Octopus dreams

 There were mountains where animals roamed and forests overflowing with roots, fruits, leaves and berries. The Jōmon knew about farming; their neighbours across the water in Korea were farmers. But they themselves didn’t need to break their backs hoeing the soil day and night, for they had abundant food all around them. Most peoples didn’t settle down until the advent of farming; but these hunter-gatherers were so prosperous that many stopped wandering and formed communities.

The Minoans developed their civilisation a few millennia later, between about 2000 and 1000 BC. They didn’t build stone circles but huge and splendid palaces painted with frescoes. But as an island nation they had much in common with the Jōmon, who were still thriving across the world in Japan. Legacies of Beauty: Archaeological Treasures from Japan, a wonderful exhibition at the Heraklion Archaeological Museum which closed on September 24th, celebrates the parallels.

The Man Who Slew Wat Tyler

The meeting seemed to start well. The King was amenable. What happened next is contested. Did Wat Tyler become over-familiar with the King? Did he spit, disrespectfully, in his direction? Did one of the King’s entourage respond by insulting Tyler? In a heated moment someone made the first move, perhaps Tyler, perhaps Walworth who had ridden out to Smithfield with the King.

According to one version of the story, William Walworth despatched Wat Tyler immediately with the thrust of a dagger. Another version is that Tyler, seriously wounded, was carried into St Bart’s hospital, but was soon dragged from there by Walworth’s men and publicly executed. Whatever the actual timeline, Tyler perished and his dispirited followers went home. It was effectively the end of the revolt.

Was Walworth a dagger-happy oppressor of working men or a good citizen and brave defender of his monarch? Whatever the truth, he was rewarded with a knighthood and a pension and is today counted as one of London’s worthies. The north-eastern pavilion on Holborn Viaduct, linking the viaduct to Farringdon Road by stairs, is named after him and bears his statue.

Caroline Herschel

Caroline was seventeen when she arrived in England. She had been very close to William and must have been devastated when he left home - particularly as her mother, who really only had time for her oldest son, Jacob, neglected the child. Caroline was treated as a servant: she contracted typhoid as a child, as a result of which her growth was stunted; she was tiny, just a little over four feet tall. But things took a turn for the better when William came back to Hanover and rescued her. He taught her to play music and to sing - so well that she was offered a post with an opera company in Birmingham.

But by this time, Caroline and William were both becoming fascinated with astronomy. (I've noticed that there's often a connection between music and science, though I don't know enough about either to understand why this is.) William learnt how to grind and polish lenses, and built increasingly large telescopes which he used to sweep the night sky. Caroline was initially his recorder and note taker, but she progressed to making her own observations. 

The Aspidistra Radio Transmitter #WW2

 The Shadow Network which forms the title of my latest book refers to the fake news radio stations set up by Sefton Delmer in WW2. These secret radio stations operating in WW2 pretended to be genuine German radio stations and employed German prisoners of war or other German speakers to make their broadcasts. The broadcasts were deliberately racy and were designed to capture the hearts of ordinary Germans and make them believe they were listening to a forbidden radio station from their own country. Their popularity spread, and they got wide audiences for their programmes.

The radio signal for these ‘fake news’ radio stations needed to be strong enough to appear as though it came from Germany and had to be more powerful than anything that was then available.

By coincidence, the Radio Corporation of America (RCA) had created two high-powered radio transmitters which could not be used in the US, because of a change in American law. The RCA were eager to sell them to Britain. So Harold Robin, (pictured above) a Foreign Office radio engineer, saw their potential, and travelled to America to examine them, and then worked to improve them. He adapted a transmitter so it was able to move frequency in a fraction of a second, at the flick of a switch.

The powerful ex-RCA transmitter, eventually installed in Sussex, England, was named Aspidistra, referencing the popular Gracie Fields song ‘The Biggest Aspidistra in the World’, in which an Aspidistra houseplant grows until it ‘nearly reached the sky’.

In fact, most of the technology was buried underground at the site at Crowborough, though its antennae were visible – three guyed masts, each 110 metres tall, directing the signal broadly eastwards. The Art Deco–style transmitter building was housed in an underground shelter which had to be excavated by the Canadian army troops who were stationed nearby.

The Men who Ate Gold

 I was recently lucky enough to go to the enchanting country of Peru and was captivated by its extraordinary landscape and tragic history ...

The all-conquering Atahualpa
In November 1532 the emperor of all the Incas, Atahualpa, was marching south to his capital, Cusco, accompanied by an army of 80,000 men in a vast triumphal cavalcade. After a long civil war he had captured his half brother, the then Inca, and made himself emperor - Inca - of the whole vast land of Tawantinsuyu.

Deep in the mountains he ordered his men to pitch camp in a lush fertile valley outside the small city of Cajamarca. There were so many tents pitched across the hillside that it was like a city. Atahualpa and his women stayed in a beautifully-appointed residence a few kilometres away, at a hot spring where mineral waters hissed and bubbled out of the ground. There was a bathhouse, hot and cold running water and a garden. There he engaged in a ceremonial fast, took the waters and recuperated from a war wound.

Inca emperor and courtiers in a palace 
of Inca stonework, Museo Inkaryi

 Atahualpa was an incredibly impressive presence. His crown was a multi-coloured braid like a coronet from which hung the imperial fringe ‘of fine scarlet wool’ spreading across his forehead. When he travelled he was borne aloft in a gold litter with such majesty that people left the roads on which he passed and ascended the hills to worship and adore him. He was far too grand for his feet ever to touch the ground.

The Four Quarters of the World
His grandfather, the great emperor Thupa Inka, who died in 1493, had been an Alexander the Great, who expanded his territory across not just modern-day Peru but much of modern-day Ecuador and Chile, creating the empire of Tawantinsuyu, ‘The Four Quarters of the World’, which ran along most of the east coast of South America. 

This was an incredibly sophisticated empire with a network of roads built for llamas to walk on, carefully irrigated agricultural terraces, great monuments and

Performer depicting an Inca woman

public buildings of masonry, great blocks of perfectly smooth stonework that slotted together like pieces of jigsaw puzzle and were never toppled even by the most violent earthquake. The Incas were the last of a long line of peoples all of whom left their mark on Peru; the Inca themselves were only here for a hundred years.

After his grandfather’s and his father’s deaths, civil war broke out between various half brothers; the old man had had some sixty sons. Eventually Atahualpa proved victorious. Now the time had come to consolidate his empire and establish his rule.

He’d already had news of the extraordinary strangers who had landed on the coast.

Art, Colonialism and Change

 Moving round this exceptional exhibition, I was struck by how much more powerfully a single work of art – rather than any number of words -- can express the pain and contradictions of history. Yet at the same time, offer a fresh perspective on the brutally contrasting and intimately entangled pasts of Africa, India, Britain and the Americas.

Of which we still know so little.

Bust of a Man by Francis Harwood, 1758,
John Paul Getty Museum, Los Angeles

 

You enter the RA’s central rotunda to be greeted by a handful of fine portraits of Black men. Strong, handsome, elegant – among them works by Gainsborough, Reynolds, and John Singleton Copley. Each is accorded all the care and dignity, of any of their white sitters of their time. In the centre stands a black stone bust of a man from 1758 by Francis Harwood. Wonderfully lit, it is reflected up on a series of mirrors to alternate with busts of famous white men beneath the dome. The normal order of the white world has been subverted.

This is a show that makes its points with a light touch. Huw Locke’s Armada imagines the flotillas of craft engaged in the servicing of the plantation economy. At first these look magical. Mesmerising, tiny craft: fishing boats and lighters, miniature Spanish galleons. Look closer. High-rigged slaving ships, their sails, blackened and tattered, like the death ships they were. All are realised from abandoned lengths of string and cloth, plastic, wood and rubber and are suspended like flotsam and jetsam on uneven waves from the ceiling.

Hew Locke RA, Armada, 2017–19, Tate.
Photo © Royal Academy of Arts, London / David Parry. 

Benjamin West’s The Death of General James Wolfe – celebrated in my Canadian past as one of the nation’s great heroes – was painted twenty years after his death after defeating the French on the Plains of Abraham in Quebec in 1759. At his feet sits an idealised First Nation man. In fact he is a Delaware, rather than any of the native tribes to be found in the locale.

To Tate Britain - and Ellen Terry’s Dress

 The iconic portrait of Ellen Terry as Lady Macbeth in her beetle-wing dress has been a favourite painting of mine for many, many years.

                                 

I am not alone in my enthusiasm as, with the detachment of someone who had been on stage almost all her life, the actress herself commented:

“The picture of me is nearly finished and I think it magnificent. The green and the blue of the dress is splendid, and I think the expression as Lady Macbeth holds the crown over her head quite wonderful.”

A while ago, studying Victorian theatre for my children’s novel, I learned that the beetle-wing dress still existed, and was kept as part of Terry’s costume archive at her last home, Smallhythe Place.

The property, a small half-timbered cottage with a tiny theatre, is deep in the Kent countryside, between Tenterden and Rye and now owned by the National Trust. However, the opening hours and parking were limited and Kent is a long way from my home in Yorkshire.

                     

Later, when I was passing through Kent for work, the website informed me that the Trust was now focused on a nearby archaeological site, that Smallhythe Place itself was under renovation and Terry’s dress away for conservation. Ah well, so be it, I thought. By then, my novel A Boy Called M.O.U.S.E was out into the world, other things were happening, and life moved on.

However, about fortnight ago, Ellen Terry came back into my mind. In ‘The Motive and The Clue’, Jack Thorne’s play about the tensions between ageing Sir John Gielgud and young hellraiser, Richard Burton, who wants direction as Hamlet. In response to Burton’s tirade about life as a miners son, Gielgud - most wonderfully played by Mark Gattis - says in a hollow, lonely voice something like “What else could I be, coming from a theatrical family like mine?” Which is when I remembered that Gielgud’s family tree included great-aunt Ellen Terry of the beetle-wing dress. 

Almost on the same day, in a series of tweets by fashion historian Dr Kate Strasdin, I read that, right now, both the Lady Macbeth portrait and that famous dress are on display in Tate Britain, which has prompted this History Girls post today.