Q & A with Suzie Grogan

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Originally posted on Milly Wonford's Blog:
A few weeks back I sent a couple of questions to Shell Shocked Britain author, Suzie Grogan, for Warfare Magazine Online. Her answers left me with prickly skin up my arms, making my…

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Albert and The Somme: From Idealism to Realism by Pamela Davenport

large3As we approach the centenary of the beginning of the Battle of the Somme, it becomes more important than ever to recognise the sacrifices that were being made by the troops fighting at the Front. There were hundreds of thousands of casualties, and whilst researching Shell Shocked Britain, it became clear that post war estimates of approximately 60, 000 shell shock victims in that offensive alone, is still a significant underestimate. Many survived the battle only to return home undiagnosed, and mentally shattered. I am always interested in hearing stories from those who know something of the war-time experience of the men and women in their family, and here is a particularly interesting piece by No wriggling favourite Pamela Davenport, who has sought to understand her ancestor’s experience the better by studying art works of the period.

To his children, grandchildren and great-grandchildren Albert Edward Davenport was a distant and cold person, preferring to spend the time after work in his local public house rather than at home. Little is known about Albert, except that he had joined the army in 1908, but never completed his 7 years’ service. Instead he was “bought out” of the army by his mother Emma two years later and returned to his family’s terraced home in Bury Lancashire. Four years later the world was turned upside down and Albert would be on the move again.

By August 1914 it had become inevitable that Britain would join forces with the Allies against a German Army that was determined to dominate Europe. When the war commenced, Britain was the only major European power not to have a mass conscripted army. In a wave of patriotic fervour, thousands of men were encouraged to volunteer for service in Lord Kitchener’s new armies. With nationalistic feeling strong, many British soldiers departed for training with a copy of Rupert Brooke’s poems tucked into their kitbags. Military service and death was seen as both heroic and noble.

If I should die, think only this of me:
That there’s some corner of a foreign field
That is for ever England. There shall be
In that rich earth a richer dust concealed;
A dust whom England bore, shaped, made aware,
Gave, once, her flowers to love, her ways to roam,
A body of England’s, breathing English air,
Washed by the rivers, blest by suns of home.
And think, this heart, all evil shed away,
A pulse in the eternal mind, no less
Gives somewhere back the thoughts by England given;
Her sights and sounds; dreams happy as her day;
And laughter, learnt of friends; and gentleness,
In hearts at peace, under an English heaven.

Meanwhile in Bury, Lancashire, Albert now aged 28, was a painter and decorator and a father of 4 children. He enlisted in October 1914, as a volunteer in the 2nd 5th battalion of the Lancashire Fusiliers. Whether he was attracted by Kitchener’s recruitment strategies, the valiant words of Rupert Brooke, or the fact that soldiers serving overseas would be able to claim additional money for his wife and dependants, it is difficult to know. By 6th October 1914 he packed up all his troubles in his ‘old kit bag and smiled, smiled, smiled’, as he headed off into the unknown.

unknown drummer and buglerAlbert, like other new recruits, would have had three months basic training, which was intended to build up physical fitness and confidence, instilling discipline and obedience, as well as teaching basic military skills. This image of the unknown Drummer and Bugler from the 2nd 5th battalion, provides a brief glimpse into the lives of young soldiers who were unprepared for the horrors to be faced on The Western Front. By May 1915 Private Albert Edward Davenport 200845, was on the way to France and possibly the greatest and most terrifying adventure of his life.

2016 marks the centenary of The Battle of The Somme, which was fought between 1st July and 1st November 1916 and was one of the bloodiest battles in history. On the first day alone Britain suffered more than 20,000 fatalities and over 57,000 casualties. It is difficult to imagine how the heroic sentiments, which had been displayed in 1914, could rest easily with the terrible devastation experienced on the Western Front. Although news would have reached Albert’s family about events in France, little is known of his life on the Western Front, as no letters or photographs survive. But Albert did survive this battle.
The overwhelming loss of life which was experienced in the Battle of the Somme was partly as a result of the German army proving to be more experienced in the tactics of defence against Allied offensives. This proved to be costly to the British and Allies on the Western Front and added significantly to the length of the campaign.

As they retreated in November 1916, the Germans left desolation in their wake. Not a shelter that might serve as a billet, not a road or a bridge, not a blade of grass or a wisp of hay that would feed horses; this was truly vandalism on a gargantuan scale. It is difficult to imagine how Albert coped with the havoc and destruction of both his battalion and the landscape.

To gain some insight into Albert’s experiences between 1915 – 1917, I have chosen the art of two of the most distinguished artists of this remarkable era of social and political change. In contrast to Brooke’s patriotic sonnets, as years of devastating losses and with no clear resolution to endless fighting, there was a general change in mood from idealism to realism. Many war artists offered a harsh realistic visual depictions of the death and destruction that resulted from combat. A current exhibition at The Whitworth Art Gallery in Manchester highlights some of the graphic images produced by C.R.W Nevinson and Paul Nash. The paintings convey the pathos at the plight and experience of the ordinary soldiers who became nameless heroes. Their “Visons of the Front 1916-1918” do not glorify war and were intended to shock public reaction to the losses in battle. These shocking images still resonate as much today as they did 100 years ago.

Both Nash and Nevinson emerged from a remarkable group of artists from the Slade School of Art and like many other artists, writers and poets ended up on the Western Front. Both saw themselves as messengers of the terrifying realism on the Western front. It must have been a sense of cruel irony that the destruction and depravity of the battle field fed the imagination of these incredible artists.

“I realise no one in England knows what the scene of the war is like. They cannot imagine the daily and nightly background of the fighter. If I can, I will show them…”

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© IWM (Art.IWM ART 518)

In Nevison’s painting Paths of Glory (above) the starkness and irony is apparent. The viewer is presented with the sight of two dead soldiers lying in the battlefield mud. It is difficult to identify or identify with these unnamed heroes, as their faces are obscured and their bodies merge with the murky earth. A death in a waste land, a dreadful sense of a loss of identity and a waste of young lives. It is little wonder the official censor of paintings and drawings, Lieutenant – Colonel A N Lee censored this painting, what type of message would the sight of rotting and bloated British soldiers convey to the British public? But these were the type of images which Albert would be faced with.

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© IWM (Art.IWM ART 2242)

Nash’s experience as an officer on the Western Front and an official war artist completely transformed the way in which he painted. His early work was romantic and light hearted. By 1917, as he travelled towards Belgium, he began to note changes in the landscape. In one of his most famous paintings, The Menin Road (above) we are drawn into a completely ruined landscape with an apocalyptic sky, a wasteland of mud and standing water. This is really a strange disturbing and alienating place. The scene shows a place of chaos, irrevocable change and wreckage. It is difficult to imagine how anyone could survive physically, emotionally and psychologically from this experience. It is estimated that over 750,000 British and Commonwealth soldiers were killed in the trenches surrounding Ypres, but Albert wasn’t one of them.

Albert was to see action at Hallencourt, the 4th phase of The Somme and the first phase of the third battle of Ypres, but this was not an enviable European tour. Having survived the Battle of the Somme Albert was promoted to corporal in March 1917, but six months later he received an honourable discharge under the category “No longer physically fit”, and awarded the Silver War Badge.

Although awarded 3 medals, the Star Medal, the Victory Medal, the British Medal, Albert, a weary but resolute British Tommy, did not return to a “Land for Heroes”. Instead Albert returned to a country which had lost a generation. Wilfred Owen’s haunting elegy Anthem for Doomed Youth is a judgement on the experience of war, the impact on the “sad shires” and those who were left to mourn.

What passing-bells for these who die as cattle?
Only the monstrous anger of the guns.
Only the stuttering rifles’ rapid rattle
Can patter out their hasty orisons.
No mockeries now for them; no prayers nor bells;
Nor any voice of mourning save the choirs,
The shrill, demented choirs of wailing shells;
And bugles calling for them from sad shires.
What candles may be held to speed them all?
Not in the hands of boys, but in their eyes
Shall shine the holy glimmers of good-byes.
The pallor of girls’ brows shall be their pall;
Their flowers the tenderness of patient minds,
And each slow dusk a drawing-down of blinds.

Albert returned to his family a changed man, dying aged 71 years in 1953. He never mentioned his experiences in France and Belgium, post-traumatic stress syndrome was a condition which was not recognised in 1918. But Albert would ruefully reflect and contemplate on “each slow dusk a drawing- down of blinds” and the many young men who became doomed youths.

Sadly his war records and his medals are missing, but it is thanks to the Lancashire Fusiliers Museum in Bury that I have been  able to provide some insight into Albert’s army life.

Posted in Art, First World War, Guest posts, History, Mental health, Shell Shocked Britain, War, Writing | Tagged , , , , , , , , | 2 Comments

The Mind of a Murderer – A guest post by Angela Buckley

Amelia Dyer 1

Amelia Dyer              (Thames Valley Police Museum)

Today I am thrilled to have as my guest on No wriggling, Angela Buckley, who has written for me before, about her last book,  The Real Sherlock Holmes: The Hidden Story of Jerome Caminada. Today she looks into the mind of Amelia Dyer, the notorious Victorian baby farmer, who plied her shocking trade in Bristol and Reading. Angela’s latest book Amelia Dyer and the Baby Farm Murders is a gripping read and heartily recommended!

In the spring of 1896 the body of an infant was found in the Thames near Reading. This gruesome discovery exposed the nefarious crimes of one of Britain’s most prolific serial killers. Notorious baby farmer Amelia Dyer advertised in the newspapers for babies to look after for money, strangled them and disposed of their bodies in the river. Over a century later, the question still remains: was Amelia Dyer mad or bad?

There is no clear evidence that Dyer suffered from any mental health issues during her childhood, despite the early deaths of two siblings and her mother. She established her baby farming business in her home city of Bristol, in the late 1860s and the first documented incident of possible psychological problems arose in 1879, when a coroner opened an inquest into the deaths of four babies in Dyer’s care, following a suspicious death certificate. When police called at Dyer’s house to take her to court they found that she had taken a laudanum overdose, which prevented her from appearing. This was the first in a series of drastic actions taken by Dyer seemingly to avoid the law.

Gloucester asylumIn the early 1890s Amelia Dyer’s situation as a baby farmer became increasingly precarious, when a governess tried to claim her child, after her circumstances had changed. The bereft mother came several times to Dyer’s home and even brought a police officer on one occasion. Each time Amelia Dyer had a breakdown, was certified ‘insane’ and committed to the asylum. She made two further suicide attempts, by cutting her throat with a knife (she only sustained a slight scratch) and by throwing herself into a pond. Dyer spent three brief periods in the asylums at Gloucester and Wells, after which she returned to her baby farming trade.

When Amelia Dyer was finally brought to trial for murder at the Old Bailey on 21 May 1896, much of the evidence focused on the key question of her sanity. All the doctors who treated her in Bristol testified. Dr Thomas Logan described how Dyer had threatened to break his skull with a poker, leading him to conclude that she was suffering from brain disease and her ‘insanity’ had been exacerbated by mental anxiety. Dr Lacey Firth examined Dyer at Bristol Hospital after her drowning attempt. He believed that she was melancholic, but not insane. A third doctor came to the conclusion that she was ‘of unsound mind’.

In an attempt to unravel the mystery of Dyer’s mental state, the judge called upon expert witnesses. Dr Forbes Winslow had examined the prisoner in Holloway. Her delusions and hallucinations led him to believe that she was insane. However, the prison’s medical doctor claimed that she was not. The final expert medical witness was Dr George Savage, from St Bartholomew’s Hospital, a renowned doctor with ‘long experience in lunacy’. His final conclusion was that Dyer was not suffering from ‘homicidal mania’, and that the crimes were not the act of an insane person. Despite the contradictory evidence, the jury returned a guilty verdict and Dyer was sentenced to death.

Granny Smith

Granny Smith (Reading Borough Libraries)

The final word on this debate should go to those who were closest to Amelia Dyer. Her daughter, Mary Ann Palmer, told the court how her mother alternated between quiet periods and bouts of extreme violence – she had threatened Mary Ann’s life several times. Interestingly, it was Mary Ann who had told the doctors in Bristol about her mother’s mental health history, while they were considering her treatment. The person with the least reason for incriminating Dyer was Jane Smith, also known as ‘Granny’, an elderly woman whom Dyer had rescued from the workhouse. After visiting Dyer in Reading Prison, a journalist asked Granny if she thought the prisoner was ‘trying the old game on’, to which she replied, ‘I do; but I don’t think she will get off so easily as she has done before.’ Mad or bad, Amelia Dyer was executed for her crimes on 10 June 1896.

Cover copy[arEN][1]Amelia Dyer and the Baby Farm Murders by Angela Buckley is available in ebook and paperback via Amazon and other online retail outlets. You can find out more about Angela’s work on her website angelabuckleywriter.com

Posted in Books, Crime, Guest posts, History, Mental health, Victorian History, Victorians, Writing | Tagged , , , , , , | Leave a comment

Going ‘home’ -The Lake District as therapy

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View over Mickleden

Next week we have a week away. Well I do – I am not sure how much of a holiday my husband really thinks a week in the Lake District is, although we share a cottage with two of his numerous brothers and it is good chance for a catch up over a variety of wonderful Cumbrian beers. For me though, it feels like a visit home; the other 51 weeks (or 50 if I get to sneak in two trips up) being a kind of exile for me.

My first visit was with my family when I was in my mid-teens, and it was love at first sight. We stayed in Midtown House in High Lorton, travelling over the Whinlatter Pass into Keswick and rambling around Buttermere. My dad had early onset Parkinsons so we were never going to get to the top of a mountain, but that made no difference. We made more trips up, until I married and had my own family and started my own traditions. It has come to mean the world to me.

dow crag

Dow Crag (Photo – WainwrightRoutes.co.uk)

The week after I was diagnosed with breast cancer, in my early forties with two young children, we went up for a week and stayed at Torver, near Coniston. We were all in shock, and I knew I was going home to an immediate mastectomy, but a week in the Lakes was just what I needed. I climbed to the top of Dow Crag, and felt that anything was possible. I stood in the Langdales, looking over the Mickleden valley, and felt like a tiny speck in the mists of time. I vowed then that nothing would stop me going back, and I have stood in the same place, many many times since. Depression, anxiety – everything seems to melt away at the first sight of the fells.

downloadI raised over £4,000 for charity walking in the footsteps of the poet John Keats through the Lakes, despite the fact that much of his route is under the A591 and Thirlmere (I found a few detours!), and a trip up is always the best motivation to get a bit fitter. As we get older we are finding things hurt a little more a little sooner, but this year we are planning a few walks from Stewart Smith’s Walks to Viewpoints (Lake District – Top 10 Walks) and Pub Walks: Walks to Cumbria’s Best Pubs by Vivienne Crow in the same series. We know our limitations, but the experience of reaching the end of a walk – whether it be round something or up something – is worth every ache and pain.

I am going to try and keep up a little journal of the trip next week. I don’t usually write much when I am up there. But this time I will try (no pressure).

I would love Cumbria to be my home, but whether that happens, or not, it feels like the place I want to spend all of my days.

 

 

 

 

Posted in Books, Breast cancer, Family, Health, Mental health, Writing | Tagged , , , , | 5 Comments

How old newspapers can aid historical research: by Denise Bates

Historicalnews coverToday I welcome to No Wriggling Denise Bates, whose latest book, Historical Research Using British Newspapers is published by Pen and Sword this month. I have often written on this blog of how useful I found the British Newspaper Archive in my research for Shell Shocked Britain and at all my talks I stress how important a resource old newspapers are. Denise has used my experience, and that of other writers, as case studies in her book. In this post she looks at the ways in which research into mental health can be enhanced by reference to the newspapers. Shell Shocked Britain was inspired by a cutting found when I was undertaking some family history research, so imagine what you might find in those fascinating old pages…..

Old newspapers are no longer an archive resource mainly used by seasoned researchers. An internet connection and a log-in enable anyone with an interest in the past to read old newspapers, at a time and place which is convenient to them. There are many gaps in our knowledge of the past and digitised newspapers now offer anyone who is intrigued by topics that fall outside the academic or commercial mainstream a way of pursuing their own interests. Sometimes the subject-matter of historical research has been driven by the academic or the publishing community meaning that some topics have effectively fallen ‘out of history’. Some writers have been too keen to make a point at the expense of accuracy and, for some topics, finding material to learn from has been a practical problem. Newspapers can be very helpful in all of these situations.

Mental health in the nineteenth century is a subject where newspapers contain a rich repository of material for investigation, to supplement existing knowledge about life in the asylum or the hysterias supposedly experienced by females. When I researched Pit Lasses, my book about the women and girls who worked underground in coal mines until the job was banned for them in 1842, I had hoped to discover something about their mental well-being but found scant information in the records of the time. A fortuitous breakthrough came when I traced a newspaper report about an unnamed female who had died at a Lancashire Colliery in 1844. The case was included in Frederick Engels’ political tome, The Condition of the Working Classes in England. Engels was keen to show that women still laboured underground and suppressed the inconvenient fact that the teenager did not work at the colliery but had killed herself by jumping down the shaft.

No reason for Margaret Wignall’s suicide was given in the brief paragraph, but as more newspapers became available on-line I discovered a detailed report of the inquest into her death. The Mines Act of 1842 had cost Margaret her job and other work was hard to find. She had briefly been employed as a children’s nurse but was dismissed because of her rough manner of speaking in favour of a more refined girl. Presumably depressed by her inability to earn her keep, perhaps nagged by her parents on this point, she took her father’s lunch to him at the pit and then killed herself in public view. The truth about her untimely death is much more complex and shocking than Engels’ text suggested.

Margaret’s is just one case amongst many reported in nineteenth century newspapers where an individual may have suffered mental health problems. My breach of promise research found several broken engagements where one of the parties probably had schizophrenia, bi-polar disorder or depression, although this was not recognised at the time. Not all individuals turned to the devastating outcome of suicide but it is clear that many struggled to cope without support or understanding from of those around them.

As these brief examples show, newspapers contain a wealth of information on many subjects, but it is not always presented a direct manner. An open-minded researcher who is prepared to commit time to locating and interpreting information drawn from newspaper reports may make discoveries that enhance our understanding of the past, or even challenge existing beliefs about it.

My sincere thanks to Denise for writing this post, and do look out for her book in all good bookshops, or find out more at the Pen and Sword website.

Historical Research Using British Newspapers by Denise Bates is published by Pen and Sword in April 2016. Her previous books, Pit Lasses and Breach of Promise to Marry are also available from Pen and Sword.

Posted in Books, Family History, Guest posts, History, Mental health, Reading, Shell Shocked Britain, Victorian History, Writing | Tagged , , , , , , , , | Leave a comment

Guest post by Pamela Davenport: The Models & Muses of the Pre Raphaelites: Annie Miller

Back in January I was thrilled to welcome Pamela Davenport, a fellow lover of all things art and literature, as a guest blogger on No wriggling.  Millais – A compassionate portrait of Opheilia was such a success and, she assures me, an enjoyable experience for her,  that she has written another piece about the Pre – Raphaelite Brotherhood for me to share with my readers. Perhaps it would be fairer to say this post is about one of the ‘sisterhood’ of  women used (and, perhaps, abused) by the artists in that Bohemian group – one of, as Pamela says, the ‘bohemians and stunners’,  Annie Miller. Once again, I must thank Pamela for all the research she does to tell us more about this fascinating period in British art.

Annie MillerIn my previous guest blog I explored the way in which Millais, the golden boy of The Royal Academy, used inspiration from Shakespeare’s play Hamlet to produce a beautiful visual portrayal of the last moments of Ophelia’s life. The models and muses became an important part of the work of the Pre Raphaelite Brotherhood (PRB). So how were these supermodels of the nineteenth century discovered? Annie Miller was there at the beginning of the Brotherhood and no doubt helped to shape their art. But how did Annie get her lucky break?

Born into poverty and orphaned as a child, she was brought up by her aunt and uncle, a laundress and a shoe maker, in the slums of London. With her wild and filthy hair and covered in vermin, William Holman Hunt, an original member of the PRB, saw a beauty to be rescued by a knight errant, from her life of poverty. Hunt wished to transform Annie, Pygmalion-style, and set about educating her. However, did he ever intend to marry her?

Annie made her first appearance as the model in The Awakening Conscience, 1853 (above). If one looks closely there are references to Annie’s relationship to William in the painting. and the sense that this woman is kept as a mistress, rather than a wife. However, there was always an ambiguity about their stormy relationship. After one of their many rifts, William repainted the face, using his wife Fanny Waugh. William considered himself Annie’s saviour, but he never proposed or showed much interest in her after a lengthy absence in the Middle-East. I like to think that she was fiercely independent; after all she came from an era when love was not a first priority, making a match was.

So what would you do if the man who pays your bills, pays for your education, and controls your life clears off to the Holy Land, with no promise that he would return, let alone marry you? In this case absence certainly did not make Annie’s heart grow fonder. Was this the wake-up call Annie needed? Apparently Annie had a mind of her own and in Hunt’s absence she was seen out socially with different men, including both Rossetti brothers, Dante Gabriel and William, and the artist George Boyce. Just as Henry Higgins lost his power and influence over Eliza Doolittle, Annie spread her wings and turned away from the staid and solid Hunt and sought a world of excitement

Although there are some Hunt images of Annie, there are admittedly more by other people, mostly Rossetti. Ah Rossetti, I wondered when we’d come to you! Although he helped her financially, Hunt also had to give his permission for her to sit for other artists, and the “bad boy” Rossetti was not one of them. Rossetti – yes there is a romantic view of him, this bohemian who probably was more exciting than the dour William Hunt;the man about town with his dark flowing hair, whose art and poetry contained sensuality and realism that captured the bohemians and stunners on his canvases.

With their voluptuous figures and loose luxuriant hair, Annie and other ‘stunners’ became an emblem of female sexuality , with a suggestion of loose morals. These breath-taking works, with their hidden secrets, high spirits and high aspirations, challenged Victorian morals and conventions. To me, Rossetti and his relationships with his muses and models became more interesting than any soap opera. In particular I found his relationship with Annie Miller fascinating. With her amazing blond hair and her curvaceous figure Annie had caught the eye and imagination of many artists and Annie soon became seduced by the glamour of the artists’ studios and the ‘reality show’ fame attached to the role. Just like Eliza Doolittle she never knew what made her role so exciting and why her heart took flight!

Annie as helen

Woman in Yellow – Dante Gabriel Rossetti

As with many Pre-Raphaelite women, Annie became the object of Rossetti’s infatuation and desires.  He used her as a model incessantly while Hunt was away. Unfortunately Rossetti was married to Elizabeth Siddal at the time and his obsession caused arguments and friction between Lizzie and Rossetti. Whether from sexual jealously or something deeper, it is thought that Lizzie felt her role as Rossetti’s muse was threatened. Was this really a love triangle? It certainly adds an interesting dimension to the drama. After Lizzie died, in 1862 Annie posed for Rossetti for two stunning paintings, Woman in Yellow (above) and Helen of Troy, showing how she had become briefly the supermodel of the nineteenth century.

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Helen of Troy

This image of Helen of Troy clearly demonstrates the Pre Raphaelite hallmark of women, with the rippling hair, full lips, the hair ornaments and jewellery. No wonder Mrs Gaskell referred to Rossetti as “not mad as a March hare, but hair mad”.  The loose luxuriant hair can be viewed as an emblem of female sexuality, but did this necessary equate to loose morals?

In wanton Arethusa’s azur’d arms; And none but thou shalt be my paramour!”

Although Annie has been immortalised on canvas there have been some critics who did not view her as the beautiful Helen of Troy. So why did Rossetti choose Annie to be his model for this radiant paining?  Does the poem Rossetti wrote to complement the painting, Troy Town, provide any more insight, with its emphasis  on love, desire and beauty?

Undeniably Annie came from a lowly background, so perhaps subconsciously Rossetti was elevating her status just as Holman Hunt had tried to do.

Just as the tabloid media now has a ‘field day’ with celebrities, there have been many people who viewed Annie’s lifestyle judgmentally, assuming that she was rather too free with her favours. This has been reinforced by several dramatic portrayals in the twentieth century, which included Ken Russell’s Dante Inferno in 1967, the Love School in 1975 and Desperate Romantics in 2009. Would it be more realistic to state that Annie was aware that her modelling career was short lived and that these  friendships were more to do with self-preservation?

By 1863, Annie’s career was on the wane as Rossetti, ever fickle with his emotional attachments, replaced Annie with the gregarious Fanny Cornford.  Finally Janey Morris, the wife of William, with her lean pale face and her mass of long dark brown hair, represented an alternative beauty to the ‘stunners’. The bohemian lifestyle was left behind as Annie chose a more sedate lifestyle and moved to Hampstead.

Like Eliza Doolittle, Annie married and settled down with Thomas Thomason, in Shoreham by Sea, employing a cook, housemaid and parlour maid. Annie and Thomas had one daughter who recalled her mother as “being lovely and ladylike, wearing exquisite handmade shoes and kid gloves”.

Annie overcame many barriers, from a Victorian childhood living in poverty with no hope for the future, to posing as the face that launched a thousand ships as Helen of Troy. Her relationship with Holman Hunt caused rifts and conflicts and eventually ties between them were severed. But Annie was assertive and she stood up to him and amazingly lived her own life on her own terms, as much as any woman in her position could do in such a restrictive and stifling era. “ I’ll never know what made it so exciting, why all at once my heart took flight, I only know when he began to dance with me I could have danced, danced, danced all night”.

Annie Miller was a fascinating woman, especially during an era when the social structure of society was different and the position of women in society was one of that being defined by the men in their lives.

What a journey Annie had travelled from the dirty unhygienic slums of London to the quiet Sussex coast. Annie lived until 1925 when she died at the age of 90.

0a9a86fPamela Davenport is an experienced Higher and Further Education teacher, who has substantial experience working with children and young people in social care, community and educational settings. Pamela has undertaken 8 European visits, to Germany, Belgium, Spain and Finland, as part of the British Council’s Erasmus/Socrates Teacher Mobility Project. Writer on Social Care Values in Practice, Human Development Across The Lifespan, Working in a Multi-cultural Society, The Invisible Child, The Rights of Children and co-author for Teacher’s Handbook for HUGS Charity. She is a passionate lover of art and literature, in particular Shakespeare, the Romantics, the work of the Pre-Raphaelite Brotherhood, The Impressionists and Picasso.
Join her on twitter @pameladav3 and Facebook https://www.facebook.com/pameladav
Posted in Art, Guest posts, History, Reading, Romanticism, Victorian History | Tagged , , , , , , , | Leave a comment

Love Poems You Wish You had Written #2–Elizabeth Bishop’s “One Art”

David J Beauman, otherwise well-known as The Dad Poet has inspired me many a time – usually to focus on a poet I know little about, or appreciate a popular poem in a different way. He also led me to post many ‘Love poems you wish you had written‘ on here, and reads poetry beautifully – I would recommend his recordings on Soundcloud.

Today he has written a great piece, around Elizabeth Bishop’s wonderful ‘One Art’, about how even the most natural sounding poetry is often crafted and drafted to the enth degree before the poet feels happy with it. Even then, he or she might return to adjust it over time. As he suggests, even if we are now offered the opportunity to share our work with the world the very moment it crosses our mind, and might be encouraged to spew forth our emotions and present them to the world in their raw state, that doesn’t mean we should….

Do explore The Dad Poet blog, especially if you love poetry (although he also writes beautifully on the joys and pressures of family life, and life in general). Be warned though, you may find that like me, you find yourself sidetracked and distracted from the to do list…..

The Dad Poet

bishopyoung1Suzie has published her second Valentine poem of the week, a lovely and human piece by W. H. Auden, called “Lullaby.”  The deal this year is that we are posting requests, but I will tell you up front that this one was requested by nobody but me. It’s one of my favorite poems of all time, and certainly my favorite villanelle. We talked about this French form recently here on the Dad Poet when I discussed three villanelle examples that the library workshop used. You may see at least some of the fruits of our efforts in an upcoming post.

But I chose “One Art” today for other reasons. An old friendship has re-ignited from more than twenty years ago, from my first college days in the flatlands of Indiana. You can find some truly excellent advice on editing over at Joel’s blog, the Green Caret. Caret (^) is…

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