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Yesterday was the anniversary of my grandmother’s birth.  She was born on 9^th August 1892, which means that if she were still alive she would be 122 today.  That is 164 days younger than the age attained by Jeanne Calment, the oldest verified person who ever lived, who died in 1997 (though a Bolivian man called Carmelo Flores Laura, still living, is reputedly 123).  I like to think, therefore, that she could still be alive and vying with Signor Flores Laura for the distinction of being the oldest person in the world.

My grandmother actually died on 9th February 1979, when she was eighty-six and a half.  She outlived all of the famous people who are listed as having been born on the same day as she except for one: Thomas Fasti Dinesen.  I’ve never heard of him – I’m indebted to Wikipedia for this piece of information – but apparently he was a Danish recipient of the Victoria Cross who died on 10^th March 1979, about a month later than my grandmother.  Significant events that happened on her actual birthday include that it was the day that Thomas Edison was awarded a patent for a two-way telegraph and (of more interest to me and perhaps to readers of this blog) the first day of the trial of Lizzie Borden, the celebrated American murderess.

Every year when this date comes round, I pay a small, silent tribute to the strong, elegant and feisty woman that my grandmother was.  She was in domestic service all her working life, a period which began when she was fourteen and did not end until she was seventy-four, with a very short break for the birth of my mother.  She started her career, Tess of the d’Urbervilles fashion, as a poultry maid, working for an elderly lady in her native Kent.  During the First World War, she trained as a nursery nurse at Bart’s Hospital and worked in London for more than a decade, looking after the two daughters (one was adopted and much younger than the other) of a Scottish diplomat.  She then moved to South Lincolnshire to take up the post of housekeeper to Samuel Frear, the last of the great Lincolnshire sheep farmers.  He lived at a large house called The Yews.  It’s still standing, just off the main Spalding-Surfleet road.  During the Second World War, after Mrs Frear’s death, she moved to Spalding to another housekeeping job, this time working for the Hearnshaw family.  They lived in a substantial three-storey house in Pinchbeck Road.  Her final post was as lady companion to a very old lady called Mrs James, who lived at The Laurels in Sutterton. 

Sausage Hall, the house that features in the next DI Yates novel (to be published on 17^th November) is partly based on The Laurels.  I can remember visiting my grandmother there when I was a small child.

When Mrs James became too ill to be cared for at home, my grandmother finally retired, to 1 Stonegate in Spalding, one of three mews houses built in 1795.  These houses have since been renovated, but when she lived there they had hardly changed since they were new: the toilet was at the end of the short back garden path and, although she had a bath, it had been installed in the kitchen: there was no bathroom as such.

This house (the one on the right of the three in this picture) suited her well, because it was a short walk from Spalding town centre and just over the road from Spalding Parish Church, which she attended several times during the week and up to three times on Sundays (always clad in hat, gloves and stockings, even on the hottest of days).

As it happens, I’m just reading Servants: a downstairs view of twentieth-century Britain, by Lucy Lethbridge.  This is a meticulously-researched book.  Although accessible, it is much more scholarly than many books I’ve read on the subject, which often fall into the trap of reading like a cross between Upstairs, Downstairs and Downton Abbey.

Many of the things that Lethbridge describes remind me of my grandmother’s accounts of work in the world of domestic service, but with one exception: she clearly never found the work demeaning and, although she must have been respectful towards her employers, she certainly did not kowtow to them.  In fact, she gave me the impression that, in her day, trained servants were in such short supply that she could pick and choose whom she worked for and certainly earn a respectable salary.

My guess is that this was not because Lethbridge (or, indeed, my grandmother) has exaggerated the nature of the employer-servant relationship, but because my grandmother generally worked in a stratum of society not much covered by Lethbridge’s book: that of the upper-middle classes.  Thus my grandmother was neither subject to the rules and strictures that servants in the grand stately homes had to observe, nor was she obliged to suffer the petty tyrannies and hard labour imposed by a ‘jumped-up’ lower-middle class mistress who could afford only one servant.  The people for whom she worked were kind, enlightened, appreciative and wealthy enough to be able to pay for charladies, gardeners, maids-of-all-work and outsourced laundry services.

This is not to say that my grandmother did not work hard; I’m certain that she did.  I know, for example, that when she was working for the Hearnshaws, she was accustomed to cook Christmas dinner for sixteen people.  But the work that she did was appreciated and she had time to devote to her own preferred leisure activities: reading (especially geography books, a passion with her), fine embroidery and Christian worship.  Each year her employers enabled her to take an annual holiday, either at the seaside or walking on the Yorkshire Moors.

She lived a long and useful life and, I think, it was overall a happy one.  Reading Lucy Lethbridge’s book (which I thoroughly recommend), I am grateful to those long-gone employers for the way that they treated her.

 

Yesterday I was privileged to attend the Writing on the Wall (WoW) literary festival in Liverpool.  It was held in Liverpool’s wonderful new (it opened to the public just over a year ago) central library, which has been expertly refurbished so that it combines the best of the old, classically-built library exterior with a stunning, light-filled new building, the atrium of which is awe-inspiring in its use of space and light.

Yesterday’s event was superlatively well organised by Abi Inglis, a recent graduate of Liverpool John Moores University, who runs her own online magazine (Heroine) for women and has been helping with or running literary events in the city for several years.  Madeline Heneghan was the overall festival director and Mike Morris the operations director.

I was doubly grateful to Abi, because, as well as inviting me to talk at the festival about how to get published, she also gave me a short slot to read the opening chapter of my next DI Yates novel, Sausage Hall, which will be published on 17^th November.  This was Sausage Hall’s first public outing, and marks the start of a series of events that Salt and I are planning both in the lead-up to the publication date and immediately afterwards.

Even better, Abi devoted a large part of yesterday afternoon to Salt and Salt authors.  Mike Morris, himself a published playwright, interviewed Jon Gale, a young Liverpudlian author whom he obviously admires greatly and whose novella Albion was recently published by Salt as part of the Modern Dreams series.

Mike then chaired a panel session of four Modern Dreams authors: Jon Gale, Denny Brown, Michelle Flatley and Jones Jones.  This was one of the best panel sessions I’ve ever seen conducted at a literary festival.  Mike elicited comments from each of the authors with great skill, giving them each an equal opportunity to talk, and they were all courteous, articulate and extremely interested in each other’s work.  It was a proud day for Salt!

 

Knowing that I was going to meet them, I read each of these authors’ novellas before the event, and was hugely impressed by them (Denny Brown’s is called Devil on your Back,

Michelle Flatley’s Precious Metal,

and Jones Jones’ Marg).

They all had an interesting story to tell about their journeys towards being published by Salt: Denny Brown, a mother of five, was the victim of an abusive marriage; Michelle Flatley is an artist who teaches refugees; Jones Jones is a journalist who has recently felt the compelling need to write fiction; Jon Gale has struggled for several years to find a publisher since leaving university.  I recommend all their novellas: they’re ideal for commutes or train journeys, or simply for rainy evenings at home – I’m certain you’ll find that the time spent reading them will be more entertaining than watching TV.  All are available as e-books from a variety of channel providers, including Amazon, which has just launched a promotion for the whole Modern Dreams series.

I was sponsored to talk about ‘How to get Published’ by PrintonDemandWorldWide, whose new venture, The Great British Bookshop, provides authors with an alternative to Amazon if they want to self-publish but need help with sales channels.

PODWW gave me some notebooks, pens and guidelines for authors to distribute at the festival, which proved to be extremely popular.

I can’t conclude this post without mentioning what a wonderful public audience the city of Liverpool produced for this event.

It was one of the most diverse audiences I’ve met at a literary festival: families brought their children; there were many teenagers and young adults;  quite a few senior citizens and some people with disabilities took advantage of the easy access to the library to join in the festival fun.  All listened keenly, welcomed the authors enthusiastically and asked great questions.  The main festival arena was packed at all times and the ante-rooms, where authors’ surgeries and DVD presentations about apps took place, were also always full.  An inflatable ‘pod’, another of Abi’s brainwaves, which offered a range of activities for children, was also very popular – and frequented by children of all ages!

Well done, the festival team and the city of Liverpool, for an absolutely stunning event.

Footnote:  If you’re organising a literary event this autumn and would like me to give a reading from Sausage Hall and explain how I came to write it, please let me know.  Salt is also offering a limited number of reading copies and there will be a competition later in the autumn to help to promote it.  More details will appear here and on the Salt website.

Last week, I attended the annual meeting of the Publishers Licensing Society [PLS], which this year was held for the first time at Burlington House, Piccadilly – a wonderful venue at which I’ve found myself on several occasions and which I wrote about last year.
Hands down, the keynote speaker at the meeting, William Sieghart, stole the show. The founder of Forward Publishing, he has recently been asked to conduct a review of public libraries in England and map out a plan of what their future might look like.
He began by saying that there are 151 library authorities in England, which is ‘an awful lot’. Anyone wishing to appraise the public library service has to engage with all of them and also the two central government departments involved, the DCMS and Arts Connect. The money for libraries comes from the Department for Communities and Local Government (DCLG), but ultimately the organisations that influence them the most are the 151 local authorities around the country. In order to carry out his review, William Sieghart has been obliged to place himself at the centre of a very complex set of problems. His thoughts on the task so far completed are as follows:
1. Any review can only make a set of recommendations that essentially skirt around the dysfunctionality of the public library service, as there seems to be no appetite to change the way it is set up.
2. Fifteen years ago the government invested in ‘The People’s Network’, which involved placing computers in libraries for people visiting them to use. It was very exciting at the time; is less so now. Currently, only 37% of the libraries in England have wi-fi. The dysfunctionality that he referred to applies not only to the governance of libraries, but also to the way in which they buy goods and services. For example, the average commercial organisation would expect to pay £200 – £500 for setting up wi-fi, but, because of the way that they procure things, libraries can spend several thousand pounds on it.
3. “The Pub is the Hub”. This is an initiative that has taken place in local communities where the shop and all other amenities except the pub have disappeared. Its rationale is based on the fact that many pubs have a spare room that can be devoted to community activities. Libraries could and should occupy the same role within their respective communities, and some do, but because of the ‘hollowing-out’ of the system, this concept isn’t as widespread as it might be. Somewhat grimly, William Sieghart said, ‘It’s been a revelation to me over the past few months how Britain doesn’t work.’ He compared the closure of so many libraries with Beeching’s closure of much of the rail network in the 1960s, and said that we shall regret it. Andrew Carnegie founded libraries (in the late nineteenth and early twentieth centuries) as centres of self-improvement and, essentially, this function hasn’t changed. All sorts of things go on in libraries that have nothing to do with books and reading. Libraries are a haven for children, students, old people and the unemployed. For example, most jobs now require online applications, but 13% of unemployed people have no access to a computer; the public library is the only place they can go, either for this or for help with digital and literacy skills. ‘Give a library coffee and wi-fi and it will be packed.’ The problem is, said William Sieghart, that ‘joined up’ is not a term that is readily recognised in Whitehall; there is a failure of imagination to identify the many services that libraries could be used for. It is the system of management in so many places that has allowed public libraries to descend in a downward spiral, but in many others an upward spiral has been achieved.
4. We as members of the public have no stake in public libraries. William Sieghart advocates a system similar to that operated by school governing bodies. He said that Suffolk, for various complicated reasons, had to confront public library closures before anywhere else in the country (essentially, it ran out of money). All forty-two libraries in Suffolk are now run as community partnerships. One of the reasons that so many communities are in a panic about the future of their library service is because they ‘haven’t got their head around what Suffolk has done’. William Sieghart said that there should be a professional body ‘out there’ in a country like ours to make sure that this happens. Currently he’s lobbying government and big business to buy wi-fi and a digital network for every library.
5. William Sieghart also believes that there should be a ‘Librarian-first’ training campaign, run along the same lines as the ‘Teach-first’ campaign intended to attract young, energetic recruits to teaching.
The combined thrust of all his recommendations will be that a national support network for libraries should be created that is both inward- and outward-facing. More controversially, he suggested that this might, perhaps, include a ‘single content management system’. (There was little reaction from the publishers present to this, despite the unspoken effect on ‘economies of scale’ to their revenues.)
William Sieghart’s was an impassioned and eloquent speech. At the end of it, he made a plea for the creation of a ‘Library-Plus’ library service that will enable libraries to operate from a position of strength, instead of the ‘tragic, tragic position we’re in at the moment.’ He was an unusual choice for the PLS annual meeting keynote, but his speech made all the more impact because of that. Happily for me, he not only articulated many of my own deeply-held beliefs about the importance of the public library service, but outlined an ambitious and energetic plan that, if adopted, should help it not only to survive, but also to thrive.

Head northwest out of Birmingham City Centre towards Wolverhampton along Thomas Telford’s ‘new’ main line, a canal designed to replace James Brindley’s wandering minstrel of a waterway (he was a man who followed contours) with an uncompromisingly direct route to Tipton, and you are, before too long, faced with the choice of old or new. We once came from Wolverhampton on Telford’s route, which may have resolved the needs of the working boat traffic of his day in reducing distance by a third, overcoming dreadful congestion at locks and replacing worn-out towpaths, but the experience did nothing for me as a 21st century tourist boater looking for interest; the straight miles of tedious and unrewarding scrubland were about as delightful as a purposeful motorway drive compared to a romantic dalliance with a B road. I of course admit that each serves its turn, according to need. Chacun à son goût! Telford’s dramatic cutting through the Smethwick Summit, with the magnificent Galton Bridge bestriding it, is an astonishing engineering achievement which one can admire, and we did, that time, but this year we had no difficulty in pursuing our favourite right turn in celebration of Brindley along the ‘old’ main line.
Now you will have deduced that I am an incurably poetic soul, who hankers after historical roses, but, if that is the case, you’ve jumped right… to the wrong conclusion. The thing about this old Brindley canal is that it has become touched with modern magic, in the form of juicy juxtapositions of modes of transport (and other things), and I hope from our photographs that you will see what I mean.
Turning right at Smethwick Junction provided us with some welcome diversion from quite a long horizontal journey (from the King’s Norton Junction south of Birmingham) in the form of the three locks which take the boater up to a stretch of canal that is, for me, just wonderful. I don’t expect everyone to share my taste.
Passing the Grade II listed pumping house between the two main lines at Brasshouse Lane bridge (If you get the chance to go inside, you’ll find, as I did, a Victorian marvel of a machine on different levels, one of the original two which were capable of lifting 200 locks of water a day; it replaced the earlier pumping houses on the ‘Engine Arm’ of the canal.), the old line leads under the Summit Tunnel. Though it all seems very rural just here, the thundering traffic of an A road dual carriageway passes unseen over this concrete underpass! There’s your first juxtaposition!

A heron, cranking itself from the towpath and lifting itself high into the air above us, is proof of the richness of canals, supporting wildlife as they do here, in the most unpromising terrain of urban and industrial Birmingham.

And now we meet the majestic (Yes, I mean it!) M5, a contrast to this beautiful canal (Yes, I certainly mean it!), with a pleasant moment of inconsistency as four kayakers pass by. The skyline, too, has a splendid coherence here.

Up above, the juggernauts carry their loads in a roar, but we can barely hear them as our boat quietly transports us into a dream.

Wild life flourishes and Smethwick adds to the population of Canada geese, we note, as this crèche bobs by.

Straight lines and verticals abound in this motorway underworld, but our waterway winds deliciously, refusing to comply, and we wander willingly with it, from side to side.

I think that Brindley would have delighted in this, a towering sandwich of route ways. I should love to be able to show him and watch his reaction!


These colonnades may be formed from steel and concrete, but there is peace here for those of a contemplative frame of mind; the numbing noise of the carriageway above seems far away.

We’ve come up through Spon Lane locks before and marvelled at the contrast between the new and old main lines; we’re not at all tempted to lock down this flight of three, as we know how much more there is to see along this refurbished section of Brindley’s canal.

Three locks back at Smethwick Junction gave us this much height above Telford’s cut.

I’m rather sorry that it’s impossible to get all four levels of transport into one photograph from the vantage point of a narrowboat just here… and three must do.

For those of us who prefer the language of a bygone age of transport! Train station? Hah!

I wonder what Blakey Hall was like and whether the owner rode on horseback over this bridge. I love the whimsical shape in this, its contemporary context.

A sixty-eight foot narrowboat isn’t the easiest vessel to steer through tight spaces, but get the line right and you’re through.

Sorry, I couldn’t miss the opportunity for this pun. 😉

If you have an artistic eye, there’s plenty here to entertain it.

Hopkins’ “skate’s heel sweep[ing] smooth on a bow bend”? Perhaps, but in slow motion!

Modern canal bridge design, with a slight brickwork salute to the past.

Once again, there’s definitely a line to take to make the turn.

Telford wanted us to hold the tiller straight!

Here’s one we’re saving for the future: up to Titford Pool and back.

Graffiti interest? Well, of course!

And now we say goodbye to the M5, with sadness at the end of a romantic encounter. We’ve dillied and dallied all the way.

Thank you for joining me on this narrowboat ride. Perhaps you will admit to being at least surprised to find what lies beneath the M5, even if you can’t find it in you to love it as much as we do!

All text and photographs on this website © Christina James

I’ve just returned from two days at the University of Winchester Writers’ Festival.  It is one of the more famous and established UK festivals, now in its thirty-fifth year.  It was my own first visit, however, so I know nothing of its previous history, but I do know that Judith Heneghan took over as its director this year.  Before I write more about the festival, I’d like to thank both Judith and Sara Ganjai for their superlative organisation and unfailing good temper during the whole two-day period.  It was a wonderful occasion, extremely well-attended, that also benefited from taking place at the exact point of the summer solstice (Stonehenge is, of course, not so very far from Winchester) and during two days of exceptional sunshine, which itself contributed to the general good humour.  Nevertheless, I know from my own experience of organising events that there must have been many small hiccups and minor catastrophes which Judith and Sara and their team handled silently and efficiently, whilst always appearing entirely unruffled.  Judith is already putting her own stamp on the festival as it enters a new era: an innovation that she has introduced this year is a scholarship programme which awards ten free places to young writers.  It was my privilege to have been able to meet some of them.

Early on Saturday morning, Joanne Harris gave the keynote talk.  This was planned as the pivotal event of the festival and it did not disappoint.  Introducing her, Judith said that she had invited Joanne because she is an extraordinary writer who defies categorisation: her characters are memorable to both young and old and she is not afraid to take risks with her writing.

Joanne began by saying that finding stories and recognising their value is sometimes more important than telling them.  She herself grew up in a house full of stories.  However, both her her parents were teachers, so it was clear (some enjoyable irony here!) that she also was being ‘genetically groomed’ to be a teacher.  Her mother was quite a tough matriarch and when, aged seven, Joanne said that she’d like to write books, her mother said ‘Oh, yes, is that so?’ and led her to her own bookshelves, which were full of the works of dead French authors and poets (her mother was French) who she said had died destitute in the gutter.  ‘Darling, this is why you need a proper job.’  Joanne said that actually all writers need a proper job and that hers (as a teacher of languages at Leeds Grammar School) had, in fact, provided her with many stories!

She continued with an anecdote that was personally fascinating to me, living as I now do in South Yorkshire, about Barnsley Library, which she was allowed to join, aged seven, and issued with a pink junior ticket.  This was not the library that exists today in Barnsley, that I am myself familiar with, but its forerunner.  She said that it was situated above the Centenary Rooms and was characterised by a big vaulted archway, an odour of damp and dust… and utter silence.  There was only one shelf of books considered suitable for children: Joanne instantly wanted to know what the ‘unsuitable’ books were about, particularly as her mother had herself acted as censor of Joanne’s reading and imposed several ‘banned’ categories, including works of fantasy and science fiction.  However, mythology was allowed and consequently the first book Joanne took out was The Thunder of the Gods, by Dorothy G. Horsford.  She was held spellbound by this book and borrowed it many times subsequently, until, aged nine, she was allowed to obtain a blue ticket and join the adult library, even though you were supposed to be thirteen before you could do this (I’ve written elsewhere about how I was similarly allowed to join the adult section of the library in Spalding while I was still at primary school.).  As an example of ‘stories coming back to bite us’, she said that many years later she found herself looking for a copy of The Thunder of the Godsto give to her daughter.  It was long out of print, but she managed to track down a copy on Amazon’s AbeBooks.  When it arrived, she realised that it was the same copy that she had borrowed from Barnsley Library as a child.  This anecdote was an inspired way of introducing her latest book, The Gospel of Loki.

Joanne Harris concluded her talk with some thoughts on her theory that telling stories has a ‘chaos effect’.  She said that a properly-written story can do all sorts of things: it can change people’s lives, make them want to read (or not to read) or empower them.   She had been surprised to find that reading Chocolat had inspired some of her readers to open chocolate shops.  Chocolat had itself spawned lots of other stories.  Her publishers had asked her to write a cookery book that included some of the recipes that she’d featured in Chocolat, and although ‘not much of a cook’, she’d agreed to do this because she wanted to give the proceeds to Médecins Sans Frontières to supports its fight against sleeping sickness in Africa.  Because of her donation, MSF sent her to the Congo, where she stayed for two months – longer than she had intended – and, in a remote village, met a very old woman, who was probably in her 90s and spoke French.  She’d never left the village and found it difficult to envisage where Joanne had come from, but they each had a fund of stories about similar things: magic, witches and rivers.  Joanne collected many stories from her and concluded that this was an example of the ‘chaos effect’ at work.  When the old woman had recovered from her illness, she got up to leave with all her possessions piled on her head.  Looking back over her shoulder, she delivered her parting shot: ‘Remember this: stories do everything.  You should encourage other people to write stories.  Write some of my stories: they are good stories.’  This was an inspiring note on which to end the keynote address of the festival;  indeed, as a talk to inspire budding or struggling authors to keep on writing, in my own experience this one has had few equals.

This is already quite a long post, but I can’t conclude it without mentioning a few other things that particularly struck me about the festival.  Firstly, there was the book stall, run with unfailing professionalism and courtesy throughout the entire event by David Simpkin and some of his staff from the P & G Wells (independent) bookshop in Winchester.  I’m proud to welcome David to this blog and delighted to have him as a Twitter friend.  I’d also like to pay tribute to the creative writing students at Winchester University, who worked hard to make sure that all delegates had exactly what they needed at all times.  Finally, I’d like to thank the many authors who chatted to me and shared with me their ideas and experiences.  It was a very great pleasure to meet you and I certainly hope that some of our paths will cross again.  If you’re reading this now, welcome here!

At Easter, I took a short break on the east coast of North Yorkshire and have been meaning to write about it ever since! It’s a region that we know well as a family: my husband spent many holidays in Filey as a child and, when we were first married, some friends owned a house at Robin Hood’s Bay, at which we spent several wonderful long weekends. Built in the seventeenth century, this was the house that stands nearest the sea, adjacent to the ‘quarterdeck’, or man-made apron for viewing the bay, and, on stormy nights, the waves broke right over it and the whole building shook. (It’s next door to what was the Leeds University/Sheffield University Marine Laboratory from 1912 to 1982 and now, rebuilt, a National Trust visitor centre.) The house is still there, though no longer owned by our friends. During its time, it has been several times hired by authors wanting a quiet place in which to write without disturbance (though when I visited the house its plumbing system was so eccentric that a great deal of time had to be deployed in pumping out sewage and clearing the drains!). Robin Hood’s Bay itself is the setting of the Bramblewick novels, by Leo Walmsley.
No visit to the East coast is complete without a visit to this mediaeval fishing village. However, this year, my husband and I headed a little further north, to Port Mulgrave, a hamlet near Staithes. Bleaker and more desolate than ‘the Bay’, this place really could have been at the end of the world.

One of the most magnificent things about this stretch of Yorkshire coast is that visiting it is like stepping back into the past, but in an unpretentious way (quite unlike, for example, the self-conscious ‘olde-worlde’ well-preserved streets of towns such as Harrogate). The house in which we stayed was a massive building that dated from the period when ironstone was mined there during the nineteenth century. I’m not sure what the purpose of this building was originally: it may simply have been a dwelling for the ironstone workers, or it may have been part dwelling, part factory. Today it has been divided into several cottages, one of which was our holiday house. Intriguingly, the end cottage was burned down some time ago, without any damage having been caused to the rest of the building. Its owner still visits regularly to tend the garden and the empty space where the cottage once stood.
I hadn’t heard of Port Mulgrave before. When I came to look it up, I discovered that the Mulgrave Estate covers a massive area at the centre of which lies Whitby. By chance, on this holiday, we also happened to pass the estate office in Sandsend.

Although it was Easter, we managed to avoid the crowds, apart from an ill-advised foray into Whitby – another favourite haunt – on Good Friday. On Easter Saturday, we walked from Robin Hood’s Bay

to Ravenscar and climbed the cliff that leads to the golf links and the Raven Hall Hotel, where we bought a sandwich lunch and sat outside to soak up the sunshine.

We stumbled upon several plump seal pups at the boulder-strewn end of the beach, just before the start of the climb up the cliff. One of them growled menacingly at our dog, clearly more than a match for him (He’s a very mild-mannered dog, and certainly wouldn’t have hurt it; he stood timidly several feet away and looked in wonderment at it!). Almost full-grown, they were evidently awaiting the return of the parent seals with more food.

I’d never been as close as this to seals before and had no idea how beautiful they are. Glistening and glossy, each was a different colour. Some were dappled like horses.

I admit it, I wrote this post largely as an excuse to share with my readers their beauty and that of this magnificent coastline! Also, some Twitter friends have wondered about my promotion of Yorkshire seafood, especially crab. Now you know! I love this place and everything it has to offer.

[Text and photographs © Christina James 2014]

 

I have been following with interest and more than a degree of indignation Michael Gove’s latest attack on teachers.  This time it has been directed at their choice of the fiction to be studied by GCSE English Literature students.  Mr Gove seems to be determined to outstrip UKIP by including non-British (albeit anglophone) novels as part of the current general political witch-hunt to root out anything or anyone that does not originate in these islands and to take one of his regular side-swipes at the teaching profession in the process.

Everyone is entitled to his or her opinion about Of Mice and Men, of course.  But I would question whether Mr Gove has a right to thrust his own idiosyncratic dislikes and preferences on to those whose daily occupation it is to teach or to set examination syllabi.  It seems to me that he should respect the judgment of the teaching profession, which has a collective understanding not only of the needs and capabilities of students in modern, multi-cultural schools, but also a profound appreciation of what makes those students ‘tick’.  It is all too common for people to think that they are experts in teaching, just because they have themselves been to school, though I’ve always been surprised by the arrogance of this assumption.  It’s easy to look back on one’s own school-days with (possibly spurious) rose-tinted spectacles, as Mr Gove apparently frequently does, but this hindsight is about as relevant to what is going on now as asserting that a woman’s place is in the home or that shops should not open on Sundays.

As it happens, something good has come from Mr Gove’s latest outrage, in my own household, at least: until this week, I was not familiar with Of Mice and Men, though we have a copy of it in the house;  I have read other novels by Steinbeck, including The Grapes of Wrath and Cannery Row, but somehow Of Mice and Men had passed me by.  I mentioned this to my husband, who offered to read it aloud to me in the evenings.   He completed it in three sessions.

My husband is an inspired reader-aloud as well as being a very fine teacher.  I realise that it’s in no small measure owing to this that he held me spellbound throughout, but I was also entranced because of the quality of the book itself.  As readers of this blog may have deduced, I have several English degrees and, even more to the point, am a lifelong avid reader (though I don’t think this has made me blasé in any way – I’m always looking forward to the next book), but I still found this novel exceptional.  I know that it will stay with me.  It is deceptively simple (not clunky or clumsy, as Mr Gove avers).  It belongs to the ancient tradition of the fable.  Because I had the privilege of listening to it, the characters appeared to me in more heightened relief than if I had been reading it myself.  I saw them as clearly delineated as if they had been woodcuts in an early printed book.

Like all classic fables, Of Mice and Men explores fundamental issues of right and wrong, masculine and feminine (in the widest sense – for example, some of the ‘archetypal’ feminine characteristics are displayed by George, one of the two protagonists) and the nature of the damage that humans inflict on each other – through mental and physical oppression or unthinking prejudice.  That Curley’s wife has no name is intentional.  Characterised as a ‘tart’ by the bunk-house ‘swamper’ Candy and even by the normally perceptive George, she is in fact as lost and lonely as the drifting ranch-workers, the disabled Candy and the despised ‘nigger’ Crooks, who is not allowed in the bunk-house.  The troubled existence of the mentally-retarded Lennie, a man cast loose upon an uncaring world with no-one to protect him except George once his tough but sympathetic Aunt Clara has died, points up the flaws of a society in which people lead such a brutalised, hand-to-mouth existence that there is little room for true humanity.  Only a few exceptional individuals, such as George and the hieratic and god-like Slim, are able to show compassion.  Yet it is also a funny novel, even if in a bittersweet way.  Steinbeck achieves this in part through George’s oft-quoted vision of the ‘little place’ (‘An’ rabbits, George!’) that he and Lennie are going to buy  – which turns out to be every casual ranch-worker’s shared dream – and in part through the everyday ironies and minor triumphs and disappointments that make up the lives of these untutored folk.  The character of Aunt Clara is a touch of genius: although she never appears ‘on stage’, she acts as a forceful presence throughout, chiding, chivvying and cherishing Lennie to the end.

After my husband had finished reading this novel to me, we had an impassioned conversation about the purpose of teaching literature and what this means in a comprehensive school where the students’ abilities range from very gifted to what can be expected from those who come from deprived homes where reading is not encouraged at all.  He said that part of the magic of Of Mice and Men is that the book appeals to students across the whole ability spectrum.  The brightest ones can pick up all the nuances and ironies in which the book abounds – almost every word has significance in this, one of the most sparingly written works I’ve ever come across – and even those who struggle with basic literacy can derive a real sense of achievement from empathising with its characters.  This is why teachers choose it: not because it represents a ‘soft’ option, but because, at different levels, it holds magic for everyone.

Its magic certainly worked on me.  I feel the richer for those three evenings during which my husband read it to me (He ‘does’ American superbly, by the way!).  I hope that this will be the start of a new tradition in our household, in which we read to each other on a daily basis.  But more than anything, I hope that our teachers of English, embattled and increasingly circumscribed by rules and random strictures as they are, will somehow be able to discover another novel that holds such universal appeal now that Of Mice and Men will be no longer available to them.  My message to Mr Gove is to make no mistake: this will not be as easy as it sounds.  Today’s students do not want to share in his childhood nostalgia.  They have lives of their own to lead and sensibilities that can certainly be touched by literature, but not necessarily through the books which he endorses.  He doesn’t understand how young people now can be intellectually stimulated: why would he?  But he doesn’t need to: this country has an admirable army of more than 600,000 teachers, all of whom know better than he.  Listen to them, Mr Gove.  Just listen.  And perhaps ask someone to read to you Of Mice and Men aloud.

Monday May 19th was a sweltering hot day and I was in St John’s Wood.  I’d travelled there to visit Lord’s Cricket Ground, where a seminar on Open Access, sponsored by the publisher Taylor & Francis, was taking place.  It’s the nearest that I’m likely to get to a cricket pitch while I’m able to exercise free will, as cricket is a game that has always mystified and bored me in equal measures of profundity.  I had been a guest at a Lord’s hospitality suite once before, in the late 1990s, when I worked at Waterstones. Unusually for me, I can’t remember the exact purpose of this earlier meeting.  I therefore conclude that it was probably about something quite unpleasant – such as redundancies, budgetary shortfall or the like – and that, accordingly, I’ve edited it from memory.

However, on this particular Monday, the sun was shining, which always puts me in a good mood.  I was also pleased to have arrived in London early enough to explore a bit of St. John’s Wood en route.  It’s not an area of London with which I’m familiar, but as lovers of late Victorian and Edwardian fiction will know, it was created to serve the semi-honourable purposes of aristocratic males who ‘played away’ by installing longstanding mistresses in bijou, affordable little houses not too far distant from the male clubs and the West End.  St. John’s Wood thus became safe and ‘respectable’, at least on the surface, but was at the same time too humble and modest to attract dangerous interest from aristocratic wives and their friends.  I’ve therefore always imagined that it would be smart and slightly exotic, with a hint of raffishness… and so it might have been a hundred years ago.  Today, it has a slightly run-down air.  Nevertheless, the pretty little houses are now obviously occupied by people with some means, as the expensive boutiques and upmarket coffee shops that throng the main street bear witness.  I amused myself by sitting outside one of the latter, sipping a cappuccino and listening to a very young Yummy Mummy, with a designer baby on her hip, recounting the rigours of her day to two adoring older women.   It was with reluctance that I tore myself away from eavesdropping on their conversation and pressed on to the cricket ground itself.

By mid-day, the conference was going well.  The air conditioning was very efficient, which meant that spending the lunchtime break inside would have been a good soft option.   But I knew I could not miss this rare opportunity to explore Lord’s, considered by ‘foreigners’ to be as much a national treasure as Madame Tussaud’s or the Tower of London.   I therefore made the valiant effort to venture into the heat of the noonday sun (not quite a mad dog nor, clearly, an Englishman) to try to capture some of its venerated atmosphere.

I soon discovered that those who have renovated and re-designed the cricket ground in recent years have cunningly made it almost impossible for non-patrons to sneak in and spectate illicitly.  Given my total failure to appreciate the charms of cricket, this didn’t worry me in the slightest, though it did mean that the only photographs I could take were extremely long shots of the pitch.  I quickly also found that, although the day was perfect for snoozing in the stands, the match in progress had attracted somewhere between fifty and a hundred spectators – certainly no more.  Tier upon tier of seats were standing empty. 

From this (rightly or wrongly!), I deduce that the great majority of the population feels roughly the same about cricket as I do and I suppose that the winter’s utter humiliation of the national side down under hasn’t helped to put bums on seats.  How, then, does the game manage to perpetuate itself?  I looked around me.  Not only are there several hospitality suites at Lord’s, in the grandest of which my conference was taking place, but there are also some very chic bars and cafés, a shop selling ‘artisan’ ice-creams and another selling Lord’s souvenirs.  It’s clearly one of those places you go to in order to be seen and say that you’ve been, and incidentally spend a significant amount of money in the process. This must be how the fine old institution of Lord’s not only survives but thrives, financially speaking.  The cricket itself to me seems incidental, a charmingly eccentric pastime engaged in by a few aficionados and the equally stalwart cognoscenti who constitute their fans.

And so the quintessential Britishness of the Lord’s experience is preserved for posterity.  It’s a kind of double standard, not unlike the double standard operated by those not-quite-caddish gentlemen who ‘protected’ their mistresses in St. John’s Wood whilst ensuring that they caused their wives no distress or embarrassment by letting them loose in Kensington or Belgravia.  (A less generous approach, if you’ll forgive me, wouldn’t have been ‘cricket’.)  How fitting that this suburb’s now old-fashioned charms should still be home to a national game that does not quite seem to have kept pace with the times.

The Book Thief, by Markus Zusak

I know I am the latest in a very long line of people to say this, or something like it, but here goes: The Book Thief is a monumental yet delicate and extraordinarily beautiful novel.  It is the sort of novel that stays with your forever once you’ve read it; the sort of novel that you know you’ll want to read again.  (For me, very few novels make it into this category.)

Why is it so amazing?  The publisher’s blurb gives almost nothing away: Liesel, a nine-year-old girl, is living with a foster family on Himmel Street.  Her parents have been taken away to a concentration camp.  Liesel steals books.  This is her story and the story of the inhabitants of her street when the bombs begin to fall.  This sounds intriguing, but conventional.  Yet another tale about the Second World War, you might think, made slightly unusual (but not unique) by being told from the point of view of a German child.

Some of the narrative is indeed presented from Liesel’s weltanschauung; the remainder, from the viewpoint of an altogether more shadowy and amorphous character, Death himself (or herself – Zusak is not sexist about this, so we don’t actually find out whether Death has a gender).  Strangely, given Liesel’s tragic background (she watches her little brother die during a train journey and shortly afterwards is brutally separated from her mother, her father having already ‘disappeared’) and Death’s status, one of the most striking things about this novel is that every sentence is written with love.  Death itself loves his or her victims and reflects ruefully on the absurdities that have put them in his / her way.  The far-from-perfect characters are all drawn with love, so that the reader is made to appreciate the best in them: Rosa Hubermann, Liesel’s fat, irascible and scatological foster-mother; Frau Holtzapfel, the niggardly neighbour who pays Liesel with increasingly scarce groceries to read to her; Max Vandenburg, the rather cowardly Jewish refugee taken in by the Hubermanns at great personal risk to themselves and the mayor’s wife who owns a large library and whose mind has been permanently impaired by the loss of her son during  the First World War – all are drawn by the author with love.  The greatest of this authorial love is lavished on Rudy Steiner, Liesel’s playmate and would-be childish boyfriend, and Hans Hubermann, her stepfather. But even Hitler is portrayed with sidelong glints of love.

The author himself seems to be as much a painter as a poet.  He writes more emotively about colour than any other writer I’ve encountered.  Not only does he assign unexpected colours to things both animate and inanimate, but he seems to attach values to them.  Hans Hubermann’s repeatedly described silver eyes are full of sterling worth; black is the colour of incomprehension and confusion; the rights of white to be considered a colour are tenaciously asserted.  Colours are even turned into verbs: “The sky was beginning to charcoal.”

Of the many paradoxes that make up The Book Thief, the greatest is that it is an overtly moral tale that neither preaches nor follows an accepted moral code.  It achieves this both despite and because of the small moralising paragraphs, always presented in bold, that on one level resemble parodies of the ‘lessons’ in Victorian morality tales, on another set in shorthand the tone of the next scene: “A Portrait of Pfiffikus.  He was a delicate frame.  He was white hair.  He was a black raincoat, brown pants, decomposing shoes, and a mouth – and what a mouth it was.”

The contradictoriness of morality that the book captures throughout is displayed in the title.  Liesel is herself the eponymous Book Thief, yet the reader never believes that her theft of eight selected books one by one at longish intervals during her childhood is immoral.  In some ways each theft is life-affirming, though ironically the first is of a gravedigger’s manual, stolen for comfort before Liesel  is able to read and therefore understand its contents.  Hans subsequently teaches her to read by ploughing through this book with her during the long nights when her nightmares drive away sleep, because he refuses to leave her to suffer them on her own: so the act of reading, celebrated throughout the novel as the great life-affirming skill that is also often Liesel’s saviour, grows out of a damp tome of death and a young girl’s horrific sense of loss.  Each book that she steals teaches Liesel more about life – not always because of its contents: sometimes it is because of the circumstances in which the book is acquired – so that each theft marks a milestone in the process of her growing-up, her loss of innocence.  Finally, she receives as a birthday present a book that has been written especially for her, a hymn to her goodness concealed within an ironical yet harrowing account of the rise and rise of ‘the Fuehrer’.

At the macro level, The Book Thief symbolises the story of a nation trying to make sense of what happened to it and therefore understand how it managed to lose its way.  It is a story of the riches that may be found in poverty, the generosity towards others that may yet be found within the hearts of those in extreme danger, the puzzle that is life itself.  It also affirms, strongly yet subtly, pervasively yet unobtrusively, that there is nothing, was nothing and never has been anything inherently ‘bad’ in the German race.  Germans, then as now, came in all the myriad colours of morality, just like the members of every other race on the earth.

I’d like to offer my very great thanks to Annika for choosing The Book Thief for me.

Last weekend, I visited the Yorkshire Sculpture Park.  We often take our dog for walks there, but last Saturday, although the dog came too, I was on a mission: to visit its latest exhibition, a stunning major show of more than fifty pieces by the American sculptor Ursula Von Rydingsvard.

As her name suggests, she wasn’t born in the USA, but in Germany, to a Polish mother and Ukrainian father, in 1942.  After a tough time in various refugee camps, she and her family emigrated to America in 1952.  Admirers of her work say that they see the suffering of her childhood rooted in it.  She herself says that it may be there, but that no single piece of her work conveys a single message, because that would bore her, and probably bore others, too.

I agree wholeheartedly with this, and was certainly not thinking about her past when I walked, awe-struck, past the pieces in the gardens at YSP and then on to the indoor part of the exhibition which is housed in the spectacular underground studio there.  Von Rydingsvard is particularly fascinated by cedar and many of the pieces consist of huge planks of cedar wood that she has sculpted to bring out its innate qualities in more stylised form.  Her monumental bronze and synthetic material sculptures also convey the textures of their cedar moulds.  One of these, Bronze Bowl with Lace, has a fine, billowing filigree band at the top, based on a real piece of lace; it is astonishing to see how delicate this is.  She first talked of achieving this as long ago as 2002 and it is undoubtedly her most ambitious piece so far. It is internally lit with an ember glow and has external base lighting, too, so it transforms itself over a twenty-four hour period.

It was, however, the pieces actually made out of cedar that I liked best.  Some of these are huge figures or monuments that tower over the visitor.  Others, though still relatively large, are representations of more homely objects, such as spoons and other household utensils.  [“I did not play games nearly as much as other children did.  When I did play them, they were in a style I recall as being serious.  I often played with sticks, wooden balls and other knife-carved wooden objects made with a child’s will and awkward technical skills.  I also played with crude domestic objects in bombed-out brick buildings, the ruins of which were layered in ways that for me felt exciting.”]  There are also some textiles pieces.  There are identifiable ‘periods’ to Von Rydingsvard’s work, but she has remained faithful to cedar, in many different incarnations, for the whole of her career.

Right at the end of the indoor exhibition was a small seating area where visitors could linger to watch a video of Von Rydingsvard describing her work.  I was at first surprised at how halting, nervous and at times almost incoherent she seemed in this production.  Then I realised how arrogant it was of me to make this observation.  Sculpture is her medium, not words, and she has indicated in many interviews that she is uncomfortable with trying to analyse her sculpture too closely or on too simple a level.  It’s impossible as well as invidious to try to compare different art forms and I’d challenge any writer to try to convey his or her work in sculpture.  Why, therefore, should we expect a sculptor to wish to convey hers in words?

The Ursula Von Rydingsvard exhibition will remain at the Yorkshire Sculpture Park until next spring.  If you are interested in sculpture, it is a must-see.  If you haven’t visited the YSP before, that in itself is a rare treat!