Category Archives: Travel and Adventure

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.

The Secret History of The Great Bed of Ware

By Beth Dunn

Lovers have been carving their initials into tree trunks and fenceposts since time immemorial. It seems like if you’re in love, you’re a fool if you don’t carry a pocket knife at all times, just so that you can proclaim your passion to the world.

Maybe this is why the biggest bed in Christendom is simply riddled with graffiti.

I mean, maybe folks just like carving their names in stuff. But I bet there’s more to it than that.

The Great Bed of Ware has been a tourist attraction for a very long time, and it’s hard to say if most of its carved initials are the result of over-excited tourists marking their passage along the great road north out of London, or if some are actually the remnants of a night of passion in a provincial inn in Hertfordshire. Built in the late 16th century and known to have graced the rooms of several different public inns in the English town of Ware, this staggeringly large and delightfully ornate bed has been sought out by the curious and the coital for hundreds of years.

The Great Bed of Ware

The bed can now be found in the British Galleries of the wonderful Victoria and Albert Museum in London, where you can get right up close and marvel at its immense girth and vasty depths. It really is massive, even by today’s standards. And you can see why it ranked among the top must-see sights in the itineraries of generations of British travelers.

As an item of antiquity, it’s appeared in some pretty impressive footnotes. Shakespeare mentioned it in Twelfth Night. Byron mentioned it in Don Juan.

As a piece of furniture, it practically ranks as sculpture rather than utilitarian object. It’s almost 12 feet square, anchored by two massive carved posts at the foot, and balanced by an equally overwrought headboard. But people can — and did — sleep in it. Sometimes it was booked to accomodate as many as twelve people at once, although frankly this seems to have been more in the way of a prank or a dare than anything else. Sort of the Elizabethan equivalent of seeing how many coeds you can stuff into a phone booth, if you get my drift.

But that graffiti? It’s everywhere.

On the finely carved figures.

Bed of Ware Graffiti RC

Among the carefully wrought marquetry.

Great Bed of Ware Graffiti J-B

Alongside the swans, for which the town of Ware was evidently renowned.

All crammed together, like coeds in a phone booth.

So much graffiti on the bed of ware

And while graffiti of this sort can be seen on museum pieces of all kinds, from medieval choir pews to ancient Roman frescoes, I’d like to think that at least some of the graffiti on the Great Bed of Ware served a more intimate purpose.

Surely at least some of these initials were carved in a moment of celebration, of giddy excitement or satisfied bliss. Surely some of these marks are the silent relics of two actual, living people, who spent an actual, living night with each other in a bed bigger than any bed they’d ever seen before. A bed that seemed tailor-made for lovers whose love was vast, and for whom the years ahead seemed endless and filled with promise.

A bed whose creaking frame still spells out their names, if you know where to look.

In code, yes. And nearly drowned out by all the sly chuckles and crude jokes of the tourists who all but crowd our lovers’ names out of view.

But they’re still there, just the same. Because some things truly never change.

Beth Dunn is a novelist, blogger, and geek. She writes at An Accomplished Young Lady, and can be found haunting the corridors of the Victoria & Albert Museum whenever she visits London. Which is, as you can imagine, not nearly often enough.

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).

A Tree of Knowledge Branches Out

Tree1956
By Brook Wilensky-Lanford (Wonders & Marvels Contributor)
Back in 2006, someone told me about a new book called Mapping Paradise, an illustrated history of the cartography of Eden by Alessandro Scafi. Too broke to purchase it, I took notes discreetly in a Manhattan Barnes and Noble. The notes looked like an extended haiku by T.S. Eliot; but one item from the book took me on a long journey. A 1946 photograph from the Times of London of a small dead tree in southern Iraq, which was purported to be the Bible’s Tree of the Knowledge of Good and Evil. The caption suggested creating an international peace park on the spot. That’s weird, I thought, how could the Tree still be alive?

But the story got weirder. In 2007, an MFA student at Columbia, I accessed the Times online archive. It turned out that picture sparked a mini-drama in the Letters page. Several British military personnel sent in competing descriptions of a decades-earlier incident: On New Year’s Eve, 1919, soldiers stationed in Qurna, Iraq, had climbed—and broken—this very Tree of Knowledge, enraging Iraqis and forcing the Brits to repair it with concrete. Soon afterward, rebellion broke out across Iraq. I had to know more. What were the soldiers thinking? Who was enraged and why? And what did the Garden of Eden have to do with the revolution?

One of the letter-writers claimed he’d gathered a file of outraged telegrams at the time. But I could find nothing in the British Library or Archives online. My professor, visiting London, offered to search the actual Library for me—still nothing. So I tried to accumulate enough background about the place, people, and timeline to able to tell at least a provisional story. In the late nineteenth and early twentieth centuries, many travelers had passed through Qurna, at the junction of the Tigris and Euphrates, and taken note the Tree. I stitched together numerous tiny references into something that resembled a whole. My proudest discovery was actually the answer to the Times photograph.

During Iraq’s one period of stable government between two bloody revolutions in the 1950s, the British-backed king went on a publicity tour of major European capitals, touting the country’s resources, achievements, and potential in an (ironically British-printed) glossy propaganda pamphlet. And one of those points of pride was Qurna’s Tree of Knowledge. This image shows a healthy Tree flourishing after being broken, bombed, and belittled. Before I returned the pamphlet—too soon, since the library somehow classified it as a periodical—I made sure to scan the photo.

But to actually understand what had gone on in 1919, I had to search closer to the present. Bruce Feiler’s Walking the Bible described the post-Saddam park built in Qurna to protect the Tree of Knowledge. One of the few travel companies that still took tourists to Iraq in the 1990s had photographs of the Tree on its website. (Or rather, Trees. By now there were several.) Reuters stories after the 2003 invasion talked of busloads of Iraqis coming to the Tree to pray.

But why? It couldn’t really be the tree from the Bible, could it? And weren’t Iraqis Muslim anyway? An online search for “trees” “Iraq” “shrine” and “sacred” eventually led me to an academic scholar of Middle Eastern folklore who, as it turned out, lived in my then-neighborhood, Astoria, Queens.  We met for coffee. Oh sure, he said, this sounds like traditional Middle Eastern tree-worship. It predates the Bible, and monotheism in general, which is remarkable in a region filled with monotheistic fundamentalists.

I needed firsthand description. My brother, a journalist, put me in touch with a Kurdish Iraqi colleague; we met in the lobby of Columbia’s journalism school. Sadly, he didn’t remember Qurna’s Tree. But when I asked him about sacred trees in general, he lit up. In his hometown, hundreds of miles from Qurna, people visited sacred trees all the time, to request favors. The trees had to be treated with respect. You could not touch them, take a branch, or peel their bark, without risking the wrath of the holy man associated with them—or your mother. Finally, I understood why there were enough outraged telegrams to fill a file folder in 1919. And every time one sacred tree dies, another is planted in the same spot, which explained why there was now a small grove in Qurna. Three years later, I could finally tell the whole story.

A small illustrated version of it (in the literary journal Triple Canopy) became a twenty-page essay, and then informed three chapters of my book, Paradise Lust: Searching for the Garden of Eden. This week, six years after I first discovered it, the Middle Eastern scholar told me he’d been teaching my story about the Tree in his folklore class.  I guess it really is the Tree of Knowledge!

Brook Wilensky-Lanford is the author of Paradise Lust: Searching for the Garden of Eden, which was a New York Times Editors’ Choice in August. Her reviews and essays have appeared in Salon, Lapham’s QuarterlyThe San Francisco Chronicle and The Boston Globe. A graduate of Columbia University’s nonfiction writing MFA program, she lives in New Jersey.

Who “Owns” a Story?

BarrettTracyRT

By Tracy Barrett, W & M Contributor

I occasionally get questions from readers of my historical fiction asking why I deviated from the real story of the Minotaur or the Odyssey. By “the real story,” what they mean is a familiar telling. But the version that my questioners think is the authentic tale is just one in a long line of tellings of a myth or legend, and my books are merely the most recent addition to that line.

Myths were told orally, most of them for centuries, before someone wrote them down. What that writer set down on paper (or clay, or parchment) was only one version, neither more nor less authentic than any other version that either didn’t get written down or whose written form has been lost. Usually the same basic story elements persist from one telling to another, but sometimes they are drastically altered. Look, for example, at three different (ancient) endings to the Odyssey, all found in ancient written sources of equal “authenticity”:

  • Odysseus ruled in Ithaca until the end of his days
  • being sick of the sea, he walked inland until someone didn’t recognize the oar over his shoulder and asked, “What are you doing with that winnowing-fan?”
  • he sailed through the Straits of Gibraltar and never returned

or the two descriptions of Ariadne’s fate after she was abandoned on the island of Naxos by Theseus after he killed her brother, the Minotaur:

  • she hanged herself
  • she married Dionysus/Bacchus and became immortal

or three levels of Helen’s culpability in the Trojan War:

  • she went willingly to Troy with Paris
  • she  was abducted by Paris and went to Troy against her will
  • she hid out virtuously in Egypt, while a phantom double went to Troy.

If the ancients didn’t find one version more true, more original than the others, why do modern readers?

In my young-adult novel King of Ithaka, Telemachos is indignant that bards change the details of stories. He is told, “Nobody expects a poet to tell the truth. It’s a better story this way.” This is even more true when a writer is retelling story that was fictional to begin with. What “authentic” story am I deviating from if I create a centaur sidekick for Telemachos, if I have Ariadne choose willingly to stay on Naxos, if my Minotaur in Dark of the Moon is no monster but a horribly deformed man? I’m not changing the “real” story. I’m making a new one, just as the other tellers before me have done.

Before they were themselves

Washington IrvingIn the summer of 1817, two men hiking in the Scottish countryside ducked out of a rainstorm by huddling close together beneath a nearby thicket. One of the men pulled his thick tartan cape over the head and shoulders of the other, protecting them both from the wind and the wet until the storm had passed.

They were Washington Irving and Walter Scott, although even they hardly knew it yet.

At the time, Washington Irving was just another struggling American expat, desperately trying to beat the post-war economic slump and save the floundering family business abroad. He had always been a lousy student, despite having (eventually) passed the bar, and though he now gamely embarked on a crash course in bookkeeping and business, it would not be enough to save the business from bankruptcy.

And he knew it.

He’d been living on the residual fame of his earlier literary success for years now, having achieved some fame and notoriety as the barely pseudonymous author of A History of New York, the book that gave us the words Knickerbocker and Gotham as synonyms for New York. Following that, he had served as the editor of a reasonably successful American literary journal, mostly confining himself to pirating and reprinting works from England before they were published in America, and writing sentimental biographies of the naval heroes of the War of 1812.

It was hack work, but he didn’t honestly have much else to do. And he needed the money.

When his brother Peter’s shipping business in Liverpool starting circling the drain, he tried to help. He wasn’t much good at it, though, which was depressing, and he took to brief respites of travel during which he might forget his troubles and scribble down half-formed bits of ideas in his journal.

The writing wasn’t coming easy for him these days, either.

A friend had given him a letter of introduction to Walter Scott, who was living about twenty miles southeast of Edinburgh, and who had expressed himself an admirer of Irving’s History of New York. Irving set out for Edinburgh, determined to make the man’s acquaintance if he could.

Scott was not yet Sir Walter Scott. He had not yet published Ivanhoe, or Rob Roy, or Kenilworth. He was widely acclaimed as a Romantic poet, though, and it was in this role that Irving knew him. Admired him. Okay, he idolized him. Irving disliked Coleridge, disliked Wordsworth, disliked Shelley. But Scott, he adored.

So he appears on Scott’s doorstep, letter in hand, heart pounding, waiting to see if his idol will deign to see him.

He does more than that. Scott insists that Irving join him and his family for breakfast, then keeps him as a close companion for the next three or four days, introducing him to his daughters, showing him the local landscape, and going over with him the drafts of Rob Roy that he was finalizing at the time.

The incident of the rainstorm, the thicket, and the tartan cape was one that Irving would retell over and over throughout his life. He always felt that Scott had taken him under his wing — literally and figuratively — from that time on, and counted his friendship as among the most important and influential in his life.

More immediately, Irving took heart — and inspiration — from his visit with Scott.

His mood improved, and he finally decided that he would earn his living as a writer, or not at all.

In short, he got down to the business of his life.

Several weeks later, Irving’s writer’s block crumbled into dust. He stayed up all night and into the next morning, setting down in nearly final draft form the story that would become known as Rip Van Winkle. Shortly thereafter, he began work on The Legend of Sleepy Hollow. 

Both men would eventually become the literary heroes of their respective countries, inspiring and influencing countless writers and readers who followed in their wake.

Charles Dickens was a big Irving fan, and admitted that he was inspired by the Christmas stories in Irving’s Sketches when he wrote A Christmas Carol.  Mark Twain would later claim — disparagingly — that Scott’s writings formed the foundation of the character of the American South, so widely were they read there.

Scott would receive his baronetcy, and Irving would be hailed as the first true American man of letters, his warm, graceful home in New York’s Hudson River Valley becoming nearly as famous as he was.

But they both always remembered their first meeting in the summer of 1817, how instinctively and immediately they became friends, and how much they valued each other’s company and support throughout all the long, complicated years ahead.

 

Beth Dunn is a blogger, novelist, and geek. She writes at An Accomplished Young Lady, travels frequently to the Hudson River Valley, and presents herself unapologetically on the doorsteps of her literary heroes from time to time, quite often with absolutely marvelous results.

 

The Prince of Evolution

Prince of Evolution cover

By Lee Alan Dugatkin (Atlanta Science Tavern Guest Blogger)

“… [He is] that beautiful white Christ which seems to be coming out of Russia… [one] of the most perfect lives I have come across in my own experience.” - Oscar Wilde

Prince of Evolution coverOscar Wilde was not the sort of man prone to effusive compliments. Who could possibly have merited such glowing praise from Wilde’s typically satirical, razor-edged pen? That perfect life, the White Christ, belonged to a quite remarkable Russian scientist, explorer, historian, political scientist, and former prince by the name of Peter Kropotkin.

Prince Peter Kropotkin was one of the world’s first international celebrities. He was known as a brilliant scientist, famous for his work on animal and human cooperation, and on his role as a founder of anarchism. Tens of thousands of people followed Prince Peter during two speaking tours that took him around America. Kropotkin’s path to fame was labyrinthine, with asides in prisons, breathtaking 50,000-mile journeys through Siberia, and banishment from most respectable Western countries of the day. In Russia, he went from being Czar Alexander II’s favored teenage page, to a young man enamored with the theory of evolution, to a convicted felon and jail-breaker, eventually being chased halfway around the world by the Russian secret police.

Somehow Kropotkin found the energy to write books on a dazzling array of topics: evolution and cooperation, ethics, anarchism, socialism and communism, penal systems, and the coming industrial revolution in the East to name a few. Though seemingly disparate topics, a common thread – Kropotkin’s scientific law of mutual aid, which guided the evolution of all life on earth – tied these works together.  Just like in the animals he watched for five years in Siberia, Kropotkin saw human cooperation as ultimately being driven not by government, but by groups of individuals spontaneously uniting to do good, even when they have to pay a cost to help.

Dr. Lee Alan Dugatkin is a Professor of Biology at The University of Louisville.  His latest book is a history of science page-tuner entitled The Prince of Evolution: Peter Kropotkin’s Adventures in Science and Politics.

Mozart and Machine Guns

By Matt Rees

The last time someone shot a machine-gun at me, I remember listening to the ricochets off the nearby rocks and thinking: Mozart sounds a lot better than this. I was crouching behind a concrete block on the edge of the West Bank town of Ramallah and I still don’t know if the bullets zinging past were Palestinian or Israeli. I was covering the intifada for Time Magazine and I had taken to soothing my traumatized mind with Mozart’s compositions. (Scientific studies have shown that it’s good for many other ailments, including attention deficit disorder and epilepsy.)

As I drove home that day, I played his final Jupiter symphony extra-loud on my car stereo to counter the jitters. I suggested to my wife that we take a break to travel to Austria. I wanted the mountains, beautiful cities, and lovely music.

But I stumbled across something that brought me to life creatively in the tiny village in the mountains near Salzburg where Mozart’s sister Nannerl lived as the wife of a boring functionary. Nannerl had been almost as talented as her brother, but was cooped up in the mountains while he grew famous in Vienna. As a crime fiction writer, I started to think about her response to his sudden death.

Later, I was dining with Maestro Zubin Mehta, formerly the musical director of the New York Philharmonic. I asked him which of all the great composers he valued most highly. “I’d find it hard to live without Mozart,” he said. That started me thinking about those people who had lived with Mozart. After his death at only 35, what had it been like to live without him. To have lost one of the greatest geniuses in the history of the world.

In MOZART’S LAST ARIA I answer Maestro Mehta’s question through Nannerl and the music of his last great opera The Magic Flute. The music showed me the great composer’s dangerous ideals and the risks he took for them. His sister gave me a character who might uncover them.

Matt Rees is the award-winning author of five crime novels, including MOZART’S LAST ARIA, published Nov. 1 by HarperCollins. A former foreign correspondent, he lives in Jerusalem.

Lindbergh and All Those Other Guys

By Richard Bak

Lindbergh and All Those Other GuysMost people know Charles Lindbergh was the first person to fly from New York to Paris, pulling off what essentially was a stunt flight in the Spirit of St. Louis on May 20-21, 1927. Generally overlooked is that 91 others had flown across the Atlantic before him, though none had traveled as great a distance or alone. Those early birds included the American crew of the NC-4, a winged amphibious craft that in May 1919 was the first flying machine of any type to cross the ocean, albeit in stages; and the British airmen John Alcock and Teddy Brown, who three weeks later made the first nonstop crossing (a 16.5-hour flight between Newfoundland and Ireland that covered roughly half the distance of Lindbergh’s 33.5-hour, 3,600-mile flight) in a giant Vickers biplane.

Lindbergh was part of the competition to win the $25,000 Orteig Prize established to reward the first nonstop flight between New York and Paris, crossing either way. His achievement – and the universal and often mindless idolatry it inspired – have largely overshadowed the other equally brave (some would say foolhardy) airmen who contemporaneously competed for the prize, several of whom either died or were seriously injured in the attempt.

As a group, the scarred, war-weary French pilots were more interesting than their American counterparts. All had large personalities and compelling personal histories. Paul Tarascon flew with one foot, François Coli with one eye. Charles Nungesser’s body was so shot up and wired together that it was a wonder that there was enough left of the man to hang all the medals awarded him. These aces were a joy to research and to write about as I rummaged through overlooked French sources to give the familiar Lindbergh story a fresh recital. Along with such U.S. pilots as Richard Byrd, Noel Davis, and Clarence Chamberlin, they were every bit as worthy of the unprecedented fame the boyish Lindbergh received. When it comes to public memory, none was as lucky as Lindy, but that doesn’t mean their names should fall away in the slipstream of history.

About the author: Richard Bak is a Detroit-based journalist with a healthy appetite for history. His latest book is The Big Jump: Lindbergh and the Great Atlantic Air Race (Wiley).

The Big Jump

We have two (2) copies of The Big Jump to giveaway. To enter, simply leave a comment on this post (below). Feel free to answer this question in your comment: What is your favorite book featuring a female character who is either insane or thought to be insane? Sorry, we can only ship winning copies in the US at this time.

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Building Something New In Baghdad

By Pamela Toler

Today we think of Baghdad in terms of tyranny, terrorism and mistakes. A sinkhole for American troops.  A sandbox for suicide bombers.

In the eighth century, Baghdad was the largest city in the world–and the most exciting.  Like Paris in the 1890s, Baghdad was a cultural magnet that drew scientists, poets, scholars and artists from all over the civilized world.  (Just for the record, that didn’t include Europe, which was having a bit of trouble on the civilization front in the centuries after the fall of Rome.)

BaghdadBaghdad was a brand new city, built to replace Damascus as the capital of an Islamic empire that was no longer the sole property of the Arab tribes. The Abbasid caliph al-Mansur had his architects draw the outer walls of his new capital in a perfect circle, using the geometric precepts of Euclid.

Completed in 765, the Round City grew quickly. Within fifty years, it had a population of more than a million people: Muslim and Christian Arabs, non-Arab Muslims, Jews, Zoroastrians, Sabians and an occasional Hindu scholar visiting from India.  It had separate districts for different trades, including a street devoted to booksellers and papermakers.

Most important of all, Baghdad had libraries. Encouraged by an official policy of intellectual curiosity, scholars in Baghdad collected works of literature, philosophy and science from all corners of the empire.  (Baghdad reportedly negotiated for a copy of Ptolemy’s Megale Syntax as part of a peace treat with Byzantium.) Ambitious nobles followed the caliphs’ example and created their own libraries, many of which were open to scholars. Working in a culture that encouraged learning, Abbasid scholars in the eighth through the tenth centuries not only transcribed and translated the classical scholarship of Greece, Persia and India, they transformed it, pushing the boundaries of knowledge forward in mathematics, geography, astronomy and medicine.

About the author: Pamela Toler is a freelance writer with a PhD in history and a large bump of curiosity. She is particularly interested in the times and places where two cultures meet and change.