can any elephant expert verify if the Wikipedia entry is correct? I would love to know more about the Lockhart brothers.)

Even in a world at war, the (elephant) show must go on. A writer is very unlikely to make up a detail like that as it is so odd, but I couldn't get these peaceful evacuees out of my mind, parading under the arches while the bombs fell around them.  (Apparently they were very well behaved and didn't stampede, unlike the time that did for the unfortunate Lockhart).  Elephants by the Thames.  I wanted to be there with them so my heroine had, of course, to encounter them.  The plot took off in a direction where she would cross paths with the troupe which necessitated a trip to Westminster Bridge and a charge of treason.  From little elephant acorns a whole story plot grew.

But these elephants didn't give up their hold on me.  They became a whisper in the book through letters and idle thoughts, appearing in cloud formations and generally adding a sense of peace and blessing during times of high stress, such as when the hero is in a dog fight - the aerial sort.  When I think back to the book, it is these creatures I see, trunks gently curling around each other as the Thames burns with the reflected light of fires.

Writing this blog entry, I see I have underestimated the presence of elephants on the home front when I did a search for working elephants.  I hope you enjoy as much as me this photograph of an elephant employed in a munitions factory in Sheffield. Yes, Sheffield.  Not somewhere in the empire but in South Yorkshire.  That gives me an idea.  Hands off, please, Mr Morpurgo, I spotted the elephant in the room first...



You can also read part one now which covered the events of 1914-16. No elephants but a chocolate Labrador does make an appearance.

This day in 1916 - by Katherine Langrish

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Photo courtesy of New Zealand History online http://www.nzhistory.net.nz/media/photo/co-ordinated-attacks-western-front



On this day in 1916, the battle of the Somme was four days old. I'd like to commemorate that terrible slaughter quite simply by transcribing a passage from the classic WW1 memoir 'Sagittarius Rising' by Cecil Lewis, first published in 1936.

All you need to know is that Lewis was twenty years old in 1916, having joined the Royal Flying Corps in February 1914, while still only seventeen and just out of school. He was sent to France with 13 hours of flying experience. At that time, the average lifespan of an RFC pilot was about three weeks.

This is his account of what happened to him and his observer, Pip, that fine summer morning exactly 98 years ago.

Wikimedia commons. The Somme battlefield from the air: British gas attack 1916


Dawn over the trenches, everything misty and still above, with the prospect of heat to come; even the war seemed to pause, taking a deep, cool morning breath before plunging into action. We were out to find the exact position at Boiselle, for even now, on the fourth day of the offensive, the Corps Intelligence did not seem clear on the point. We sailed over the mines and called for flares with our Klaxon. After a minute, one solitary flare spurted up, crimson, from the lip of a crater. It looked forlorn, that solitary little beacon, in the immense pitted miles around. We came down to 500 feet and sailed over it, trying to distinguish the crouching khaki figures huddled in their improvised trenches ... when suddenly there was a crash, and the whole machine shook, as if at the next moment it would wrench itself to pieces.

[With his engine hit by shellfire, Lewis got the plane down:]

Where to land?  Five hundred feet over the front line, the earth an expanse of contiguous shell-holes! ... By now we were down to 100 feet, and the contours of the earth below took on detailed shape. I saw – God be praised! – that the green patch that had caught my eye was the side of a steep hill. There was no wind. I swung the machine sideways and pulled her round to head up the slope.  She zoomed grandly up the hillside.  The speed lessened. Now we were just over the ground, swooping uphill, like a seagull on a steep Devon plough. ... The hill rose up before me, and at last she stalled, perched like a bird on the only patch of hill free of shell-craters, hopped three yards – and stopped! 

With a gasp of amazement and relief – for no one could have hoped to have got down in such a place undamaged – we jumped out of the machine.  It was Pip’s twenty-first birthday.  Suddenly I remembered it. ‘Many happy returns!’ I said

We stood looking at the machine - for nothing, perhaps is quite so awkward and useless as an aeroplane that can't fly.  It would have to be dismantled... at that moment came the 'Wheeeeee... wheeee....whee-ow... whow...whow...whow... zonk!' of a German shell.  They were evidently going to dismantle it for us.  We dived for a trench... It was five o'clock.

From the air we could have found out way home from any part of the line; but the earth was a strange country. We set off along the duckboarding at the bottom of a deep communications trench, unable to see over the top. We turned left at a junction, right at another, They were all deserted. We were lost. So we climbed out of the trench and walked down to a neighbouring copse where ... a battalion of infantry was waiting to go up into the line. ... They sat about on the fallen tree trunks, on overturned wagons, on dud shells, silent and resigned in that blasted wood under the glory of the summer morning.  Then the thunder of the guns began, south at the Somme, and rose and rose as the nearer batteries took it up. It was like jungle drums beating the rhythm of tremendous news, rising, falling, echoing, repeating, till the whole air was shaking with it. The officer looked at his watch. The men rose, and shook themselves into order.
‘Good luck!’
‘Good luck! We’ll keep a watch out for you on patrol!’  We turned away up the hill towards Albert, he through the gully of the wood up towards the line.  


We trudged along in our heavy sheepskin thigh-boots, long leather coats, mufflers and helmets. ... How different it all looked from the ground! It was a desolation, unimaginable from the air. The trees by the roadside were riven and splintered, their branches blown hither and thither, flanking the road... like a byway to hell. The farms were a mass of debris, the garden walls heaps of rubble, the cemeteries had their crosses and their wire wreaths blown horribly askew. Every five square yards held a crater. The earth had no longer its smooth familiar face.  It was diseased, pocked, rancid, stinking of death in the morning sun.


Yet (Oh, the catch at the heart!), among the devastated cottages, the tumbled, twisted trees, the desecrated cemeteries, opening, candid, to the blue heaven, the poppies were growing! Clumps of crimson poppies, thrusting out from the lips of the craters, straggling in drifts between the hummocks, undaunted by the desolation, heedless of human fury and stupidity, Flanders poppies, basking in the sun! As we stood gazing, a lark rose up from among them and mounted, shrilling over the diapason of the guns. 

We listened, watching, and then, I remember, trudged slowly on down the road without a word.  That morning seems stranger than most to me now, for Pip is dead, twenty years dead, and I can still hear the lark over the guns, the flop and shuffle of our rubber-soled flying boots on the dusty road; I can remember, set it down, that here on this page it may remain a moment longer than his brief mortality. For what? To make an epitaph, a little literary tombstone, for a young forgotten man. 

For months we worked together daily on patrol. His life was in my hands daily and once, at least, mine was in his. He was the darling of the Flight, for he had a sort of gentle, smiling warmth about him that we loved. Besides, from the old rattling piano he would coax sweet music – songs of the day, scraps of old tunes, Chopin studies, the Liebestraum, Marche Militaire.  I believe he had talent. Well, that does not matter now and it did not matter then. He had enough for us, to make us sit quietly in the evening, there in the dingy room where the oil lamp hung on a string thick with flies, and listen.

In September I went on leave; Pip carried on with another pilot. One morning on the dawn patrol they, flying low in the arc of our own gun fire, intercepted a passing shell. The machine and both the boys were blown to bits.



You can see original film of 'The Somme from air and land' , and an interview with Cecil Lewis at this BBC link:  http://www.bbc.co.uk/learningzone/clips/the-somme-from-the-air-and-land/12735.html

 Cecil Lewis

Go Easy Mabel - Joan Lennon

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If you haven't heard of The Cylinder Preservation and Digitization Project (Department of Special Collections, David C. Davidson Library, University of California, Santa Barbara), you're in for a treat.  It was my niece-in-law who flagged it up for me, and now I'm going to share it with you.  Forget hours of following links to amusing pictures of kittens - try Cylinder of the Day for a real displacement/obsession activity!

As the website's section on Cylinder History says - "From the first recordings made on tinfoil in 1877 to the last produced on celluloid in 1929, cylinders spanned a half-century of technological development in sound recording.  As documents of American [and other countries'!] cultural history and musical styles, cylinders serve as an audible witness to the sounds and songs through which typical audiences first encountered the recorded human voice."

It's a gold mine of a collection - another route into the feel of the times for historical novelists and readers alike - but there are some problems attached to this sort of research.  I dare you to listen to this, for example, and not have that chorus stuck in your head forever.  Clearly that's what has happened to Thomas Edison below


Chirpy Cheerful Thomas Edison 1888 



1903 advertisement

The lovely lady in the picture (whose name may very well have been Mabel) has her delicate pinky dangerously close to the recording surface - see below for the correct way to hold a cylinder!



Meantime, enjoy!

(Long before I knew about the Project, I found this wonderfully scratchy recording of the Ride of the Valkyries on Wikipedia and used it as the backing track for a trailer for The Mucker's Tale - not one of my most serious or, for that matter, historically accurate books, but you're welcome to come over and have a listen here!)

Joan Lennon's website.
Joan Lennon's blog.

Scheherazade's tips for surviving 1001 nights as an author - Katherine Roberts

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Scheherazade: 19th century painting by Sophie Anderson
Let me introduce you to Scheherazade, the Persian princess who bought us the 1001 enchanting tales more popularly known as the Arabian Nights.

Some of you will have met her before. She was quite famous in her day, and many of her stories such as Ali Baba and the Forty Thieves, Sinbad the Sailor and Aladdin and the Magic Lamp have become classics.

Her own story is no lesser tale. Legend tells us that when Prince Shahryar was jilted by his first wife, he declared that no other woman would ever treat him that way again. To make sure of this, he bedded virgins and then ordered their execution the very next morning. Once word got around, most girls were understandably terrified of being summoned to the prince’s bedchamber. Scheherazade, however, saw this as a golden opportunity.

Knowing the prince’s love of fairytales, each night Scheherazade told him a captivating story created from her extensive knowledge of legend and myths, always stopping just short of the ending. If the prince wanted to hear the end of the story, he had no choice but to spare her life so that she could continue the tale the next night. This went on for 1001 nights, during which time the prince fell in love with Scheherazade and made her his queen.

It’s clear Scheherazade had invented the ultimate serial, which is still a popular form for children’s fiction today. But serials are also popular among adults. In the Victorian era, novels were tested on the public in serial form first, with episodes appearing in the newspapers and periodicals of the day. For example, Charles Dickens shot to fame after publishing serial episodes of the Pickwick Papers in 1836. Alexandre Dumas originally wrote The Three Musketeers as a serial, and Sir Arthur Conan Doyle created Sherlock Holmes for serialization in the Strand magazine.

These days, you’re more likely to find serials on TV in the form of soaps. However, the ebook format seems to be encouraging a revival of the serial in literature, with successful authors captivating their readers by publishing novella-length episodes of around 20,000 words at regular intervals. Later, these short books can then be bundled into a boxed set for the full-length novel experience. Freed from the constraints of publishing a paper edition for trade distribution, such ebook serials can appear over a course of months, or even weekly or daily, mimicking the nightly tales of Scheherazade.

Ali Baba plots his next move in the thieves' den.
Scheherazade was the ultimate debut novelist of her time - virgin, highly motivated, intelligent, educated, and beautiful with it (just look at that portrait!). She literally put her life on the line every time she opened her mouth to begin a new story. Many newer novelists publishing today will no doubt identify with her. But, having lost my publishing virginity, survived my 1001 nights as an author and divorced the prince, is it possible to create a serial the other way around?

As an experiment with this form that is both ancient and new, I am in the process of dividing up my 150,000-word Alexander the Great novel “I am the Great Horse” into ten episodes of around 15,000 words each, aimed at a slightly younger readership than the original novel with the addition of historical anecdotes at the end of each chapter, bonus stories by the other horses and illustrations. These ten short books will be published initially in e-format between now and Christmas, with print editions following once all the episodes are done. So if you know a young reader with a Kindle (or Kindle app on their phone), I'd love to know what they think!

FREE DOWNLOAD TODAY!
ONLY 99c / 77p

These days, if our stories fail to arrive in the marketplace regularly, captivate our readers, and leave them eager and waiting to buy the next one, their authors are seldom put to physical death. But our books might well get the executioner's chop for one reason or another, which can have exactly the same effect on an author’s career. I've heard that a gap of 12 months in New York publishing is enough to kill a career these days. So if this is your first night with the prince, and you’d like to enjoy 1000 more of them while he falls head over heels in love with you, then why not make Scheherazade your role model, too?

Note: 1001 nights = 2 years 9 months, or the average length of a debut author's career today?
***

Katherine Roberts won the Branford Boase Award in 2000 for her debut novel Song Quest. She writes history, myth, legend and fantasy for middle grade/teen readers. Find out more at www.katherineroberts.co.uk

The first two titles of the I am the Great Horse Serial are now available for Kindle (other ebook channels coming soon):

COMING HOME by SUE GEE....reviewed by Adèle Geras

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 "Sunlit India was always there, always behind their  lives."This sentence sums up  the story of Will and Flo Sutherland and their children, Bea and Freddie. 

Sue Gee's very autobiographical novel tells the story of a version of her own family. The paperback edition has an essay at the end about how she came to write it. After her father died,  she was listening to tape recordings  he had made, and the writing of the novel was something she felt she could now do. She says: "By 2009, I had reached the age of memoir.....the past was precious and important."

The reason I'm writing about Coming Home on the History Girls blog is because as well as being a novel about Gee's own life, it's also the other side of what happened when India became independent in 1947. We have read Midnight's Children and other novels about the end of the Raj, but even the wonderful Raj Quartet and Staying On by Paul Scott are still set in the sub-continent. Gee's book is firmly located in England. 

Flo and Will  fell madly in love  and married quickly. Then, torn away from the idyllic scenes of their courtship, they set sail for a small, grey island far away from the place which would  come to represent for them a kind of Paradise Lost. 

Children are born, the family goes through very hard times, and when I spoke to Sue Gee on the phone to ask her some additional questions, I told her I found it very sad. She agreed it was sad at times, but that wasn't of course the whole story.

There are two particular strands of the narrative which will test the tear ducts of the most hardened reader. First, we weep for Flo, who all her life has wanted to write. The book starts with her composing a last letter home to her parents before she leaves India. It is the only scene set there. She writes letters, diaries and also a novel about her younger self, wanting to convey the magic of what she feels was her own very romantic whirlwind romance. The disappointments attendant on this venture are heartbreaking. At one point, Flo has a breakdown. I don't want to spoil readers' enjoyment by giving too much away, but there are some things in this book which are  hard to read about.

Gee does something very clever in this novel. She tells the story of a  family coolly and dispassionately. It is the very opposite of hysterical and overheated writing, but all the more effective for that. The simplicity and directness and 'this happened and then that happened'  structure allow the writer to go from one character's story  to another, giving each of them his or her proper weight and distinctive set of preoccupations. She is brilliant at showing the impact of small domestic tragedies, or misunderstandings that occur when things are misheard, or not properly talked about: what Will would doubtless call 'getting the wrong end of the stick.' 

Perhaps the saddest part of the book relates to Freddie. He is sent away to boarding-school at what seems to us a ridiculously young age. Bea would have loved it there, but Freddie is miserable and Sue Gee's account is a worthy addition to the ranks of accounts of school misery. More than that, though, it shows how what we are now examining and prosecuting as child abuse was allowed to flourish. In part it arose from the horror that people had in those days of 'making a fuss'or being embarrassed. It sheds fascinating light on the subject.

Another thing that makes this novel exceptional is the way Gee creates for those who haven't lived through it, the very texture and taste and look of an entire historical epoch: from post-war austerity (and the winter of 1947!) to the 60s, by which time things were beginning to resemble the world we know today. She does it through detail: the songs sung at Sunday school, the clothes, the landscape, and the careful (though never overdone) descriptions of things like houses, streets, gardens, farms, cars, clothes and everything else that makes our lives what they are.  The Sutherlands also have a décor which I recognise from  many houses of ex-Colonials that I've been in: statues of elephants, a panther-skin on the floor and sundry other Indian knick knacks. There is a  poem by Will which appeared in the newspaper in India called  'Indian Refugees from Burma.'It's reproduced at the back of this edition and it's rather good, too.



Best of all, Gee captures exactly the turns of phrase of the people she's writing about. You can hear the conversations, catch the tone of voice on every page. The class distinctions are here and the slang and the chit chat bring to life a time that's long gone. Many of this blog's readers are young but anyone born in the 1940s will feel as though they've gone back to their own childhoods.

Lastly, I must mention the 'other side of the coin'aspect I spoke of before. Most of the  English men and women who came home from the Colonies after Independence were not evil monsters. They were often good, honest, well-intentioned people and, moreover, people who, through their work, and through living in India,  had come to love the country deeply and who carried that love in their hearts and their lives to the end of their days. Speaking as a Colonial child  myself, I understand this completely. Sue Gee's father returned to England in 1947. My own father was a Colonial till he died in 1972. Many men and women did their very best for a country they regarded as the best place they'd ever been in and Will and Flo Sutherland were two of those people.  This is what Sue Gee conveys so well: that here is a life, here are children and problems and everyday things, but once upon a time, there was an enchanted place of eye-searing colour and heat and beauty and that distant place has never been forgotten.

 I hope that many readers of this blog will read Coming Home. Gee could have written a memoir and chose not to.  This is because a memoir has a duty to be factually true. In a novel, Gee has been able to get inside four different heads and imagine much. That's what makes the difference. That's what makes it, I think, truer than a memoir would be.  I did ask Sue what her mother thought when she saw her own daughter being published where she had failed and the answer was: she was delighted. Well, of course she was. The novel shows, more than any other single thing, Flo's profound love for her children.  The Sutherlands are a fine family  and it's a marvellous book.
















'The Great Crypt Robbery' by Karen Maitland

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On 8th July every year, until the draining of the fens in the 1700's, the common land around a hamlet called Brothertoft, near Boston, on the Lincolnshire Fens would be invade by several hundred people and thousands of sheep all converging for the annualDrift Toft Fair. The sheep from all the tofts scattered across the area were driven to the week-long fair by the Fen-Reeves to sell to the merchants, farmers and butchers of Boston and the south.

For the week of the fair, people were housed in 30 large boothies erected to shelter them and they were fed by the locals who earned a good income from selling them ale and food. Aside from the serious business of selling sheep, evenings were spent in a riot of drinking, dancing and matchmaking, for it was not often the isolated fenlanders had a chance to meet up and enjoy themselves.

But where there are crowds there are criminals and the Drift Toft Fair became notorious for the crime of comassing, when cut-purses took advantage of crowds and men sleeping off drinking-bouts to slip purses and other valuables into their own sacks.

It is often said today that if punishment for theft was tougher it would discourage such crime. But it is hard to imagine tougher penalties for theft than those imposed in the Middle Ages where even minor robbery could be punished by flogging, branding, mutilation, and execution. These sentences seemed to do little deter to career criminals in the Middle Ages, presumably because they did not believe they would be caught or if they were wealthy thought they could bribe their way out of trouble. Many thieves protected themselves with amulets such the hand-of-glory– a mummified hand of an executed man - that they believed could open any lock and would send all those in the house to be robbed into a deep sleep if a burning candle of human corpse fat was set in the fingers.

Many people in the Middle Ages stole from desperation, but that certainly wasn’t true of all. One of the most audacious robberies took place in 1303 when Richard Pundlicott a merchant dealing in butter, cheese and wool confessed to having tunnelled into the crypt of Westminster Abbey where Edward I stored the royal treasure. Richard claims to have disguised the entrance to the tunnel with quick-growing hemp so he could work for months undisturbed.

He stole goods to the value of £100,000 which it took him two days to remove and was so great a haul, he had to bury some of it St Margaret’s churchyard. After spending two days getting drunk with some friends in a house that was in the grounds of Fleet prison. Richard and his companions returned to raid the treasury again. It was only when the gold and silver items found their way onto the London market, that the thefts from the abbey were discovered.

But many suggested that the tunnel was pure fabrication to cover up the guilt of the monks involved in the robbery and in particular Adam of Warfield who was the Sacrist of the Abbey. The walls of the crypt were 13ft thick and since Richard was a regular drinking companion of Adam, he could easily have simply let him into the crypt. Adam, the Sacrist, along with several of the abbey’s monks were found to have some of the loot stashed in their rooms. Many claim that it was scarist himself who masterminded the theft.


A commission of investigation was setup and Richard Pundlicott, Adam of Warfield and several other monks and laymen were found guilty. Adam and the monks claimed benefit of clergy to avoid being hanged. Richard tried to do the same, but he was not so lucky and was hanged along with five other laymen. So was Richard a daring robber or merely the fall-guy for a cleverer man? History’s jury is still out on that one.





Dancing Homer by Caroline Lawrence

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Zeus's box of trinkets and props
Last week I saw two dramatic stagings of Homer's Iliad. The first was Simon Armitage’s The Last Days of Troy at the Globe. It was interesting, but never gripped me. I felt that sense of detachment I usually get at the theatre, that I am just watching actors play a role. I also found the production far too ‘British’ for my taste, with the red-haired model Lily Cole as Helen and one of my old Cambridge professors as Zeus. OK, it wasn’t really one of my old professors, but Richard Bremmer might well have been. He portrayed the king of the gods as a rake thin, absent-minded intellectual in linen trousers and sunhat with a box of trinkets for sale. 


The second interpretation took place a few days later in the basement of the cruciform building at UCL (which required the help of Ariadne and her ball of thread to find.) On one of the hottest days of the year, about forty people filed into a lecture hall usually devoted to medical lectures in order to watch a reading and dance called 'Dancing Winged Words'. 

Then a slightly sweaty Greek professor began to read passages from Richard Lattimore's translation of the Iliad while an androgynous woman in her mid-thirties danced it out. 


The effect was electric, like a punch in the stomach or a hand around the throat. Not usually one for tears, my eyes welled up again and again. There was something incredibly powerful and primal about the combination of Homer’s poetry and a single dancer inhabiting half a dozen different parts. Deb Pugh moved fluidly between depicting fiery Achilles and dour Hector, between fickle Aphrodite and vengeful Hera. She flickered from god to mortal, man to woman, alive to dead. She wore a tunic the colour of a bloody liver and her wiry limbs and boyish physique made her equally believable as a warrior as goddess. Barefoot and grunting – without props of any kind – she swung a sword, lifted shield, fired arrows, died and lived. Once or twice the reader, professor Antony Makrinos, wandered into the action and allowed her to cling to him or cover his eyes. Sometimes spare but moving piano music played. 

The whole thing was even more artificial than the Globe version but for some reason it worked. Perhaps it was the simplicity of the production, combined with the skill of the reader, performer, musician and director that gave this low-tech interpretation of Homer’s great epic its emotional impact. 


During the performance, part of UCL's one-week Summer School in Homerit came to me that I was watching something close to Roman pantomime. The only real difference was that the dancer was female not male and not wearing a mask, and that the music was pre-recorded piano rather than the usual small group of wind, string and percussion instruments. 

I have always found it fascinating that of the three most popular types of entertainment in Imperial Rome, one is quite forgotten. 

The most popular entertainment was the chariot race. Not everybody enjoyed beast fights and gladiatorial combats (Seneca for example) but almost everybody loved the racetrack or ‘circus’ Hence the famous phrase of Juvenal ‘bread and circuses’, referring to the food and entertainment that will keep a populace happy.

But the forgotten entertainment is pantomime. Not what we think of as pantomime today (a guy in white face trying to get out of an invisible box), a Roman pantomime troupe usually consisted of one male dancer (the pantomimus), a small chorus and a few instruments consisting of wind, string and percussion. The singer sang the story while the pantomimus danced it out. He wore a mask, often two-sided, so he could show different profiles to the audience, and with a closed mouth as he did not need to speak. The troupe mostly acted out stories from Greek mythology and were therefore slightly more highbrow that mime or comedy. 

I give my readers a glimpse of pantomime in my fourteenth Roman Mystery, The Beggar of Volubilis, where Flavia Gemina and her friends fall in with a small travelling troupe consisting of one dancer, one female singer and two musicians. 

When I was researching pantomime for my book, the source I found most useful was a succinct article by the German scholar Wilfried Stroh in the book Gladiators and Caesars (translated by Anthea Bell). Stroh emphasises how popular Roman pantomime dancers were, often filling Roman and Greek theatres. Their skill, claims Stroh, was probably superior to anything we can imagine in dance today. It is strange, he concludes, that no modern dancer has yet tried breathing new life into the fine artistic genre of Roman pantomime, which integrated as it did music, dance and poetry. 

Last week I caught a glimmer of what Roman pantomime might have been like and I think I understand its great appeal. I hope that Professor Makrinos and his team – and/or others – will go on to explore this forgotten but powerful form of storytelling.

Caroline Lawrence's Roman Mysteries for kids 8+ are all available in Kindle or eBook format. 


A very welcome development – Michelle Lovric

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The history of medicine is the history of mankind. We know ourselves through the adversities our bodies face and the ways in which, through the ages, we have confronted them. Our cultural identities are aligned with and imprinted on our bodily operations. It is medical history that records plagues including AIDS, tattoos, sport and eating patterns, keeping the most scrupulous records of our physical existence.


This post is about a refreshing new development in the field of medical history, and includes a set of images that demonstrate just how wide a field is covered by that term. All the illustrations in this blog come from one place: Wellcome Images.
Venus's Bathing (Margate). A woman diving off a bathing wagon in to the sea,
       hand coloured etching by Thomas Rowlandson, 1790

The Wellcome Trust has recently taken the plunge (forgive me! but I love this picture) of making its historical images freely available for download for personal, academic teaching or study use, under one of two Creative Commons licences. Hi-res historical images are also available to download free of charge, for any usage, under a Creative Commons Attribution Only. Historical images are free of all reproduction fees.



This news will bring shock and awe (in a good way) to those of us who have had to laboriously and expensively negotiate reproduction rights for books, PowerPoint presentation and blogs.


Not only is this a most generous gesture by the Wellcome, but there’s an impressively well managed image bank site. Searches are easy and extensive. Each free-usage picture comes with the Wellcome Library attribution embedded in it, so one doesn’t have to accessorise and clot up one’s text with attributions as with (the much appreciated) Wikimedia commons, for example.

Effigy of the false Imposter (Satan) sitting on a brass throne wearing on his head a crown like the tiara of the Pope. From the Histoires Prodigieuses, by Pierre Boaistuau, a sixteenth-century French writer presented to Queen Elizabeth I in 1560.

Wellcome searches enable the user to consult History, Contemporary or Historical & Contemporary. Advanced search options include date and medium (i.e. carving or painting).


When searching, it is easy to see which images are free usage: those that require clearance are labelled ‘rights managed’ even in the search thumbnails.


Clearly a great deal of thought has gone into this process. So this month I interviewed Simon Chaplin, head of the Wellcome Library, about the developments.

ML Can you tell me briefly about the history of the Wellcome collection of images and how it started?


Wellcome Images is an amalgam of two things: the Wellcome Trust’s medical photographic library, and the picture collections of the Wellcome Library. As the delivery of images has moved from analogue to digital, so these have been combined into one service, Wellcome Images. Today we have hundreds of thousands of digital images freely available online at wellcomeimages.org, covering the history of medicine and current biomedical science and clinical practice.


ML Can you explain how all the different parts of the Wellcome Trust work – the Image Library, the Library, the Collection, the Trust, and anything else I have forgotten?


Henry Solomon Wellcome, 1906. Oil painting by Hugh Goldwin Riviere

We’re all part of the Wellcome Trust, the charitable foundation set up by pharmacist and collector Henry Wellcome. Our mission is to improve human and animal health by supporting research and public engagement around biomedical science. In line with Henry’s vision, this also includes understanding the place of medicine in culture, past and present. Like the BBC, we have different elements that serve different audiences – Wellcome Collection is our public exhibition and event venue, the Wellcome Library supports researchers interested in the place of medicine in culture, Wellcome Images serves up images drawn from all of our activities. There’s lots of parts to Wellcome, but underneath it we all share a common purpose.


ML I believe you are the first major picture library to take this unusual step of freeing your historical images for use. Is that true?


I’d love to say we are, but actually we’re part of a growing trend. In the US federally-funded institutions such as the Library of Congress or the Smithsonian have always made their out-of-copyright collections freely available. More recently places like the Rijksmuseum and the Metropolitan Museum of Art have made high-resolution images freely available. We’ve gone  a step further than some by allowing anyone to use the images for any purpose rather than just restricting them for educational or private research use.


ML What was the thinking behind this move?


Our mission is to encourage knowledge creation and engagement. What matters to us is that people find and use our images, so the fewer restrictions we have in place the better. It helps that for us generating revenue isn’t the most important factor – we have Henry Wellcome’s endowment and the team who manage it to thank for that. But I think that even for museums and libraries that don’t have the same kind of funding that we do, there is often not much profit to be made from selling rights to your images when you factor in all the time needed to manage permissions, negotiate fees and then ensure that people are following the rules!

Picturesque sales techniques for medical wares

ML Do you think other big image banks, like Bridgeman, Getty or similar will follow suit?


I think it’s different for commercial images libraries – clearly they need to make a profit, as do people whose livelihoods depend on the copyright they own on images they’ve created (just like authors!). But like music and publishing companies they are adapting to a changing environment, and I think there is growing awareness that in some cases it is better to embrace limited free use than to become a kind of digital Canute. For example, Getty has recently made millions of its images freely ‘embeddable’ in web pages.


ML The Wellcome Trust has a vast collection of medical history artefacts. Are modern photographs of the artefacts included in the free usage?


Yes, the free images include modern photographs of objects in the library collection or in the Wellcome collections held at the Science Museum in London (like this one, http://wellcomeimages.org/indexplus/image/L0034909.html, which is a good reminder of why locking precious things up is sometimes not the best solution)

Wax anatomical figure of a woman, by Clemente Susini, Florence, 1771-1800


ML What kind of images are restricted in use? This is because the copyright rests with the photographer or artist?



We have some images that are only freely available for educational or private research use. This is because they’ve been supplied to us by photographers or artists who trust us to manage the image rights on their behalf. When we license these we pass the fees back to the photographer. It’s a good system – they benefit, and we help achieve our mission because we have these fantastic images that can be used for education and research (as our Wellcome Image Awards demonstrates, http://wellcomeimageawards.org)



The life and horrible adventures of the celebrated Dr. Faustus; relating his first introduction to Lucifer,  and connection with infernal spirits; his method of raising the Devil, and his final dismissal to the tremendous abyss of Hell, 1825


ML Tell me a little about the length and breadth of the image collection and what are its biggest strengths, in your opinion?


Where to begin? Well, our images reflect the wonderful variety of stuff we have in the Wellcome Library for a start – so illustrations from printed books and manuscripts, paintings, prints, drawings and photographs and so on, mostly relating to medicine or health in some way, but not all. For example, our collections are strong on subjects like travel, food and religion – all of which are closely associated with health and well-being. (Ed. note - and animal well-being: see below)

A group of dandies stand by while a lady's dog receives an enema. Coloured engraving.



Our collections are strong in non-western material so we have a lot of illustrations from East and South Asian manuscripts as well.

Early 18th-century Chinese woodcut illustrating 24 types of external haemorrhoids. From Yizong jinjian: Waike xinfa (The Golden Mirror Of Medicine: Essential Knowledge and Secrets of External Medicine)

ML I understand that there are new developments underway for the Research Library.


We’re in the process of revamping it, creating a new public library – which visitors can go into without becoming a member – alongside the research library. We want to encourage people to use our collections for study, and to explore what we have but we also recognise that a good research environment should be quite and not crowded, so separating the two seemed like a better way to go. The research library is almost finished – it has a richer feel, with more paintings on the walls and colour in the décor. And on a practical level we’ve enlarged our rare materials room so there’s more space for people wanting to look at archives, manuscripts and older books.

Miniature of St Luke, patron saint of medicine, and the beginning of the third Gospel. Transcribed by Shmawon the scribe and illuminated by Abraham for the sponsor Lady Nenay – Armenia Gospel of 1495

ML How easy is it for a novelist or researcher to become a member of the Wellcome Library?


About as easy as it can be: you turn up, you show us some picture id and proof of address and we give you a membership card. It’s all free and membership lasts five years before you need to renew it.

The evolution of a writer: a fox riding a goose turns into a writer seated at his typewriter - which in  turn evolves into accordion, bellows, money-bag, and handcuffs; satirising Darwin's theories. Wood engraving after C. Bennett, 1863.

ML Once they are members, they have access to all kinds of materials by remote access, something I have found very useful in own my work. Can you tell us a little about the electronic collections available to writers remotely?



I’m a historian of the 18th century so the ones I love best are the Burney collection of newspapers from the British Library – read the small ads in particular for a wonderful insight into texture of life in Georgian England – and Jisc Historic Books, which brings together three vast collections of English printed books from the 17th, 18th and 19th centuries. There’s a full list of all the journals and databases we subscribe to here: http://catalogue.wellcomelibrary.org/search/l.


ML And there are plans to expand the remote resources too, by digitizing a substantial proportion of its holdings and making the content freely available on the web. This already includes some cover-to-cover historical books, but I understand that you are now working to upload video and audio, entire archive collections and manuscripts, paintings, prints, drawings, photographs, ephemera and more. What is the thinking behind this?
We’ve realised that while the Wellcome Library is a wonderful place to come and work and look at our collections in person, there’s many more people out there who’d love to make use of our collections but can’t get to London. So digitising our collections helps us share them more widely. We started with images, but have expanded into books and archives and we’re increasing the pace now. We aim to have about 50 million pages online by the time we’re done – we’re about a fifth of the way there. We’ve digitised archives about genetics and eugenics, reports about public health in Victorian London, books about sex and crime (which will link to exhibitions we have planned in Wellcome Collection).

Sex and crime: The rape of Proserpine. Engraving after Titian.


We are just starting two projects, one to do all the 19th-century medical books we can lay our hands on and the other to do all of our mediaeval manuscripts. All of the stuff we’ve digitised is completely free – you don’t even need to be a library member to see it online.

Witchcraft: a white-faced witch meeting a black-faced witch with a great beast. Woodcut, 1720

ML I understand that you also have picture researchers on staff who can help? Is that a free service? What is offered?


We have expert and very helpful staff who can help point you in the right direction, but we can’t do your picture research for you! We are trying to make our catalogues and image library as straightforward and easy to search as possible, and are making sure that our images are also indexed by google. We’d love to offer personal service to users but with over 40,000 visitors to the library a year, and over half a million images downloaded each year, we’d need to hire hundreds of people!


 

ML We first knew one another when you were at the Hunterian Collection. I know you have personal research interests in medical history too. Can you tell me a little more about how you came to be involved in this field?


I really wanted to be a marine biologist, but I realised quite early on that my role model (Doc, from Steinbeck’s Cannery Row) wasn’t a reliable indicator of life as a research scientist. Instead I was drawn into the history of science and medicine at university and loved the subject. Since then I’ve been lucky enough to work at three institutions – the Science Museum, where I began my career; the Hunterian museum; and now the Wellcome Library – which all have a strong connection with medical history and a desire to see this translate into things that really appeal to non-specialist audiences. I loved the Hunterian, where I helped plan the redisplay of John Hunter’s collection of anatomy and pathology specimens – things which were for too long hidden away from non-medics, but which deserve to be seen and celebrated as the masterpieces of science and skill that they are.

Sir Joshua Reynolds, President of the Royal Academy at Somerset House, holding his ear trumpet. To his    left is Dr. William Hunter who was Professor of anatomy at the Academy and is directing the arrangement of a male model. Johann Zoffany, 1783


ML Clearly you believe that there is a place for writers of fiction in the field of medical history?



History of medicine is a thriving academic discipline, and has a strong following among professional historians and doctors and others who have a part-time interest. It’s a natural thing to see this knowledge feed in to fiction: it’s such a rich subject, and speaks so strongly to the human condition. And in turn, authors writing fiction can bring the subject to new audiences, so there’s a mutually beneficial reciprocal relationship.

An early History Girl: Anna Seward (1747- 1809), writer, literary critic and correspondent. Stipple Engraving 1823 byJ. Chapman



ML The Wellcome offers opportunities for writers in various ways – even to writers of fiction, with the Wellcome Prize for the best book published on a medical theme each year. Can you tell us about the thinking behind that prize, one of the most valuable in the publishing industry?


The Wellcome Book Prize is open to fiction and non-fiction writers in any genre that touches on medicine, health and illness.  The Prize, and the brilliant writers it attracts, is uniquely placed to provoke, excite and sustain interest and debate in the many forms these experiences take.  We’ve revamped the prize this year and it is now a central part of our commitment to literature as a means of inspiring and nourishing curious minds.


ML There are other opportunities for fiction writers at the Wellcome too, I understand. Engagement Fellowships …? Can you explain?


The Wellcome Trust’s Engagement Fellowships enable talented communicators to make real advances in public engagement around biomedical science and the medical humanities. We fund people for up to two years, and the strength of the scheme is the diverse range of their disciplines, from clinicians to historians. We welcome applications from established writers and artists – one of this year’s Fellows is the award-winning poet Lavinia Greenlaw. The Trust also runs a Screenwriting Fellowship with the BFI, in association with Film4.


ML Finally, an obvious question but one I cannot resist asking. What is your personal favourite among the images at the moment?

It’s this one: http://wellcomeimages.org/indexplus/image/L0030376, the reverse of an advert for Brooke’s Soap from our ephemera collection. I got it printed on to a cover for my phone, which (a) looks like a bar of soap and (b) can do lots of things but won’t wash clothes!




                 Thank you, Simon, and many thanks to the Wellcome, too.
Michelle Lovric's website

Her latest novel, The True & Splendid History of the Harristown Sisters, was published last month by Bloomsbury.









Dating 101, by Laurie Graham

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Writing about pre-Revolutionary Russia (as I’ve been doing recently) I’ve had to deal with calendar complications. I’m no stranger to them. For several years I belonged to an Orthodox parish under the direct rule of the Moscow Patriarchate, a church that adheres to the Julian Calendar. The USSR adopted the Gregorian Calendar in 1918, by order of the Council of People’s Commissars, but the church clung and still clings to its old ways. If, like me, numbers make you feel dizzy, it can be very testing, but history is full of calendar anomalies. We just have to get our heads around them.

The problem with the Julian calendar is that its calculations are slightly inaccurate. Little by little it lags behind the solar year. It is currently 13 days behind the Gregorian calendar which is why Russian children living in Ireland are expected to celebrate Christmas on January 7th, just as the new school term begins. But I digress. The Gregorian calendar, more accurate in its calculations, was instituted in 1582 and taken up very quickly by Catholic countries, then more gradually by Protestant states. For a while dates were written in both styles, with the Gregorian date above and the Julian date below. The United Kingdom and America didn’t make the switch until 1752. Turkey and Greece were among the last to hold out, not converting until 1920s.

So far, so good.  But there’s more. January 1st was not always marked as the beginning of a new year. Far from it. Before the Norman Conquest the winter solstice signalled the year’s end in England. The Normans introduced January 1st as the start of a new year but by the middle of the 12th century that fell from use too. Lady Day, which is March 25th and the Feast of the Annunciation, became New Year’s Day and so it remained until 1752. The calendar used to run as follows, March 24th 1666, March 25th1667 etc.  But not, nota bene, in Scotland. In 1600 Scotland, still an independent kingdom, opted to make January 1st its New Year’s Day.

Still with me?   

In 1752 Parliament passed the Calendar Act. It was a nifty two-step change to convert the United Kingdom and her colonies to the Gregorian calendar once and for all.

Step 1: It was decreed that the year 1752 would end on December 31st instead of on the following March 25th, thereby lopping nearly three months off the year.

Step 2: A further eleven days were removed from the month of September to bring us into line with the Gregorian calendar. One day it was September 2nd, next day it was September 14th.

1752 was a very short year and as you may imagine, when the next Lady Day came round and rents and taxes were due people objected. They felt they were being robbed of time. Well in a sense they were. So the Exchequer said, ‘Okay, we’ll give you eleven days grace.’ And because there was an intervening Sunday, April 6thwas fixed as the start of the new tax year. Which is where it has remained to this very day.

So now you know. Just call me Wrassles-with-Calendars

 

The problem with Gone With the Wind by Tanya Landman

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Vivien Leigh as Scarlett O'Hara

In March this year a Cambridge University college chose Gone With the Wind
as a theme for its May ball. When Mamusu Kallon, a student at the college,
pointed out that the film "glamourises the romantic dreams of a slave owner
and a KKK member while rendering the horrors of slavery invisible" the idea
was scrapped.

Good result. Yet it's sad that the idea was even proposed it in the first place. Why, after 12 Years a Slave, would anyone want to glamourise America's Old South?

It was the TV adaptation of Alex Haley's novel Roots in the late 1970's that opened my eyes to the realities of slavery, the golden triangle and the Old South. Tracing the author's family history back to Africa, it
started with a young man called Kunta Kinte who was captured by slavers and
transported to America.

I was thirteen years old and back then there were only 3 TV channels.
Discussing last night's TV at school was a socially bonding event.
The effect of Roots was huge. Electrifying. I mean, up until then, the
only thing any of us knew about America's deep south was based on the film
of Gone With the Wind.



I must have been about eleven when I first saw it. I remember sitting with
my best friend and annoying all the other cinema goers by giggling over the
grandiose title sequence. But, once the film started, the giggling
stopped. I was sucked in to the world of the Old South. Scarlett ­
tough, manipulative, determined, resourceful ­ was a revelation. OK, so she
wasn't particularly nice. But then, Scarlett didn't give a damn about
whether people liked her or not. She was her own person: belle turned
businesswoman. Wow! She was feisty!!! At 11 years old, I was fascinated.

Many years later, when Charley O'Hara walked in to my head and took hold of
me, I started to write my latest YA novel Buffalo Soldier. Roots and
Gone With the Wind were an obvious part of my background research. When I
read the books, my feelings about Roots hadn't changed.

But Gone With the Wind? Mmmm.



Reading it was certainly a deeply abrasive experience and gave Charley a
whole lot to react to.

Margaret Mitchell was a gifted writer, but her book reflects a world that we
now recognise as being so clearly illogical and repellent. Read it, and you
can see right inside the head of a slave owner.

Or you could read Buffalo Soldier. And see it from the other side.


CUNNING PRESTIDIGITATION: On Writing Historical Fiction – Elizabeth Fremantle

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Some thorny issues encountered when writing historical fiction:

WEARING RESEARCH LIGHTLY

It is tempting, when your research has thrown something idiosyncratic about a particular period, to try and weave it into your narrative come what may. Take for example the fact that in the sixteenth century red crosses were painted in the corners of palace courtyards (their purpose was to prevent people from urinating, as they would be loathe to defile the holy sign) or that the Tudors only rarely ate with forks (they were a continental innovation and thought rather feminine). These kind of facts are interesting and can be used to build a sense of time and place but they also require the kind of explanation that might not easily fit into a narrative. They can be used to demonstrate character: a character witnessing someone urinating on a red cross might be shocked by the sacrilege, or a person dining with a fork might be seen as eccentric or well-travelled. However, the danger of overloading a narrative with these kind of details, which would have been commonplace in the period, risks pulling the reader out of the story. For me they usually end up on the cutting room floor.

THE PROBLEMS OF BACKSTORY

One of the greatest challenges when writing about characters set in history is conveying background information. Sometimes characters have very complex histories that are significant to the narrative but finding ways to fit this information into the story without affecting the flow can be difficult. Old Hollywood movies often used the technique of a rolling text, or voice-over to set the scene, and there's nothing preventing novelists from employing a written equivalent, but it does seem a little clunky and old-fashioned. Readers often don't want to wade through a history lesson before they get to the story and editors always advocate grabbing the reader from the off, which often means writers must drop background facts in later.

I struggled with this in my latest novel, Sisters of Treason which is about the younger sisters of Lady Jane Grey. It was important for readers to know the complex political path that led to Jane becoming Queen and why she was executed, but as she died in the opening scene this proved challenging. After many scored out paragraphs with marginal notes like 'too much information' I thought I should convey the history through a conversation between two characters. My problem was that all my characters would have had no reason to discuss such things; they would have known already why Jane had come to the throne and subsequently died. I finally opted to use my youngest protagonist, the only one who might not have been party to the full facts, nine-year-old Mary Grey who quizzes her mother as to the reasons behind her sister's fate. It's a tricky balancing act as any false note will distract the reader.

ANACHRONISMS

I'm lucky enough to have a very thorough copy editor, who always points out, with exceeding tact, my use of glaring anachronisms. Common traps are things that wouldn't have existed in the period. Everybody knows that there were no potatoes in England until the late sixteenth century but I for one didn't know that a marmoset was a species of monkey that originated in the Americas until it was pointed out to me. Fact checking and research will usually deal with such details and if something does slip through you can be sure a reader will take the time to write and inform you of your error. But there is a more insidious form of anachronism, the more subtle question of linguistic usage.

Language is inherently anachronistic and if writers of historical fiction only used language authentic to their period no one would read their books. However, there are certain terms and words that simply don't work, for example if your setting is Early Modern England and you describe a humiliating defeat as a 'fiasco' you risk sounding inauthentic. 'Fiasco' is nineteenth century and sounds it (it also always reminds me of Martin Amis's 'Ford Fiasco'). The medieval term 'calamity' would be more correct but doesn't have the connotations of humiliation (plus it carries the burden of 'Calamity Jane' which makes it seem American); the Elizabethan 'catastrophe' is, well, too catastrophic. 'Debacle' though its first recorded usage is 1795, for me, conveys the relevant atmosphere, without sticking out like a sore thumb, though not everyone might agree. That brings me to idioms: be absolutely sure to verify their origins too. Such things may seem insignificant but they make a difference to the reading experience.

SHOCKS AND SURPRISES

Beware events that may shock or surprise your readers but which your characters wouldn't give a second thought to. Obvious examples are the horrific punishments meted out in earlier times. The public nature of punishment was to act as a deterrent and to see someone convicted of treason going through the torture of being hung drawn and quartered is likely to have struck the fear of God into the spectators as well as being an entertainment of sorts (I think of it as an equivalent to watching a horror film).

We might see it differently; as inhumanly brutal and a terrible injustice perhaps, and certainly never entertaining, but it's unlikely a contemporary character would share our feelings. The death of a baby in a time when infant mortality was commonplace would have had a different effect than it would now that it is rare. domestic violence would have been unremarkable in a time when it was sanctioned by the state that husbands could beat their wives with a stick no thicker than his thumb but not to the extent that he caused her death. The examples are numerous and in my opinion it is always important to remember how a modern reader will interpret such events. A woman who is sad but not devastated by the loss of a baby would come across as hardhearted to readers now, and so a compromise needs to be struck between the past and the present.

For me all these issues are about balance and keeping the reader in the world of the story but that can, at times,  require some cunning prestidigitation.

You can find information on Elizabeth Fremantle's Tudor novels Queen's Gambit and Sisters of Treason on her website – ElizabethFremantle.com

Belle - a film review Catherine Johnson

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Sarah Gadon as Elizabeth and Gugu Mbatha-Raw as Dido

This film Belle, is remarkable for many reasons, it's directed by a black woman (and ex Grange Hill-er Amma Asante) it's historical and there is a woman of colour in the lead wearing what can only be described as Utterly Fabulous Frocks. These are the frocks of my nine year old dreams, the frocks that I longed to wear and now at last they're here larger than life and completely beautiful (as are the female leads by the way).

It uses the life of Belle as the starting point for a froth of romance and politics that entwines the case of the slave ship Zong  (a insurance scam in which ill slaves were drowned at sea rather than sold at a loss) with Belle's unusual social standing just as racism was being properly and fully industrialised. How fantastic to see another facet of British history bought to the screen in a stylish and entertaining manner. 

I'm not going to give you all the history, safe to say Dido Belle was bought up as a lady even though she was illegitimate and mixed race. She did marry, but her husband was not a preachers firebrand campaigning lawyer but a steward and they lived in Mayfair, were married at St George's that lovely church just by Hanover Square and she was buried in the burial ground behind Connaught Square.



Did I mention the clothes? i think I did, and I had been looking forward to this film for a very long time. My mother went to see it and loved it and she has good taste I took my best friend, she wept buckets while I myself did manage a moist eye.

I think the team did an excellent job with setting and costume, no mean feat for a British (read low budget) feature. The performances by the female leads and the older generation - Miranda Richardson, Tom Wilkinson and Penelope Wilton were all brilliant, sadly I found the love interest and the evil suitor a little lacking.

It was not the art house smash that is 12 Years a Slave but I would recommend it most wholeheartedly. Belle combines rock solid storytelling and a very handsome look at class and race constraints in 18th century Britain. Let's hope this is the first of many such films that explore all our history. There are so many stories that are waiting for this sort of treatment.

Of course if you'd like to explore this period in a book I can offer you Sawbones! Which by the way won the Young Quills 12+ best historical fiction award earlier this week. And I shall leave you with the portrait of Dido and her cousin Elizabeth which inspired the film.


Dido Belle and Elizabeth Murray 1779. Attributed to Zoffany

Catherine.

The Packhorse Trains

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by Marie-Louise Jensen

I posted last month about the slowness of wagons on narrow rutted roads in the 18th Century. There was another form of transport that was far quicker and less affected by the poor roads. All over Britain trains of pack horses carried loads of goods from city, countryside or coast to city.
Pack horses were much faster than wagons and for this reason were more suited to transporting fresh goods that would spoil on the journey. In the early 18th century, London was growing fast and food and raw materials needed to be brought in from all over the country.
There was a pack horse train for example, that travelled down every night from the North of England with fresh fish. Trains of pack horses carried fruit and vegetables into the city from all over the country. And from the West Country came a continuous supply of wool to be processed in the city.
All these goods were ideal to be transported by packhorse, being small and relatively light. Bulky and heavy items were better suited to wagons.
The pack horses could avoid the worst of the ruts, not get stuck in the mud like a heavy wagon, take shortcuts and they could also evade the new tollgates that were springing up all over the country, by simply leaving the road for a spell, which the wagons couldn't do, making pack horses cheaper.
It amazed me to find that pack horses were so widely used in the UK and until so recently. I should have guessed, of course, from the number of pubs called the packhorse. I live in the wool-producing West Country and there's one pub with that name within walking distance.
Gradually, the improved roads and the new four-wheeled carts, not to mention canals, put them out of business. But until the mid-18th century they were very much in use.
It was impossible to resist including the pack horses in Runaway once I found out about them, so my character Charlie gets a job with a packhorse train which travels between London and Bradford-on-Avon.
She and her employer (a woman - I checked, and there really were a few women known to have been working the packhorse trains, sometimes dressed as men for protection) walked beside the horses with a stick, one at the front of the train, one at the back and used voice commands to direct them. The horses knew the route by heart and would speed up as they got closer to the inn where they were to be quartered that night. Their stabling would be booked, including feed, at convenient inns on the route, depending on how long the journey was.
My research taught me wisdom such as 'a badly tied pack ruins a horse quicker than bad roads' and a lovely collection of words that have now long ago passed out of the language, such as 'sirsingles' and 'wantyres' which were part of pack horse harness, the wantyre being the strap that fastens around the horse's tail to help secure the load. They are still in the OED with a wide variety of possible spellings.

The Somme - then and now: by Sue Purkiss

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On the 1st July 1916, the Battle of the Somme began. The plan was for the British and their allies to attack the Germans along a 15 mile line, stretching from Serre, north of the Ancre, to Curlu, north of the Somme. In command was General Haig. His master plan was to weaken the enemy by a week of heavy artillery fire before the attack; so confident was he that this would create complete disarray that, on the first day of the attack, he ordered the British troops to walk slowly towards the enemy lines. 



Unfortunately, the plan didn't quite work. The artillery attack simply served to warn the Germans that an attack was imminent. They just moved underground - their trenches were deeper and better-constructed than the allied ones - and waited for the bombardment to stop. Then they popped up again and manned the machine guns. Imagine their astonishment when they saw the British walking slowly towards them, presenting a perfect target! By the end of the first day - one day - there were 60 000 allied casualties, including 20 000 dead.

There are so many of these terrible statistics for the First World War. The figures are so huge that it's difficult to take them in - to grasp the stories behind the statistics. A few weeks ago, we were in the Somme area for a few days. I am only familiar with the history of the war in a general sort of way, but after visiting some of the museums, battlefields, memorials and cemeteries - of which there are so very many - I know a little more. But there were certain triggers that made it all seem much more real. Here are a few of them.


We stayed in a tiny village called Fresnes-Mazancourt. It was very green, very peaceful. In the guest-house there were lots of books to do with the war, and I picked up a little typed pamphlet. It was written a few years after the war by the man who had previously owned the local chateau, and it was a plea to the people of America to help the village get back on its feet. He described, in careful detail, what the village had been like before the war, what had happened to it during the war, and the state of it at the time of writing.

Everything had been destroyed. Everything. Not a single house, not a single tree, was left standing. Some families had crept back and were trying to rebuild their lives, but it was desperately hard. The fields were full of unexploded ammunition - and other things; there no tools left, no means of making a livelihood - nothing. The writer of of the pamphlet, who had also lost everything, was begging for some money to help them get on their feet; bigger towns were being given priority, he said, but for the people of Fresnes, there was no help. 

Their plea was not successful - perhaps the pamphlet didn't get to the right people, perhaps there were simply too many other demands. But somehow, they did get back on their feet again; they built this church from scratch. Now, the village has some attractive houses and is surrounded by well-kept fields and orchards. But every single thing dates from no earlier than 1920. 

I hadn't really thought before about what it was like for the people of northern France who found themselves living in the middle of a battlefield.


This is a memorial at Beaumont-Hamel. It's a caribou, and it's the emblem of the Newfoundland regiment; it faces across the Atlantic towards home. At that time, Newfoundland wasn't part of Canada, it was a British Dominion. When Britain called for help from the dominions, they were generous in their response. The men from Newfoundland were determined to stay together in the same regiment. It was a small community which was mainly supported by fishing, and the fathers, sons, brothers and cousins who signed up made a big hole in it. They went overseas together, they trained together, and their first engagement was in the Battle of the Somme, at Beaumont-Hamel.

They had those orders, the ones I mentioned earlier. They climbed up out of the trenches and they walked - so slowly - towards the Germans. It was a bright, sunny day for once, so they were easy to see. They went down like grass before a scythe. 

On top of this, Allied Command had had another bright idea. They'd ordered the soldiers to wear reflective triangles on their backs, so that reconnaissance aircraft could easily keep track of them.

So when they were forced to retreat, the sun beamed down on those reflective triangles, creating an even easier target. Eighty per cent of the Newfoundlanders became casualties in the first half hour, including every single officer - and a boy of only fourteen, who had lied about his age because he wanted so badly to join up alongside his mates and his relatives. 


This tree has a name of its own - the Last Tree. And that's exactly what it is; the only tree left standing after the Battle of Delville Wood. It's a hornbeam, very finely shaped and very beautiful. There are other trees around it now, but they have all been planted since the war. The ground beneath them is full of the mounds and dips created by artillery fire, and the bodies of hundreds of soldiers which were never recovered still lie beneath the green turf.

The soldiers who fought in this battle were mainly South African, and Delville Wood is the site of the South African Memorial. It's very beautiful, with etched windows which show the battlefields, and well-displayed information about individuals as well as about the regiments which took part. But for me, the Last Tree made the most poignant statement. Just the name conjures an apocalyptic landscape where everything living has been destroyed.

The countryside of the Somme is astonishingly green and peaceful now. It's not heavily populated; the memorials, often on hill-tops, gaze down over rolling green fields which go on for miles. Yet still underneath the woods and fields there is so much live ammunition that the mine-clearing crews of the Somme, which collect 100 000 lbs of live shells etc each year, estimate that it will take 700 years to clear it. (This statistic came from the Historiale de la Grande Guerre in Peronne - a wonderful museum which tells the story of the soldiers from both sides.)

One more picture, which speaks for itself. It was taken on the outskirts of Fresnes.








Dark Aemilia - Review by Ann Swinfen

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Aemilia Bassano is someone who has intrigued me for years. She was one of the first women poets to be published in England, and the very first to be published in the same way as a professional male poet, with her books printed in 1611 by Valentine Simmes and sold commercially by the bookseller Richard Bonian in the enclave of booksellers, Paul’s Churchyard in London

It is not only her method of publication which was ground-breaking, but the content of her work, Salve Deus Rex Judaeorum, which includes an argument in favour of Eve’s innocence and denouncing the subsequent treatment of women as the reputed source of all mankind’s ills. She has been described as a ‘proto-feminist’, a clumsy term, but she certainly epitomises the first stirrings of rebellion amongst educated women at their confinement to a position inferior to men.


Possible Miniature of Aemilia Bassano by Nicholas Hilliard

It is perhaps not surprising to find a woman speaking out for women soon after the reign of England’s most notable sovereign – and a woman – Elizabeth I, in whose court Aemilia had grown up. Yet given Aemilia’s background, it is astonishing. The six Bassano brothers were Venetian musicians, possibly Jewish, who came to England as court musicians in Henry VIII’s time, all of them except the eldest making it their permanent home. Aemilia’s father was the youngest, Baptiste, and he may not have had a conventional marriage to her mother, Margaret Johnson, though it should be remembered that there were various forms of marriage at the time, such as the preliminary hand-fasting which, if performed before witnesses, counted as binding. If the Bassanos were indeed Jewish, it is possible the marriage was not performed at a Christian ceremony.

The Bassanos, then, were about the court, but were not courtiers, therefore it is quite surprising that Aemilia was taken in by the Countess of Kent and given a rigorous education, unusual for almost any girl at the time. She must have displayed remarkable intellectual gifts while still young. However, although she was gifted and apparently very beautiful, she belonged neither to the aristocracy nor the gentry, so it was perhaps inevitable that she became the mistress of an aristocrat, a man powerful in government and cousin of the Queen herself, the son of Anne Boleyn’s sister Mary – Henry Carey, Lord Hunsdon, the Queen’s Lord Chamberlain. Hunsdon was more than forty years older than Aemilia, old enough to be her grandfather. However, he seems to have treated her well. When she became pregnant, it was another matter. She was hastily married off to a cousin, Alfonso Lanyer, another court musician, who was an idle spendthrift. It was an unhappy marriage. Her son Henry Lanyer was born in 1593.


Simon Forman

Much of what we know about Aemilia comes from the notebooks of the astrologer and necromancer, Simon Forman, who kept detailed notes on all his clients, and makes a reference to Aemilia having asked him about conjuring demons.

These are the facts. There has been speculation for some time now that Aemilia was Shakespeare’s Dark Lady. With her Italian blood, it is likely that she had a darker colouring than most women in Elizabethan England. Women with a Mediterranean appearance were referred to as ‘black’ at the time. Moreover, it seems extremely likely that Aemilia and Shakespeare must have known each other, as Lord Hunsdon was the patron of Shakespeare’s theatrical company, the Lord Chamberlain’s Men, from 1594. Although this was shortly after Aemilia was married off, her links with Hunsdon may not have been totally severed. I am quite persuaded by this theory of the Dark Lady myself, and indeed Aemilia makes a brief appearance in The Chronicles of Christoval Alvarez, which I am currently writing.


In Dark Aemilia, Sally O’Reilly has taken all these things – the facts of Aemilia’s life, her published writing, Forman’s mention of summoning demons, and the theory about her being Shakespeare’s mistress – and has created a magnificent novel which does not shrink from the many horrors of life at the time, from poverty and plague to superstition and the humiliating treatment of women. We follow Aemilia’s fall from her privileged position at court to a life on the edge of destitution married to Alfonso. Her brief affair with Shakespeare is a time of glorious fulfilment, for he values her not merely for her body but for her mind, her intelligence, wit and learning. She yearns to be a poet, but cannot find her voice.

O’Reilly assumes that the child is Shakespeare’s, although it is years before he learns this. Having seen her being raped (while pregnant) by the foppish Henry Wriothesley, Earl of Southampton, he assumes that she is a consenting party and casts her aside, relieving his fury and pain in a series of violent sonnets, which turn Aemilia against him.


After the birth of her son, all of Aemilia’s love and care are focussed on him, so that when plague sweeps through London in 1603, she is prepared to do anything – anything– to save him. This is when she decides that, as prayer is useless, she will summon the demon Lilith to protect her son. Falling victim to the plague herself, she suffers terrible hallucinations, which continue to prey on her mind after both she and Henry recover, so that she is inspired to write a play, The Tragedie of Ladie Macbeth. What happens as a result of this, I won’t reveal.


Dark Aemilia is a powerful, gripping read, with a cast of characters who spring to life, even those with smaller parts to play, like Aemilia’s neighbour Alice or the somewhat unsavoury Forman. It is a book I would warmly recommend, though I do have a few small quibbles. In 1602, Aemilia says that she has not visited the Globe for ten years. In fact the Globe was only built three years earlier. In 1605 she crosses the frozen Thames on foot and reaches Blackfriars Stairs and the Globe. However, Blackfriars Stairs were on the north side of the river, near where the FleetRiver joined the Thames, and nowhere near the Globe on the south bank. Also, as far as I can ascertain, the Thames did not freeze over in 1605.

I believe historical novelists should stick to accuracy in facts like these, whatever liberties are taken with the flow of the story, but apart from these minor points, Dark Aemilia is a remarkable novel and Aemilia herself a captivating, flawed but passionate protagonist who engages the reader’s sympathy even when she is treading a path of dubious morality.


Dark Aemilia by Sally O’Reilly is published by Myriad Editions.

A Visit from The Daughters of Time - Celia Rees

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On July 1st, Catherine Johnson and I visited Cornelius Vermuyden School on Canvey Island to talk about The Daughters of Time Anthology and our stories, Return to Victoria (Emily Wilding Davison - my story) and The Lad That Stands Before You (Mary Seacole - Catherine's). 



Emma Wilding Davison
We were there as part of Pop Up http://pop-up.org.uk who had generously supplied copies of the anthology to the school. I had been at a Pop Up event earlier in the year, in the week that The Daughters of Time was published. I couldn't resist waving my publication copies and telling everyone about it in the schools I visited. I was talking in girls' schools in the East End and there was so much interest from staff and students that I ended up giving my copies to the schools involved. Teachers loved the idea of short stories about women in history and as an ex teacher of English and History I could see how useful such an anthology could be in the classroom (Note to publishers - schools LOVE short stories because they are, well, short and an anthology like this can generate an almost infinite amount of interesting work - of which more below).

Lest I start a gender panic, Cornelius Vermuyden is a MIXED school. Yes, boys were reading about women in history and YES, they were interested. 

I think Daughters of Time is a great book for schools - as one of the teachers said some of the boys didn't notice they were all women until it was pointed out - it's short and interesting and lends itself to all sorts of discussions and questions.

Catherine Johnson

Books don't have to be gendered, nor should they be, but that's probably a different blog. 



Gemma Holland, who was organising the excellent Pop Up events was at one of my sessions and thought that The Daughters of Time would be a very good book to include in the Pop Up programme. Coincidently, Catherine Johnson was visiting the very same school a few days after me and I mentioned that she was a Daughter of Time, too. Would we like to do a session together? Would we? Yes, we would.

The unique thing about Pop Up is that they supply the school with books, so the students have read your book and have done some work of their own. Both Catherine and I found this a transforming experience and we really enjoyed working together. 

Catherine comments on:


...the wonderfulness of talking to a group of students who have actually read the work being discussed. The thing that made these sessions different and completely refreshing was working alongside another author ... having someone to bounce off, to share and explore ideas with alongside the students was brilliant and added, I think, an extra layer of depth to our talks. 

I wish all my author visits could be conducted like this.


Both our stories led on to wider discussion and because the students had read the stories and completed work based on them, we could have a proper debate. This was education in its truest sense. These children of 2014 were shocked that women could not vote and horrified by the treatment of suffragettes under the Cat and Mouse Act. We could have been there all day talking about whether Emily Wilding Davison meant to cash in the return stub of her train ticket or cash in her chips. I very much appreciated the contribution from one young man who knew his way around horses and who explained to us exactly what would happen if someone stepped out in front of a horse at full gallop. His expert knowledge brought the debate to a close.

Tattenham Corner, Derby Day, 1913
Things were no less spirited when it came to Catherine's story. The students were equally shocked by the racism, endemic in the 19th Century, that prevented Mary Seacole, although eminently experienced and qualified, from serving as a nurse under Florence Nightingale in the Crimean War. They practically cheered when Catherine described how Seacole went anyway and set up her own hospital, The British Hotel, practically on the battlefield. 

Mary Seacole

British Hotel


They were also taken aback to know that boys, the same age as those sitting in the audience, served as soldiers and that women sometimes went to war disguised.


Susie King Taylor
Boy Soldiers - Crimea


Kady Brownell
 The discussions ranged far beyond the confines of the stories we had written. As Catherine says, 

One reaction I will treasure is the surprised look on the last class of Year 7s when they heard women only achieved equal pay recently!









It was a fantastic day and one we will both remember.  For it to be as good as this, a great deal of work had to be done, by the Pop Up team who made it possible, but also by Sue Goldsmith and the teachers at Cornelius Vermuyden School, who showed real commitment to the project, and not least by the students themselves who showed such great interest and such imaginative responses to the short stories in the anthology. Their creative work was really impressive. 

Figure of Mary Seacole - my particular favourite





 





The final word goes to Cornelius Vermuyden School:

I just wanted to let you know that our Home Project event was brilliant and the presentation last night was lovely. The work the students had done was really stunning.

The students are still talking about both you and Catherine. It has really given the text meaning. My year 7s talk about you guys as if they've known you for years.

 

One student actually made Mary Seacole
[see above]. Catherine had said that she used to be little known in history, she is very well known by our year 7.

Sue Goldsmith,  English Department.


Catherine Johnson has just won

 The Young Quills Award for Historical Fiction for her novel, Sawbones.

Celia Rees
www.celiarees.com 

ONLY REMEMBERED ~ ‘Powerful words and pictures about the war that changed our world.’

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by
Theresa Breslin

… it’s time for farewells…

This line is from an extract of a recently discovered diary of an unknown French soldier as he goes off to war and into action in 1914. It was chosen by Michael Morpurgo as the first item in his anthology Only Remembered 
 

It’s quite apt for me to choose to write about this book for my blog this month because this is the last blog I’ll do as one of the History Girls – a farewell post from me.

One hundred years have passed since the outbreak of the First World War. To mark the centenary Michael Morpurgo has compiled and edited favourite words and images about the Great War from some of the UK’s leading cultural, political and literary figures to create a beautiful anthology illustrated by Ian Beck. Royalties from each book sold will go to the British Legion and SSAFA who provide lifelong support for forces and their families.  

In setting out to create the anthology Michael’s wish was that such a profoundly important period would continue to be related to young people in an accessible and relevant way. But this book is for all ages and relevant to everyone. Poems, short stories, personal letters, newspaper articles, scripts, diaries, photographs and paintings are just some of the elements of this unique collection – each introduced by the person who selected it.

 Among the contributors is a wide range children’s authors and illustrators, including, among others, David Almond,  Malorie Blackman, Quentin Blake,  Anne Fine, Shirley Hughes, Catherine Johnson, Bali Rai and Jonathan Stroud.  

Speaking of Oh, What a Lovely War, David Almond talks of honouring the decent ordinary folk who go to war.

Malorie Blackman writes of the brave heart and fighting spirit of Walter Tull, the mixed-race son of a Barbadian carpenter and a white English mother. A professional football player who joined the British Army at the outbreak of the war he became a highly regarded black officer, the first to lead white men into battle.

Quentin Blake’s father was a surveyor’s clerk for the Imperial War Graves Commission and his parents lived in France for 10 years after the First World War. He has a simple but telling memory of his father remembering his friend who dies in the conflict.

Anne Fine gives us the source of her own book, The Book of the Banshee, based on the diary of a young man who lied about his age in order to join the Army, and tells of the challenge to make her book into a comedy.  

Shirley Hughes has chosen John Singer Sargent’s painting Gassed. (Worth a visit to the London Imperial War Museum to see that alone TB.)  

Welsh poetry that moved me to tears was selected by History Girl, Catherine Johnson.

Bali Rai’s contribution is entitled Sikh Soldiers and he comments on a shared British and Indian heritage

Jonathan Stroud has given us an extract from the diary of his great-grandfather on Armistice Day, 11thNovember 1918.

In my entry I write of how the war affected young children on the Home Front – our youth who became the future. Photos of my research materials show the contrast between the newspaper reports of the first day of the Battle of the Somme and the diary entry of an officer who was actually there and watched his men go forward.

The above are a small selection of a book packed with magnificent content – a fascinating mixture of impressions and thoughts plus some useful information e.g. a Timeline and Websites.   

Some time ago Michael Morpurgo stopped to look at the grave of a young British soldier, who’d been killed in 1918, two weeks before the end of the Great War. Michael refers to this in relation to the book, this soldier being one of the ten million soldiers killed on all sides:
Most never grew old enough to know and be known by their children or grandchildren. This book is made for them; for all of them.’
He goes on to say: ‘Here in this book you will find the truth, which comes in many guises, in history, in stories, fictional and non-fictional, in poems and songs and pictures.’  

The Introduction to the book is entitled:
WHO’LL SING THE ANTHEM?  
WHO WILL TELL THE STORY?

This seminal anthology Only Remembered answers these questions.

I am feeling quite sad to be writing this post, not only because of the subject matter, but because it is my last post for this Blogspot as a History Girl. Commitments, personal and professional, have meant I have had to resign but am cheered by the fact that it means creating a space to give a platform to another new voice waiting to be heard.
From the very first moments of the start-up party I’ve loved being a History Girl, and through the years it has been terrific to experience our comradeship and support for each other – not least the Admins who had to bail out Techno-Idiot me on several occasions. But, of course, main praise to the main person - the ever indefatigable Mary Hoffman who has been the inspiration for all of this. I’ve read posts which were poignant, thought-provoking, insightful, quirky and humorous and learned a  LOT more history! Thanks to all HGs. 
             
NOTE:  Theresa Breslin is appearing at the Edinburgh Book Festival on 13thand 19th August 2014.   
Theresa Breslin writing on WW1:   
NOVELS:                   Remembrance        Ghost Soldier
CONTRIBUTOR:       War Girls                 Only Remembered

'From the Horse's Mouth' by A L Berridge

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Historians can be a sad bunch when it comes to primary sources. We talk of gold, of ‘treasure trove’, and last month I even called the letters of a colour sergeant ‘the Holy Grail’. There’s something magical about reading the words of people who were actually there, and knowing that at last we’re getting close to the truth.

Or not. 

Before cameras and sound recordings, primary sources are entirely human things. People can mishear, misunderstand, misremember, misscribe or mistranslate, and once Caxton came on the scene they could even misprint as well. 

'The Wicked Bible' of 1631. Spot the misprint...

Our frailty runs even deeper than that. Goebbels’ speeches are primary sources, so is Bismarck’s ‘Ems telegram’, and if Holborn’s portrait of Anne of Cleves is of debatable accuracy then so is Henry VIII’s reported reaction to it. People are subjective at the best of times, dishonest at the worst, and anyone who’s ever attended a trial knows that primary sources can be the most unreliable of all. 

Some are better than others, of course. A will is a will, an Act of Parliament is an Act of Parliament, and carefully typed memoranda about ‘sonderaktions’ or sterilizations were quite enough to hang both authors and recipients at Nuremberg. Yet even official sources of information are still human. There are misprints in Hansard, lies on birth certificates, non-existent voters on electoral rolls, and if the phrase ‘massaging the figures’ is modern, the practice itself is not. The 1664-5 London’s Bills of Mortality show a mysterious rise in the vaguer causes of death – as if trying to avoid a panic by concealing the true numbers of those who actually died of Plague.

From the collection at the Wellcome Library, London

 It doesn’t even have to be deliberate. I don’t think there’s a single lie in the ‘General Orders’ issued during the Crimean War, for instance – but neither is there anything that reflects the real truth. The coffee ration sounds excellent – unless we know it consisted of green beans which the men had no fuel to roast. The issue of fuel seems sensible and timely – unless we know the roads were impassable between Balaklava base and the lines, and that most men received nothing at all.

William Howard Russell
 Newspapers were better informed, and William Howard Russell’s descriptions in The Times still remain the best and most quoted source on the suffering of our soldiers. Yet Russell was still a journalist, and his hastily filed reports of battles are as riddled with sensationalist errors as the worst tabloid of today. His nadir is undoubtedly the night battle of the 1855 Grand Sortie, where he announces the death of an officer who was still alive (Colonel Kelly), reports the wounding of one who was very much dead (Captain Vicars), and ascribes a heroic rock-throwing role to one who had been wounded in the arm an hour earlier and was incapable of lifting so much as a handkerchief (Major Gordon).

It’s understandable. Russell wasn’t in the battle himself, he had to rely on what people told him, and in this instance we can argue he’s not really a primary source at all. His failings should not affect the reputation of the London Times, the unquestioned Paper of Record for such official facts as court appointments, ship arrivals, casualty rolls, and of course the lists of ‘Hatch, Match and Dispatch’.

And then again…

For my latest Crimean novel I wanted someone to survive the sinking of Resolute in the Great Storm of 1854, but while N.A. Woods of the Morning Herald claimed nine men survived the wreck, all other sources reported the ship lost with all hands. I turned to the one unquestionable authority - the London Times.



There it was, the official report I was looking for. While other ships had a list of survivors after their names, poor Resolute was recorded simply as ‘totally lost’. I resigned myself to the rewrite, but as I glanced down the rest of the column this little item caught my eye:

It’s a letter from the one officer to survive the wreck of – the Resolute.

It still needn’t shake our faith in primary sources. The newspaper was a secondary, it only printed what it was given, and it was the survivor’s letter that set the record straight. Official records can always be trumped by actual letters, diaries, and memoirs, the story that comes to us straight from ‘the horse’s mouth’ of people who really know. We must make allowances for bias, of course (especially in a war) but primary sources are still the only direct route to the truth.

So they are, but it can still be the devil’s own job finding it. I’ve been lucky with my earlier novels in that historians have been over the ground before me, but Soldiers of the Queen deals with the later Siege of Sevastopol, which is almost entirely virgin territory. Usually there’s been nothing but primary sources to work from, and I soon learned what any policeman or barrister could have told me at the start: that no two witnesses ever agree on what they see.

It’s been a nightmare. I’ve tracked down over a dozen first-hand accounts of the Grand Sortie, for instance – and no two of them tell the same story. I’ve always tried to avoid contradicting eye-witnesses in my writing, but for Soldiers of the Queen I’ve sometimes had no choice. In one case I’ve even chosen to go against the only eye-witness – a sin so heinous that I wanted to use this post to explain it.

The witness concerned is that same Colonel Kelly whose demise was so prematurely reported by Russell, and who was in fact captured by the Russians on the night of the Grand Sortie. He was alone at the time, and the explanation he wrote to his wife is thus the only one we have: 

‘I was surrounded by eight or ten Russians, who leaped into the trench as I was passing to form up the men, having come from some distance on the right… I owe my life, under God, to a Polish soldier of the name of Stein, who prevented me from being bayoneted after I was on the ground.’

It seems straightforward enough – until we read the account published thirty years later by Alexander Kinglake, official chronicler to the Expedition to the Crimea:

Alexander Kinglake by Harriet M. Haviland
‘[Kelly] had gone but a little way further, when – standing together in the trench – he saw a group of seven or eight soldiers whom he took in the darkness to be men of his own regiment – the 34th. So going close up to them, he directed these men to ‘fall in’ with the other men under Jordan. He was met by an uproar of outlandish cries, and found that he had been accosting the enemy. He brought out his revolver, and pointing it at the head of the nearest foe, pulled hard, though in vain, at a trigger held fast by the safety catch. Whilst lowering his weapon in order to push back the bolt, he was felled by numbers of blows… and when on the ground was bayoneted in the right shoulder, in the left hand, and in the right leg…’

Kinglake’s story stands up to examination. The night of March 22nd was very dark indeed, and that Kelly’s mistake was a plausible one I was able to confirm from a letter of Private William Stray, who described a ‘narrow escape’ of his own in the same battle:

 ‘a number of Russians were together in one part of the trench, and the night being very dark I mistook them for our own men, and I thought they took us for Russians, they were firing on us, and under that mistake I ran up to them shouting damn your eyes, you are firing on your own men, but I soon found out my mistake.’

Extract from William Stray's letter

It’s credible then – but it contradicts the version of Kelly himself, and surely the primary source should be taken above the secondary? Yet Kinglake was scrupulous, he corresponded profusely with every witness he could find, and the only possible source for this anecdote has to be Kelly himself. Why on earth would Kelly change his story all these years after the event?

The answer, I think, is a very human one. The mistake of approaching the enemy, the failure to release the safety catch – the whole thing is deeply embarrassing, and Kelly may well have balked at revealing the truth to his wife. But what is humiliating to a man in his thirties can become a wonderful after-dinner story in his sixties, and I see nothing strange in Kelly finally giving Kinglake the true version of what happened.

Yet there remained one niggle: Kelly was at some pains to assure his wife that he had not been bayoneted while on the ground, yet Kinglake insists that he was. Kelly didn’t mind admitting he’d been wounded, so what on earth was so embarrassing about having received those wounds on the ground?

I’m afraid I think I know that too. Colonel Reynell Pack of the 7th Royal Fusiliers cheerfully recorded in his memoirs that Kelly was ‘most careful of himself’ and used to go to the trenches ‘swathed and wrapped up like a mummy’. The story circulating at the time was therefore that the Russians had only failed to kill Kelly because the bayonets ‘did not penetrate through his numerous garments’…

I might have put that down to ordinary inter-regimental bitchiness, except for the confirmation of an even more impeccable source. One of Kelly’s own letters actually describes his attire for the trenches like this: 

‘a flannel vest, then a chamois one, and over that my shirt…. Then I had my flannel drawers, and over them my chamois ones; then came my regimental trousers with my long blue knit stockings drawn over them. Over my shirt… a blue sailor woollen jersey…a pair of sailor’s flushing trousers… Mr Philipson’s coat, with a comforter round my neck… over that my greatcoat… and over all my mackintosh…’

Reynell Pack was telling no more than the embarrassing truth. I suspect Kelly did indeed survive by virtue of his clothing, and the only amazing thing about it was that the Russians managed to wound him at all. His own account of his capture turns out to be unreliable in every detail, and I went with Kinglake’s version after all.

Colonel Richard Denis Kelly after the war

Yet there’s more than one kind of reliability, more than one kind of truth, and if Kelly’s letters didn’t explain much about the Grand Sortie they revealed an awful lot about the man himself. The same was true of Colour Sergeant Clarke’s letters, and is one reason why I still love primary sources above any others. They always tell us something, even if it isn’t what we’re looking for - or what the writer intended.

Those General Orders, for instance, proved conclusively just how out of touch Headquarters really were. The misleading Bills of Mortality show clearly the extent to which plague was feared. Even lies can tell us a truth, and libellous pamphlets circulated about Marie Antoinette certainly confirm the extent to which she was hated. Secondary sources can tell us these things, but primary sources show them red and raw.

Which is why I love them even more as a novelist than I do as a historian. Primary sources can take us there, bring us close enough to touch. I even loved typing out that little bit of Stray’s letter, because its dreadful punctuation helps me hear his voice. Research isn’t just about ‘knowing’, it’s about seeing, hearing, and ultimately feeling – and if I work hard enough I hope that one day my novels will do the same.

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A.L. Berridge's deeply neglected website is here.

Personal Histories by Imogen Robertson

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"Distribution of Races in Austria-Hungary"
Historical Atlas by William R. Shepherd, 1911

It’s no doubt the influence of the anniversary of the beginning of WWI, but I’ve been reading a lot about the history of Central Europe and the Balkans recently. As always I’ve been profoundly embarrassed by my own ignorance (though I’m getting used to that), but also fascinated by the complex interplay of personality and event, the scramblings for power and identity that have made Europe what it is, and will undoubtedly continue to influence what Europe will become.  


Has everyone seen this? For those who do not feel like clicking off into the internet multiverse its an animation of the shifting boundaries of Europe from about 1000AD up to the present day.  Look at the British Isles - in comparison with Central Europe we are just so stable, protected by the seas around us while vast tracts of land in the centre of the map are taken, claimed and reclaimed by competing empires and ideologies. You can see why the idea of steady historical progress found fertile ground over here, while those in central Europe were whirled round by one historical hurricane after another. Where can one find a guide to lead one over this terrain?

Step forward Simon Winder. I read his brilliant book Germania on the lands of the Holy Roman Empire that became (sort of) modern Germany some years ago, indeed it provided the inspiration for the fourth Westerman and Crowther novel, Circle of Shadows. He’s followed up the success of that book with the equally brilliant and picaresque Danubia which takes a similarly gossipy but informed approach to the history and landscape of the lands ruled by the Habsburgs  from the middle ages until WWI. 

Winder is a witty writer and a curious traveller, but I think what I enjoy most about his approach to history, as opposed to say the rather academic and austere studies of Tim Blanning, is his very human perspective on such a broad sweep of territory and time. What also comes across is his love of these lands and the past they preserve. He delights in absurdity, but treats his subject with careful respect. Reading the book is to travel through these countries with the best of guides. We pound the streets of the ancient capitals beside him finding the revealing anecdotes in the architecture, and handle illuminating fragments of history contained in tiny forgotten museums in medieval side streets. It makes for a personal history in the best sense.

The other book I’d recommend is also a combination of travelogue and history and picks up where Winder leaves off. As a result it is a darker volume, but one we should all read. It is The Trigger by Tim Butcher. It concentrates on the short life of Gavrilo Princip, the assassin who shot Archduke Franz Ferdinand in June 1914 thus striking the match which set Europe ablaze. 

Butcher travels the route Princip took from rural Bosnia to the city of Sarajevo, both then under Hasburg rule, and from there to Belgrade in Serbia. The Kingdom of Serbia at that time was a beacon of hope to all Slavic peoples who wanted to shake off their imperial rulers. In Belgrade Princip formed his plan to kill Franz Ferdinand, got hold of the weapons he needed then returned to Sarajevo to wait for the Archduke. 

On his journey Butcher finds Princip’s relatives still living in Bosnia, and his school records in the Sarajevo archives, but Butcher is also on a more personal pilgrimage. He reported on the Balkan wars of the 90s and interweaves the story of his experiences then with Gavrilo’s story and what he sees today. It makes for an account both poignant and illuminating, personal and universal. He sympathises with Princip’s romantic, pan-Slavic nationalism, but himself witnessed the toxic extremes to which nationalism can lead. His account of a commemorative walk along the route taken by those fleeing the horrors of Srebrenica is especially compelling, and his discussion of the different wordings used on the plaque which marked the place of the assassination reveals as much about the last 100 years of Balkan history as anything I’ve ever read.

View of the Danube / Sava in Belgrade
I should declare an interest here. My eldest brother has been living in Belgrade for over twenty years so I’ve been a frequent visitor to the Balkans for many years. I have friends in London who fled the siege of Sarajevo and have a picture on my bedroom wall that was painted while Nato bombs fell on Belgrade. I’ve had dozens of careful late night conversations with Serbs resentful of their depiction in the West and with war reporters who saw the horrors at first hand, even so I've never known enough about the history of Central Europe and the Balkans and without knowing the history, you can’t begin to understand the place. 

In England particularly history seems like a safe subject, something colourful to paint on boxes of fudge, and it seems one can study even the most troubling elements of it from a comfortable distance. History in the Balkans is a living, dangerous creature.

One image from Butcher’s book stands out. After Princip’s co-conspirator made a first attempt on the Archduke which injured some of the officials travelling with him, the Archduke and his wife continued on to the official reception in Sarajevo town hall. The Archduke was seen to pause as he gave his official speech of thanks for his welcome in the city. The text of his remarks had been in the possession of one of the injured men, and the papers from which he read were already stained in blood.
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