Stevie Smith: A Critical Biography (book #127)

20 July 2014

Frances Spalding, 1988.

Smith provided an introduction and captions to Cats in Colour, a 1959 book of photographs of cats. She wrote “arch chatty captions, inferring human intent from the cat’s look or pose,” but wrote in the introduction

It is we who have made these little catsy-watsies so sweet, have dressed them and set up them up, in their cultivated coats and many markings, and thrown our own human love upon them and with it our own egocentricity and ambition … Really to look in an animal’s eyes is to be aware of stupidity, so blank and shining those eyes are, so cold. It is mind that lights the human eyes, but what mind have animals? We do not know, and as we do not like to know, we make up stories about them, give our own feelings and thoughts to our poor pets …

Read since I last posted:

The All You Can Dream Buffet, Barbara O’Neal
The Saxon Shore, Jessie Mothersole (which I shall blog)
Her Last Breath, Linda Castillo
The Blue Castle, : M Montgomery (re-read)
Delusion in Death, J D Robb (re-read)
Seduction in Death, J D Robb (re-read)
Wanderings in Anglo-Saxon Britain, Arthur Weigall (which I shall blog)
Catching Snowflakes, Nora Roberts (2 novels, one of which was a re-read)
The Heir of the Castle, Scarlet Wilson
and two other Noras which I can’t immediately find – will add them later.

In Roman Scotland (book #126)

7 July 2014

Jessie Mothersole, 1927.

This is an account of visits to Roman sites in Scotland. Mothersole writes as if it’s a connected tour, but there’s no actual statement that it was, and I think she probably made separate visits to different places. She seems to have been alone sometimes and other times with unnamed companions.

Mothersole is clearly serious about archaeology, and I would like to know whether she studied it. She writes in detail about the layout of the sites she visits, talks about previous excavations and the accounts of previous visitors. She’s interested in the methods and logic of archaeology. Here’s a drawing by her of a post hole:

Post hole

The book includes her watercolours of the sites, and maps, even ones that fold out – not a cheap publication.

Here’s Eagle Rock, Cramond – the frontispiece. I don’t think her watercolours are very good.

Eagle's Rock, Cramond

There’s a photograph of the site now here.

Fold-out map of the Birrens fort – she notes that it’s after Barbour, who excavated it in the 1890s:

Map, Birrens

Map of Ardoch (she notes that it’s after the 18thc plan by Roy):

Map, Ardoch

Watercolour of Raeburnfoot fort:

Raeburnfoot

Roman road at Burnswork:

Burnswork

She refers particularly to Sir George Macdonald’s work, but also acknowledges Collingwood.

She makes the contemporary inhabitants of the places she visits part of the scene as well as the archaeology. In Musselburgh she’s shown a better view of the Old Bridge by “a young man, who had evidently been through the war,” who invites her into his parents’ house. Although she represents him as speaking without an accent, his parents speak Scots: “’When I hae crossit it wi’ ane of the bairns clingin’ to each o’ me hands, I hae said, ‘Haud tight, or ye’ll be ower the edge’”’. She’s taken to the flat above to draw the bridge: “I was rather taken aback to see a man sitting on the side of the bed hurrying into his clothes. He was apparently on night-work. I apologized for disturbing them, but neither of them seems a bit disconcerted, inviting me to the windows, and begging me to stay”. She gives the man she met first, Donald, “a commission for some snapshots in the neighbourhood, which in due time he discharged faithfully” – she seems surprised.

She’s interested in “whether there was any local interest in such [Roman] things”, asking people for directions and sometimes rather patronising about their lack of interest and knowledge. “And all the time it was just behind him!”

She meets a local man who worked on the excavation of Raeburnfoot fort. He “beamed all over” when she asked him about it. Mothersole is critical of some of his information. He says “’This is whaur what they callit the ‘Pray-torium’ wull ha’ been.’ As a matter of fact the excavator’s report states that nothing was found within the fort that could definitely be assigned to a building.

Her account of a sleepy summer’s day at Ardoch Roman Fort reminds me of a passage in Charlotte Higgins’s Under Another Sky: Journeys in Roman Britain. Here’s Mothersole:

I spent a long summer’s day sketching on this site, and I shall always remember the mounds of Ardoch, not only for their grandeur, but also for their wild flowers, and for the honey-sweet fragrance with which the air was filled. The turf was white with ladies’ bedstraw, purple with heartsease and vetch, blue with bird’s-eye speedwell. … Plovers haunted the spot, circling round, or alighting quite close to me as I lay on the grass, so still that they could not tell I was alive.

I’ll dig up the Higgins quote and add it.

She mentions a tombstone for “a woman from Rætia, with the melodious name of Titullina Pussitta. The first friend to whom I quoted it promptly rechristened her cat”.

Against the cosiness, there are occasional things that make the modern reader think of some of the context of her travels. There’s the condescending references to the people she meets, the odd mention of the war (the woman in Musselburgh had had three sons die in the war), the stately home in Carstairs that is about to become “a Roman Catholic home for defective children”, a quick Google of which shows a history of abuse …

I like the map of Roman Scotland with which her book ends:

Map, Scotland

Here’s an ad from the back for one of her other books:

Ad

Mothersole wrote several other non-fiction books, including one called The Saxon Shore which I have ordered, and one on Czechoslovakia. Brian Philp says that The Saxon Shore “inspired me as a schoolboy to a 50-year programme of excavation and publication on the Reculver and Dover forts which continues yet” (link).

There’s some of her art online: a picture of Mary Jane Ellis of Scilly, 1910, and something called Angelic Inspiration, 1913.

Her first book seems to have been published in 1910, though she illustrated a version of Cupid and Psyche published in 1903. She must have been born by about 1885 (which would have made her 18 in 1903). She contributed some drawings to a book by Margaret Murray about the Egyptian site of Saqqara (published 1905), which suggests she may have worked on that excavation. If so, that probably takes her date of birth back a bit, as it’s not terribly likely a 18 year-old young woman would have joined Murray’s dig. Looking in the census, I think she must have been the Jessie Mothersole born in 1873/74, who in the 1911 census is described as a “Painter (artist)”, aged 37, was living in Middlesex and had been born in Colchester. In the 1901 census the same person aged 27 was “Living on own means,” and in 1891, if it’s the same person, aged 17, she was a “Wholesaler,” which suggests a change in circumstances. Free BMD suggests she may have died in 1958 aged 84. I’ll poke around a bit more when I have more time.

Other books I read this week:

LM Montgomery, The Blue Castle (re-read)
Linda Castillo, Her Last Breath
Nora Roberts, Shadow Spell (re-read)
Rainbow Rowell, Fangirl
Nora Roberts, Whiskey Beach (re-read)
Clive Bloom, Bestsellers (which I will blog)

Tove Jansson: Life, Art, Words (book #125)

17 June 2014

The Authorised Biography
Boel Westin, trans Silvester Mazzarella
2007, 2014

An amazing book with a luxurious number of colour and black-and-white pictures. I knew nothing at all about Jansson’s life. The book was a bit puzzling at times as I knew very little about Finnish / Swedish twentieth century history or artistic movements (Jansson was the daughter of artists), but definitely worth reading.

Interesting things include how Jansson related to people, the tension between children’s and adults’, serious / playful art or writing, how her work was seen, and her urge to write and re-write, re-imagine or re-tell her past and present, including using real people and events very clearly in her work. I’ve also been reading a biography of Stevie Smith, and she also uses friends recognisably in her writing (sometimes leading to them ceasing to be friends).

The Moomins became an enormous industry, overwhelming Jansson’s ability to manage it and continue other creative work; in particular, she felt obsession (Westlin’s word) about painting, and guilt about not doing so, or not doing so well enough: “There have been so many attempts and so many failures, endless pauses and trying again. … And my feeling of guilt has increased, year by year, to a constant, compact feeling of indisposition, which has made it harder and harder for me to paint.”

She loved to build things: “This was how she described her ‘latest flight from reality’ and the details of its intricate construction (in front of a cave): ‘It is built so that the cave opens out like a inner room … its back wall is not covered but you look up to see the mountainside and patch of sky … Under the ceiling runs a primitive multicoloured thorn, with a window of plaited osiers, and outside a totem pole … Inside there’s an earth floor with flat stones and a stair up to the cave on whose white sandy floor I have strewn shells and on whose walls I am busy carving mammoths and other animals faithfully copied (from ancient discoveries). … ‘

I liked this poem by Jansson’s mother, Signe Hammarstein:

I was a clergyman’s daughter
suffragette
teacher
Guide leader
Interested in
care of the sick
books and drawing
in religion an idealist

I was loved
an artist
moved to his country
survived four wars
worked hard for
the meatballs of life
gave birth to three wonderful
fantastic children
so really
the whole thing wasn’t so
crazy.

Mentions a fifteenth century church mural by Albertus Pictor of Death playing chess with a knight.

Albertus Pictor: mural from Täby Church

Jansson wrote to a friend “I’m afraid that all my life I shall be an unpolitical = asocial painter, a so-called individualist depicting lemons, writing fairy tales, collecting weird objects as a hobby and detesting associations and societies.”

Something missing for me – and this may be to do with being an ignorant reader – was little sense of how Jansson came across to people, what people who knew her thought of her. It’s only in the last paragraph of the Acknowledgements that Westin, who knew her well, writes “Tove Jansson was at the same time open and secretive, intimate and distant, in a manner all her own”.

The archive and studio Jansson left sounds incredible for her biographer, containing over fifty years of work and life, and Westin implicitly returns to it in the last few words of the book in a sort of Strachey’s Victoria and the rug way, looking back to Jansson’s parents’ studio where bookshelves reached to the ceiling “and she was free to search all the way from the big art books at the bottom near the floor up to the novels and poetry … as she put it herself, ‘to find the Pictures and the Words: the things that will never end’”.

The Fine Companion: DC Daking and the Log of The ‘Fine Companion’ (book #124)

10 June 2014

DC Daking and Hilary Clare, 2011. The book has two subtitles, the other being “The Journal of a Caravan Trip from Oxford to Stratford-upon-Avon in the summer of 1914″.

Interesting list of items sold by a pedlar. “Cucumbers oil lemons darning wool candles soap bootlaces. Pins scrubbing brushes rabbit food. Starch boot blacking soda metal polish. Tape cottons brushes writing paper. Bananas with picture postcards. Tomatoes plums tea. Foot rules. Suspender elastic. Sandpaper cocoa laundry blue. Safety pins. Nail brushes matches ‘Zam Buk’ jam covers. Tin tacks luggage labels boot laces.” [Bootlaces twice.]

Daking adds “His name is J.H. Townsend. Middle Tysoe. General Dealer – & he has a hat of the same make as Alec’s”.

This is half the journal of Daking and friends’ travels in a caravan in July – August 1914, and half notes by Clare on Daking’s life and the people mentioned in the journal. Daking is the Pixie in Oxenham’s Abbey books. Quite a depressing book.

Cats

6 September 2013

Here is my cat wearing a carrot hat:

Cat hat

Here is the cat of friends, James:

James

And here is my grandmother’s cat, Nick:

Nick

Nick 2

Some pictures of Gosport

18 August 2013

Creek. There was a community archaeology project here.

Gosport - beach

Derelict Naval building.

Gosport - naval buildings 2

Fort Brockhurst.

Fort Brockenhurst

FB 3

Fort Brockenhurst - door

FB through door

FB through letterbox

Yarn-bombing stone

18 August 2013

Crocheted stone cover, left at the shore with stone inside.

YB stone, close-up

YB stone

Wellies and yb stone 2

Dalek

18 August 2013

A Dalek I crocheted for my sister’s friends’ daughter.

Crocheted Dalek

Crocheted Dalek

The pattern is from Ravelry – Dalek Amigurumi, by Lucy Ravenscar. It came out a lot larger than I expected, but I was pleased with it.

The H’s ballet cardigan

18 March 2013

Pattern is an old one from Sirdar. I can’t find it online so will upload here. Copyright remains with Sirdar.

ballet_cardigan

ballet_cardigan 001

ballet_cardigan 002

ballet_cardigan 003

Ballet cardigan 3

Ballet cardigan - welt 1

Ballet cardigan - neck

Ballet cardigan - cuff

Ballet cardigan - welt 2

Baby hat and boots

9 March 2013

Scallop Edge Baby Boots.

Boots1

Scalloped Baby Hat.

Hat and boots1

Pictures by F.


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