Thursday, 17 February 2022

REGENTS CANAL WALK (Little Venice to Kings Cross)

 A sketch map of The Regents Canal showing where it joins The Grand Union Canal at Little Venice and its start at Limehouse on the Thames.


Wednesday 9th February, John Lodge and myself met at Waterloo Station at just a little after 10am. We planned to walk along The Regents Canal, that wends its way from its junction with the Grand Union Canal near the canal basin at ,”Little Venice,” and curves round past Regents Park to Limehouse Basin where the canal meets the River Thames. The walk  takes in the Georgian architecture of the Regency, a terrifying Victorian disaster, grand converted industrial buildings, modernist steal industrial units, the shops, pubs and cafes of vibrant Camden, the homes of twentieth century writers and actors, the centre for British folk music, the home of a great war time hero, the grand homes of diplomats and oligarchs, institutes at the forefront of medical research, canal boats clustered together creating cosy communities and on the final part of this first stretch of our walk the grand architecture of St Pancras Station and the new modernist British Library.



The canal was first proposed by Thomas Homer in 1802 as a link from the Paddington arm of the then Grand Junction Canal (opened in 1801) with the River Thames at Limehouse. The Regent's Canal was built during the early 19th century after an Act of Parliament was passed in 1812. John Nash was a director of the company; in 1811. He produced a masterplan for The Prince Regent to redevelop a large area of central north London. As a result, the Regent's Canal was included in the scheme, running for part of its distance along the northern edge of Regents Park. The intention was to create a canal that joined The Grand Union Canal leading up to Birmingham, the Midlands and the north with the Thames and the port of London and the trade that came to London from the rest of the world




John at Warwick Avenue tube entrance.

John and I emerged from Warwick Road tube entrance and walked on to the road bridge that crosses the canal at the point where the Little Venice basin is located and Regents Canal begins.On one side of the road we looked down onto the canal basin where it expands into a large area of water with canal boats moored to its quays at various points. We started our walk on the south side of the road bridge and aimed east towards Regents Park and Camden, along Maida Road. It is edged by large Georgian and early Victorian houses. A blue plaque on one house informed us the John Masefield ( 1878-1967) the poet laureate, lived in this house from 1907 to 1912. He is remembered as the author of the classic children's novels The Midnight Folk and The Box of Delights, and poems, including The Everlasting Mercy and Sea-Fever.






John Masefield's house.



SEA FEVER by John Masefield

I must go down to the seas again, to the lonely sea and the sky,
And all I ask is a tall ship and a star to steer her by,
And the wheel's kick and the wind's song and the white sail's shaking,
And a gray mist on the sea's face, and a gray dawn breaking.

I must go down to the seas again, for the call of the running tide
Is a wild call and a clear call that may not be denied;
And all I ask is a windy day with the white clouds flying,
And the flung spray and the blown spume, and the sea-gulls crying.

I must go down to the seas again, to the vagrant gypsy life,
To the gull's way and the whale's way, where the wind's like a whetted knife;
And all I ask is a merry yarn from a laughing fellow-rover,
And quiet sleep and a sweet dream when the long trick's over.

Just opposite his front door there were only the sight of narrow boats to sooth his sea yearning spirit. None of your,” flung spray and the blown spume.”




The canal opposite John Masefield's house.



A shiny Maserati sports car was parked at the side of the road in front of John Masefield’s previous residence. The driver’s side door was wide open and the driver sat making a call on his mobile. Red leather upholstered car seats and it had a dashboard reminiscent of a fighter jet control display. The car, the driver and the area exuded wealth.

Nearby John Masefield’s house stands a vast cavernous brick built church in the Victorian Gothic style. The Church notice board informed us it was the ,”Catholic Apostolic Church, Maida Avenue W2.”The gates and doors had hefty padlocks on them. We saw that the plants and shrubs surrounding the church were well kept, so the church was not abandoned. Catholic churches are not usually described as Apostolic and they also usually are named after a saint. Both John and I felt it wasn’t a usual catholic church. I researched it and discovered a reference in the Britannica. The Catholic Apostolic Church, was formed in 1832 largely by the Scotsman Edward Irving. He and his followers prepared for the second coming. Apocalyptic groups also formed in the United States. The apocalyptic prophecies of William Miller (1782–1849) in the 1840s led to the formation of the church The Roman Catholic Church calls itself the one apostolic church but this form of Catholicism is different in many ways. Much is similar to and could be mistaken for Roman Catholicism but there are doctrinal differences for instance there is a great stress on symbolism, and in the Eucharist, it rejects both transubstantiation and consubstantiation but holds strongly to a presence. In some ways these philosophical positions appear to have subtle differences but in theological terms they are very different.




The Catholic Apostolic Church on Maida Avenue.



Most of the canal boats we saw on our walk were privately owned. Many of the narrow boats were personalised and adapted to the owner’s needs. Plant pots, washing lines and smoke stacks protruding from roofs. All were painted in bright reds and greens with intricate folk art flower designs adorning them. One boat had the title, THE ARTIST painted in large letters along the side of its hull. John and I surmised that an artist lived here. Narrow boat life is definitely for the free spirited and the adventurous. The living space is small and clearly narrow. One stretch of the canal, before we reached Camden, had a cluster of boats. Tall wrought iron gates blocked a stretch of the canal footpath on the north side of the canal where these boats were moored.. Wooden sheds and planted areas of the embankment, flowers, shrubs and vegetable patches with bicycles chained to railings depicted what appeared to be a permanent community of boats. A water born village.




A community of canal boats.



We wandered from the canal when places we saw on the map took our interest. We saw that the Cecil Sharp House is located a couple of roads from the side of the canal. It is the centre for ,”The English Folk Dance and Song Society. "We went inside and a young lady at the reception desk said we could look around. It has a vast hall for folk music and dance performances. It has a mural along the length of one wall by Ivon Hitchins and is a modernist depiction of key English folk dances and traditions. It hangs above performance that takes place in the hall. The centre also has a small library packed with many books and manuscripts. The genial librarian told us that they had books that even the British Library didn’t have. The library is named The Vaughn Williams Memorial Library. It holds many of Vaughn Williams’s manuscripts. He was a classical composer who collected folk songs and he included folk music into many of his compositions.




Cecil Sharp House.



It always a surprise to come across the houses where people, who are part of British history and culture, once lived. Does where somebody lives tell us about the person? I wonder. We were walking on the south side of the canal and I noticed a blue plaque on a house on the opposite side. We came to a small bridge and crossed to have a look. The blue plaque read, Guy Gibson VC 1918-1944. Piolet. Leader of The Dambusters Raid lived here. You can work it out. He was 26years old when he died. The raid on the German dams occurred in May 1943. My dad would have been excited to see this house. He was in the RAF during the war and served as an armourer on one of the Battle of Britain airfields at Bicester. Guy Gibson lead one of the most daring raids of WWII destroying the Ruhr Dams which flooded and damaged a large proportion of the German industrial capability. The factories were back running within months but the raids hampered the Nazi war effort for a period of time. This white Victorian house in a row of white Victorian houses was the home of a real national hero.




Guy Gibson's home next to the canal.



Further along the canal on the south side we came across another blue plaque, that of the actor Arthur Lowe. Captain Mainwaring of the Home Guard no less who was one of the stars of Dads Army. A fictional war hero who indeed represented the heroes of the Home Guard.




The home of Arthur Lowe in Maida Vale.



As we walked along the canal we  saw the Regents Park Mosque ahead so we took another detour to visit it. A school party from a local school were being taken in when we arrived. John and I walked around the precinct and stood at the entrance to the great prayer hall. We could have gone inside the hall but we wanted to continue our walk. Preparations such as removing our shoes and mentally getting ready to pray would have been fine for the two of us but we had to move on. Nobody challenged us within the Mosque precincts to ask what we wanted. We sensed a lot of trust. The few people we came across were at prayer.




Regents Park Mosque.



The canal passes to the south of Primrose Hill which is located north of the canal on the opposite side to London Zoo. The area around Primrose Hill is a famous area for writers, actors and musicians who live in the old Georgian and Victorian houses lining the local streets. I have been reading some of Alan Bennett’s diaries, 2005 to 2015. He is a prolific diarist, playwright, screen writer, actor and novelist. He is also famous for his early satirical stage shows with Peter Cook and Dudley More appearing at the Edinburgh fringe festival. Alan Bennett’s talents are prodigious. Some of his plays include the ,”History Boys,” that launched the careers of some very famous actors and was made into a film. He wrote ,”The Lady in the Van,” about a Miss Shepherd who lived in a van for a number of years in the small driveway in front of his house. It too has been filmed with with Maggie Smith playing the part of Miss Shepherd. I had looked up Alan Bennet’s house on the internet which he has now moved from and discovered its address, 23 Gloucester Crescent. The internet even provides pictures of it. Looking at Google maps on my phone John and I could see that Gloucester Crescent was nearby. We found it and halfway round the crescent we discovered Alan Bennetts famous house with large gates in front of the short driveway. It was behind these gates where Miss Shepherd must have lived in her van.


 
Alan Bennett used to live at 23 Gloucester Crescent. "The Lady in the Van, "was parked just behind the gates.





Nearby is Camden High Street. We decided to stop and have a pub lunch. There are a few venues to choose from in Camden High Street. We went into The Bucks Head. We sat and ate some delicious fish and chips and drank two pints of Camden Pale ale each. It is brewed locally in Camden . It has a hoppy taste and has a great flavour. I recommend the Camden brew. Many of the shops in Camden are small businesses that sell local clothes designers clothing, shoe makers and artists display and sell their wares too.. It is a young area and innovative crafts are evident in the high street. As we walked along,we noticed people dressed and adorned in avant garde ways. Many appear to not only be experimenting with what they wear but also what they do with their bodies. Some of the pubs are live music venues like the Bucks Head where John and I had our pub lunch and young musicians thrive in the area. Camden High Street leads up to the iconic railway bridge and the canal locks where we re-joined the canal footpath.



Camden Lock.




One old bridge we walked under beside the canal had three archways constructed from massive black ionic columns made of cast iron. The bridge itself had some intricate iron work topping the walls across its width. Homeless sleepers had left some of their belongings on the banks on both sides under the bridge arches. Two gentlemen lay in their sleeping bags as we passed talking and discussing things. They ignored us. A plaque placed on the embankment related the history of this bridge.

“Blow Up Bridge,” At 3am on the 2nd October 1874 the boat Tilbury carrying gunpowder to a quarry in the Midlands exploded demolishing the bridge and killing three people. Locals sprang from their beds feeling an earthquake.When the bridge was rebuilt the pillars were turned around so that they offered a smooth surface for the boats towing ropes. Look out for the rope grooves on either sides of the pillars.”

It is mind blowing, no pun intended. Further reading reveals that the boat was carrying petroleum and nuts as well as the gunpowder. A combustable combination. The consequences  of this accident brought about, by way of an act of Parliament, a change in the laws concerning transporting gunpowder and petroleum.




"Blow Up Bridge."



While walking past Regents Park, along the side of the canal, we came across a row of six , what appeared to be, large Georgian mansions. I discovered they were designed by Quinlan Terry who was commissioned by the government to design buildings to complete Nash’s vision for Regents Park. They were actually, unbelievably, completed in 2002. The American Ambassador lives in one of them. They each have a name. They are called, Veneto Villa, Doric Villa, Corinthian Villa, Ionic Villa, Gothick Villa and the Regency Villa.




"Regency Villa," on Regents Park outer circle designed by Quinlan Terry, completed in 2002.



As we walked towards St Pancras Station we saw a small park to one side with a stone church in the centre and few gravestones dotted about. I was for continuing on towards St Pancras but John suggested we go and have a look at the church. We soon discovered what we had come across. The first grave stone we stopped to look at had carved into it, “Mary Wollstonecraft Godwin. Author of The Vindication of the rights of Women.”




Mary Wollstonecraft's tomb in St Pancras Old Church cemetery.



Where were we? It was St Pancras Old Church. When the railways came in the 1860’s when St Pancras Station was being constructed, the churchyard of St Pancras Old Church was in the way. Architects were employed to remove and reposition many of the gravestones. The church was not affected and neither was the tomb of Mary Wollstonecraft. We came to a tree that had many gravestones piled against it. Over the years the roots of the tree have entangled the grave stones and included them into its root system. A plaque near the tree read , “ The Hardy Tree.” So we read on. As a young man Thomas Hardy was an architect working for Arthur Bromfield. He was employed to work on the graveyard here. He spent many hours in St Pancras churchyard removing and repositioning gravestones. It was Hardy who created this cluster of gravestones around the tree. A day of amazing discoveries.



The Hardy Tree in the cemetery of St Pancras Old Church. Thomas Hardy created this pile of gravestones.



We walked on towards St Pancras and Kings Cross. We came across the Crick Institute for research into cancers. It is a vast modernist building with a massive glass roof that is reminiscent of an armadillo shell. John and I went inside to see a free exhibition they have in the entrance. Video interviews with scientists and surgeons are part of the exhibition. Its good to know about cancers, if somewhat sobering and thought provoking. As we get old all of us are susceptible to some sort of cancer. But what the Crick institute is doing is absolutely amazing. Their research is saving the world. They give us all hope.

After this the British Library was our next call. We went upstairs to the café and had a coffee. We visited the free exhibition they have there. The exhibition displays many documents and books that are so important to British people and the United Kingdom. There is a copy of the Magna Carta, a first folio edition of Shakespeare's collected works published by two of Shakespeare's friends , John Heminge and Henry Condell, who edited it and supervised the printing. They appear in a list of the 'Principall Actors' who performed in Shakespeare's plays, alongside Richard Burbage, Thomas Kemp and Shakespeare himself.



Shakespeare's Complete Works a first folio.




There are illuminated manuscripts of the Bible . We came across a poem written in perfect cursive style by Jane Austen to her brother Frank. It lies on the wooden writing slope her father bought her.



Jane Austen's handwritten poem to her brother Frank lying on the writing slope her father gave her.



Because it is the 100 th anniversary of Ullysses, by James Joyce published by ,”Shakespeare and Company,” in 1922 there was a first edition on display and a letter from Virginia Wolf and another from Sylvia Beach of Shakepeare and Co. Virginia Wolf politely turned down the offer of publishing the book at her Hogarth press in Richmond. In the display there was a large A1 sized piece of paper where Joyce had planned out one part of his book. It consisted of lists, phrases and words written in blue and red colouring pencil much of which is crossed out showing Joyce included that particular crossed out thought or idea in the novel. A large series of concentric almond shaped ovals nested inside each other, were drawn on part of the paper. Each oval had ideas written within it. A design that can be interpreted in a number of ways. The whole display was fascinating. There was analysis of the structure and themes in the book. I have read Ulysses in its entirety. It was similar to the effort needed to running a marathon. Exhaustion and tiredness could set in. I loved the language and the rhythms of the text, the lilting Irish cadences, phraseology and words.The language entices and seduces you. Much of the dialogue and description is enigmatic. Punctuation isn’t of great concern. Words and phrases tumble together. A great, attractive modernist piece of writing. It still confuses me but It’s good to know, as shown in this exhibition, that Joyce had a structural and thematic concept for it. Near the Ulysses exhibition there was also an extensive display about Angela Carter that I didn’t spend enough time with.

So John and I left the British Library, its massive iron statue of Isaac Newton hunched forward focussed on using a pair of compasses based on William Blake’s drawing of Newton. After having explored so many things along the way John and I walked past the front of St Pancras Station’s immense Victorian gothic masterpiece and got the tube from Kings Cross back to Waterloo. From Waterloo, platform one, we got our train back home. The next stage from Kings Cross to Lime House is an adventure for next time.











https://www.themodernhouse.com/journal/walking-tour-of-regents-canal/

https://www.visitlondon.com/things-to-do/london-areas/regents-canal

https://en.wikipedia.org/wiki/Regent%27s_Canal

http://www.friendsofregentscanal.org/features/tourism/CIC/Aug-2013/history-panels/image-catalogue.html

https://londonist.com/london/great-outdoors/the-regent-s-canal-the-bi-centenary-of-london-s-most-famous-man-made-waterway



Arthur Lowe : http://www.screenonline.org.uk/people/id/523136/index.html

Guy Gibson : http://www.helstonhistory.co.uk/local-people/wg-cdr-guy-gibson-raf-vc/

https://stpancrasoldchurch.posp.co.uk/

https://www.crick.ac.uk/

https://www.poetry foundations .org/poets/john-masefield































Tuesday, 25 January 2022

IS OUR GOVERNMENT TRYING TO DESTROY THE BBC ( British Broadcasting Corporation) ?

 


BRITISH BROADCASTING HOUSE north of Oxford Circus. 

Nadine Dorries, the culture secretary, in the midst of the Downing Street woes over a party culture in a time of lockdown and CORONA virus restrictions and rules has found a way, she thinks and it also appears to the rest of the population of Great Britain,  of distracting the British public from the infantile, self centred  obfuscating  behaviour of Boris Johnson. Who does she think she is kidding? Do anything to save the idiot, seems to be her approach and what will stir everybody up like a hornets nest, attack the BBC. So she has got her teeth into something she hates. It’s obvious.

 

The Guardian 17.1.2022 Jim Waterson, the Guardian’s media editor writes

 The culture secretary, Nadine Dorries, has confirmed that the BBC’s funding will be frozen for the next two years – but has softened her stance on the permanent abolition of the television licence fee.

The annual levy on television usage will remain at £159 until April 2024, requiring cuts to the BBC’s output. However, it will then rise in line with inflation for the next four years – a better deal than had been proposed in some press briefings from the government.

Dorries also watered down her own suggestion that the licence fee would be abolished from 2028 onwards, raising suspicions that the focus of her provocative intervention on Sunday was to distract from Boris Johnson’s woes.”

 On Sunday she was virtually announcing the demise of the BBC in a leaked statement, very undemocratic, but by Monday, to Parliament, she was back tracking. Probably members of her own party had a word and explained you can’t just resign something as important to our culture and  the British public as the BBC  to history , just like that, in some petulant rant. Things seem to have been watered down but the danger to the .”Beeb,” is still there. Surely the British public should be allowed to have their say as a minimum requirement. It’s not like getting rid of your garden waste at the local dump.

The BBC has been with us for a century. This year is the BBC’s centenary. It officially began 1922 although its roots go back to 1920. It is a cultural icon not only for us Brits but also for the rest of the world by way of The World Service. It has brought open mindedness, the facts, clear sighted analysis of events, debate about all the important questions relating to us as human beings, politics, religion, art, music, history, drama, science, entertainment and education. Just looking at todays agenda on The World Service, Iran’s negotiations in Vienna are being discussed. Mexico, Afghanistan, Italy, Buddhism and a coup in Burkina Faso are just some of the topics covered. These programmes are broadcast to the people of these countries and in many cases provide the only news outlet and balanced analysis of what is going on. Often the BBC provides another side to what is going on in these countries.

One vital aspect of the BBC that has been so important during the COVID pandemic, is that the BBC has provided  educational output for schools and families. It has provided parents ,teachers and children with the most amazing resources. Parents have been forced to try their best to educate their children at home and the BBC has been there to support and lead.  It is explorative, questioning and provides high quality teaching. No educationalist , parent or pupil would argue that learning online and at home  is the best situation for children to learn full time. Learning online has shown its benefits though and that it can be a useful aspect of learning and teaching. But face to face teaching with friends and fellow pupils in a school environment will always be vital for immediate teacher feedback and relationshisp and team building. The BBC has got as close as it can to providing good education and done the best anybody could expect in the circumstances.

People like Nadine Dorries can argue that the BBC format is outdated. Nowadays we communicate and get our televisual experiences in so many new ways enabled by technology. However, SKY, NETFLIX, AMAZON, DISNEY , three of the biggest providers of entertainment and information online, are companies with investors and their  paramount purpose are profits. What their political, religious and societal beliefs are , who knows? Whoever pays them. They pander to the  audiences they attract. We read so many reports about misogyny and racism and political and religious bias inherent in their structures and algorithms. The BBC is quite able to and is adapting to the new ways of communication. There really is no argument against it from that quarter.

The BBC is truly the nearest any body can get to fairmindedness and openness.  In theory it does not have any influences making it do one thing or another.  The Conservative party accuse it of being left wing liberal. But it is not. Jeremy Corbyn, especially when he was the leader of the Labour Party, came under the scrutiny of the BBC. Because it criticises and praises everybody when the situation requires, it  will always be open to criticism. If the BBC says something against or questions strongly  what you as an organisation think and are trying to do then of course you are going to think of it as biased.

The spurious argument that people can’t afford the licence fee of £159 a year is a red herring. Some will obviously find the fee too much for their finances. These people should be provided for by the government. That licence fee of £159 per annum, in one context sounds a lot but it isn’t. NETFLIX subscriptions cost anything from £25 per month to £45 per month depending on the package you pay for. The cheapest of those costs £300 per year the most expensive, £ 540 per year. How are poor people going to finance that if it is deemed that the £159 is too much? Certainly not from the government. The licence fee pales into insignificance. What cost freedom of speech and truth being told to power? Do we want to destroy this democratic, fair minded,  educational institution over spurious arguments. Nadine Dorries might not like the BBC and I am sure many others don’t for different reasons. Do we want one hater to destroy this immensely valuable cultural organisation?

 The BBC’s charter is renewed every few years. Not if Nadine Dorries gets her way though.  Its premise and ethos originally looked very much like that of  the  British upper classes. It reflected the status quo of  1922.  Our society and the world has changed and developed unrecognisably since then and so has the BBC. However, its central ethos, that it is required to be fair and honest, that central moral principle, has not changed. In 1922 it was trying to be fair and honest too.  As society and the world changes obviously some changes in its royal charter are necessary to fit the times we live in.  

This present charter was presented to Parliament by the Secretary of State for Culture, Media and Sport by Command of Her Majesty in December 2016 and sets out the key purposes of the BBC. The charter begins with this statement.

 

“The BBC’s Mission The Mission of the BBC is to act in the public interest, serving all audiences through the provision of impartial, high-quality and distinctive output and services which inform, educate and entertain.  The Public Purposes of the BBC are as follows.

I have taken the five key points from the charter that explain what the BBC is for in more detail.

The first point,

“To provide impartial news and information to help people understand and engage with the world around them:”

Everyday of every week and every year the BBC provides this impartial news through reporting but also discussion and analysis. The daily TV and radio news programmes provide the on going evolving news. Programmes such as Question Time, debate current issues involving people from all sides of the argument. They discuss questions provided by ordinary people about issues in the news. Panorama, investigates and discusses single important issues, for instance, education, poverty, housing, whatever it might be. The early morning Radio 4 programme team question vigorously and energetically government ministers, heads of business, scientists and those at the heart of current issues. They are made to explain themselves and their actions. Programmes discussing more esoteric topics such as religion , philosophy or morality might be debated in programmes such as The Moral Maze.

 

Secondly:

“To support learning for people of all ages:”

During the lock downs and the closures of schools the BBC has provided vitally important lessons for all school years. They have been providing online material for teachers for many years but during this pandemic they have really stepped up.No other organisation could have done that. The BBC ‘s independence allows it to do this. When the OPEN university began  the BBC provided lectures and lessons to support Open University degrees. When eventually schools become, Open Schools, the BBC will be needed to to support everday schooling. The work done during lockdown can only be built on. Of course families living in poverty will need to be supported. Some of the funding that goes into educating every child in this country can be used to support this change without much extra money being required. The BBC also supports all our learning and teaches every individual in this country through programming about wildlife, history, science, geography, technology, art, music, drama and literature. No other organisation could dedicate itself to doing this.

Thirdly:

“To show the most creative, highest quality and distinctive output and services.”

This refers to art, music, literature and drama. The BBC because it is funded by the taxpayer and not some for profit organisation with share holders and people with their own political agenda, they can take risks. It can afford to try things which might fail. Some of the most creative and adventurous television has come from the BBC because of this ability. Much of what the BBC produces wins awards around the world. It is not only a cultural icon for Britain but drama and documentaries relevant to many cultures and other countries has enriched the world as a whole.

Fourthly:

“To reflect, represent and serve the diverse communities of all of the United Kingdom’s nations and regions and, in doing so, support the creative economy across the United Kingdom.”

Every region of the United Kingdom has its own regional BBC radio station. They also have  regional television stations too., BBC South. BBC London and so on. The national and global output of the BBC is also available to all of the UK as well. It gives voice to diverse groups within the UK. It encourages and develops new initiatives within the regions highlighting art, businesses, music and technologies within those regions.

Fifthly:

“To reflect the United Kingdom, its culture and values to the world:”

I mentioned above the WORLD SERVICE and how that helps educate and inform the rest of the world. It might be relevant to ask, is that a good thing? Isn’t the British Government, through The World Service, promoting propaganda to the people of various countries? Part of the statement in the charter states that the BBC must promote ,” values of accuracy, impartiality, and fairness.”

Of course this can be argued about. What does it mean? How can we actually tell if this is what the BBC is actually doing and not just propagandising? We do get feedback from the people of  those countries. I know Americans tell me they would rather listen to the BBC news than their own news outputs. Friends in South America laud the importance of the BBC. I can site other examples of what people tell me. I know this is a very small straw poll but it does give an impression of how the BBC is thought of and valued round the world. We of course can make our further judgements based on what we see and hear from other news outlets and of course from what we read. The more we search and listen and look the more our own assessment is informed.

 

“The BBC is to act in the public interest, serving all audiences through the provision of impartial, high-quality and distinctive output and services which inform, educate and entertain.”

How many organisations can say that?

Controlling or even abolishing the BBC is an act of cultural vandalism by those who want to escape questioning or rather the questions they don’t want to hear. Schools, and the curriculum, Universities, museums, public demonstrations, immigrants, are all in the sights of this government.  Oliver Dowden a previous culture minister and now Nadine Dorries  are waging a war on our culture from free speech to historical interpretation.

Late  last night I listened to a radio 4 programme called The Moral Maze. Philosophers  were discussing the morality of our Prime Minister and the moral judgements of our government in the wake of ,”partygate,” the perceived breaking of lock down rules during this COVID pandemic. Rules they made themselves and the population as a whole has had to follow to , often, peoples pain and personal anguish. Only the BBC would or could hold a discussion like that broadcast to the nation. They explained a murky situation to say the least. Our Prime Minister is acting immorally was the bottom line. Listening made the hairs on the back of my neck stand up. What backlash would the BBC receive? Or was it so late at night and on Radio 4 and that probably very few people would actually be listening, the government might not notice? Still, the programme is out there. This is what the government wants to stop, free and open debate. The BBC is still providing it.One previous Conservative Minister, being interviewed on the programme, stridently put the point that it didn’t matter that Boris broke the rules his own rules over COVID restrictions. It didn’t matter to her these small transgressions of the government. What mattered to her  are the policies they are trying to implement. The panel actually laughed at her stridency and then pointed out the immorality of her standpoint. I remember discussing the morality of ,”does the end justify the means,” as a school boy. They dismissed her off hand. These are very strange times indeed.

As well as getting rid of the BBC , which appears to be a veiled way of controlling the cultural narrative, a new policy statement for culture has been produced by the Commission on Race and Ethnic Disparities.   It denies systemic racism exists and argues against what many minorities and liberal minded people see as the faults and problems in our society. The government wants to control the narrative about our country and our culture. There is a battle over Black Lives Matter, and whether statues should be removed or not. The government wants to control how we understand and explain these things. It does not want open debate and free questioning to take place.  The National Trust, is another body under scrutiny by our right wing government. The National Trust wants to interpret its houses and properties form the stand point of our colonial past. Why shouldn’t we know that the immense wealth that was made to build these amazing houses and estates came from slavery? Slavery is an important strand of our nation and its wealth, power and influence. An understanding of its role should have a more prominent part in our overall understanding of our history. It hasn’t been highlighted much  in the past. These opposing views to the governments narrative is out there being discussed and supported by many minority groups and political organisations. This government cannot turn the clock back and they cannot control the narrative now. Too many people and society as a whole, can see the evidence for themselves. There seems to be a cultural battle taking place on many fronts which the government will lose. They cannot eradicate the arguments and the narrative they don’t like.

 So the BBC is under attack. If this government destroys the BBC they will be destroying our society and our freedom of speech and intrinsically our democracy.

References:

The BBC Royal Charter: http://downloads.bbc.co.uk/bbctrust/assets/files/pdf/about/how_we_govern/2016/charter.pdf

Commission on Race and Ethnic Disparities: The Report March 2021

https://www.gov.uk/government/publications/the-report-of-the-commission-on-race-and-ethnic-disparities


The BBC: A People’s History by David Hendy review – inside the nation’s ‘moral improver’ | History books | The Guardian

There’s too much at stake to risk losing the BBC | Letters | The Guardian

Boris Johnson accused of targeting BBC to save his premiership | Politics | The Guardian

https://www.ft.com/content/3f499042-64c5-40d1-8d83-7d8ca0d817d9

 

 

 

 

 

 

 

 

 

Monday, 6 September 2021

BATH: AN ADUMBRATION IN RHYME by John Matthews (pub 1795) annotated 2021. A review.


 



Adumbration:

The act of giving the main facts and not the details about something, or something that gives the main facts:

 

Ben Wiebracht of Stanford Online High School , Stanford University, is the series editor for the “Forgotten Contemporaries of Jane Austen.” In this first editon of the series Ben is the co-editor  along with seven of his students, Joe, Carolyn, Macy, Sophia, Kate, Lauren and Varsha. They chose to investigate a poem by John Matthews (1755 – 1826), a contemporary of Jane Austen’s, that relates  a day in the life of somebody enjoying the delights of  Bath in the 18th century. The inspiration for this book was an article Ben and his students co authored for ,"Jane Austens World," blog entitled, “A Day In Catherine Morelands Bath.” This edition begins with an introduction to the series explaining the premise, that this series, “ strives to see Austen in the same way that Austen saw Elizabeth and Darcy , in Pride and Prejudice and also to uncover some of the Gardiner’s (Elizabeth’s aunt and uncle) of Austen’s world.” In a sense it is an attempt to see people and characters of the 18th century in a context that helps us in the 21st century  get at least a glimpse of how life and people would have actually been in the 18th century. Ben and his students, by comparing Austen and Matthews, provide us with an insight into their thoughts, attitudes, interests and actions . Something historians, film makers and us  readers try to do when we immerse ourselves in Austen.

 Ben and his students use the Gardeners, as an example of the type of people, middle class, and quietly influential ,rising in society  and who’s importance is not at first apparent  to the plot,  as a template for the type of people they want to write about. It is the Gardeners for instance who influence some of the main action within Austen's novel , but on the surface appear to be ancillary characters. At the end of the novel they are shown appreciation  by the  main protagonists. Ben and his students quote the finishing lines of Pride and Prejudice,

 “With the Gardeners, they were always on the most intimate terms. Darcy as well as Elizabeth really loved them…. the persons who, by bringing her to Derbyshire, had been the means of uniting them.”

 In many ways this series is about getting under the skin of the everyday people who make the wheels of society work.

The original title page.


I think  this first edition, “Bath: An Adumbration In Rhyme,” is ground breaking work. First as I have mentioned above it is an attempt to allow us to experience the 18th century at a deeper level.  Also from the teaching point of view Ben has given his students a purposeful aim. They are not merely writing an academic essay, introduction, key points with evidence and explanation followed by a conclusion , the usual academic essay format written for a tutor and never read again, a dry formal process.   Through the creating of this book ,Ben has given his students the opportunity to add something meaningful and important to  our understating of Jane Austen and the 18th century. The editing team have gained valuable experience in researching, and choosing key evidence. They are also assured of providing continued pleasure and gained understanding for their readers to come.


John Matthews by George Romney 1786 Tate Britain.

I have read  Matthews poem previously but knew very little about him apart from the obvious that you can glean from his poem that the writer was part of the well to do, educated middle classes. The activities and days events Matthews describes in his poem need money to participate in. The fact that he is a competent poet, I won’t say a great poet, and references Latin quotations reveals that he is educated to the highest level of the 18th century. Ben provides us with a  biography of Matthews. He was born in Herefordshire in 1755 and appears to have lived in Herefordshire for the rest of his life. He was also very lucky, or very canny, as far as money and fortune goes. He married a wealthy heiress Elizabeth Ellis and later in 1784 an elderly spinster Elizabeth Skinner left him her fortune of £80, 000. That was an enormous amount of money in the 18th century. He was a rural gentleman in the top 5% of the population. He was educated at Eton and Oxford. He took up a medical career at St Georges Hospital in Westminster London and later became a member of the Royal College of Physicians. He built a large estate in Herefordshire. He funded charities. He founded and commanded the Herefordshire Volunteer Corps in 1798. In 1793 he was The Mayor of Hereford and in 1803 he represented Hereford in the House of Commons as their member of parliament. His poetry appears to have been a form of relaxation and escape. He published mostly anonymously. And, what I like particularly about Mr John Matthews is his ability to be self-deprecating. One of his more well know poems is about Cloacina the Roman Goddess of sewers and apparently he thought of his own publications as worthy of being used as toilet paper. I think he is being harsh on himself in writing that but you have got to smile or even have a laugh along with him.

(As an aside, St Georges Hospital eventually moved to Tooting in South London in the 1970s. It is a university hospital and just happens to be my local hospital.)

Matthews attitudes to society , his rejection of democracy as pursued  by The French Revolution  and his opposition to the levelling of society are all suggested in the poem. A comparison to Jane Austens attitudes to class and movements between classes can be made . For instance the attempts of Isabella Thorpe to marry up, the misguidedness of Emma Woodhouse trying to marry off Harriet Smith and Catherine Moreland’s relationship with Henry Tilney.  Austen was testing the boundaries between classes whereby Matthews merely disagrees with the blending of society.    This shows Matthews as a man of his time,  conservative in his beliefs and with little  desire for the world to change. 


As  a poet his style was boisterous and earthy. It is pointed out  that many of Matthews views are shocking to our modern sensibilities. His cruel lampooning of spinisters for instance, who came to Bath just to enjoy themselves and have a good time.

His poetry  catches us out by making quirky contrasts, This is an example from The Adumbration,

”So the beaux in their boots, the belles in their slippers

Come to walk up and down and peep at the dippers.”

Something elegant turns into something salacious and saucy. He has a naughty sense of humour. I think this appears again when he is walking up, or down, Milson Street.

When you’ve with politics done, the beauties to meet,

You may stroll for an hour up and down Milson Street

Where the misses so smart, at ev’ry fine shop.

Like rabbits in burrows, just in and out pop,”

Burrows, rabbits;  this is suggestive of the sexual appetite of rabbits of course and the ,”misses,” are there just for breeding. The misogyny is palpable. We can find further examples.

 

 Later, the Victorian music hall tradition and the advent of the Victorian seaside piers with their peepshow machines, “ What the butler saw,” are further example of this saucy earthy humour. It took generations to become unacceptable. Our cinema was at a low point, depicting this saucy humour, up to the 70s with the very popular ,”Carry On,” series of  films. British seaside postcards had this saucy side to them also before women’s groups and society as a whole decided they could not tolerate this blatant misogyny and sexism any more. Matthews was an early protagonist of a very long tradition of British earthy humour.

What I found most interesting in the discussion about Matthews poetry was the analysis of the poetic structures Matthews uses. The rhythm is an anapaestic rhythm rather than the more common iambic pentameter. If we think of the iambic pentameter in terms of our heart beat, our most personal rhythm, it is the essence of our life.  Shakespeare and all the great poets use it. Comedians on the other hand tend to disrupt natural rhythms to catch us out. The anapaestic beat is our heart beat with an extra soft beat catching us out, almost tripping us up. It lends itself to satire and humour and this is what Matthews uses.

 

 Matthews himself had been influenced by the first writer of these type of  Bath satires,  a gentleman called Anstye who wrote, “ The New Bath Guide,” a similar sort of satire to Matthews  and from which Matthews probably drew inspiration.How much Austen herself was influenced in her writing by both Anstey and Matthews is open to debate but there are strong links.What I find that connects Austen, Matthews and also Anstey strongly is the geography and  the geology  of Bath.  Matthews describes a day in Bath , meeting friends and acquaintances at The Pump Room where the health giving waters from the spring could be drunk,(although Matthews is not sure about the health giving properties of the water for certain reasons), shopping on Milsom Street, walking around The Royal Crescent and Landsdown Hill, and attending balls at the Assembly Rooms in the evening. The landscape, buildings, venues, activities  are  the same as we find in Persuasion and  Northanger Abbey. Some of the types of characters can be compared too. The difference being is how Austen  makes them live as flesh and blood through their interactions and  their humanity.  In contrast the essence of Matthews and Anstey is the superficial with amusing anecdotes, about people in general.




A map of Bath published in 1810 created by Benjamin Donne and David Wright. 


 Ben and his students have kept the somewhat archaic spellings and punctuation where  the metre and rhythm would be affected if these were changed. Our understanding is not hindered though. Some words and punctuation have been modernised to help us where it doesn’t affect the flow.

The annotations to the text Ben and his students have produced are excellent. As we read through this edition the left hand page is Matthews poem and the right hand page are the annotations explaining words and phrases and providing detailed information. Also, alongside the annotations are references to  Jane Austen  where they are  applicable,  referencing Persuasion and Northanger Abbey. This is the first time this has been done with this text. It extends our understanding of 18th century Bath and also illuminates Austen's achievements.

This is a wonderful piece of work. I can’t wait to read the other editions referencing other authors  from the time of Austen.  I certainly feel that my understanding of Austen’s works and her world has been enriched by this first edition.


Further Reviews:

 Vic Sanborn at Jane Austen's World has also written a review of this edition. We both had some input into Ben's work with his students, Vic more so than myself.

https://janeaustensworld.com/

References:

John Matthews: Bath An Adumbration in Rhyme, Series Editor Ben Wiebrecht, Pixelia Publishing 2021

You can buy the book at Amazon UK:

 https://www.amazon.co.uk/Bath-Adumbration-Critical-Forgotten-Contemporaries/dp/1737033011/ref=sr_1_1?dchild=1&keywords=Bath+An+adumbration+in+rhymr+by+John+Matthews&qid=1630866472&s=books&sr=1-1-spell

 

A DAY IN CATHERINE MORELANDS BATH

This article was researched, written, and designed by LiYuan Byrne, Josephine Chan, Ariana Desai, Carolyn Engargiola, Ava Giles, Macy Levin, Gage Miles, Sophia Romagnoli, Kate Snyder, Oscar Steinhardt, Lauren Stoneman, Alexandria Thomas, Varsha Venkatram, and Dr. Ben Wiebracht.

https://janeaustensworld.com/2021/01/04/a-day-in-catherine-morlands-bath/

CARRY ON FILMS:

https://www.comedy.co.uk/guide/group/carry_on/

SAUCY SEASIDE POSTCARDS:

https://www.postalmuseum.org/blog/saucy-seaside-postcards-and-censorship/

 

 

 



Wednesday, 18 August 2021

THE CROSSING by Manjeet Mann A REVIEW

 



“Manjeet Mann is an actress, playwright, screenwriter and director. She is the founder of Run The World- an organisation that works with women and girls from marginalised backgrounds and helps to empower them through sport and storytelling. She lives in Kent.”

The Crossing is written as a narrative poem connecting two teenagers, Natalie, who lives in Dover, Kent and Sammy a teenage boy from Eritrea. The story relates  the forces that cause people to feel so desperate that they are driven to migrate and about the poverty and lack of chances  that some people endure in Britain. It relates  the creativity and inner strength and courage that keep  both Sammy and Natalie trying and  hoping. Human dignity, humanity and  the empathy  that can exist between people of different backgrounds and experiences are  explored. The story  is about love and hate and how people can rise above adversity and help each other.

Manjeet Mann explores what it is to be a migrant from a country like Eritrea. What is it that impels Sammy to leave his mother, his family, his girlfriend Sophia, who has gone missing possibly abducted? The conditions he lives in are dire. Young men like himself are conscripted into the army. They are treated as slaves. They lose their freedom. They are abused. Sammy and his friend Tesfay, who decides to escape Eritrea with him are of conscription age. That would be a strong enough reason.  There is an added need to escape for Sammy. The murder of his father, Baba, and also following in his fathers beliefs, his strongly held views about free speech and democracy. Sammy and his family want those freedoms and they won’t get them in Eritrea. He thinks, because his father was hunted by the authorities, he will be watched and targeted too. His mother , like all mothers, wants the best life for Sammy. The family obtain enough money for Sammy to pay for the fake documents that will get him across the border. They gather  money to pay the human traffickers who they hope will get them to Europe and eventually Britain.

Nat , in Dover, takes on her mother’s role  after her mother’s death. Her mother had worked for an organisation that helps and supports migrants. She was also a cross channel swimmer who swam to raise funds to help migrants. Nat returns to swimming herself, which she gave up after her mother died, and trains hard to do a channel swim to raise money for the same causes her mother espoused, causes that help and support migrants like Sammy and his best friend Tesfay. Mel, Nat’s best friend sets up a donation page for her and supports her friend in her ambition.

Both Sammy and Nat suffer the death of a parent and are grieving. Both have the will to fight to make their lives better and in the case of Nat other peoples lives better such as Sammy’s and Tesfays.

In contrast, Nats brother, Ryan, becomes disillusioned. He thinks the migrants coming into Dover are taking jobs and homes that he and his father and Nat need. They are on the verge of eviction.  His antagonism for the migrants drives him to join the EDL, The English Defence League, a nationalist right wing group who use violence to make their point.  Nat can see how her brother becoming a member of this  group  gives  a  purpose to his life but she finds it hard to understand that he can’t  see that the immigrants are not the problem. Why doesn't he feel like her and their mother?Other societal issues need to be fought against and fought for. The problem is not immigrants. She thinks of migrants as equal human beings to herself, like her mother did, in need of help, support and love.  Ryan, on the other hand,sees the migrants as not deserving of what Britain has to offer. To him they are ,” others,”  less deserving, perhaps even less human, an invading group, not like him.

There are other important  themes explored in this novel. Nat and her friend Mel love each other. The love between them is tender and sweet. Tensions are explored in their relationship such as  Mel comes from a wealthier more comfortable family that Nat.  On the other hand Nat’s family are struggling to find a home for themselves and feed themselves. This causes some friction but their love for each other is much stronger than their differences.  They are mocked by Kevin a boy in their class at school . Kevin also bullies and demeans Fazel a migrant  in their class. The two girls confront Kevin in no uncertain way.The world has many, “Kevins'.” In another novel the issue of Kevin is something that could be explored further.

 The message of this novel is that often the rules of our society   need to change and develop to take account of everybody.   This novel shows that real people do not fit into an ideology and it portrays all human beings as equal. If this book does anything it should help us to be open to others through listening and understanding and through positive action. 

It is not a long story, however it manages to pack in  philosophical issues about ambition, hope, suffering and taking action. What enables Manjeet to do this is the narrative poem style. Much of it is written in the first person which makes it direct and visceral. The often short lines are distilled experience and emotion combined in a few words which pierce right into you. Sometimes the lines are fragmented into single words, each word draining every bit of meaning and emotion out of the moment. The book is classed as a Young Adult novel and so it deals with immediate sensations and emotions and because of that I felt refreshed and connected to the action.

Here is an example. Baba, was Sammy’s father, taken and murdered by the Eritrean army in front of his wife and his son because of his outspokenness criticising the regime.

“His blood seeps

Into my shirt

Staining my skin

I breathe into the

                       Holes

                                   In

  His

                                    Chest.

Our salty tears

Mix with

His iron blood

Which soaks into

Our skin

Our hair

Our guilt

That we live

And he

Doesn’t.”

 

The story switches quickly and often between Sammy in Eritrea and Nat in Dover, relating their personal experiences of loss and pain. Connections and similarities build up at an intense rate.

Nat for her part has recently, within a matter of weeks of this narrative, lost her mother to cancer. Her mother was the driving force and positive impulse of the family. Her father becomes distant and introverted after her death.

“ I touch the screen

Wanting to grab hold of her

To reach through my phone and

Pull

              Her

                           OUT.

I wish she were still, here Dad.

I know , love, I know,.

Dads desperate to keep it together

but he is broken

We all are.” 

Ryan, Nat’s brother is being influenced by the EDL, The English Defence League, a national front style organisation that aggressively attacks and confronts immigrants to Britain.

“I try to see

Try and understand..."

The end word of one  piece of narrative about Natalie is the first word or phrase of Sammy’s next dialogue and vice a versa.

 This switching  back and forth between the main characters helps create an empathy between the two characters who do not know each other or of their parallel lives at the start of the story.

 

 News cameras and journalists follow the plight of immigrants from Eritrea and other places people feel the need to escape from on their way to Calais to get to England and to other destinations in Europe.Nat sees Sammy first on the TV news and feels empathy for him. She later sees his picture in a magazine. She tries to get in touch and after Sammy has reached Calais somebody helping in the camp  gives Nat, Sammys -email. They start messaging. They talk about their dreams and hopes. After a visit to one of the  Calais camps Nat is being driven back to the ferry and Sammy sees her drive past . There are a number of missed chances to actually meet like this during the story.

Towards the end of the novel there is a surreal moment when we think they actually meet. Do they? Nat is swimming the channel with her support team and  getting near the French coast. She is exhausted and begins to a hallucinate. Sammy for his part has become desperate about his asylum claim. He thinks he will never be granted it. Walking on the beach and thinking of freedom a few miles across .the channel he walks into the water and starts to swim. In her hallucinatory state Nat sees Sammy swimming towards her. They touch hands and then he is gone. She thinks she is dreaming and swims on to complete her crossing. So was this really Sammy? There is a strong feeling  that it was. Sammy is found drowned pulled up by a trawler in it’s fishing net. News of his death  reaches Nat through social media and she is so stunned she falls to the floor weeping.We get a sense of what it is to be really desperate certainly from Sammys point of view and partly from Nats point of view too.

The story ends with Anthony, a refugee from the Calais camp who makes it to England and met Sammy, Hamid who also makes it across the channel, Fazel, Mel and Nat along with other people who have heard about Sammy, altogether standing on the White Cliffs near Dover. Hamid, Sammys friend from Eritrea reads messages from Sammy's mother and family and they scatter his ashes over the sea.

The last verses describe Natalie continuing her work supporting refugees in the migrant camps of Calais feeding them from a makeshift kitchen. Nothing has changed. Camps are dismantled and migrants moved on but others come to replace them. And the ending is repeats Nats mothers words of hope and dreams.

“Natalie, look at the stars

I will be looking too.

They are the same ones you see.

This is how we are all connected.….”

We do not hear how her father is now coping or what her brother Ryan is doing. It would be interesting to know.

This book helps the reader empathise and promotes a positive and loving approach to others especially those who are suffering greatly and immigrants in particular..


An example of how systemic racism works in Britain is our education system. The National Curriculum includes some colonial history from the white colonialist point of view and  it mentions some Afro Caribbean History and Indian History. These subjects are kept within separate sections as though they have no connection to the rest of our history. It does not explore how our whole history is imbued with our colonial past and certainly does not explore what effect that has on minorities today and the sytemic issues they have to contend with. Here are the only statements from the National Curriculum hidden away in a non statutory section that touch on these issues.

“ a study of an aspect of social history, such as the impact through time of the migration of people to, from and within the British Isles.”

“Britain’s transatlantic slave trade: its effects and its eventual abolition.”

 ( Non statutory National Curriculum Key Stage 3)

Notice the study of the slave trade is only required up to the date of abolition. This seems to me to be keeping the problems of systemic racism we have today, at best, at arm’s length and at worst completely out of sight.

David Olusogo’s book” Black and British A Forgotten History,” provides a  history of ethnic minorities in the British Isles over thousands of years. It explains  how racism has developed and been reformed to take on different aspects in every generation from the time of slavery to the latest iteration.

All of this is relevant to Sammy, Hamza, Natalie  and Natalie’s brother Ryan who is attracted to an aggressive anti-immigration group and also Natalie’s father who is lost and confused. What our government does in education, immigration law and in its strategies for settling refugees  affects us all and the way we live.

 

 

“The Crossing,” by Manjeet Mann published by Penguin Books 2021

 

References:

 

“Black and British. A Forgotten History,” by David Olusoga published by Pan Books 2016

The National Curriculum (History)  https://www.gov.uk/government/publications/national-curriculum-in-england-history-programmes-of-study

  Key Stage 3 mentions slavery and immigration  but only requires a limited study.

https://assets.publishing.service.gov.uk/government/uploads/system/uploads/attachment_data/file/239075/SECONDARY_national_curriculum_-_History.pdf