Posts Tagged ‘Victoriana’

When the competition becomes cutthroat

Wednesday, April 24th, 2013

Hello, friends. I have some particularly lovely and extremely immodest news to share with you, this week: The Traitor in the Tunnel has been shortlisted for an Arthur Ellis Award! I’m especially excited because this is Traitor‘s first possible award. As some of you know, A Spy in the House was nominated for three awards and won the Canadian Children’s Book Centre’s inaugural John Spray Mystery Award in 2011. The Body at the Tower was shortlisted for Australia’s Inky Awards. And now it’s Traitor‘s turn! Mary Quinn is three for three! I can’t tell you how exhilarated I am.

The awards will be presented in May. Can you picture it? A gala evening in Toronto for, say, two hundred. Forty or so mystery authors, all vying for prizes. A winner is announced. A blood-curdling scream tears through the audience. The lights go out. Pure mayhem ensues. And, perhaps best of all, I now have the opportunity to make appalling jokes like this for the next six weeks.

In other news, my friend Vee sent me a link to a fascinating article about Victorian walking sticks. Yeah, yeah, walking sticks, I hear you mutter. You will have to read it for yourself and Be Amazed. I would link it here, but it contains some graphic descriptions that I don’t want to impose on those under 18. I will simply offer you my favourite paragraph:

Last Saturday, the Kimball H. Sterling Auction Gallery in Tennessee held a sale of more than two hundred vintage canes, including a great number of what collectors call “system canes.” One was designed for midwives and had a baby scale hidden within it; others concealed a picnic utensil set, opera glasses, an ear trumpet, a perfume bottle, a detachable baby rattle, a blow gun, a winemaker’s thermometer, a folding fan, a telescope, a flask with cork top, a pocket watch, a sewing kit, a compact and mirror, a full-length saw blade, a microscope, a pennywhistle, a set of watercolors and paintbrush, a whistle for hailing a cab, and gauges for measuring the height of a horse. (Wayne Curtis, “Pimp My Walk”, The Smart Set.)

My first thought on reading this was of Amelia Peabody, Elizabeth Peters’s Victorian/Edwardian Egyptologist and sleuth, who carries a specially made cane that conceals a sword, custom-made to her dainty proportions. Did Peters know, or is this a splendid coincidence? My second thought: how can I work one of those into a book? MU-hahahaha!

And that was my week. How was yours? What are you up to?

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CD and me

Wednesday, April 17th, 2013

Hello, friends. A couple of days ago, I saw a car driving very slowly around the car park of Portsmouth Olympic Harbour in Kingston. This isn’t unusual. The harbour is always busy with runners, walkers, picnickers, coffee-drinkers, dog-walkers, cyclists, and all manner of casual idlers. The thing that caught my eye was the small dog trotting along beside the car. Yes, the dog’s owner was “walking” his dog by driving alongside it. I don’t think I’ve led an excessively sheltered life, but this startled me. We North Americans love our cars and we’ve built our sprawling cities around them. I guess the next logical step is to give up our legs entirely?

If you thought I was going to segue once again to Judith Flanders, you’re absolutely right. In The Victorian City, Flanders asserts: “walking was the most common form of locomotion throughout the nineteenth century. By mid-century it was estimated that 200,000 people walked daily to the City; by 1866 that figure had increased to nearly three-quarters of a million.” What I love is that it’s not just the poor who walked: it was most people, including the rich. “In 1833, the children of a middle-class musician living in Kensington walked home from a concert in the City.” That’s roughly 4 miles and it would take about 90 minutes, according to Google Maps. “Two decades later, Leonard Wyon, a prosperous civil servant, and his wife shopped in Regent Street, then walked home to Little Venice.” That’s about two and half miles, or 50 minutes. And “In 1856, the wealthy Maria Cust returned from her honeymoon, walking with her husband from Paddington to Eaton Square.” Assuming the Custs strolled through Hyde Park, that’s a 2 mile walk which might take 40 minutes.

Not everyone walked for leisure, of course. Working people endured extremely long days, by our standards: shifts of 12, 14 and 16 hours were not uncommon. And they commuted by walking. (No wonder they bought breakfast along the way, eating as they went.) My favourite image of the Victorian walking commute features office clerks: “a thick black line, stretching from the suburbs to the heart of the city… [they] plod steadily along… knowing by sight almost everybody they meet or overtake, for they have seen them every morning (Sunday excepted) for the last twenty years.”

All this puts Charles Dickens’s famously feverish walking in a clearer context. Dickens once walked 30 miles from his home in London to his country house in Kent. (He set off at 2 a.m. after a quarrel with his wife, which helps to explain his average walking pace of over 4 miles an hour!) And in his lifetime, he was famous for passionately, diligently, ceaselessly walking the streets of London, which appear in his fiction in such remarkable and evocative detail. But even if I didn’t have Charles Dickens to cite as a model, I would claim that walking is the only way truly to see a city. That’s how I fell in love with London, too. When I lived in Bloomsbury, as a graduate student, I would get up early on weekend mornings and explore the streets. There were other Londonphiles doing the same thing, and I got to know a few of their faces.

These are golden memories, and writing this post has created in me a new resolve: the next time I have 2 or 3 hours, I’m going to walk part of Kingston I’ve never walked before. It’s hardly Dickens in London, but I’ll take it.

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Furnishings for the Middle Class

Wednesday, March 20th, 2013

Hello, friends. This past weekend, we learned that Turk’s, our favourite antique-y store in Kingston, is closing. We’re really crestfallen because over the years, we’ve ended up buying most of our furniture there. Turk’s (est. 1902 by J. Turk) filled an important gap in Kingston: older wooden pieces in decent condition. They were never serious antiques (there are some scarily high-end antiques dealers in town), and thus they were often in our price range. Our decision-making process went like this:

1. We need X. Can we make one, thrift one, or do without? If no, proceed to Turk’s.

2. Is there anything cool at Turk’s? Yes, there is always something cool at Turk’s.

3. Do we really, really like it? If no, return to step 2. If yes, approach item with caution.

4. Does it smell musty? If yes, return to step 2. If no, find price tag.

5. Is it the same price (or less) as an X from Ikea? If yes, purchase. If no, return to step 2.

I’m so sad to see the end of this era. But as we were poking around in a mist of nostalgia (Turk’s has some vinyl and a few books, too), Nick found an amazing (and ridiculously appropriate, given the circs) book for me! It’s called Furnishings for the Middle Class: Heal’s Catalogues, 1853-1934. I am beyond excited to have a bound volume of so much mid- to late-Victorian aspiration, complete with prices and illustrations. I could read it all day.

What’s immediately intriguing about the catalogues is that they tend to begin with the least expensive items: “Plain Beds for Servants”, for example, or a White Beech Bedroom Chair. You have to keep reading before you get to things like the “‘Princess Maud’ Suite, painted white, with Louis XVIth enrichments, consisting of 3ft. Wardrobe with Plate Glass Door, 3 ft. Dressing Chest and Glass, 2 ft. 6 in. Washstand (Marble Top), Chamber Pedestal, 2 Chairs” for £10 10 0 (that’s ten pounds, ten shillings). And I’m now restraining myself from typing out even more furniture descriptions. Instead, here’s an advertisement from the end of the century.

I also found a photo of the interior of Turk’s as you walk in, here. Yes, those are the original pressed-tin ceilings. Farewell, Turk’s. And thank you for everything.

 

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It was a dark and stormy night.

Wednesday, November 7th, 2012

Hello, friends. I was just tinkering with what I think will be the first chapter of Rivals in the City and thinking about Elmore Leonard’s dictum, “Never open a book with weather.” (There’s a ton more writing rules here, if that’s your sort of thing.) And I’m not at all sure weather should be forbidden, let alone the first thing Leonard chooses to condemn.

The infamous “It was a dark and stormy night” is often cited as a bad beginning and an example of purple prose, but really, it’s perfectly all right. It’s a clear and straightforward sentence. It creates mood and promises action in seven words, none of which is extraneous. And its author, Edward Bulwer Lytton, was a successful Victorian novelist whose public apparently enjoyed his having started with the weather, as well as the very ornate sentence that follows it.

And I was recently reminded of the power of starting with the weather in the opening chapter of Dickens’s Bleak House. Here’s the full first paragraph:

LONDON. Michaelmas Term lately over, and the Lord Chancellor sitting in Lincoln’s Inn Hall. Implacable November weather. As much mud in the streets as if the waters had but newly retired from the face of the earth, and it would not be wonderful to meet a Megalosaurus, forty feet long or so, waddling like an elephantine lizard up Holborn Hill. Smoke lowering down from chimney-pots, making a soft black drizzle, with flakes of soot in it as big as full-grown snow-flakes — gone into mourning, one might imagine, for the death of the sun. Dogs, undistinguishable in mire. Horses, scarcely better; splashed to their very blinkers. Foot passengers, jostling one another’s umbrellas in a general infection of ill-temper, and losing their foot-hold at street-corners, where tens of thousands of other foot passengers have been slipping and sliding since the day broke (if the day ever broke), adding new deposits to the crust upon crust of mud, sticking at those points tenaciously to the pavement, and accumulating at compound interest.

I can’t imagine a writer pulling this off now, but it’s a splendid beginning. It begins like a telegram or a bit of news reporting (“London. Michaelmas term lately over…”), then immediately turns the weather into an adversary (“implacable”). From this terse economy, it suddenly springs into science fiction cut with absurd comedy (a Megalosaurus waddling up Holborn Hill), horror (“the death of the sun”), and disease (“a general infection of ill-temper”). After coating the world and its contents with filth and mud, Dickens introduces the theme of money (“accumulating at compound interest”) that circulates through the book. Quite a feat for a paragraph that’s all about the weather, hm?

Now, I’m not even considering comparing myself to Dickens or Elmore Leonard, but my point here is, let’s lighten up with the writing rules, shall we? Because sometimes, it really is a dark and stormy night.

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The Inimitable

Wednesday, October 24th, 2012

Hello, friends. Yesterday, I began reading Claire Tomalin’s latest biograpy, Charles Dickens: A Life. I had extremely high hopes for this book, so much so that I worried that my hopes were unreasonably high and I might inevitably be disappointed. But it begins beautifully, and this week I just want to share some of my glee with you.

The biography starts with three maps and a Cast List – essential in a book as jammed with places and personalities as this one. One of the reasons I love this kind of front matter and pore over it for ages before launching into the actual book is because they reveal so much about the author’s interests. Her voice is as strong there as anywhere else in the book, and diving into a list like that is a perfect way to get acquainted (or reacquainted, in this case). I’ll show you what I mean:

On the map called Dickens in Central London, the Garrick Club is described thus: “Dickens a member from 1837, resigning and rejoining frequently”. A perfect window into the man, in four words!

Here are a couple of the extremely varied people he associated with:

“Cooper, Louisa… sent to Cape, returned 1856, bringing D[ickens] an ostrich egg…”

“Elliott, Frances… heiress with rackety marital history… persuaded D to intervene in her difficulties in 1860s, questioned him in vain about his private life”

And Tomalin’s judgement on others:

“Morson, Mrs Georgiana… matron of Miss Coutt’s Home [for reformed thieves and prostitutes] from 1849 to 1854 when she remarried. A pearl.”

“Townshend, Chauncey Hare… rich, Cambridge-educated hypochondriac… dedicated poems to D, who dedicated Great Expectatiosn to him, gave him manuscript – huge reward for foolish friend”

Also, Dickens gave his kids really florid names! They often seem to be modified versions of the names of famous people, as in “Walter Landor” (why skip the “Savage”?) and Alfred D’Orsay Tennyson (really? He chose to interrupt Alfred Tennyson’s name with “D’Orsay”?). Other times, he went for the full homage, naming two of his sons “Henry Fielding” and “Edward Bulwer Lytton”.

I’m hooked.

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Faster, Higher, Stronger

Wednesday, August 1st, 2012

So, the Olympics. As cynical as we’ve become about doping, fiscal and political scandals in host cities, and the sheer pomp of the Games, the athletic performances themselves are truly stirring, skin-prickling stuff. And the Olympics hold a special kind of interest in my family because my uncle, Cheah Tong Kim, represented his country, Malaysia, in swimming at the 1964 Tokyo Olympics. Over the past few days, watching highlights from the London Games got me thinking back to the birth of the modern Olympics. I knew they were a late-Victorian inspiration that resulted in the 1896 Games in Athens. But, as it turns out, there’s a lot I didn’t know about the inspiration behind the modern Olympic Games.

Before the Victorian era, there was a modern attempt to recreate the Olympic Games: the L’Olympiade de la République, which was held for 3 years in revolutionary France (1789, remember?). It makes sense: egalitarianism, a chance to compete physically, rather than socially or economically – it was a perfect kind of celebratory contest for revolutionary times.

Then came a lapse of about 60 years, which also makes sense: Victorian intellectuals greatly admired classical literature and culture, and it’s logical that they wanted to emulate the famous athletic contests of the ancients. But the French Revolution scared the pants off Western European monarchies, so there had to be a lapse of a few generations between the L’Olympiade de la République and any safe imitation.

So it wasn’t until 1850 that an English surgeon called William Penny Brookes established an Olympic Games in Wenlock, Shropshire. According to wikipedia, his aim was the “moral, physical and intellectual improvement of the inhabitants of the town and neighbourhood of Wenlock and especially of the working classes” (italics mine). That sort of paternalistic do-gooding couldn’t really be more Victorian.

There were other English Olympics: in Liverpool, for a few years in the 1860s. One at the Crystal Palace in London in 1860. But it was the Wenlock Olympics that really became a strong annual tradition. And in 1890, Baron Pierre de Coubertin, the creator of the modern Olympic Games, visited Wenlock and was inspired to establish the International Olympic Committee. Extraordinary, isn’t it?

How do you like the sound of Wenlock 2050, on the two-hundredth anniversary of their first Olympic Games?

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The Omnibus Edition

Wednesday, July 11th, 2012

Hello, friends. We’re currently visiting family in Lancashire, England, and I have been lazy with the camera. That is, I’ve taken lots of photos of cousins and aunties and old friends, but not much that people outside the family would want to see. However, the other day we found ourselves at the Museum of Transport in Manchester.

I was expecting a bus or two, maybe a replica stagecoach, and some dioramas. Well. Was I ever mistaken. The museum is a former bus garage and it contains about seventy-five buses. Yes, they are very well parked, but still! Massive! The whole place reeks of diesel, there’s an open-topped fire engine that remained in service well into the 1960s, and most of the buses appear to be still running, since museum staff and volunteers take them out on a regular basis for shows and events.

And then I saw this:

It’s an omnibus from the 1890s. The plaque said it was drawn by 2 horses, or 3 up hills. (I love that. Can you picture them pulling over and harnessing a third horse before each hill?) Inside, it has 2 long bench seats running from front to back, and that precarious-looking staircase on the right leads to several rows of forward-facing seats on the open top. The ride must have been bumpy, as those are wooden wheels. And I’m fascinated by the advert for F. Robinson’s Light Bitter Ale. I tend to think of billboards as twentieth-century inventions, but this is a fantastic reminder that the nineteenth century was also a golden age of advertising.

What have you been up to, this week?

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Slumming

Wednesday, June 20th, 2012

Hello, friends. The best thing about grad school, in my opinion? The really smart, interesting people I met, and how they’ve enriched my life and stretched my brain. One of my friends, Keri Walsh, recently blew my mind. (This has been an ongoing theme, recently. Other friends introduced me to Smiling Victorians and the Female Detective in past weeks, both of which are also completely awesome.) Keri posted on facebook about Seth Koven’s Slumming, an electrifying study of Victorian attitudes towards the poor. (Incidentally, you can tell when an academic book is especially juicy; they print a paperback version that, unlike the hardcover, costs less than $100.)

I knew that the nineteenth century was a time of major private philanthropy: serious-minded people worked hard to help the socially marginal, at a time when laissez-faire politics ruled supreme. What I didn’t know was that the term slumming was also coined at that time, to describe the fashion (yes, I said “fashion”) for touring slums to get a thrill from how the poor lived. Here’s a satirical example from Punch, which Koven discusses in his introduction:

The clergyman in the middle, with a well-dressed lady on either side of him, strolls through London’s East End as though it’s a zoo. The East Enders know why he’s there, of course, and stare right back at him, commenting on his hat. The cartoon is captioned “In Slummibus” because slum tourists often rented omnibuses in which to do their slumming. I guess they felt safer that way.

This is an extension, of course, of the English habit of visiting insane asylums as a form of entertainment. (The former premier of Alberta, Ralph Klein, revived this tradition in his own way in 2001 with a drunken visit to a shelter, where he shouted abuse at homeless men and threw pennies at them.) And many slum tourists had good intentions, as Koven points out. But it’s a new lens through which we can view the Victorians.

The Victorians are like us, in their urban chasm between rich and poor; in their desire to be daring, fashionable, and well-entertained; in their desire to do good; in the confusion, scandal, and constant one-upmanship of their media; and in the wild energy and tension with which they lived their lives.

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Grit and pathos

Wednesday, June 6th, 2012

Hello, friends. On Friday, I was over at Nineteenteen, blogging about the history of the London Foundling Hospital – essentially the first charity orphanage in a huge city rife with abandoned babies and homeless children. This is, at first glance, an eighteenth-century story: Thomas Coram, who fought to create the Foundling Hospital, did so in 1739. Its major patrons, composer George Frideric Handel and artist William Hogarth, were eighteenth-century figures. So what does this have to do with the Victorian era?

Dickens, of course. (Whenever in doubt, the answer is Dickens. Fact.) For a time, Dickens lived on Doughty Street in Bloomsbury, just a couple of minutes’ walk from the Foundling Hospital. We know that Dickens was a frenetic walker and a fervent student of London life, in all its grit and intensity. He would definitely have noticed the daily dramas of the Foundling Hospital, and some of this found its way into his novels. For example, in Little Dorrit, the Meagle family adopts their servant Tattycoram from the Hospital. She’s a fierce and frustrated girl, Tattycoram. And have you noticed her name? The “coram” part is borrowed from Captain Thomas Coram, of course, the founder of the Hospital. Tattycoram is right to be impatient, because she’ll always be identified with the Foundling Hospital. Her (lack of) social status is right there in her name.

There’s also the story of Oliver Twist, with Oliver’s childhood in a poorhouse – not the Foundling Hospital, but another kind of holding place for destitute children. (If you haven’t read Oliver Twist, you may still know the famous scene of Oliver asking for more gruel.) Inspired by his own experience of child labour, Dickens attacks his society’s treatment of the poor – especially poor children. The children of the Foundling Hospital would have been a daily reminder and a constant prodding of his own traumatic memories.

I think what’s interesting here is the way history bleeds untidily from period to period. Although we can think, “Foundling Hospital, Thomas Coram, Handel, Hogarth – yep, all eighteenth century”, it’s easy to lose sight of the fact that institutions and problems endure. And the tragedies that Coram sought to prevent – the abandoned and homeless and dying children of London in the 1730s – continued through the Victoria era.

What do you think? Are there places or things you associate with one era which, in fact, belong to others as well?

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Yes. THIS.

Wednesday, May 30th, 2012

I have the most interesting, keen-eyed friends a girl could ask for. A few days ago, my fellow Master of Arts (that’s what they said at our convocation: “Rise, Master of Arts!”) Jo Valin sent me this link to some photos of Smiling Victorians.

The photos are all borrowed from a Flickr group called – you guessed it – The Smiling Victorian, but Retronaut does a great job of explaining why the Victorians are so commonly stereotyped as stuffy and solemn: when being photographed, “subjects had to stand very still to avoid being blurred, and holding a smile for that period was tricky. As a result, we have a tendency to see our Victorian ancestors as even more formal and stern than they might have been.”

You guys, I ADORE this cache of photos. Not only are they cheeky and vivid and candid and moving, but they absolutely SHRED our preconceptions about the Victorians. Check out the body language! Women put their arms around men, they lay down on beaches, they sat on their (sketchy-looking) boyfriends’ laps!

This is precisely the kind of Victorian England I try to evoke in the Agency novels: pungent, gritty, vigorous. The stuff missed by canonical novels and etiquette books. The parts you might never glimpse, if you buy into the stereotype.

And there’s more: I’ve raved about the Dictionary of Victorian London before, but its editor, Lee Jackson, actually made me cackle out loud this week with a blog post about Victorian prudery – or its antithesis. The writer quoted is Francis Wey, a French tourist, so we should make allowances for exaggeration and a desire to caricature the English. But if even half of what Wey reports is true, the prim-and-proper stereotype is about to collapse like the toilet tents Wey describes. As he says, “When English people are not icicles, they are apt to become shameless.”

Finally, this week I’m the feature author at Nineteenteen, a really cool blog about “being a teen in the nineteenth century”. Yesterday, blogger and YA author Marissa Doyle interviewed me – and of course, as a fellow novelist and history fanatic, she asked very interesting questions. Check it out!

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