ANDREW WHITEHEAD
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Hot Codlins: at Joey Grimaldi's grave

31/5/2018

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181 years ago today the most famous clown of them all, Joseph Grimaldi, died at his home in Pentonville.

​Every year on this day, Clowns International lays a wreath at his grave - it's in Joseph Grimaldi park on Pentonville Road, once the burial ground of St James, Pentonville - in tribute to the man who devised harlequinade, donned the white face paint, and started the tradition of the comic/ melancholic clown.
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Grimaldi was the biggest draw of his era, performing particularly at Drury Lane and at Sadlers Wells, He was a stage clown not a circus clown, and the injuries he sustained in his act - alongside a quarrelsome nature and incipient alcoholism - brought an early end to his stage career. 

In the 1830s he moved to Southampton Street (now Calshot Street) on the north side of Pentonville Road. Grimaldi popped in most evenings to his local, the Marquis of Cornwallis, and when he lost the use of his legs, the landlord carried him to and fro on his back. 

​On the evening of May 31st 1837, Grimaldi was carried home as usual. The next morning he was found dead in his room. 
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There were just five clowns (still sometimes known as Joeys, after Grimaldi) at the graveside today to lay a wreath, raise a laugh, blow a whistle, do a conjuring turn and perform a comic shuffle.
In another corner of the former burial ground there's a curious coffin-shaped (really!) musical installation in tribute to Grimaldi - though it turns out that neither this, nor the gravestone, marks the precise burial spot:
Hot Codlins, Grimaldi's top tune, were baked apples which, 200 years ago, you could buy from street vendors.

​Did I say there that no one around today knows how Hot Codlins goes? Wrong!!
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George Julian Harney and the 'Chartist Circular'

23/5/2018

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A new and exciting acquisition - a bound volume of one of the most important of Chartist periodicals, the Chartist Circular, an unstamped paper published in Glasgow from 1839 to 1842. The volume is almost complete - just a handful of the later issues are missing.

​And particularly wonderful, this volume was given to the Chartist leader George Julian Harney in Glasgow in 1846.
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John Colquhoun, who presented the volume to Harney, is mentioned in its pages - attending a Scottish Chartist Convention in early 1842. He was a figure of some consequence in Scottish Chartism.
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On the title page, there's Harney's ownership signature - such a wonderful association copy. Harney was one of the more left-wing of Chartist leaders and became a socialist and an internationalist. He lived until the closing years of the century. 
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The periodical is a reminder of how well organised and politically developed the Chartist movement was in its heyday. All the six points of the People's Charter were eventually enacted, excepted the demand for annual Parliaments - though the universal suffrage the Chartists advocated did not extend to women.

The Chartists were keen and effective propagandists and made good use of the press. The first issue of the Chartist Circular, priced at a halfpenny, sold 20,000 copies. The most renowned of Chartist papers, the Northern Star published in Leeds, was much more expensive - because as a newspaper (rather than a journal) it had to pay the stamp tax designed to restrict the readership and impact of the radical press.
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'God's Acre': the Chelsea Moravians

22/5/2018

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This is, believe it or not, just off King's Road in Chelsea. A hidden acre of green space. 'God's Acre', as the Moravians - a Protestant church with its roots in central Europe - describe their burial grounds.

​It's also the site of one of a handful of Moravian churches in London. If you haven't been here - and I hadn't until this week - then here's where you go...
The congregation dates back to 1742. It worshipped at Fetter Lane near Fleet Street, and still carries that name. According to its website, the congregation was established by Moravians who had come to London with the intention of moving on to the Caribbean to take the gospel to slave communities there. The Chelsea burial ground was set up nine years later.

During the Second World War, the church suffered severe bomb damage and the congregation dispersed. In the 1960s, they reassembled and began to worship in one of the buildings at their burial ground. They gather here still.
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The burials are marked by small, uniform stone tablets in the ground, evenly spaced - quite an impressive statement of social equality and human brotherhood. More remarkably, the burial ground is in four quarters,  reserved respectively for married women, single women, married men and single men. So no husbands and wives in neighbouring plots.
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There have been 400 hundred interments in this particular God's Acre. As the graves were dug deep, the cemetery escaped the initial ban on burials in Central London and they continued here until 1868. The grounds are still in use for the interment and scattering of ashes.
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I have a particular interest in the Moravian church - I went to a Moravian primary school at Fulneck outside Leeds, a community established at almost exactly the same time as the Chelsea burial ground. My parents weren't Moravians and the school certainly didn't proselytise. In my four years there, I don't think I ever set foot inside Fulneck's Moravian chapel, which I now rather regret.

Its main claim to fame back in the day was that the cricketer Sir Leonard Hutton and the actor Diana Rigg had attended the school. 
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Fulneck
I came across another Moravian church many years later in the most unlikely of places - at Leh in Ladakh, a Tibetan-infused corner of the Indian Himalayas. But that's another story!

In a corner of the burial ground off King's Road, not in the cemetery proper but on it's margins, there's this remarkable grave -
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The plaque reads: 'NUNAK    AN ESKIMO BOY    1770-1788'

Curious? I certainly am. We'll find out more in Curious Chelsea - a new addition to the Curious stable, with new authors too. Watch this space for more details!
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We're talking about ... Jerusalem

18/5/2018

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This document is 72 years old, but amazingly topical. It's about who rules Jerusalem. The chief justice of the supreme court of Palestine, Sir William FitzGerald, was given this task: "To enquire into and report to the High Commissioner on the local administration of Jerusalem and to make recommendations in relation thereto".

His conclusion - create two boroughs, one Jewish and the other Arab (alas, this version of the report doesn't include a map of the boundary he proposed). Only Arabs gave evidence to Sir William's enquiry, But he came to the unexceptional conclusion: 'I am forced to the regrettable but irresistible conclusion that there is no prospect of the Arabs and Jews co-operating ...'

His recommendation: two boroughs, with an over-arching authority along the lines of the London County Council. 'I see no reason to shrink from the reality of the situation, which in fact I regard as fortunate: one borough will be predominantly Jewish, and the other will be predominantly Arab.'

This wasn't quite partition, but it was a large step down that road. When newspapers bore headlines about the prospect of partition in 1946 and early 1947, they were talking about Palestine - not India.

I got this pamphlet from Oxfam, which has just taken a sizable cache of publications relating to Palestine. Another that I bought is this 1946 list of the Palestine press, which includes publications in Arabic, Armenian, English, French, German, Greek, Hebrew, Italian, Polish and a solitary title in Yiddish.
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'Sunlight on a Broken Column'

17/5/2018

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I'm so pleased to have come across this first edition of Attia Hosain's wonderful 1961 novel about personal and political loyalties among Lucknow's Muslim elite a generation earlier amid the rise of the Muslim League. I found it in the Bloomsbury Oxfam Books - a happy hunting ground for me. The dust jacket design is by Sally Bodington.

This is in part an autobiographical novel - it's about a young woman's coming of age, breaking free from the constraints of family and tradition. I was given a copy by the late Ram Advani when I first visited his Lucknow bookshop twenty-five years ago. I read it, enjoyed it, learnt from it - the writing is as elegant as the now lost culture it depicted.

​Cecil Day Lewis was Attia Hosain's editor at Chatto & Windus, and Virago has republished Sunlight on a Broken Column in their modern classics series. The title, by the way, is taken from a line in a T.S. Eliot poem.
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'Anna Lombard'

14/5/2018

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I've just been reading a quite remarkable novel - a bestseller of its day which is utterly transgressive about gender, sex and (in part) race ... though class barriers, need I say, remain largely immutable.

It's set in India - 'nowhere on earth is there a more dazzling or brilliant arena for life to play itself out than in India', the author declares - written by a woman who used the pseudonym Victoria Cross and was published in 1901. According to Gail Cunningham's introduction to a modern reprint, the book 'sold six million copies, ran through more than thirty editions and remained in print until the 1930s'.

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The plot

Anna Lombard is the name of the woman whose exploits dominate the novel - not a fine literary novel which will make the twentieth century canon, but readable and gripping.

The novel is narrated by Gerald Ethridge, a handsome, proper and eligible young man in the Indian Civil Service. He serves at a major military and administrative base on the coast - somewhere between Karachi and Bombay at a guess - and tentatively begins a romance with Anna, the confident, refined and attractive daughter of a general. That's interrupted when he is transferred to a tiny town in Burma, where there are no European women and the English men routinely take young (pre-teen) Burmese girls as their temporary wives. Gerald - out of loyalty to Anna - refuses all offers of a local girl, prompting the suicide of one of them, a young snake charmer. Anna, meanwhile, is not quite so chaste ...


After a year mouldering in the sort of Burmese town where Orwell once shot an elephant, Gerald is both recalled to his previous base and at the same time receives a large inheritance. He becomes engaged to Anna - but discovers that she has a lover ... her handsome Pathan servant, Gaida Khan. Anna declares that Gerald is her real love but that she cannot bring herself to break off her passionate relationship with Gaida, with whom she has undertaken some form of 'native' marriage ceremony. Gerald is appalled but decides not to end the engagement, because he loves Anna and believes she will in time forsake her Pathan beau (for whom he feels deep contempt as well as jealousy).

Out of regard for Anna, Gerald tries, and fails, to save Gaida from a cholera epidemic - he has more success in his treatment of Anna, who (having kissed her lover's corpse) also becomes acutely ill. Anna then discovers that she is pregnant with Gaida's child. Gerald says they must marry immediately, and they do - and then promptly move to another town, somewhere on the plains we are told, where they once more become a fulcrum of the English social scene. Although Gerald has resolved not to have sex with Anna until she is fully and completely his, in a temper he peremptorily consummates the marriage.

When Anna gives birth to a boy, her maternal instincts kick-in and she cannot bring herself to go through with her intention of giving the baby away. Seeing Gerald's agony, and his inability to accept a child who is a perpetual reminder of his wife's lover, Anna suffocates the baby. She is filled with remorse and tells Gerald he must move out for a year while she lives as a penitent - which the long-suffering Gerald agrees to do. At the end of the year, he returns to discover his wife with her beauty and composure fully restored and the reader is led to believe that all is going to be well in their marriage.

I did say transgressive, didn't I!
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The novel

Anna Lombard has passages which are very sensual, bordering on the erotic, and that no doubt was designed to boost sales. It's sometimes described as a 'New Woman' novel - and that's probably fair enough. Gender is the main theme: an Englishman foregoes socially sanctioned sex with local girls to keep himself pure for his intended, while she embarks on a full-on, secret and forbidden romance with a local man. And what's more, the Englishman stands by his beloved (who is racked with guilt but keeps on making his life more and more difficult)..

The infanticide is one of the more remarkable aspects of the novel - not least because the storyline makes clear that Gerald is quite dark and so could pass for the father of the baby. Perhaps the author was getting tired and wanted to end the novel with a bang rather than a whimper.

Of course setting the story against the backdrop of India hugely adds to the interest. This is not a novel which argues that Indians are being hard-done-by under imperialism, or one that is in any way proto-nationalist. Anna's relationship with Gaida Khan is presented as being based much more on lust than love. It is not a relationship of equals. Anna doesn't greatly like or admire Gaida, apart from his body and bearing.

​Gerald's views on Gaida and on Pathans - and we get a lot too much of his internal monologues - are decidedly racist. There is virtually no interaction based on mutual respect between Europeans and Indians at any stage in the novel. Neither Gaida nor any other Indian is depicted with any depth or understanding. And although we are told that Anna and Gaida are lovers, there is no description of their intimacy.
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Excerpts from Anna Lombard

To give you some idea of the novel, I am including a few excerpts - a handful as audio and others simply as text. Do bear in mind this is a popular novel of almost 120 years ago ...
​

Early in the novel, Gerald comes across Anna at a dance in the army and administrative centre in coastal India where they both live - an elite event which has an echo of Jane Austen: 
When Gerald is posted to an out-of-the-way spot in Burma, an elderly woman comes round with a gaggle of young girls expecting that he will do what the other European men all do, and select one as his temporary wife:
And later in the novel, Gerald reflects ruefully- as he is prone to do - on his wife's relationship with a Pathan:
While in Burma, Gerald muses about his relationship with India:

'I leaned on the rail of the balcony and looked down, realising how truly the East was in my blood. It seemed my home, its air my native air. With all its miseries and its sins, I loved it and I knew that I did'

But set alongside that Gerald's thoughts on Gaida Khan - in whom he finds 'stately grace and dignity' but no other virtue. At one point, he compares himself directly with his love rival:

'two men who represented nearly completely the two extremes of humanity. ... I, rich in all the world values, with my brain crammed with all sorts of learning, useful and useless, accustomed to the best this world can offer. He, without one anna or a hut, unable to read or write or understand any tongue but his own and a few words of another'

When Anna goes to watch Gaida and about forty other Pathans perform a sword dance at a fete organised by her father, Gerald thinks to himself:

'No one ... could have dreamed that this fair-skinned, light-haired Saxon girl ... with, apparently, all the cold pride of the English, had come to see her husband dance his barbaric dance'

And about Pathans, Gerald acknowledges their 'male beauty' and 'physical perfection', but -

'Who could believe that these men are the most bloodthirsty, perhaps the most fiendishly cruel, and certainly the most depraved and vicious race of the earth'

And then of course there's the sex. At one point Gerald, trying to nurse Anna through a bout of cholera, has to tear off her sweat-ridden nightgown:

'so, for one brief instant, the lovely form met my eyes which had ached so long for the sight of it in vain'

And Anna comments:

"I am glad your eyes have rested on me once, before the grave closes over me forever."

... though of course she recovers.

And here's the description of Gerald's first, and precipitate sexual encounter with his pregnant wife:

'I was sitting upright at the end of the couch, looking at her, and bending to breaking point, a paper knife between burning fingers. The next I had thrown myself forward on her. My arms were round her. Her face looked up at me from the couch. I seemed to see it through a mist. The lips were faintly smiling, the eyes were luminous with a new light. She gave herself to me willingly. As she had said, my will was hers. Her conscience, also, she was content for me to guard. What I did was right. And it was this that saved me. Had she resisted me in the least, that resistance would have challenged the brute force within me that longs to dominate by force. Her passivity, her trust in me spoke to the mind that seeks its victories in other ways.'

On Gaida and Anna's baby ... this is Gerald's crude observation:

'It was hideous with that curious hideousness of aspect that belongs usually to the fruit of Eurasian marriages. As it lay on Anna's arm now the peculiar whiteness of her skin threw up its dusky tint.'

This may be a New Woman novel in that it transposes the approach of English men and women in India to sex with Indians, but on the issues of race and Empire, it is not in the least challenging or progressive.

And if you want to read the novel, it's available online here.
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Victoria Cross


The author

And the author? Well, Victoria Cross was the pseudonym of Annie Sophie Cory, sometimes known as Vivian Cory and as V.C. Griffin. Her father was a colonel (and a poet of sorts) in the British army in India and later went into newspapers in Lahore and in Karachi. She and her sisters were brought up, it seems, largely in England. While her two sisters made their lives largely in India, it's not clear how long Annie spent there - and some of her descriptions of the geography of the place feel ill-informed. But it seems that either directly or indirectly she had a feel for the place.

The novels of Victoria Cross appeared in a torrent from the mid-1890s into the 1930s and are set in many parts of the world, including the Klondike. She was not at all a writer who focussed on India. That sets her apart from her sister, Violet Nicolson - who wrote as Laurence Hope and about whom I have blogged in the past. Violet was a poet. Her writing was again suffused with the sensual and erotic and on occasions dwelt on transgressive relationships. Whether Violet herself engaged in such relationships (she eventually married a much older British general in the Indian army) is not at all clear - I suspect not. Violet's first book of poems appeared in the same year as Anna Lombard.

How did the sisters get on? Did the work of one infuse the other? And why was Violet much the more sensitive to India and its people? I want to explore these issues in due course. The one thing they had in common was their enormous popularity - some of Violet's books of poems also sold a million copies or more.

What a family!
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