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Brilliant trail-blazer of expressionism, Gabriele Münter: Heard of her? by Leslie Wilson

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The picturesque in modern Murnau
In the summer, on our way from Munich to the mountains, we visited Murnau, a place I have long wanted to go to. It's where the Blue Rider school of expressionism found their spiritual home. This was due to a quality of the light in that town beside the Staffelsee and near the mountains, produced by the Föhn wind, a warm wind off the mountains which is also notable for giving people headaches.

. If you haven't heard of the Blue Rider, you might have heard of Vassili Kandinsky, August Macke, or Franz Marc. All of these are to be found in British art galleries. But have you heard of Gabriele Münter? Perhaps not. I haven't met many British people who have.
Gabriele Münter was born in Berlin, in 1877, and always wanted to paint, but had difficulty in achieving that ambition because of her gender. Women were only supposed to paint as a hobby. She began at the unpromisingly-named  'Damenkunstschule' (Ladies' Art School), but managed, in the teeth of her family's disapproval, to get herself to the Phalanx School, where she met Kandinsky. He was ten years older and married, but they fell in love.
Münter in later life

Münter was a pioneer in lifestyle as well as in art; she rode a bicycle when that was still daring for a woman (or for a man, if it comes to it), wore avant-garde 'reform clothes', and lived with Kandinsky without marriage. And she was a professional, driven artist.

Kandinsky's view of her work was enthusiastic: 'I can't teach you, you have natural, innate talent. All I can do for you is to care for your talent and nurture it, so that nothing artificial spoils it.' He was right to respect her abilities. As too often happens, she has been written off as Kandinsky's mistress and muse, and her work dismissed as a reflection of his.

In fact, her enthusiastic adoption of different forms was ground-breaking, and she led the way. It was she who began to paint pictures behind glass, adopting the old Bavarian folk-art form and using it in innovative ways. The others followed in her tracks. 

Paintings behind glass, Gabriele Münter
She was inspired by the vivid colours of the Murnau houses to paint equally brilliantly-coloured town- and landscapes in which the representational melded with the abstract: 'More and more I was comprehending the clarity and simplicity of the world.'
Much to the annoyance of some of the male Blue Rider painters, she contributed to the seminal 'Blue Rider almanac.' In 1911 the group put up an exhibition in Munich, which electrified and scandalised an art establishment still largely dominated by formal, academic art. 

This rejection of established norms was happening elsewhere, of course: in Vienna, for example, where Gustav Klimt and his colleagues called themselves, simply, the Secession. When the Blue Rider exhibited, the attendants had the unpleasant task of wiping off the spittle from the paintings.

Kandinsky and Münter lived in a house she bought at the edge of Murnau, which was known, then, as the 'Russian House', and deeply disapproved of because of the scandalous lifestyle of its inhabitants, and their guests' habit of disporting themselves nude, including by the lake, where the locals might catch sight of them. On the other hand, Münter was intimidated enough by convention to leave the house, for weeks at a time, when Kandinsky's family came to visit. He kept promising to marry her, and never did, and as far as his family were concerned, she didn't exist. And she did regard it as her duty to provide him with a comfortable home and forward his career. I do not regard these facts as detracting from her own magnificent abilities. They only demonstrate the kind of inner and outer difficulties that gifted women have always had to contend with, and if we ignore them, we also denigrate the achievement of the women who went before us in battling their way through.

I first saw her work when I was in Munich in the '90s, and found it deeply exciting; her paintings speak to me in a way that Kandinsky's don't, nor any of the men. It is that simplicity and clarity which I adore. Though it is very different in style and colour, it takes me into the world opened up to me by the Danish painter Vilhelm Hammershoi. I find both her Blue Rider work and her later work equally magnificent.
It was a huge pleasure for me to visit the house Münter lived in with Kandinsky, in whose cellar she hid much of the Blue Rider work from the Nazis (because of course she was declared 'decadent' during that period). The best of the collection she preserved is now exhibited in the Lenbach House in Munich, and I do recommend visiting it, but there is some of her art still in the house, and you can see the furniture and woodwork that Kandinsky painted. 
chest decorated by Kandinsky
Gabriele Münter, 1947

Excitingly for a blogger, photography is allowed in the Münter house.
She died in 1962 at Murnau.
If you're going to Munich this month, a major exhibition of her work will be held in the Lenbach House, and I wish I was able to be there!

All the photographs were taken by me in the house. I cannot find any pictures of her greatest work on Wikimedia, but recommend an image search; there are wonderful reproductions on line.

All the Knowledge of the World! By Elizabeth Chadwick.

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A few years ago I happened to pick up an old leather-bound dictionary at a jumble sale. Mainly it was because I had a new dictionary in my study but with two sons at secondary school, another one downstairs for family use would come in useful.  It was at a busy moment in my life and with a very cursory glance, I shelved it with the downstairs reference books behind the everyday dining table which also houses an assortment of cookery books, wildlife works, local history, map books,  and a few to be read fiction titles.  And there it stayed, safe but not perused.
Yesterday, during a sleepover visit by my three year old grandson, we were eating our evening meal and began talking about the books behind us.  Out of an impulse I pulled out the dictionary and opened it, and was amazed and delighted by the contents of its thousand plus pages.  I really hadn't realised what a treasure it was and still is.  It also brought home to me the fact that back in the day people had to rely on books for knowledge.  Every house would have an encyclopedia or set of such somewhere, and until the Internet age, people made their living selling such tomes. I can remember my grandmother having a couple of such books, and my father in law had picked up a whole set when working as a junior in a second hand book shop and had self-educated himself from them.
This particular book purports to be a dictionary, but it is clearly a lot more all purpose than that.

Click on the images to enlarge



Published in 1928, the same year that my father was born, it's not just a dictionary of words and their meanings, but a veritable cornucopia of general knowledge information with numerous little black and white sketches to illustrate the words.  There are pages of black and white plates.  Look up 'sheep' for example and you'll get all the popular breeds of the time presented on the page opposite.





Beyond the 'A-Z' there is a supplement containing all sorts of value-added information. "Scientific words - Words of Recent Introduction, including War Words.  - Extensions of meanings of some of the words already in the body of the dictionary." 

Having moved in 30 pages from "Abreaction - getting rid of a past disagreeable experience by living it through again in speech or action in the course of treatement"   to "Zygote - the production of fusion of two gametes."  the dictionary then moves on to "Addenda" and gives the peruser "A Key to Noted Names in Fiction, Mythology etc.  "A Guide to Literary Allusions."  Beginning with "Abdiel.  A seraph in Milton's Paradise Lost who withstood the revolt of Satan, 'faithfully found among the faithless, faithful only be'  to "Zuleika.  An oriental female name said by the Mohammedans to have been that of Potiphar's wife.  The heroine of Byron's  Bride of Abydos is so named." 


 This is followed by a "List of English and American Writers which includes among numerous others,  Jane Austen, Robert Burns, John Dryden, Sir Walter Scott and Mrs Henry Wood. 
We're then onto pronouncing vocabulary of Greek, Latin, scriptural and other ancient names, which then leads us on in a few pages to "Foreign Words and Phrases."  'Coup de plume' for example - a 'literary attack'  or 'semel abba, semper abbas.'  ''once an abbot always an abbot.'
On we go to "Foreign Words which Frequently Form Parts of Geographical Names, with Examples of their use.'  For example: "Chow - Chinese.  Island, second-class city, Hang Chow."
Then onto "Abbreviations and Contractions Commonly used in Writing and Printing,"  followed by "Forms of Address."  For example: "Duchess: Address: Her Grace the Duchess of - " Begin: 'Madam' Refer to as 'Your Grace."








After this we come to Principal Moneys of the World and their Equivalents in English Currency.  From Abyssinia's Maria Theresa dollar to Zanzibar's  British Indian rupee.


Then Principal Weights and Measures of the World. Who would have known that in British weights and measures, 56lbs is equal to one firkin of butter!
 

Next up is Synonyms and Antonyms,  followed by mechanical movements  illustrated just so you know your spur gearing from your friction gearing.


Then it's onto Great Events of History including the Babylonian Revival of 606-538BC, The (Roman) Empire in Decline,  The Rise of the Papacy, The Mohammedan Advance,  The Age of Charlemagne, The Hohenstaufen Emperrors,  The Hundred Years War etc etc.  Recent events are also covered, including the opening of the Cairo to Karachi air route in 1927 and the Duke of York opening the Federal Parliament buildings in Canberra, Australia.

Very recent in people's minds, a Diary of the 'Great War' then follows.

We're not finished yet as there now comes "A Concise Gazeteer of the World"  Comprising lists of the countries, their populations, areas, religions, industries.  The principal rivers and mountains are listed.  Towns and cities and their populations.  The railway routes, steamship time tables and also "A reliable and thoroughly up to date Atlas of the World, comprising 16 full page coloured maps.












All the general you need to get by in a single book of a thousand pages.  I am so glad that I have taken this treasure from my shelf and opened it.  I can foresee many moments of pleasurable and entertaining delving.

Glenelg in the Scottish Highlands by Miranda Miller

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   I’ve just come back from visiting friends in this remote Highland community. As you can see from this sign, Glenelg really is twinned with Glenelg on Mars. NASA's roving robotic laboratory, Curiosity, is headed for a geological feature on the Red Planet that has been called Glenelg (apalindromic name was chosen by NASA because the Curiosity rover would visit the site twice). Back on Earth, in 2012, residents of Glenelg held celebrations, including a twinning ceremony and a ceilidh. Astronomers love the area because the dark skies around Glenelg have so little light pollution that stars and the Northern Lights can be seen very clearly.

   According to legend, in a place where other planets and legends feel very close,the Giant Rhea heard that Glenelg was being attacked. He tried to come to the rescue, vaulting on his spear over the narrow strait, the Sound of Sleat, that separates Glenelg from Skye,  but it broke in two and he drowned. So the waters just there are called the Kylerhea narrows (Kyle is Gaelic for narrows). 

   Glenelg was once larger and more important, with a castle and a cattle market, and it appears on the map of the first atlas of Scotland, published by Joan Blaeu in Amsterdam in 1662. Before there was a ferry  thousands of cows a year used to swim across from Skye. There was a rock called Calf Rock where the drovers would make a calf stand, mooing to the cows to encourage them to swim across. Thomas Telford built a curved slipway to make it easier for the cattle to climb out of the water. 

   Close to Glenelg's low, white painted houses are the ruins of a Red Coat barracks, now ruined. Construction of the building was ordered after the 1715 Jacobite rebellion and a military road  linked Glenelg to the rest of General George Wade’s road network. 

   In 1773 Boswell and Dr Johnson, aged 63 and in poor health, came to this part of Scotland and both eventually wrote about it.  Johnson’s book was called,  Journey to the Western Islands of Scotland, and after his death Boswell published Journal of a Tour to the Hebrides. Johnson described the mountains in this area as "one of the great scenes of human existence."  At Glenelg,  "We had a lemon and a piece of bread," Johnson records, "which supplied me with my supper."

   This is from Boswell’s account: 
   “We came on to the inn at Glenelg. There was no provender for our horses: so they were sent to grass, with a man to watch them. A maid shewed us up stairs into a room damp and dirty, with bare walls, a variety of bad smells, a coarse black greasy fir table, and forms of the same kind; and out of a wretched bed started a fellow from his sleep, like Edgar in King Lear, 'Poor Tom's a-cold'. This inn was furnished with not a single article that we could either eat or drink; but Mr Murchison, factor to the Laird of Macleod in Glenelg, sent us a bottle of rum and some sugar, with a polite message, to acquaint us, that he was very sorry that he did not hear of us till we had passed his house, otherwise he should have insisted on our sleeping there that night; and that, if he were not obliged to set out for Inverness  early next morning, he would have waited upon us. Such extraordinary attention from this gentleman, to entire strangers, deserves the most honourable commemoration.
   Our bad accommodation here made me uneasy, and almost fretful. Dr Johnson was calm. I said, he was so from vanity. Johnson: 'No, sir, it is from philosophy.' It pleased me to see that the Rambler could practise so well his own lessons.” The 21st century Glenelg Inn is extremely comfortable.


  

   All around this beautiful area ancient walls and ruined cottages can be seen, deserted since the cruel evictions of 1853, part of the infamous Highland Clearances. As you can see from the photo above there are also much earlier ruins, the two Iron Age brochs of Dun Telve and Dun Troddan, fortress-like stone fortified homesteads of Iron Age farmers. Both towers were originally 10 metres tall, round, with several floors and a winding staircase. They were probably used to keep local people safe from invaders, including the Romans. From the top of the tower a watchman could sound the alert and wave a torch so that local families could shelter there with their animals and food.  These two brochs were once linked by a tunnel.

  

   
  This is Sandaig, with its burn, beaches and islands, which is also near Glenelg. Gavin Maxwell,author of Ring of Bright Water, called it Camusfearna to try to hide its true location. He was devastated when the success of his book brought gawping tourists and ruined his seclusion. His small cottage was burned down in 1967 and his beloved otter, Edal, died in the fire. Maxwell’s ashes are buried here. The mystical poet Kathleen Raine, who was unrequitedly in love with Maxwell,  also lived nearby.   
  
   Between March and October you can cross to Skye on the brave community run ferry, run by two men and two enthusiastic dogs. This is where Boswell and Johnson crossed to Skye in 1773 and is far more romantic and exciting than the modern road bridge. The journey only takes about 10 minutes and as you wait for the next boat you can pass the time in the lighthouse, about the size of a sentry box. It’s no longer used but you can buy a cup of tea or a t shirt and there is a testimony to the grim determination of the TV Licensing Authority - a letter from them berating the lighthouse for not buying a TV license. On the Skye side we walked up to a viewing hide where we borrowed binoculars and watched otters, golden eagles and buzzards.



An almost forgotten Greek island, by Carol Drinkwater

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                                                    Beyond this Greek islet, you can see Turkey

Earlier this year my husband, Michel, was invited to be on the jury of a small documentary film festival. In itself not an unusual request, but this one was to be held on a Greek island.
"Excellent, "I said, "I can accompany you. Where is it?"
"Castellorizo."
"Where?"
The most easterly point of Europe, and the smallest of the Dodecanese group.
I had never heard of this island. Yet I have travelled and spent chunks of time over the years in Greece and prided myself on knowing its geography averagely well. Even looking up the location on the internet did not give me a great deal of information. It is, I read, where Europe ends and Asia begins, which sounded enticing. So it became a must see!

To reach the island of Castellorizo, which lies approximately one kilometre off the southern coast of Turkey, you need to take a ferry from Rhodes, which was what we did. We flew to Rhodes and from there took the dawn boat which sailed silently for four hours through the south-eastern Mediterranean waters, the edges of the Aegean Sea.
On a very hot mid-September late morning, the ferry dropped anchor into one of the prettiest harbours I have ever set eyes on.




Disembarking was chaotic. Every inhabitant was waiting on the quay to greet the new arrivals. What I did not know then is that it is only on Tuesdays and Fridays, the days of the arrival of the Rhodes ferry, that the very few cars in circulation on the island, are allowed to be driven. It is mostly a car-free zone, which gives the place, this tiny faraway haven, a real sense of serenity.
You read, you listen to the lapping waves, you stare at the water and count the turtles who swim right up to your feet and show no fear.

Due to the fascinating history of Castellorizo, the island claims a mere 280 permanent inhabitants. During the tourist months that number can rise to several thousand and most of those are Australians. Everywhere about us, as our luggage was wheeled by festival assistants along the narrow cobbled lane at the water's edge, English was being spoken with Aussie accents. We are a long way from Australia, I was thinking, puzzled.


Over the following days as the festival unfolded by starlight I took the days to learn a little about my surroundings, including through an excellent documentary which was screened at the festival and will now be internationally distributed by Michel's company, ICTV.

                                   Beyond the Borders, a very apt nomenclature for this festival.

Castellorizo or Kastellorizo, which means red rock, red stone, was ruled from the fifteenth century to the end of First World War by the Ottomans during their powerful and extensive Empire days. The film charts the island's history through its high days in the nineteenth century up to its incorporation into modern Greece in 1948.


Ottoman Days

One mosque, now transformed into a museum, still stands at the far end of the harbour. It is a testament to the long gone imperialist times. In fact, there remains a very time community of Turks (about ten people) who remain on the island.

Spot the mosque at the air end of the harbour

The island’s wealth was earned in the nineteenth century through sponge fishing. After the demise of the Ottoman Empire, the island belonged to the French until 1921 and then to the Italians. In 1943, the British landed. For the Brits it was a strategically important spot. They evacuated the entire population to camps in Palestine to avoid fatalities if, when, the Germans attacked Kastellorizo’s busy port.

In 1948, the island was finally returned to the Greeks. However, a mere handful of the refugees returned because, by the end of the war, the once-thriving harbour had been destroyed by naval attacks and fire. 


The harbour in ruins

Most of the refugees emigrated to Australia where, today, the population of Greek “Kassies” numbers some 50,000 and rising. The Kassies worked hard, sent money ‘home’ to those who stayed behind. Slowly, over the decades, the island has been reconstructed. In fact, in comparison to the rest of austerity-gripped Greece, Kastellorizo is well-heeled. The mansions all around the harbour have been meticulously restored and painted in strikingly rich colours creating a vibrant, joyous welcome.

Here is the link to Michel's online website.  If you have any difficulty downloading the film, (there are many films on offer!) please let me know and I will help you to find it.


I recommend a viewing of the film which is titled On the Edge of the Aegean, Castellorizo Island. I also wholeheartedly recommend a visit to Kastellorizo. We will certainly be returning.








Tamara Karsavina: Stravinsky's First Firebird by Janie Hampton

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Tamara Karsavina in the studio of Wilhelm-Alfred Eberlin.
His self portrait is on the shelf, 1910.
This is the story of a British diplomat and a Russian prima ballerina caught up in the October 1917 Russian revolution, and their dramatic escape with their love-child.

In old age, relatives sometimes reveal family stories that are not secrets, they have just not mentioned them before. In her eighties, my mother told me that her father’s cousin had been a British diplomat during the 1917 revolution, and his lover was a Russian ballerina who had first danced Stravinsky’s The Firebird. I wanted to know more, so my daughter Daisy and I flew to St Petersburg. We visited the Imperial Stage School, with its original practice rooms, and the Marinsky Theatre, unchanged since its construction in 1860. We also found their apartment, now the premises of the Russian Red Cross Society, and discovered archives no-one had seen since 1917.

Henry James Bruce (1880-1951) was brought up in a stately home in Northern Ireland, built by Italian architects for his ancestor the Earl of Bristol. Henry’s father, Sir Hervey Juckes Bruce preferred animals to humans. He kept a tame grouse and a hare loose in the house; and his own pack of fox-hounds. One evening at dinner he said to the dowager on his right, "May I peel this peach for you? It’s too ripe for the monkey." Henry was educated at Eton and Oxford. In order to pass his entrance exam into the Foreign Office, he picked up French prostitutes in The Strand and took them out to lunch. His good looks, intelligence and charm helped his promotion in 1913, to Head of Chancery at the British Embassy in St Petersburg at only 35 years. In addition to being highly skilled in de-cyphering codes, he was also an accomplished painter and writer.
Henry James Bruce in 1907.
Tamara Platonovna Karsavina (1885-1978) spent eight years of her childhood coping with the strict and punishing regime of the Imperial Ballet School in St Petersburg, boarding for 50 weeks of the year. At fifteen, she performed for Tsar Nicholas II and his cousin the German Kaiser, and when she graduated aged 17 her exceptional proficiency was noticed and she was appointed as a soloist at the Marinsky Ballet. She toured Europe with classics such as Giselle and Les Sylphides.
Graduation from Imperial Ballet School, Theatre Street, 
St Petersburg, 1902. Karsavina is on the far right, aged 17. 
Ballerinas were usually considered to be merely decorative but the Russian intelligentsia embraced Tamara. Her beauty, technical perfection and intelligence enchanted and inspired choreographers, composers and designers. As Nijinsky's first dance partner, Tamara worked with impresario Diaghilev, artists Benois, Picasso and Matisse, the poet Potemkin, and the choreographer Michel Fokine. In 1909, she introduced Diaghilev’s Ballets Russes to London and a year later inspired Igor Stravinsky to compose The Firebird . She influenced not only the theatre and dancing but also fashion, music and culture, all over Europe.

Rehearsal with Diaghlev's Ballet Russe company, probably 1910.
Seated at the piano is Stravinsky, Fokine is standing, Karsavina in centre in tutu. 
Henry and Tamara first met in 1913 at the Stray Dog Arts Café, a crowded cellar of Bohemian artists and poets. She danced barefoot among flowers to music written specially by Zelenski, played on an upright piano. Tamara had been having English lessons with the novelist Hugh Walpole (1884-1941), head of British propaganda in St Petersburg, who described Henry as "too handsome for his high intelligence". Henry and Tamara soon fell in love but she was already married to a dull aristocratic banker named Vasili Moukine. 

Vasili Moukine c 1915
In July 1914, Tamara danced in Debussy’s Daphnis et Chloe and Strauss’s Cleopatre at London’s Drury Lane. She was performing in Paris when war broke out that August. Determined to re-join the Imperial Ballet and Henry, she learned that the Russian border with Germany was closed, so travelled alone via Dover and Finland. In 1915 Tamara became pregnant and Moukine agreed to give her up, even though divorce was not possible under Russian Orthodox law. Despite the war in Europe, Tamara and Henry continued working in Petrograd, and lived together as a family, with baby Nikita.
Tamara Karsavina as Pharaoh's Daughter, circa 1904


On October 24, 1917, Henry wrote in his diary, “At 7 o’clock I left the Embassy to go to the ballet where I arrived peacefully by tram. The others [his embassy colleagues] arrived later, having all been arrested en route and taken to the barracks of the Pavlosk regiment, where they were apparently treated quite civilly and given a bit of paper to allow them to proceed.” The ballet that evening was The Nutcracker composed by Tchaikovsky in 1892, with Tamara as the Sugar Plum Fairy. “Tamara danced magnificently and had a tremendous reception. But the poor Marinsky was the ghost of itself, the stage half empty. After the ballet Tamara, Madam B and myself went by tram up to the Suviroff Square and proceeded to walk down the Millionaya, barred by pickets. The first person we met was a completely unperturbed Havery engaged in explaining to a soldier in his peerless Cockney Russian that he couldn’t help the soldier’s troubles; he had some letters to post, battle or no battle." Mr. Havery was the British Embassy messenger who had arrived in Russia 20 years earlier. Through thick and thin he ensured that embassy post was always delivered. In the preceding few days there had been intermittent gun-fire at night, but it was never clear who was shooting at whom.
“Everything had been quiet in the rest of the town, so we were surprised to find the Lord’s own holy racket going on round the Winter Palace, where the Government was putting up a last stand – field-guns, machine-guns, rifle fire, a destroyer from the river et tout le tremblement. Never heard such a row. Altogether the walk a very jumpy business.” They gathered that all the lift bridges across the River Neva were up, thus cutting off the north of the city, and a destroyer was pointing its guns at the Winter Palace, at the far end of their street. There was no electricity in their apartment and to take their minds off the sound of machine guns, they played cards by candlelight. “The last thing we heard last night was that everything is in favour of the Government and the Revolutionary Committee had been arrested. After supper I escorted Madame B home to a machine-gun obbligato and so to a very noisy bed.
“This morning early nobody knew what had happened, though it seemed pretty clear that the Government was down and out. This became increasingly clear as the day went on, until we heard that the whole town was in the hands of the Bolsheviks who had taken the State Bank, Telephone, etc.”  The next day Henry’s diary entry said simply, "Arrived safely at the Embassy to learn that Lenin was Prime Minister, Trotzky Foreign Minister."
Tamara Karsavina and Nikita Bruce in Petrograd, 1917
After the October Revolution, life grew steadily worse and everyone was a potential enemy. Despite Lenin’s great plans, there were still huge debts from the 1914 war; political and social anarchy; and a collapsed economy. During that winter, food became so scarce that after performances Tamara was presented with bags of flour, instead of flowers. Even so, she sometimes fainted after dancing. Tamara was no Tsarist: during the revolution in 1905, she and her friend, the dancer Anna Pavlova, had organised a dancers’ strike in solidarity with the factory workers. Tamara was threatened with dismissal, but saved by the Tsar's amnesty for strikers. She had welcomed the Tsar's abdication in March 1917, and she was relieved when the Bolshevik government insisted that the Marinsky should continue at the state’s expense. She was voted president of the Marinsky Theatre's Soviet Council, but nobody trusted anyone. The gilded imperial eagles in the theatre were ripped down, and the attendants' satin livery was replaced with military jackets. As part of the policy of the redistribution of decision-making, the carpenters chose the Marinsky’s programme. However their choices were based not on any knowledge of opera or ballet, but on which sets were easiest to construct. There was even talk of nationalising women, in order to re-distribute the beautiful wives of merchants among the factory workers.
In March 1918, fearing possible foreign invasion, Lenin moved the capital from Petrograd to Moscow, so all embassies had to move too. Three months later he declared Britain the enemy of the Bolshevik government, and British diplomats were ordered home, south via the Crimea. However, Henry travelled north to Petrograd to be with Tamara, and their 19-month-old son Nikita. In their spacious apartment in Millionaya Street, the ‘Park Lane’ of Russia, lived Nikita’s nursemaid, their Polish cook and Tamara’s old nanny. Now they also shared it with five other families, one to each room. There was only one kitchen and constant arguments between the women over the washing hanging in the passage. Water still flowed from the tap, but it was contaminated with cholera, and there was little fuel to boil it. The trees in the park had all been felled and even the wooden street cobbles had been dug up.
Because Nikita was half-British, and Tamara the lover of a British diplomat, they were both at risk of being denounced as enemies and imprisoned. As Tamara recalled 12 years later: “Rumours multiplied like microbes in a diseased body. Newspapers born overnight spread panicky informations and coined libels.” Tamara and Henry decided they had to leave Russia with Nikita as soon as possible. But all routes out of Petrograd were closed.
In the next instalment, find out how these lovers from opposing nations and clashing cultures, crossed lakes, marshes, forests and oceans, and survived revolution, capture and storms. 
Part Two is next month on November 27.
Tamara Karsavina in The Firebird, 1910.
Note: St Petersburg was renamed Petrograd in 1914. In 1924 it was changed to Leningrad, and back to St Petersburg in 1991.

The Remarkable Lady Nithsdale

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by Lynne Benton

Traquair House, in the Scottish Borders, is the oldest inhabited House in Scotland.  It dates back to 1107, and although it was originally built as a hunting lodge for Scottish kings and queens, it has been lived in continuously by the Stuart family since 1491.


In the early 1700’s the political situation in Scotland was very unsettled, with the Catholic James II now exiled in France and deposed by his daughter Mary and her Protestant husband, William of Orange.  Many Catholic Scots were fiercely against interference from the English Protestants, and remained loyal to James.  Charles Stuart, the 4th Earl of Traquair, was a staunch Catholic, and became one of James’s band of supporters known as the Jacobites, who worked secretly to restore the Stuarts to the throne.


It was on a visit to Traquair House that I first learnt the fascinating story of Lady Winifred Nithsdale, Charles Stuart’s sister-in-law.  I was so interested that I subsequently bought a book called “Lady Nithsdale and the Jacobites”, by Flora Maxwell Stuart, wife of the 20th Earl and mother of the current Lady Traquair, which tells in more detail the story of this remarkable lady.


In 1715 Lady Winifred’s husband, William Nithsdale, took part in the first Jacobite rebellion and was imprisoned in the Tower of London and sentenced to death.  He was kept in solitary confinement on the second floor of the Lieutenant’s Lodgings, well-guarded by warders.  It appeared that his only way out was going to be via the scaffold, but his wife did not intend to sit back and let this happen.


With the support, both moral and financial, of her brother-in-law, Charles Stuart, Winifred decided to go to London and find a way of getting William out.  Leaving her young daughter at Traquair, she made her way, with only her faithful servant Cecilia Evans for company, to London, about 400 miles away.  It was a bitterly cold December, with snow covering the whole country, but this did not deter her.  They set off on horseback, avoiding the main roads for fear of being stopped by the government troops, and intending to join the London coach at Newcastle.  This took a few days, stopping at wayside inns overnight, but when they reached Newcastle they discovered that the coach was already full.  So they rode on to York, hoping to pick up another coach there.  At York Winifred did get the last place on the coach, and with Evans riding behind they set off through a fierce blizzard.  Their luck didn’t last, however.  After about 60 miles the coach became stuck in a snowdrift and could go no further.


Undaunted, Winifred hired two more horses, and she and Evans rode the rest of the way to London, with snow sometimes so deep that the horses were almost buried.  Arriving on the point of collapse after their journey, they went to stay with Winifred’s old friends, Mr and Mrs Mills in Duke Street.  Despite her exhaustion Winifred went straight to the Tower to visit her husband, where, with a little judicious bribery she persuaded the warders to let her in.  She found William pessimistic about her chances of setting him free, but she was still determined to get him out somehow.  When she returned to Duke Street, although her hostess insisted on her going to bed for a few days to recover her strength, Winifred’s mind was busy with plans for her husband’s release.


As soon as she was well enough she decided her first port of call was to the king, George I, to beg a pardon for William. 


Mrs Mills had a friend called Mrs Morgan who had been to the king’s court several times and knew her way around, so the two women accompanied Winifred. 


Unfortunately George refused to listen to Winifred or to read her petition, and furthermore was extremely rude to her, so much so that his courtiers were shocked and told everyone about the incident, which caused his popularity to plummet.  (Not surprisingly, he blamed Winifred for this rather than himself, and never forgot nor forgave her.)


That avenue closed to her, Winifred then devised a very daring, plan. She explained it to her hosts and Mrs Morgan, whose help she needed, and they agreed to play their parts. Then, two days before the date set for William’s execution, she returned to the Tower and, smiling at the warders, pretended that her petition for his release had been successful, and dropping a few coins in their hands urged them to drink to the king and the prisoners’ health.  Once out of their hearing, she told William what had really happened, but said if he would trust her and do everything she said, she would get him out.


The following day she returned to the Tower for a “final visit” to her husband, this time accompanied by Mrs Morgan, who was wearing an extra petticoat and cloak which would not show.  Once in William’s cell Mrs Morgan removed the extra clothes, had a few words with William and left.  As Winifred saw her out she asked her in a loud, excited voice to find her maid quickly as she must present one final petition to the Lords that evening.  She made certain the warders heard her.  

Returning to William’s cell, Winifred begged him to do exactly as she said, and waited for Mrs Mills to come next.  Mrs Mills duly arrived, sobbing and holding up a handkerchief to her face as she passed the warders.  In William’s room she hastily took off her cloak and petticoat and put on those left by Mrs. Morgan.  When Mrs Mills left she walked out with her face exposed and in her new clothes, looking like a different woman.  Winifred accompanied her out, asking her loudly to hurry and remind her maid to come for her, so they could go to hear the petition that evening.  Again she made certain the warders heard her.


Finally, returning to the cell, she helped William put on Mrs. Mills’ clothes, and told him to go out with her, holding his handkerchief to his face and sobbing as Mrs Mills had done, hoping that the warders would assume it was the same woman.  Positioning herself between William and the warders, Winifred appeared to be very agitated as they walked out, and begged “Mrs Mills” to tell her maid to come without delay to accompany her to the Lords to hear the final petition.  This gave her the excuse to be in a hurry to leave, and seeing her agitation the warders opened the door and let the disguised William out.


Through the doorway Winifred could see Mr Mills, who was to take William to a safe house, and Evans waiting for her as promised.  But she still had the most difficult part of her plan to do.


Returning to William’s cell, she hurriedly shut the door behind her and talked to him as if he was still there, giving his replies in a gruff voice.  She waited until she guessed enough time had elapsed for him to have been taken to the safe house, and then said goodnight, adding loudly that she was afraid something serious must have happened to delay her maid, so she would have to go on her own.  She said she would come again to see him that evening, and hoped to have good news by then.


She then shut the door, carefully pulling the little string that lifted the latch through to the other side, so that it could only be opened from inside.  She told the servant waiting to light the candles that her husband was saying his prayers and didn’t want to be disturbed, and then, bidding the warders goodnight and muttering frenziedly about the petition, she hurried down the stairs and outside, got into a hackney coach and left.


Having released William from the Tower, it was now imperative to get him away from London as quickly as possible.  After a few days in hiding, with the help of Mr and Mrs Mills and other sympathetic friends, William was disguised as a footman and smuggled across the Channel to France, where the Nithsdales had friends and relatives.  He begged her to go with him, but she insisted on returning to Scotland first, to collect their small daughter.


This was not quite as easy as it sounded, since she was well aware that George was furious that William had escaped and she was afraid she might be accused of helping him.  However, since the weather had by now greatly improved, she was undaunted by the prospect of riding all the way back to Scotland, and this she did, once again taking a cross-country route to avoid being noticed.


There, having been reunited with her daughter and arranged for the contents of her house to be transferred to Traquair for safekeeping, she followed William to France and, ultimately, to Italy where they lived for the rest of their lives.


However, Winifred’s troubles were still not quite over, for although she knew William was profligate, it wasn’t until he died in 1744 that she realised he had left huge debts for her to deal with.  But deal with them she did, and managed to pay them all off within one year.


A remarkable lady indeed.


She died peacefully in Rome in 1749.


A small postscript to this story:  the guide at Traquair House told us that in 1739 the 5th Earl of Traquair, like his father a staunch Jacobite, had some splendid gates built at the top of the Avenue leading to the house.  With statues of bears on each gatepost they were known as the Bear Gates.  Six years later, however, after a visit from James's grandson, Bonnie Prince Charlie, the Earl was so incensed by the behaviour of the next English Protestant king, George II, that he gave orders for the Bear Gates to be closed and locked, and swore that they would never be opened until a Stuart king sat on the throne again.



Accordingly they have been locked ever since 1745.  However, the guide said, since Prince William is a Stuart through his mother’s line, when William becomes king the Bear Gates will once again be opened.

Women of the Revolution by Alan Gibbons

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Our guest for October is History Boy Alan Gibbons. October 2017 is a significant date in modern history and Alan has found a way of showing the role of women at that momentous time.
Photo credit: Robbie Gibbons
Alan Gibbons is a full-time writer. Born in 1953, Alan has written some seventy children’s and Young Adult books. The Revolution Trilogy is his first attempt at adult fiction. Winner of the Blue Peter Book Award “The Book I Couldn’t Put Down” and seventeen other awards, Alan has also been shortlisted twice for the Carnegie Medal. An honorary member of the librarians’ professional body CILIP and recipient of the Frank Jarvis Award for services to education, Alan has visited two thousand schools in the UK and overseas. He lives in Liverpool with his family.

We have male guest authors quite rarely so welcome to Alan.


Few events in history have divided opinion like the Russian Revolution. It reinforced enmities between the political Left and Right. People took sides when a savage Civil War erupted in early 1918, much of the Labour movement instinctively supporting the Red armies, most of the political establishment favouring the Whites. US, French, British and Japanese forces were just some of the interventionist armies that put boots on Russian soil. This wasn’t the only split. It also divided the Labour movement itself, parties of the Left suffering a dramatic schism between social democracy and communism. Anyone who remotely flirted with the radical Left prior to the collapse of Stalinism in the late 1980s and early 1990s will have been told to ‘go back to Russia’ more than once.

Stalin in 1943

Now, I am a writer, mainly of Young Adult fiction, who has roots in the political Left, so I have done a lot of recreational reading about Russia over the years, from the Marxist tradition and its opponents, Lenin, Trotsky, Isaac Deutscher, Victor Serge, Paul Avrich, Orlando Figes, Robert Service and many others. I have enjoyed literature from the period of the revolution: Isaac Babel, Mikhail Bulgakov, Victor Serge again, Boris Pasternak and Alexander Solzhenitsyn. As the anniversary of the Russian Revolution approached, I fully expected an outpouring of fiction set against the Russian Revolution, only it didn’t happen. Theresa Breslin has a new novel, The Rasputin Dagger, but there hasn’t been much else.

I was in Moscow last year. Not only was there little sign of any commemoration of the two revolutions in 1917, in February and October, there seemed to be genuine ignorance of the events. People knew about the ‘Great Patriotic War’, many Russians’ name for the country’s involvement in World War Two from 1941 to 1945. Some described the revolution to me as ‘the great catastrophe.’ It was much the same in the UK. There was an exhibition at the British Library, but little else. As time went by, I thought, surely there has got to be something. There wasn’t. That was it, I made a last-minute decision to write something myself. That something is the Revolution Trilogy. The first book Winds of October has just been published. The second and third volumes, Reason in Revolt and Spurn the Dust come out next year. The big publishing houses didn’t seem interested so I am publishing the trilogy with a small publisher, Circaidy Gregory.

I have ironically sub-titled my book "Ten Days that Didn’t Shake the World," referencing Jack Reed’s eye-witness account of the revolutionary events. Yes, I wrote Winds of October at breakneck pace in ten days this summer, eight thousand words a day. That may seem rather eccentric. So, to some, will be my approach to the novel. Much of the iconography of the revolution is male. The main players always seemed to be men: Lenin, Trotsky, Stalin, Kerensky, Kornilov, Makhno, Zinoviev, Kolchak. I became increasingly interested in the other narrative of the revolution, that of the women. After all, it was the women workers of the Vyborg district in Petrograd who came out to demonstrate on International Women’s Day and initiated the first revolution. Once I had my ‘hook’, I started to investigate.
Alexandra Kollontai
There were so many tales to tell. There were the women revolutionaries, the Bolsheviks such as Alexandra Kollontai and Larissa Reissner. The Socialist Revolutionaries such as Maria Spiridonova and Fanny Kaplan. Then there were figures such as Maria Bochkareva, commander of the Women’s Battalion of Death. From England came suffragette leader Emmeline Pankhurst and her working class colleague, Jessie Kenney. There were so many angles.

Street kids in Russia
 My cast of characters formed. There is the student-revolutionary Kolya who becomes a member of the Cheka, the feared state police and Pavel, the Red Army commander, but it is the women who are the heart of the book, Svetlana, the factory worker and committed Bolshevik, Elena her niece, but most of all Raisa. I found her story in the tragedy of Russia’s street children, the besprizorny. By 1920 there were seven million of these ‘unattended’ children. Their parents were either dead or had abandoned their children in desperation. Raisa becomes a child prostitute, but a fortuitous event gives her a chance to escape life in a filthy brothel. The February revolution finally offers her a glimpse of a different, better world and she makes her escape, becoming a committed Bolshevik and falling in love with another woman.

The trilogy follows these core characters through the hope, conflict and tragedy of the years 1917-1921. War, revolution, conflict and betrayal seem to me the stuff of historical fiction, but there is another subject that seems to go to the very heart of this strand of the genre, and that is disillusion, of hope lost and aspiration betrayed. The anniversary of the Russian Revolution may pass relatively unmarked because of the grotesque distortion of revolutionary hope represented by Stalinism, but I will have offered my own, modest account of those years, seen through the eyes of my characters. I hope it may be something of an antidote to the more distorted image of those years presented in the corporate media.



(All black and white images from Wikimedia Commons)

Cabinet of Curiosities: Cat O’Lantern (not by) Charlotte Wightwick

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Happy Halloween!

I have to admit that Halloween always takes me slightly by surprise, although why this should be, I don’t know given that the shops are full of plastic ghouls, fake cobwebs and tiny witches’ hats for weeks beforehand. But yet again, here we are and the most I have done to celebrate is to watch the brilliantly-costumed edition of Strictly (although to be fair, I also don’t need the fake cobwebs – I have real ones of my own.)

My amazing friend is far more organised than I and sent me a photo of her take on the traditional carved pumpkin – this truly stupendous ‘Cat O’Lantern’ (I advised that the whiskers were necessary, so I think I get to take some credit for this masterpiece of vegetable artistry).

Cat O'Lantern - Photo: Kate Wheeler

As I gazed in awed wonder at its glowing glory, however, I got to wondering about the history of this (actually, when you think about it) rather odd tradition. I knew of course, like most people, that Halloween in its current form is a relatively new phenomenon, although the roots go back a long way. But what about the pumpkins with faces?

It turns out that they too, are older than I thought. The original Jack O’Lanterns were carved, not from pumpkins, but from turnips, and the practice was recorded in both Ireland and parts of England in the early nineteenth century, although the tradition is said to be much older. The faces, with a small ember or stub of candle in them, were designed to ward off evil spirits. In America, Irish immigrants continued the tradition, only now with the native pumpkin.



https://upload.wikimedia.org/wikipedia/commons/3/30/Traditional_Irish_halloween_Jack-o%27-lantern.jpg
Traditional Irish Jack O'Lantern  - Photo: rannṗáirtí anaiṫnid b  

So now you know.

I’m afraid it all seems like a bit too much work to me – so I shall continue to admire my friend’s feline-veggie handiwork and settle down to watch the Strictly results!

Have a spooky time! 

Cat O'Lantern: Kate Wheeler


October Competition

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To win a copy of Alan Gibbons' YA novel about women in the Russian revolution, just answer the question below in the Comments section.

Then send a copy of your answer to maryhoffman@maryhoffman.co.uk


"Who is your favourite radical, revolutionary or rebellious figure in history, and why?"

 Closing date: November 7th

We are sorry that our competitions are open to UK Followers only.

Good luck!

"Phone for the fish knives, Norman" by Mary Hoffman

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I am a member of the forum Gransnet (think Mumsnet + 25 years) and far and away the most popular post recently has been "What kitchen gadget could you not do without?" Everyone had one and was keen to post pictures of their favourite small paring knife or whatever. It got me musing, because my mum had been a cook and taught me basic English cooking so thoroughly that I still use many of her techniques, even though she'd be amazed at the Indian, Thai, Chinese and even Italian food made in my kitchen today.

So when Vintage Kitchenalia by Emma Kay  (Amberley) arrived in the post, it brought back a few nice memories.

Everything in my mother's kitchen was made from scratch, a method I still tend to follow. Of course there was not much by way of ready-made food available in the 50s and 60s and a big supermarket shop was a concept way in the future. My mother shopped and cooked every day.

She bought lamb or beef from the butcher and put it through one of these:


So a shepherd's pie was made from freshly minced meat. She made her own pastry, though her hand was not considered as cool as my Auntie Maggie's - a cool hand being the secret of light pastry. But her Yorkshire puddings were legendary. Oh what would she think of my recourse to Jus-Rol and Aunt Bessie?

But, great cook though she was, she didn't make her own bread, at least not that I can remember. I expect she did when she was "in service" (She gave up  work when she married, which was common in my parents' social class in 1932, the year of their wedding.) That's something that the many owners of bread-makers now do, even if they buy other processed food.

Another thing that is incontrovertibly better is domestic coffee-brewing. In my first family's home, the abominations of Camp and Bev liquid "coffee" were the norm, except on Saturdays when coffee was "perked" on the stove.


You put the ground coffee in the metal basket, water in the pot, lowered the basket into the pot and put the whole caboodle on to the gas flame on top of the cooker. The water boiled all up through the basket and fell down again through the ground coffee. You could watch it doing this through the glass knob at the top. At the beginning it smelled delicious but they left it on the gas far too long and the wonderful aroma deteriorated into something burnt and unpleasant.

Nevertheless, when we married, we asked for and got a Russell Hobbs electric percolator. And when it died after eighteen months, out of guarantee, like suckers we bought another one, which did the same. Years of experimenting with the different ways of making coffee followed in search of the perfect cup.

And after many experiments with drip methods, espresso machines, "Moka" stove top models and electric, we settled decades ago on the simple cafetière:

There's nothing to go wrong apart from breaking the glass goblet, which can be replaced.

Emma Kay is more focussed on tea but an earlier book by Bee Wilson, Consider the Fork (Particular Books 2012), devotes the last section of her book to the other popular hot beverage, beginning, "Coffee technology has become perplexing."

One thing is sure: what you display and use in your kitchen - which might be two different things - say a lot about you as an individual, your class, education, travel and commitment to such things as organic food, minimising of packaging etc. etc. It has become a cliché that people with expensive gadget-filled kitchens and shelves of glossy recipe books, often do know more than pop a frozen pizza in the microwave before pouring a glass of supermarket wine and settling down to watch yet another glamorous TV Chef or a competitive programme about baking.

Was it ever thus?

Emma Kay has chapters on storage, preparation, cookware, moulds, utensils and serving, which are all fascinating subjects in their own right. (Who now owns a mould or makes blancmange, jelly or "shape"?).

And a truly riveting list of 1929 of the equipment for a kitchen in a "household of about six persons." This was about the time my mum was a cook and I wonder if she had a tin pudding mould, a "netted mop," a cinder sifter and a knife-cleaning machine.

And what would such a list contain nearly 90 years later?

What strikes one most on reading Vintage Kitchenalia, is what hard work it all was. The section on "Dairy," for example, tells us about cream, cheese and butter-making tools and even talks about making your own ice-cream.

Of course the invention of refrigeration revolutionised storage and cooking of food. I remember own first fridge entering the kitchen. Before that, food sat in our larder, in a meat-safe or a china cheese wedge.  And I remember in the 70s going to the house of a old schoolfriend who had a freezer and thinking "this will never catch on."

Now I revel in my American-style fridge freezer, have an old Bosch in the garage and even another small freezer there. But I still crave a larder like my mothers, with cool marble shelves lined with jars of jam, marmalade, chutney and pickled onions, all home made. (I do make the preserves but they live in the garage too).

I particularly enjoy Emma Kay's chapter on utensils. I do have a wire whisk, but for egg whites and cream, do prefer this:


And although I have a food processor, I still use a pestle and mortar for spices:

In fact there would be several items in my kitchen that my mother would recognise.

But can YOU recognise these? Answers in the comments below.

And do you know why John Betjeman put fish knives in his 1958 poem "How to get on in society"?


 Finally, do share your own indispensable kitchen gadget, with a photo.


Food tastes best when you eat it with your own spoon. Danish Proverb



Pictures of the Past

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I get to talk about history a lot. One of my favourite moments is when people show their emotions about the past. So many of us care about a period or a moment and that passion comes out in conversation. Because I’ve been working on theory (again) I want to talk about this at a vast and deep cultural level. It’s not vast and deep that brings out that passion, however. 

This month you get a few scenes from my photo collection, and I’ll tell you just a little about why I took the picture. I’ll share joy instead of theory. And if any of you want to share things you love about history (places, people, periods) I’d love to hear about it in the comments. This is a difficult year for many of us, and happiness is worth sharing.
Near Melbourne, 1976. Photograph: Gillian Polack

Hopetoun, Vic. 1977, Photograph: Gillian Polack

At Versailles, 1986. Photograph: Gillian Polack

Ueno, Japan, 1986. Photograph: Gillian Polack

Peterborough, 1986 Photograph: Gillian Polack



The Ghost: A Cultural History – A Review by Anna Mazzola

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‘The English have been haunted too long for their own good,’declared the cover blurb for the 1963 compendium The Stately Ghosts of England. ‘We have become blasé,’ it continued. ‘We shoulder our way through this perpetual danse macabre with hardly a thought.’


In her new book, The Ghost: A Cultural History, Susan Owens seeks to address this, taking a long and fascinating look at how, from at least the 8th century onwards, ghosts have been making their spectral way through our art, our fiction and our architecture. In the course of her extensive research, Owens realised that, ‘ghosts are mirrors of the times. They reflect our preoccupations, moving with the tide of cultural trends and matching the mood of each age.’





Ghostly mirrors of our times


Looking at a wide range of art, literature, folklore and film, art historian and curator Susan Owens examines how each age has created and responded to a particular type of ghost. Certainly, they have not always been the wispy presences we think of today. In the 12th century, a ghost was less likely to flit through your door, ‘more likely to break it down and beat you to death with the broken planks’. During the Medieval era, the undead tended to take the form of savage beasts or decaying corpses, seeking release from purgatory, or dispensing moral lessons. With the Reformation and the removal of purgatory, they were ‘reimagined as refugees from the afterlife…obsessed with seeing justice done.’ Ghosts were forever popping up to reveal terrible crimes or prevent miscarriages of justice, one even appearing in the witness box to shock the murderer into a confession.


In the mid-17th century, people’s interest in ghosts took a scientific slant: experiments were conducted, data gathered, theories put forward. Thomas Hobbs was not impressed, stating that the very word ghost, ‘signifieth nothing, neither in heaven, nor earth, but the Imaginary inhabitants of mans brain.’


Sceptics have been present all along, one writer noting in 1730 that, ‘Nothing weakens the Minds and turns the Brains of the English people more than the delusive Horrors which the common stories of Daemons and Goblins bring with them.’ However, the beliefs were entrenched. The ghosts were going nowhere.


Commercial opportunities


Writers, ever on the lookout for the next bestseller, have made good use of the ghost. Daniel Defoe clawed his way out of debt by writing A True Relation, relating the story of Mrs Veal’s ghost. And in 1764, poor old Conrad was crushed to death by a gigantic helmet at the Castle of Otranto, marking the beginning of the gothic novel. A growing army of maggot-covered corpses, bleeding ghost nuns and phantom knights would be employed to satiate the demands of the reading public.




It wasn’t just writers who saw the commercial opportunities represented by ghosts. The Cock Lane ghost of 1762, which communicated through spooky rappings and scratchings, generated great excitement and numerous visits, until it was revealed to be a hoax perpetrated by a young girl under duress from her father. 


Now you see me…


By the late eighteenth century ghosts had a new look. They were still wearing white, that being the colour of grave clothes (undyed linen and, later, wool), but they had ditched the unfashionable shrouds they’d worn in the 17th century and replaced them with simple white shirts. And as time went on, they adopted a new quality. They became see-through. When Dickens described Marley’s ghost as ‘transparent: so that Scrooge…looking through his waistcoat, could see the two buttons of his coat behind’ he was drawing on a fairly recent convention.


'Stave One: Marley's Ghost'
American Household Edition (1876) of Dickens's Christmas Stories

The idea was reinforced by the invention of photography at the end of the 1830s: ‘It was not long before shadowy figures, produced by the technique of double-exposure, were interpreted as ghosts that had been detected by the camera’s mechanical eye.’


Reality followed art. In her 1848 compendium The Night Side of Nature; or, Ghosts and Ghost Seers, Catherine Crowe described ‘true accounts’ of cloudy or ‘vapoury’ ghosts.


The huge popularity of these ‘true tales’ coincided with a rise in fictional ghost stories and with the surge of a movement which was brought to England by an American woman called Maria Hayden, who in 1852 advertised her services as a medium with the power to contact the dead. ‘Up and down the land, tables were rapped and tilted, and planchettes poised expectantly over paper.’ Spiritualism was a hit. 


The sceptics were still amongst us, however. In 1882, the Society for Psychical Research began an inquiry into ‘that large body of debatable phenomena designated by such terms as mesmeric, psychical and spiritualistic’. And in 1890, Charlotte Sophia Burne, the first female president of the Folklore Society demanded that folklorists get out of their armchairs and do ‘a great deal more recording’ of ghost stories and folk tales before the oral traditions died.


Ghost stories


One of the most interesting aspects of The Ghost is its exploration of the ghost story and how it has changed over time. Victorian ghost stories had to be gripping and sensational in order to fit in with the demands of the magazine format. They became very much a convention – a Christmas treat. Later eras broke free of the formula, however. In the 1950s, Muriel Spark reinvented them as everyday apparitions, ‘modern, urban and articulate.’ The ghosts of Hilary Mantel’s 2005 novel, Beyond Black, are ‘repetitive, dreary, demanding.’ Today’s writers and artists are, Owens says, ‘re-imagining what ghosts are, what they do, what they mean to us…more creatively and more broadly than ever before.’


Engraving by R. Graves entitled 'The Ghost Story', circa 1870.

Always with us

The proliferation of books, blogs and television programmes devoted to ‘true hauntings’ show that ghosts have become ‘more entrenched than ever in our heritage.’


They continue to imbue our art, our fiction, our lives. On 1 July 2016, the anniversary of the first day of the Battle of the Somme, around one thousand four hundred men, all wearing First World War army uniform, mixed silently with commuters all over Britain. The National Theatre confirmed that the work was partly inspired by accounts of people seeing their dead loved ones’ ghosts both during and after the war. ‘For a few hours that day,’ Owens writes, ‘the Great War’s ghosts were made visible.’


This is a fascinating and beautifully-presented exploration of our centuries-long relationship with ghosts – a relationship that has survived scientific, political and religious revolutions. In 1778, Dr Johnson said of the supernatural: ‘All argument is against it; but all belief is for it’. It seems not much has changed.




I will be speaking to Susan Owens, as well as to Andrew Taylor (Fireside Gothic) and Laura Purcell (The Silent Companions) at History by the River on 14 November 2017. 

Cairnholy and Wayland's Smithy: Neolithic connections

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Here is the massive, and massively impressive, neolithic chambered long barrow of Wayland's Smithy, a step and a stride off the prehistoric track called the Ridgeway, near Uffington in Oxfordshire. The barrow was restored in the early 1960s following excavations by  Stuart Piggot and Richard Atkinson, and is believed to have been built in two phases: a small timber burial chamber built around 3590 and 3550 BCE and a later stone-chambered long barrow around 3460 to 3400 BCE. So... very, very old. As we live locally, we often take Polly our dog there, and she enjoys exploring it.


The barrow is entered by a passageway situated behind the middle two stones of the imposing facade. It was presumably blocked by a door once upon a time, and leads into a cruciform chamber.


As Polly likes to demonstrate, you can turn right, or left, or go straight on. In each case you will find yourself in a small 'room' where bones of the dead once lay. Enormous capstones roof the chamber, but if you stand on top you can now peek down through gaps which were doubtless filled in when the tomb was in use.


Behind the burial chamber, the mound of the long barrow stretches for over 180 feet (56 m), subsiding in height as it goes, and lined on either side with marker stones.







But the purpose of this post is not to tell you about Wayland's Smithy per se - you can look it up online or find books to tell you all about it and the legend associated with it. No: what I want to do is show you pictures of another long barrow far to the north, which we came across by accident this summer, on holiday in Dumfries and Galloway, Scotland. It is Cairn Holy, near the village of Carsluith.  Here, up a rocky path, on the flank of a hill with views of the sea, are two chambered cairns. Or that's how the notices describe them. To me, no expert, but keenly familiar with the long barrows of Oxfordshire and Wiltshire, they are simply miniature versions of Wayland's Smithy. Here is the facade of Cairn Holy 1. It's a little gem.




With me and Polly for scale, you can see how much daintier it is than mighty Wayland's Smithy, but nevertheless the similarities are striking. Behind two tall central stones - the entrance stones, one might call them -  is a narrow passage and then a burial chamber or kist.


This box-like construction may have been the original tomb, with the elaborate facade and long barrow added at a later phase. No bones have been found in the acid soil, but part of a jadeite axe lay here - jadeite traded or brought from the Alps - and a stone carved or engraved with a spiral pattern, which is now in Edinburgh. Behind the entrance a long barrow slopes back down the hill, edged with marker stones in precisely the same way as at Wayland's Smithy.




Just a short distance up the hill is the second tomb, Cairn Holy 2, built to a similar plan. Silhouetted against the light like a finger pointing to the sky is the tallest of the two entrance stones, and you can clearly see the lid or capstone of the box-like chamber. In this tomb, a flint knife and arrowhead were found, and fragments of five or six neolithic 'Beaker' type pots.


In the picture below you can see Polly taking an archeological interest in the entrance. And there's the sea in the distance. Such a view!




She was absolutely fascinated. What could live in there? And then she explored the roof.





The point of this post is not so much to show you pictures of our dog even though she is clearly the Keenest Brain in Dogdom, to quote Dodie Smith. Rather, I wanted to share the thought that struck me while I was clambering around this breathtaking site: Cairnholy is around 350 miles north of Wayland's Smithy: a distance that even by car travelling on a motorway takes six and a half hours. Yet having visited both, I feel convinced that the people who built Wayland's Smithy would, immediately, have recognised and understood the architecture and cultural purpose of Cairn Holy. And vice-versa. They would have known exactly what the other structure meant, and what it was for.

I don't know which was built first, but in view of the recent revelation that the domestic architecture of Skara Brae in distant Orkney both pre-dates and is replicated by the internal planning of hut dwellings at Durrington Walls near Stonehenge, it wouldn't at all surprise me to learn that Cairn Holy predates Wayland's Smithy. That this culture, this style of funeral monument, worked its way south, not the other way about. Our neolithic ancestors were not, we are discovering, parochial. They travelled widely by land and sea, and traded in ideas and beliefs as well as artefacts.

But what precisely those beliefs might have been? Like Polly, we can only wonder.





Tiny Beauties by Joan Lennon

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I remember seeing them first in the old Chambers Street Museum in Edinburgh, before its transformation into the National Museum of Scotland.  Then they were tucked into an old-fashioned display case in a side gallery.  Now they are part of the Grand Gallery's Window on the World - a three storey high Cabinet of Curiosities.  They are the Blaschka models - tiny beauties in glass -








(my photos, taken through glass on a sunny day, but I did my best!)

In the 19th and early 20th centuries, scientists interested in studying hard-to-preserve invertebrate animals and sea plants had to depend on 2D drawings.  The Blaschkas, father (Leopold Blaschka 1822-1895) and son (Rudolf Blaschka 1857-1939), took on the challenge of making 3D educational models in, of all things, glass.  They are painstakingly, astonishingly accurate and they are minute.  Many are smaller than the length of my thumb - the biggest are less than the length of my hand.  And I have dinky hands. 

I visit them every time I go to the Museum, and I would love to see more.  The Blaschkas were commissioned by museums far and wide - Harvard Museum of Natural History, for example, has an entire section dedicated to Blaschka flower models, and the Natural History Museum in London has examples like this utterly gorgeous tiny octopus -



(Wikipedia)


Knowledge of the techniques the Blaschkas used to create these undeniable works of art died with them.  Part of me is sad about that.  But part of me finds it oddly satisfying.  Sometimes mystery can be exquisite too.


P.S. More about the Blaschka story can be found here and here
P.P.S. I call dibs on writing the graphic novel version!


Joan Lennon's website.
Joan Lennon's blog.
Walking Mountain.


Dateslexia by Sheena Wilkinson

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Molesworth, as any fule kno, was cynical about history, which ‘started badly and hav been getting steadily worse.’ And Arnold Toynbee (or Henry Ford, or possibly lots of people) said that history was just ‘one damn thing after another.’ At school, at least for previous generations, it involved mostly learning dates – 1066 and all that.



But history isn’t one thing after another. It’s lots of things all happening at once, with posterity judging which aspects we remember. Take winter 1918, the period when Star By Star, my most recent novel is set, specifically the seven weeks (and one day) between 25 October and 14 December. What was happening then? Well, the Great War was limping to its close; the flu pandemic which would kill at least 50 million people worldwide was raging; in Ireland, Sinn Féin was gearing itself up to fight an election campaign which would, after a great deal more bloodshed, bring about an independent – and divided – Ireland, and of course, at that election, on Saturday 14 December, 1918, women in Britain and Ireland voted for the first time in parliamentary elections, as did working-class men. You can’t see any of these things in isolation: they all influenced each other, and history played out as it did because of the interplay between them.




Writing a book about all that accessible to teens  was challenging, but the book was written in winter 2017/18, when things did indeed seem to be getting steadily worse. It was quite easy to identify with my heroine’s feeling that huge and mostly terrible things were happening in the world around her. Giving her agency to influence what she could actually made me feel better about my own role in history, if that doesn’t sound pretentious.

One of the ways in which I harnessed all this galloping history and domesticated it was by knowing exactly where I was in the year 1918, to the very day. This helped enormously.  The novel’s action begins on Friday 25thOctober 1918. Stella, the heroine, however, for a small but important plot reason, has mixed up the dates and believes it to be the 26th.


So what? Well, I didn’t know a year ago, when I started writing, that Star By Star would be officially published on the 26th October, which felt serendipitous and funny. When I mentioned this to my editor, Gráinne, she admitted that, perhaps catching Stella’s dateslexia, she had kept mistakenly thinking it was the 25th– to the extent that she had printed that date on some promotional material. It didn’t matter a jot, of course, but it amused us.




Because the action of the novel is so compressed, I know what was happening in the story almost every day of those seven weeks, and as I embark on various events to celebrate publication, I can’t help thinking, 99 years ago, today… I’m writing this post on 3rdNovember, the night when Stella has her first significant encounter with Sandy, the traumatised war veteran who becomes her best friend. Next Thursday, 9thNovember, I’ll be officially launching the book in Dublin, and will be very aware of its being the day in the story when a very important letter was sent. And then, next Saturday, at the Belfast launch, I will be so very conscious that it’s 11 November, a date of huge import in the real world 99 years ago too, but also in the story. On both occasions, I will read from the appropriate day in the story, just because I can.


I realise it’s weird to think this way about a story I made up and characters who aren’t real. But I also know that, if we are to bring our histories and our stories and our characters alive for readers, we have to live in them to some extent. Where can we live but days? Philip Larkin said, and I would add, where can we live but stories?




I don’t know what I’ll be doing on 14th December this year, but I do know that part of me will be living in the story, cheering Stella on as she tries to fulfil her suffragette mother’s legacy on Election Day, a day that would change Ireland, and Britain, forever. In a last twist, my editor has just returned from Barcelona, where, like Stella, she witnessed history being made – though exactly what history, we will have to wait and find out.




Jack Geras 1912-2013 by Adèle Geras

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Because November was his birth month, (he was born on November 14th, 1912); because his life was bound up with Russia and its history; because I have just met up with relations I never knew I had (see PS) and because I think it's very interesting piece of oral history, I am taking the liberty of reprinting, just as he wrote it, my late husband's piece about his own father, Jack Geras. This appeared on normblog, on Jack's 100th birthday in 2012. We celebrated the occasion in Greek restaurant in East Finchley. It was fabulous lunch, and my younger daughter even brought her three-year-old son from a nearby nursery to celebrate with his great-grandfather. Jack, a Leftie his whole life, was thrilled to bits with his birthday card from the Queen and also (somewhat more surprisingly!) with one from Iain Duncan Smith.

I remember Jack as a very charming man; handsome, intelligent, stubborn, argumentative. His  Russian accent never left him and he spoke like a more educated version of Sergei from the Meerkat advertisements, which when I see them, always make me smile. I got on with him very well as I did with my mother-in-law,  Beryl, who'd been Jack's first wife. He wouldn't have been an easy chap to be married to, that I admit, but life would never have been dull.

I used to tell him he would never be forgiven by me for dumping a whole knapsack full of moonstones which he'd picked up while he and his fellow soldiers were in the Western Desert! The gemstones were, it seemed, too heavy to carry in that heat....

And here is  interesting but probably irrelevant fact: my  own daughters are married to two brothers, just like Jack's aunts. Also, take a note of Samuel Harris, mentioned in the piece below. My postscript will explain the connection I've recently  made with this branch of the family.


Jack Geras at 100


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This post is a tribute to my father, who turns 100 today. The above picture of him was taken a few years ago, on an earlier birthday, though I don't remember which one.
In February 1993, I asked my dad to tell me something about his family history and I took notes on what he said. With his permission I am reproducing these notes below to mark the day. The conversation took place shortly after I began reading widely about the Holocaust, and that explains the nature of some of the information I elicited; I hadn't talked to him in any detail about the fate of his family before.

Notes from conversations of 10-11 February 1993
Dad's mother and father were Etta (Ethel) and Meyer Ger, born in Shadowo, Lithuania: Meyer in 1869, Etta three or four years later. Etta's maiden name was Klevanski (deriving from the small town of Klevan). Her father was a bookkeeper and died before Dad was born. Dad has some memory of his maternal grandmother, however.
Etta had twin sisters, who married twin brothers. The son of one of these couples played a role in the defence of Leningrad against the Germans, and was made a Hero of Leningrad. Dad met him on his visit to Russia in 1972. The daughter of the other couple was living at this time in Stettin (Szczecin) on the Baltic.
Dad's paternal grandfather, Meyer's father Jacov, was a wallpaper manufacturer when wallpaper was still made by hand. In the late 1890s he established a factory in Minsk. He died before Dad was born, Dad's paternal grandmother after that in about 1919.
Meyer's elder brother, Chaim, went to South Africa and changed his name to Harris. In the 1880s or 1890s, by now established as a grocer, he joined a pioneer column in Mafeking and went to Salisbury; he was on its first town council. He died in 1912. Another uncle, Samuel went to Toronto in the 1890s, also becoming Harris. He may have been a soapbox leftist. He was in any case a tobacconist and evidently quite well-to-do, because when Meyer later lost his factory, Samuel sent him £100, no mean sum at the time. Meyer had two sisters as well, one of them (surname Tigger) also going to Toronto, in about 1927. The other went to Africa, and she was in Nyabira in Southern Rhodesia when Dad arrived in August 1928 to work in Shabani.
The Harris in Rhodesia (Chaim) had been a very wealthy man, owning a goldmine at Shamva and land in Salisbury. He married a younger woman. After he died, she in turn married a younger man. They sold the mine and lost or misused the wealth. The Harris children went to England.
Dad had three sisters, all older than he: Rachil, born in 1900, Sonya in 1904, and Tsila (Celia) in 1908. The family lived in Minsk throughout the Revolution. They had a wonderful apartment. During the Civil War, first the Germans and then the Poles occupied Minsk. Pushed back by Budienny, the Poles burned down the industrial area of the town before leaving, destroying the wallpaper factory. Meyer now set up a hardware business, but things became increasingly unpleasant for him. He was accused of being a speculator, arrested at a club he belonged to, and spent a month in prison. In 1920 a decree was passed allowing wartime refugees to return to independent Lithuania, and the family, though not actually refugees, took advantage of it to return in 1921. They travelled by train, in goods wagons, and settled in Panevezys.
Ger was now changed to Geras, the endings -as and -is being usual for masculine names in Lithuania. Meyer died not long afterwards: in 1923 from pneumonia.
The two older girls, Rachil and Sonya, were members of the Left SRs. Rachil went to the University at Kovna, and Sonya (who had earlier studied at a musical conservatory in Kiev) did also. Both of them were in the Faculty of Humanities. They became Marxists. The Communist Party was illegal and their activity, accordingly, conspiratorial. As the parents had hoped the move to Lithuania would help integrate the daughters in the Jewish bourgeoisie, this was unwelcome to them. In 1926 Rachil stood as a candidate for a CP-front party. The Social-Democrats won the election and there followed a political liberalization, the growth of trade unions, a hopeful revolutionary mood - and a coup by the army. Rachil was arrested and released on bail. Sonya, too, was arrested, in 1927.
Rachil was sent to a camp for political prisoners. Dad used to take food parcels to her, sometimes carrying secret correspondence. On one occasion he was detained and interrogated, but nothing was found. Discovering his involvement, however, his mother now wrote to relatives in Southern Africa and Canada, in order to get him away. He saw Rachil but not Sonya - now in prison in Siauliai (Shavli) - before he left. Soon afterwards, Tsila was also arrested. Unable to stand the punishment, she gave names, and when she was let out on bail, her comrades sent her to Coventry. Under discipline, her sisters apparently also did so. Forfeiting bail, she and her mother moved to Latvia; they settled initially in Libau. Rachil subsequently escaped from the prison camp and went to the Soviet Union. Sonya contracted tuberculosis, and was released in about 1933. From Southern Rhodesia Dad corresponded with all of them regularly and sent money.
Dad's mother and Tsila were in Riga at the time of the German invasion, Tsila meanwhile having got married and had two children. They were all murdered. Sonya was in Kovno; she was now Joffe through marriage. They took to the roads and she was killed fleeing. There is, or was, a memorial to her husband in Kleipeda (Memel).
[Note: According to Martin Gilbert, 80 per cent of the Jews of Riga were murdered in November and December 1941: they were 'taken to pits in the nearby Rumbuli forest, and shot'; the 'few survivors were put into a forced labour camp'. The Holocaust, pp. 229-30.]
Dad first became aware of the genocide against the Jews in the closing stages of World War II, through press reports. He remembers once in Rome trying to see if he could get any information about the fate of his family. He learned more about the Holocaust in 1945, demobilized and back in Rhodesia; both from the press and from survivors. In 1947 or 1948 he found out from Rachil, who had re-established contact with him via a cousin in Johannesburg, what had happened to his mother and sisters. There were some more details but he has not retained them. He had to establish a new life and went through a period of personal difficulties.
Rachil asked him to stop writing during the anti-Semitic campaign of the early 1950s in the Soviet Union. She was sent into internal exile in Karelia and prohibited from living in the towns there. This ended with the death of Stalin when contact between them was again resumed. Dad saw her in 1972. She had been married and divorced and was Rachil Ger, with one daughter, Galina (then deceased), and a grandson, Ergali, whom Dad met. Ergali's father was from Kazakhstan and had been killed in a 'mining accident' (possibly a nuclear explosion) in the Urals. After she was rehabilitated, Rachil settled in Vilna. She came to visit Dad in Leningrad, staying there with a maternal cousin, Lozick, and also in Moscow, staying with another maternal cousin, Freda.
Information added later: When Dad was born in 1912, the family lived in a house on Rakovskaya Street (10/1) in Minsk: they lived there until 1921.

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I shall now say a few more things. The above picture, with my dad on the left, has '1927' written in ink on the back of it; so he would have been 14 or 15. He has told me more than once that his mother sent him away to Africa in part so that he would avoid the problems encountered by his two politicized sisters. I've written something brief about this here and also about Dad's part in the war. Below is a picture of him in wartime. He is in the middle of the group.

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In March 2006, he met up with a guy who had been in the same squadron as he was and also called Jack - Jack Ferera. I described the circumstances that led to their meeting in this post; and here is a picture of the two of them.

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After the war my dad went into business in Bulawayo. He had a clothing factory for a period, then a button factory, and later one that produced foam rubber. His success in this last enterprise led in due course to a merger with Vitafoam in the UK. He and Mary and their two daughters, Etta and Nita, came to England in 1965, settling initially in Wilmslow. They then moved down to London at about the time of Dad's retirement in 1969 or 1970. He was admired and held in great respect by everyone he worked with.
Dad has also been, throughout, a good father to his children by both of his marriages - to Beryl, my mom, and then to Mary, who died in October 2004 - a man of great generosity, and with an indefatigable thirst for knowledge about political and economic affairs. I learned a lot from him, and we have talked politics (agreeing or disagreeing) from the time I first started to take an interest in the subject right up to today. Until his eyesight began to fail, he played a pretty damn good game of Bridge.
Here is a picture of Dad on my sister Sue's wedding day, with my sister El there, too, as Sue's bridesmaid.

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And here, finally, is one of him at home, at ease, in his pomp.

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PS.    A few nights ago, I had a lovely meal here in Cambridge with Norm's second cousin, Professor Bill Harris and his wife, Professor Christine Holt. They live in Newnham and we spent a very enjoyable evening discussing the connections between us, and the serendipity of living in the same place at the same time. Bill and Christine are neuroscientists and when I came home and looked them up on Google, I was in total awe of their achievements. Bill is the grandson of Samuel, who has the added lustre of being the founder of Toronto's first delicatessen. Norm was the grandson of Meyer, one of the three brothers mentioned above. We were all brought into contact with one another recently through the good offices of Jeff Rose, from Canada, who searched out the Harris genealogy and discovered hidden Gerases. Jeff is making a comprehensive family tree and it will be many-branched, and various. The Canadian branch changed Geras to Harris, which was probably sensible, but I for my part, having married into this family, am very glad to be a more unusual (if often misspelt and mispronounced) Geras.

'Cat's Heads and Yowlers' by Karen Maitland

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A Humber Sloop, the 'Harry' from Barton on the Humber
A few years ago, I had the privilege of editing the autobiography of an elderly gentleman who had grown up on the banks of the Humber estuary on the east coast of England. His father had sailed sloops laden with coal down the canals from the coal mines in the heart of England to the clay works at Barton on the estuary, before sailing across the treacherous North Sea to Holland with cargoes of clay tiles. There were no engines on these sloops. They relied on wind, currents and the skill of the boatmen.

To bring a sloop, under sail, with such a heavy cargo alongside the loading jetty involved a three-point turn, in which bow and stern lines had to be fastened to the shore with precisely the right timing and at the correct length, to enable the force of the surging water to turn the ship around, all this in an estuary notorious for its lethal cross-currents. To make his job even more tricky, because of the shifting sand banks in the Humber, they needed the spring tides to be able to unload and load the cargoes, which only occurred once a fortnight, so if the sloop failed to make it to the clay works to meet those tides, it would mean many days of costly delay.

Illustration from 'Pomona Britannica'
showing the four best apple varieties 
grown at Hampton Court
The elderly man, who’d spent his childhood among the clay-workers, also told me how in cold wet weather the skin on the clay-diggers’ hands would split open, leaving raw cracks deep enough to balance an old penny upright, a trick which was often demonstrated to horrified visitors in the pub who would reward the old workers with a pint of beer. Such details of the human cost can never be found in formal factory records.

I was reminded of his stories recently, when I attended an apple harvest celebration in Cornwall, where visitors were invited to sample the fruit from over fifty old varieties, once thought to be lost, but which are now carefully being nurtured again, not least to provide a vital gene bank of the old apple varieties which will be badly needed should new diseases attack our modern hybrid crops.

As I wandered among apples of all shapes and flavours with wonderful old names such as – Cornish Gilliflower, Count of Wick, Cat’s head, Ellison’s Orange, Pig’s Snout, Sops in wine, Fair Maid of Devon & Slack ma girdle– I was reminded that it is not just the gene-pool of plants and old rare breed animals we need to preserve for the future, but the old skills and knowledge of crafts, farming and industries as well, many of which, are fast disappearing.
Ellison's Orange growing at Barton on the Humber
Photographer: David Wright

At the same time, I was editing the book about the Humber, I had also volunteered for a project to record elderly people talking about their lives as farmers and craftsmen in times when everything was done by hand. The idea was a good one, to preserve their voices and their knowledge for future historians. But sadly, in a few short years, the machines on which those tape-recordings or floppy discs were made have become obsolete and many local libraries, archives and museums have thrown away the recordings, because they have no means of playing them. Only those memories were which transcribed and printed have survived, an invaluable resource for future historical novelists like me, and for any future generations who may need to relearn those vital skills.

In meantime, we must treasure the names of those long-vanished occupations, in the way we savour the taste of those old apples we came so close to losing forever. So, I leave you with just a few of my favourites –

Medieval Occupations during the farming year circa 1470-1475

Fripper– A person who bought and sold second-hand clothes, or a broker who lent money to those who pawned their clothes.

Gatward– goat herder

Mouldiwarp catcher– Mole catcher

Death hunter– A Victorian street pamphlet vendor who specialised in selling copies of salacious deathbed confessions, final speeches delivered from the gallows and lurid accounts of murders.

Escheater– someone who appropriated land for the king when the landowner died without an heir. Regarded by many as legalised theft, the title of the office gave rise to the word cheat.

Mueman– a maker of little cages for birds or small pet animals

Purefinder– a child or elderly person who collected dog dung from the streets to sell to leather tanners to treat hides before tanning in a process known as puering.

Saintier– a bell founder or maker of church bells.

Yowler – a 17th century assistant to a master thatcher, who handed him the yowles of straw.









Tony Soprano's Naples by Caroline Lawrence

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A few years ago, my husband and I visited Naples properly for the first time. 

On previous visits to Pompeii and Herculaneum everybody warned us to avoid Naples like the plague. They spoke of gangs of street-urchin pickpockets who would descend on us like locusts, fleets of Vespa-riding handbag-snatchers, piles of garbage and walls covered with rude graffiti. And then there were the suicidal drivers. In Milan, goes the saying, traffic lights are the law; in Rome they are a suggestion; in Naples they are Christmas decoration!


So whenever we found ourselves in Naples we hardly dared pop our heads above ground. Instead, we would hurry from the airport to the train station and only breathe a sigh of relief when we were safely on the Circumvesuviana train to Sorrento. Once we went so far as to stay at Sant’Agata sui Due Golfi. We had to use ferries, buses and taxis to visit Misenum, Baia, Ischia and Piscina Mirabilis. It was fun but cumbersome and not entirely successful. The Piscina Mirabilis was closed and we couldn’t manage to fit in Solfatara or Cumae. How much easier if we had made Naples our base. But we didn’t realise that then.

In January 2013 we went on our first Andante Travels Tour to Pompeii and Herculaneum. It was fabulous. Our brilliant and learned lecturer, Professor Andrew Wallace-Hadrill, proceeded to explode one myth after another: ‘Vesuvius’s first eruption wasn’t on 24 August; don’t call it a lararium; don’t call it the Decumanus Maximus; we don’t know if this is the Villa Poppaea; we don’t even know if this place is called Oplontis.’ (Read more about his myth-busting HERE.)

Another myth he busted was the Avoid Naples Myth: ‘Don’t be afraid of Naples,’ said Andrew Wallace-Hadrill. ‘It’s a vibrant, exciting city. Be sensible and keep your money and valuables out of reach, but enjoy it!’ So, we took his advice and booked another Andante Tour based in Naples. It promised us access to sites we had tried and failed to visit before: the Piscina Mirabilis, Solfatara and Cumae (home of the Sibyl). Also, I was cooking up some books based on Virgil’s Aeneid and wanted to see the place he loved so much so that I could somehow connect with the Bard of Mantua

The excitement started for me when Andante told us we would be staying at the Grand Hotel Santa Lucia right down on the waterfront. Googling the hotel, I thought a nearby fountain arch looked familiar. Then I remembered where I had seen it: in an episode of the ground-breaking, award-winning TV series The Sopranos. In season 2, aired in the year 2000, Tony (a mafia don from New Jersey) and two of his men go to Naples. I looked up Commendatori, and sure enough, it was the same arch: the Fountain Santa Lucia. Tony stayed at the Hotel Excelsior right next door to the Santa Lucia.

From that moment on, Virgil was overshadowed by the don from New Jersey. Played by the late great James Gandolfini, Tony Soprano is not likeable, but he is compelling.



The first full day after our arrival I coerced some of my fellow travellers to venture inside the Hotel Excelsior. We walked through the plush lobby where Tony is first addressed as commendatore, “commander”. Up on the 8th floor we discovered a gem of a bar with stunning views of Vesuvius. Sipping Campari sodas and nibbling typical Neapolitan tidbits, we watched the setting sun gild the famous volcano. 

A few days later our tour took us into the centre of Naples. It is a vibrant noisy city full of colour and life. The ancient road called Spaccanapoli is supposed to be the charming one, but I preferred Via dei Tribunale with its vegetable stalls, cafés, graffiti and a wonderful bulldog. This is where Paulie from The Sopranos goes to have an espresso and greets some Italians at a nearby table with a cheerful ‘Commendatori!’ The three Italians ignore him. One of them is series creator David Chase in a cameo role. In real life, Neapolitans are very friendly.


One day we made a pilgrimage to Virgil’s tomb just a short distance from our hotel. Virgil is my favourite Latin poet and I was hoping to find some inspiration for two retellings of stories from his Aeneid. In the gardens surrounding the tomb was a marble bust of the poet along with shrubs and trees mentioned in Virgil’s three works, next to signs with relevant excerpts. It is a beautiful spot but I didn’t feel any sense of the bard, despite a tripod and garland of flowers left by another Virgil fan in the lofty tomb. 


Opposite our hotel was a delightful castle called Castel dell’Ovo AKA the Castle of the Egg. Medieval Neapolitans believed Virgil was a magician and thought he had built this castle on a magic egg. As long as the egg was safe, it was believed, Naples would prosper. The little cobbled village at its foot was pretty enough to be a film set and they were in fact filming the remake of The Man from U.N.C.L.E. the week we were there. A helicopter was constantly buzzing around, filming establishing shots.

In Commendatori, Tony meets Annalisa, the beautiful acting head of the local Mafia, (which in Naples is called the Camorra). Tony and Annalisa have a seafood lunch in front of another castle and the OMLIN shipyard, and then go walking on a beach. I kept my eyes open for this location and found it on the day we visited Baia. Baiae as it was known 2000 years ago, was the St Tropez of the Roman World; it was a place of decadence and immorality where men bathed with women. I used it as the setting for my 11th Roman Mystery, The Sirens of Surrentum.

After visiting the so called Temple of Mercury, with its flooded floor and atmospheric dome, and saluting the upside down fig tree in a vault nearby, my husband and I had lunch down at the seafront in Bacoli at a pretty beige building called Locanda dei Re. After lunch, I skipped dessert to see if I could find the exact location of Tony’s meal with Annalisa. It turned out to be a seafood restaurant called Lucullo. 

Appropriately, Lucullus was an ancient Roman famous for his banquets. In fact, the Castel dell’Ovo is built on the foundations of his once opulent villa. 


On our final day of the Andante tour we went to Cumae, home of the Sibyl, the wise prophetess who tells Aeneas how to get to the underworld. But once again Virgil was eclipsed by Tony and friends. Cumae is where Annalisa ‘prophesies’ Tony’s future and also propositions him. He is tempted by her, but wisely demurs. I was glad to see they’ve cleaned up the garbage since they filmed that episode. In fact Naples was remarkable free of garbage and the graffiti can be quite charming. 
My husband and I supplemented our excellent Andante tour with one of the open top tourist buses. This turned out to be one of the highlights of our trip. We also listened to Rick Steves excellent podcasts and read Naples 44, the harrowing and hilarious wartime diaries of Norman Lewis. 

When Tony Soprano arrives back in New Jersey, you can see the regret on his face. He has obviously fallen in love with Naples and already misses it. We fell in love with Naples, too. So if you are tempted to go, don’t be afraid. Wear a money belt, or just take small notes spread about your person. Be sensible and you will have a great time.


Caroline’s two retellings of stories from Virgil’s Aeneid are The Night Raid, about Nisus and Euryalus from book 9, and Queen of the Silver Arrow, about Camilla from books 7 and 11. The reading level is easy but the content is dark. 

A version of this post was originally published on the now-defunct Wonders and Marvels blog

Thoughts of a Gothic nature - Michelle Lovric

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 One of my poems has just been awarded a ‘Highly Commended’ in the Bridport Prize.

Judge Lemn Sissay, kindly wrote of my ‘Niece comes out of the attic’: ‘I was gripped by the gothic in this poem. And by what was not said. It’s beautiful. Powerful. Evocative.’

 Lovely to read, of course, but the word that excited me the most was ‘gothic’. My brain is, at the moment, in a fever of gothic for a new, experimental piece of work, in which I am trying to reconcile a sense of the gothic with some incidents of apparent modernity.

Gothic (henceforth I’ll give the word its deserved capital letter): I come to the conclusion that never, or hardly ever, has one word suffered its meaning to be stretched so far and into so many dimensions.

Here, with apologies, is an uncomfortably rushed and creaky whistle-stop tour of the Gothic, simply to signal its pervasiveness. (I am not going to illustrate it, so as not to impede its speed. I see the reader hurtling alone and by night, in a coach drawn by black horses across vast and empty terrains where wolves howl.)

We started with Goths – Visi and Ostro – ‘barbarian’ tribes of the north, whose rise is associated with the fall of the Roman Empire, including the sacking Rome in 410AD. This first Goth manifestation gave us a language, and alphabet and a script, also known as ‘blackletter’.

Then came ‘Gothic’ art and architecture, generally thought to have seen the light first in 12th century France but spreading in all directions. The architecture was despised by the early art-historian Giorgio Vasari, who saw infidel barbarity in its sinuous lines, pointed arches and ribbed vaults (the same elements, perversely, were adored by John Ruskin, a promulgator of Neo-Gothic in the 19th century. Apart from the 'virtue' inherent in each craftsman's creative contribution, Ruskin favoured what he saw as properly pious love of Creation’s flowing, soaring, irregular shapes over Renaissance man’s sterile geometry.)

Before Ruskin & co came to revive the Gothic in our built environment, the term had lurched into a new form. Literature appropriated ‘Gothic’ to describe the kind of fiction that creates a frisson of ‘sublime’ terror in the reader. Screeching away from the restrained formality of the classical, this literature feasts on heightened emotions, death, unnatural life-forces, secrecy, ghosts, the interplay of irresistible attraction and terrified repulsion. Other tropes: ancient curses, brooding anti-heroes, forbidden loves, the torture, slaughter or corruption (moral murder) of innocent victims, often young. Sometimes the horrifying mystery is resolved as ‘explained supernatural’. Other times, the horror is generated by the darkest sides of human nature. If a journey is taken, it is (forgive me) alone and by night, in a coach drawn by black horses across vast and empty terrains where wolves howl.

Horace Walpole is thought to have started it in England with his novel The Castle of Otranto (1764), which was initially published as an authentic rediscovered mediaeval romance. Gothic writers fed on one another’s Gothic imaginings. William Beckford’s Vathek, also originally published as a ‘found’ manuscript, was a favourite of Lord Byron. Another early classic of the genre was Mary Shelley’s Frankenstein, drafted during a ghost story competition in which Byron himself participated

A generalized Gothic architecture – rich in complicated shadow, beset with ancient dark towers, secret tunnels and dungeons – is often the backdrop. Providing the rib-vaulted settings for evil acts, Gothic architecture seems to exert the dark power Vasari saw in it: monstrous and barbarous, a kind of disorder. As at Hogwarts, both ancient and supernatural mischiefs stir in the very fabric of the castles, abbeys and monasteries where the characters are confined in feverish proximity with all that terrifies them. These buildings are sometimes in a ruined state, redolent of moral, physical or emotional collapse in its inhabitants. Nature relentlessly, even cruelly, takes back what man, in his arrogance, thought he had set in stone immortally. Buildings, like human bodies, can rot. This is the ‘Gothic picturesque’ – the sublime beauty to be found in something that can otherwise connote horror.

Victorian Gothic gave us Poe’s The Fall of the House of Usher, Robert Louis Stevenson's The Strange Case of Dr Jekyll and Mr Hyde (1886), Bram Stoker’s Dracula and countless other novels, often played out in three thick volumes. Meanwhile, Gothic Revival or Neo-Gothic architecture delivered monumental markers like St Pancras Station. Any commuter can still get his or her daily dose of Gothic there, even now.

 Gothic was not confined to English literature. German had its Schauerroman ('shudder novel') and French its roman noir, all accessorized with similar tropes and settings. Nor was it confined to hardcover. Magazines started embracing the Gothic in Victorian times and have continued to this day.

Then came Hollywood, happy to draw on the Gothic model refined in literature, starting with movies based on the famous texts and then going on to develop its own language and iconography, which often associates young sexuality with violent death. The ruined castle or abbey backdrop is optional.

I find it quite extraordinary how many writers of the 20th century have been labelled ‘Gothic’. There are of course the obvious, like H.P. Lovecraft and Stephen King, but also William Faulkner (‘Southern Gothic’), Joan Aiken (‘New Gothic’) and Margaret Atwood (‘Southern Ontario Gothic’).

Moving on to the late twentieth century and beyond, we have Gothic video games, Goth music (Black Sabbath and their ilk) and the Goth fashion subcultures, which drew its aesthetics both from Gothic novels and poetry, as well as horror movies. Black prevails, with white for gaunt contrast: black nail-polish on pale hands; hair dyed profoundly black framing white faces with lips and eyes picked out in black. Trimmings and silhouettes are borrowed from a least a hundred years before: corsetted waists and lace.

For a while now, the Gothic seems to have moved away from a specific obsession with corpses, decay, curses, judgements and settings that contributed much to a sense of loss, dread and terror. We have moved away from a codified horror with specific visual elements, from innocents sacrificed to darkness, paying the price of ancient curses and hatreds that have festered for centuries.

Or have we? Where we’ve been shows Goth associated with the emotional and decorative paths of complicated and wild darkness. Where are we now? Well, this is what I’m working on and it’s not ready to share. Instead, here’s my ‘Gothic’ poem to be getting on with. Its vintage is April 2017.


                                  Niece comes out of the attic

in my red velvet wedding dress, that old sore rash of silk
shamed into horripilation just like the hairs
that tiptoe up my nape at the sight of her,
thirteen, with no idea.

I thought that tongue of threads had long since gone to die.
But all this time it cooled its heat on the rack
of harmless jumble upstairs,
fever-red undimmed.

Watching zipper trace her bones, the cold clicks down my spine.
The past, that wolf, half-eats tall tousle of brown-eyed niece.
It grips her, neck to calf, in the thousand teeth
of its greed-red maw.

Yet niece is not its rightful prey. The past may brush those narrow ribs
but she must not taste its carnivore breath nor gag its rankling.
So when the graceful gangle comes dancing
out of the attic

I smile with velvet teeth at niece in my red wedding dress.
I chew the truth, gulp down what’s gone, praise
the prance and ripple of her kin kid-limbs
beneath the long-shed skin.


Michelle Lovric’s website

Churchill's secret army - a visit to Coleshill

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In October I went on a guided walk put on by the National Trust at Coleshill in Oxfordshire. The house itself no longer exists, but during the Second World War, Coleshill was the top-secret General Headquarters (GHQ) of Churchill's 'secret army' . 

This was not a regular army, it was one made up of ordinary civilians who had volunteered to serve as Britain’s last line of defence in the event of a Nazi invasion.


Coleshill House in the Second World War

The secret army was formed in the dark days after the fall of France and the ‘miracle’ of Dunkirk. Most of the British Expeditionary Force had been saved, but the BEF had lost 68,000 soldiers during the French campaign and nearly all of its tanks, vehicles and equipment had been abandoned in France. German troops were massed a mere twenty-three miles away across the English Channel and Britain steeled itself for German invasion.

The Battle of Britain had not yet begun and the fate of Britain hung in the balance. Hitler had conceived 'Operation Sea Lion', by which he intended to land more than a quarter of a million troops, 60,000 horses, up to 40,000 motor vehicles and 650 tanks on British shores. His aim was to eliminate the British homeland as a base for operations against Germany.

Prime Minister Winston Churchill had made it clear that in the event of invasion surrender was not to be considered. Instead the people of Britain were to "defend our island, whatever the cost may be. We shall fight on the beaches, we shall fight on the landing grounds, we shall fight in the fields and in the streets, we shall fight in the hills; we shall never surrender …”

Defensive measures against invasion were in place, such as barbed wire, anti-tank measures and mines on beaches. 

The country was divided up into defensive sectors by ‘stop lines’, continuous anti-tank obstacles – natural or man-made – which would block or hinder the progress of German armoured columns and allow an easier counter-attack by British defending forces. 

The stop lines were backed up with minefields, concrete pillboxes housing riflemen and machine gun emplacements. 

It is sobering to read Home Forces Operation Instruction No.3 (submitted to the War Cabinet on 25 June 1940), which states: “This system of stops and strong-points will prevent the enemy from running riot and tearing the guts out of the country as had happened in France and Belgium.”

Such measures were designed to assist regular soldiers and, at a pinch, the Home Guard, to defend the country. But what if the impossible happened, and the German invasion was successful, or even partially successful? How were the British people supposed to defend their island?  

In 1940 Britain had an advantage over the nations in Europe that had fallen so quickly to the German blitzkrieg - it had time to create a resistance movement in advance of an invasion.

Colonel Colin Gubbins, a British Intelligence Officer who was later the head of the Special Operations Executive (SOE), was asked to put in place a network of British resistance fighters to operate a resistance movement behind enemy lines. It was known by the deliberately vague title of Auxiliary Units and was comprised of civilian men and women (known as Auxiliers), who were usually in reserved occupations, but who were expected in the event of German invasion to engage in a guerrilla war. They would blow up bridges and trains, report on possible fifth column activity and discourage collaboration with the Germans. 
These were the men and women of Churchill’s secret army, and their training in sabotage and mayhem was given at Coleshill House.

There were two branches of the Auxiliary Units. The 4,000 ‘Special Duties’ Auxiliers were trained to be spies in their own country, to be the ‘eyes and ears’ of the organisation. They were people whose work allowed relatively free movement, such as doctors, district nurses and vicars. 

In the event of invasion they were expected to continue their normal lives, but to gain and communicate intelligence about the deployment of enemy forces. They learned how to identify vehicles, high-ranking officers and military units and objectives. Once they had gathered intelligence they were to prepare a short report and deposit it in a secret ‘letter box’ or 'dead letter drop'. 

These letter boxes were in unusual places, such as under rocks, in hollowed bricks or gate-posts or in holes in trees. At Coleshill I was shown examples of 'dead letter boxes'.

The reports would be collected by runners and taken to one of more than 200 civilian wireless operators, who would use secret radio transmitters to transmit the information to military headquarters. 
These radio transmitter might be hidden under the outside toilet on a farm, or in a secret compartment in a chicken shed. One such wireless, manned by the local vicar, was hidden under his church's altar; its antenna cable ran up the side of the bell tower. 
At Coleshill they had a reproduction secret wireless transmitter to show us. The dummy priest, who is a secret wireless operator, is secreted in a little room behind the far wall of this chicken shed.

 

 Auxiliary Unit Patrols were the second branch of the Auxiliers. They were the combat units who had been highly trained in guerrilla tactics. Each patrol was made up of a small group of six to eight men who operated on a ‘need to know’ basis as a self-contained cell, so that the members of one unit did not know the identity of any members of other units in their area.  
They were instructed to cause maximum disruption to the invading German forces by engaging in sabotage operations behind enemy lines, specifically to deny mobility to the attacker and to disrupt supply lines. Their prime targets were aircraft, fuel dumps, railway lines and depots, together with senior German officers.
The Patrols were provided with hideouts, known as operational bases (OBs) or 'funk holes', which were built in local woodland and stocked with plastic explosives, incendiary devices and ammunition, and with enough food to last for two weeks
Each OB had a camouflaged entrance and an emergency escape tunnel. 
The replica 'funk hole' at Coleshill is hidden beneath the soil, invisible until the top is lifted to reveal the entrance and a 30 foot ladder. 



Inside, the OB was fairly commodious, with four bunks (pulled up against the wall when not in use), a separate compartment for an Elsan toilet, a kitchen area and storage for tinned food and explosives. 

A real OB exists in Sussex, and is still in pretty good shape after 70-odd years.

Each OB had an emergency escape tunnel, leading to an exit some distance away.
 

This is an example of a 'how to blow up things' in a secret booklet given to Auxiliers, disguised as a Countryman's Diary.


As a sober note to such 'boys' own' adventures, it was accepted that, in the event of German invasion, the life expectancy of an Auxilier was only 10-14 days. The men anticipated being shot if captured. Many were determined not to be taken alive.

The Auxilier Unit Patrols were comprised of part-time volunteers, often recruited from the Home Guard. Former Boy Scouts, gamekeepers, foresters, hikers and mountaineers were preferred, because they knew their local area and had good survival skills. Game keepers were prized recruits as they were used to moving quietly through the countryside and they were used to killing things. All had to sign the Official Secrets Act and not even their families knew what they were trained for. As cover for their activities, they were given Home Guard uniforms.


Auxiliary Unit Patrol recruits were trained in secret at Coleshill, usually on a weekend so as to avoid interfering with their other work. Recruits were asked to check in at Highworth Post Office, where they were vetted by the postmistress, Mabel Stranks. After screening them she telephoned ‘Highworth 85’. The recruits were then blindfolded and taken by army transport on a circuitous route to Coleshill House. There they were taught close combat, self-defence, use of fire-arms, map reading, stealth, night fighting and camouflage techniques, and training in explosives, which were to be used for attacking enemy transport and supply lines. 
The men were also issued with sub-machine guns, hand guns and the deadly Fairbairn Sykes double-edged dagger.
The services of the Auxiliers were never needed in Britain. In September 1940, after defeat in the Battle of Britain and fearing the might of the British navy, Hitler postponed his invasion. Instead he turned his forces towards the Soviet Union. Operation Sea Lion was officially cancelled in March 1942.

What of the Auxiliers? They were stood down  in late 1944, when the tide of war had moved decisively in favour of the allies. Most of them slipped back quietly into their former lives. However, one group was determined to use the skills they had been trained in at Coleshill. These men were parachuted behind enemy lines for Operation Bullbasket in July 1944, but were captured in Verriers Forest near Poitiers and killed by lethal injection.

The Auxiliary Units had no official recognition. It is only now that we are aware of the desperate measures taken to prepare Britain for the expected invasion, and of the work of this ‘secret army.’
As I walked through the countryside following our guide, enjoying the beauty of the autumn colours, I thought about what had motivated those ordinary men and women in 1940 to volunteer for this secret army. 









Coleshill House burned down in 1952. A few years ago a small hedge was planted to mark the perimeter of the house and inside it were planted wildflowers and shrubs. 
I visited on a day of sunshine and shadow, when the flowers were in their last flush but still bright and beautiful. It is fitting, perhaps, that the headquarters of such a secret and chilling organisation should now be open to the sky and enclosing only flowers.

Additional information and photographs: http://www.pillbox-study-group.org.uk/
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