Sir Haggard’s diaries

Sir Henry Rider Haggard, the British author of many an adventure story set in colonial Africa, often in sympathy with the native populations, was born 160 years ago today. He may have kept a private diary when younger, but the only diary extracts to have been published - Private Diaries and Diary of an African Journey - date from the last decade of his life. In the latter book, Haggard records an interesting conversation with the wife of South Africa’s first Prime Minister about the country’s future.

Haggard was born into a large family, in Norfolk, England, on 22 June 1856. His father was a barrister and his mother a writer. He was schooled at Ipswich Grammar, and then in London to enter the Foreign Office, but he never sat the necessary exams. Instead, in 1875, his father sent him to South Africa to work for his friend, Sir Henry Bulwer, Lieutenant-Governor of the Colony of Natal. By 1878, he had secured himself a job as registrar of the High Court in the Transvaal. In 1880, he returned to England briefly, and there married Marianna Louisa Margitson with whom he had one son (who died young), and three daughters.

The family left South Africa in 1882, and settled in Ditchingham, Norfolk. Haggard turned to the law and was called to the bar in 1884, but, by then, he was more interested in writing novels. His most famous work, King Solomon’s Mines, was published in 1885, and other stories based in Africa followed, most notably She, which has become, according to Wikipedia, one of the best-selling single-volume books of all time. Also according to Wikipedia, his novels portray many of the stereotypes associated with colonialism, ‘yet they are unusual for the degree of sympathy with which the native populations are portrayed.’

Although Haggard failed to get elected to Parliament in 1895, he became involved with reform in the agricultural sector, sitting on land use commissions, and occasionally travelling to the colonies. Apart from his many fiction works, he wrote several non-fiction books, including Rural England (1902) and an autobiography (The Days of My Life, 1926). He was knighted in 1912 and made a KBE in 1919. He died in 1925. There is not much biographical information about Haggard freely available online, other than at Wikipedia. However, The Days of My Life is available as a University of Adelaide ebook or at Project Gutenberg Australia.

From the start of the First World War, Haggard kept a detailed diary. This was edited by D. S. Higgins and published by Cassel in 1980 as The Private Diaries of Sir H. Rider Haggard, 1914-1925. According to Kirkus Reviews, the diary extracts (only some two per cent of the total) make for ‘a live and affecting document’; however the impression the journal leaves is of ‘a fragile, worn-out relic from a bygone era’. Morton N. Cohen, author of Haggard’s biography for the Oxford Dictionary of National Biography (log-in required) is less generous: ‘[The diary] is, sadly, the account of a sour old man who sees himself betrayed by fate, a disillusioned imperialist with authoritarian, racist leanings, who ranted against the Jews, communists, Bolsheviks, trade unionists, the Irish, and Indian nationalists (the editor of his diaries omits from the published text most of Haggard’s harangues).’

Haggard also kept a diary sometimes earlier in his life, although how often is not clear. In 1899, Longmans, Green & Co published a farming diary for the year 1898, A Farmer’s Year (freely available at Internet Archive), and, in 1905, it published A Gardener’s Year (Internet Archive). Both books have diary-like entries, though they were written by Haggard as information books with publication in mind. In 2001, C. Hurst, by arrangement with the University of Natal Press, South Africa, published Diary of an African Journey (1914), as edited by Stephen Coan. Some pages of this can be viewed at Googlebooks (the source of the following extracts). Also, it’s worth noting that Haggard mentions - albeit only a couple of times - a diary in his autobiography.

7 March 1914
‘On this day, together with a number of other people, we were invited by the government to what might be termed a ‘joyride’ round Table Mountain. For one of our party, Mrs. Tatlow, it proved nothing of the sort. The motor she was in collided with another. She was thrown or fell out and has been left behind in bed at the Queen’s Hotel (I write this at Oudtshoorn) suffering from something like slight concussion. We lunched in a tent at the famous house of Groot Constantia. This place was granted in 1684 to Van der Stel, who was the next governor to Van Riebeeck. He built the house and began to cultivate the vines from which the well-known wine Constantia was made. Its last owners were the Cloetes who sold it in 1885 with 280 acres of land to the government for the small sum of £5 500. Since that time the state could have done well on their bargain if, as I was informed by the manager, they refused an offer for it of £28 000. Here there are 103 acres under vines and 56 under fruit trees. The house with its large cool rooms all adorned with ancient and appropriate furniture is really beautiful.

At luncheon which was given in a tent I sat next to, and had an interesting conversation with, Mrs. Botha, who expressed herself as very pleased that I agreed with her husband, the Prime Minister [Louis Botha], as to the uselessness of attempting to emigrate poor white folk to South Africa when already there were enough of them. Such people, unskilled and resourceless, she said, would come right up against the competition of the native, and their exclusion, which in some quarters was set down to race feeling, was really in their own interests. The only openings were for farmers with some capital, a scarce class. We discussed the outlook of the white inhabitants of South Africa in the future and both agreed that it seemed very doubtful - chiefly because of this native question. The native could no longer be suppressed, or even oppressed: he must follow his destiny and often he was an able and a competent person. In practice South Africa must face the fact that all it has to rely on, so far as the whites are concerned, is its present population and their progeny. But here came the trouble - the restriction of population (i.e. race suicide) is creeping in, even among the Boers, except quite in the backveld districts where it would reach ere long. One no longer saw the large families of 30 years ago: they grew smaller and smaller. Moreover those who were growing up, for some subtle reason, in enterprise, in virility and femininity in their widest sense, were not the men and women of the stamp of our generation. She had often said as much to her own children. What was to be the end of it? She could not tell but the future was dark and dubious. Perhaps at last South Africa would be the heritage of the black races with an admixture of white blood. The danger of war between whites and Bantu had gone by, but there were other dangers. Thus what I saw on the previous day, white man and black, working side by side was one of them: it meant the approach of equality. Once that was established how could the dwindling white people hold their own against an increasing race, already four or five times as numerous?

She said it was hard work for a man like her husband to be Prime Minister of the Union in these days and hard for his wife also. It was both exhausting and difficult to deal with politics continually and keep his hands quite clean. We both agreed that time and experience were wonderful softeners of strong views. Thus today I should not write another Jess and she would not think about the English as she had thought even a dozen years ago. She told me that although it seemed a strange thing for her to say, the deportation of the captured Boers had been a very good thing for the people. The sight of other lands had opened their minds and made them more progressive; also they had learnt what the British Empire meant. Such is a summary of this enlightening talk made from notes taken that evening, and I think one that is accurate, although compressed. Mrs. Botha struck me as an able woman in a quiet way and I liked her very much.’

10 March 1914
‘Woke up lo find that we were running over bush-clad sourveld with a few ostriches wandering round lonely Boer steadings. While I was dressing the iron lid of the washbasin fell on and crushed the top plate of the false teeth which were recently fitted with so much discomfort. A most annoying incident. Luckily I have the old temporary set with me which the dentist wanted to destroy.

At lunch time we came to a range of mountains called Outniqiua, or some such name, that tower above a little township of about 2 000 inhabitants, called George, which is largely inhabited by retired persons in search of quiet. The situation is fine on a flat plain dominated by tall grassy peaks down which run waterfalls that look like lines of wandering silver. At the beginning of the pass we went through government plantations of gums [eucalypts] of about 10 years of age which are doing splendidly. There are several of these here. Next we passed through some native bush in the kloofs, then came broom, heather and bracken, clothing the broad hill shoulders. From the crest of the pass the view was grand. The flat plain below diversified with plantations surrounding the scattered town of George and in the distance the great sea. All this district might be afforested, the hills with pines and the plains with gums. As the land seems to be worth no more than 10s. an acre it would be an excellent purpose to which to put it. About 4 o’clock we entered the Oudtshoorn valley, a hot and fertile place surrounded by hills, and everywhere saw ostriches feeding on lucerne in their wired camps.

On arrival we were met by the mayor and notables and taken off to see the farm of Mr. John le Roux where, after 34 years or so. I renewed my acquaintance with that ungainly but profitable fowl, the ostrich. By the way, at the station a gentleman whose name I think was Rex came up and asked me if I remembered him - as I did not he produced from his pocket an official order of the Pretoria High Court, written and signed by myself in 1878, appointing him a sworn interpreter. I wonder if he always carries it about with him. I was glad to see that the order was properly drawn and written in a better hand than I can boast nowadays. The signature, however, is identical with that I use at present.’

Fire in the music

Joseph Martin Kraus, a German-born composer who found fame in, and thanks to, the Swedish court of King Gustav III, was born 260 years ago today. He was sent by Gustav on a grand tour of Europe, and for a few months kept a rather haphazard diary of his travels, meetings and concert visits, often providing detailed and opinionated critiques of the latter.

Kraus was born in the central German town of Miltenberg in Franconia on 20 June 1756, though the family moved to Buchen in Baden-Württemberg in 1761. He began to show musical talent at an early age, and was taught piano and violin. Though pressed to study law at the University of Mainz, he moved to University of Erfurt where he focused more on music. He was obliged to remain for a year at home while his father underwent prosecution for misuse of office, but during this period he wrote Tolon, a drama in three acts, and several musical works for the local church. In 1776 he returned to study, this time at the University of Göttingen, where he came into contact with members of the Romantic literary movement, Sturm und Drang.

A fellow student at Göttingen persuaded Kraus, in 1778, to move to Stockholm where King Gustav III was well known as a patron of the arts. However, there were hard times for Kraus, and it took him three years before winning favour from the king, and being asked to write music for his opera libretto Proserpina. Following a successful premier, he was appointed vice-Kapellmeister of the Royal Swedish Opera and director of the Royal Academy of Music. Subsequently, Gustav paid for Kraus to go on a grand tour of Europe, one lasting over four years, and during which he met many leading musical figures of the day - not least Gluck, Salieri and Haydn.

During his travels, Kraus composed many works, including symphonies sometimes later attributed to others, and his flute quintet in D Major. On his return to Sweden, in 1787, he was appointed as director of curriculum at the Royal Academy of Music, and the next year he succeeded as Kapellmeister. Although he seems to have favoured instrumental music, the demands of Gustav’s court were for operas, arias and the like. In 1792, he was present at a masked ball when Gustav was assassinated. His death left the arts that he had nurtured in distress. Kraus wrote Funeral Cantata and the Symphonie funèbre, which were played at the burial ceremony. Klaus died of TB a few months later. Further information is available at Wikipedia, Naxos, and Allmusic.

During the early months of his grand tour, from October 1782 into 1783, Kraus kept a rather haphazard diary -  the contents alternate between painstaking detail and superficial description, and switch from imperfect Swedish to German here and there. The extant manuscript, held by Universitets-bibliotek in Uppsala, Sweden, consists of no more than 11 leaves written on both sides. According to Bertil van Boer, who wrote an essay on the diary for The Journal of Musicology in 1990, the main text ‘is a combination of travel/route description, drafts of letters, opinionated critiques of musical instruments, literary and musical works, and concerts, and descriptions of people he met during his journey.’ The essay, titled The Travel Diary of Joseph Martin Kraus, is available online at JSTOR with log-in.

In introducing Kraus’s diary, van Boer refers to the growing tradition among young people to be sent on a Grand Tour as part of their education. Specifically, though, in the music world, he refers to the diaries of Charles Burney which not only give a detailed picture of music in the Europe during the middle part of the eighteenth century, but were used as a substantial foundation for his history of music - see The wonderful echo for more. He goes on to examine and analyse Kraus’s diary in some detail - calling it ‘a hodgepodge’, and noting, for example, that Kraus only mentions three of his own musical compositions. Van Boer provides a few quotes from the diary, translated into English, including the following.

6 April 1783
‘The sixth was an academy for the benefit of a newly-established musical society; Die Israeliten in der Wilste composed by Max. Ulbikh was performed. The orchestra was strong but did not contain the promised list of 180 members, but rather only some 70-odd people. In general, the music contained much fire. The overture in D Minor had three movements; the first expressed the uproar of the people quite well. The second, in A Major, and the last, in D Major, didn’t belong at all. He [Ulbrich] proceeds into the first chorus with an idea [taken) from the first movement. [Carl Philipp Emanuel] Bach has understood the same meaning in this chorus better, I believe. The role of the First Israelite was sung by Fraulein Theresia Tauber. The aria “Will er” was too modern, the performance of the singer very poor, and her inability was even more apparent in the cadenza in the last line (“Ach, wie seyd ihr so begluckt [Begluckt seid ihr, ach]”). The Aaron was Hoffman, a wretched bass. His aria was also too modern, and in both of these arias the main problem was that the accompaniment was too strong. The same can be said for the third aria sung by Signorina Cavalieri; it was too soloistic, and the concertante complement to the voice in the English horn was not terribly successful in terms of expression.

The chorus of Israelites (“Du hist der Ursprung,” etc.), however, was far above the former and Bach’s entire work, insofar as the arias and choruses contain fire. The movement is in C Minor and a fugue. With a very well-done contrast. Father Moses interrupt the chorus with his remarks, and the answer of the people to Moses’s question - Hast du die Werke voll Wunder schon vergessen, die fur dich dein Gott getan?” - cannot bought be thought more appropriate: “Gott schlummerte” (Ungrateful people! So do you!). The composer has altered the words according to the circumstances [in general]; in this chorus as well, but with sinfully exposed gaps. The aria of Moses immediately following, however, is too trivial. The duet of both Israelites could, in another meter, be appropriate for any [secular] concert. I should mention in this regard that both singers competed quite prettily with each other as to who could be the most raging. The recitative of Moses mixed with the chorus that follows is pretty but [contains] nothing new. Moreover, the first movement of Moses’s prayer, in which the guilt and the nature of the piece certainly demands heightened tension, is fiat. The fully-worked-out chorus in C Major is well-conceived, and the [word]-painting of the women slaves is shown altogether enchantingly. This concludes the first act.

The same comments are valid for the second act, though the music is much less worthy of a church. The theme of the first recitative is too childish for the subject and characters; the chorus which begins with a solo by M[oses] ditto, the aria of the first Israelite in G Major ditto, and the unusually trivial aria of Moses with an obbligato violoncello ditto. In the second half (“Dies ist der Helden”) the accompaniment is so strong that one cannot hear the voices. In the recitative which precedes the aria, the composer paints [the words] “Doch einst vor meinem Blicken, seh’ ich die Zukunft aufgehellt” with a rising crescendo in the timpani, adding one wind instrument after another on top. The recitative ends in the same fashion but with less effect. The following aria for Signorina Cavaliert is [set] for obbligato oboe, flute, bassoon, horns and a blend of onions and garlic. The last chorus is mediocre. In general, the first half [of oratorio] far outshines the second. The fault [for this] lies partially with the text. In the last part, the composer has thoughts here and there that were heard in the first.

The execution was quite good - but not exact in piano [passages]. I did not observe many of the lesser crescendos [i.e. dynamics], and each of the desks of violins had its own bowings. The bass line was also not clear owing to the softness of the contrabasses and the lack of violoncellos. The composer has also overworked the [vocal] basses too much.

Between the two acts [I] heard the emperor’s wind band consisting of a oboes, 2 clarinets. 2 horns, [and] 2 bassoons. The composition by Johann Went was very well set for the nature of the instruments but nothing new for the mind. The execution was as admirable as could be desired. . .’

8 April 1783
‘The eighth was the same academy [as the sixth]. All of my earlier comments also apply here. Instead of the previous musical interlude (i.e., the HarmoniemusikJ, I heard Herr (Ludwig) Gehring on the flute. The tuning of his instrument was a half-step sharp, and I didn’t think that the year he was gone from Gottingen had done him as much good as it could have. The piece by [Friedrich] Graf was wonderful, as usual (p. 6r-7r].’

14 April 1783
‘The fourteenth I finally visited Gluck. He was quite polite, but told me personally that it was difficult to express himself now after his illness. His right hand also did not have its former perfect flexibility. Klopstock’s Hermannsschlacht is not yet written out, especially since, according to him, the Emperor was plaguing him about Les Daniades at the same time. At first, he wanted to use Salieri to write down [the latter] on paper for him - but he noted that it would be too much trouble, and on the orders of his doctor, he let it be. Salieri is allowed to set the opera in Paris under his own name. Cluck very clearly let it become known that Salieri has quite retained his thoughts, furthermore that he was not in favor of putting the opera on under his own name. He gave me his portrait and showed me the original painting which is a masterpiece of expression. He often repeated his contention that a simple song belonged of necessity to a stage piece. He was the first to make actors of the chorus in Paris, for previously they only stood there like statues. He allowed Orphée to be translated, but he was not satisfied with the first poet. He then accepted a mediocre one who did things more in accordance with his wishes. He is very satisfied with the scenes in Armide: “Un seul guerrier” [and] “Poursuivons notre ennemi jusqu’au trépasse,” etc. . .’

Not a lot for me to do today

Constable, part of the Little Brown group, has just published the diary of a young woman - Sarah Stamford - who was working as a BBC secretary in 1971. It’s a rather unusual and very slight publishing venture when gauged against the kind of diaries that are usually brought out by mainstream publishers. The Daily Telegraph has given it a bit of a splash, but one that’s headlined with a quote about Jimmy Savile!

Sarah Stamford was born in Purley, Surrey, in the early 1950s. Her older brother died in 1961, and her mother died in 1965, after which her father remarried. Sarah attended a private girls’ school, and then a secretarial college in South Kensington, London. Her first job was as a junior secretary in the School Broadcasting Council, an outpost of the BBC, after which she went on to work on radio programmes and television plays. She married twice (latterly becoming Sarah Shaw), and brought up two children. Later in life she took an Open University degree, a post graduate librarian qualification and worked as a librarian at Selwyn College, Cambridge.

Having retired, Shaw was preparing to move, to live in Bridport, when she found an old diary she had kept when 19, in the year of her first job. She told the Bridport News, how she contacted some friends from her BBC days to have a laugh about the diary and how they suggested she do something positive with it. So, she self published the manuscript in 2015 through Lulu.com, titling it 1971: The secret diary of a BBC secretary. One of her friends passed the book on to a literary agent, and - she told the Bridport News - ‘It snowballed from there, it was totally unexpected.’ Constable released the book as Portland Place: Secret Diary of a BBC Secretary earlier this month. The Daily Telegraph gave it major coverage on 29 May, rather tastelessly, in my opinion, using a quote from her memory of the past about Jimmy Savile in the headline.

According to Little Brown, ‘Sarah’s diary describes the life of a suburban girl who certainly wasn’t ‘swinging’ but who was, ironically, not only working on a cutting edge BBC survey on sex education but also in the throes of an unlikely affair with middle-aged, working-class, Irish lift attendant, Frank. Sarah talks humorously and frankly about what it was like to be a young, working woman at the time as well as life at the BBC during the 1970s and the difficulties of navigating her first romance. She is funny and self-effacing with a self-knowledge that only few attain. Her innocence and naivety are hugely charming and the diary forms a valuable snapshot of a time not so far away that is now lost to us.’ Now lost to us? Really!

This is a strange book to be published under the Constable imprint, which, after all, dates back to the late 18th century when it was first established and brought out Walter Scott’s famous works. Shaw’s diary is easy to read, mildly interesting, sweet, but so what? Most diaries considered worth publishing by major players - such as Little Brown - are by significant figures in the political or artistic worlds, or have a wartime connection, and certainly cover more than a single year. Diaries by those who are not celebrities, who are not in the public eye, should be considered for publication more often - but surely there are far more interesting and significant examples than this one.

Several pages of Portland Place can be viewed on Amazon, and these extracts are taken from there.

4 January 1971
‘Snow. Got up in the cold, dark morning and walked over the golf course to Chipstead Station to get the train to London. It was eerie in the dark, and I nearly fell over. The commuters are an odd lot. all freightfully jolly. They come in two types - thin, cold and distinguished, or round, warm and fond of a pint.

Louise is still on holiday so there wasn’t a lot for me to do today.

Gill (secretary to the Senior Education Officer) was back at work but busy, so I had lunch with Adrienne, who works for one of the officers. She comes from New York. As I am a fan of George Gershwin, I really wanted to ask her if she knew anything about him or his family, but I lost my nerve as I didn’t want to bore her or sound stupid. I think we both see each other as specimens of a type: she is a New York Jewess and I am a solid old English girl. Her earrings and clothes tickle me. It’s amazing how Americans dress - you can spot them a mile off.

For lunch we usually go over to the canteen at Broadcasting House, which is open twenty-four hours a day. The food is OK; their salads with chips are good. During the day we get tea and coffee from the BBC Club on the ground floor of the Langham: in the evenings they open up a bar in the rooms beyond, which smell of booze and cigarettes. In both places there’s always the chance of spotting a celebrity: only being so close to BH, the home of radio, you find yourself ignoring someone until he speaks and then you recognise the voice. I’ve seen John Timpson from the Today programme in the Club, also Pete Murray and David Jacobs [Radio 2 DJs], and a few months ago I saw Cliff Richard talking to someone in Portland Place outside BH.

The BBC has lots of societies staff can join, all of them free of charge. I’m thinking about the Film Club. Gill and I have already joined the chess section, which meets every Monday after work downstairs in the Langham. Several tables are laid out with boards and pieces, around which various middle-aged men. mostly with beards, sit like cats watching mouse-holes.

Gill and I have a different approach. We play our games at two or three times their speed, and wash them down with a few glasses of wine. Gill is very good at chess, and she kindly pointed out to me when I had won a game. Her husband Kaz, a Hungarian artist, came along as well, but he is of a better standard so he plays with the mouse-hole men. He has a slightly nauseating sense of humour. Still, that’s a first impression.

Back to the hostel in Francis Street, near Victoria Station. This is run by something called the Girls’ Friendly Society, which sounds alarming. The rooms are strung along the corridors like prison cells, all smelling of disinfectant and boiled vegetables. When you need to go to the bathroom, there is always the possibility you will run into a shuffling old woman with bits of last week’s breakfast down her jumper.

Each room has a cream door with its name in black paint, like Badges, Heartsease, Charles and Olivia, Peace, Hope, Suffolk Archdeaconry and my favourite, The St George and Hanover Square Bourdon lodge Committee. My room is called Robinson. It has a bed, a small wardrobe and chest and my little bookcase, and is so narrow that I can stand with my arms outstretched and touch both the side walls.’

5 January 1971
‘Got a prospectus from the City Literary Institute. Decided to leave it until the Whitsun term as I seem to be too late for the current series of classes.

Did some work for Miss Handley in the Publications Office. She must be about forty and is quite funny. She’s pleasant-looking. but her eves never seem to be firmly fixed into her face. She keeps saving how I am being so helpful, but actually I am just pleased to have something to do. Or maybe she is simply being polite. Lunch with Gill and Adrienne, then went shopping with Gill in British Home Stores. In the evening I went to the cinema to see Start the Revolution Without Me with a couple of old school friends. One of them is going to work at the British Film Institute in the stills archives. Funny, because that’s the sort of job I would like to do, but I’m probably better off in the long run at the BBC. I might leave the SBC in a year or so - I don’t think it would be healthy for me to stay for too long. I might die of boredom.’

13 January 1971
‘Finished checking the document with Gill, who will now have to retype some of it because, in true SBC style. Miss Sharp and Mr Jones wish to rewrite their sections. As I had a dental appointment in Purley, I left work at 3 p.m. and headed off, reading Photoplay. It is cheaper than Films and Filming and has colour photos. I arrived too early so I wandered around the town a bit, peering at the old houses. So many looked sad and ashamed of their gardens. My dentist is my Uncle Rupert, my mother’s brother, so an appointment is a family as well as a medical occasion. He did a filling for me and then we came back together on the bus. He told me stories about the family including how, in the 1910s when he was a boy living in Purley, and they used to hoist a flag over Reedham Orphanage to show which university team had won the boat race, he would run upstairs to his bedroom to watch out of the window for the signal. Can’t imagine anyone being that excited about the boat race nowadays. Stayed at Chipstead overnight.’

Sand's Journal Intime

George Sand, the famous French writer, cigar smoker and lover of artists, died 140 years ago today. A hard working and prolific author of novels, she also wrote plays and an autobiography. Her commitment to the diary form was, however, intermittent. Nevertheless a collection of her personal writings, under the title Intimate Journal - taken from the French Journal Intime - were published in English in 1929, and have been reprinted several times since then.

Amandine Aurore Lucie Dupin was born in 1804, in Paris, and educated at Nohant, her grandmother’s estate, and at a convent in Paris. In 1821, she inherited Nohant, and a year later married Casimir Dudevant. In 1831, though, she left Nohant and her husband and went, with two children, to Paris. The same year she published a first novel, Rose Et Blanche, written in collaboration with Jules Sandeau, from whom she took her early pen-name (Jules Sand), and articles in Le Figaro. Her second novel Indiana, in 1832, written under the pen-name George Sand, brought her near instant fame. It told of a naive woman abused by an older husband and deceived by a selfish seducer.

Thereafter, Sand became a celebrity of sorts, famously dressing in men’s clothes much of the time, and having many love affairs, the most famous of which was with the composer Chopin. Her novels, and there were many, were largely romantic, with the heroes often workmen or peasants, living in the countryside of her childhood near Nohant. They were also often autobiographical, coloured by whoever she was involved with at the time, and overtly romantic with love usually conquering obstacles of class and convention.

Sand’s later years were lived at Nohant, comfortably in a relatively stable relationship with a younger artist, Alexandre Manceau, though he died in 1865, ten years before she herself died on 8 June 1876. There is surprisingly little biographical information readily available online about Sand, at least in English - her Wikipedia biography is much more comprehensive in French than it is in English - though some can be found at Notable Biographies and NNDB. There are also a couple of biographical works freely available online: George Sand - Some aspects of her life and writings by Rene Doumic and translated into English by Alys Hallard in 1910 (Internet Archive or Full Books); and George Sand by E. Caro in 1888 (Internet Archive).

Sand was not a committed diarist though she did leave behind some diary writing in the form of letters addressed to lovers and occasional musings on her intimate relations and on her own shortcomings. These were collected together and first published but Williams & Norgate in an English translation in 1929 as The Intimate Journal of George Sand. It has been reissued several times since then - see Googlebooks for a 1977 version by Cassandra Editions, or Chicago Press Review for a 2000 edition.

There are also the diaries - not translated into English as far as I know - that were kept by Manceau. Evelyne Bloch-Dano, author of The Last Love of George Sand: A Literary Biography (translated by Allison Charente, Arcade Publishing, 2013) explains: ‘George Sand had kept a periodic journal during key moments of her life, more to organise her thoughts than to keep a precise record of her days. She lived too much in the present to feel the need. Alexandre [Manceau] decided to record his lady’s activities, meetings, readings, works, and promenades every day, until his death. At first the Diaries were written in the first person, as if Sand was dictating them, but they morphed into the third person after a few weeks. Marceau would also make personal notes throughout the entries, creating an entirely separate character. The Diaries were his own work, even if George added her own details from time to time or occasionally took up the pen in his place.’

There’s very few examples of Sand’s diary entries freely available online. A few quotable quotes from The Intimate Journal can be found at this Blog. But the following extract, concerning her lover, Alfred de Musset, is taken from Rene Doumic’s book; as is the subsequent diary entry from the Goncourt brothers (see Journal des Goncourt) about a visit to Sand.

24 December 1834
‘And what if I rushed to him when my love is too strong for me. What if I went and broke the bell-pull with ringing, until he opened his door to me. Or if I lay down across the threshold until he came out!’

30 March 1862
‘On the fourth floor, No. 2, Rue Racine. [. . .] We could see a grey shadow against the pale light. It was a woman, who did not attempt to rise, but who remained impassive to our bow and our words. This seated shadow, looking so drowsy, was Madame Sand, and the man who opened the door was the engraver Manceau. Madame Sand is like an automatic machine. She talks in a monotonous, mechanical voice which she neither raises nor lowers, and which is never animated. In her whole attitude there is a sort of gravity and placidness, something of the half-asleep air of a person ruminating. She has very slow gestures, the gestures of a somnambulist. With a mechanical movement she strikes a wax match, which gives a flicker, and lights the cigar she is holding between her lips.

Madame Sand was extremely pleasant; she praised us a great deal, but with a childishness of ideas, a platitude of expression and a mournful good-naturedness that was as chilling as the bare wall of a room. Manceau endeavoured to enliven the dialogue. We talked of her theatre at Nohant, where they act for her and for her maid until four in the morning. . . . We then talked of her prodigious faculty for work. She told us that there was nothing meritorious in that, as she had always worked so easily. She writes every night from one o’clock until four in the morning, and she writes again for about two hours during the day. Manceau explains everything, rather like an exhibitor of phenomena. “It is all the same to her,” he told us, “if she is disturbed. Suppose you turn on a tap at your house, and some one comes in the room. You simply turn the tap off. It is like that with Madame Sand.” ’

The Diary Junction

Thoughts, epiphanies, poems

Today marks the 90th anniversary of the birth of Allen Ginsberg, one of the most prominent members of the so-called Beat Generation, which also included Jack Kerouac and William S. Burroughs. Unlike Kerouac, whose diaries were not published until long after his death - see The rush of what is said - Ginsberg published several volumes of journals during his lifetime. Ginsberg himself, however, described them as ‘thoughts, epiphanies, vivid moments of haiku, poems, but not a continuous diary of conversations like Virginia Woolf, or Anais Nin, or Boswell.’

Ginsberg was born on 3 June 1926 into a Jewish family in Newark, New Jersey, though he grew up in Paterson, 15 miles further north. His father was a published poet and teacher, and his mother a communist and unstable depressive. He attended Columbia University on a scholarship from the Young Men’s Hebrew Association of Paterson. There he met William Burroughs and Jack Kerouac, all later to be pivotal figures of the beat movement. Their behaviour was generally considered wayward, not least because of dabbling with drugs. By 1948, his last year at Columbia, Ginsberg had decided to become a poet, supposedly thanks to hearing the voice of William Blake in a vision. The following year, he spent several months in a mental institution as a consequence of pleading insanity when stolen goods were discovered in his dorm.

In late 1953, Ginsberg travelled to Mexico, and then settled in San Francisco. He fell in love with Peter Orlovsky, also a poet, who would subseqently remain his lifelong partner. In 1955, inspired by a poem by Kerouac, he wrote the long poem Howl which he performed at a reading he organised - Six Poets at the Six Gallery (known now as the Six Gallery reading). The poem, full of raw language and acceptance of his own homosexuality, would bring him world attention, not least because it was the subject of a failed obscenity charge. During the trial, Ginsberg and Orlovsky moved to Paris, living off the royalties from Howl and a disability pension that Orlovsky collected as a Korean veteran. For a period, they went to Tangier to stay with Burroughs who was working on, what would become, Naked Lunch.

In 1958, Ginsberg returned to New York City, troubled by his mother’s death two years earlier in an asylum. There he wrote, what is considered his best work - Kaddish for Naomi Ginsberg, an elegy for his mother based on a traditional Hebrew prayer for the deceased. Thereafter, he continued experimenting with drugs, and travelling widely, most significantly in India where he sought out holy men, remaining for the best part of two years. Having turned to Buddhism, he wrote, in Japan, The Change, about how meditation rather than drugs would help him towards enlightenment. Back in New York City, he befriended A. C. Bhaktivedanta Swami Prabhupada, the founder of the Hare Krishna movement, helping him with money, organisation and contacts. By this time, he was also incorporating chanting and music (he had acquired a harmonium in India) into his poetry readings.

In the mid-1960s, Ginsberg became strongly associated with the hippy and antiwar movements, and is credited with creating the idea of ‘flower power’, using positive values, peace and love, in demonstrations. He was constantly at odds with the establishment. In 1965, alone, he was asked to leave Cuba and Czechoslovakia by their respective governments. At home he was arrested at various demonstrations, and, in 1972, was jailed in Miami for protesting against President Richard Nixon. A few years later, he was arrested with Orlovsky for sitting on train tracks to try and stop a train loaded with radioactive waste.

In his later years, Ginsberg was a public figure, the archetypal Beat Generation writer. Despite increasing health problems, he continued to publish steadily and travel often, giving readings across the globe. He died in 1997 - for more biographical info see Wikipedia, Allen Ginsberg Project, Poetry Foundation, American National Biography Online, or various obituaries (New York Times, for example, or The Independent).

Ginsberg began using notebooks in childhood, collecting source material for poetry and prose, and for drafting poems. Anansi, in Toronto, published a first selection of extracts in 1968, 35 pages worth, under the title Airplane Dreams: Compositions from Journals (described as ‘not exactly poems, nor not poems’.) Two years later, David Halewood Books and City Lights Books jointly published Ginsberg’s Indian Journals (describing, in prose and verse, his drug-induced experiences in the sub-continent). Grove Press brought out, in 1977, Journals: Early Fifties, Early Sixties, as edited by Gordon Ball. And nearly 20 years later, but still with input from Ginsberg himself, HarperCollins issued Journals: Mid-Fifties, also edited by Gordon Ball (1995). A selection of reviews can be found at the website of Buffalo and Erie County Public Library.

According to Ball’s introduction, the printed text of the last book of journals draws on material entered by Ginsberg in twelve notebooks (and related separated pages) from June 1954 through mid-July 1958. Though presented as a single entity, he says, the editing has involved considerable interleaving between one journal and another, and sometimes yet a third; and both Ginsberg and Gordon Ball ‘lightly pruned and shaped’ the text.

The book also contains a few pages dictated by Ginsberg in 1984 (many journals notes were similarly dictated) which have been presented under the title: ‘Meditations on Record Keeping by Poet’. In these meditations, he describes how he was aware of a ‘historical change of consciousness and some kind of cultural revolution’, and how there was a contest between further liberation or 1984 authoritarianism. He felt he needed to record this in some way, and mentions some of society’s troubles (censorship, drugs, a growing military budget). He then says: ‘I saw all that at stake and thought best to keep a record: in my own writing but also just sort of an archive. So after I milked the notebooks for poems, I just kept hold of the notebooks for whatever I had in it, though I didn’t keep like a historical record of conversations - that wasn’t my function; I thought Kerouac had done that, historical record of scenes, conversations, characters, and persons. He had covered that and I couldn’t possibly compete with him; the best I thought I could do was just keep a record of my own changes of self-nature and perceptions - you know, intermittent perceptions, spots of time. So my notebook is thoughts, epiphanies, vivid moments of haiku, poems, but not a continuous diary of conversations like Virginia Woolf, or Anais Nin, or Boswell.’

Here are samples from two dated extracts in Journals: Mid-Fifties (though the vast majority of entries are undated, and many are poetry rather than prose).

31 March 1955
‘Tiring of the Journal - no writing in it - promotes slop - an egocentric method.

Life’s quiet finally, no love, another plane, after-hours from the office, struggle completed (high tonite on terpinhydrate of codeine), music, rugs, a lousy room and evening robes in which to read, a typewriter.

Lately in revising I’ve noticed a tendency - revising year pile of notes - to adjust the notes to small groups of lines as in 3-line stanza, begun however before reading the Williams late forms - the division being by active words, number of active words in phrase.

“the sad heart of August dies”

the nouns & verbs have a single weight, the adjectives usually less unless strong words or long ones. Count mainly by eye. But requirement of regularity of some lines is a clarity I find apparent lately, so that the notes don’t present themselves totally amorphous. The lines are not yet free enough - for this reason the concentration process is useful again in order to get a sense of measuring small lines - with later possibility, the expansion to a large form with lines distributed over the page

but equal, each parallel indentation equal or equivalent

So that the structure has a structure at least as an excuse for its form

following, as we might guess, the given possibilities of lengths of speech mind-think lines - there will probably be a select number to recognise & distinguish, the double:

and the triplet
“fantastical physical
images
Neal’s naked breast” ’


21 December 1956
‘Strange faces in the subway - the minute I sat down I realized I had power to see them straight in the eye and dig the eternal moment’s mask - as they ride by dreaming rocked in the dark with neon on their faces.

The 59th St. stop - recollecting Burroughs and Lucien, Columbus Circle, IRT Station, the dark pavement and endless outpouring of students and ballet dancers and musicians and fairies on this platform, waiting in their youth for life to begin - while I come back here dead (for the fourth time), disconnected. The new IRT B’way train - brighter and shinier - futuristic 1930s air conditioning aluminum big flowers growing out of the roof - parkay tile floors, glassy lights, shining steel poles to hold on to, even the people seem cleaner and richer - and the seats so nice and soft, red cushions.

A man with a notebook in front of me making notes for an ad. My own rusty (gaudy) book.

Beside me a fat well-dressed little kid bow tie, bright Jewish eyes, ass-length salt and pepper jacket - he don’t work on nothing, just lies in bed and eats ham in the morning. And gets up to ride the subway showing off all afternoon, at nite he goes back to supper and eats huge pork chops with lots of greasy potatoes and peas.

Approaching 116 St. Columbia Stop.’

Diary briefs

Unpublished Dalí diary sold in Paris - Sotheby’s, The Guardian

The diaries of Vivienne Westwood - The Bookseller

Napoleonic Wars diary found in Hobart - ABC News

The Berlin Diary of Roger Casement 1914-1916 - Merrion Press, Irish News

Falklands veteran returns Argentine diary - Folkestone Herald

Norwegian’s Nazi camp diary - Vanderbilt University Press, Amazon

Alfred Rosenberg’s lost diary - HarperCollins, The Telegraph, Israeli National News

WWI diary of Kiwi journalist - Stuff.co.nz

Suffragette diary sold at auction - Plymouth Auctions (Lot 128), The Plymouth Herald

WWII diaries of Soviet children - RT.com

Inside Stalin’s Russia

Sir Reader Bullard, a British career diplomat whose final posting was as Ambassador in Tehran, died 40 years ago today. He served as Consul-General in Moscow and Leningrad in the 1930s, quietly observing, and recording in his diary, Stalin’s regime become increasingly more repressive. He published an autobiography in his lifetime, but the diary of his Russia period remained unpublished until edited by his son, Julian, and brought out by Day Books in 2000.

Bullard was born in 1885 in London, the son of a tally clerk. After grammar school, a brief period as a pupil teacher and two years at Queen’s College, Cambridge, he joined the Levant consular service of the Foreign Office in 1906. He started his career in Constantinople, first in the consulate-general and then in the embassy as a student interpreter. Subsequently, he was stationed at Basra, Mesopotamia, and later accompanied Sir Percy Fox on two missions to Tehran. After time in Britain, he returned to Iraq in May 1920 as military governor of Baghdad, with the rank of major.

Bullard spent two years back in London with the new Middle East department of the Colonial Office, set up by the colonial secretary, Winston Churchill. He married Miriam Smith in 1921, with whom he had five children. He went on to serve as Consul in Jeddah (1923-25), Athens, (1925-28), and Addis Ababa (1928). He was then appointed Consul-General in Moscow (1930), and in Leningrad (1931-34). After the Soviet Union, Bullard also took postings in Rabat and, eventually, as Ambassador in Tehran from 1939 to 1946. He was knighted in 1936.

After retiring from the diplomatic service, Bullard became Director of the Institute of Commonwealth Studies in Oxford, and a member of the governing body of School of Oriental and African Studies (SOAS), University of London. He wrote Britain and the Middle East (Hutchinson, 1951) and his autobiography The Camels Must Go (Faber, 1961). E. C. Hodgkin (ODNB, log-in required) gives this assessment of the man: ‘But it was for his personality that Bullard was chiefly remembered. He was a humble man. Short and stocky, with a craggy face and deep set eyes, he gave an immediate impression of rock-like solidity. A tireless worker, deeply conscious of his country’s past and of the highest standards she had the right to demand from her servants, he was no less conscientious in his attention to detail.’ He died on 24 May 1976. A little further information is available from Wikipedia or St Anthony’s College website.

While in Russia, Bullard kept a fairly detailed diary of his day-to-day doings. These were edited by his son and daughter-in-law, Julian and Margaret Bullard, and published by Day Books in 2000: Inside Stalin’s Russia: The Diaries of Reader Bullard 1930-934. The publisher says the diaries ‘paint an unforgettable picture of Russia, its politics and people, in the critical years when Stalin was tightening his grip on power.’ In a foreword, Douglas Hurd (Foreign Secretary 1989-1995) observes that Bullard’s ‘laid-back style is particularly suited to the business of exploring and experiencing the Soviet system. Bullard did not come to Moscow with any prejudice against that system, if anything the reverse; but his natural shrewdness prevented him from being deceived. There are no denunciations of the cruelty which he began to find around him, just the straightforward record of the facts.’ A review of the book can be found at The Guardian.

Here are several extracts.

21 December 1930
‘The bag brought a pair of new skates which I have had screwed on to a pair of old boots. I went on the ice for the first time since 1914 (at Erzerum). I only fell over twice, but I can’t recover the one simple trick I had learned - the outside edge on the right foot.

The Chef de Protocol of the Diplomatic Corps is one Florinsky. It is said that his father was shot by the Reds and he never raised a finger. Asked how he could work with Bolsheviks after this, Florinsky is said to have asked if one’s father was run over by a tram should one cease to ride on trams?

A few evenings ago I went up to talk to Pott, and thinking that I might overlap his dessert I put a slab of chocolate (with almonds and raisins) into my pocket. I found Walker there and two Russian ballet- dancers. Pott and Walker danced with them to the sound of a gramophone, but I’m not sure that I wasn’t the feature of the evening, for I produced my chocolate, and the girls fell on it like dogs on a bone.

Last night Walker gave a party and invited the two ballet girls. The two girls greeted me with cries of ‘the chocolate grandpa!’ so if I had had any illusions about my value to the party they would have been dispelled.’

13 September 1932
‘Our messenger brought me a handbill which had been distributed to all the flats in his building. It orders each resident to collect six bottles, half a kilo of rags, half a kilo of bones, half a kilo of paper, three-quarters of a kilo of rubber, six kilos of old iron and one kilo of non-ferrous metal (brass, copper, etc.) and to hand them in. Quite impossible. Any scraps of old iron have been given in long ago. Paper is so short that the co-operatives give theirs customers fresh fish without paper. As for rubber - for a long time it has been impossible to buy a pair of galoshes unless you hand in an old pair.’

27 October 1932
‘The three maids report that all their clothes are falling to pieces and have put in an enormous list of things they want - at least enormous for this place where material is so short. There is not a yard of any material to be had.

Soermus, the Soviet violinist who visits England and combines his concerts with propaganda, is in some difficulty with his passport. Under the latest regulations, when a Soviet citizen returns from abroad his passport is taken from him, and if he wants to go abroad again he must apply for a new passport, and before it is granted he has to pass first a chistka, or purge, to find out exactly where the applicant has been and what he has done, and then an examination by a trio of communists. Mrs Soermus says her husband lives with his head in a musical cloud and notices nothing.

Woodhead has returned from another visit to the paper-mill. Two OGPU men who travelled part of the way with him had chickens and all sorts of things in their luggage. ‘The new bourgeoisie!’ one of them said to Woodhead. The mill, which ought to have begun operating two years ago, began in September and is making five tons of paper a day instead of forty-five tons. Woodhead attended an eight-hour meeting of about thirty men, only two of whom were engineers, the others were ‘Red’ directors, workmen etc. Woodhead refused to take any part in the discussion, which he described as worthless. To engage in the discussion would have been to admit that all these untrained people had a right to give an opinion on highly technical questions.’

The Diary Junction

Jerzyk’s tragic story

‘In town there was a poster confirming the shooting of ten people. If by the 4th of the month the bandits aren’t handed in they will shoot the next ten hostages to set an example.’ This is the 11-year-old Jerzy Feliks Urman (known as Jerzyk) writing in his diary in late 1943. He was in hiding with his parents in Drohobycz, then part of the Soviet Ukraine occupied by the Nazis, and it would be little more than a week before he committed suicide. Shearsman Books has just published a fresh version of the boy’s short diary and supporting documents, as translated by Antonia Lloyd-Jones and edited by Anthony Rudolf.

Jerzyk was born in 1932 in Stanisławów (then part of Poland, now Ivano-Frankivsk in Ukraine), a town with a population of 50,000, more than forty per cent of whom were Jews. The Soviets invaded Poland’s eastern territories in September 1939, but then, with Germany’s declaration of war against the Soviet Union in June 1941, Stanisławów found itself in an area overrun by the Nazis. Moreover, the local population seemed particularly willing to collaborate against the Jews and the Poles. Thousands of Jews were murdered that winter in Stanisławów, and a ghetto was established. Atrocities continued into the following year, with many more thousands of Jews being deported to Bełżec, the first of the Nazi extermination camps.

One day, in mid-1942, Jerzyk returned home and told his parents, Izydor and Sophie, about having witnessed a child caught smuggling food into the ghetto, and about how the child’s eye had been gouged out by a German with a red-hot wire. Thereafter, Jerzyk insisted on being allowed to carry a cyanide pill (available at a price on the black market); and the family agreed they would not be tortured and deported - they would survive together or die together. By March 1943, Jerzyk, his parents and two other family members were in hiding in Drohobycz, 100km or so northeast of their home town. In November that year, the local militia (German collaborators, but not the Gestapo) came to the house, and assaulted Izydor. Jerzyk fearing the worst, took his cyanide pill. The militia were so shocked by the child’s death they left, without even reporting the parents, who went on to survive the war.

Anthony Rudolf, an author, poet and literary critic, was researching his own family background when he came across the story of Jerzyk, his second cousin once removed. Rudolf located (in Yad Vashem, the World Holocaust Remembrance Center in Jerusalem) a transcription of a diary Jerzyk had kept for two months before his death; and he also had regular contact with Izydor and Sophie. He even made ‘pilgrimages’ to Stanisławów and Drohobycz. In explaining how he became involved with Jerzyk’s story, Rudolf explains that he was already writing about Holocaust survivors and had become ‘obsessed with the territory’. In 1991, Menard Press published Rudolf’s I’m not even a grown-up: The diary of Jerzy Feliks Urman.

A quarter of century later, Rudolf has revisited his second cousin’s story with Jerzyk: Diaries, Texts and Testimonies of the Urman Family, published by Shearsman Books. Jerzyk’s diary remains the centrepiece, freshly translated by Antonia Lloyd-Jones from the original manuscript, but Rudolf supplies supporting documents (all translated by Lloyd-Jones) to enrich Jerzyk’s story, aiming to give it a place in the historiography of the war against the Jews. These include a distraught diary kept by Sophie after her son’s death, and a 1964 interview with Izydor.

In this new book, Rudolf provides a thoroughly researched and rigourously annotated account of Jerzyk’s tragic story. But, here and there, the reader is also aware of how important this story is to him personally. He now owns the Jerzyk manuscript (acquired from Sophie) and writes about how it is ‘a precious family heirloom which will end up in Yad Vashem one day’. And he does not shy away from mentioning how his ongoing enquiries created tension between Jerzyk’s parents: while Izydor found the subject too traumatic and forbade his wife from discussing it with Rudolf, she herself would meet him secretly.

Rudolf explains, in the introduction to the 2016 edition, his motives for doggedly pursuing the fine detail of Jerzyk’s story: ‘I regard the keeping of Jerzyk’s diary and the manner of his death as acts of resistance, resistance of the noblest and most tragic kind. Although Jerzyk was precocious, clear-sighted, and sharp-witted, the diary is not a work of literature. Nor is it even the work of a future writer [. . .] unlike, for example, the diary of Anne Frank. It is, however, a document of considerable interest beyond the heart-rending fact of its existence. It is an intelligent child’s truthful account of experiences and states such as threat and rumour, nervous energy and fear, pain and insight. He kept the diary, he said, because he wanted people afterwards to know what happened.’

Finally, here are three extracts, the first two from Jerzyk’s diary and the third from his mother’s diary.

3 November 1943
‘[. . .] In town there was a poster confirming the shooting of ten people. If by the 4th of the month the bandits aren’t handed in they will shoot the next ten hostages to set an example. Marysia said the ten shot already were all Ukrainian. There were 2 Poles but the [Polish] Committee liberated them.’

5 November 1943
‘ ‘Don’t leave any dinner for me because I have a meeting with a lady [in town].’ But later, after a longish time, Hela came back really furious because she had gone [in vain] to watch the executions and because she’d been told that today they were going to shoot a Ukrainian priest and 6 women. She hadn’t even finished dinner when Marysia [said]: ‘Come on now or you won’t see anything. We must secure a place in the first row if we want to see anything.’

Hela stopped eating at once. She dressed hurriedly and left. She was out of the house for a long time, a few hours later she came back. She entered the room without saying hello, and said nothing. We made a point of not asking her anything. In the end she couldn’t keep her mouth shut and betrayed to us that the executions were postponed until tomorrow. Genia told her they were shooting people for hiding Jews. [. . .]’

13 January 1944
‘My one and only Son! Two months have passed since that terrible day when evil people caused your death. Here I am writing that word, though I still can’t believe it. Sometimes it feels as if you’re just absent for a while, and sometimes I try to convince myself that we’ve hidden you in a safe place, to protect you from the degradation and atrocities of this incredible war until it’s over. Surely since the world began, there can never have been such a terrible disaster, devised by Satanic minds. Dear Son, Mother Earth has proved extremely merciful. She clasps everyone to her bosom, rich and poor alike, the poorest and the richest, people of any denomination and nationality, and is not governed by the cruel laws invented by our assassins, which hold that only people of ar [Aryan] origin are allowed to walk on her surface, whatever their worth of ability, to render service to to anyone else in life. My dear Son, now you’ve gone to another mother, surely more worthy of such a treasure than I, who failed to protect you. I envy her for hiding so many children in her bosom, but my little Kitten, you were all I had, and now I’m on my own. I no longer visit you twice a day [he was buried in the garden] as I used to, because I’m afraid to attract the attention of the klemp [dimwit]. I only say ‘Good morning’, and ‘Good night’, once, on Fridays before bed. Every time Daddy has tears in his eyes, because he’s reminded of home and all the happy times we spent together. Who could have foreseen that we were destined for such terrible homelessness, and that such a painful blow lay ahead of us! I’m perfectly aware that we’re not the only ones, but for us that’s poor consolation.’

Hammers inside my head

’Saw the name Morecambe & Wise on the front of the theatre - first time on Broadway. Mind you, it won’t be there for long. We do the show tomorrow, so it will be taken down tomorrow night.’ This is Eric Morecambe, one half of the famous Morecambe and Wise comedy double act, writing in a (rather banal) diary he kept for a couple of years at the end of the 1960s. Today marks the 90 anniversary of his birth.

John Eric Bartholomew was born on 14 May 1926 in Morecambe, Lancashire, to working class parents. His mother encouraged him to leave school aged 13 to work as a child performer. By winning talent contests, he earned a place in a touring show, Youth Takes a Bow, in which Ernest Wiseman was also a comic prodigy. The two became close friends, and began to develop a double act, which became a regular feature in the show. During the last years of the Second World War, Wiseman joined the merchant navy, while Bartholomew was conscripted, in mid-1944, to become a so-called Bevin Boy and work in a coal mine in Accrington, though he was discharged as unfit after a year or so.

Bartholomew got together again with Wiseman once he was released from the merchant navy,  and in 1947 they joined Lord George Sanger’s variety circus, soon billing themselves as Morecambe (after his birth place) and Wise. In 1952 Morecambe married Joan Bartlett, a dancer and daughter of a captain in the Royal Army Medical Corps. They had two children, and also adopted a third child. In 1954, Morecambe and Wise’s first television series, Running Wild, was not a great success, and for the next few years they continued stage performances, with much touring, including a half year in Australia. They were also regulars on television variety shows. In 1961, the television broadcaster ATV launched The Morecambe and Wise Show, written by Sid Green and Dick Hills, which ran until 1968, establishing the duo as comedy celebrities. During the same period, they appeared several times on the Ed Sullivan show in New York, attracting huge audiences.

In 1968, Morecambe had a heart attack, and took six months off work to recuperate, returning to the stage with Wise the following summer. The couple moved their television work to the BBC, with Eddie Braben as their writer, and stayed until 1978 - producing the now-legendary Christmas shows - before switching to Thames Television in 1978. Morecambe had a second heart attack in 1979, followed by a bypass operation. Though he continued with the double act, making a series of shows for Thames between 1980 and 1983, he started branching out, playing other roles and writing more. He died of a third heart attack in 1984. Further information is available from Wikipedia, Chortle, or the old Morecambe website.

For a couple of years, between 1967 and early 1969, Morecambe kept a diary. This was first published by HarperCollins in 2005 - the last chapters in William Cook’s Eric Morecambe Unseen, sub-titled The Lost Diaries Jokes and Photographs, but essentially a pictorial biography. Cook gives a very brief introduction to the diary. ‘A lot of Eric’s observations,’ he says, ‘are fairly matter of fact, but the more intimate entries cast fresh light on his work, while the descriptive passages read like a dry run for his future fiction. And although the private voice is a good deal graver and reflective than his public persona, the same impish sense of fun remains.’ Here are several examples from the diaries as published in Cook’s book.

6 January 1968
‘Waldorf Astoria, New York. Today is a hard day. Two or three run throughs at the theatre, now called the Ed Sullivan Theatre, on Broadway. Then a quick lunch and a music run in the afternoon. Saw the name Morecambe & Wise on the front of the theatre - first time on Broadway. Mind you, it won’t be there for long. We do the show tomorrow, so it will be taken down tomorrow night. Got back to the hotel and the phone is flashing. It’s Fred Harris, an Englishman who works in New York for the Grade Delfont office. We stayed in the Waldorf for drinks as it was too cold to go out. We got slowly pissed, then went and had a bowl of soup downstairs in the cafe. This would be 12.30am. I then said, ‘Goodnight.’ He didn’t speak, got a cab and went home. I went back to my furnace of a room and fell asleep. I didn’t even switch on the TV.’

7 January 1968
‘Waldorf Astoria, New York, It’s thick snow outside. It’s thick hammers inside my head. However it’s show time this morning - got to get down to the Sullivan Theatre for 9.15am. Now to try and be funny at that time in the morning - believe me, there’s no such time. But it’s got to be done. This trip the weather has been really cold - fifteen below. I hope the plane will take off tomorrow. It could have cleared by then. Ern and I do the Sullivan again tonight. We will do the Marvo & Dolores [spoof magic act] bit. All the crew think it’s very funny. I think it will die, but I have been wrong before. We rehearse and hang about the theatre all day. Fred comes round before the show. The show is over, they say it’s gone well. I’m not happy about it nor is the Boy Wonder [Ernie], but they are - so much so, Ed asks us out to dinner with him that night. We go to Danny’s Hideaway on Lexington and have a very informal and most enjoyable evening. Bed around 12am.’

8 January 1968
‘Waldorf Astoria, New York. Well, I’m going back home tonight - back to the 35,000 feet up again bit and this time I’m not sorry. It’s 29 degrees below freezing, and that to me is cold. I’m going tonight on the ten o’clock flight from New York, but this time it’s BOAC. I’ve checked out of the hotel and took all my cases to the Essex House. Taxi at 7.15, airport at eight VIP room 8.30, 9.15 not drunk but happy. Great. Thirty five thousand feet up again, on the way home. Did the Sullivan last night and did well - maybe the best we have done. In a few moments the pilot has asked me to go up front while we are landing. This should be a thrill.’

16 January 1968
‘Today I went to the Delfont Grade office in Regent Street to meet Ernie and Billy Marsh. We had a long chat about future deals. I mentioned a tax saving scheme to Ernie and was rather surprised that he seemed quite interested, as since we have been married we have kept everything separate, and now Ernie is so close with information I never know what he is doing. All he does is secret! The idea is that we should both take out a policy on each other for £4,000 pa for ten years and after the ten years are up, for the next five years we are paid back at so much a year. At the end of the five years we will get £72,000 each - that of course is with profits. The beauty of it is that the £4,000 pa comes out of our different companies. If it comes out of the profits you are not taxed on the £4,000 at all. The only time you are taxed is when you start earning on the five yearly payments and by then we will have retired and will not be in the same earning capacity as we are now, so the tax will be less than now. I left the thought with the Boy Wonder, and I’ll wait to hear from him regards it, although I don’t think he will want to come across. Also if one of us dies, the other gets it, and Ern doesn’t look too well. It’s all a matter of pushing the money I’m earning now into the future.

Had lunch with Leslie Grade at Dickins & Jones. Very interesting as Leslie, who is a very shrewd man, had one or two propositions to offer - but with Leslie you have to think everything over for two or three days. Then you end up with the answer, which is nearly always, ‘Well, where does Leslie’s share come in?’ But it’s in there somewhere!’

18 January 1968
‘Today I was asked to become President of Kimpton Players. It sounds like a football team, but it’s a group of amateur actors and actresses who do local shows for charity. It should be quite interesting. They are doing an old time music hall show in a few weeks time, so I’ll be getting a party together and going along. Ern and I had a meeting with our writers, Sid Green and Dick Hills, at Roger Hancock’s office. We went to talk over a film idea for this coming summer. After a few drinks, conversation loosened up and Sid and Dick came out with the idea of doing a film about gypsies, where Ern and I are something to do with the council, and we have the job of moving them on, off the land that they are on. Although they had a few good situations within the film I could see Ern was not too happy about it, and I must admit I wasn’t jumping for joy. It’s a good idea, but it’s an idea anyone could do. It’s not pure Morecambe & Wise. Over lunch I happened to mention an offbeat idea I had for a film, which all thought funny. At that point Sid said that if that was the type of film we were thinking in terms of, he was all for it. So it looks as if we may after all be doing a type of film that we are all keen to do. The boys went off to write it up. We meet again next week.’

Severed heads drinking Coke

Happy birthday Eleanor Coppola, 80 today. Although her film director husband, Francis Ford Coppola is better known, Eleanor has made a career for herself directing films about films. But it was a diary she kept while Francis was filming Apocalypse Now, and later published, which set her on the course of documenting the art of movie making.

Eleanor Jessie Neil was born on 4 May 1936 in Los Angeles. Her father, a political cartoonist, died when she was 10, and her mother brought her up in Sunset Beach, 30 miles south of LA. After graduating in applied design from the University of California, Eleanor met Francis Ford Coppola while working as an assistant art director during the filming of Dementia 13 in 1962. They married in Las Vegas the following year. Their three children, Sofia, Roman and Gian-Carlo have followed them into the film industry. Eleanor, herself, has directed and/or been the cinematographer on several documentaries about the making of films. Otherwise, among her other activities, she helps manage the family winery in California, and has designed for a dance company in San Francisco. She also developed an art project, Circle of Memory ‘to inspire visitors to recall and commemorate children who are missing or dead.’ Further biographical information can be found at Wikipedia or the Note on the road website.

While Eleanor Coppola’s husband was working on Apocalypse Now, in the 1970s, with a shooting schedule in the Philippines, she kept extensive diary-like notes. These were published in 1979 by Simon & Schuster and simply called Notes, although subsequent editions were called Notes on the Making of Apocalypse Now. This book, in turn, led to a film, co-directed by Eleanor Coppola, Hearts of Darkness: A Filmmaker’s Apocalypse. Irene and Alan Taylor, authors of the anthology, The Assassin’s Cloak, say the diary is ‘an extraordinary record not only of making a movie but of the emotional and physical prices extracted from all who participated in it.’ Later, she published Notes on a Life, in a similar style, but with a much broader focus on her world. Further information and and extracts from Notes on the Making of Apocalypse Now can be found at SF Gate, Los Angeles Times, and The Independent.

In her book, Coppola explains that she went with her husband and their three children to the Philippines in March 1976, where they rented a large house in Manila for the five-month scheduled shooting of Apocalypse Now. The film was conceived as an action/adventure structured on Joseph Conrad’s novel Heart of Darkness, but rather than Africa in the 1800s, the film was set on a river in Vietnam during the late sixties. The story concerns a Captain Willard who is given an assignment to go on a classified mission up a river in Vietnam, cross into Cambodia and assassinate Colonel Kurtz, a Green Beret colonel who has apparently gone insane and is conducting the war by his own rules. When Willard finally arrives at his destination, he has been changed by the experience of making the journey. Coppola concludes her introduction by saying: ‘Many of the people who worked on the film were also changed.’ Here are several extracts from Notes.

24 June 1976
‘Napa. Yesterday Mike and Arlene saw two hours of rushes, and when they called to ask us if we would like anything from the city, Arlene said she thought the acting was kind of tentative. Francis went into a tailspin. He felt totally defeated. He has spent $7 million, and months of grueling production, and they didn’t say, “Hey, you’ve got some fantastic stuff there.” He really got into a black depression. As I see it, Francis has ninety hours of film, and no chunk can give you an idea of what fifteen minutes’ worth of moments he is going to select from it. What you finally see on the screen does not give the slightest clue of what was left out. For someone to just look at an arbitrary piece is meaningless. Francis felt hopeless and scared. We slept outside on the lawn. It was a beautiful night, so clear with stars. Francis tossed and turned most of the night, having nightmares. We woke up at dawn; there was a crescent of new moon rising near the horizon in the pinkish light. Francis said he had had a dream about how to finish the script, but now that he was awake it wasn’t really any good. Francis talked to Brando on the phone yesterday.’

15 October 1976
‘Thirty-eight takes, and Francis said it was never the way he wanted it. The people who were playing the severed heads sat in their boxes, buried in the ground, from eight in the morning till six at night. All day they were there in the hot sun, with smoke blowing on them. Between takes they were covered with umbrellas. They got out for lunch, but the rest of the time they were there in place.

During one take, Dennis Hopper backed up and stepped right at a girl’s cheek and collapsed part of the container she was in, nearly stepping on her face. The mud on both sides of the dolly track was deep and people kept slipping. Dennis and Fred Forrest both fell during takes. The sound man had someone hold on to his belt in the back and stabilize him as he followed the actors, so that he wouldn’t fall with the boom.

It was one of those days where the dry ice mist, or the orange smoke, or the performance, or the light, or something just never came together for a take that Francis was satisfied with.

At one point I was sitting there looking around. The severed heads were drinking Cokes. The Ifugao children were putting chunks of dry ice in film cans and making the lids pop off. Some Ifugao girls were picking lice out of each other’s hair. One girl had a wrapped skirt, bare breasts and pink plastic hair rollers. A man sitting down in his loincloth held up the fringed ends neatly so they wouldn’t get in the mud. The man with the boa constrictor was giving it a drink of water. Alex was talking about the fake blood . . . “It’s thirty-five dollars a gallon and they’re really using a lot today.” Special effects ran out of orange smoke and had to use red. My favorite old Ifugao priest wasn’t in costume today; he had on a loincloth and beige print, nylon jersey sport shirt. He came up close to the steps to take a look at the fake severed heads. They say his tribe were headhunters as recently as five years ago. Angelo had a tuna sandwich he was passing around, and people were saying, “You know how long its been since I had a tuna sandwich?” ’

17 October 1976
‘Pagsanjan. I shot an interview with Dennis Hopper. One of the things he said that interested me the most was that he thought filmmaking was in the same phase of development that art was during the cathedral-building period. When they built those great cathedrals in Europe, they employed stonemasons, engineers, fresco painters, etc., and created the work through the combined talents of many. By the nineteenth century, art evolved to the point where the major work of the day was being done by individual artists working alone at an easel. Dennis was making the point that now film-making involves the talents of many departments and perhaps eventually major films will be made by one person with a video port-a-pack.’

4 November 1978
‘Napa. Yesterday I went with Francis to a screening of the last half of the film to see some changes he was working on with the editors. I hadn’t seen any footage since June. There is no question in my mind, beyond all my personal feelings and connections, it is an extraordinary work. It feels like Francis’s level of desperation and fear is shrinking. The lawyers and United Artists are starting to talk more optimistically about the financial situation. There is still more work to do in the final sequence at Kurtz Compound, but each cut seems to improve, get closer.’

The Diary Junction

Breaking superstitious pictures

‘We brake down 28 superstitious Pictures; and took up 11 popish Inscriptions in Brass; and gave order for digging up the Steps, and taking of 2 Crosses of the Steeple of the Church, and one of the Chancel, in all 4.’ This is from the unique diary of William Dowsing, baptised 420 years ago today. He was a farmer by occupation, but for a short period when middle aged, during the Civil War, he took on the job of destroying ‘all monuments of superstition and idolatry’ in parts of East Anglia, as dictated by an August 1643 Parliamentary Ordnance.

Although there is some uncertainty about the place of his birth, it seems Dowsing was baptised in Laxfield, Suffolk, on 2 May 1596, the son of a yeoman farmer. It is likely he studied at grammar school because he knew Latin and Greek. He was married twice, having ten children by his first wife, Thamar. He was a working farmer, and was very religious, a puritan, establishing a large library of religious books. According to John Morril’s entry for Dowsing in the Oxford Dictionary of National Biography (log-in required), he was ‘a grave, earnest, godly man who appears to have held no public office or sought any public notice over his seventy-two years of life, except for an explosive period of fifteen months at the height of the civil wars’.

Dowsing was middle-aged when appointed, by Edward Montagu, the Earl of Manchester, to be provost marshal of the armies of the eastern association. This appointment, Morril explains, was more the result of Dowsing’s puritan zeal than any experience for the job. He helped with supplies for the army and the care of prisoners of war. But, in December 1643, he surrendered that role in order to carry out the Parliamentary Ordinance which stated that ‘all monuments of superstition and idolatry should be removed and abolished’. He, personally, supervised the ‘cleansing’ of many churches in Cambridgeshire, and, in conjunction with deputies, many in Suffolk too. He visited over 250 churches in the two counties, ensuring the destruction of stained glass windows, alter rails, angels, crucifixes on roofs, etc. However, with the fall of Montagu from power, in late 1644, Dowsing, too, laid down his commission. He returned to farming, being troubled in later life by disputes between the children from his two marriages. He died in 1668.

Dowsing is remembered today solely because he documented, in a unique way, his work destroying the ornamentation in hundreds of churches. His original manuscripts have long since been lost, and there are complicated histories for various copies - hand copied and published - made of those manuscripts. These histories, along with all the surviving parts of Dowsing’s journals and much context and many notes, have been gathered together in a modern edition, edited by Trevor Cooper, and published by Boydell & Brewer Ltd in 2001 as The Journal of William Dowsing - Iconoclasm in East Anglia During the English Civil War. Parts of this are available to view at Googlebooks. A substantial review of the book can be found at Michigan State University’s H-Net.

Although material from Dowsing’s manuscripts had found its way into other publications, the first book dedicated to his journal was published in Woodbridge in 1786 as The Journal of William Dowsing, of Stratford, Parliamentary Visitor, appointed under a warrant from the Earl of Manchester, for demolishing the superstitious pictures and ornaments of Churches, &c. within the County of Suffolk, in the years 1643-1644. A later edition, edited by Evelyn White, published by Pawsey & Hayes in 1885, is available at Internet Archive (and is the source of the following extracts)

23 January 1643
’14. DUNSTALL, JAN. the 23rd. We brake down 60 superstitious Pictures; and broke in pieces the Rails; and gave order to pull down the Steps.’

24 January 1643
’15. ALDBOROUGH, JAN. the 24th. We gave order for taking down 20 Cherubims, and 38 Pictures; which their Lecturer Mr. Swayn (a godly man) undertook, and their Captain Mr. Johnson.’

25 January 1643
’16. ORFORD, JAN. the 25th. We brake down 28 superstitious Pictures; and took up 11 popish Inscriptions in Brass; and gave order for digging up the Steps, and taking of 2 Crosses of the Steeple of the Church, and one of the Chancel, in all 4.

17. SNAPE, JAN. the 25th. We brake down 4 popish Pictures; and took up 4 Inscriptions of Brass, of ora pro nobis, &c.

18. STANSTED, JAN. the 25th. We brake down 6 superstitious Pictures; and took up a popish Inscription in Brass.’

26 January 1643
’19. SAXMUNDHAM, JAN. the 26th. We took up 2 superstitious Inscriptions in Brass.

20. KELSHALL, JAN. the 26th. We brake down 6 superstitious Pictures; and took up 12 popish Inscriptions in Brass; and gave order to levell the Chancel, and taking down a Cross.

21. CARLETON, JAN. the 26th. We brake down 10 superstitious Pictures; and took up 6 popish Inscriptions in Brass; and gave order to levell the Chancel.

22. FARNHAM, JAN, the 26th. We took up a popish Inscription in Brass.

23. STRATFORD. We brake down 6 superstitious Pictures.

24. WICKHAM, JAN the 26th. We brake down 15 popish Pictures of Angels and Sts; and gave order for taking 2 Crosses; one on the Steeple, & the 2nd on the Church.

25. SUDBURNE, JAN. the 26th. We brake down 6 Pictures, and gave order for the taking down of a Cross on the Steeple; and the Steps to be levelled.’

A fuller set of Dowsing’s diary entries can be read freely online at a website created in parallel with, and to promote, Trevor Cooper’s The Journal of William Dowsing. The online version offers all the journal entries but very few of the many extras offered by the book itself (see its contents here).

The Diary Junction