Shoot The Ruddy Sods

Following recent posts about the cats with a bank account and the survivor of the Titanic disaster, I have been browsing further through the BBC archive. This 7-minute gem from 1973, from the Nationwide reporter Bernard Falk, would not have looked out of place in an episode of Monty Python’s Flying Circus. It is about the god-forsaken East Yorkshire seaside resort of Hornsea, and a controversy about a proposed nudist beach that had the locals spitting venom: 

“It’s objectionable. All this sex and every wretched thing, more and more of it.”

“I’m telling you it will attract the wrong class of person ... The hooliganism ... Drinking and everything else. ... You’ll get all the scoundrels out of hell coming ... all the riff-raff out of Hull, Leeds and all over ... And they’ll be breaking in ... And crime.”

“What difference does it make covering their private parts up to their health? I ask you that much. Not the slightest.”

“I don’t think children should be watching people in the nude. This is a family resort. ... Why don’t they find themselves a little plot, fence it in, and cavort about to their hearts’ content?” 

“I don’t think I’d like to meet a party of nudists.

https://www.youtube.com/watch?v=uZWHVpB21ec

Good East Riding folk like these were in abundance where I grew up, less than forty miles from Hornsea. I sometimes went to a friend’s caravan there, and in the nineteen-thirties my great-grandfather’s cousin owned a newspaper shop in the town. They could be my distant relatives. However, as you may know, Yorkshire Pudding’s formative years were spent not a beach pebble’s throw from the place. Could that man in the Fedora be his dad? 

The Carnival Is Over

Yorkshire Square Eight

My last post created some nostalgia for village community life, now remembered only vaguely. Little remained beyond the nineteen-fifties. Much of what we know is second-hand. 

I could have said so much more. Pre-television, pre-car-ownership, pre-eating out, pre-foreign holidays, people created their own entertainment. There were dances, a drama group, a music and opera society, and sports teams. 

I remember the annual fairs on the village green, which my grandma oddly called the village “Fe-ast”, when parts of larger fairs stopped off on their travels around the country, possibly on the way to Hull Fair. The loud piping of fairground organs, the ring of slot machines, the smell of saucy hot dogs, the colour and blur of the rides, the force of bumping cars (dodgems), swings, roundabouts, rifles with rigged sights, brightly coloured wooden ducks swirling through torrents of water, excited voices, all above the hum of diesel generators, still take me back there, to the age of six or seven. 

Then there were the village carnivals, maybe not every year, fading away by my day. So much time, energy, organisation and creativity went into them. There was real talent in the village. The costumes were particularly impressive. 

The 1937 carnival programme named more than 150 participants, mainly children. Proceedings opened with a procession of Heralds, The Lord Chamberlain, the Crown bearer, Standard bearers and Pages, and the crowning of the May Queen. The Queen was presented with a bouquet, and her Courtiers and Maids of Honour received representatives of Britannia, England, Ireland, Scotland, Wales and Peace. 

The main proceedings consisted of children’s dances. There was a Yorkshire Square Eight, Butterfly dancers, Milkmaids and Boy Blues, Spring Flower dancers, a nursery rhyme medley, Indians and Palefaces, Fairies and Elves, Sailors hornpipe and signals, and Jockeys. There were two maypole dances, the first creating a single plait and gypsy tent, the second a double plait, spider’s web and barber’s pole. Later there were larger group dances: a Circassian Circle and a “Mage on a Cree”. The day ended with a march led by the Queen, her Court and a band of toy soldiers. No doubt there were other adult activities well into the evening. I don’t have the pages naming the organisers. Nor do I know how the music was provided, or who designed and made the costumes. 

The programme lists the names of my mother, her brother and sister, and many of her “cousins” and friends. She danced in the Yorkshire Square Eight (above, top row, left). Her cousin, Jean, is in front of her. Jean would later lose a son in an awful railway accident. Another cousin, Alfie, is third from the right on the top row. Her friend, Kitty, is fourth from the right on the bottom row. I went with my mother to watch the Coronation on their television. 

Mother’s brother was an elf (below, top row, third from left). Her sister was a milkmaid (second picture below, top row, fourth from left). Her sister was the only one of four siblings to live to a good age. Other cousins and relatives appear in these pictures, too. 

Fairies and Elves

Milkmaids and Boy Blues

What does any of it matter now? The kids aren’t bothered. And those earlier children were soon to be shaken from their idyll, violently thrown into today’s world of conflict and events in far away lands. My uncle, the little boy in the elf outfit, died overseas on National Service in a tragic air force accident at only twenty-three. I can just remember him. He was clever; a plumber. He would have done well in the building boom. His widow, astonished that after sixty-five years without contact I still called her “Aunty R”, told me how she had arrived back on the bus from work to be told the awful news by my grandfather. My poor grandfather, who had lost all his own siblings when young, and now a son. And his own father would have told him how he was only one of two out of eleven to live beyond their thirties, their names and dates recorded carefully in the family bible. It was all so long ago. It’s just nostalgia.  

The Village

Village Dance Class, 1930s.
My mother (top, 3rd from right) is one of four “cousins” in the picture.
She would have been 100 years old today.

“It was a lovely place to grow up”, said Aunty Olga the last time we spoke. “The best anyone could want”. She talked of a High Street with no motor vehicles to stop you playing in the road, all the relations living nearby, and how everyone knew each other and were friends. There were shops with all you could want, and clubs and groups and things to do. The buses ran late so you could get back from the pictures in town. “Not like now”. 

“Aunty” Olga. We called them all “Aunty” or “Uncle", or if they were the same age as us “cousins”, no matter whether they were really great aunts, great uncles, second cousins, half-cousins, cousins once removed, or some other combination. It was simpler. There were loads of them. “Your mother was more of a sister than a cousin to me”, Aunty Olga said. 

I caught it right at the end, and don’t doubt her. I fetched milk from the farm dairy and talked to the pig in the butcher’s sty. I bought pop from the sweet shop, chips from the fish shop, rolls of gun caps for my cowboy pistol and foreign stamps for my collection near The Green. I marvelled at the old village water pump near the church and walked on my own the three-quarters of a mile along the river bank to my aunt’s smallholding at the ferry houses. I knew the local names that appeared on few maps: Gander’ill; Cock’orner; Cuckoo Park. 

A walk down the High Street with my grandma meant talking to everyone we passed. 

“Who was that?”  
“My cousin.”  
“And who was that?” 
“He’s my cousin too.” 

“How many cousins have you got?” 

I’d wish I’d not asked. 

“Well, there was Aunty Bina who had Blanche, Tom, Gladys, Lena, Olga, Fred, Ena, Dolly, Albert and Jack. She brought up our Jean as well, although her mother was really Ena. They had fish and chip shops all over.”

“Then there was Aunty Annie who married Uncle George, and had Mary, Fred, and Bessie.” She pointed to ‘M, F, and B’, scratched long ago into the bricks of number 88 (still visible today). 

“Do you mean Aunty Mary?” I asked. Aunty Mary had the prettiest face I’d ever seen. 

If Grandma was in the mood, she would go on to list the millions of children of uncles Fred, Bill and Horner, who had moved away to run a paper mill in Lancashire.  

All were prefixed “our”: our Fred, our Bessie, and our Mary. Aunty Olga’s children were our Linda, our Sandra, and our Gillian. It distinguished them from Aunts and Uncles who were not relatives at all, such as Aunty Annie ’agyard (3 syllables). What funny names some had. 

And that was only one of Grandma’s sides. The other was worse. 

Even more confusing, my mother’s Great Aunty Bina was married to my dad’s grandpa’s cousin, which meant I was doubly related to Blanche, Tom, Gladys, and the rest. 

I heard it so often I could recite it to my wife decades later: “Blanche, Gladys, Ena, Lena, Gina, Dolly, Molly, Mary, Bessie, Ella, Olga, Linda...”

“They sound like a herd of Uncle Bill’s cows,” she said. 

Uncle Bill (don’t ask), was from across the river and had married into the family. He said that if the Blue Line bus had not started running through the village, they would have all been imbeciles because of inbreeding. 

I went less and less as I grew into my teens, not realising it was coming to an end. It would never be the same again.  

Wainwright’s Mardale Green

Rosemary (Share My Garden) wrote about her visit to Tyneham, a village in Dorset abandoned in the Second World War because it was in an area needed for military training. The residents never returned.

She also remembered, as a child, picking gooseberries in the garden of a house in a village abandoned to the rising waters of a new reservoir.

Mardale Green

It reminded me of a passage in ‘Fellwalking With Wainwright’, which has haunted me since I bought the book in 1985. I think of it often. Oh to be able to write like Wainwright. 

I will never go to Mardale Head now without thinking of a summer’s day more than forty years ago when I walked over Gatescarth Pass and saw the valley of Mardale for the first time. It was a lovely vista. The floor of the dale was a fresh green strath shadowed by fine trees and deeply inurned between shaggy heights; beyond, receding in the distance, was Haweswater, then a natural lake. It was a peaceful scene, the seclusion of the valley being emphasised by its surround of rough mountains. Mardale was a bright jewel in the dark crown .... I remember that day so well. Many early memories have faded, but not that one. Down in the valley, I went along the lane to the Dun Bull between walls splashed with lichens and draped with ivy. There was no welcome for me at the inn, which for centuries had been a meeting place for farmers and shepherds and the scene of many festive gatherings. It was empty, unoccupied. Around the corner was the small church amongst fine yews: it was a ghostly shell, the interior having been dismantled and the bodies in the graveyard exhumed and reburied elsewhere. The nearby vicarage and a few cottages were deserted and abandoned. This was the hamlet of Mardale Green, delightfully situated in the lee of a wooded hill, but now under sentence of death. Birds trittered in the trees and my footsteps echoed as I walked along the lane but there was no other sound, no sign of life. Even the sheep had gone. There were wild roses in fragrant hedgerows, foxgloves and harebells and wood anemones and primroses in the fields and under the trees, all cheerfully enjoying the warmth and sunshine; but there would be no other summers for them: they were doomed ... Manchester Corporation had taken over the valley and built a great dam. The lake would be submerged beneath a new water level a hundred feet higher. Already the impounded waters were creeping up the valley. Soon the hamlet of Mardale Green would be drowned: the church, the inn, the cottages, and the flowers, would all disappear, sunk without trace, and its history and traditions be forgotten. The flood was coming and it would fill the valley. Nature’s plan for Mardale would be over-rules. Manchester had other plans, to transform Mardale into a great Haweswater Reservoir. And no doubt be very proud of their achievement ... I climbed out of the valley to Kidsty Pike. Looking back at Mardale Green from a distance, its buildings no longer seeming forlorn but cosily encompassed by trees and its silent pastures dappled by sunlight, I thought I had never seen a more beautiful picture. Nor a sadder one.

The Eccentric Great Aunt: the Painter

Imagine you received an annuity at a young age, never had to work, and had enough to fund your activities within reason. How would you spend your time? 

Waterfall

Soon after the death of her first husband, my wife’s great-grandmother married a wealthy bachelor who, although himself a translator rather than a writer, was very well-connected in London literary circles. His friends and house guests included Maxim Gorky, H. G. Wells, George Bernard Shaw, Thomas Hardy, and Joseph Conrad. The couple holidayed in Rome, Athens and Egypt in the nineteen-twenties and -thirties. 

Great-Grandma had a fifteen-year-old daughter still at home. The new husband looked after her generously, as if she were his own, funding her through Chelsea School of Art and presenting her as a debutante at the Court of King George V. 

The daughter never married, continuing to live at home through the twenties and thirties, accompanying her mother and step-father abroad. She looked after her ageing mother after her step-father died, and was eventually left on her own. She is remembered as my wife’s eccentric great-aunt who lived a rather disorganized life in Oxford, where she was part of the art scene. I met her only once when she was in her eighties. She was tall and ungainly, very upper crust, and absolutely terrifying.

Her life was spent travelling and painting. Her travel list is long and impressive, especially considering the years in which they occurred: Bavaria and Sicily in 1928, Egypt in 1932, Malta in 1939, Mauritius and South Africa in 1950, San Francisco in 1962, India in 1969, Persia and Singapore in 1970, Burma and Malaya in 1973, China in 1978, Mexico in 1982 ... this is just a small sample. It made for a wealth of entertaining stories.

She was not well-known, but exhibited in London, mostly at the Brook Street Art Gallery, and a few times at the Royal Academy and the Royal Society of British Artists. 

Was she any good? You tell me. To me she was rather a messy artist with a distinctive, quirky style. Some of her pictures hang in our house, and we have some of her sketchbooks and colour slides. She had two main kinds of subject: exotic images of birds, animals and nature; and her travels, into which her quirky exoticism spilled. However, she may not have been all that original. Image searches reveal other paintings in a similar style.

Does it matter? Probably not. If we spend our time doing what we want, being creative as best we can, and are satisfied with the result, then what more could we ask? Isn’t that what we do on Blogger?

Pictures 2 and 4 are hard to photograph in their frames. 

Enkhuizen

Bali Dancers

Flamingos

Do Elephants Get Seasick?

Although not a mariner, I imagine that if you want to sail a ship across the North Sea from the Humber to the Elbe, from Hull to Hamburg, you set the satnav, and the autopilot and diesel engines do much of the rest.

It was not always so. Until maybe 50 years ago, you left the Humber on a compass bearing, made adjustments for the wind and tides, and hoped you ended up in the right place fifteen to twenty hours later. In winter, at night, in bad weather, it was not for the faint hearted. Lives were lost. What a risky venture it seemed.  

A while ago, in a post about family photograph albums, I showed a picture of my great grandfather as a newly qualified master mariner. He first went to sea on a ketch at the age of 13, carrying bathroom ware from Leeds to London and returning with broken glass. Later, he spent two years on a brigantine trading to South America, once sailing 900 miles up the Amazon to Manaus. But he always said that if a man can sail the North Sea, he can sail anywhere in the world. And sailing the North Sea is what he did for many years, as captain of ships from Goole in Yorkshire, Britain’s most inland port. Frequent destinations were Jersey, Ghent, Antwerp, Rotterdam and Hamburg.

We still have some of his log books. Here is an account of a voyage from Goole to Hamburg on the 1,116 tonnne steamship Aire during the nineteen-thirties. The ship had a total crew of around 25.  

They left Goole Victoria Lock at 8 p.m. on a Saturday evening, and sailed out into the River Ouse. It may seem a strange time to leave, but it depended on the tides. “We would be off to sea  while the ship owners were dressed up singing psalms at chapel.” The ship’s crew, even the officers, were expected to touch their caps to the local landowner, Colonel Saltmarshe, if he was out in his grounds near the river as they sailed past. If not, he would complain that the ship had been travelling too fast and washing away the river banks, and the captain would have to appear before the shipping company Directors like a naughty schoolboy.

In a strong Westerly wind, but with good visibility between showers, it took four hours to reach the Bull Sands lightship off Spurn Point at the mouth of the Humber. Two and a half hours later, they passed the Outer Dowsing light vessel, moored in the shallow waters off the Lincolnshire coast (today the site of a proposed offshore wind farm). It was now 2.30 in the morning, with a strong westerly gale and heavy following sea, and there would be no further navigation aids until the Frisian islands some fifteen hours away. They set a course almost due East, and sailed on.

At 7.30 on Sunday morning, they sighted sister-ship the S.S. Blyth returning from Hamburg in the opposite direction. There had originally been three sister-ships, the third being the Calder which had foundered in bad weather on the same route in 1931, with the loss of all 26 men.  

Nothing more is logged until Borkum island light house off the Frisian coast near the Dutch-German border, which they sighted at 5.30 in the afternoon. Sometimes they would miss it, and have to look for the next sightings at Norderney or even Cuxhaven, eight hours further on. At Cuxhaven, they took on a pilot to take them into the Elbe estuary. It was now 1.30 on Monday morning. At Brunsbittel the estuary pilot made way for a river pilot, and they proceeded up the Elbe to Hamburg, mooring at No. 9 berth just before 6 a.m.  

The main cargo is not recorded, other than that it was sent by Rafferty and Watson of Sheffield. It was probably coal from the Yorkshire coal fields, the export of coal being the reason the port of Goole and its adjoining canal were built.

Also on board were three saloon passengers, three deck passenders, a horse, a dog and four elephants. Do elephants get seasick?

Presumably, the passengers and animals disembarked on arrival, but it was not until 48 hours later, at 6 a.m. on Wednesday morning, that the ship moved to the Altona wharf to discharge the final 675 tons, after which it moved back to berth No. 8. 

The return voyage began at 6.25 p.m. on Friday evening, carrying 275 tons of cargo and one alien passenger. They had a clear run down the river in good visibility, passing Borkum at 9.40 on Saturday morning and reaching the Bull lightship at 6.15 a.m. on Sunday. 

As usual, they moored briefly at Hull to discharge some of the cargo. Sometimes, my great grandmother or other family members would take the train to Hull and sail back up river on the ship. My dad did this a few times when young. My grandfather, as a boy, even went on trips overseas, on one occasion being gently pushed back into the cabin on becoming excited at the sight of foreign troops on the quayside at Rotterdam. “Look, Dad, Boers,” was not a sensible thing to shout in 1903.

On the current trip, vessels for Goole were held up at Hull by fog, and missed the tide, but they eventually arrived at 4.30 on the Monday morning, and docked three quarters of an hour later. They had been away for 9 days.

Click on maps to enlarge

Pals

New Month Old Post: 1st posted 19th February 2019 

This is Bill and Jack. They had this postcard of themselves made from two separate photographs during the nineteen-thirties. They look like a well-turned-out American songwriting duo: Rogers and Hart or Gershwin and Gershwin, perhaps. Why they had it  made, or how they used it, I have no idea. 

Bill, on the left, was my grandma’s brother. He remained at home with his parents into his thirties. Jack lived with them. Jack was undoubtedly the livelier of the pair, and Bill, rather his sidekick. In the makeshift pre-war census known as the 1939 Register, Jack is constantly on the go as a window cleaner, transport driver and police despatch rider. Bill is simply a general labourer in a paper mill. People remembered a sign on the gate: “Let Jack Do It”. When Jack played in the village football team, Bill had only a supporting role as treasurer. When Jack played drums in a nineteen-thirties dance band, Bill would sit on stage next to him, even though, as someone remembered, “he did not have a musical bone in his body”.

Bill died aged 33. It may have been linked to smoking. My grandma gave me a box of around 40 complete nineteen-thirties cigarette card sets, which I believe had been collected by Bill.  

Jack had Bill buried in one half of a double grave with a single stone surround. He reserved the other half for himself, and had his name inscribed on the vacant plot with the dates to be added later. The stone surround was divided by a small marker bearing the word “Pals”.

I know what many may be thinking, something that would never have been thought in an out-of-the-way, self-contained, nineteen-thirties Yorkshire village. Again, I don’t know, but two years after Bill’s death, Jack got married. It was during the war, somewhere in the Midlands. Jack was thirty-nine and his wife, twenty-two. They returned to Yorkshire and had several children. The names and dates of both Jack and his wife are now inscribed on the once vacant half of the double grave.

Although I never met Bill, I have two memories of Jack. The first was at my grandma’s house when I was no more than four or five. Jack was smoking heavily, talking in a loud voice, agitated about something. Every other word was “bloody”: “bloody” this, “bloody” that, with the occasional “bugger” thrown in. He spat out the words with the cigarette smoke, jerking and shaking his head, making his whole face wobble in emphasis of all he said. I don’t know what it was about but he seemed entirely unconcerned that a young child was watching and listening.

The second time was at a football match seven or eight years later. He was Secretary of the local amateur league for teams such as Thorne Colliery and the railwaymen, pub teams like the Victoria and the Buchanan, village teams including Pollington, Eastrington and Swinefleet, and even a team of Methodists. It was Jack’s duty to present the cup to the winning finalists. All gathered around for the ceremony. I wondered what I was about to hear. Jack made a short speech. His face still wobbled in emphasis of all he said, but he did it without saying “bloody” or “bugger” even once.

Panora

This is my dad’s school Panora photograph from the nineteen-thirties. Its length makes it difficult to show. The firm, Panora Limited, specialized in school and college groups and was founded in Clerkenwell in 1916. Groups sat in a semi-circle, the camera panned round, and the picture was printed to make it look as if the whole school has been sitting in a long straight line.

Dad always imagined that when we eventually came to clear out his house, all his things would be dumped in a large skip on the drive with the Panora picture smashed on top. But it’s not. It’s on the wall in our office.

I recognise a few of the teachers: the new headmaster on the second row from the front behind the gap between the seated boys and girls, and the young English mistress five places to his right. Both remained at the school until they retired during my time there. I can name some of the other teachers too from staff and class photographs taken shortly before I went, such as the man with facial injury from the First World War, and my dad’s form teacher. How privileged to be a grammar school teacher prior to around 1960, esteemed, unhassled and reasonably well-paid.

And here is Dad. He’s the serious-looking one on the left of the middle row in this small group (from near the top-right of the main picture).  

You may notice he is standing with one shoulder higher than the other. That’s because he had a short leg caused by poliomyelitis contracted as a toddler just after he had learned to walk. He had to learn to walk a second time. The boy who lived two doors along the street caught it first, and the infection is thought to have spread along the drains of the outdoor toilets. My dad had to wear a leg-iron for several years and had an awfully thin leg for the rest of his life. It didn’t stop him walking a lot, but it did eventually do for him because he broke it in a fall at home, ended up in hospital, and died of respiratory failure in his eighties.

On the other hand, it may considerably have prolonged his life, and nor might I be here. It made him unfit for war service, so he spent the Second World War on his Velocette motorcycle as an air raid patrol messenger. In contrast, his friend, Arthur Mann, who is next-but-one at the other end of the middle row wearing glasses, became a pilot officer on bombers in the Royal Air Force.

My dad went for a drink with Arthur whilst he was on leave, just before he was due to return to his squadron at the end of November, 1943. “I could see in his eyes he didn’t want to go back, and how frightened he was,” Dad told me many years later. A few days later, Arthur and his aeroplane were lost over Germany.

Rawcliffe War Memorial. Arthur Mann is on the 1939-1945 panel.
I know about many of the other names too. The stupidity of war.

From the Commonwealth War Graves Commission and other records, I can see that Pilot Office Arthur Mann, son of Arthur and Annie Mann of 30 High Street, Rawcliffe, Yorkshire, 207th Squadron of the Royal Air Force Volunteer Reserve, died aged 23 on the 2nd December, 1943. He had been in the R.A.F. for three years, having trained in Canada. He had been a qualified pilot for about fifteen months, and taken part in ten raids over Germany as Captain of an Avro Lancaster Bomber. The squadron had recently moved to R.A.F. Spilsby in Lincolnshire.

Earlier, from his village school, Arthur had won a County Minor Scholarship to the Grammar School and then joined the clerical staff of the Electricity Board. He had played for Rawcliffe Cricket Club, and as outside right for Rawcliffe United Football Club. He is commemorated in Berlin 1939-1945 War Cemetery and on Rawcliffe War Memorial.

Lancaster 1 ED601 took off 16.37 on 2nd December, 1943, from RAF Spilsby. Crashed near Saalow 6km NW of Zossen. Crew of 7: Flying Officer Harry Frederick Charles Bonner, Sergeant Frederick Lloyd Brisco (Canadian), Flying Officer Edward Vincent Harley, Pilot Officer Arthur Mann, Sergeant Sydney Martin, Sergeant Norman Farrar Petty and Sergeant Alfred Sugden Rushby.

Strange Conversation

Noted down at the time as part of a discussion about how lucky we are to have food.

Me: Grandpa (i.e. my father) said that when he was younger, if you were eating an apple in the street then children would come up to you and ask “Can I have your apple core Mister?”

Daughter aged 5: Why? Weren’t you allowed to eat apples inside?

Me: Yes, but if you ate them inside the children wouldn’t see you eating them.

Daughter: They could have looked in through the window.

George Orwell: The Road to Wigan Pier

George Orwell (Eric Arthur Blair):
The Road to Wigan Pier (4*)

This is very much a book of two halves.

It begins with Orwell’s account of the terrible living conditions in the industrial north of England during the nineteen-thirties. He writes first-hand after staying in lodging-houses, and living with miners and the unemployed in Wigan, Barnsley and Sheffield. I enjoyed this half of the book enormously, mainly because I can relate to it. Parts remind me how things still were in the fifties. Even in the seventies, echoes of the thirties were still around, despite much having improved by then. 

The second half advocates socialism as a means of improving these conditions. “Why aren’t we all socialists?” Orwell asks. It is interesting and clearly-argued, but I struggled to get to the end. It is not what I wanted to read (which has nothing to do with any political leanings I might have). I’ll say little more about this part other than to suggest that gains in living standards after the war were due to socialist policies.

Here are some of the things that struck me (page numbers may be inaccurate as I was using a Kindle).

Orwell writes of the thousands of ‘back to back’ terraces (they had no back doors because other houses adjoined the rear) “… which are all of a condemned type but will remain standing for decades.” (p48). They did. I lived in them in the Brudenell and Royal Park area of Leeds in the nineteen-seventies. Most had by then been modernised with damp courses and bathrooms, but not all. Across the road, we used to see inhabitants walking out in their pyjamas to the communal lavatories in the middle of the row. Those same houses are still there today, although the lavatories have been demolished to leave enclosures for dustbins. 

Older black and white photographs give a better idea of how dreary some of these streets were, such as this one, the communal lavatory with wooden seat in the middle:

My grandma had an earth closet as late as the nineteen-fifties, not a communal one, but it had to be shovelled out and burned.

Obviously, Orwell says a lot about class:

“… the real secret of class distinctions in the West … why [even a bourgeois Communist] cannot think of a working man as his equal. ... The lower classes smell. That was what we were taught… It is queer how seldom this is admitted.” (p119)

Remember the days before it was common to shower and wear clean clothes every day, and rub deodorant on all over? My mother used to say “clean shirt and socks every two days, clean underwear twice a week, and a bath once a week”. Many people were identifiable by their individual smell. Not all were pleasant. There was the man I tried not to sit near on the train who kept his suit in a fusty wardrobe. There was another who dried himself with a dirty towel. You could detect these things. Smokers were unmistakable. Sometimes you knew when women were having their periods. There were lots of smelly feet and armpits, or maybe poorly washed clothing. Goodness knows what their underpants must have been like. This was life in the cities as late as the nineteen-seventies.

Differences between north and south are central to the book. Staying in a dreadful lodging house above a tripe shop, several beds to the room, Orwell shares with a commercial traveller who is more used to hotels.

“He caught my eye and suddenly divined that I was a fellow-Southerner. ‘The filthy bloody bastards!’ he said feelingly. After that he packed his suitcase and… [left]”. (p13)

The unrelenting nature of working-class labour is detailed, and the enormous debt owed by those living cosseted lives to those toiling in the mines and factories:

“In a way it is even humiliating to watch coal-miners working. It raises in you a momentary doubt about your own status as an ‘intellectual’ and a superior person generally. For it is brought home to you that it is only because miners sweat their guts out that superior persons can remain superior. … all of us really owe the comparative decency of our lives to the poor drudges underground…” (p30)

So it still is in principle. We can’t all work at home on computers.

I found the first half of the book fascinating, and could go on about unemployment, the state of working-class teeth, poverty, and so on, but will end with a few more quotations (it’s easy to cut and paste from a Kindle, and the book is out of copyright):

An example of Orwell’s forthright views (it is almost worth reading the book just for these):

“One sometimes gets the impression that the mere words 'Socialism' and 'Communism' draw towards them with magnetic force every fruit-juice drinker, nudist, sandal-wearer, sex-maniac, Quaker, 'Nature Cure' quack, pacifist and feminist in England.” (p161) 

He’s nearly as entertaining as Adrian. On Yorkshiremen:

“There exists in England a curious cult of Northern snobbishness. A Yorkshireman in the South will always take care to let you know that he regards you as an inferior.” That the South is inhabited “merely by rentiers and their parasites. The Northerner has ‘grit’ … the Southerner is snobbish, effeminate and lazy…” (p101)

Too true. And one for any Sheffield bloggers that may be out there:

“Sheffield, I suppose, could justly claim to be called the ugliest town in the Old World … it contains fewer decent buildings than the average East Anglian village … And the stench! …” (p98)

 

Key to star ratings: 5*** wonderful and hope to read again, 5* wonderful, 4* enjoyed it and would recommend, 3* enjoyable/interesting, 2* didn't enjoy, 1* gave up.

Previous book reviews 

A Walk to the Post Office

Walking in the countryside, when it has purpose and destination, feels like walking in the past. It reminds me Belgium, the country road between Hugo’s, my foreign language exchange partner, and Jean-Pierre’s, a friend’s language exchange. Or the walk along the river from my grandma’s house to my aunt’s smallholding in the village where they lived; and later too, when my aunt moved to a remote farm at the end of a long lane. My grandpa used the same paths to work in the paper mill, two miles there in the morning, two miles back at night. It can’t have been much fun in bad weather. And, when there was no work, it was three miles each way by fields and river bank to the next village to claim the dole, which was every day in the nineteen-thirties. People walked everywhere. No rush. No worry. Sun, wind, rain and birdsong, you got there in the end.

About a month ago, Sue My Quiet Life in Suffolk took her camera on A Walk to the Post Office. The walk to what is currently our nearest Post Office, provided it’s not too muddy, is two-miles of true joy. Last week, we had a parcel to send, so taking a lead from Sue, I took my camera...

across a playing field

up through the woods at the far side

across two fields to the secluded hamlet in the distance, this is the first field

and this is the second – all beginning to look very dry at this time of the year (this was before last week’s rain) – it was much more green and pleasant a few weeks ago before they cut the waist-high grass. Should have brought my camera then.

through the hamlet and along the drive

leaving by steps over the wall to cut diagonally across another field where the grass was also higher until recently

to walk a short way along a country road

which we leave by another stile to cross another field – uh uh! looks like trouble – Jersey calves. They run towards us – I think they want to play human football.

Phew! Not sure whether they are heifers or bullocks. Looking back, they think they have seen us off but with a bit of panicky shouting, clapping and arm waving we got through to where we wanted. That one in the front group on the right came running round from the back like Raheem Sterling

just one more field to cross

then up a steep hill 

as we gain height we can take in the views

just a short way to go now along a busy road
 

and we’re there

Oops. Forgot to take a picture of the ice creams. 
Went back by a different path to avoid the bullocks.

C. S. Lewis: Out of the Silent Planet

C. S. Lewis
Out of the Silent Planet (3*)

Between the ages of eleven and fifteen, I read through most of the science fiction section in the local public library. It therefore puzzled me on reading The Chrysalids last month that I couldn’t remember it. Had I completely forgotten or is it one I missed? If I were to re-read something I know I did read at that age, then would I be reassured that my memory still works?

I know I read C. S. Lewis’s space trilogy. I have always been prepared for the still awaited quiz question – What are the titles? Answer: Out of the Silent Planet, Perelandra and Return to the Silent Planet. WRONG! The third one was That Hideous Strength. Well, that is not how I remember it.

I went to Faded Page and downloaded Out of the Silent Planet for Kindle. I also managed to find an image of the cover I think our library had.  

As I remembered, it is about a man called Ransom (my mother had a friend with the same surname) who is kidnapped and taken by two crooks to Mars (known as Malacandra) where he escapes and has various adventures. In particular, I was remember being struck by how he first misinterprets the appearance of an alien, and, later, how unusual human beings look when he first encounters them again.

…  it held the shell to its own middle and seemed to be pouring something… . Ransom thought with disgust that it was urinating into the shell. Then he realised that the protuberances on the creature’s belly were not genital organs at all; it was wearing … pouch-like objects, and it was adding a few drops of liquid from one of these to the water in the shell.

Almost exactly as I recall. Strange what you remember. Much later Ransom sees:

…  two creatures which he did not recognize. … They were much shorter than any animal he had yet seen on Malacandra, … bipeds, though the lower limbs were so thick and sausage-like that he hesitated to call them legs. The bodies were a little narrower at the top than at the bottom so as to be very slightly pear-shaped, and the heads were … almost square. They stumped along on heavy-looking feet which they seemed to press into the ground with unnecessary violence. And now their faces were becoming visible as masses of variegated colour fringed in some bristly, dark substance. Suddenly, with an indescribable change of feeling, he realized he was looking at men.

You cannot say C. S. Lewis lacked imagination.

Other aspects came back as I read: the spherical space ship they travel in, that Malacandrans, like the plants and the mountains, tend to be tall and thin because of the lower gravity, that there is breathable air deep down in the canals but not on the higher plains, and that Ransom learns to speak Malacandran because he is a professor of language. Even after more than fifty years, I knew I had read it before. It reassures me that I cannot previously have read ‘The Chrysalids’.

What I did not recall is the moralistic and religious allegory. As a young teenager, I probably didn’t get it. Every planet is ruled an Oyarsa, a kind of space angel, which is ruled by an even higher being called Maledil. They all communicate with each other. However, the Oyarsa ruler of Thulcandra (the Earth) became silent aeons ago (the Silent Planet) and the planet has become a mystery to the others. The Malacandran Oyarsa is astonished to hear what Ransom  “... has to tell them about human history – of war, of slavery and prostitution.”

‘It is because they have no Oyarsa,’ said one of the pupils.
‘It is because every one of them wants to be a little Oyarsa himself’ said Augray.
‘They cannot help it … there must be rule, but how can creatures rule themselves?

The villains who kidnap Ransom are of low moral fibre: one is after the gold that lies in abundance all over Malacandra and the other is a rogue scientist seeking to ensure the long term survival and dominance of the human race without any regard for others. They regard the three species of Malacadrans as primitives, whereas Ransom values their civilisation and appreciates their different but equal talents and qualities. The author being C. S. Lewis, theologian, Fellow at Oxford and Professor at Cambridge, these ideas all have academic and theological precedents which are a mystery to me. Out of the Silent University. 

It sounds like Thought for the Day on the BBC, but it’s an entertaining story. It does not entice me to re-read the other two, though.  

Key to star ratings: 5*** wonderful and hope to read again, 5* wonderful, 4* enjoyed it a lot and would recommend, 3* enjoyable/interesting, 2* didn't enjoy, 1* gave up.

Previous book reviews 

Daphne du Maurier: Rebecca

Daphne du Maurier 

Rebecca (5*)

Last night I dreamt I went to Manderley again.

One of the best remembered and most envied openings of any English novel. Its effect seems to lie in the exotic ‘Manderley’, the question of why only in a dream, and the word ‘again’.

It was the Guardian writer, John Crace, who prompted me to read it. He regularly returns to it as if in need of emotional sustenance. He first read it during a wet week in a holiday cottage when little else of promise was available, and was hooked. Ever since, he has considered it the most underrated classic of the twentieth century.

Having read Jamaica Inn some years ago in similar circumstances and thought it all right, and being in need of emotional sustenance myself after some of the things I’ve been reading lately, I thought I would give Rebecca a try. There it was, waiting in one of our bookcases with my wife’s maiden name inside the front cover.

Until the author twists the screw in Chapter 13 it is faintly irritating. The opening leads to a dream about a beautiful house, Manderley, decayed and deserted, “with no whisper of the past about its staring walls.” (p7).  It drags on through the whole of the first chapter, all in the mind of the narrator who then flashbacks into an extremely wet and timid twenty-one year old girl with an over-active imagination. She is employed as a ladies companion by Mrs. Van Hopper, a rich, snobbish and socially predatory American woman. They are in a hotel in Monte Carlo where her employer latches on to an emotionally dead, upper class English widower, the owner of Manderley. The employer then falls ill and the widower writes the girl a note to apologise for his rudeness.

…my name was on the envelope, and spelt correctly, an unusual thing.
‘You have a very lovely and unusual name’ he tells her. (p23 and 27)

We never know what it is. Maybe it was something like Persephone or Despoina whose name could not be revealed. Could it be that Daphne du Maurier didn’t know how to spell it, either? The only thing we can say with certainty is that it is not Rebecca.

They begin to take their meals together, and, despite being twice her age, he spends most of his time driving her around in his car, sightseeing, until Mrs Van Hopper recovers and decides to dash off to New York. The girl contrives a quick meeting with the widower to say goodbye. He starts filing his nails.

‘So, Mrs Van Hopper has had enough of Monte Carlo … and now she wants to go home. So do I. She to New York and me to Manderley. Which would you prefer? You can take your choice.’

‘Don’t make a joke about it … I had better … say good-bye now.’

‘If you think I’m one of those people who try to be funny at breakfast you’re wrong … Either you go to America with Mrs. Van Hopper or you come back to Manderley with me.’

‘Do you mean you want a secretary or something?’

‘No, I’m asking you to marry me, you little fool.’ (p56)

One wonders to how many impressionable teenagers it gave the idea that this is how grown up men and women behave, the man making all the choices and the woman waiting in trepidation. It couldn’t be any more unlike that in our house.

Perhaps I am not giving due credence to the mechanisms of snobbery, prejudice, wealth and class in the nineteen-thirties when it was written. To today’s sensibilities, it reads like psychological abuse, and it continues when they return to Manderley. He goes about his business leaving her rattling around at a loose end in an enormous house. All the time she senses the spirit of the dead Rebecca, the beautiful and accomplished first wife. She feels an imposter, taking Rebecca’s place, using the things she chose, acting out her routines, and can never measure up. She is afraid of the servants, especially the sinister housekeeper, Mrs Danvers. She imagines them denigrating her frugal underwear, and dreams up whole scenes of dialogue in which the neighbours laugh and talk about her:

… they wanted to compare me to Rebecca … they thought me rude and ungracious … more to criticize, more to discuss . They could say I was ill-bred. ‘I’m not surprised,’ they would say; ‘after all, who was she?’ And then a laugh and a shrug of the shoulder. ‘My dear, don’t you know? He picked her up in Monte Carlo or somewhere; she hadn’t a penny. She was a companion to some old woman.’ More laughter, more lifting of eyebrows. (p133)

But this is not a Mills and Boon romance. Once we get to Chapters 13 and 14 where she goes noseying around Rebecca’s boat house and closed up bedroom, and Mrs. Danvers begins to reveal her true nature, nothing is quite what it seems. I will say no more.

I don’t know about emotional sustenance, but if you get that far, I wouldn’t plan on doing anything else until you’ve finished. You could get a money-back guarantee that you won’t be able to put it down. There is nothing particularly nasty or unpleasant, but it might be sensible to have a heart defibrillator handy.   

Key to star ratings: 5*** wonderful and hope to read again, 5* wonderful, 4* enjoyed it a lot and would recommend, 3* enjoyable/interesting, 2* didn't enjoy, 1* gave up.

Previous book reviews 

Buddy, Can You Spare a Dime?

I know I keep going on about the folk band we are in, but here’s a confession: I don’t really like folk music. Well, that does depend on what is meant by folk music. I am certainly no big fan of those relentless jigs and reels played at breakneck speed on fiddles and flutes without any light or shade.

One thing I am a sucker for, though, is the music of what is often called The Great American Songbook: the melodies of Irving Berlin, Jerome Kern, George Gershwin and others, written roughly between 1930 and 1950. They really knew how to get your heart. 

Next time I get chance at our Zoom folk meetings, I’m going to sneak in Brother Can You Spare a Dime on the pretext that the tune is based on a Russian-Jewish lullaby the composer’s mother had sung to him as a child. His family had fled when he was nine to escape the pogroms in what is now northern Poland.

Here is my MuseScore arrangement for guitar and bassoon. The bassoon sounds great. It sounds even better when Mrs. D. plays it for real. 

OK, I’ll shut up about MuseScore now for a couple of months.

Brother Can You Spare a Dime was composed in 1931 by Jay Gorney with lyrics by E. Y. ‘Yip’ Harburg (his middle name was Yipsel). It has been called the anthem of the Great Depression. It asks why honest Americans who served their country building railroads and skyscrapers, ploughing fields and fighting wars, “always there right on the job”, have been abandoned to the bread lines. Some saw it as anti-capitalist propaganda and tried to have it banned. Recordings by Rudy Vallée, Bing Crosby and Al Jolson were massive hits at the time and may have influenced the 1932 election of President F. D. Roosevelt and his ‘New Deal’. 

It is said that when Harburg and Gorney were writing the song they had struggled to find consistent meaning. They went for a walk in New York’s Central Park, where a destitute young man with collar up and hat down approached them and begged: “Buddy, can you spare a dime?” They looked at each other and knew they had their hook and their title. 

Bing Crosby’s version was the most successful. I prefer Rudy Vallée’s – he sticks to the tune whereas Crosby bends it slightly to his own interpretation. But then, I like lots of things by Rudy Vallée. Al Jolson, to my mind, goes too far in that it starts to become more about how dramatically he sings it. The song is supposed to be about fear, grief and anger rather than sadness and loss. We have gone from relentless jigs and reels towards weeping sentimentality, which I don’t like either. However, Jolson does not go as far as George Michael’s more recent makeover. The YouTube video of one of his live performances, in which the audience whistle and cheer every time he sings a long note, just looks and sounds wrong. It might be less unbearable in audio-only. There are well over fifty other recordings, too. 

For those who like lyrics as well as melodies, perhaps to sing as a lullaby to imbue their grandchildren with a sense of social justice, Harburg’s words are powerful and moving. I especially like the line about “Half a million boots...” This is the guy who went on to write the lyrics for The Wizard of Oz including Somewhere Over The Rainbow, who only became a lyricist after the Wall Street Crash put his electrical business into bankruptcy.  

They used to tell me I was building a dream
And so I followed the mob
When there was earth to plough or guns to bear
I was always there right on the job

They used to tell me I was building a dream
With peace and glory ahead
Why should I be standing in line
Just waiting for bread?

Once I built a railroad, I made it run
Made it race against time
Once I built a railroad, now it's done
Brother, can you spare a dime?

Once I built a tower up to the sun
Brick and rivet and lime
Once I built a tower, now it's done
Brother, can you spare a dime?

Once in khaki suits, gee we looked swell
Full of that yankee doodly dum
Half a million boots went sloggin' through hell
And I was the kid with the drum

Oh, say, don't you remember, they called me Al
It was Al all the time
Say, don't you remember, I'm your pal
Buddy, can you spare a dime?
 

In the nineteen-seventies, the New York Times invited Harburg to write more contemporary lyrics. He came up with:

Once we had a Roosevelt
Praise the Lord!
Life had meaning and hope.
Now we're stuck with Nixon, Agnew, Ford,
Brother, can you spare a rope?

Perhaps we need an update for today.

Come Lasses and Lads to Bangor

MuseScore 3.5

Coronavirus has put paid to our WEA folk ensemble class. We won’t be starting again before spring at the earliest. I say it myself but we are pretty good. That is not because of any contribution I make sitting at the back banging out chords on guitar, but because of our accomplished fiddle, flute, banjo, mandolin, accordion, concertina and bass players, and Mrs. D. who takes her bassoon.  

Before the pandemic, we played concerts and ceilidhs, and carol services at Christmas, usually for charities. The leader got us good gigs. We twice played the ceilidh at the Underneath the Stars festival. We can therefore claim to have been on the same bill as Kate Rusby, The Proclaimers and Billy Bragg. Actually, we were on at the same time as the Proclaimers but people still walked 500 yards to fall down at our door.

Will we have ceilidhs again? All that clapping together, hand-to-hand chaining and swinging your different partners means that what one person has, everyone has by the end of the night. Then there is the puffing and panting, and laughing and shouting in loud voices, so the members of the band get it as well. Then, the wind players blow it back all over the dancers and non-dancers alike to ensure that no one escapes at all. If I was a coronavirus I would love ceilidhs.

So gigs and practice are off. Since March we have been meeting through Zoom. The problem with that is that the sound from different participants does not synchronise, and there are also volume discrepancies and other issues, so we cannot play all together. 

Zoom meetings are therefore divided into sections. We have a ‘Tune of the Week’ where someone introduces a new piece and plays it, and then we all play it again with everyone muted except the person whose tune it is. We have a ‘YouTube Clip of the Week’ which someone selects and introduces. We have a section where someone plays a new tune several times and the rest of us have to try to pick it up without any clues, even as to which key it is in, which is quite difficult. We have guest players: Northumbrian pipes and the hurdy-gurdy being amongst the most unusual things we’ve had. And we discuss everything.

A few weeks ago, I was ‘Tune of the Week’. Out came the nineteen-thirties News Chronicle Song Book (the topic of a recent post) and it fell open at the seventeenth century English air Come Lasses and Lads. So that it was. I played it through a few times to make sure I could, but then, overnight in my head, it transformed itself into Day Trip to Bangor, the one-hit wonder for Fiddler’s Dram in 1979. The two tunes are rather similar in places.  

We share music scores through MuseScore (pictured above), an amazing piece of software, especially as it is free. It does almost everything you could want, including scores for multiple instruments, chords, transpositions, different key and time signatures, and so on. It will also play them. But it is quite complex (because music is complex) and takes time to learn (although it is not the most difficult software I have used – 3D imaging is a level above.)

I put Come Lasses and Lads note-by-note into MuseScore (the free version does not yet do sheet music capture). I plucked out a bass line from the piano chord accompaniment and added and arranged Day Trip to Bangor by ear. Here to give everyone a severe dose of the rum-tee-tum-tees – the musical equivalent of coronavirus – is Come Lasses and Lads to Bangor, played by MuseScore, voiced for guitar and bassoon, with default piano chord accompaniment. 

Of course, at the Zoom meeting Mrs. D. and I had to play it ourselves. Let’s just say we got away with it. 

A couple of additional thoughts:

I don’t believe I heard the term “ceilidh” until around 1980. Before that they were “country dances” or “barn dances”. My mother used to go “old-time dancing” in a church hall. At school, we danced these dances from six to sixteen, which stood me in such good stead that when I later joined a social group which organised several “ceilidhs” a year, the future Mrs. D. was so impressed by my Gay Gordons that she married me. 

You might also ask whether the bassoon is really a folk instrument. Perhaps it is slightly unusual, but eighteenth and nineteenth century village bands often included a serpent which sounds at a similar pitch (think Thomas Hardy). And what did they have in Fiddler’s Dram? Drowned out by the rather strident voice of the lead singer was a bassoon. 

The Song Book

If by chance I loose this book 

If by chance you find it 

Remember Kathleen is my name 

And Clayton comes behind it. 

 

 

Around 1960, my father came home with a copy of The News Chronicle Song Book given to him by an acquaintance who lived in the East Riding village of Asselby. It was in a terrible state, but he stuck it back together and fitted a brown paper jacket on which he wrote: “This book was paper backed and repaired on a wet Thursday afternoon February 25th 1960 by [him, me and my brother]”. A father on his half-day off keeping his two children occupied during school half-term.

 

The introduction suggests:

Singing together is a form of amusement and delight. It is a glorious way in which we can, in large bodies, express something which we could not tell in any other way. But the love for Community Singing should be started and finished in the home. … With this Song Book the “News-Chronicle” hopes to encourage and bring back singing in our home. The Community Singing will take care of itself.

I wholeheartedly agree but have never been much of a community singer. Despite a good sense of pitch, I find it difficult to hear my own voice in groups. At home, though, yes. What fun it gave us. No one played an instrument, we just turned the pages and sang. 

 

The cover gives an idea of what it contains. Looking again now turns up some great favourites: 

• Dashing Away With a Smoothing Iron 
• Come Lasses and Lads 
• Billy Boy 
• David of the White Rock 
• Ye Banks and Braes
  
• Marching Through Georgia 
• Camptown Races 
• Go Down Moses 
• A Roving 
• Eternal Father 
• O Come, All Ye Faithful 

Wow! How long a list can get I away with? All two hundred? I feel a sing-song coming on. 

‘Twas on a Monday morning … me Nancy kittl’d me fancy … doo-dah doo-dah … to trip it up and down … tell old Pharoah to … bring me the harp I adore … I’ll go no more a roving … in peril on the sea. 

                                                *                          *                          *

 

We have a tape recording from 1963 of one of my dad’s unselfconscious performances. His granddad had been a sea captain which, he said, conferred upon him an inherited natural aptitude in the delivery and interpretation of sea shanties. 

 

“And now from my sea shanty series,” he announces, his tongue in a twist, “the old song book page one hundred and twenty four: Bound for the Rio Grande.”

 

Two children mutter and snigger in the background. 

 

“One moment please.” 

 

Struggling to keep a serious demeanour and in tune, he begins to sing: “I’ll sing you a song of the fish of the sea ...” 

 

That must be one of the daftest opening lines of any song, ever, and it defeats him. A hesitant pause is followed by a total breakdown into helpless laughter. All three of us. 

 

 

I suppose the lyrics of some of these songs are questionable these days, but not as questionable as the lyrics we used to sing on guitar nights in Leeds where I lived after leaving school, where familiarity with these songs gave me malign influence. Imagine four twenty-ish-year-old lads in a shared house with guitars and bottles of beer.  

 

Tavern in the Town became a song about the television rent collector who was a creep, and what he did with sheep. So did Camptown Races with the “doo-dah”s changed to “dildo”s. They are stuck in my head forever, and, of course, unrepeatable. Except for the one to the tune of The Ball of Kirrimuir about the owner of the house who knew we would never do any cleaning so did it all himself in return for us doing his washing up: 

Dave does all the cleaning, and that’s a job he hates, 

And so to appease him we have to wash the plates. 

… possibly the only case where our version was less deplorable than the original (although you won’t find any such words in the book). 

 

The book has given sixty years of pleasure and continues to do so (perhaps that’s for a later post), more than twice as long as the original owner assuming she got it new when published in 1931. Who was she, I often wondered, the girl who misspelt “lose”? I never thought to ask. The wonders of internet genealogy reveal she was born in 1924, married someone called Roantree in 1951, moved in later life to Bridlington and died in 2010. By the time her book passed to us, she had three children of her own. I never knew them despite being of similar age and from the same area. She must have written the inscription in the nineteen-thirties. Did she ever think of it again? 

 

I don’t know if anything remains of Sycamore Farm. All I remember of Asselby is a village on a road to nowhere, on a tongue of heavy mudstone between the confluence of the Rivers Ouse and Derwent, where there was once an awkward bend through a disused railway crossing. I went once or twice to the Black Swan pub there but preferred the Kings Head at the end of the road in Barmby-on-the-Marsh. They had a better dartboard.