Category Archives: Research and Writing

The Remains of the Day

Wedding of Eleanor and LouisIf I had the chance to choose one item to remain after my death, one artefact that would encapsulate my entire life and all its choices and decisions, I seriously doubt that I would choose anything that I either gave or received as a gift at my wedding.

Believe me, nothing from that day would give any future biographers any tremendous insight into my true nature.

But why do physical artefacts matter so much at all? Why is it so important that we know so-and-so touched this, or wore that, or handled this very thing?

I don’t know why it matters, but it does.

Even Eleanor of Aquitaine, one of the most fascinating, powerful, and politically important historical figures a person could name, has only left us with one sparkly vase to remember her by.

And I bet she didn’t even like it all that much.

It was a gift to her first husband, Louis VII; just a rather smallish rock crystal vase that her family prized. And Louis didn’t exactly treasure it for the rest of his natural days. Pious and thickheaded as ever, Louis pretty much turned around and gave it to his pal Abbot Suger, who dedicated the thing, naturellement, to God.

The annoying idea of anyone’s husband regifting a treasured wedding present directly to his closest male friend aside, it just kind of breaks my heart that this is the only actual, physical item that remains of Eleanor — the only thing we can be absolutely sure was handled or owned by her during her long, extraordinary life. Again, I don’t know why this matters. But it does.

We don’t even really know what she looked like.

Maybe this is why I usually deal with more recent history, having settled long ago on the 19th century as my own personal historical stomping grounds. After all, portraits abounded during my chosen time period, and they could even be reasonably relied on to convey not just a person’s physical features but also at least some inkling of their true personality. By the 1840s, you’ve even got the beginnings of portrait photography, and the unbelievable ability to connect across the years by gazing into your subject’s eyes.

It matters. At least, to me it does.

I enjoy Eleanor. I respect the pants off of her. I’ve always been fascinated by her story, her wide travels, her relationship with power at such an interesting and vital point in European (and church) history. But I don’t love her, because I can’t know her. Not really, not viscerally, intuitively. Not like I know my cast of characters from the 19th century, who when I stumble across them by surprise, fill me with a sense of companionable familiarity. Like old college friends I never lost touch with, or at the very least, never stopped thinking of.

I suppose that’s why we history nuts choose our eras, as much as for any other reason. We find out, early on, whose story we can really connect with on a basic, human level. Whose secret thoughts, hidden motives, and galvanizing imperatives we can somehow grok, with an intuitive immediacy that makes their daily struggles, triumphs, faults, and heroisms real to us. Really real. Makes-you-cry-to-think-about-it real.

It’s different for different people. I know plenty of people who can’t get down with the Victorians in the slightest, but who have absolutely no problem whatever hanging out with the Romans, Etruscans, or Greeks. Folks who couldn’t care less about the petty squabbles of early Colonial Americans, but whose hearts thrum in sympathy with the early Christians.

There is, literally, no accounting for taste. And not everyone seems to require the physicality of an artefact, a collection of letters, or a true likeness. What does it matter if a person’s eyes were blue, and brittle with hardship, or dark brown, and limpid with empathy?

Possessions and portraits. They shouldn’t matter to me as much as they do, I guess. But there we are.

Would I be able to have long, late-night cozy chats with Eleanor if she’d left behind an extra brooch, a doodled-in bible, a pair of shoes, a rock solid portrait that brought her vividly to life? Maybe.

Maybe not, though.

In the end, I think our subjects choose us, airy fairy as that might sound. And Eleanor, quite simply, belongs to other folks. That’s fine. She’s got her fans. And I’m extremely glad they’re around to tell her story to the rest of us.

You keep telling your stories. I’ll keep telling mine.

 

Beth Dunn is a novelist, blogger, and geek. She writes at An Accomplished Young Lady and studies old daguerrotypes and miniature portraits from the 19th century more than most people watch TV.

The peril of torphuts

by Tracy Barrett, W&M contributor

Ah, the joys of research. You find exactly the detail you need to round out a character’s personality, or an artifact that will enable your plot to develop in the way that you want. Or you stumble upon something that you hadn’t been looking for, but which takes you in a direction that you hadn’t thought of but that enriches your manuscript. There’s a flip side, of course. Some integral object turns out to have been invented centuries after the time when your story is based, or a character died before she could have met your protagonist.

And then there are the wonderful, quirky details you can’t use. They’re irrelevant or distracting. It’s so hard to let them go, reluctantly watching a weird item float away because you just can’t work them into your story.

I recently found one of those, and although I haven’t given up, I’m still trying to figure out a way to use it.

Yum!

Most ancient history buffs know about garum—the sauce made of fermented fish (guts included) that the Romans were addicted to. It was stinky stuff. (But loaded with umami, it turns out.)

Garum factory in Spain

Despite their love for it, the Romans forbade its manufacture within city walls. It’s so pungent that when some jars labeled “GARUM” were opened after lying on the sea bed for millennia, they reputedly still smelled of it. The city of Pompeii was well known for its high-quality garum.

Being a port, Pompeii was also a very multicultural city. Its merchants catered to customers from a wide variety of cultures, many of whom observed specific dietary laws. When some jars of garum labeled “castum” (pure) were found, scholars wondered—pure in what sense?

At least some scholars believe it means “kosher.”

Kosher garum! How can I work it into my story? The last thing I want to do is to use it for its own sake. That always winds up being clunky. I recently tried to read a novel set in the Middle Ages and gave up after too many passages like this one:

Janekin had been engaged in a battle of words with the young citizens who supported Henry, duke of Lancaster, in his struggle with King Richard. Janekin was of the king’s party and wore a pewter badge of the white hart in his tall hat of felt. John of Gaunt, father of Henry, had died seven weeks before. Now King Richard had revoked Henry’s inheritance, keeping the Lancastrian legacy for his own use, and had consigned Henry to perpetual banishment. Janekin had been watching some Lancastrian supporters at the corner of Ave Maria Lane, and had called out “Torphut! Torphut!” as a signal of his contempt. Two of them heard this and ran in chase of Janekin, who turned upon his heels and fled down the lane.

Now, I’m all for period detail to add richness to a scene. The pewter badge in a tall felt hat is a nice touch—I hadn’t pictured Janekin in a tall hat until then. Ave Maria Lane is a nice name. But it goes into overload. Do we really need to know the details of the tussle for the throne? And what the heck is “torphut”? Okay, I get that it’s an insult. But what does it mean?

The OED didn’t help. A google search turned up only this same passage. I have no doubt that the author found the word in some document someplace and it had such a nice insulting sound that he just had to use it.

It didn’t work for me—it pulls me out of the story. I wish he had resisted the impulse and had found another insult to use.

So from now on I’m going to call those interesting facts that you’re dying to use but really shouldn’t “torphuts.” And I vow to avoid them.

Who buys used postcards anyhow?

By Lisa Smith, W&M Contributor

The ‘archival jolt’ happened in the strangest of places, a Brighton fleamarket. Idly rummaging through the detritus of people’s lives in search of treasure, I found a large box filled with used postcards, and I wondered who on earth would purchase such a useless thing. Of course, the snoop in me couldn’t resist a quick peek. I happily rooted through thank you notes, accounts of holidays, radio contest answers, and invitations, before finding some blank ones from the early twentieth century. These, at least, might be added to my stationary stash!

With disappointment I realised that several of the old postcards had, in fact, been ruined by small scrawled initials: ‘V.L.L.’ I scanned initialled card after initialled card, finding no truly blank ones.  It was then that the jolt struck: who was this person? And what was the significance of this postcard collection?

Aided by my husband, who joined my quest, I amassed a large pile of initialled cards, all with dates from the 1920s. We had both been hooked by the mystery of V.L.L.’s cards. But thinking like a historian, I was at a loss to know how to analyse the essentially blank texts that provided no clues to the sex, name, or purpose of the collector.

My husband and I left the fleamarket, but all day our conversation returned to the postcards, as we imagined the story of V.L.L.’s cards, which were from all around Europe. Perhaps V.L.L. had been a former soldier or military nurse who had gotten a taste for travel while in service. Perhaps V.L.L. was merely an armchair traveller whose friends brought back pictures of their own trips. Or perhaps V.L.L. was a war widow, who took up a life of travel instead of remarriage. The fictive possibilities were endless, exhilarating.

The next morning found my husband and me in possession of a large garbage bag filled with five pounds of unsorted postcards, wondering how to get them back home.

And now that I know who buys used postcards, a bigger question remains: what am I going to do with them?

Lisa Smith is an Associate Professor of History at the University of Saskatchewan. She writes on gender, family, and health care in England and France (ca. 1600-1800), but has always had a soft spot for the early-twentieth  century.

Medieval Metafiction

by Tracy Barrett, W&M contributor

In 1924, the linguist Luigi Schiapparelli discovered some lines in the margin of a religious text, scribbled in a Veronese hand in the late eighth or early ninth century, probably to test the scribe’s newly cut pen. They read:

Se pareba boves                           He led oxen
alba pratalia araba                    he plowed white fields
& albo versorio teneba               and he held a white plow
& negro semen seminaba          and sowed black seed

Linguists immediately declared this one of the earliest examples of written Italian—so early that some call it late Latin, and not Italian at all.

In 1924, Italy was at the height of its fascist era, when the peninsula’s glorious past was being held up as a model for the Italian people. Italian scholars rhapsodized about the hearty farmer who is eager to plow his field despite the frost covering it. (The white plow was glossed over.)

It wasn’t until a linguistics professor was discussing these lines in a class that a young student told him that the text wasn’t a poem about a virtuous farmer at all, but was a riddle that her grandmother had told her. The oxen are fingers, the white fields are paper (or parchment), the white plow is a white quill pen, and the seeds are the ink.

Lately, I’ve been pondering metafiction—that literary convention where an author reminds you that you’re reading a book. It’s usually considered a sophisticated postmodern technique, but it’s prevalent in children’s literature, for example in the recent It’s a Book and The Neverending Story. You might have noticed metafiction in Jane Eyre (“Reader, I married him”), Don Quixote (where the second part reflects on the first part), The Brief Wondrous Life of Oscar Wao, many books by Italo Calvino.

Isn’t it wonderful that at the dawn of Italian language, whose literature has always pushed the envelope of literary styling, a scribe testing his new pen left us this self-referential scribble?

 

Impotence in the Archives: or, a Research Trip Failed

By Lisa Smith, W&M Contributor

A year ago I went to Paris on a week-long research trip. My goal was to look at eighteenth-century impotence trials, part of the Série Z at the Archives Nationales. I planned to compare them with English impotence trials that I had already examined.

French historians and archive workers had been occupying part of the building to protest Sarkozy's proposed (rightwing) museum.

There were the standard research problems, of course. The handwriting was unusually terrible. The boxes were unsorted and contained few, if any, impotence trials, which were challenging to find. But the biggest difficulty was entirely unexpected. Série Z closed for maintenance every second day during that week.*  This mystified the counter-staff as much as me. Each time, they were unaware of the closure.

Previously, my research method had been to transcribe notes by hand, then review them afterwards. To the growing number of historians who prefer to take photographs of archival documents, this seems a bit quaint. On this rapidly passing trip with its two fruitless days, I certainly did not have the luxury of time. Instead, I photographed the trial records like mad, writing brief outlines of the cases. Each night I organised the photos and turned them into pdf files, hopeful about the possibilities for my new use of photography. I thought how nice it would be to have images of the documents to hand.

But a year on, I’ve realised a key problem in this system: much of my work in archives is tied to physical memory. Looking back at my notes over the years, I can remember the way in which documents looked or smelled at the time. More importantly, I can remember where to find specific points in my notes. I recall in detail the stories from the English trial records, but the French ones only fleetingly, even though I have since read through the files a couple times. It has become clear to me that I need another French research trip – this time simply to sit in my office transcribing the files stored on my computer – if my knowledge of the trial records is ever to become potent.

How do you internalise your material when doing research?

 

*Admittedly, this allowed me to have leisurely lunches and sightsee, so all was not in vain.

 

Lisa Smith is an Associate Professor of History at the University of Saskatchewan. She writes on gender, family, and health care in England and France (ca. 1600-1800).

Captain Kirk to the bridge, please

by Tracy Barrett, W&M contributor

 

On Star Trek (and by this, children, I mean the real Star Trek—the one captained by James T. Kirk, and with cheesy special effects and constant violation of the Prime Directive), a lot of strange things happen (I’m referring to the strange things that the producers intended to happen, not the accidental ones). The audience has to understand these strange things to make sense of the story. But there are no footnotes in a television show, and a voice-over to explain what’s going on would be even more intrusive than mid-60’s hairstyles and encounters with space-hippies.

So how to explain?

Enter Captain Kirk. He’s got the smarts to run a spaceship but doesn’t know a whole lot about the new lives and new civilizations that he encounters. Luckily, he has Mr. Spock, who patiently explains and theorizes about these mysteries to his captain, and hence to the audience. Kirk isn’t stupid—he’s just a military man whose interests lie elsewhere.

Writers of historical fiction face a similar problem. My Princess Anna of Anna of Byzantium wouldn’t think, “Wow, the palace I live in is huge!” But I want my readers to know that it is. Ariadne of Dark of the Moon wouldn’t question the human sacrifice that her religion demands every spring. But I want my reader to picture Anna in a huge palace, and Ariadne being a prime player in the sacrifice. So they need someone to explain to: a slave from a distant part of the empire in the first case, Prince Theseus in the second.

It’s been said that there are only two plots: A stranger comes to town, and Someone takes a journey (some have said that this is really one plot, but from two points of view). I doubt that this is true, but the device is a common one. I wonder if the need for a stranger in town is so the person whose POV informs the story can either explain things to the stranger or be the one who receives an explanation.

Muffin Man

English Muffin

By Beth Dunn

Was George Handel and a buttered muffin inadvertently responsible for the creation of the British Museum?

Well, probably not.

But honestly? I wouldn’t rule it out, either.

So you know the British Museum. First public secular museum, established in 1753 when Sir Hans Sloane passed away and left his absurdly large and varied collection of rare books, antiquities, and just downright oddities to the British Crown.

Sloane was a wildly successful London doctor, one who counted Samuel Pepys and Queen Anne among his patients, and who had amassed a cabinet of curiosities so large that he had to buy the house next door just to give him enough shelf space for it all.

Distinguished visitors would come from all over to peer at his whatnots, to marvel at his whoosits.

Then he passed away and left it all to the nation, who responded with characteristic ingratitude, a great deal of Parliamentary wrangling, and no small amount political corruption that eventually resulted in the creation of the British Museum.

What’s odd about this story is that it is hardly possible to research the early days of the British Museum without coming across the following story with what one can’t help but notice is alarming frequency:

Sloane’s house was visited by numerous people. Among them was the composer Handel, who is said to have outraged his host by placing a buttered muffin on one of his rare books.

For the life of me, I cannot stop thinking about that damn buttered muffin.

What kind of muffin was it? Was it more extravagantly buttered than most? Exactly what sort of baked good was called a muffin back in the 18th century, anyway?

Was Handel some sort of countrified rube, who simply thought that rare books made excellent substitutes for plates and saucers, or was he trying to make some kind of point? What book was it?

Was it this near catastrophe that convinced Sloane that his collection needed the protection of the British Crown, once he himself was no longer around to protect his books from the menace of butter-laden muffins, crumpets, and scones?

Even more intriguingly, is there in some dim and dusty corner of the British Library (where all the books of the British Museum eventually found a home) an old, rare book with one very faded, but barely discernable circular grease stain on it?

These are the sorts of questions that leads one to investigate, late at night and into the early morning hours, the history of the English Muffin, and to discover (to one’s great delight) that the muffin was in fact a highly fashionable foodstuff in the 18th century.

Which would explain why it was being served to distinguished visitors to what one has to assume was one of the more exclusive drawing rooms in London at the time.

Muffins were huge. They were a tremendous fad, catching on among the snacking classes with such fervor that scores of muffin factories soon popped up all over London. Jane Austen even mentioned muffins in her novel Persuasion, and not merely as a particularly apt way of describing the hot, buttery Captain Wentworth.

Did Sloane realize the peril his collection might be in, if left open to the slings and arrows of outrageous baked goods?

Or was Handel just a bit of a jerk?

Hard to say.

But in the midst of this deeply appealing line of research, I suddenly remembered another buttered muffin story, this time about one of the American founding families. I got very excited for a few minutes, imagining that the tale of the buttered muffin was some sort of universal flood story, found in one form or another in all known cultures, varying only in the shape and size of the muffin, or in the amount of butter involved.

Alas, it was a more prosaic tale that that. Something about a young lad who was named after Benjamin Franklin, and who took it upon himself to instruct First Lady Dolley Madison in the art of properly buttering your muffin. If you’ll excuse the expression.

‘Why, you must tear him open, and put butter inside and stick holes in his back! And then pat him and squeeze him and the juice will run out!’

Which seems a very sensible way to eat a buttered muffin, if you ask me.

What’s truly excellent about this story is that it is a reminiscence of Thomas Jefferson’s great-granddaughter, Ellen Wayles Harrison. And that the story took place at Monticello.

Buttered muffins. Present at the creation of so many great things.

Perhaps now you, like me, wish to know just how Thomas Jefferson ate his muffins.

Very well, I shall tell you.

To a quart of flour put two table spoonsfull of yeast. Mix . . . the flour up with water so thin that the dough will stick to the table. Our cook takes it up and throws it down until it will no longer stick [to the table?] she puts it to rise until morning. In the morning she works the dough over . . . the first thing and makes it into little cakes like biscuit and sets them aside until it is time to back them. You know muffins are backed in a gridle [before?] in the [fire?] hearth of the stove not inside. They bake very quickly. The second plate full is put on the fire when breakfast is sent in and they are ready by the time the first are eaten.

Who’s hungry?

 

Beth Dunn is a novelist, blogger, and geek. She writes at An Accomplished Young Lady, and gets pretty worked up sometimes about baked goods.

 

Image by foonus

My thousand historical research books

some of my book shelves

by Stephanie Cowell

1848 Lady Book with old pressed flowers

I have been accumulating research books or, when they are very rare, consulting them since I first began to write historical novels. In the late 1980s when I began we still had many used book shops in New York City with wood shelves too high to reach but by ladder, shelves often sagging with the weight of books and with that definite smell of wood, dust, old paper, old bindings. Each new book was an enchanted encounter.

I have published five historical novels and have more in draft than I’m willing to admit. Each began with a history book: a rare volume on Elizabethan London printed about 1894 with a red binding which I found I don’t recall where, a biography with fragile pages of a 17th century English archbishop which was waiting for me in a very small shop for very little money. A small book with leather covers and gilt-edged pages by Marcus Aurelius discovered in a cold, empty New England book barn where there were tens of thousands of books and the footsteps of one lone browser…me. The original 1665 book on the early microscope by Robert Hooke (Micrographia) in the New York City Arents Collection and one of the thirteen extant copies of Shakespeare’s 1609 sonnets perused and almost wept over at Yale. (Was this WS’s own copy perhaps?) And the rather astonishing heavy Victorian Godey’s Lady Book printed in 1848 and given to me by a friend, between whose pages I found a sheath of very dry flowers and leaves, almost colorless. (Who pressed them there and tiptoed away?)

I bought more books by catalog in the 1990s: newer books but on rare subjects such as a history of English workhouses, the Glastonbury Tor. In my travels I bought books. On my trip home from England I brought twenty-seven books. That was before the planes weighed your luggage or perhaps the weight allowance was higher. (I think I gasped with delight when I found a map of Elizabethan London.)

Then came the fabulous internet and every book I ever dreamed of waiting in some shop in Arkansas or the Cotswolds for me. I ordered How Shakespeare Spent the Day. I ordered an old book on the daily lives of French artists. And now my husband has given me a Kindle and I have found to my extreme delight a number of books on 1860’s Florence published in that time and all for free. One has a list of banks and food shops of the period and where you can hire a donkey cart.

And when I finish a historical novel, what happens to the books? Well, I give some away sometimes. I truly recall giving several away which I had used for my Monet novel so do not understand why a huge pile of them still weigh down the top of a file cabinet in the den. My books on the Brownings are scattered all over the house but my English history books are mostly in one whole shelf. Sometimes I wander from room to room touching the book spines. I hear the books murmuring softly, “And when will you write me? There is a story waiting within my pages! What are you doing researching that other book in the next room…I know all about you, you see!”

And I tell them, “Perhaps 2012 will be a good year for your story!” I know they are patient books though they do grumble in their dusty way and that they know in their inky souls that I truly love them and that I will come back.

Historical novelist Stephanie Cowell is the author of Nicholas Cooke, The Physician of London, The Players: a novel of the young Shakespeare, Marrying Mozart and Claude & Camille: a novel of Monet. She is the recipient of the American Book Award. Her work has been translated into nine languages. Her website is http://www.stephaniecowell.com.

Emotional truth

By Tracy Barrett, W & M Contributor

One factor that draws many people to historical fiction—and Civil War reenactments, the Society for Medieval Anachronism, Renaissance Faires, etc.—is curiosity about how it felt to live at a different time. I share this curiosity; I love to be so immersed in a former time that I’m startled to look up from a book’s pages and find myself in the twenty-first century. I first experienced this when reading Lucile Morrison’s The Lost Queen of Egypt, and then with Sigrid Undset’s Kristin Lavransdatter and Robert Graves’ I, Claudius.

Part of my fascination is the evocation of the time—the houses the characters lived in, the food they ate, the clothes they wore, the games they played. But what really draws me in is the feeling that I’m sharing the characters’ emotions.

Avoiding anachronism in emotion is one of an author’s most difficult feats. How, we wonder, could parents of the past have survived the death of one-third of their children? How could a teenager have accepted without question that she was to marry a man many years her senior, who had been chosen for her by someone else? If the character is horrified, we’re not being true to the time. But if we present a child’s death or an arranged marriage to an unpleasant old man matter-of-factly, we risk jarring the reader at our character’s perceived callousness.

I try to come up with a situation analogous to one today and have my characters react appropriately for that. For example, until modern medicine improved infant mortality rates, parents might react to the death of a child the way most Western people would react to the death of a pet: you’d be sad, you’d probably cry, you’d tell your friends, you’d never forget that pet, you might keep its collar in a special place—but you would move on, in a way that the parent of a dead child could rarely manage to do today.

I think of an arranged marriage as being similar to having parents choose a teenager’s high school. The teen might have some say, and if she really, really hated the idea of a particular school and another one was available, the parents might yield to her wishes. But they might not, and that wouldn’t be child abuse.

Here’s how I handled my main character’s reaction in my work in progress to hearing that an acquaintance had lost her husband and children to an illness several years earlier. She thinks: “Not unusual, but sad nonetheless. No wonder the woman had an air of bitterness about her.” I hope that reminds my reader that this kind of loss was common, while preserving my narrator’s humanity.

A Bout of Dickensian Anxiety

By Beth Dunn

At first glance, the tale of Charles Dickens’ rise to fame and fortune would seem to be one of unhalting advances towards the pinnacle of success that he had achieved by the end of his life. But even the mighty Boz suffered from serious doubts about his skills as a novelist, and his ability to support himself purely by the labor of his pen.

And what do writers do when we think the well has run dry?

We panic.

Charles Dickens had already seen early success — and lots of it — as the author of The Pickwick Papers, Oliver Twist, Nicholas Nickleby, The Old Curiosity Shop, A Christmas Carol, and Barnaby Rudge, along with assorted other bits and pieces.

Bleak House, A Tale of Two Cities, Great Expectations, Little Dorrit, and Our Mutual Friend still lay ahead of him, though of course he couldn’t know that.

All he knew was that he had a large and constantly growing family to support, and he was suffering increasingly frustrating bouts of writers block. In the midst of writing Dombey and Son (never heard of it? there’s a reason for that), Dickens was so uncertain of his future prospects as a novelist that he took on a job he almost certainly knew he would hate from the start — editor in chief of The Daily News.

Oh, sure, he had been an editor and contributor to various journals from time to time. And he had started his writing career as a sort of beat reporter in Parliament, winning the job largely on the merits of his impressive skills at taking notes by shorthand. And he had always been a crusader against what he recognized as the vast social injustices of the day, which the Daily News promised to rail against until Something Was Done.

On paper, it seemed like the perfect fit. The fledgling newspaper’s financial backers wanted a prominent editor who would drive up sales and help their new project compete against the very popular — and very right-wing — Morning Chronicle. And Dickens, who was suffering a serious bout of nerves, wanted a steady paycheck.

You know, in case this whole writing thing didn’t pan out.

Within a matter of days, he knew he had made a dreadful mistake.

Eventually, he convinced his best friend (John Foster, who did have a background in journalism) to take over as editor. Dickens had almost from the start hated the daily grind of the paper, hated the pressure, hated being pulled in so many different directions by so many competing interests, hated the corruption of the press in general, of which he was now a part.

So he quit, after only a few weeks.

But the experience was not without its upsides.

First, Dickens had realized that his occasional bouts of writers block were largely due to his absence from the city streets of London. He’d been traveling abroad with his family in recent months, and the quiet countryside was doing nothing for his concentration. When he was free to prowl London’s dark and sooty streets at night, he was in his element again at last, and he was back to his old prolific self.

Second, he had finally found decent occupation for his father, a bit of an unrepentant sponge and perennial debtor on whom Dickens would later base his Mr. Micawber. John Dickens had been installed as head of the newsroom at the Daily News, and had taken to it, quite to everyone’s surprise, extraordinarily well. He showed up, he managed people, he got the job done. It was really quite remarkable, and even his son acknowledged that he’d finally found his niche.

And finally, perhaps most importantly, Charles Dickens had learned the lesson that so many writers have to learn the hard way.

We’re just not really fit for much else, when it comes right down to it.

So we had better just get down to it.

 

Beth Dunn is a novelist, blogger, and geek. She writes at An Accomplished Young Lady, and makes a habit of reading far too much into the life stories of her 19th century literary heroes.