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A WALK IN TOWER HAMLETS CEMETERY

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Five minutes walk from Mile End Tube in Bow you will find Tower Hamlets Cemetery; a hidden gem of calm green space in the bustling heart of East London. Agreed, it is nowhere near as grand or as large as Highgate cemetery, but it's certainly worth a visit ~ to see a Victorian graveyard surrounded by natural wildnerness.

The first internment took place here in 1841. The last in 1966. Essentially, the graveyard was provided for the working class, but over the 27 acres of consecrated ground are many ornate monuments, with obelisks and angels dedicated to trade unionists and other champions of workers' rights,  as well as philanthropists, merchants, sailors, and shipbuilders from the nearby docks.



Some of the tombstones are listed with English Heritage. Sadly, too many of them are scarred with shrapnel after the cemetery was bombed during the second world war. But there is still great beauty to be seen in this eerie and inspiring place that found a place in the VV's heart and even went on to feature in The Somnambulist, which was her first Victorian gothic novel.


As the cemetery appears in scenes from The Somnambulist 



 The VV ~ Essie Fox ~ discussing The Somnambulist on Channel 4's Bookclub

STATION JIM AND LONDON JACK...

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This somewhat shabby canine gentleman is known as Station Jim. From 1894-1896 he collected funds that went towards charities for needy railway workers, or the orphans of those employees who were killed in the days of steam trains.

Based at Slough Station in Berkshire, on the Great Western Line from Paddington, Jim can be found on Platform 5 where his glass case has a collection slot ~ still raising funds from doggy heaven. 



This noble fellow is London Jack. He worked at Paddington Station from 1894-1900. 

Jack raised more than £450 during the course of his lifetime. Like Jim, he went on to collect even more when he was dead and his body then stuffed. Today, Jack can be seen on display at the National History Museum in Tring which contains many other examples of nineteenth century taxidermy.

THE VV WAS ONCE A MAID, AT THAT MR LINLEY SAMBOURNE'S HOUSE ...

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The Virtual Victorian has been a little subdued of late during the long hot summer months. But, fizzing now with the efficacious cure of Dr Robert's Constitutional Powders, her spirits are rapidly rising ... and she has been persuaded to let you peek at this rather blurry photograph, in which, if you look closely enough, you may see the face of Essie Fox when she first began her Adventures in London ~ engaged at the time as a parlour maid in that racy Linley Sambourne's house, exposed for all the world to see on the front of the Telegraph Sunday Magazine.

More on Mr Linley Sambourne to come ...


THE PHOTOGRAPHIC PASSIONS OF MR LINLEY SAMBOURNE...

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Edward Linley Sambourne first began his working life as an apprentice draughtsman in a marine engineering works in Greenwich. His artistic career was to blossom when his cartoons came to the attention of the editor of the satirical magazine, Punch ~ for which the cover shown above is a fine example of his style.

However, his talents did not end with illustration work. He also developed a passion for photography, growing rapidly as an art form in the second half of the nineteenth century. Very soon, one of the attic rooms in his home in Stafford Terrace was converted into a studio. A bathroom became his dark room, the walls of which were covered with many examples of his work ~ with images of his family, and also of the household staff who he asked to pose as models.

Below, you can see his coachman dressed as the Emperor Nero while plucking away on a fire screen lyre ~ a pose that later on became the basis of a political cartoon...




When he was commissioned to illustrate Charles Kingsley's story, The Water Babies, Linley Sambourne used his daughter Maude to pose for the character, Ellie. His son, Roy, became the model for Tom, Charles Kingsley's child chimney sweep.




Now and then Sambourne's wife, Marion, was also persuaded to model, though she was said to be more concerned with the running of her household than playing at such frivolities. And then there were occasions when she took the children off from home for seaside trips and holidays ~ when her husband was far 'too busy with work' to think of leaving London ~ when he used his freedom in the house to acquire professional models.




For his portraits of naked females, Sambourne was always careful to use the plainest, non-descript backdrops and to hide his models' identities ~ many of whom he lured away from the local Kensington Camera Club. But, in one somewhat provocative pose a girl is clearly sitting in Marion's favourite armchair, her face masked and, somewhat ironically, holding a puppet of Mr Punch.

Whether or not Marion ever saw that particular photograph, she was most certainly aware of her husband's racey activities, very often referring to 'Lil's secrets' when writing in her diaries.


Edward Linley Sambourne, looking a little bit guilty and glum! (1844-1910)







THE VICTORIAN ART OF PHOTOGRAPHY...

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This painting of Una and the Wood Nymphs by Caldesi and Montecchi, was photographed by W E Frost. He then submitted it to be displayed along with some 1009 other images created by fellow photographers at the Victoria and Albert museum (then known as the Kensington Museum) for an exhibition in 1858.

Such a method of reproducing great art was softer and truer than that achieved by the older method of engraving. It was soon to become a commercial success with many people buying prints of art works to show in their own homes.

However, some photographers preferred to go a step further, using real human models when recreating their own scenes from literature or history. For instance, the albumen print below, photographed by William Lake Price, shows Don Quixote in his Study ~ surrounded by all the requisite props to fully reconstruct a scene from the novel by Cervantes.




The new science of photography was thus exploited as an art form. But, it was also used as a method of recording industrialisation. 

In the image below Robert Howlett showed work on the SS Great Eastern (also known as The Leviathon) which was then the largest steam ship to have ever been constructed. Symbolising the Empire's greatness it was, nevertheless, a commercial failure. The ship was scrapped in 1888. 

Still, it is an astonishing print because it really does convey the scale of Victorian ambition in invention, and engineering design. And, as an added bonus, dwarfed below the ship itself, is the engineering 'giant' of the times ~ the top-hatted Isambard Kingdom Brunel.


  

Photography was also used as a record of place and travelling ~ another aspect of Victorian Empire. 

Below is the Rameseum of El-Kurneh, Thebes, as photographed by Francis Frith, which is a fine example of how the wet collodian negative process allowed for exquisite detail to be captured in shadow, light, and texture. This scene surely captures everything that entranced the Victorian public regarding the myths, the exotic romance, and the fallen grandeur of the East.


BEAUTY IN THORNS ~ BY KATE FORSYTH

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The story of four women who shared the lives of the Pre-Raphaelites




Kate Forsyth’s novel, Beauty in Thorns, is set in the Victorian era where, as its central theme, it explores The Sleeping Beauty fairytale.



This fairytale has long-inspired aspects of Forsyth's written work, and here the idea is reprised within the artwork of Burne-Jones, the exquisite creation of which is strongly woven through the novel’s plot.

Spanning fifty years and almost 500 pages, the story explores the Pre-Raphaelites, concentrating most specifically on four women the artists knew and loved, revealing how those women sought to find their own autonomy, or else submitted to the passive female roles expected then.

Lizzie Sidall, by Rosetti


Kate Forsyth gives an honest, sometimes brutally exposing view of the life of Lizzie Siddal, the tragic muse and lover of Dante Gabriel Rosetti, who longed to be an artist too, who was brave and bold and passionate, despite the demons gnawing through the beauty of her fragile soul ~ as illustrated in this poem by Rosetti’s sister, Christina ...

He feeds upon her face by day and night,
And she with true kind eyes looks back on him
Fair as the moon and joyful as the light:
Not wan with waiting, not with sorrow dim;
Not as she is, but was when hope shone bright;
Not as she is, but as she fills his dream
.



Jane Morris, by Rosetti

We meet the stunning Jane, an Oxford slum girl of fierce intelligence who married William Morris, the man who paid to have her tutored in acceptable speech and manners, in music, and embroidery, so as to elevate her in his world with the least embarrassment. What pain his wife's infidelity with a fellow artist must have caused, although she never left him, eventually forced to chose between Rosetti (who as time went by was tortured by insanity, due to his enduring guilt over poor Lizzie Siddal’s fate), and devotion to her children.

 Margaret Burne-Jones, as painted by her father.

Kate Forsyth also brings to life the complex life of Georgie, the long-suffering wife of ‘Ned’ Burne-Jones, along with that of Margaret, their daughter, and the muse who posed as the subject of his greatest works: a monumental series inspired by The Sleeping Beauty tale ~ though rather than becoming enslaved for a hundred years or more, Margaret did eventually escape Edward's obsessive hold, defying her father to marry and live with the man she truly loved.

In this satisfying novel Kate Forsyth does not shy away from the culture of drink and opiates that pervaded this artistic group. She shows the heartbreak of the women who are now enshrined in works of art but, who, within constrictions of their time were often deemed as unconventional, or ‘fallen’ in a morally rigid society where anything the least bit free or decadent was frowned upon.  

Meticulously written and researched this novel is a gripping read. Compelling, also heartbreaking. A must for every fan of the Pre-Raphaelites, and those they loved.




For more about Kate and Beauty in Thornsyou can find her author website here.

VICTORIAN WOMEN'S MAGAZINES...

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During the Victorian era there was a flourishing market for all manner of women's magazines. The public's imagination was caught by lavishly illustrated periodicals that offered a more or less constant supply of thrilling, serialised fiction, alongside more practical features on fashion and home-making, even the latest sheet music to be played on the parlour piano.




In 1852, the husband and wife team of Samuel and Isabella Beeton achieved great success with their own creation of Beeton's Englishwoman's DomesticMagazine. 

For this, Isabella provided recipes and articles that covered household management. However, the magazine offered a great deal more than that, for apart from the usual fashion and fiction there were biographical features, instruction on gardening and medicine, and also a regular letters page. 

Initially priced at 2d a copy, by 1856 the magazine boasted a circulation of 50,000 copies.




Such commercial success inspired the couple to think of other formats. In 1861, they produced the society newspaper with the title of The Queen ~ another success that continued to run until the year of 1970.



Fashion plate from 'The Queen' circa 1890


The first edition of The Queen cost 6d, and that contained a specially-commissioned photograph of Queen Victoria. The paper also specialised in the latest Parisian fashions, providing paper patterns and directions for elaborate needlework. And, although it may not have gone as far as publications such as The Female's Friend  (a short-lived magazine with the worthy aim of campaigning against the scourge of prostitution), it did not shy away from offering its readers intelligent debate on politics and the place of women in society.


The English Woman's Journal (1858-1864) was another paper that sought to educate its readers on politics, at home and abroad. And then, from 1892-1900, Shafts was a radical magazine with features on birth control contributed by Marie Stopes, as well as other articles that ranged from the reporting of sporting achievements to news of the latest activities of the Independent Labour Party.



A SMALL COLLECTION OF STUFFED ANIMALS ...

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I found this fine fellow one day when searching for the image of a monkey, wearing a monocle and cravat, and holding a copy of Charles Darwin's 'Origin of Species'. I'm sure I saw something just like it once, and subsequently used the image in my novel, The Somnambulist...

'On a whatnot pushed into a corner, a stuffed monkey was sitting on its haunches, wearing a monocle and a cravat, and holding a copy of Mr Darwin's book clutched in its wrinkled fingers. A good thing Mama had not seen that. One more thing to consider as blasphemous!"





While searching, I did find other things I later wished I hadn't  - and what some might find offensive. For example, I have no idea as to what on earth is going on in the photograph posted above, though it looks like some form of dentistry...while the kittens in the bar below are clearly having a lovely time.




But, the finest collection of taxidermy I've yet had the 'pleasure' to see first hand, as opposed to via photographs, was when I went to dine one night in a restaurant in East London. Sadly, Les Trois Garcons is no longer open to the public, but it used to be gloriously camp; a unique baroque experience, though the decorations may perhaps have dampened down the appetites of more delicate constitutions.




Still, you've got to love the winged stuffed dog in the photograph below... 



And, finally, speaking of stuffed dogs, you might like the tale of Owney...




Owney, who looks like a type of terrier, wandered into the Albany post office in New York in 1888 where he was later found to be fast asleep upon some mailbags. Soon, he was riding on the trains that ferried mail across state and country. By 1895 he was also travelling around the world, sailing on mail steamships to Asia and to Europe.

Owney was thought to bring good luck. No train or boat he travelled on had ever crashed or been damaged. After every successful trip he made another lucky charm was then attached to a collar that he wore. But, eventually, the postmaster had to have a special jacket made to take the weight of all those medals.

Despite all this, poor Owney was doomed to a rather tragic end. In old age, he grew bad tempered and following an incident when a newspaper reporter was rather badly bitten, it was decided that Owney should be put down, shot with a bullet from a gun.

However, the mourning mail workers then decided to raise the funds to have their much loved mascot permanently preserved. To this day Owney is on display in the American Smithsonian Institute, where he looks to be nothing of a threat, though perhaps less shaggy and perky than he ever looked when living. 




ADA LOVELACE AND THE DIFFERENCE ENGINE...

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Ada Lovelace 1815-1852

Augusta Ada King, Countess of Lovelace, was the only legitimate child of the poet Lord Byron and his wife Anne Isabella Milbanke. However, Ada never knew the father who deserted his wife only a month after her birth and who died when his daughter was nine years old.

Byron


As a child, Ada was often ill and suffered complications following a bout of measles. After that her domineering and hypochondriac mother kept her in isolation while also attempting to allay any trace of ‘immorality’ or inherited 'poetic tendencies'. She insisted her daughter be tutored in music and mathematics, no doubt relieved when Ada proved to be gifted in such areas ~ even producing a design for a flying machine.


Charles Babbage 1791-1871

Ada’s talents really came to fruition when, at the age of seventeen, she met with Charles Babbage, Lucasian professor of mathematics at Cambridge University. There, Babbage had already begun his work on mechanical computers, even though his machines were never made with parliament refusing to sponsor plans submitted for the ‘Difference’ and ‘Analytical’ Engines. 


Ada Lovelace

Babbage did find sympathy abroad and was aided by the Italian mathematician, Louis Menebrea. When he then returned to England again, Ada  ~ his little Enchantress of Numbers  ~ helped with translating Menabrea’s notes. From these she formed an algorithm: a code to enable the processing of the machines her mentor had in mind, even though they were never constructed during the inventor's lifetime. But, for this work she is now viewed as being the first computer programmer. There is also evidence that Ada suggested punch cards for use with the Analytical machine, even suggesting that its scope might aid the composition of music.

Ockham Park in Surrey


Ada married the 1st Earl of Lovelace, afterwards residing at Ockham Park in Surrey where the couple produced three children. Sadly, she died at the age of only 37, after suffering from uterine cancer, and perishing from an excess of medicinal blood-letting ~ at the same age, and from the same cause as her father had before. She was then buried at Lord Byron's side. The daughter reunited with the father never known in life.



Finally, if you like the idea of ‘steampunk’ Victorian fiction, then why not try reading The Difference Machine, an alternate historical novel by William Gibson and Bruce Sterling. In their story, the Analytical Engine has actually been built, changing the balance of world power. Babbage has great political influence. The Prime Minister is the scandalous Lord Byron (still living, rather than dying in Greece) who heads the Industrial Radical Party: a party in which his daughter, Ada, is also a prominent figure. Also, her computer ‘punch cards’ have been developed to enable a gambling ‘modus’ – betting having been a penchant of our heroine in real life.
The VV would like to end this post by sharing something seen on the Datamancer website; a wonderful hybrid laptop encased in a Victorian music box ~ something that Ada Lovelace would surely have loved to own herself.



TAKING PHOTOGRAPHS OF THE DEAD

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As gruesome as it may seem today, during the Victorian era there was a widely accepted trend for taking photographs of the deceased. Some pictures even showed the dead as if they were still living, being washed and clothed in their Sunday best, arranged in a naturalistic pose with their parents or their siblings.

Such a concept may seem disturbing to our modern sensibilities, but for many poorer families this was the one occasion when they could justify the cost of employing a professional photographer; with that single post-mortem image being the only visible record of what had once been a cherished life.

The VV will post one image here: a poignant scene in which two living children stand beside the bed in which their sister's body lies. The living appear to be brave and resigned, and yet they also look quite blurred, almost 'ghostly' in their forms, which has come about as the result of not remaining completely still during the time it would have taken for the film to be exposed.

Ironically, their sister is completely focussed and clear to see because, unlike the living her corpse remained immobile.

BEYOND THE TEMPORAL ~ SPIRITS AND FAITH IN VICTORIAN ENGLAND

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The following article is taken from the body of a talk given by Essie Fox while at the 2016 Historical Novel Conference in Oxford. (Also speaking on this panel were Karen Maitland, Mary Sharratt, and Antoinette May. )


Dowlais Ironworks by George Childs. 1840


The Victorian Cult of Death - a cult of misery and grief - took hold in a time of great energy, with advancements in industry and science that created a bridge to our modern world. And yet, so many Victorians were torn between the new ideas thrown up by this revolutionary age, and the more superstitious pagan beliefs carried down from previous centuries.

Add to this the sensation of Charles Darwin’s theory of evolution and the firmest of faiths were challenged, especially when influenced by the charlatans who travelled around with freak shows and claimed to show exhibits such as mermaids brought from Feejee, which were really the mummified remains of a monkey’s upper torso sewn onto the body of a fish. A clever taxidermist’s trick.



Taken in by such wonders and miracles many Victorians also believed in ghosts - a belief that was partly influenced by authors such as Charles Dickens, who had gone on a tour of America where he witnessed the traditions of Halloween and was particularly intrigued by morbid stories of the dead - after which he came back home again and wrote A Christmas Carol.




Robbie Burns’ poem ‘Halloween’ had fairies that dance on moonlit nights. Why, even Queen Victoria took part in halloween parades when she was at Balmoral. And perhaps on those nights she also read the popular sensation tales, with spirits seen in mirrors, or women who wailed by misty graves, with eerie worlds of make-believe inspired by death, disease and sex, with crumbling castles and dripping crypts ... and perhaps a rotting corpse or two.

Ah, those pale limp corpses! How the Victorian authors loved them  - but then they lived in a time when the mortality rate was very high, and all too visible to see. While our ill are confined in hospitals, and even with loved ones who die at home being very quickly whisked away to undertakers’ mortuaries, the Victorian dead would often remain at home until their burial. There was no National Health Service to step in at a time of crisis - or prevent that crisis happening. No inoculations to protect against fatal childhood diseases. No antibiotics to kill off infections considered as trivial today. Not to mention the complications faced by women during childbirth.



Death could strike at any time. Ruthless, swift, invisible, whatever your age or social class. And for those who strayed too far away from the path of moral righteousness there was the risk of syphilis - a scourge so well alluded to in Bram Stoker’s novel, Dracula, when he writes of the vampire’s lust for blood as something sensual and exotic - but also something sinister, corrupting the flesh and bringing death.

In the nineteenth century, sexual diseases were rampant, and beneath the surface social veneer many immoral deeds went on, with the consequence of such ‘sins of the flesh’ becoming the time’s great leveller, not discriminating in the least between rich, or poor, or famous. So, illicit sex was linked with death. A nightmare! A real life horror tale - which is surely one reason why the age became obsessed with purity, taking their lead from Queen Victoria, who, along with her husband, Albert, portrayed the ideal marriage.




But, when Prince Albert died so young, at the age of only 42 (and not from syphilis, I stress) Victoria turned her misery into something of an art form, with the man she had adored in life then worshipped as a god in death – with the Queen so often heard to say that wished that she could die as well: to join him in Eternity.



While waiting for that eternity her mortal flesh must still be clothed – and the fetish for mourning now took hold, with the queen remaining dressed in black until she reached her dying day. Mourning was an industry. People visited vast emporiums which also placed their advertisements in newspapers and magazines. (The mail order business is nothing new!) People who mourned seemed suspended between the world of the living and dead. They wrote on black-edged stationery, blew their noses on black-stitched handkerchiefs, even sometimes threaded black silk ribbons through the lace of their undergarments. They wore black jewellery made of jet - with the best of it from Whitby. (That link to Dracula again!) They tried to keep their loved ones close by wearing lockets with their hair... whereas today we are more content by looking back on photographs.

In the Victorian era, photography was very new. Even when studios opened up where personal portraits could be made, this was something of a luxury; an expense beyond most poorer folk– which is why some people at this time only had their pictures taken once ... very often after they had died, when the body would be washed and dressed, then posed as if still living, sometimes alone, and sometimes in the midst of the rest of the family, thus creating a personal memory to treasure in years to come.



In one of the least disturbing of the Post Mortem images I’ve seen, two children are standing at the side of the bed in which their sister lies where, due to the long exposure time, the living children look like ghosts - blurred, because they moved, whereas the little girl who died is very clear for us to see. But then, of course, she was quite still.


Such accidental blurring soon became a deliberate method used by photographer charlatans who claimed to take pictures of ghosts which hovered close while loved ones posed. I've actually referred to this in my latest novel about Edwardian film (The Last Days of Leda Grey) with moving pictures being yet another Victorian ‘miracle’ ... when stage magicians often turned to the trade of directing feature films, using smoke and mirror tricks as the forerunners of those special effects we often take for granted now.




It was double exposure, nothing more. Still, it is astonishing to think how people were convinced. But then, we see what we want to see. We believe the things we want to believe - particularly in times of grief.




The Queen’s yearning for her husband meant that she simply couldn’t let him rest, often hiring spirit mediums who claimed to summon up the dead. But, was she, along with so many more, really duped into believing that the souls of the dead could rise again - come home and have a chat with them?

Well, with grand scientific discoveries, such as the harnessing of electricity, with X Rays to see beneath the flesh, or voices heard through the ether as they travelled along a telegraph wire – why should it not be possible to discover another invisible force, and to tap into the energies of those spirit souls beyond the veil?



I’ve also covered some aspects of this cult in my Victorian novels. In The Goddess and the Thief we actually see Victoria meeting with some mediums. Indeed, while he was alive, she and Albert conducted séances. Gladstone, her Prime Minister had been a founding member of the Society for Psychical Research.

Another acquaintance of the Queen who firmly believed in the spirit world was a certain Mr Brown; the gamekeeper turned confidante, who claimed to have a psychic gift through which to channel Albert’s soul. If only Victoria’s diaries had not been edited when she died ... since when she shares eternity, not only with Prince Albert's corpse, but also with some keepsakes from John Brown. For, after being laid to rest, her personal physician testified that the royal tomb at Frogmore contained not just the royal pair, but also a lock of John Brown's hair, a photograph, some letters, and a ring that had once belonged to John's mother.

The Queen – like so many of her time - went to her grave a Christian. But she was also influenced by the eastern myths and religions encountered through the Empire’s reach - which also inspired stories such as Wilkie Collins’ The Moonstone, which was based on the cursed Koh-i-noor, a sacred diamond that was said to have some supernatural powers.

I’ve also woven this into the story of The Goddess and the Thief  which features Alice Willoughby, who was born and raised in India, until at the age of eight she is sent away to England. There she lives with her Aunt Mercy, a fraudulent spirit medium who forces the young and defenceless child to take part in the séances she holds - as described here in this extract, which illustrates some of the tricks that fakes like Mercy might have played ...


I walked the path of Mercy’s ghost. I acted in her Mysteries. I became an apprentice in the trade for which she placed advertisements: discreet invitations in magazines for “Tea and Table Moving” ... for which she had me eavesdrop on those ‘guests’ who waited in hall. Nearly always women, nearly always old, exchanging confidential woes, and thus revealing vital clues. And later, when they had been called to sit beside the parlour fire, when the front door bell would chance to ring, requiring Mercy be called out on a matter of some urgency – that subterfuge was all it took for me to show my aunt the page on which I’d scribbled down the facts that I had learned while hiding: those names and sorrowful events that might then drip from Mercy’s lips.

When guests returned as regulars, when no more secrets need be learned, I wore the garments of the ghost, the hushing silks, the sheer black veils, the darkness of which obscured the face on which my aunt brushed silver paste, with ashes smudged around my eyes, to make me look half skull, half corpse. At other times a mask transformed my face into an infant child, whose tiny rosebud mouth would cry, ‘Mama - dear Mama. I am here!’

In daylight, it was pitiful to see those crude deceptions. I felt ashamed to play a part, to cause yet more unhappiness. But in the parlour’s darkness, the power of those wicked acts! Truly it was astonishing when, at Mercy’s given signal – a pre- arranged word, a certain look – her spirit guide materialised from behind ‘The Filmy Veil of Death’, which was generally the Chinese screen or the drapes in the dimmest corner ... from where I would float across the room, leaving a trail of apports behind – the blooms that might be Spirit-sent: as were the kisses that I gave. The touch of lips on tear-damp cheeks. The diversion of which allowed my aunt the chance to fling some sprays of dust from her pocket down into the hearth – where those chemicals would cause the flames to crackle purple, orange, red - exuding such a dense grey pall while I opened the door and left the room, during which my aunt would stand and chant:

Through the mists that hide the Light of God,
I see a shapeless form of Death.
Death comes and beckons me today to glimpse the sacred Summerland. 
And with commingled joy and dread, I hear the far-off whispers . . .




Were all those far off whispers real? Will we meet again in the summerlands? The only thing I know for sure is, oh, so very well expressed in the Latin ‘Memento Mori’ - which is: Remember You Must Die.

THE ENDURING INFLUENCE OF ROBERT LOUIS STEVENSON...

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Robert Louis Stevenson 1850-1894

The VV loves these portraits by John Singer Sargent. They show the writer Robert Louis Stevenson. They seem so immediate and 'modern' and the one below is stunning. Who could fail to be drawn to such an attractive and seemingly vigorous character, his eyes full of earnest intelligence and warmth as they stare right out from the canvas, making an intimate connection with the viewer as if he were with us, right here, right now? The VV would say that he certainly had the X Factor, with that not restricted to the marks he made on maps of buried treasure!

And then, of course, there is his wife; the exotically-dressed woman to the right of the frame of the portrait below, whose bohemian appearance illustrates the free and artistic lifestyle upon which she and her husband embarked ~ rather than the stricter conventional one of his puritanical Scottish family.





Ever since he was a  child, growing up in Edinburgh, Stevenson had been plagued by ill health. Tuberculosis led the adult man to have an unusually thin and frail demeanour. But his character was always strong. He refused to succumb to the sedentary life of an invalid and, ironically, his illness  may well have contributed to his future career as a writer. 




Had his constitution been more robust he may well have entered his father's profession, which was that of an engineer. But, with such work proving too onerous Stevenson then attempted to study law. However, he found his temperament unsuited to that particular calling, which was when he decided to follow the true inclination of his heart ~ which was to be a writer


While he was travelling in France, seeking material for his work, Stevenson met his future wife  ~ even though the American Fanny was already married to somebody else. But, not to be deterred by that he eventually made her his own wife, bringing her back to Europe from her native California - along with  her son, Lloyd Osbourne, who inspired Treasure Island as discussed in another VV post.

For more about his life with Fanny the VV recommends a book written by Nancy Horan. Under the Wide and Starry Sky is published in America by Random House, and in the UK by Two Roads Books.


Fanny Osbourne at the time of her first meeting with Robert Louis Stevenson



Avoiding cold weather that harmed his health, the family spent their summers in Scotland and the winter months in France. But, after the death of Stevenson's father they travelled to the Hawaiian Islands, settling in Samoa where Stevenson felt his artistic spirit to have been truly released. There, he enjoyed new vigour and increasingly better health until, at the age of forty-four, he suffered a fatal haemorrhage.

Had Stevenson gone on to live until a naturally old age who can say what new wonders he might have produced. Most of the stories he did write are still selling well as classics now, with many stage and screen dramatisations of Treasure IslandKidnapped, or The Black Arrow - or the dark and sinister gothic tale of Doctor Jeckyll and Mr Hyde.





But, Stevenson was not a man whose talents were restricted by genre. He also produced A Child's Garden of Verses, a compilation of poetry that entranced the VV when she was a child - just as it did Isobel Dixon, the contemporary poet who recently wrote her own tribute to Robert Louis Stevenson



The VV can't think of a better way to illustrate Stevenson's enduring charm than by reproducing Isobel's words right here  ...

TUSITALA - THE STORYTELLER



When we were children, my Great Aunt Ella used to send us, her horde of South African nieces, lovely little gold-embossed leather-bound copies of Rudyard Kipling and Robert Louis Stevenson books as gifts each year. Far away from us in Scarborough, she may have lost track of what she'd sent before, and there was some duplication over the years, but we never minded. We loved that these were not 'childish' gifts and opening that package and dividing up the beautiful slim books was always a delight. I'm just sorry that my stash of them is back home in South Africa and not on a shelf within arms' reach in my study.



The 1886 first American edition of Kidnapped, published by Schribner's



I have been unable to resist duplication of course, especially when confronted with old second hand editions, and have Kidnapped again, Virginibus Puerisque (a title which always fascinated me with its strangeness), a dinky hardback copy of The Pocket RLS (‘Being Favourite Passages from the Works of Stevenson’) which I bought with some of the pages still uncut, and the gift of a beautifully bound Familiar Studies of Men and Books.


A poster for the Disney film of Kidnapped



My older sisters, especially Mary Lou, used to read to me and I remember snippets of the flight across the heather in Kidnapped, and the pleasing echo of Scottish place-names. But most of all I remember watching the film – whichever adaptation it was. I can't remember anything else about it, not even whether it was colour or black and white (the way memory re- or de-colours things) but what remains vivid is the tension as David Balfour mounts the perilous stairs of the tower in the House of Shaws, watched by his treacherous uncle Ebenezer Balfour – and then, in the flickering candlelight, almost meets his end as the half-built stairs simply cease. That lurching moment, the near-plunge down the tower has sometimes echoed in dreams since. My early Vertigo moment. 



Illustration for The Land of Counterpane by Jessie Wilcox Smith

My father, like RLS, had 'a weak chest' and as a Scotsman also loved the books and the poetry. RLS's poem in A Child's Garden of Verses, 'The Land of Counterpane' had particular echoes for a sickly boy and asthmatic man. 'When I was sick and lay abed/I had two pillows at my head' are lines that bring reminders of my white-bearded father sitting propped up with a cup of tea and a book during some bout of bronchitis later in his life, but also make me think of the imaginative boy who, laid up in bed for weeks, wrote an entire history of 'his' Scottish island. A real uninhabited one (but I can't recall which), which he claimed and named 'Dixonia'.  We have one surviving notebook from his childhood project, recording details of 'population' and ‘government’, in his already characteristic spidery hand, and he too 'sometimes sent his ships in fleets/All up and down among the sheets;/Or brought his trees and houses out,/And planted cities all about.'


Cover for A Child's Garden of Verses, illustrated by Jessie Wilcox Smith

A Child's Garden of Verses was a source of early poetry, with marvellously memorisable lines in 'From a Railway Carriage' (another favourite for my train-loving dad) and delicious child’s-eye observations, like in the short 'Auntie's Skirts': 



Whenever Auntie moves around,
Her dresses make a curious sound,
They trail behind her up the floor,
And trundle after through the door.


But my mother's beautiful illustrated hardback volume, a prized possession, was also a source of great mortification for me. I can't track down the exact edition  – A Child's Garden of Verses is one of the most illustrated children's books, with more than 100 editions– but I remember the fresh colours and the pretty children on its pages. I was bored, it was a hot afternoon, my parents napping after lunch, my sisters playing outside, not wanting to be bothered with their three-year-old sister. Though I couldn't read, I recognised the poems that had been read to me, but I wanted something more from the book, and it struck me for some reason that I should colour in the little girls' pupils. My mother's precious book was much more alluring than my own colouring-in books – but no longer so pristine once my clumsy hand had deployed her marking pen (for indelibly labelling my sisters’ school clothes) and I watched in horror as the discreet (I’d thought) black pinprick spread. Not just over the little British children’s irises, but across half their faces, as though they had been punched in the face, had black eyes or were wearing masks. Maybe I unconsciously hated those neat children, or maybe it was just that I loved the book so much I wanted to be part of its creation and adaptation too, who knows, but I had turned A Child’s Garden of Versesinto something spoiled, and sinister. I can’t remember if I tried to hide it when my mother woke, but my sense of shame would have been blazoned across my own face, I was so horrified at what I had done. I remember that shame more than the hiding after.





Looking at the ‘Works by Robert Louis Stevenson’ page in my Pocket RLS, I realise how much more there is to readSeeing The Strange Case of Dr Jekyll and Mr Hyde on the list reminds me of another adaptation that made an impression on early watching (Reuben Mamoulian’s 1931 film with Fredric March, rather than Victor Fleming’s later one with Spencer Tracy). Some Saturday night showing on TV: Dr Jekyll playing the organ and that curious, disturbing scene of his transformation. (A transformation which, in its written version, Oscar Wilde described as "[reading] dangerously like an experiment out of the Lancet.")

Many academic papers have been written about RLS's fascination with the idea of the double life (as inspired too by the infamous Deacon Brodie, Edinburgh cabinet-maker and town councillor by day and armed burglar by night) and I'm sure J & H is worth another read, but now it’s the travel writing that attracts me the most – The Amateur Emigrant, The Silverado Squatters, Across the Plains, Vailima Letters, In the South Seas. Recently I’ve also been working on some new poems for a residency and commission for Notting Hill’s Travel Bookshop and have been captivated by the writings of Mary Kingsley (about whom more anon), and was amused to come across her reference to RLS in her defence of the beauty of West African women: ‘I will back my Igalwa or M’pongwe belle against any of those South Sea Island young ladies we hear so much about, thanks to Mr Stevenson, yea, even though these may be wreathed with fragrant flowers, and the African lady very rarely goes in for flowers.’
I also thought of Stevenson (or ‘Tusitala’, ‘the storyteller’ as he was called by Samoan locals) when I was in Pascal Petit’s poetry workshop in Tate Modern’s Gauguin exhibition halls a couple of weeks ago. The paintings from his own South Sea Island days on Tahiti and the Marquesas are lush, evocative and intriguing, Gauguin’s artistic genius certain – but knowing a little about both men’s lives, I know who I’d most have wanted to go and visit.



As Stevenson writes in Across the Plains: ‘To be honest, to be kind — to earn a little and to spend a little less, to make upon the whole a family happier for his presence, to renounce when that shall be necessary and not be embittered, to keep a few friends, but these without capitulation — above all, on the same grim condition, to keep friends with himself — here is a task for all that a man has of fortitude and delicacy.’ A man who valued ‘gentleness and cheerfulness’ especially, believed in adding to the good of the world, while still taking pleasure in life: ‘My idea of man’s chief end was to enrich the world with things of beauty, and have a fairly good time myself while doing so.’ Tusitala is certainly a top choice for my fantasy literary dinner party.

 Robert Lewis Balfour Stevenson once wrote: ‘This is the particular crown and triumph of the artist – not to be true merely, but to be lovable; not simply to convince, but to enchant.’ This lovableness, this power of enchantment surely was, and is, RLS’s enduring crown and triumph.



THE MAN WHO WOULD BE JACK THE RIPPER

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The VV is delighted to see that David Bullock's The Man Who Would Be Jack ~ an investigation into the identity of the infamous Jack the Ripper ~ has recently been updated in a brand new edition. 

David Bullock has spent many years researching the Jack the Ripper case, during which time he has managed to gain exclusive access to Broadmoor's patient records. 


Thomas Hayne Cutbush

Broadmoor is the hospital for the criminally insane where Thomas Hayne Cutbush, the man Bullock suspects as being the Ripper, was confined for many years. The Cutbush story is intriguing. Indeed, for a time The Sun newspaper was convinced he was the murderer, with many of its journalists providing witness testimonies. However, due to a flawed police report, Cutbush was eventually cleared.

As well as providing factual evidence which overturns this legal decision, David Bullock's descriptions of the man and also the dreadful Ripper crimes are conveyed so very vividly that the reader cannot help but be swept up in the book's momentum. It provides a most convincing case.




David Bullock worked as an actor for more than a decade, appearing in a number of roles, including a BBC production of Friends and Crocodiles, directed by Stephen Poliakoff. Since 2007, he has worked as a Police Community Support Officer with the Thames Valley Police Force.



For more Jack the Ripper posts, please use the blog search box opposite.

THE WORST NOVELIST IN HISTORY...

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Amanda McKittrick Ros 1860-1939


The worst novelist in history is how some cruel-hearted souls once referred to an Irish writer by the name of Amanda McKittrick Ros. Of her Victorian contemporaries, Mark Twain was said to be a fan - though the VV wouldn't be surprised if that was because he was so amused when reading of eyes as 'piercing orbs', or legs described as 'bony supports', or that to blush is to be touched 'by the hot hand of bewilderment.'






One of her most outspoken critics was the poet Barry Pain. He was very far from charmed when he wrote this review of the author's work -

“The book has not amused. It began by doing that. Then, as its enormities went on getting more and more enormous in every line, the book seemed something titanic, gigantic, awe-inspiring. The world was full of Irene Iddesleigh, by Mrs. Amanda McKittrick Ros, and I shrank before it in tears and in terror.”

Had he read her novel, Six Months in Hell?

However, McKittrick Ros could hold her own with any critic's jibes. She referred to those who abused her work as the 'auctioneering agents of Satan' , or  'bastard donkey-headed mites', or the 'clay crabs of corruption'. She also claimed their venom was the direct result of jealousy - or else of being secretly in love with her. 

She had such faith in her person, and talent. She firmly believed that her own work compared with that of Daniel Defoe, George Eliot, or Dickens. What's more, she was sure it would be known for more than 1000 years to come.

She had great expectations. When she heard of the Nobel Prize for Literature, she contacted her publisher to say, 'What think you of this prize... Do you think I should make a dart for it?'  She had no doubt whatsoever that the world would clamour to read her work, because it was exceptional literature.

It certainly was unique. In her novel, Helen Huddleson, most of the characters are named after fruits or vegetables - with Lord Raspberry, Sir Christopher Currant, Madam Pear, and Lily Lentil.



And these are the opening lines of the novel, Irene Iddesleigh which, if anyone is inspired to read, is available free on Kindle -

"Sympathise with me, indeed! Ah, no! Cast your sympathy on the chill waves of troubled waters; fling it on the oases of futurity; dash it against the rock of gossip; or, better still, allow it to remain within the false and faithless bosom of buried scorn,"


The VV is particularly fond of the mention of private parts as being the 'fleshy triangle' in this, the first occasion when the lovers Delina Delaney and Lord Gifford chance to meet -

"Could a king, a prince, a duke – nay, even one of those ubiquitous invisibles who, we are led to believe, accompanies us when thinking, speaking, or acting – could even this sinless atom refrain from tainting its spotless gear with the wish of a human heart, as those grey eyes looked in bashful tenderness into the glittering jet revolvers that reflected their sparkling lustre from nave to circumference, casting a deepened brightness over the whole features of an innocent girl, and expressing, in invisible silence, the thoughts, nay, even the wish, of a fleshy triangle whose base had been bitten by order of the Bodiless Thinker."


What more is there to say? Oh... has the VV mentioned that McKittrish Ros was a poet as well as a novelist? No? Well, perhaps that particular joy should be savoured on another day.


MR BENTLEY'S MAGICAL ICE CRYSTALS

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We've had a lot of snow and ice this week, which makes the VV think about the photographs of snow flakes made in the nineteenth century by Wilson Alwyn Bentley.




Born in 1865, 'Snowflake Bentley' was raised on the family farm in Jericho, in the American state of Vermont where the annual depth of snowfall was around 120 inches.

From childhood he was said to be fascinated by the natural world. At the age of fifteen his mother gave him the gift of a microscope. From then on he became captivated by the close-up views of snow crystals, which he placed on a black velvet base so as to see them clearly.  But, to try and preserve the sights he saw – with the ice flakes often melting before he could try and sketch them – he set his mind on attaching a camera to the microscope (now known as Photomicography), and as soon as this had been achieved he compiled a unique collection of work which is still, to this very today, considered as remarkable.




Describing his snowflake photographs as "ice flowers" or “tiny miracles of beauty”, he produced more than 5,000 of these ephemeral works of art during the course of his life–time, by the end of which his work was sought by the Harvard Mineralogical Museum and the University of Vermont.

Today his photographs are held by academic institutions all over the world. The Smithsonian (to whom he sent 500 prints in 1903, in the hope that they would be preserved for the sake of posterity), now keeps a comprehensive record in their institution archives.




It is something of an irony that he died from a case of pneumonia, having walked for six miles through a blizzard of snow to try and find his way back home.








Before Bentley died, a book of his snowflake prints was published by McGraw Hill. The book, produced in various forms, is still available today.

A BRIEF HISTORY OF EASTER EGGS...

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The egg has long been a symbol of rebirth and fertility. Thousands of years ago, a simple bird's egg might have been a gift, often painted so as to celebrate the colours and the vibrancy that marked the coming of the spring, when the sun god stirred to life again. 

With the coming of Christianity, the egg continued to be used as a symbol of the faith. In 1307, Edward I’s household accounts included the following entry: 18 pence for 459 eggs to be boiled and dyed or covered with gold leaf and distributed to the royal household

If you also want a golden egg, wrap a chicken's egg in onion skins, secure the skins with string or rubber bands, then simmer in a pan of water for up to an hour – by which time the egg should be marbled gold. 

Then again, you might prefer a more valuable alternative, such as the flawless jewelled affairs created by Carl Faberge in the nineteenth century for the Russian Czar and Czarina, each marvellous egg constructed of enamelled platinum, and containing a smaller golden one. 

A Faberge egg


Such a rare and priceless gift is unlikely to find its way into our hands this Easter morning. But many children's fingers will be sticky from holding chocolate ~ the melting quality of which makes it  possible to mould into egg shaped confectionery.



Price list for some of the earliest Cadbury's Easter eggs


The first chocolate eggs were developed in France and also Germany. In England, in 1842, John Cadbury constructed the first of the solid chocolate eggs. But, not until 1875, when a press was used to separate the cocoa butter from the bean, could a finer chocolate be made, much easier to melt and mould. The first commercial Easter eggs were made of smooth plain chocolate and filled with small dragees, or sweets, but other designs soon followed on, with icing decorations and flowers made of marzipan, their boxes wrapped with ribbons ... just as they still are today.





For a related post, see: THE SWEET SUCCESS OF CADBURY'S.

HANS CHRISTIAN ANDERSEN AND THE LITTLE MERMAID...

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The Little Mermaid meets the Prince - by Dulac

Hans Christian AndersEn was the Danish author of many classic fairy tales such as The Snow Queen,Thumbelina, The Little Match Girl, The Ugly Duckling and The Little Mermaid.

Hans Christian Anderson 1805-1875

As the child of a washerwoman and shoe maker, Anderson’s childhood in Odense was one of poverty. His grandfather was said to be mad and his grandmother worked in a lunatic asylum. An aunt ran a brothel and a half-sister was a prostitute who in later life attempted to blackmail her brother. However, despite such a motley crew, Hans' father was always keen to insist that his son was related to Danish royalty. No proof of this claim has ever been found.

When Anderson’s father died, the somewhat prudish and self-obsessed son who used to play with dolls in the street while singing in a lovely high tenor voice, left his home town for Copenhagen where he studied at the university and hoped to pursue a career on the stage. But when that dream failed to materialise, he worked on his writing instead – producing novels, travelogues and poetry – and, in due course, creating the fairy tales that would lead to the fame he always craved –

‘My name is gradually beginning to shine, and that is the only thing I live for...I covet honour in the same way a miser covets gold.’

A recent Danish stamp in honour of Hans Christian Anderson

By the end of his life, the Danish government proclaimed him a national treasure with designs for a statue being made long before his actual death. He was feted by such luminaries as Balzac, Robert and Elizabeth Browning, Dumas, Victor Hugo, Ibsen, Wagner and Liszt. Charles Dickens welcomed him into his home for a visit that lasted five weeks – though there was talk of it being a great strain. Kate Dickens called him a ‘bony bore’ and when Anderson finally left the house Dickens pinned a note to a wall of the room in which his troublesome guest had slept: ‘Hans Anderson slept in this room for five weeks – which seemed to the family AGES.’

When it came to his love life, the lanky, gauche and effeminate writer had very little luck. He felt himself an outsider, and his grief for the lack of a sexual ‘companion’ is shown in this diary entry –

‘Almighty God, thee only have I; thou steerest my fate, I must give myself up to thee! Give me a livelihood! Give me a bride! My blood wants love, as my heart does!’

What he desired remained unrequited. Anderson cultured strange ‘love triangles’ where his wooing of a sister often hid the lust for the brother, as in the case of Riborg Voigt – a letter from whom was found in a pouch on Anderson’s chest at the time of his death. 

Jenny Lind

A courtship of the singer Jenny Lind for whom he wrote The Nightingale led on to her being nicknamed the Swedish nightingale. But again, the ‘affair’ was unconsummated and while the two ‘friends’ were staying in Weimer with Duke Carl Alexander, Anderson was more entranced with their host. The two men were often seen holding hands,sobbing over their mutual adoration of Jenny while the duke – ‘... told me he loved me and pressed his cheek to mine...received me in his shirt with only a gown around...pressed me to his breast, we kissed...’  

But it was Andersen’s life-long love for Edvard Collins (whose sister he also courted) that inspired him to write The Little Mermaid – a story of obsessive longing and pain, and the intense desire to be ‘transformed’ which the author expressed in this letter –

‘I languish for you as for a pretty Calabrian wench...my sentiments for you are those of a woman. The femininity of my nature and our friendship must remain a mystery.

The VV is now inspired to read The Little Mermaid again - and no doubt to view the story in quite a different light.

CHANG AND ENG, THE SIAMESE TWINS...

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The term Siamese Twins was popularised by Chang and Eng, the co-joined identical brothers who were born in Siam (now known as Thailand) on May 11, 1811. 

The twins were connected at the chest by a thick band of skin and, although their livers were linked, in this day and age they could have been successfully surgically separated.  At that time, their mother refused any attempt to do so, fearing that one of her sons might die. Instead, she helped to gradually stretch the band of flesh that bound the boys together until they were able to stand side by side, rather than being face to face.




Ironically, growing up in Siam, the boys were known as The Chinese Twins – owing to their father being Chinese, and their mother half-Chinese, half Malay. Also, when they were first born, they were viewed as a bad omen. Some even said they hailed the coming of the end of the world; instead of which their growing fame brought prosperity to their village.
In 1828, the twins were discovered by an English trader called Robert Hunter who, along with his accomplice, the wonderfully named Captain Abel Coffin, took the boys on a tour of America, and also around Europe – except for France which denied them admission. They proved to be very successful, even meeting up with royalty. However, in 1832, they disposed of their managers’ services and set up in business with the American showman, P T Barnum.



In 1839 they both retired, living in North Carolina where they purchased a plantation.  By 1844, they changed their names, taking the surname of Bunker, and becoming United States citizens. Both of the twins had also married – Eng to a Sarah Ann Yates, and Chang to her sister, Adelaide.



They had an interesting domestic arrangement, in which the two couples shared one bed, especially constructed to accommodate four adults. But despite many children being born – ten to Adelaide and Chang – eleven to Sarah and Eng – the course of their love did not run smoothly. 

The sisters - who do look formidable - began to argue between themselves and eventually decided to set up separate households, with the twins then moving between the two. 



After the American Civil War, when their plantation and its slaves were lost, the twins were forced to go back on the stage, but they never achieved quite the same success as that attained in earlier years.

A drawing of the autopsied twins


Chang and Eng died on the same day, in January 1874. Chang had contracted pneumonia and when Eng woke to find his brother dead, despite pleas from his loved ones to allow a doctor to operate and perform a separation, he refused to be parted from his twin, also dying within a matter of hours.

The twins bodies were then the subject of a medical autopsy.  Their fused liver is still preserved to see at the Mutter Museum in Pennsylvania.



Mark Twain wrote a short story based on the lives of the brothers. It is called The Siamese Twins.
In 2000, Darin Strauss also wrote his novel,Chang and Eng. It went on to win several awards, and the following description is taken from Publishers Weekly ...

In his stunning debut, Strauss fictionalises the lives of famous conjoined brothers Chang and Eng Bunker, whose physical oddity prompted the term Siamese twins. With compelling characterisations and precise, powerful prose, this audacious work should appeal equally to fans of historical, psychological and literary fiction. Born in the Kingdom of Siam in 1811, the twins... are completely separate individuals with different personalities and needs. Serious and reserved Eng narrates their story, which begins on their parents' boat on the Mekong River...An unscrupulous American promoter brings them to America in 1825. Eng reads Shakespeare, preaches temperance and, all his life, wishes desperately to be separated. Chang is outgoing and garrulous, drinks heavily (which angers Eng, who must also experience the effects of Chang's indulgence) and cannot see himself as less than two. As young boys, the first time the brothers see other children their own age, their philosophical differences are apparent: "'They are half formed!' Chang whispered. To me [Eng] they seemed liberated." The brothers find celebrity as a circus act (displayed in a cage) in the U.S. and abroad...The author gracefully confronts the complicated issues of race, gender, infidelity, and identity, as well as the notion of what is normal. Strauss's vivid imagination, assiduous research and instinctive empathy find expression in a vigorous, witty prose style that seduces the reader and delivers gold in a provocative story of two extraordinary men who wish only to be seen as ordinary.





THE REAL ALICE IN WONDERLAND ...

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 Alice Pleasance Liddell (1852-1934)



In 1864, Charles Lutwidge Dodgson - a young clergyman and mathematics don at Oxford university - presented a little girl he knew with the unique Christmas gift of a 15,000 word handwritten manuscript.




Lovingly adorned with his own illustrations, Alice's Adventures Underground had been conceived on a summer's day back in 1862, when Lewis Carroll (as he was soon to be known) had spent a day on a boating trip with Edith, Lorina and Alice - the three daughters of Henry George Liddell, the dean of Christ Church college.


 The Liddell sisters, with Alice on the right. Photograph by Lewis Carroll




Alice was Carroll's favourite. He first met her in the deanery gardens in the April of 1856, and the day was marked out in his diary as one of great significance. Carroll was 24 years old - twenty years older than Alice.






In later years he was to claim that the character of the little girl in Alice's Adventures in Wonderland was not based on any living child. But there are many references alluding to Alice Liddell. 

Alice's birthday was May 4th, and during the Mad Hatter's tea party we read -

'The Hatter was the first to break the silence. “What day of the month is it?” he said, turning to Alice: he had taken his watch out of his pocket and was looking at it uneasily...Alice considered a little, and then said, “The Fourth”.'





The epilogue for Through the Looking Glass is in the form of a poem, in which the first letter of every line combines to form the entire name of Alice Pleasance Liddell -


A boat beneath a sunny sky
Lingering onward dreamily
In an evening of July --

Children three that nestle near,
Eager eye and willing ear
Pleased a simple tale to hear --

Long has paled that sunny sky:
Echoes fade and memories die:
Autumn frosts have slain July.

Still she haunts me, phantomwise
Alice moving under skies
Never seen by waking eyes.

Children yet, the tale to hear,
Eager eye and willing ear,
Lovingly shall nestle near.

In a Wonderland they lie,
Dreaming as the days go by,
Dreaming as the summers die:

Ever drifting down the stream --
Lingering in the golden gleam --
Life what is it but a dream?



'Still she haunts me' - Carroll's poem possesses a dreamlike yearning and is filled with poignant memories of that balmy summer's day when he rowed along the river with Alice and her sisters. 

It is a sensitive subject, but Carroll's interest in young girls is also to be found in a collection of photographs he took - many of which the artist destroyed before his death. However, surviving images can still be viewed today. They are held at the National Media Museum, though you may need to telephone to make a prior appointment to view them.


Lorina and Alice Liddell, posing as Orientals


Carroll also destroyed a page from his diary in 1863, after which his close relationship with the Liddell family came a very sudden end. In later years, his own family explained that the page in the diary referred to Mrs Liddell being unhappy at what she assumed to be Carroll's interest in courting a certain Miss Pricket, who was then the children's governess.

It is thought by some that the character of the Red Queen in Through the Looking Glass was based upon Miss Pricket, who Carroll described in the following way - 

"The Red Queen I pictured as a Fury, but of another type; her passion must be cold and calm; she must be formal and strict, yet not unkindly; pedantic to the tenth degreee, the concentrated essence of all governesses!" 

So, she was firm and not unkindly, and perhaps he did find her attractive. But when it came to Alice Liddell, he wrote of his disappointment when he met her again in later years, and felt that she had "changed a great deal and hardly for the better."





Whatever Lewis Carroll felt, Alice Liddell grew up to be a beautiful, assured young woman - so much so that she was courted by Queen Victoria's youngest son when he was studying at Oxford.




However, Queen Victoria was adamant that Prince Leopold should only marry a woman of  royal blood. However, when he did so, he named his first daughter Alice. And when Alice married Richard Hargreaves, another Oxford student - well, perhaps it was mere coincidence that the prince was her son's godfather, and the boy was Christened Leopold.


Prince Leopold and his wife, doting on their daughter, Alice.


Despite the loss of her royal love Alice still went on to become a successful and happy society wife. It was only after her husband's death, when she found herself to be in need, that she finally resorted to selling her original copy of Alice's Adventures Underground

In 1928 the manuscript was auctioned at Sotheby's. It was sold for £15,400, which was four times the reserve price. 

In 1948, it changed hands again, this time to be purchased by a group of American businessmen, who donated the precious manuscript to the British Museum in Bloomsbury.



In 1932, to mark the centenary of Lewis Carroll's birth, Alice visited New York and received an honorary doctorate from Columbia University. The trip proved to be exciting but also very tiring, with a deluge of letters from 'Alice' fans, and intense interest from the media. 

Alice's death soon afterwards, in 1934, was marked by an obituary in The Times. Her ashes are now interred in the family tomb in Lyndhust, in Hampshire, where the following words have been inscribed: The grave of Mrs Reginald Hargreaves, the Alice in Lewis Carroll's Alice in Wonderland.


The poignant last page of Alice's Adventures Underground





Dreamchild  (1985) is a film scripted by Dennis Potter with Carroll's imaginary characters realised by the puppeteer, Jim Henson. It tells the story of Alice's journey to a Depression era New York with flashbacks to her privileged Victorian youth with Carroll, who is played by Ian Holm. The part of the older Alice is taken by Coral Browne, who went on to recieve a London Evening Standard Film Award for Best Actress. Sadly, I can only find it available in VHS tape format in the UK, but it is available in DVD format from Amazon in the US.





DOCTOR WILLIAM PRICE ~ WELSH DRUID

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Doctor William Price was a scholar and surgeon who gained fame at the age of 84 when cremating his dead baby son on the side of a Welsh mountain. 




A charismatic and charming young man, Price socialised as easily with the Welsh working class people among whom he grew up, as he did with the wealthier London elite met while he studied medicine. Being a talented student, at the age of only 21 he became a member of the Royal College of Surgeons. 

When returning home to work in Wales be became very much involved in the Chartist movement, and also did a great deal to improve the health of the local workers - being very much against smoking, and keen on natural medicines, with a healthy diet (vegetarian here), and plenty of open air exercise. Such pioneering practice in a social healthcare system went on to have great influence on the views of Aneurin Bevan.

One of the earliest feminists, Price believed in Free Love in relationships and the abolition of marriage. He was also very much immersed in alternative religious faiths - studying Hinduism, Greek Mythology, as well as Egyptology, not forgetting the cult of Druidism that was very popular indeed in the Welsh Victorian era.

At this time there was a rising fear that the country may lose its identity and, inspired by the work and faith of the Druid, Iolo Morganwg, Price hoped to encourage interest in the Welsh culture, language and history. (This was also the era when Lady Charlotte Guest was translating The Mabinogion to English, with competitive eisteddfods run to encourage the arts and the spoken word.)

Price believed the land’s many standing stones were places of spiritual worship and hoped to create his own ‘temple’ at the summit of a mountain overlooking the town of Pontypridd. When attempts to raise £10,000 to build a great museum failed, he refused to doubt his mission, especially after making a visit to the Louvre in Paris - after having been forced to flee to France when involvement with the Chartists’ rioting placed him at risk of imprisonment.

At the Louvre he was said to have viewed a 2,000 year old Greek Stone, and believed that he could understand every one of its engravings, claiming that the stone had ‘spoken’ to him of his future as a ‘bard of the moon’, whose first-born son would then become the Messiah of the Druid faith.

Back in Wales again, from around the age of 40, Pryce became yet more unconventional in his dress as well as his beliefs. Growing his hair down to his shoulders and also wearing a long black beard, he dressed in flamboyant outfits, often coloured emerald green. He also wore a crown upon his head that was made from the body of a fox.




At the age of 71, having fathered three daughters, but still no son, he went on to practice medicine in the medieval hilltop market town of Llantrisant. It was there, at the age of 83 that he met a young woman, Gwenllian Llewellyn, almost 60 years his junior, and who - despite all previous statements of not agreeing with marriage - he then went on to marry in a pagan open air ceremony, at which three women friends appeared in costume as The Three Graces.

The longed for son was born to them on August 8, 1883 and was named as Lesu Grist Price (the Welsh version of Jesus Christ). When that child then sadly died from a convulsion at only 5 months old, his father attempted to perform a cremation on East Carlen hill.

No doubt he had been influenced by the Hindu cremation ceremonies, and stories of ancient druids who were also said to have burned their dead. But, ever the social activist, Price was very much aware of the growing movement in Great Britain for people to chose such ceremonies over traditional burials, even though such an option was illegal at the time.

There was a great deal of outrage and also some suspicion that the child could have been murdered, with Price then attempting to destroy any evidence linked to such a crime. Crowds gathered and the corpse was taken away before the flames could devour it. A sensational court case followed on where Price defended his choice and claimed ~



“It is not right that a carcass should be allowed to rot and decompose in this way. It results in a wastage of good land, pollution of the earth, water and air, and is a constant danger to living things.


After being found not guilty, Price demanded his child’s body back, and while his young wife kept a mob at bay with pistols and Irish wolfhounds (that, the VV would have liked to see!) the cremation was finally performed, after which Price erected a 60 foot pole with a moon symbol set on the top of it as a token of remembrance.




The event was a cause celebre, going on to influcence the law passed in 1902 to legalise cremation. Meanwhile, Price fathered two more children, another son and then a daughter, until, at the age of 92, he stood at his doorway one day and announced, “I will lay on on my couch and I shall not rise again.” When his wife tried to give him some cider to drink he demanded to have champagne instead, and while he sipped away at that Dr William Price gently passed away.

Following her husband’s death, on January 31 1893, Gwenllian ordered 9 tonnes of coal to be delivered to the summit of East Caerlan. There a great iron grid was erected in which to hold the coffin. 20,000 tickets were sold to those who wished to attend the cremation, with many spectators coming along dressed in full Welsh costume. There was a carnival atmosphere.



Price’s daughter, Penelopen Elizabeth grew up to devote herself to promoting the Cremation Society of Great Britain. In 1947 she unveiled a statue of her father in the Welsh town of Llantrisant.


*


Dylan Thomas’ short story, The Baby Burning, is said to be based on the true events reported in this article.

The film in this link  (and also shown embedded in the post below) was created by Matt Brodie as part of his senior thesis at Emerson College.




Also with thanks to www.llantrisant.net

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