Life as We Have Known It: The Voices of Working-Class Women edited by Margaret Llewelyn Davies (1931)

It is impossible to say how much I owe the Guild.
(Mrs Lizzie Layton, page 54)

‘Life as We Have Known It’ is a collection of first-hand accounts of the lives of working class women from the later nineteenth century through the early decades of the twentieth. Many of them escaped poverty or were inspired to write, by membership of the Women’s Co-Operative Guild, and the accounts were collated and edited into a collection by the Guild’s secretary, Margaret Llewelyn Davies. Despite the Victorian provenance of many of the accounts the book wasn’t published until as late as 1931. It made a big splash at a time when the study of social history was just starting to be a thing, typified by the foundation of the Mass Observation movement in 1937.

The Women’s Co-Operative Guild

The co-operative movement

In the first half of the nineteenth century workers formed co-operative groups in many countries across Europe in response to the Industrial Revolution. Wherever it occurred, the Revolution created a large industrial proletariat which the factory and business-owning classes brutally exploited.

A central activity of these various co-operative movements was to band together to open their own stores selling good quality groceries. In 1844 10 weavers and 20 other workers in Rochdale set up the Rochdale Society of Equitable Pioneers and opened a store which became well-known for selling good quality food and groceries at prices their working class customers could afford. In the process they developed the so-called Rochdale Principles which went on to become widely copied and famous. Over the following decades in Britain, larger co-operatives were formed from the merger of many independent retail societies. In 1863 the North of England Co-operative Society was launched by 300 individual co-ops across Yorkshire and Lancashire. By 1872, it had become known as the Co-operative Wholesale Society (CWS) and so on.

Women and the co-operative movement

Meanwhile, something had been missing from all this well-intentioned activity, namely women. Women worked side by side men in factories and, of course, ran most households, did most of the shopping, cooking, cleaning and child-rearing, and yet they not only had no representation in society at large, could not vote or take part in civic life – they didn’t even have a role within the Co-operative Movement.

So in 1883 a handful of women activists set up the Women’s Co-Operative Guild to fill the gap. There was no shortage of Victorian charities run by high-minded middle-class women who wanted to do something to the working class – but right from the start, the Guild was about working class women doing it for themselves.

The role of Margaret Llewellyn Davies

In 1889, the young Margaret Llewellyn Davies (born in 1861 and so 28 years old) took over as President of the Guild. She began implementing an ambitious agenda to broaden and expand the organisation. She encouraged working women around the country to form local groups, to organise and attend regional and national congresses, to educate themselves about broader political issues such as higher wages, shorter working hours, better working conditions, health and safety and, of course, the campaign to give women the vote. Davies was to serve as the Guild’s general secretary for over 30 years, until 1921. Her personal views, a combination of socialism and feminism, shaped the Guild’s direction.

In 1915, 16 years into the job, Davies edited a book titled Maternity: Letters from Working Women. it was based on letters from Guild members describing their experiences of pregnancy, childbirth and child rearing and was an eye-opening example of social history.

And now we finally come to the book under review because 16 years later, in 1931, Davies published a sister book, Life as We Have Known It: The Voices of Working-Class Women. By this point the Guild had 1,400 branches and 67,000 members for whom it had opened doors and given them undreamed of opportunities.

Life as We Have Known It

It’s a lot shorter than its reputation suggests, at just 170 pages of big type, and that’s with various bits of editorial matter added onto the original text, such as the introduction by Virginia Woolf, a note on the Women’s Co-operative Guild by Margaret Davies, and an afterword by the publishers of the 1977 Virago edition.

From everything I’d read about it I was expecting it to be mammoth and encyclopedic along the lines of Henry Mayhew’s epic ‘London Labour and the London Poor’. Instead it contains only six substantial accounts:

  1. Memories of Seventy Years by Mrs Layton (60 pages)
  2. A Plate-Layer’s Wife by Mrs Wrigley (12 pages)
  3. In A Mining Village by Mrs F.H. Smith (7 pages)
  4. A Guild Office Clerk contributed by the Editor (8 pages)
  5. A Felt Hat Worker by Mrs Scott J.P. (24 pages)
  6. A Public-Spirited Rebel by Mrs Yearn (8 pages)

These together make up 120 just pages.

There follow several slightly eccentric appendices. The most powerful is a brutal account of working as child slave labour in East Anglia by a Mrs Burrows. This is followed, a little oddly, about 20 extracts from letters from Guildswomen all round Britain which address the topic of what books they like reading and have read recently, with the result that many of them are just glorified lists of popular books of the first decades of the twentieth century, mildly interesting but not a patch on the searing accounts from the first part of the book.

1. Memories of Seventy Years by Mrs Layton (60 pages)

This is by far the longest memoir and is so long it has to be divided into chapters.

1. Childhood in Bethnal Green

Elizabeth ‘Lizzie’ was born in Bethnal Green 1855, one of 14 children, so that her mother was permanently pregnant or suckling or both. In those days Bethnal Green was a village and they had a big garden in which they kept pigs and ducks and chickens. When she was 6 they moved to a bigger house but in a more cramped neighbourhood with little outside space. A neighbouring dairyman kept cows whose manure stank out the house. There was no sanitation or running water, with human waste piled close to water butts with the result that there were recurring outbreaks of cholera. At the age of 12 her older sister went into service. One day a week all the babies were washed with the girls kept back from school to help. They used to hire a pram for a penny to take the babies to Victoria Park for a treat. One day she and her sister were naughty and went on an outing, walking, with one of the babies, to Epping Forest. Her parents were worried sick and relieved when they reappeared.

Her father was an educated man with a job in government service, who dressed smartly and was musical. He played at the coronation of Queen Victoria (1837). He taught himself tailoring to supplement his income, and grew all their own vegetables. Lizzie is never among the poorest of the poor.

As the family grew her mother had to take on extra work and became continually exhausted. A doctor prescribed spirits and so little Lizzie saved up pennies earned minding babies and running errands and bought treats of gin for her mother. This probably didn’t help and her mum went downhill and died when she was still a girl.

A development of bigger grander houses is built nearby. Some of the girls become ‘step girls’ who can earn up to 9d a Saturday for cleaning all the steps. The Sisters of Mercy are attached to a nearby church and have a spooky reputation but they give Lizzie and her sister food when they go knocking on their door.

The Sisters visit a house they’ve heard is poorly and discover a mother and two sisters with smallpox. In that neighbourhood people made matchboxes at home and the matchboxes were being made in the same room as the smallpox patients then taken out onto the streets to be sold and distributed.

As London expands fine old houses get converted into tenements or even into factories. Women and girls have to beg for their pennies pay while in the grand house the family of the owners live off roast joints.

Little Lizzie is ill, the doctor recommends a change of air and so she goes and stays with her aunt in the countryside. She loves the countryside and her first stay lasts five weeks. Her uncle is a farm bailiff. He lets her ride on the cows or on the cart piled with fresh fodder for the cows. She is scared of the bees but loves the sunsets she sees from the windows of the cottage.

2. Ten years in domestic service

When she’s 10 she starts earning a living as a baby minder, interspersed with attending one of Lord Shaftesbury’s Ragged Schools. The baby belongs to a couple who keep a small shop and pawn shop, so Lizzie sees the misery of families so poor they have to pawn their children’s clothes to pay for food.

Age 13, goes to Hampstead in service for a year. She is kept inside the house all week except for Sunday morning excursions to church. She has confirmation classes and is confirmed by the Bishop of London.

Age 15 went to be a maternity nurse in Kentish Town, where a young mother of 3 children and a baby died or puerperal fever. She gets 3 shillings a week which she ekes out by repairing her own clothes. One evening a gentleman offered her ten shillings to have sex with him and she was tempted but refused. the two oldest children are taught to read and write at home and Lizzie picks up some of this by watching. She develops an appetite for instalments of sensational stories in magazines lent her by the servant next door, but had to read these in secret.

Age 17 she quits the job when the family try to make her take the children on the only spare hours she gets to herself, on Sunday afternoons. She gets a new post with a lady and her daughter. This is a good gig as they happily let her read and the grown-up daughter even corrects her reading and writing. She has days off to go walking with her father, which she loved, and develops a cult of poring over maps and railway timetables and dreaming of travelling to farflung places such as Manchester!

She gets time off to assist at the lying-in of her sister and is horrified by the realities of childbirth and the harsh treatment of new mothers (not allowed to wash afterwards and fed on water gruel and toast).

Age 18, she can afford to dress well and starts having male friends. Men start proposing marriage to her. She happens to attend a wedding and is horrified at the vows a woman has to make and give up her freedom. Nonetheless she becomes engaged and the engagement lasts two years.

She accompanies her kind family for an extended stay at Hastings. The mother invites her fiancé to stay but he makes an improper suggestion to Lizzie and follows it up by trying to force her. She fights him off but from that point despises him. When they move back to London, this man keeps trying to see her until eventually she gives up her post and moves to Balham in south London to try and escape him.

3. Married life, Midwifery, Co-operation

She meets a man at a Mission Hall, Mr Layton. By now she is interested in social issues. They are engaged for three years and then, in 1882 Lizzie marries, aged 26. On the eve of the wedding the piano-making firm her fiancé works for goes bankrupt and he is thrown out of work.

After slogging round for work her husband gets a regular job as a carriage cleaner for a railway, working 12 hours a night, 6 days a week for 19 shillings i.e. 95p.

September 1883 first child. It is a forceps delivery with no anaesthetic. Imagine! She is all alone to look after the child. Three months later husband lost his job. A friend lodging in the same house tells him about a job working at St Pancras loading and unloading for 17 shillings a week. What with the rent and the cost of commuting to work, there isn’t much left over and Lizzie often goes hungry. The long hours make husband sick and he is routinely off sick for months at a time.

She takes in washing which she can only do when the baby is asleep and often only gets two hours sleep herself. Three years later a second child but it dies after three months from lack of nourishment and she says she might have died, too.

Her husband joins the Railwaymen’s trade union. She comes to understand the importance of trade unions for protecting working people A co-operative store opens 2 miles away and Mrs L becomes a member. An Education committee is set up and through them a branch of the Women’s Co-operative Guild. She loves that it’s not a question of middle class women coming and lecturing but working class women presenting and explaining and being open to questions.

She saw Margaret Llewelyn Davies speak. She was only a member for ten months before she was elected president. She nervously attends meetings of the general Co-Op Management Committee. She is invited to give lectures on domestic economy to guilds around London. She begins to speak in the meetings about political issues.

Her husband gets a promotion, they move to Cricklewood, Lizzie takes up nursing instead of taking in washing and ironing. She is encouraged by doctors but can’t possibly afford the fees for a midwifery course which start at £30. So she remains a maternity nurse but one who reads and studies and is show techniques by supportive doctors.

She handles so many cases that the friendliest doctor says he’d be confident her handling deliveries by herself, only contacting him if there are problems. Eventually she saves up the £30 and takes the exam, which she found intimidating, especially the five-minute interview, but fails. In the event the landmark Midwives Act of 1902 allowed her to trade on her extensive practical experience to become fully qualified.

Her local Guild fails but she joins a new one in Willesden where she is soon elected President. it’s quite clear by now that Lizzie Layton is an extremely competent, conscientious and hard-working woman. It’s an inspiring story. She is the first woman sent by the (male) management committee of the Willesden Co-Op to represent them at the national Co-Operative Union Congress. Then she attends the next Congress in Swansea.

For ten years she scrimped and saved enough to buy a house or, more precisely, to have a house of two apartments built to her specifications. She surprised the builder with her knowledge of drainage and ventilation. She insists the deeds of the house should be in her name, not her husband’s, despite the latter’s protests.

The last few pages of her account turn to how much she owes the Guild. Without them she would have had no focus to her life. The family they shared a house with worked all day and went to the pub every night. Without the Guild, its lectures and disciple, she might easily have taken to drink like her mother.

From a shy, nervous woman the Guild made me a fighter. (p.54)

She becomes a political lobbyist, meeting Sir Rufus Isaac to get maternity pay included in the Liberal Party’s forthcoming National Insurance Act (1911). When war came and so many men disappeared, she lobbied for the creation of home helps to support hard-pressed mothers left alone. She memorably describes lobbying the Prince of Wales’s Fund to change its decision not to support unmarried mothers (because of Anglican clerics, obviously) arguing that they needed support more than the married.

In 1921 she retires as Vice-President of the Guild and initially feels bereft. but her local branch was in trouble and so she sets up and runs a clothing club to help working people save for affordable clothes. She has been to three international Congresses but still patches her own boots, repairs her own clothes, and has an allotment. And the last two pages given an idyllic account of her allotment with its little shed, its seats and paraffin stove for cooking supper and the view over the railway embankment to the tower of Hampstead Old Church. Here she lives on her pension and a little money she has saved, and cooks and cares for a friend who is not very well.

What an inspiring narrative!

2. A Plate-Layer’s Wife by Mrs Wrigley

Much shorter and less epic but describing a childhood of extraordinary hard work. She was born in Cefn Mawr in Wales in 1858. Her father was a shoemaker earning 12 shillings a week, her mother went out sewing all day long for 1 shilling. As a small child her chores included:

  • looking after the 4 younger children
  • walking 2 miles to a pit bank to collect coals and carry them home in a basket on her head
  • walk 2 miles to a local farm to buy and bring home buttermilk
  • fetch water from a well in a jar she carried on her head
  • cleaning other people’s backyards for a penny
  • carrying men workers’ dinners to the iron forge for twopence a week

Some of her happiest memories are of going with other children to wash the family clothes in the River Dee. All this by the age of 8.

When she’s about 9 she goes to be a nurse for a child to a family in Stockport. But they make her work long hours as a lackey till a friendly old lady writes her parents to come and fetch her back.

Then she goes to work on a dairy farm near Oswestry. She’s paid 2 shillings and sixpence a month and stays there till she’s 12 years old. Then to work at another dairy farm, at Marple.

1872: aged 14 she moves to a job at a Temperance Hotel in Oldham. The master and mistress teach her to read and write and send her to school. She’s there to the age of 19. Here her wages rise to a pound a month.

1877: moves to a job as servant in a big house in Saddleworth. Hard work for two years. Here she first meets her future husband on the few hours a week she’s allowed out.

Aged 21 she moves to a gentleman’s house to be a cook. It is an excellent house kept by real Christians who were fair to the staff and allowed them balls and entertainments. Five years, until her husband persuades her to marry and leave.

Her husband was a platelayer on the railway earning 18 shillings a week, not enough to support a household so she had to do sewing. She soon joined one of the Oldham Co-operative stores and never looked back for the next 46 years. She’s 72 now and can’t imagine how she’d have survived without the Co-Op.

When she discovered she was pregnant she took in more sewing and washing to make up money but the extra work made her ill and she had to go home to her mother to look after her.

She tells the story of the mother she knew who was much worse off, she couldn’t sew, she often went without food, the children had rags. She got a job minding a house while two fine women went on holiday. There was a marble timepiece and she pawned it to get money to feed her family but the two ladies returned before the could redeem it and she was committed to gaol overnight, while her husband found the sum. A few days later she had her baby and was all alone, so Mrs Wrigley took pity, sent for a nurse, brought round clean bed clothes, and looked after her till she was well. Christ was in that woman.

1894 moved to Stockport. She had the fourth of their children. When they were small the table was often bare or she went without eating anything. One by one the children grew old enough to run errands and small jobs, a newspaper round, delivering milk, it made all the difference to the total family income.

She ensured the children all got an education and, as the boys turned 14, were put into apprenticeships. All five of them were given music lessons so that they made quite the little orchestra. During the Great War one was killed and two got married and moved away. The son died when she was 30 and just 11 months later he husband passed away.

Since then another son died, aged 30. She’s been a widow these 14 years. She couldn’t have stood her life if not for the Guild. It educated her, she became a member of her local branch, then a worker on committees, then was president for two years.

She joined the Suffrage to prevent the next generation having the hard life she endured. She doesn’t think there’d have been a war if women had had the vote beforehand. That’s what they all say. Women had the vote by the 1930s and look what happened next. But it was 1931 and she said she was working for peace. History suggests no-one can keep the peace if enemies (Hitler, Putin) are determined for war. But that shouldn’t stop anyone working to make their little part of the world a better place.

3. In A Mining Village by Mrs F.H. Smith (7 pages)

Born in Cardiff in 1884, Mrs Smith was 19 when she left the job in service she had to marry a miner in 1903. She discovered that miners had baths but no running water. Water had to be brought in from outside and boiled over a coal fire and emptied into the bath a bucket at a time. The miners’ houses weren’t built for convenience, just the bare minimum for the corporation to screw rent out of. There were just two rooms, bedroom and living room. The weekly wash had to be done in the same room as the miner stripped off in, so it was impossible. There was a continual layer of coal dust over everything.

The open fires and freedom of boiling water in numerous containers explains the high rates of child scaldings and burns in Wales. A 5-year old she knows died after falling in a bath of boiling water.

1904: baby daughter born. 1905: rented a house from the colliery company her husband worked for. 1906: a terrible pit explosion which killed 122, including the husband, two sons and adopted son of the woman opposite.

She describes the long hours of pit shifts and only 20 minutes food break. Sometimes so cold they shiver, sometimes so hot they emerge drenched in sweat.

Eventually she had nine children. Since 1925 her husband’s been ill, latterly with neuritis for 9 months. He tried to get light work at the pit but there wasn’t any so he went on the unemployment list.

All the facilities in her town are a cinema, the British Legion and some unfinished playing fields. There are two lovely parks and they can send the children for walks in the beautiful hills.

These days it is heart-breaking to see the unemployed men and lads down at the Labour Exchange. Being a member of the Guild and the local Co-Op has been one of the things that’s kept her going through all the hard times.

4. A Guild Office Clerk contributed by the Editor (7 pages)

This is Davies’s tribute to Harriet A. Kidd, chief secretary at the Guild head office from 1906 to 1917. Davies tells us she was a prickly but fiercely opinionated woman.

She started at a steel mill at Leek when she was ten years old. Whole families were employed by the paternalistic owners, who looked after morals and ensured they went to church.

She became a member of the local Co-Op and then of the Guild in 1897. She became secretary of her branch and of the Macclesfield region. She stayed up late doing Guild work then went to the mill next day. She got involved in trade unionism.

In 1906 she was invited to become a clerk at the Guild’s head office in Westmorland at which point she wrote back a letter confessing that when she was 18 she was seduced, or raped, by her employer and made pregnant. He refused to acknowledge the child and she had to bring up her son in secret, with the help of ‘her people’.

Nonetheless she was taken on at Guild headquarters among women who were supportive. In 1908 she followed the move of the headquarters to Hampstead in London. She became a proficient typist and insisted on hogging the office machine. She lacked much education but enjoyed reading. She became the Guild cashier, and also the cook and caterer whenever Guild Schools were held at the office.

She was the first woman to be elected to a position in the Amalgamated Union of Co-Operative Employees. She was a great advocate of the right of women to run their own lives, to vote, and receive equal pay for their work.

She was a wholehearted socialist, her hero Keir Hardie, her favourite song The Red Flag.

In 1916 she was diagnosed with a fatal illness but bore it with fortitude. Margaret often visited her after she became bed-ridden.

5. A Felt Hat Worker by Mrs Scott J.P.

Nellie. When she was seven her family moved into a draper’s shop. She was given the task of going round the customers every Saturday asking the poor to pay their bills and debts. Her extended family were very opinionated, with relatives who were Conservative, Liberal, an uncle who was a follower of Darwin, a regular visitor to the shop who was a Bradlaughite i.e. atheist. As a child she sat under the counter and listened to the grown-ups arguing back and forth.

When she was 12 she was sent to work in a hat shop, a nice clean job. When she was 14 she was sent to a hat manufactory, one big smelly room. Work started at 6.20am every morning and she had to walk a mile to get there. She only later realised a lot of the girls there were also prostitutes.

She was now living with her uncle, who had returned from Canada and America, and subscribed to American magazines, which she read from cover to cover.

She is badly ill for three months. When she recovers she goes to work in Christie’s Hat Mills. She is bolshie. She tells a conservative woman that the charwoman who brought up her family was as good a soul as Queen Victoria. The hat-making was hard, difficult to push the needles through tough fabric, and the senior women judged their work and sent back anything with uneven stitching to be redone. They had to take work home to work on it till 8 or 9 at night.

It’s too hard so she goes and works at Lees and Hatconks. There a fierce debates between the Conservatives and the Radicals. She joins Clarion Hall and there’s a Ruskin Hall Settlement in Stockport.

She gets married but, on her return, joins the Felt Hatters Trade Union and becomes an activist, getting all the other girls to sign up. When her mother dies she takes over the family ‘ticket’ for membership of the Co-Op. She becomes treasure of the Women’s Labour League, is on the Labour representation Committee and so on. She’s involved in the long campaign to stop girls having to take work home at night.

The text then turns to tell us about her favourite books by authors such as J.M. Barrie, Charles Kingsley, George Eliot, George Egerton, and half a page about H.G. Wells. She says the thing about all Wells’s novels is you seem to know the characters.

[I’m reading this book because the Penguin Selected Essays of Virginia Woolf includes the long introduction to it. Elsewhere in her essays, Woolf launches a sustained attack on novelists from the generation before hers – Arnold Bennett, John Galsworthy and H.G. Wells – and one of her central criticisms is that they describe characters who are ‘not like us’. It is, therefore, extremely enlightening to read the praise for Wells coming from ordinary working class women on precisely this point, that they identify with Wells’s characters. What this does is highlight the class-based nature of Woolf’s opposition to Wells et al. Woolf finds Wells’s characters common and vulgar. Inextricably mixed up in her radical innovations in the novel was a huge amount of unattractive snobbery.]

In 1908 she was asked to set up a Women’s Co-operative Guild in Stockport. There are now 300 members. It’s been a battle for women to take their place alongside the men.

I think sometimes, when I hear the women speaking of the influence of the Guild, what a wonderful organisation it is, and what it has meant to so many women. (p.106)

She stops working in hat factories to become superintendent at a place for feeding school children, was there during the start of the War when there was great want. Then she becomes a sickness visitor for an Approved Society in a part of Derbyshire, for seven years, the last 3 of the war, then 4 afterwards. She describes the bleak snow-packed countryside, the emptiness and beauty, and the kindness and hospitality of the people.

Then a doctor tells her she’s strained her heart and needs to quit the arduous work, sometimes walking over 20 miles a day etc. Now she works as a justice of the peace, or magistrate. The Guild lost members during the war because of its pacifism but it has since restored its numbers. She is proud when she hears testimonies of women who it has helped through deep trouble.

She describes a Guild member who lives out in India with her husband who manages a cotton mill and how she supervises creches and support for the native women.

She says how gratifying it is to think that her work for the Guild, the Co-Op and other progressive movements have paved the way for the women who come afterwards; how the Guild opened doors and minds, how it helped working women become articulate and express their demands.

6. A Public-Spirited Rebel by Mrs Yearn (8 pages)

‘We’ve had enough of posh men lording it over us, we’re not going to accept their posh wives!’

One of 14 children, eight of whom died in childhood. Dad was a brick-setter and couldn’t work for half the year, so mum went to the mill, leaving childcare to the older sisters. The family became slowly better off and mum joined the Stores. She died of cancer.

She married but her husband was out of work during the Engineers strike so she went to the mill. She was a trade unionist and got all the women to join, for which she was given the sack.

Then she joined the Guild and was soon elected to the committee. She attended her first Congress in 1915. She pioneered women in public roles in Oldham and stood for the town council, incurring much mockery from the men. She gives a CV of her activities, roles and positions through the 1920s, often the first woman to hold particular posts.

Class conscious, she objected to Lady Beaverbrook standing as a candidate in a local election. We’ve had enough of posh men lording it over us, we’re not going to accept their posh wives!

She tells us the International Co-Operative Women’s Guild will ensure there is peace.

Appendix

The appendix is made up of excerpts from lots of letters sent to Davies. It opens with the longest one, at 6 pages long, then settles down to 1- or 2-page snippets.

A childhood in the Fens about 1850 by Mrs Burrows

An account of an incredibly hard childhood. On her 8th birthday she was taken out of school and set to work in the fields. She worked alongside 50 or so other children and was among the oldest. The working day was 14 hours long. It was at Croyland near Peterborough and some of the children were as young as 5. The ganger used a long whip to make them work. They left town on the stroke of 6 and had to walk at least 2 miles, sometimes 5.

In the four years she worked there they never had a single meal under cover or in shelter except on one occasion, on a particularly bitter cold day, when a local shepherd’s wife told the ganger to let the children come into her house to eat their lunch.

As a child at Croyland she saw many opium addicts and knew a child whose daily task it was to go to a pharmacy to collect a shilling’s worth of opium.

After 4 years slavery she was sent to work in a factory in Leeds. Her father was a kindly man but sick with a brain tumour. Her mother worked like a dog. When the children grew up they paid her back and tried to make her last years comfortable.

Extract from letters

There follow 16 short extracts from letters. They all appear to have been commissioned to answer a question along the lines of ‘What books have you been reading?’ or ‘What are your favourite books?’ because they all address this question, briefly or at length. None of them have interesting views per se but it’s interesting to see the different levels of literacy and articulacy on display, as well as getting a sense of which authors’ names recur, notably H.G. Wells, but also Shaw and Hardy. And among the classics, everyone loves Dickens.

  1. Mrs Hood: never a day without attending a committee, reads the progressive newspapers; likes Scott, Dickens and Thackeray, would love to read Tess, wants to read a good history of the French Revolution
  2. Mrs Ferguson: reads the daily papers and the Co-operative press but also interested in books on international affairs; and dips into Tennyson for rest
  3. Mrs Foister: lists books she’s read in the past 2 and a half years, an interesting insight into what was available to the serious reader
  4. Mrs Axten: some of the books she’s read in the past 4 years
  5. Mrs Corrie: reads pamphlets to keep up with the Labour and Co-op movement; including Kipps, Bennett and about to start Tess
  6. Mrs Preston:  Dickens, especially the Pickwick Papers and Nicholas Nickleby
  7. Mrs Burman: the Happy Traveller by Frank Tatchell
  8. Mrs Woodward: reads newspaper and journals for research for her position in the Guild; then gives a list of 27 novels
  9. Mrs Rix: Little Women and Ella Wheeler Wilcox
  10. Mrs Garrett: reads to inform her work for the Guild; reads the classics but singles out H.G. Wells; her son lent her ‘The Green Hat’ which she strongly disapproved of
  11. Mrs White: a Guild officer, she and her husband have long attended the Working Men’s College in Camden Town; her list of 20 or so books includes ones by Wells and George Bernard Shaw
  12. Mrs Bedhall: gets books from the students library at the Warwickshire Education Committee; she gives an interesting list of books on serious topics such as co-operation, socialism, education and so on
  13. Mrs Bampton: likes books about the supernatural or history
  14. Mrs Smith: likes books about London and so likes Martin Chuzzlewit (by Dickens)
  15. Mrs Marshall: Hardy and Lorna Doone
  16. Mrs Russell: busy with Co-op and Guild work but scrapes together a list of books she’s liked in the past, Hardy, Eliot, Bronte and Ella Wheeler Wilcox

The last ten pages contain five excerpts on very specific subjects.

Pioneer Poor Law Guardians

From a Lincolnshire Guildswoman

In 1895 the unnamed author overcomes male opposition to get elected to the Board of Guardians. How she and two women colleagues win round the Chairman of the Board. Becomes the first woman Vice-Chair of the House Committee. She has a jokey relationship with the chairman. He warns the ladies not to take the seats of ‘the old fossils’ on the committee. After serving for nine years she wonders if she herself has become one of ‘the old fossils’. When it was proposed to send a woman to the national Poor Law Conference the men cried out that women should stay at home and mind their families, but she overcame this opposition and went anyway.

From a Lancashire Guildswoman

When a young girl the mill she worked in burned down and she was unemployed and often went hungry. When she got another job she saved her pennies and invested in the local Co-op shop. Only later did she hear about the women’s Guild.

I attended the Guild Annual Meeting, which was a revelation. Each day my vision seemed to be widening and my spirit felt that here was the very opportunity I had always been seeking but never put into words. I had longings and aspirations and a vague idea of power within myself which had never had an opportunity of realisation. (p.147)

She comes to understand why the campaign to give women the vote was so important. The Guild was about widening its members’ sense of what their duties, rights and responsibilities could be. All girls and women were brought up to believe their job was to look after their man, their home and their children. The notion that they could break out of this prison and take on broader social, administrative positions came as a revelation to tens of thousands of women, as these letters testify again and again.

She quotes men who resisted women taking roles in Poor Law administration but learned that they were the most reliable and clear headed. And she describes her weekly schedule to show how routine and organisation allowed her to do all the housework, and then all her administrative and Guild jobs on top.

Pit-head baths

From a mid-Lancashire Guildswoman

This woman quotes the account of her husband describing the arrangement of baths at the colliery where he works, and comments on the enormous benefit for miners’ wives of having the men strip, bathe, and put on clean clothes at the pit, rather than bring the dirty clothes home to take off and shake coaldust all round the house.

From a Durham Guildswoman

Her husband’s pit have had showers since 1926 and she describes the advantages for him and her: no dirty clothes bringing soot and dust back to dirty the house; no smell of pit which used to fill the house; no need to boil water for the miner’s bath and for his dinner on the same fire at the same time. Vast improvement.

A member’s view of the Guild

From a London Guildswoman

An inspiring page and a half in which the unnamed author describes how membership of the Guild not only liberated her but gave her a profound understanding of the power of unity and united action. She praises the Guild for its democratic spirit whereby all the members feel absolute equals. She cites members who the Guild has given the confidence to think about bigger issues, outside the home, realise that their voice and opinions have value, given them to confidence to speak up, even in situations previously reserved exclusively for men.

Paratexts

According to Wikipedia:

Paratext is material that surrounds a published main text supplied by the authors, editors, printers, and publishers. These added elements form a frame for the main text, and can change the reception of a text or its interpretation by the public.

The main body of ‘Life as We Have Known It’ is not only fragmentary in itself, but strewn with additional paratexts which enrich or complicate its reception, depending on your point of view. There are three:

1. Introductory letter to Margaret Llewelyn Davies by Virginia Woolf (28 pages)

The original text was published by the Hogarth Press, the small publishing house set up by Virginia Woolf and her husband, Leonard. Virginia knew Davies so it’s no coincidence that the text has a long  and characteristically digressive introductory essay by Virginia, which describes her own involvement with the Guild, specifically her impressions of visiting a 1913 Congress and then the Guild’s London headquarters.

Woolf’s factual writing, her essays, and reviews, are generally very chewy, meaning they are often highly digressive, approaching their subject in a roundabout way, and this long essay is no exception. In sheer length, Woolf’s introduction is longer than all but one of the Guildswomen’s contributions i.e. in depth and complexity it threatens to overwhelm the stories that follow. It also spends a long time going into detail about the distance which she, as a privileged upper-middle-class lady, felt from the earthy working class women of the movement. For these reasons I’d definitely leave reading it till after you’ve read the main body of the text.

Woolf’s introduction is included in David Bradshaw’s edition of Woolf’s collected essays, and I’ve summarised it at length in a separate blog post.

You could give students an exercise to place Woolf’s introduction side by side with one or two of the working women’s texts, and ask the students to identify what the Woolf has that the others don’t, in a bid to extract and define literariness. Distance, detachment, acute observation of details, self consciousness, class consciousness, anxiety, non-linearity, obscurity, digression and indirection, these would all be elements you would note in the Woolf which are completely absent from the Guildswomen’s accounts. Are they aspects of what makes Woolf literature while the Guildswomen’s accounts remain social history?

Conversely, what do the women’s accounts have that Woolf’s introduction doesn’t? Some kind of authenticity?

2. Notes on the Women’s Co-Operative Guild by Margaret Llewelyn Davies (1930)

Davies was a radical in the old sense of the word, a genuine socialist. She emphasises that the Guild she ran took its place among many other working class movements, especially trade unionism. They make up the fabric of working people’s lives: trade unions stretch the warp of a decent living wage, while the cooperative movement threads the woof of intelligent spending. The aim? Gaining control of industry by the people for the people, consciously echoing Marx.

She sees the co-operative movement as ‘the beginning of a great revolution!’

The Movement shows in practice that there is nothing visionary or impossible in the aspirations of those who desire to see the Community in control, instead of Capitalists.

The co-operative system is designed to prevent people making fortunes and instead distributing wealth fairly among all.

Capital becomes the tool of labour and not its master. (p.165)

When she wrote there were over 1,000 co-operative societies across England and Scotland with some 6 million members, forming one of the largest trading and manufacturing concerns in Great Britain. The union is allied with the Labour Party and with an international co-operative alliance with members in 34 countries.

So she sees all this as part of a peaceful revolution ‘from autocratic Capitalism to democratic Co-operation’ and sees the Women’s Co-Operative Guild – with its 67,000 members in 1,400 branches – as playing a key role and the central mechanism of reform is shopping. In her day it was women who ran all households and did all the shopping for everything. Therefore, if they chose not to shop at normal commercial businesses designed to maximise profit, let alone at shops tied to factories and pits, but instead spent money at co-operative stores which they part-owned and ran, they changed at a stroke from being exploited consumers to empowered decision makers.

She explains the administrative structure of the Guild, staffed and run entirely by working women so that as soon as they joined, opportunities arose to volunteer for this or that committee or role. With responsibility came education in how to run and manage things, alongside political education into the big issues of the day, a kind of ratchet effect leading women who joined inevitably forward into greater enlightenment and empowerment.

And roles in the local Women’s Guilds acted as springboards for roles in the local and regional Co-operative movement. Despite opposition from men at all levels, at the time of writing many Guildswomen had taken up roles at all levels of the regional and national Co-Operative Movement.

In addition, newly liberated, informed and confident women have been active in national campaigns for:

  • the establishment of school clinics
  • a national maternity scheme
  • the inclusion of maternity benefit in the National Insurance Act of 1911
  • ensuring this maternity benefit was legally awarded to the mother not the father

Not only have women been educated to take on administrative roles within the Guild, the wider Co-Operative Movement, but in local and regional government. And this momentum has become international with the creation of an International Co-Operative Women’s Guild including 27 countries (including the Soviet Union). At the most recent Congress, in 1930, delegates discussed whether the position of women would be improved by state family allowances, which sounds like the perennial proposal of state pay for housework.

She ends with bracing optimism that the International movement is committed to peace and lobbies the League of Nations for universal disarmament. We know all the fine words for peace during the 1930s completely failed, and its abject failure casts a sad shadow over what had, up until this last paragraph, been a bracing list of outstanding achievements.

3. Afterword by Anna Davin and Gloden Dallas (1977)

Most historical documents are written by educated men, so most accounts of working class lives, especially the lives of working class women, have been written by outsiders. The rarity of accounts written by genuinely working class women makes the testimony of this book priceless, with its first-hand testimony to lives and sufferings, of their childhood, marriages and children, above all of the unremitting burden of hard labour, long hours, poverty and endless worry.

And not just that, but the second part in many of these accounts – describing how these downtrodden women discovered the Co-op movement and then the Guild and its huge impact in liberating them, opening their minds, educating them and encouraging their abilities to think more widely, to take up positions of influence and power – are just as rare and valuable.

So the book is not just a document of working class immiseration but at the same time uplifting and inspirational, giving example after example of how uneducated working women were empowered to escape the prison of their homes and domestic responsibilities and engage with the wider world.

4. Virago

There’s a fourth context not contained in the text as such, which is that 46 years after it was first published, the book was chosen by the founders of the new feminist publishing house, Virago Books, as their first publication. So it has a signal importance from two quite distinct moments in feminist publishing, 1931 and 1977. So that reading it now is not only to engage with a classic of women’s social history but to also see it through the lens of the optimistic feminist editors of the 1970s. There are, as it were, at least two eras or types of feminist aspiration radiating from the text.

Thoughts

Horror The primary thought is, of course, horror at the appalling conditions and experiences described by the six core accounts and especially the childhood in the Fens. The authors thought readers in 1931 might not credit the miseries they lived through, how much harder is it for us a hundred years later.

Triumph Next you respond to the ‘triumph over adversity’ theme of the accounts, awed by how these women supported their menfolk and families through decades of grinding poverty, by sheer, unremitting hard work and commitment. None of them ran away from their responsibilities through years and decades of grinding poverty, not enough money, not enough to eat, no clothes for the children, depriving themselves of food to make sure their children ate and so on. Mind-bogglingly exemplary commitment and what used to be called moral fibre.

The Guild And then all the accounts take the same turn, which is to describe their discovery of the Co-Op movement, then of the Women’s Guild within it, often running alongside a commitment to trade unions and other movements for the improvement of working people. In this respect, it’s a self-selected group – if they praise the role the Guild played in opening their minds, supporting their education, boosting their confidence, allowing them to take on administrative roles of a sort previously unavailable to women, it’s precisely because these are letters written to Davies from Guild members in praise of the Guild’s role.

Which doesn’t stop them being eye opening about not just the misery of childhood and work in the Victorian working classes, but about the role the Co-Op movement and the Guild in particular played in liberating so many working women’s minds and abilities.

Oddity Then there’s puzzlement. It’s hard, at this distance of time, to understand why there are the 16 short letters or snippets from Guildswomen listing their favourite books. Why was this considered important? Was it to address some concern at the time about working class literacy or women’s literacy? Was general reading considered a marker of cultural achievement and so was valued as much as the financial support the movement offered? On the face of it you’d have thought these 20 odd pages would have been better filled with a few more detailed autobiographical accounts on the pattern of Mrs Layton or Mrs Burrows. But maybe it was important to Davies and the Guild to make a point about the cultural uplift the Guild supported?

Paratexts It’s already a text made up of multiple sub-texts and fragments, which set up complex echoes and cross-references, raising lots of issues of social history and politics which it doesn’t quite complete or fulfil. But then there are the paratexts which add a whole new layer of complexity. Davies’s afterword gives a factual account of the Guild which provides context for the letters but it is itself haunted by the fact that – when you look it up – you discover that the Women’s Co-Operative Guild closed in 2016. So not only are the women whose accounts the book contains long dead, but the organisation which Davies describes in such loving detail, is itself now defunct, a ghost.

Virginia Woolf‘s introductory essay is important but is so characteristically self-involved and tortuous, so long and impactful in its literary and psychological complexity, that it threatens to overawe the much simpler, starker texts from the working women. Above all, it enters a big note of doubt and scepticism about the Guild’s work, which you should definitely only read once you’ve first fully read all the original accounts.

Anna Davin and Gloden Dallas’s afterword radiates the kind of radical socialist feminism of the 1970s which, as far as I can tell, has completely disappeared. 1977 was still close to the radical politics of the late 1960s, it was a world of squats and huge trade union membership leading to regular national strikes and mass protest marches which gave a real sense that some kind of radical restructuring of society was possible, was maybe just round the corner. All that has disappeared like morning dew.

Gone When I try to describe to my kids what it felt like to be young and left wing in the 1970s going into the embattled 1980s they look at me like I’ve just landed from Mars. Their world is mediated through TikTok, Instagram and WhatsApp. Rather than changing the capitalist basis of the economic system my daughter, the queer 4th wave feminist, is concerned about gender fluidity, MeToo in the American film industry and Black Lives Matter on the streets of American cities.

TikTok The world of coal miners, of unionised heavy industries, the world of local communities dotted around Britain loyally supporting their local Co-op, in fact the whole concept of people living all their lives in small close-knit communities, has disappeared utterly, to be replaced by cosmopolitan networks of globetrotting buddies keeping in touch via social media. And they all love it, young people love the gadgets and opportunities provided by billion-dollar American corporations and don’t want to change a thing.

Lost So, for me, the book is (obviously enough) testimony to the lost world of Victorian and early 20th century working class poverty and the fightback against it – but it is also witness to the lost world of 1970s radicalism, to the optimistic feminist editors who chose it to be Virago’s first ever publication. As I read it I had the complicated sensation of engaging with not one but two lost worlds.


Credit

‘Life as We Have Known It: The Voices of Working-Class Women’ edited by Margaret Llewelyn Davies was first published by The Hogarth Press in 1931. It was republished by Virago Press in 1977. I read the 2012 Virago paperback edition.

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Boy: Tales of Childhood by Roald Dahl (1984)

Born in 1916, Roald Dahl had his first short text (an account of crashing his RAF plane in the desert) published in 1942 i.e. aged 26.

As we all know, this marked the start of a long and stunningly successful career during which he wrote over 60 (increasingly macabre and gruesome) short stories, brought together in a series of collections for adults, most successfully under the brand name ‘Tales of the Unexpected’ to tie in with the 1970s TV adaptations – but more famously, from 1961 onwards, a series of books for children which made him one of the best selling and best known authors in the world.

Forty-two years after that first published piece, at the age of 68, Dahl published this, the first part of his autobiography. Except it isn’t a continuous and comprehensive autobiography at all. Instead it is, as he carefully explains in the preface, a series of memorable incidents and events which have stuck with him since boyhood. It is more like a series of episodes, hence the subtitle ‘Tales of Childhood’.

Boy follows a chronological order and is divided into sections mostly named after the teaching institutions he progressed through:

  1. Family background
  2. Kindergarten
  3. Llandaff Cathedral School, 1923 to 1925 (age 7 to 9)
  4. St Peter’s, 1925 to 1929 (age 9 to 13)
  5. Repton and Shell, 1929 to 1936 (age 13 to 20)

The first sentence sets the tone:

An autobiography is a book a person writes about his own life and it is usually full of all sorts of boring details.

So this, also, is a book for children, pitched to, what age group would you say? 7? 11?

Taken in the way it is intended, it is a brilliant read. Why? For its wide-eyed, childlike candour. For his tremendous excitement about everything he describes. Everything is the best, everything is vivid with excitement and enthusiasm. Everything overflows with child-like glee.

Looking a bit more closely, every sentence says something interesting. There’s no padding or fat. People and places are summed up with skill and economy. This gives the narrative tremendous pace because things are always moving on, stuff is always being discovered and described, and all with the winning enthusiasm of boyhood.

1. Family background

When his father, Harald, was 14 he fell off the roof while fixing some tiles and broke his arm. A drunk doctor injured it further and it had to be amputated.

His father and brother, Oscar, decided they had to leave the small Norwegian town they’d grown up in so they left for France. Uncle Oscar ended up in La Rochelle, a fishing port, where he ended up owning the biggest fishing fleet and canning factory.

Harald moved to Paris and set up a shipbroking company. The main fuel for shipping was coal. Where was the biggest coal port in the world, Cardiff, so Harald moved there with his young wife, Marie. Here Harald’s business thrived and he bought a big house at Llandaff, just outside Cardiff. Marie bore him two children but died soon after giving birth to the second. Heartbroken, Harald went back to Norway and found a second wife, Sofie, who bore him 4 children, one of whom was Roald.

Business boomed and in 1918, when he was 2, the family moved to a grand house in the village of Radyr. It had a small farm attached and was full of servants. Harald led a vigorous life, mountaineering and was an expert wood carver.

In 1920, when Roald was 3, his sister Astri died from appendicitis, aged 7. She was his father’s favourite and when Harald went down with pneumonia he didn’t put up much of a fight and died.

This left Sofie without a husband and provider and father to the remaining five children, and pregnant again. She could have sold up and gone back to Norway, where her father, mother and unmarried sisters would have helped out.

2. Kindergarten

Instead she sold the big house, bought a smaller one and, a few years, later, sent Roald, aged 6, to his first school, a kindergarten run by two old ladies. He remembers vividly the excitement of travelling there in his brand new tricycle!

3. Llandaff Cathedral School, 1923 to 1925 (age 7 to 9)

Two memories: one is of seeing an older boy cycle past him, taking his hands off the handlebars and crossing them on his chest. Oh how he wanted to be that boy!

Second memory is the sweetshop where he and his friends bought sherbet suckers and liquorice bootlaces, gobstoppers and tonsil ticklers. Unfortunately this sweetshop is kept by Mrs Pratchett who is ‘a skinny old hag’ with a moustache on her top lip and a terrible temper.

The Great Mouse Plot

He and his friends discover a dead mouse and conceive the wicked idea of slipping it into one of Mrs Pratchett’s big sweetjars. And that’s what they do, while his friend Thwaites distracts her, Roald lifts the lid of the gobstopper jar and drops the dead mouse into it, quietly replacing the lid. What an achievement!

Mr Coombes

Next day they walk past the sweetshop to discover it closed. At school the headmaster calls the boys to an identity parade where, to their horror, Mrs Pratchett identifies them.

Mrs Pratchett’s revenge

Mr Coombes then canes them while Mrs Pratchett looks on approvingly. Worth quoting in full:

As the first stroke landed and the pistol-crack sounded, I was thrown forward so violently that if my fingers hadn’t been touching the carpet, I think I would have fallen flat on my face. As it was, I was able to catch myself on the palms of my hands and keep my balance. At first I heard only the crack and felt absolutely nothing at all, but a fraction of a second later the burning sting that flooded across my buttocks was so terrific that all I could do was gasp. I gave a great gushing gasp
that emptied my lungs of every breath of air that was in them.

It felt, I promise you, as though someone had laid a red-hot poker against my flesh and was pressing down on it hard.

The second stroke was worse than the first and this was probably because Mr Coombes was well practised and had a splendid aim. He was able, so it seemed, to land the second one almost exactly across the narrow line where the first one had struck. It is bad enough when the cane lands on fresh skin, but when it comes down on bruised and wounded flesh, the agony is unbelievable.

The third one seemed even worse than the second. Whether or not the wily Mr Coombes had chalked the cane beforehand and had thus made an aiming mark on my grey flannel shorts after the first stroke, I do not know. I am inclined to doubt it because he must have known that this was a practice much frowned upon by Headmasters in general in those days. It was not only regarded as unsporting, it was also an admission that you were not an expert at the job.

By the time the fourth stroke was delivered, my entire backside seemed to be going up in flames. (p.50)

Roald’s mother discovered the welt marks at that evening’s bath time and went straight round to the school to complain. Roald stayed till the end of that term but then his mother took him out of the school.

Going to Norway

From 1920 to 1932, from the ages of 4 to 17, the family spent every summer holiday in Norway. The many islands and the freedom and innocence remind of Tove Jansson’s memoirs.

Roald gives an exciting account of the complexities of packing all the baggage and travelling first to London, then by train to Newcastle, then by boat to Oslo where his grandparents lived.

He loved his Bestepapa and Bestemama, they always hosted a celebration feast when he and his family arrived, which features ‘a mountain of ice cream’. See what I mean by the way everything sounds brilliant, the sweets, the food the family, the journey, everything!

The magic island

Day after the feast the Dahl family caught a steamer to the magic island. Like everything, it is the bestest of the best!

Late in the afternoon, we would come finally to the end of the journey, the island of Tjöme. This was where our mother always took us. Heaven knows how she found it, but to us it was the greatest place on earth. (p.61)

And:

Breakfast was the best meal of the day in our hotel, and it was all laid out on a huge table in the middle of the dining-room from which you helped yourself. There were maybe fifty different dishes to choose from on that table. There were large jugs of milk, which all Norwegian children drink at every meal. There were plates of cold beef, veal, ham and pork. There was cold boiled mackerel submerged in aspic. There were spiced and pickled herring fillets, sardines, smoked eels and cod’s roe. There was a large bowl piled high with hot boiled eggs. There were cold omelettes with chopped ham in them, and cold chicken and hot coffee for the grown-ups, and hot crisp rolls baked in the hotel kitchen, which we ate with butter and cranberry jam. There were stewed apricots and five or six different cheeses including of course the ever-present gjetost, that tall brown rather sweet Norwegian goat’s cheese which you find on just about every table in the land.

Yummy! Then they’d take the small boat and go exploring the islands, hundreds of them, looking for ones with a little sandy back when he and his sisters were small, later on rocky ones which they could jump off into the sea. In the evenings they went fishing for mackerel and cooked them fresh.

I tell you, my friends, those were the days. (67)

A visit to the doctor

When he was 8, a gruesome trip to a local doctor who takes out his adenoids with no anaesthetic, slashing inside his mouth and extracting great clumps of flesh covered in blood. The child-focused nature of the text is made explicit:

That was in 1924, and taking out a child’s adenoids, and often the tonsils as well, without any anaesthetic was common practice in those days. I wonder, though, what you would think if some doctor did that to you today. (p.71)

4. St Peter’s, 1925 to 1929 (age 9 to 13)

First day

This was in Weston-super-Mare, from which you can look across the Bristol Channel and see Wales. Every boy had a Tuck Box containing all his treasures. Boarding schools were money-making machines and fed the boys as little as possible while encouraging them to write to their parents for ‘treats’. The school is long and low sitting in front of its sports pitches and the headmaster is a giant with a grin like a shark.

Writing home

Every Sunday morning every boy had to write a letter home. With Dahl the habit stuck and he wrote his mother at least one letter a week for the next 20 years, from 1925 to 1945, and she kept them all. When she died, in 1957, she left him a huge bundle of his letters, some 600 in total.

The matron

The dormitories are ruled with a rod of steel by the matron who is an ogre. One boy has a bright idea of scattering castor sugar along the corridor so they can hear the crunch-crunch of her arrival. This drives her into a fury and she calls the headmaster who goes red in the face with anger and confiscates all their Tuck Boxes with the result that the boys go hungry for the last 6 weeks of term.

Young Roald is terrified. He sleeps facing the Bristol Channel and therefore his family. It is a great comfort.

A boy called Tweedie snores in his sleep. the matron hears, is disgusted and tips soap shavings into his mouth, so he wakes up blowing bubbles. You can see where all the vicious tyrants in Dahl’s children’s fiction come from.

Homesickness

He is so homesick he decides to fake appendicitis to escape. The matron and headmaster fall for it so he is put on the paddle steamer across the channel to Cardiff, collected by his mother and taken to the family doctor who immediately realises that he’s faking it. He is kind, though, and tells Dahl that it was his (the doctor’s) idea to send him to boarding school. It will toughen him up and get him ready for life.

A drive in the motor-car

Home for the holidays and a hilarious account of a drive in the family’s new car, a De Dion-Bouton, with his eldest step-sister driving, which ends in quite a bad crash, with the glass windscreen half slicing Dahl’s nose off, hanging by ‘a single small thread of skin’ (p.103)! His mother sticks it back in place and they hurry as fast as the unnerved sister can drive, to the doctor’s, Dr Dunbar.

Here he has another operation, this time with a primitive chloroform cotton wool mask to knock him out. The doctor sewed his nose back on and it took. His mother hives him a gold sovereign for being so brave.

Captain Hardcastle

The stock monster teacher, Captain Hardcastle is short and wiry with vermillion hair drenched in brilliantine and parted in the middle. He has a giant orange moustache, teaches Latin and football, and has it in for Roald from day one.

The disaster comes during evening Prep (all the boys sit at desks in the big hall for exactly one hour in complete silence doing whatever task is assigned them) when the nib on Roald’s pen breaks halfway through writing an essay and he incautiously asks his neighbour for a spare. Hardcastle spots this and goes mad.

(This all occurs in 1926, the same year Evelyn Waugh was struggling to be a teacher at a boys preparatory school in Wales, the unfortunate experience which became the basis of his first novel, Decline and Fall.)

Dahl is given a slip to take to the headmaster who, despite all his attempts to explain, gives him six of the best. For the second time he gives a really super-vivid description of the different stages and level of agonising pain which result from caning.

Little Ellis and the boil

Roald is in the sick room with flu when he observes the doctor ‘treating’ the only other boy, young Ellis who has a huge boil on his inner thigh. The doctor throws a towel over Elli’s face and stabs the boil, turning the blade, so that Ellis screams his lungs out. Hardly anybody used anaesthetic on those days, even for dental procedures.

Goat’s tobacco

His eldest half-sister, the one he calls the ancient sister, starts dating an Englishman who accompanies them on their big family holiday. The entire family is irritated by his manly behaviour and poses and way of talking, and particularly by the way that he never removes the manly pipe he smokes from his mouth. So Roald plays a prank. The manly man has just stuffed his perishing pipe when the ancient sister asks him to go for a swim. He does at which Roald, in full sight of the rest of the family, tips the tobacco out and replaces it with goat pellets which he breaks up with his fingers and stuffs in the pipe before putting a thin layer of tobacco back over the top, with, as they say, hilarious consequences.

5. Repton and Shell, 1929 to 1936 (age 13 to 20)

Getting dressed for the big school

By now the family has moved to Bexley in Kent. His mother asks whether he’d rather go to Repton or Marlborough, two grand public schools. He chooses Repton because it’s easier to pronounce. It was September 1929 when, aged 13, he went off to boarding school. The entire chapter is devoted to the ridiculous school uniform he had to wear.

Boazers

Repton slang for ‘prefects’. These big boys could cane the small ones for almost any infringement. Yet again Dahl describes the mechanics of caning and the different techniques of the different ‘boazers’.

The headmaster

Dahl takes malicious pleasure in explaining that the headmaster of Repton, a charmless ‘shoddy bandy-legged person’, was later selected to be Bishop of Chester, and then Bishop of London, and then Archbishop of Canterbury, and it was none other than he who crowned Queen Elizabeth in 1953.

For he was a notorious deliverer of phenomenally painful and sadistic canings. Roald’s best friend, Michael, describes how the victim had to take down his trousers, kneel on the sofa in the head’s study with their head over one end, and then the head delivered ten severe strokes, in between filling his pipe and delivering a rambling lecture about sin and punishment.

On chapel the head maundered on about forgiveness but showed no forgiveness whatsoever when it came to caning young boys’ buttocks so hard that they bled – at which he handed over a basin, sponge and towel and told them to clean up the blood before leaving.

That this man was a vicar, and then a bishop, and then the Archbishop of Canterbury goes a long way to explaining Dahl’s lifelong atheism.

Chocolates

Surprisingly, boys at Repton were used as guinea pigs for new ranges of chocolates by Cadbury. they were sent boxes containing one standard and nine new experiments, and then asked to fill out forms. In a characteristically enthusiastic chapter he recalls this as the basis of his second children’s book, Charlie and the Chocolate Factory.

Corkers

There were about thirty or more masters at Repton and most of them were amazingly dull and totally colourless and completely uninterested in boys. But Corkers, an eccentric old bachelor, was neither dull nor colourless. Corkers was a charmer, a vast ungainly man with drooping bloodhound cheeks and filthy clothes. He wore creaseless flannel trousers and a brown tweed jacket with patches all over it and bits of dried food on the lapels. He was meant to teach us mathematics, but in truth he taught us nothing at all and that was the way he meant it to be. His lessons consisted of an endless series of distractions all invented by him so that the subject of mathematics would never have to be discussed. (p.151)

These distractions involved getting the whole class to help him with the Times crossword or bringing in some live snakes to hand round.

Fagging

The humiliations of fagging including being one of the three fags who, every Sunday morning, had to clean Carleton’s study until it was as clean as an operating theatre. And he actually performed the cliché task of sitting on a freezing toilet seat in an outhouse to warm it up ready for a senior boy, Wilberforce, to use. In fact he becomes Wilberforce’s favourite bog seat warmer.

Games…

Dahl turns out to be brilliant at fives, a public school ball game quicker than squash. He becomes captain of fives which entitles him to wear a special colour on his straw hat and braid round his blazer etc. He ought to have been made a prefect or ‘boazer’ on account of this eminence but:

But the authorities did not like me. I was not to be trusted. I did not like rules. I was unpredictable. I was therefore not Boazer material. There was no way they would agree to make me a House Boazer, let alone a School Boazer. Some people are born to wield power and to exercise authority. I was not one of them. I was in full agreement with my Housemaster when he explained this to me. I would have made a rotten Boazer. I would have let down the whole principle of Boazerdom by refusing to beat the Fags. (p.162)

…and photography

Dahl turned out to be a very gifted photographer. He got permission to construct his own dark room and took it very seriously. The sensitive art teacher helped him organise a final year exhibition of his work. When still only 18 he won prizes from the Royal Photographic Society in London.

Goodbye school

He doesn’t want to go to Oxford or Cambridge but to get a job in as remote and magical a distant land as he can. To his own astonishment he gets a job with Shell. He leaves school in July 1933 and starts the new job in September, just as he’s turning 18.

In his last term he’d bought a motorbike, stashed it in a garage up the road from school, and used to go out for wild rides around Derbyshire disguised in helmet and goggles. On the last day he hurtles away from Repton with no regrets.

He goes on a public school outward bound adventure to Newfoundland, which he discovers to be inhospitable and cold, but returns fit and resilient.

Two years as a trainee with Shell in Britain and then several months in head office learning the business. He commuted in from the family home in Bexley. And here he makes some quotable remarks about the appeal of a regular job, salary, predictable commute etc as against the commitment needed to be a fiction writer, worth quoting in its entirety.

The life of a writer is absolute hell compared with the life of a businessman. The writer has to force himself to work. He has to make his own hours and if he doesn’t go to his desk at all there is nobody to scold him. If he is a writer of fiction he lives in a world of fear. Each new day demands new ideas and he can never be sure whether he is going to come up with them or not. Two hours of writing fiction leaves this particular writer absolutely drained. For those two hours he has been miles away, he has been somewhere else, in a different place with totally different people, and the effort of swimming back into normal surroundings is very great. It is almost a shock. The writer walks out of his workroom in a daze. He wants a drink. He needs it. It happens to be a fact that nearly every writer of fiction in the world drinks more whisky than is good for him. He does it to give himself faith, hope and courage. A person is a fool to become a writer. His only compensation is absolute freedom. He has no master except his own soul, and that, I am sure, is why he does it. (p.171)

Then Dahl gets his first placement abroad. To the managing director’s amazement Roald turns it down because it is Egypt. Flat and desert and sand and old relics – Dahl wants lions and tigers and excitement! To his surprise the managing director gives into his wish, gives Egypt to another intern, and a week later gets in touch to say Dahl’s posting will be to East Africa. He jumps up and down with excitement.

And that is where this book ends and its sequel, Going Solo begins.

Thoughts

A masterpiece of children’s storytelling, the book is notable for what it leaves out such as:

  • puberty and sex
  • friendships
  • intellectual development, discussion and debate
  • or even the basic central aspect of school, which is the subjects and the exams – none of these make an appearance

Old man blues

All this, you must realize, was in the good old days when the sight of a motor-car on the street was an event, and it was quite safe for tiny children to go tricycling and whopping their way to school in the centre of the highway. (p.23)

You must remember that there was virtually no air travel in the early 1930s. Africa was two weeks away from England by boat and it took you about five weeks to get to China. These were distant and magic lands and nobody went to them just for a holiday. You went there to work. Nowadays you can go anywhere in the world in a few hours and nothing is fabulous any more. (p.166)

But he’s right, of course. Cars have destroyed childhood and anyone can go anywhere now, often at Ryan Air prices, so that everywhere feels like the same huge shopping mall.


Credit

Boy: Tales of Childhood by Roald Dahl was published by Jonathan Cape in 1984. References are to the 1986 Penguin paperback edition.

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Roald Dahl reviews

Cornelia Parker @ Tate Britain

Cornelia Parker (CBE, RA) is a very well-known and successful figure in British art. Born in 1956, she’s become famous for her ‘immersive’ i.e. BIG works. Above all she is a conceptual artist. What is conceptual art? According to the Tate website:

Conceptual art is art for which the idea (or concept) behind the work is more important than the finished art object. It emerged as an art movement in the 1960s and the term usually refers to art made from the mid-1960s to the mid-1970s.

In some exhibitions you react to the painting or sculpture immediately, as an object in space which fills your visual cortex with sensations and impressions. You don’t necessarily have to read the wall labels. With conceptual art it is almost always vital to read the wall label in order to understand what you’re looking at. Sure, you could still respond naively and sensuously to the work’s appearance but you would be missing out on 99% of its meaning and intention.

The wonderful wall labels

This major retrospective of Parker’s career brings together almost 100 works, spanning the last 35 years. So that’s quite a lot of reading you have to do in order to understand almost every one of these pieces.

But a major feature of the exhibition is that the wall labels are written by Parker herself. Most wall labels at exhibitions are written by curators who, in our day and age, are obsessed with the same handful of issues around gender and ethnicity and lose no opportunity to bash the visitor over the head with reminders of Britain’s shameful, imperial, racist, slave-trading past etc etc.

So it is a major appeal of this exhibition that, instead of every single piece explained solely in terms of race or gender – as it would be if Tate curators had written them – Parker’s own wall labels are fantastically interesting, insightful, thought-provoking insights into her way of thinking and seeing the world. Instead of the world of art being reduced to a handful of worn-out ideas, Parker’s wall labels are as entertainingly varied as her subject matter, full of stories, anecdotes, bright ideas, explanations of technique, aims, collaborations.

They give you a really privileged insight into her worldview and into her decades’-long ability to be interested, curious, take everyday objects and have funny and creative ideas about how to transform them. After spending an hour and a half working through her thought processes for the different pieces, some of her creative spirit begins to rub off on you, you begin to see the everyday world the way she does, full of opportunities for disruptive and fun interventions. In this respect, this exhibition is one of the most genuinely inspiring I’ve ever been to.

Types of work

The exhibition includes immersive installations, sculptures, photographs, embroidery and drawings, as well as four large-scale, room-sized installations, and two rooms showing her art films. At the simplest, physical level, the pieces can be divided into two categories: Small and Large. Examples of the small will serve as an introduction to the large.

Introductory

In the downstairs atrium of Tate Britain stands a single sculpture, preparing you for the exhibition ahead.

The Distance (A Kiss with String Attached) by Cornelia Parker (2003) © Tate Photography

It is, of course, a life-size cast of Rodin’s sculpture, The Kiss, wrapped up in a mile of string. A vague symbolic gesture towards ‘the ties that bind’ people in relationships, maybe. In the nearby wall label Parker describes this as a ‘punk gesture’, which I found very significant. It’s the only time she mentions punk but she was just 20 when it hit, maybe at art school by then, so its attitude of really offensive, in-your-face irreverence must have taken her art school by storm. The point is, various later wall labels repeatedly say that she is interested in destruction and violence – but not violence against persons, against things. Her art does violence to inanimate objects in all kinds of inventive, creative and often very funny ways.

But there is, as so often, a further twist to the tail. Wrapping The Kiss in string is a relatively tame thing to do compared with Dada, Surrealist, Duchamp provocations from 100 years ago. It becomes more interesting when you learn that some opponents of conceptual art within the art world, fellow young irreverent artists, vandalised the original version of The Distance by cutting up the string into short sections, thus ‘liberating’ the sculpture.

And best of all, that Parker was undaunted and promptly gathered up all the cut-up pieces of string and tied them back together around a mysterious object at the centre, ‘a secret weapon’, which is unnamed and unknown.

‘The Distance (with concealed weapon)’ by Cornelia Parker (2003) © Cornelia Parker (Photo by the author)

Small

I’ll jump straight in and give examples.

‘The Negative of Words’ (1996)

Parker realised that when an engraver engraves words into silver, for example into a cup like the Wimbledon champion’s cups, tiny fragments or curls of silver are generated. This piece is a pile of the shavings thus created. Parker contacted a silversmith, who agreed to her proposal, and it took several months to accumulate enough shavings for her to create the little mound, with sprinkled outliers, which we see on display here. As she points out, each sliver represents a letter, is the trace of a letter, is the inverse of writing, of language. They are absences made solid. This idea really resonated with me as I admired this carefully created little mound and its sprinkled outliers.

‘The Negative of Words’ by Cornelia Parker (1996) © Cornelia Parker (Photo by the author)

‘Luck Runs out’ (1995)

In the case next to it is an old dictionary. Under careful supervision, Parker arranged for a shotgun loaded with dice to be fired into the back of the book. The die penetrated to different depths into the text and jammed most of the pages together. As it happens the post-shooting dictionary automatically fell open at a page about ‘luck’. Hence the title, The luck of the draw. The roll of the dice.

‘Luck Runs Out’ and ‘The Negative of Words’ by Cornelia Parker © Cornelia Parker (Photo by the author)

Apparently it’s part of a series titled ‘Avoided Objects’, so-called ‘object poems’ which ‘explore the fractured, unmade and unclassified’. The series explores ‘the denied and repressed’, which sounds a bit hackneyed and stale until she goes on to specify what that means in practice – the backs, underbellies or tarnished surfaces of things, which is much more interesting. Hence shooting this dictionary ‘in the back’.

‘Embryo Firearms’ (1995)

While in Hartford Connecticut, Parker asked to visit the factory where the famous Colt 45 handgun is made. She was surprised to discover the process began with blank featureless gun-shaped casts, before any working parts were added. She asked if she could have one and the Americans, obliging as ever, gave her two and gave them a nice smooth industrial polish. Adding the word ’embryo’ to firearm juxtaposes the birth of the gun with the general idea of the birth of a human being, alongside a tool which might potentially bring it to an end.

‘Embryo money’ (1996)

Fascinated by money, Parker asked permission to visit the Royal Mint in Pontyclun, Wales. She asked for some samples of coins before they were ‘struck’ i.e. had the monarch’s face, writing, value, corrugated edges and everything else added – just the blank dummy coins. Embryo money, before it has accrued any of the power which so dominates all our lives.

‘Embryo Firearms’ (1995) and ‘Embryo money’ (1996) by Cornelia Parker © Cornelia Parker (Photo by the author)

See what I mean by ‘conceptual’. You could relate to these just as intriguing objects, but the stories behind them – the anecdotes of Parker’s expeditions to interesting and unusual places to see industrial processes in action – add immeasurably to the enjoyment.

‘Exhaled cocaine’ (1996)

Parker developed a relationship with His Majesty’s Customs and Excise. She visited and got to know them at their Cardiff headquarters over a period of several months. One of the many, many types of contraband objects they confiscate are drugs. Parker persuaded them to let her have a seizure of cocaine after it had been incinerated. A million pounds worth of cocaine turned to ash, which is on display here, as a sad little pile.

In her wall label, Parker adds the coda, which you’d never have got from a curator, that she really loves the way Customs and Exercise destroy things in such a theatrical way, steamrollering fake Rolex watches or alcohol. ‘Like me, they are often symbolically killing things off.’ This kind of casual, candid opinion is a lovely insight into her way of thinking.

Inhaled cliffs’ (1996)

A personal favourite was ‘Inhaled cliffs’. She asked Customs about methods people use to smuggle stuff into the country, especially drugs, and discovered that some drugs can be used to ‘starch’ sheets, so a set of innocuous looking sheets turn out to be drenched in heroin, cocaine or other illicit substances which can be extracted once they’re safely in the country. This notion inspired ‘Inhaled cliffs’ in which Parker starched sheets with chalk from the white cliffs of Dover, ‘smuggling’ those great symbols of England into bed with her. She is tickled by the notion of ‘sleeping between cliffs’.

‘Exhaled cocaine’ (1996) and Inhaled cliffs’ (1996) by Cornelia Parker © Cornelia Parker (Photo by the author)

I’m focusing a bit much on these objects in cases. There were conventional things attached to the wall, prints, flat objects treated in various ways. Photographs, for example. On her way to her studio past Pentonville Prison she noticed workmen plastering cracks in the perimeter wall, creating vivid white abstract shapes. They then started to whitewash the wall as a whole so, before these irregular, crack-shaped gestures disappeared, she quickly took photos with her phone and developed a set of 12 prints which are hung here, titled ‘Prison Wall Abstract’.

Or the ‘Pornographic drawings’ (1996). As part of her ongoing conversations with HM Customs she asked for examples of contraband and they gave her (along with the bag of cocaine ashes) chopped up lengths of pornographic film. Parker dissolved the fragments in solvent to create her own ink. She used this ink to create Rorschach blots i.e. poured them on one side of a piece of folded paper, pressed the other side down on the inked side and reopened it to have a symmetrical image. For some reason, all the ones she made (or chose to display) came out ‘to be particularly explicit’.

It dawns on me that these works are beyond ‘conceptual’ in the sense that they might better be described as anecdotal. Often there isn’t a grand concept, project or goal behind them – there is happenstance and accident. Seeing an opportunity to do something interesting and seizing it.

The other obvious thing is that she’s about transforming objects from one state to another. She starts with ‘found objects’ – gun moulds, unstamped coins, porn movies, cocaine and so on – and, in the examples I’ve given, doesn’t even transform them herself, but recognises their artistic potential.

Medium

Using this technique of remodelling the existing and everyday, is a middle-sized work titled ‘Black Path (Bunhill Fields)’ from 2013. Parker describes playing hopscotch on pavements with her daughter. This led her to pay attention to pavements and to notice the antiquity of the old stone paving in Bunhill Fields near Old Street. She got permission to pour liquid rubber into the cracks in a path through Bunhill Fields. When the rubber dried she used the mould to make a metal cast, memorialising the captured cracks in bronze. She then suspended the mould on pins so that the cracks in the pavement hover a few inches above the floor, making it seem more spectral and ghostly. (It’s an accidental quirk that my photo of it features so many people’s feet.)

‘Black Path (Bunhill Fields)’ (2013) by Cornelia Parker © Cornelia Parker (Photo by the author)

Large

The interest in destruction I’ve mentioned earlier really comes to the fore in the three most famous room-sized installations in the exhibition. These are by way of being her greatest hits. They are:

  • Thirty Pieces of Silver (1988 to 89)
  • Cold Dark Matter: An Exploded View (1991)
  • Perpetual canon (2004)

Cold Dark Matter: An Exploded View (1991)

I’ll quote her wall label in its entirety:

We watch explosions daily, in action films, documentaries and on the news in never-ending reports of conflict. I wanted to create a real explosion, not a representation. I chose the garden shed because it’s the place where you store things you can’t quite throw away. The shed was blown up at the Army School of Ammunition. We used Semtex, a plastic explosive popular with terrorists. I pressed the plunger that blew the shed skywards. The soldiers helped me comb the field afterwards, picking up the blackened, mangled objects. In the gallery, as I suspended the objects one by one, they began to lose their aura of death and appeared reanimated. The light inside created huge shadows on the wall. The shed looked as if it was re-exploding or perhaps coming back together again. The first part of the title is a scientific term for all the matter in the universe that can’t be seen or measured. The second part describes a diagram in which a machine’s parts are laid out and labelled to show how it works.

I’ve seen photos of this many times. Seeing it in the flesh I realised several things:

  1. it is a mobile – a very complex mobile, but in principle the same kind of thing my son makes to hang his origami figures from his ceiling
  2. it has a cubic, rectangular shape i.e. it is the opposite of chaotically exploding outwards; it is very contained
  3. this is achieved by hanging multiple objects from the same string, not just one
  4. as people walk slowly respectfully round it the eddies of air they stir
  5. and placing a single light bulb at the centre of it means not only that is casts shadows on the wall, but as the string move gently, so a) your perspective through the multiple layers of debris shifts and changes b) the shadows they cast on the wall subtly change

Cold Dark Matter: An Exploded View (1991) by Cornelia Parker © Cornelia Parker (Photo by the author)

Perpetual canon (2004)

Again, I’ll give Parker’s words verbatim:

I was invited to make a work for a circular space with a beautiful domed ceiling. I first thought of filling it with sound. This evolved into the idea of a mute marching band, frozen breathlessly in limbo. Perpetual Canon is a musical term that means repeating a phrase over and over again. The old instruments had experienced thousands of breaths circulating through them in their lifetime. They had their last breath squeezed out of them when they were squashed flat. Suspended pointing upwards around a central light bulb, their shadows march around the walls. This shadow performance replaces the cacophonous sound of their flattened hosts. Viewers and their shadows stand in for the absent players.

Perpetual canon (2004) by Cornelia Parker © Cornelia Parker (Photo by the author)

The ghosts of music past. I was really taken by the idea that the shadows of us, the visitors, stand in for the long-dead players of these instruments.

Thirty Pieces of Silver (1988 to 1989)

Tate own this piece. In Tate’s words:

‘Thirty Pieces of Silver’ comprises over a thousand flattened silver objects, including plates, spoons, candlesticks, trophies, cigarette cases, teapots and trombones. All the objects were ceremoniously crushed by a steamroller at Cornelia Parker’s request. She then arranged the transformed silver artefacts into thirty disc-shaped groups, which are suspended about a foot from the floor by hundreds of fine wires. Each ‘disc’ is approximately ninety centimetres in diameter and they are always hung in orderly rows, although their overall configuration is adapted each time to the space in which the work is displayed. The title refers to the biblical story of how the apostle Judas Iscariot betrayed Jesus in return for thirty pieces of silver.

And in Parker’s own words:

Drawn to broken things, I decided it was time to give in to my destructive urges on an epic scale. I collected as much silver plate as I could from car-boot sales, markets and auctions. Friends even donated their wedding presents. All these objects, with their various histories, shared the same fate: they were all robbed of their third dimension on the same day, on the same dusty road, by a steamroller. I took the fragments and assembled them into thirty separate pools. Every piece was suspended to hover a few inches above the ground, resurrecting the objects and replacing their lost volume. Inspired by my childhood love of the cartoon ‘deaths’ of Roadrunner or Tom and Jerry, I thought I was abandoning the traditional seriousness of sculptural technique. But perhaps there was another unconscious reason for my need to squash things. My home in east London was due to be demolished to make way for the M11 link road. The sense of anxiety lingers even now.

‘Thirty Pieces of Silver’ by Cornelia Parker (1988 to1989) © Cornelia Parker (Photo by the author)

Newer works

‘War Room’ (2015)

The biggest thing in the show is a big long room entirely lined with red paper with holes in, titled ‘War Room’, from 2015. As usual, you need to read the wall label to understand what this is about.

‘War Room’ by Cornelia Parker (2015) © Cornelia Parker (Photo by the author)

In Parker’s own words:

I was invited to make a piece of work about the First World War. I had always wanted to go to the poppy factory in Richmond, London. Artificial poppies have been made there since 1922. They are sold to raise for money for ex-military personnel and their families. When I visited the factory, I saw this machine that had rolls of red paper with perforations where the poppies had been punched out. The fact that the poppies are absent is poignant, because obviously a lot of people didn’t come back from the First World War, and other wars since. In this room there’s something like 300,000 holes, and there’s many more lives lost than that. I decided to make War Room like a tent, suspending the material like fabric. It’s based on the magnificent tent which Henry VIII had made for a peace summit with the French king in 1520, known as the Field of the Cloth of Gold. About a year later they were at war again.

The story, the anecdote, is, as usual, interesting but the resulting work less so.. You walk in, you walk round, you walk out. Meh. A slightly shimmery effect is created by having two layers of hole-y red paper hanging everywhere but…this is a minimal effect.

‘Magna Carta (An Embroidery)’ (2015)

One work dominates the penultimate room. It is an enormous, thirteen-metre long, hand-sewn embroidery of the Wikipedia page about Magna Carta.

‘Magna Carta (An Embroidery)’ by Cornelia Parker (2015) © Cornelia Parker (Photo by the author)

It is a collaborative work which involved over 200 volunteers including public figures, human rights lawyers, politicians and prisoners. On the wall is a list of the worthies who signed up to be involved, an entertaining list of the usual suspects: media-friendly left-of-centre politicians (Tom Watson, 55), actors, psychotherapists (Susie Orbach, 75), academics (Germaine Greer, 83), other high profile artists (Antony Gormley, 72), writers (Jeanette Winterson, 63, Philip Pullman, 75) and so on.

What struck me was how old all these people are. Our generation is declining, now, Cornelia. We’ve trashed the planet, wrecked the economy and degraded the political system for our children: best to withdraw tactfully and not keep on shouting and marching and trying to dominate everything. We’ve had our time. Over to a younger generation and hope they can do better.

The videos

There are two rooms featuring 7 or 8 art videos running consecutively. The best thing in the first room is a new six-minute video titled ‘FLAG 2022’ and made specially for this exhibition. Very entertainingly this shows the creation of a Union Jack by seamstresses in a factory only run backwards – so we see the British flag being systematically unsown and unstitched. It’s accompanied by a straight orchestral rendition of the hymn Jerusalem. Shame. It would have been funnier if Jerusalem had been played backwards, too – but maybe that would be a bit too 1960s, too much like the old avant-garde.

The second film room is about America. Oh dear. That far away country of which we hear so little, which is so rarely in the news, whose cultural products we so rarely get to see. This room contains:

  • One film which Parker shot at the annual Halloween Parade in New York, that city we so rarely hear about. Personally, I’d have though New York has enough artists of its own to do this kind of thing.
  • Another film showing supporters of Donald Trump milling about in New York outside Trump Tower sometime during his election campaign. I don’t know whether you’ve heard of Donald Trump? He was quite big in America, apparently.

Frankly, these films are a let-down. It’s disappointing to see Parker genuflecting to God’s Own Country – as if New York or America need the slightest bit more coverage or publicity than the saturation exposure they already enjoy in the British media, TV, radio, films, academia, all across the internet and the toxic marshes of social media. There are other countries in the world, you know.

I’d like to have shared FLAG or any of the others in t his review, but I can’t find any of them on the internet.

Politics

From here onwards – in the second half of the exhibition – politics emerges as an increasingly dominant theme.

As well as the flag movie, the British film room includes a film made in the empty chamber of the House of Commons in 2018 using a camera attached to a drone, titled ‘Left Right and Centre’. Not only did they make this film, but they made a film about the making of the film, in which I caught Parker telling us how damn difficult it was to make because of health and safety, fire risk assessment etc. When artists start to think they are heroes…

I thought the result was very underwhelming. The drone hovered over the table you see in front of the Speaker of the House’s chair, set between the two front benches, which usually has the Mace on it – except in this film it had been covered with copies of England’s daily papers, which fluttered in the downdraft of the drone’s little rotors.

As with Donald Trump, I am sick to death of Parliament, the succession of incompetent politicians we have had leading our nation for the past 12 years, and the corrupt newspapers which lie and distort in order to keep the ruling party in power. Watching a 10-minute film on the wretched subject of contemporary British politics went a long way to destroying the happy, creative, open impression inspired by the first half of the exhibition.

In 2017 Parker was the first woman to be appointed official artist for the General Election. In this role, she observed the election campaign leading up to the 8 June vote, meeting with politicians, campaigners and voters and producing artworks in response. She made several films during this period including the aforementioned drone movie, and one titled ‘Election Abstract 2018’, a documentation of Parker’s observations during the campaign, posted on her Instagram account.

None of this, to my mind, is as funny or inventive as flattening a load of silverware with a steamroller, or displaying a little pile of incinerated cocaine, or soaking sheets in white cliff chalk, or taking a mould of Bunhill pavement. It just looks and sounds like the news, with little or no inventiveness and no particular insight. British politicians are idiots. Our newspapers are studies in bias and lies. So what’s new?

My heart sank even further when I read that another of her films is titled ‘Chomskian Abstract 2007’ and is an interview with the American social critic and philosopher Noam Chomsky, apparently about ‘the entwined relationship between ecological disaster and capitalism’.

Oh dear God. It’s not that Chomsky’s wrong or that hyper-capitalism driven on by American corporations and banks is not destroying the planet; it’s just that he is such a bleeding obvious choice for Great Man of the Left to interview. And so very, very, very old (born in 1928, Noam Chomsky turns 93 this year).

Is this the best Parker can do in the field of ‘radical’ or oppositional politics – interview a 93-year-old? It’s like waking up one morning and deciding you need to make a film about the environment and, after careful consideration, deciding you’d like to interview David Attenborough (aged 96) on the subject. Topics, and interviewees, don’t come more crashingly obvious than this.

Each year thousands and thousands of students in Britain graduate from international studies, politics or environmental courses. It would have been so much more interesting to interview the young, the future generation, and get their point of view rather than the done-to-death, decrepit old.

And he’s another Yank for God’s sake. What is it with the British cultural establishment and their cringing obeisance to American culture, artists, film-makers, politicians and intellectuals. Of the 200 contributors to the Magna Carta embroidery, in their summary of the show the curators single out just two – Wikipedia founder Jimmy Wales (who stitched ‘user’s manual’ into the embroidery) and Edward Snowden (who stitched the word ‘Liberty’).

Notice anything about them? Yes, they’re both American. Americans just seem carry more weight with Britain’s art establishment. They have a little more human value than mere Brits like you and me. More pizzazz, more glamour.

Lastly, what has Chomsky actually changed in his 50-odd years of railing against the American government and global capitalism? Nothing. Come to that, what good does getting 200 media-friendly worthies to contribute bits to a 13-metre-long embroidery achieve? Nothing. It’s a feel-good exercise for everyone involved and maybe it makes some of the gallery visitors feel warm and fuzzy and virtuous, too. Which is nice, but…

But meanwhile, out in the real world, Liz Truss and Kwasi Kwarteng are destroying the economy, ruining Britain’s standing in the financial world, and declaring war on the poor, the unwell, the vulnerable, even trashing support among their own middle-class, mortgage-paying supporters, in a zombie march of ideologues divorced from reality.

Flying a drone round the House of Commons or stitching a room-length embroidery are not only feeble responses to the world we live in but, worse, I found them imaginatively limiting and cramped. If you’re going to tackle the terrible world of contemporary politics, at least do it with some style and imagination. Old newspaper photos of Theresa May or Jeremy Corbyn didn’t take me anywhere new – unlike the pile of silver shavings or a cast of Bunhill pavement or most of the pieces in the first half of the show, which opened magic doors in my mind.

Maybe Parker should stick to what she does best – blowing things up. Guy Fawkes Night is coming. Just a thought…


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