Unveiling ‘Losing Kui': the story of the story, or how writers need good editors

 

Losing Kui -Final

Cover: Kathleen Collins Howell

YOU CAN READ AN EXTRACT HERE

*

 

I am trusting that this is the final version of this novella. But then with stories you never do know. It’s  both the pleasure and the pain of e-publishing: you can tinker with your text until the end of time, re-posting the updated versions. I anyway have a tendency to re-make earlier works: putting them into new forms, re-shaping them for different audiences and purposes.  With this story, though, only length and title have changed, oh yes, and  in this final version I have started at a different point from two earlier versions.

The first published version came out in 2008, in the  Nov/Dec issue of Cicada, a US literary magazine for teens to adults. The title then was El Nino and the Bomb. For those of you writers who do not know  about Carus Publishing/Cricket Magazine Group (founded by Marianne Carus in 1973 and “won more awards than any other children’s publisher”) you can find out more HERE. If you are learning your craft as a writer or illustrator, and have an interest in children’s and teen publishing, then you can learn a lot from these magazines. The general ethos is multicultural, and each  title – Babybug, Ladybug, Spider, Cricket, Cicada caters for a specific age group, thus nurturing a life-time’s habit of good reading.

100_3668

Cricket Feb 2001 vol 28 no 6;  Art: Ann Strugnell

*

Cicada have published a number of my short stories over the years, works that started off as 5,000-word entries for adult short story competitions. This was how Losing Kui began, although back in the early 2000s the title was Material Days. In this form it was short-listed in  Carve Magazine’s Raymond Carver Short Story  Contest. The then editor, Melvin Sterne, sent me a very sweet email, saying he was sorry that it did not make it to that year’s anthology. 

I still like the Material Days title, although it perhaps means more to me that to anyone else. When I was living in Kenya it was a phrase I read often in newspaper crime reports. At the time it chimed with my sense of indignation at the then government: the way it abused its people, and the poverty it so wilfully inflicted upon them.

And so, spurred on by Melvin Sterne’s email, and still nursing that sense of indignation over the state of things in East Africa (a situation that Great Britain and other donor nations have long had a hand in), I began an expanded version of the story with the idea of submitting it for Cicada’s novella slot. They accepted it too, although there was a wait of several years before it was actually published. In that long interval I was fortunate to work with Cicada’s then Senior Editor, Tracy C  Schoenle, and Executive Editor, Deborah Vetter. I learned a lot from their thoughtful and  respectful editing.

100_5686

Cicada Nov/Dec 2008 vol 11 no: 2.  Art: Home by Eamonn Donnelly

*

But there was a bigger lesson in store than seeing how best to trim excess words, or make meaning sharper. It was Marianne Carus, Editor in Chief, who was responsible for a major change in the story. She suggested, very delicately, that I had left the protagonist  Kui in too bleak a place and wondered if I might consider a more positive ending. At first I huffed to myself: I liked my ending. But then once I was over my fit of writer’s pique, I knew she was right. The last third of the story was thus written in response to Ms Carus’s comment. I remember it flowed out at some speed, as if my subconscious had also known that I had not finished the story. 

Time of course had passed by then, and I wasn’t quite so angry. Instead of hopelessness (relieved by elements of dark comedy) I saw possibilities for redemption; my characters began to take charge of their lives, and rise above their misfortunes. And that was the moment when I truly understood just how much writers can learn if they have the chance to work with a good editor.

More recently when I was working on cover ideas with my good friend, and illustrator Kathleen Collins Howell (Associate Professor of Art, Emeritus SUNY at Buffalo), I also began to see the story in quite a new way. I suddenly understood that the lost child Kui represents something far bigger than her own self. She is far from home, frightened and abused and yet…and yet…

Here’s the blurb:

Things are going from bad to worse in Ingigi village. No one knows why five-year old Kui has gone missing. Nor does Sergeant Njau want to find out. He has his own problems, pressing matters that are far from legal. Then there is the endless rain. Will it never stop? Some Ingigi folk think it means the end of the world. Old man, Winston Kiarie, has other ideas. He senses some man-made disaster, and when it happens, it is worse than his worst imaginings. The fierce storms are causing landslides and throwing up British bombs, unexploded for forty years. Their discovery is giving the Assistant Chief ideas: how to make himself very rich. And then there’s young Joseph Maina and the primary school drop-outs thinking they have found treasure, and about to do something very, very foolish. Meanwhile, is anyone looking for Kui?

Losing Kui -Final

READ AN EXTRACT HERE

Losing Kui by Tish Farrell

Out on Amazon Kindle

 

Frizz’s tagged ‘U’ for more bloggers’ stories

Taking the slow road ~ tarrying not typing(#mywritingprocess)

Scan-130703-0009

On the road at #mywritingprocess with thanks to Tiny at tinylessonsblog.com

*

As others on this writerly blog tour have said, some writers are the bees’ knees at doing anything but write. I would be one of them. When the time comes to sit down at the desk there is the sudden compulsion to go somewhere else – anywhere else. This morning I left the computer to scrub the grout between the bathroom tiles. (So absorbing). Later I mooned over pots of recently sown runner beans, and what? Waited for them to grow? Of course. No writing skills needed in Beanstalk Land, only nifty footwork to elude man-eating giants. (Hm. And I could pick up a golden harp while I was there; learn to play, might inspire me to…) You get the picture.

So what is this doing something else all about? OCDD – obsessive compulsive displacement disorder? Why do we put ourselves through this? It was the first question I asked myself when Helen Kuusela aka Tiny at www.tinylessonsblog.com invited me to join this blog tour. I was so busy asking it, I forgot to thank her. So thank you again, Tiny, and hello to everyone on this fascinating writing safari. I forgive you, one and serially, for putting me on the spot.

As to the OCDD, I have a theory, one based on extensive personal observation. When procrastination sets in, and especially after an early full-of-promise burst, your inner truth-teller is trying to make contact with your writing brain. Something is not quite adding up. This is the moment for some pointed self-examination: are you writing yourself into a dead end? Have you started in the right place? Do the voice/situation/setting ring true? Is your plot/concept/premise sound, and does it truly have sufficient substance and energy to become the story/novel/poem you envisaged? Are you writing from within, or only from the surface?

These can be very painful questions and, rather than rolling them around your mind, I find asking them outright and OUT LOUD has better results. The inner truth-teller seems to respond better to vocalized interrogation. Also, the process of outlining the work to an audience, and by that I mean a willing listener who does not interrupt, can reveal both the intrinsic problems and the possible solutions. As you talk, the remedies to stuckness will likely pop out of your mouth. Listen out for them. A passive listening post is thus an essential aid. Your dog, cat or canary would be a good choice. Successful children’s writer, Michael Morpurgo, says he first outlines his stories to his sheep. And as I write this, I’m thinking that a Dictaphone could be a good idea too. If anyone has other notions on this, please tell me.

And now for THE questions:

1) What am I working on right now? In my head, filing cabinets and paper piles I have many works in various stages of creation: picture book scripts, teen novels, a grandiose scheme (possibly two novels for adults) set in colonial East Africa. This last project I’ve been working on for several years – stalled at various points by doubt; then by the annoying tick that says I need to do more research. (This can be another OCDD trap, so it’s wise to keep checking). I am heartened, though, when I hear writers such as Barbara Kingsolver say that it took her nearly thirty years to acquire the wisdom to write the magnificent Poisonwood Bible, or that Tolkein found himself stuck in the Mines of Moria for a whole year, wondering how to write his way out. Such admissions remind me (once I have checked back with myself AGAIN) that the time it takes to finish a piece of work, is the time it takes to finish it. Not everyone can write a book a year. And now I think of it, I’m sure I read  that the marvellous short story writer, Alice Munro, takes eighteen months to write a single story. And when you read her, you know why. She distils whole novels into her short form.

For now, I’m recycling my ‘back catalogue’ of published short stories, creating new editions as Kindle e-books. I have just kindled Losing Kui, a novella originally published by Cicada Magazine in the U.S. a few years ago. On one level it is a tragi-comedic view of everyday life in a fictitious East African country during the late ‘90s. On another, you might call it an allegory, but I leave it to readers to decide what I mean by that.

2) How does my work differ from others of its genre? I am truly not a fan of categories, although I know marketing persons insist on them. What matters to me as a reader and writer is a well-crafted story, whether it is a 300-word picture book, Hilary Mantel’s Booker winning Wolf Hall or a Lee Child thriller. Most of my published work comprises short stories/novellas that are accessible to both adults and teens, and so I suppose you could call them crossover literature. Books for young people are anyway not so hide-bound, and may combine several so-called genres: real-life and historical narrative inter-threading with fantasy/magic realism. I find myself increasingly attracted to this combination.

3) Why do I write what I do? I had always meant to be a writer, but it was only when I went to live in Africa during the 1990s that I found a REASON to become one. In Kenya I was confronted with big landscapes and big human issues in which my own country had long played a questionable part. Suddenly I had a viewpoint and a focus and a territory. I was incensed too, by the wholesale imposition of western ‘values’ that left young Africans thinking it uncivilised that their forebears lived in mud and thatch homes. That’s one of the things that spurred me to write contemporary fiction for African young people. See (Latest books).

Some 14 years after returning to the UK, I’m still teasing out stories begun in Africa. I keep meaning to head for other lands, and one of my Ransom quick-reads for teens, Stone Robbers, is set in Guatemala. I suppose I am driven by the desire to tell stories about people who do not have a voice in the wider world, or who live in ways that are fast disappearing. In the margins between tradition and consumer modernity there are the kinds of drama and conflict that every story needs to make it work.

4) How does my writing process work? My people always arrive first. Even if I can’t clearly visualise them, I have a strong sense of them and their particular dilemma. After nearly 20 years of writing I have amassed quite a crowd, all waiting for their stories to happen/move on/finish. To discover what their stories may be, I always do a lot of research – too much probably. But without fail, the ‘what happens’ always emerges from this reading. In that sense, I do not make things up. How the works come together thereafter depends on finding some sort of imperative. This could be a writing competition deadline, or a publisher’s call for a certain kind of work. As Tiny says in her post, you do need deadlines. And perhaps, to come full circle, a lot of writer’s OCDD is also down to not knowing who will want to read/publish the work once it is done. While it remains unfinished, both failure and success are forever postponed. Keeping to your chosen path is hard to do, and I’ve written more on this HERE. But now please meet Celestine Nudana from Ghana, West Africa. clip_image002 She will be heading out on the next leg of  the #mywritingprocess tour (26 May).  She has been blogging at Reading Pleasure since 2012: http://readinpleasure.wordpress.com/  and believe me it is always a pleasure to visit her there. 

Celestine is Senior Assistant Registrar at the University of Professional Studies, Accra, Ghana. She is married and has three boys. She attended the University of Ghana, Legon, where she read English and Theatre Arts, majoring in play writing. She also has a Masters in International Affairs. As well as being a passionate reader and book reviewer, she has also developed a special talent for writing haiku, although she says she is still at the learning stage. Even so, her work has been included in two recent anthologies: Western Haiku: A Collection, and Ballads, bothproduced by Dagda Publishing UK, an  independent publisher who aims to show-case the freshest poetry and literature by new writers from around the world. The works are available as e-books. She has also had her flash fiction published in1 Photo 50 Authors 100 Words edited by Madison Woods.

She says of herself, “I am a romantic at heart, and love a good romance story, though I shy away from erotica. Almost all my poems focus on love, or aspects of it.” Celestine has written romantic fiction for serialization in several Ghanaian newspapers, and deployed her play writing skills to produce radio serial dramas that deal with topics including child health and female sexual reproductive health. So here is a woman who writes on many fronts. I’m looking forward to hearing what she has to say about her writing life.

*

Now here is my second writer introduction. She was a bit held up, so this is a last minute addition. I’ll let her speak for herself:

 

Hello! My name is Vashti Quiroz-Vega. I’m a writer of Suspense, Fantasy and Horror. I also enjoy mixing in some Humour and Romance into my stories. From the time I was a young kid, writing has been my passion. I’ve always been a writer; I just didn’t know it until  much later. For me, it is easier to express my thoughts on paper than with the spoken word. I enjoy making people feel an array of emotions with my writing. I like my audience to laugh one moment, cry the next and clench their jaws after that. My love of animals and nature are often incorporated in my stories. You’ll read intriguing things about various animals, nature and natural disasters commingled with my character-driven novels. I love to read almost as much as I love to write. Some of my favourite authors are Stephen King, M. Night Shyamalan, Michael Crichton, Anne Rice, J. R. R. Tolkein, J. K. Rowling and Dan Brown.

Vashti's Web Photo (361x640)

http://vashtiqvega.wordpress.com

 *

RELATED POSTS:

This fiction writer’s path: five things learned along the way

Writing tips: Knowing your place

Errant muse? There’s still life at the allotment

TO SEE OTHER WRITERS’ POSTS IN THIS TOUR, GO TO THE READER AND USE THE SEARCH TAG: #mywritingprocess

This fiction writer’s path: five things learned along the way

 

 

068

1) Swimming not drowning: there will be (many) false starts

I associate intending to be a writer with learning to swim. I was ten, in my last year of primary school, when I told Mr. Williams, my very Welsh head teacher, that I meant to be a writer. I said it with great certainty, and he listened in all seriousness. He was someone I trusted implicitly. He was also the person who taught me to swim, and to me, decades later, the way he did it still seems a little miracle.

There were several non-swimmers in the senior class and one day Mr. Williams decided to remedy this life-threatening deficiency. Once a week for several weeks he drove us to the swimming pool in the school minibus. He made no concession to the occasion and still wore his smart grey headmasterly suit. Looking back, he probably did this on purpose. It showed he meant business and we were not there to play. The suit’s material had a soft metallic sheen and probably went by the name of Tricel. It somehow had a part to play.

After a couple of trips to the pool I had fully grasped the mechanics of swimming, but was unwilling to give up my rubber ring. Mr. Williams, however, was determined. He told me to walk twenty paces into the pool’s shallow end. He told me to take off the rubber ring. Then standing at the pool’s edge, he squatted down so low that his trousers strained across his knees and shone like silver. His eyes levelled with mine as I stood there – in the water – shivering – without my protecting ring. He told me to swim but I kept standing and staring at his knees, feeling silly and helpless. Then suddenly out flew his arms in a welcoming embrace. ‘Come on,’ he cried. ‘Swim to me. YOU.CAN.DO.IT.’ And such was his look of unconditional expectation that I took to the water and swam.

And the point of this story? Becoming a writer/maker/artist means learning to  grow and nurture your inner Mr. Williams. Along the creative path there may be few external expressions of encouragement. But without the deep-down core of self-belief you will not have the resilience to stay the course, bear the disappointments, handle the rejection slips, or to toil and toil alone for the days, months and years it will take to learn your craft. All of which is not to discourage, but to say that you really have to want to do this.

2) Having formed your intention, do NOT wait for inspiration to strike: you can wait till the crack of doom

Of course learning to swim is not the same as being a good swimmer who can swim fifty lengths with ease and feel quite at home in the water. To become a skilled artisan of any kind, there is the long haul of apprenticeship, probably one that will never end. I, though, and like many would-be writers, went for years, carrying in my head the apparently foregone conclusion that one day inspiration would strike and I would begin to write my own stories instead of reading other people’s.

It rarely, if ever happens this way. Besides which, inspiration is only the starting point, the ‘ah-ha’ moment when your attention fixes on an overheard conversation, or collides with a character on a bus, or gets hooked on some bizarre news event that starts you asking the kind of questions that kick off the story-making process. Mostly, though, you need to seek it out. Because the fact is, even if you are not actually writing, you must be doing the internal work, mentally exploring the stories that you might one day tell, gathering material, keeping watch, feeding that tiny flame of an inkling that says ‘I do have a story to tell’. ‘I do have something important to say.’

Inspiration, then, does not arrive ‘out of blue’ or occur in a vacuum; it needs one, two or several things to rub together. You could say it’s a bit like the slow-going process of rubbing dry sticks together, and trialling likely bits of kindling to get a fire started. In that initial whoosh of a blaze taking hold all is very exciting, but it is only the start. Now the hard work really begins – keeping the fire going, finding suitable material that will burn well – fast or slowly or long enough to cook your dinner. In other words, flash-in-the-pan, quick-fire notions (inspiration) are the easy part. Thereafter comes the sourcing of materials, planning, construction and general project management. You can only truly learn how to do this by doing it. So how to begin?

3) Do not fall into the trap of thinking that reading other writers will drown out your own small voice before you even start: read, read, read…

As an adult, my writing work was largely academic: dissertations, reports, preparing educational materials in various museums. Somewhere along the line I stopped reading fiction; I feared that to do so would distract me from finding my own inspiration, my own voice, my own stories. I have met other beginner writers who said they did the same thing, and especially when it came to books that they thought might ‘compete’ with their own ideas. Yet not to read widely is another form of writer’s self-sabotage. Writers need to read anything and everything they can, and across all genres, and they need to read with attention and discernment. For instance, you can learn a huge amount about story construction by studying an infant’s picture book that contains only around 30 words (Pat Hutchins Rosie’s Walk).

In fact some of the best-crafted storytelling on the planet is for young people – and here I’m thinking of writers such as Richard Peck, Sharon Creech, Robert Cormier, Kate di Camillo, Geraldine McCaughrean, Philip Pullman, Jennifer Donnelly, David Almond. Reading good books with all senses attuned is akin to having mental conversations with other writers; far from swamping your own style/voice/subject matter, listening carefully to what they say and how they say it can help release your very own form of creative expression. This is not about copying ; it is about finding your own truthful response to other writers’ work. Writing a book or a story or a poem is not a contest with anyone else. It is your book, story, poem. Only you can write it. And if in doubt, think ‘Mr. Williams’. At some point you have to get in there and swim.

But of course, having joined the fray, then comes the endurance testing and training, the honing of skills, and goal setting.

4) Being a good writer is not the same as being a good storyteller

Some people are natural storytellers, and especially so when they come from families or cultures where oral storytelling is still practised. Even so, and no matter how you treat them later, it helps to learn the storytelling basics: the beginnings, middles and ends of a story, their possibilities, the ways to build tension and interest, how to manage revelation, crisis and resolution, what it takes to create believable worlds (real-life or science fiction), to breathe life into characters who will then ‘speak’ to readers, to make effective and affective use of language.

All these skills can be learned to some extent by much well-directed reading, including studying a few how-to-write books on the way. But taking out a subscription to a good creative writing magazine or attending a class are the more interactive and less lonely options. The disciplines of entering magazine contests or doing class exercises – reading others’ work with interest rather than envy, writing to deadlines, word counts and prescribed themes are all worth cultivating. They all build the kind of writing muscles you need to best deliver ‘the what’ of the creative process – the  story.

5) Writing fiction does not mean ‘making things up’; it is all about building convincing worlds.

This is something that is easily misunderstood, and it took me some time to grasp explicitly. Fiction reveals imagined worlds and their inhabitants in ways that are truthful in. Integrity and authenticity are key objectives. The setting may be a medieval Russian monastery, a London secondary school, or a planet with two suns, but it must ring true for the reader. Its special characteristics will add depth and texture to the narrative, but above all, they will be dynamic – informing, shaping, adding drama to the characters’ behaviour/situation/dilemmas. This requires considerable research and construction work by the writer, but with the caveat that, at the end of the process, only the writer ever needs to know all this stuff. The reader wants only the most telling details, the ones that, like literary hyperlinks, will take them straight into that special place and engage them wholeheartedly with the characters’ lives. (A fine example of this is Hilary Mantel’s Wolf Hall where she uses historical, social and political contexts to reveal the life and times of Thomas Cromwell.)

To achieve this level of ‘reality’ requires the writer to have strong reasons for telling a particular story. As I’ve said, creating a story from start to finish requires drive and stamina. Passion, pain, compassion and anger are great spurs, but their energy needs to be channelled judiciously. (No ranting or heavy-handed moralizing required and the writer’s self should keep well out of the way). The research part of the project may also demand a whole new reading schedule (encyclopaedias, atlases, internet content, telephone directories, newspapers etc) and, where possible, physically immersing yourself in the places where the story is set.

This is all about knowing your territory as an expert guide would know it. Only then can the alchemy begin. Or perhaps shape-shifting is a better analogy. Because this is one of the most important of all the things I have come to learn from the practise of being a writer: the writing must come from the inside out; writers must inhabit their character’s minds, shoes and underpants; whatever it takes to get inside their skin. For me, this usually means starting with the feet rather than the knickers department. When I wrote about a street girl called Jessicah, she was conjured by a ‘feeling’ in the balls of my feet as she tramped in thin-soled shoes through the African highlands. Years later I can still summon that particular sensation and know it is Jessicah, and start seeing the world again through her eyes. All of which is very strange when you think about it, and probably the reasons why most writers keep writing. For the final truth is that even well-published writers struggle to make a living from book sales alone. Writing then, first and foremost and anyway, has to be done for the love of the thing.

© 2014 Tish Farrell

 

Tish Farrell writes short fiction to entice unkeen teen readers to read in the Shades series at Ransom Publishing. She also writes for Heinemann Junior African Writers, Zimbabwe Publishing House and Phoenix Publishers East Africa. Her short story Flight came third in last year’s International Bath Short Story Award.

 

Writerly Reflections

Looking for Smut: Work on Kenya’s Highland Farms

For those of you who read my recent post Valentine’s Day Runaway this is one of the things Team Farrell got up to next; it had a lot to do with smut. And no: it’s not what you think.

Rift Valley from Escarpment

Smallholder farms on the Great Rift Escarpment, Kenya

*

For most of the 1990s we were based out in Kenya, where Team Leader Graham, food storage expert and all-round fix-it man, was one of several  British scientists running a crop protection project alongside Kenyan scientists at the National Agricultural Research Laboratories (NARL). This work was funded by DFID, Britain’s Department for International Development, which in turn is of course funded by British taxpayers.

image

Most of Kenya’s farmers are women. Their efforts feed their families and feed the nation.

*

Many of the project’s programmes of work were done on farms, and involved helping farmers to devise their own research methods for controlling the numerous pests that attack their crops both before and after harvest. Since just about every Kenyan, from the President down, is some kind of farmer, or has a farm in the family, this was an important project, and just about everyone was interested in the outcomes. (Next time you are buying French beans or mange tout peas in the supermarket, look where they have come from. Much of this kind of produce is grown under contract on small farms like the ones below.)

clip_image002

A typical farmstead in the Kenya Highlands north of Nairobi. The volcanic soil is very fertile, but also susceptible to erosion.

*

Today Kenya is undergoing a massive hi-tech revolution through the proliferation of cell phone and computer technology, but it still relies on agriculture for survival. When you discover that only 15% of Kenya’s landmass has enough rain or is fertile enough for arable production you may begin to see the scale of the problem for a nation that is only now beginning to industrialize. There are of course the big multinational outfits that grow wheat, coffee, tea, flowers and pineapples, but most of the food that Kenyans eat is grown on thousands of tiny farms, many less than an acre in area.

Escarpment lane

Gathering Napier Grass from roadside plots to feed ‘zero-grazed’ dairy cows. Most farms are so small that cattle are kept in small paddocks and their food is brought to them: yet another daily chore, along with gathering cooking fuel and attending to children and fields.

Kikuyu lane with woman carrying napier grass

Furthermore, most of Kenya’s farmers are women. Providing most of the the country’s food, they are in every sense the backbone of the nation. They stay in their rural homes, tending the crops and bringing up the children while husbands work away to earn extra cash to repair homes, buy fertilizer, educate their children and fund small business enterprises.

These men usually head to the cities where they work as security guards, clerks, hotel staff, house servants and drivers. Most take their annual leave at harvest and planting times so as to be back on their farms to help with the year’s most arduous tasks. So however you look at it, everyone in Kenya works very hard. Certainly in the nineties even most professional Kenyans believed that owning a plot of land to work at weekends was an essential insurance policy in a nation with no social services.

clip_image005

Most of the milk from smallholder’s cows is sold to provide cash to pay for children’s education and medical bills. While primary education has been free over the last few years, there are still expensive books and uniforms to buy, and secondary education is not free. On this farm the owner is also using any disposable income to bit-by-bit replace his timber farm house with a good stone house.

Kikuyu farmstead 24

*

So back in 1998, as part and parcel of protecting Kenya’s agricultural production, Team Leader Graham invited Nosy Writer (me) to accompany him on a fact finding mission around the farms north of Nairobi. We were on a quest to plot the incidence of SMUT, a fungal disease that was affecting Napier Grass, an important fodder crop. Most smallholders kept a small number of dairy cows because the selling of milk provided a valuable supplement to their income, helping to pay for school fees and medical expenses.

Most farms are too small to include pasture and so the cows are ‘zero-grazed’, that is, kept in small paddocks and their fodder (mostly Napier Grass) brought to them. This grass, if well-tended, grows into huge perennial clumps that can be cut at intervals. It can also be usefully grown on vertical banks to consolidate field terraces, or wherever the farmer can find a space, often on roadside verges. However, once smut gets a hold, the plant will gradually weaken and its food value decrease. Not only that, smut spores blow on the wind, and infect other plants. The only remedy is to root up the infected plants and burn them.

Graham and Kungu delighted to find smut on Waiyaki Way

Nothing pleases plant pathologists more than to find a nicely diseased plant. After a morning spent searching for smutted plants out on the farms, Doctors Graham Farrell and Jackson Kung’u are amused to spot a case back in the city. Here it is on a highway verge near the National Agricultural Research Laboratory in Nairobi. Smut lives up to its name and turns the flowering stems a sooty black. The fungus gradually weakens the plant and reduces it in mass and nutritional value.

*

My job on the smut quest was to hold the clip-board and the other end of the measuring tape while we sampled farm plots. Our third, and  most essential team member, (in fact he was the real team leader) was Njonjo. He was the one who heroically drove us up and down the hilly Kikuyu lanes that had recently been ravaged by torrential El Nino rains.

clip_image009

Rift lane after July downpour

As well as being one of NARL’s top drivers, Njonjo was himself a farmer, and so had a vested interest in getting to the bottom of the smut infestation. Since Graham’s Kiswahili was a bit rusty, and many of the older farmers preferred to speak Kikuyu, Njonjo provided them with on-the-spot lectures on what they should do with their smut-infected plants. He also talked our way onto every farm, where we welcomed in with huge courtesy, despite arriving uninvited.

clip_image011

Njonjo and Margaret the farmer. She was busy making compost when we arrived on her farm.

Kikuyu farmer and sugar cane

This farmer was so grateful to be told about his smutted Napier Grass he presented us with some sugar cane. We also came home with chickens, maize cobs and bags of pears

*

One of our tasks on the farm was to sample farmers’ Napier Grass plots to see how far they were infected, and to what extent the affected plants had lost mass. Njonjo organised a team of unemployed lads to help with the sampling.

clip_image015

clip_image017

clip_image019

Before the cell-phone revolution of recent years, farming information was hard to come by. Here Njonjo delivers his Smut Lecture to an impromptu gathering of smallholders who have spotted our arrival in their district and want to know what we are up to.

*

And here are three good reasons why Kenyans work so hard…

Kikuyu schoolboys

education, education, education.

© 2014 Tish Farrell

Ailsa’s travel theme: work for more stories

Nice Family? En famille at the Massena Palace

The family who lived in the Palais de Masena

100_1225.jpg100_1225.jpg
Believe me, the family gathering depicted in these two murals has more tales to tell than most. They could be the very depiction of Tolstoy’s famous opening to the tragic novel Anna Karenina: (and I paraphrase) all happy families look alike, but the unhappy ones are unhappy in their own inimitable way. I leave you to decide which sort we have here.

But before the stories, first a little about the murals’ setting. They face one another across the top of the grand staircase in the Palais Masséna in Nice. This imposing house was one of the last of its kind to be built on the Promenade des Anglais, looking

Palais de Masena

out on the sparkling blue Mediterranean.  It was designed by Danish architect Hans-Georg Tersling (1857-1920),  and  finished in 1901. By then Nice had long been a thriving upper class resort, a trend begun in the 1730s when British aristocrats such as Lord and Lady Cavendish first began to gather at Nice and along Côte d’Azur for the winter season. Back then Nice was an ancient fishing town. The Scottish poet, Tobias Smollett describes it in 1764. He went there in hopes that the benign winter climate would help improve his consumption:

“This little town, hardly a mile in circumference, is said to contain twelve thousand inhabitants. The streets are narrow; the houses are built of stone, and the windows in general are fitted with paper instead of glass. This expedient would not answer in a country subject to rain and storms; but here, where there is very little of either, the paper lozenges answer tolerably well. The bourgeois, however, begin to have their houses sashed with glass. Between the town-wall and the sea, the fishermen haul up their boats upon the open beach.”

As time went on the Tsars of Russia and the Romanov family made the South of France their second home, which circumstance, in 1912, prompted Tsar Nicholas II to build the Russian Orthodox Cathedral in Nice to serve the Russian nobility. Even Queen Victoria came on holiday to Nice, staying in the magnificent  Excelsior Régina Palace which looks down on the city and the sea from the hill of Cimiez. It was apparently built in response to her requirements for a place to stay that matched her status. And so the hotels and palaces grew up around the old town of Nice to provide for the royal, rich and famous.

Le_Regina_à_Cimiez_6_Fi_09_0041[1]

Excelsior Regina Palace built 1895-7; Photo: Nice Archives copyright expired

*

Angelo Garino Promenade des Anglais 1922[1]Detail from Promenade des Anglais 1922 by Angelo Garino  (1860-1945)

*

Some of these elite visitors and palace owners acquired their riches and nobility by rather questionable means, and this includes the erstwhile owners of the Palais Masséna. It was built for Victor Masséna, 3rd Prince d’Essling, 3rd Duc de Rivoli and the grandson of  André Masséna, son of a Nice shopkeeper who acquired wealth and royalty while serving and plundering in Bonaparte’s army.  More of him later.

The two family murals are dated 1902-3 and include members of the intermarried Masséna, Murat and Ney families. The reason for the elevated positions and princely titles is entirely due to Napoleon Bonaparte and his ambitions of military conquest.  The founders of their ennobled dynasties were three ordinary men from ordinary backgrounds who joined the French army. All three proved to be brilliant and courageous soldiers who ascended rapidly through the ranks to become Marshals of Empire.

Joachim Murat, an innkeeper’s son, married Bonaparte’s youngest sister, Caroline, and for services rendered was made the King of Naples. He ruled between 1808 and 1815. File:Murat2.jpg

*

Michel Ney, a public notary and surveyor of mines, gave up being a civil servant and enlisted in the hussars. After great battle victories he became 1st Prince de la Moskowa, 1st Duc d’Elchingen.

File:Marechal Ney.jpg

*

As mentioned above, André Masséna earned the titles 1st Duc de Rivoli and 1st Prince d’Essling.

File:Renault - André Masséna, duc de Rivoli, prince d'Essling, maréchal de France (1756-1817).jpg

*

But status and wealth are not everything. Nor were they enjoyed for long. Masséna, long suffering from ill-health, died in retirement after being serially dismissed by Napoleon, first for excessive war looting, and then (after reinstatement) for military failures against the British in the Peninsular War. In his last days before his death in 1817, he supported the restoration of King Louis XVIII to the French throne. Doubtless a wise move for his descendants.

In 1815, after the capture and  exile of Napoleon Bonaparte, both Murat and Ney were executed by firing squad for treason. Murat’s two sons went to North America in the 1820s; the elder stayed and became a citizen, but the younger, Napoléon-Lucien-Charles returned to France in 1848 when his title as Prince Murat was recognised by Napoleon III under the Second Empire.

*

And so we come back to the descendants of the three brave Marshals on the walls of the Palais Masséna. The more you look at these murals, the more curious they seem. They were painted by the then successful French artist François Flameng (1856–1923). He later went on to paint Great War battle scenes, and document new kinds of families, the close-knit comradeship of companies of men under siege.

300px-A_Machine-Gun_Company_of_Chasseurs_Alpins_in_the_Barren_Winter_Landscape_of_the_Vosges._painting_by_Francois_Flamenge[1]

A Machine Gun Company of Chasseurs Alpins in the Barren Winter Landscape of the Vosges, François Flameng, photo Wikimedia Commons.

*

DSCN4945[1]

I suppose my first question is why would the mural people wish to have themselves depicted in this way? Certainly there is a sense of entitlement and much self-regarding, but at the same time it is also as if they are not quite self-aware. Flameng verges on caricature for most of his subjects.  For surely there are suggestions of secrets, collusion, factions, conspiracy, loss of status within the gilded circle.  There are shared misfortunes and private sorrows; anxiety and repression; no one smiles; the children look utterly constrained. And then there are simply too many people peering round pillars, or only half seen despite their prestigious titles.

The two men on the far left of the second painting look distinctly rascally, their almost-smiles, sardonic, malicious.  They are related, brothers I think; the nearest to the viewer is Napoleon Ney, Prince de la Moskowa; behind him Claude Ney, Duc d’Elchingen. In 1903, the year the murals were completed, the Prince and Princesse de la Moskowa were divorced. La Princesse is the sad woman in the blue gown at the other end of the mural, only partially seen behind the column. Is Flameng intimating her loss of status in relation to the others? She is Eugénie, youngest daughter of Napoleon Bonaparte. She married the Prince in Rome at the Villa Bonaparte in 1898, and with all the Ney family in attendance. The couple had no children.

100_1225 (2)

100_1225 - Copy

Here is Eugenie on her wedding day. The photograph is attributed to Count Guiseppe Primoli.

Eugenie Bonaparte 1898

*

Further along the mural from the Ney brothers is Victor Masséna, Prince d’Essling, the builder of the palace. His eldest daughter, Anne, has a proprietorial hold on his shoulder. He will die in 1810 in a Paris nursing home after an operation, and she will marry the Duc d’Albufera. The two faded souls at Victor’s elbow are his long-dead parents, also named Anne and Victor.

100_1225

The only calm and truly sympathetic face among the whole gathering is that of Rose Ney d’Elchingen. She leans over the balustrade accompanied by two macaws and an expensive tapestry. Beside her (with the pince nez) is the Princesse Joachim Murat, born Cecile Ney d’Elchingen, probably Rose’s sister. Her husband, Prince Joachim Murat, is across the stairs, lurking between a pillar and a large urn.  Rose, herself, will marry the distinguished Italian politician Duca Guiseppe Lanza di Camastra, and he will die prematurely in 1927 at the age of 31. Before that though, a 1916 newspaper photo will show Rose La Duchesse in full nurse’s gear, apparently assisting the surgeon with the war wounded at Val-de-Grâce military hospital in Paris. She is well-known for her beauty and philanthropy.

100_1225

Also in this mural detail is Prince Eugene Murat and the boy Charles Murat. The prince will die, aged 30, in 1906 when he overturns his car  while driving to Karlsbad. The report says he lived in Paris and left three children. It does not mention that he was married to the notorious Violette Ney d’Elchingen, Princesse Eugene Murat, and Rose’s sister. We are about to meet her across the staircase. They could not be less alike, at least in their demeanour.

The family who lived in the Palais de Masena

In fact you can hardly miss her, can you, Madame in the royal blue blouse. She seems to dominate the gathering on both sides of le grand escalier. The hand on hip gesture looks coarse, suggestive more of a nicoise fishwife than a princess. She is also the only one taking an active, indeed aggressive stance. She looks out at us visitors as if we were something unpleasant she has stepped in.

But what did the artist Flameng mean us to understand from this image? And what is going on with sad, submissive girl who leans against the redoubtable Violette? After all, this is not mother and daughter. The girl is Victoire  Masséna, younger daughter of Victor. She is around 14 years old here. In 4 years she will be married to the Marquis de Montesquiou. She will have two sons and at 30 she will be dead. Perhaps she foresees her future. Perhaps when you know that Violette, besides being a mother of three, is also a predatory bisexual, you might think there is something more sinister here. But then maybe one should not jump to conclusions.

tumblr_m74mcdKjfO1qjm0dlo1_500[1]

Princess Eugene Murat c.1929; photo Berenice Abbott

*

In the decades of her widowhood, after the car-crash death of Eugene, Violette led a very gay life, and in all senses of the word. She was part of the Paris and Harlem Jazz Age scene. She entertained the likes of Stravinsky and Cocteau in her Paris home. She was a friend of the artist Augustus John who sketched her quite pleasingly while she introduced him to novel ways of taking hashish. In his autobiography he says:

“I had already tried smoking this celebrated drug without the slightest result. It was Princess Murat who converted me. She contributed several pots of the substance in the form of a compôte or jam. A teaspoonful was taken at intervals.”

She famously stormed out of a very famous Paris dinner party, held in 1922 for Europe’s artistic elite. The guests of honour included Diaghilev, Stravinsky, James Joyce, and Picasso. But it was the appearance of the reclusive Marcel Proust that evinced Princess Murat’s all too visible disfavour. At the time everyone who was anyone was trying to identify themselves and others in the characters of Proust’s À la Recherche du temps perdu. Violette, who was renowned for meanness had seemingly provided the model for an extremely miserly individual.

She was, in fact, exceedingly generous with the cocaine, or so we discover in Sebastian Faulks’ book The Fatal Englishman, which includes the biography of the English artist, Christopher Wood (1901-30). In it he describes Violette as “an enormous drug-addicted lesbian with a hunger for company.” She goes around with a bag of cocaine and lays out lines for Wood when he is struggling to complete a piece of work. Faulks tells, too, of Wood’s claim that she lost £5 or 6 million in the 1929 Stock Market crash. She ended her days, living in squalor, having overcome an earlier obsession with maintaining cleanliness, and died of barbiturate poisoning at the age of 58. A sad end to a damaged life.

And what was at the heart of this – sibling jealousy perhaps? Does that explain Flameng’s placing of the players in the murals – the beautiful Rose on one side of the stairs, blissfully unaware of her allure, and beloved even by the two family macaws? While opposite, the portly, coarse featured sister tries to outface her, and indeed the whole world that pays court to her much prettier sister. It’s a theory.

Finally, there is a more pleasing story, at least as far as the palace is concerned. Below on the left we see Victor Masséna’s heir, André, the future Prince d’Essling beside his mother, Princesse d’Essling. In 1919, with his father dead nearly ten years, he hands the Palais Masséna to the city of Nice on the understanding that it will be open to the public. Today it is the city’s local history and art museum.

The family who lived in the Palais de Masena

And so what is there left to say about this self-aggrandizing family. With hindsight one could say that in real life, when these murals were painted, the Belle Époque was drawing to its close. Did Flameng already sense this? The world was changing. Soon there would no longer be the annual winter retreat to the Palais Masséna.  Somehow, then, the murals do have a Proustian feel, perhaps a missing story thread from À la Recherche du temps perdu; the last moment of a perfect, and rarified age caught in two wall paintings, and now gawped at by the passing public.

And as for the three Marshals of France whose derring-do started all this social climbing, you  may find them lying quite close to one another in the Père Lachaise Cemetery, Paris. There they have long since made their residence – among the great and growing family of the dead.

File:Père-Lachaise - chemin 01.jpg

Père Lachaise Cemetery, in Paris.Photo: Pierre-Yves Beaudouin / Wikimedia Commons / CC-BY-SA-3.0

*

Last but not least, I leave you with glimpses of former winter season glory chez Masséna.

Nice is filled with chandeliers

Palais de Masena, now a museum

© 2014 Tish Farrell

#amwriting #tishfarrellwriter

Weekly Photo Challenge: Family

the doldrums of insanity

what the contemporates say

Irish noble king

Max510’s blog

seeking life

pica cordoba

through my lens

single woman travels

Yum Kaax to the rescue? Or how to hook reluctant readers…

 

 

Z Boston Harvard 11

Yum Kax (Yoom Kosh) the Mayan Corn God

Peabody Museum, Harvard University

*

I may have mentioned once or three times that I write ‘quick-read’ fiction for  young teens who are not too keen on reading. For those of us who cannot imagine ever being without a book, it is often hard to understand why some people struggle to ever pick one up.

 

The thickness can deter some doubtful readers. Pages dense with text also intimidate.  Ransom Publishing  thus produce slim readers with plenty of white space on the page.  More importantly, perhaps, for teen readers, they are now also published in various e-book formats including Amazon Kindle, and e-pub and pdf versions at Hive.

 

The stories in the Shades 2.0 series are aimed at twelve-year-olds with a reading age of 9-10 years. They are around six thousand words in length, i.e. short story sized. But, to create interest and momentum, they are divided into  several chapters  (with cliff hangers), and then spread  unthreateningly over 64 pages.  The aim is to build reading muscles by creating works that are small in scale but big enough in content; mini novels if  you like: do-able and hopefully un-put-downable.

*

Shades covers for REPRO Batch 3_Layout 1

*

The stories in the series cover many challenging themes and in all genres – from the trials of an apprentice apothecary escaping London during the Black Death of  1665  (Plague  by David Orme) to Jill Atkins’ Cry, Baby which tells what happens when schoolgirl, Charlie, finds she is pregnant. 

 

And where does Yum Kaax come in? Well he features  in my story Stone Robbers, putting in a surprising appearance when Rico, the angry young hero of the tale, stumbles into a robber trench in an ancient Mayan city. But that’s all I’m saying, except to add that the part he plays in the story was  inspired by the real and accidental discovery of a magnificent Mayan mural at San Bartolo, Guatemala back in 2001.

Stone Robbers, then, is both an adventure and a quest.  Rico has a score to settle with an old adversary, Enzo. Then he discovers that antiquities thieves have been looting the ruined city near his home. Between Enzo and the stone robbers, lies yet another conflict: Rico’s fury at his Mayan heritage, this in a Guatemala where Mayan people are still second-class citizens. Suddenly it all seems too much to handle, and then the Corn God puts in an appearance…

*

Available on Amazon Kindle and on Amazon in book format.

Shades covers for REPRO Batch 2_Layout 1

Also in the Shades 2.0 Series  Mantrap – a story about elephant poaching set in Zambia.

 

 

For more about Ransom and Shades 2.o series

Banner

 

 

 

 

 

See more bloggers’  YYY-stories at Frizz’s YYY-challenge 

Thinking of Gallipoli

IMG_0568

Giles (Victor) Rowles

1896-1915

Ninety nine years and one month ago, my great uncle, Giles Rowles enlisted with the 14th Battalion, Australian Imperial Force in Melbourne. He was an English sailor, born in the Old Red Lion Inn, Hollins Green, near Manchester. He was eighteen years old. By the time he enlisted, both his parents, Charles and Mary Rowles were dead, and for reasons unknown he had changed his name to Victor. When he enlisted he gave his next of kin as Aunt Louisa Rowles of 10, Despenser Gardens, Cardiff. She was his dead father’s widowed sister-in-law.

This photo from his mother’s locket is the only known photograph of Giles. He was the only child of my great grandmother’s second marriage to Manchester Ship Canal pilot, Charles Rowles. There were four older step siblings. He was thirteen when his widowed mother died, and it seems he then went to live with Aunt Louisa in Cardiff. The 1911 census return lists him as a trainee shipping clerk. His older cousin John, who was still living at home, was a shipping agent. The next record I have of him is when he enlists in Melbourne in October 1914.

The National Australian Archives have made all the war records available on line, and it was from these that we have been able to piece together a little of Victor Rowles’ last year on earth. It is noteworthy that he writes his signature on the enlistment form with a confident flourish. It is the clear hand of someone who has been a clerk. But the details are sparse, and all the more disturbing for that. The Medical Officer at Broadmeadows, where initial military training took place, lists the following: he was eighteen years and seven months, 5 feet 5 and a quarter inches , weighed 135 pounds. His complexion was ruddy, his eyes green and his hair brown. His only distinguishing marks are two vaccination marks on his left arm. I don’t know why I find it upsetting to know that his eyes were green.

On 22 December 1914 he embarked for Egypt on the HMAT ‘Berrima’, arriving there for further training in January 1915. On the 25th April  the Australian Imperial Force (AIF) landed at Gallipoli together with troops from New Zealand, Britain, and France. This began a campaign that ended with the evacuation of troops on 19 and 20 December 1915. 

File:Anzac Beach 4th Bn landing 8am April 25 1915.jpg

Anzac Cove, 4th Battalion landing 25 April 1915. Photo: copyright expired

*

The Australian and New Zealand forces held out for months on the narrow beachhead that became known as  Anzac Cove. Quite apart from the sniping and shelling from the hills above, conditions there were terrible. From the start, it was a quite pointless campaign with much digging in, and little or no ground gained. Then on 6th August, having survived one nightmare, the 14th battalion took part in the final British attempt to wrest control of the Gallipoli Peninsula from the defending Ottoman Turks. This involved the Anzacs moving up the coast to take Hill 971, a beetling, rugged ridge known to the troops as The Sphinx.  From an account in the official war diary,  the advance uphill and across impossible terrain that only gave great advantage to the enemy was courageous if chaotic; there were many casualties.

File:Anzac Cove.jpg

Anzac Cove. Great War Primary Document Archive: Photos of the Great War

*

On  8th August Victor Rowles was taken aboard the hospital ship Devanha where he died of gunshot wounds. He was buried at sea on the 10th August, two miles east of Mudros Harbour on the island of Lemnos. His few effects, including a handkerchief, manicure-set, letters and photos, were later sent to his Aunt Louisa, as were the memorial scroll and plaque. All these items are lost now, along with his three medals.  Nonetheless, now that I have found out these few fragments of his life, I will surely remember him, along with the many thousands of brave, but needlessly lost ones on both sides of the Gallipoli campaign.

© 2013 Tish Farrell

Related post: Looking for Giles AKA Private Victor Rowles

#nogloryinwar

 

Frizz’s weekly challenge: TTT

You can see the marvellous full-length film Gallipoli here. It movingly covers both sides in the conflict.

http://www.youtube.com/watch?v=KqqFMRcl_Q8

Looking for Giles aka Private Victor Rowles 1896-1915

IMG_0568

It began with a locket owned by my great grandmother, Mary Ann Williamson Rowles, nee Fox. And it began with a long ago memory of her daughter, my grandmother, Lilian Shorrocks, telling me of a much loved younger step-brother. She said that he had died during the Great War, that he was shot while getting off a boat.

I was seven or eight at the time and did not understand what she was talking about, but I registered the sorrow at a young man pointlessly lost. I pictured him walking down a gang-plank from an ocean-going liner. For some reason I imagined he was wearing a brown suit as someone shot him. Perhaps grandmother had said the word Gallipoli. I can’t be sure, but all my life its utterance has somehow resonated, though without my knowing why.

Recently, I did find out why, and still find myself astonished that I can discover more of this forgotten ancestor’s too brief life by simply trawling the internet. Of course, as Su Leslie so often shows on her excellent family history blog, Shaking the Tree, discovering one nugget of information often raises a dozen other mysteries. But then that only makes the search all the more beguiling.

DSCF9333

The locket is now mine and it contains the plaited hair of all Mary Ann’s five children, including her step-son, Robert Shorrocks. The other children are my grandmother and her two siblings, Mary and Tom, born from great grandmother’s first marriage to Thomas Shorrocks of Farnworth, Manchester. And finally there is Giles, the youngest. He was born in 1896, a year after Mary Ann married widower, Charles Rowles, a master mariner and captain of a pilot boat on the Manchester Ship Canal.

It is Giles’ photograph in the locket. He is an impressive looking boy. The direct gaze, yet self-contained. I find myself wondering if he looked like his father, for we have no photo of Charles Rowles. My grandmother did not care for him, keeping only his big seaman’s chest which I also have. Otherwise, she threw out most of the family memorabilia that came down to her. She kept the locket though, and Mary Ann’s fine collection of miniature Shakespeare’s plays and poets. There is also a single faded photograph of my great grandmother, taken some time before she was married. My own mother always said that she had eloped.

Mary Ann Williamson Fox was a farmer’s daughter, her family having been yeoman farmers for generations. In fact they claimed to have lived on the farm called Callow since the 11th century. Family  mythology  also had it that a Fox ancestor was employed by the Eyre family as steward, the Eyres having been given land in Derbyshire for services rendered to William the Conqueror. Later the Duke of Devonshire from his grand house at Chatsworth became the landlord, and Mary Ann, at seventeen, is said to have opened the Chatsworth tenants’ ball with the Duke, she being the daughter of the oldest tenant-family  on the estate. For a long time the buttons of the dress she wore were fondly kept. Blue silk-covered ones, I was told.  I don’t know what happened to them.

IMG_0007

Mary Ann Williamson Fox in her late teens c. 1880

*

IMG_0005

Callow Farm, Hathersage, Derbyshire where the Fox family lived from at least the 1700s, and where Mary Ann was born. This photo was taken in the 1970s.

*

How it was that country girl Mary Ann came to fall for a spindle manufacturer from Bolton, Manchester is the first of many mysteries. My grandmother said that her mother fell for the first townie she saw in a stove-pipe hat. Maybe he was in the area on business. In any event, Thomas Shorrocks was a widower, ten years older than Mary Ann, and with a young son, Robert. Mary Ann was 22 and they were married by special license at St Michael’s church, Hathersage, with her elder brother, Robert and his wife, Edith, as witnesses.

Thomas took his young wife from the wilds of the Derbyshire peaks where she was used to riding at will, and jumping farm-gates on her pony, to live in the gloomy streets of Farnworth. There, the ever darkly clad mill women regarded  Mary Ann’s country print dresses with deep suspicion.

The Shorrocks lived in a modest terraced house on Kildare Street, although Mary Ann did have a servant, a girl she had brought from Hathersage. Soon there were three more young children, offspring whom Thomas Shorrocks apparently made a point of avoiding, staying out of the house until they had gone to bed. My grandmother said she did not know him. Then disaster struck. In 1893, only seven years into the marriage, Mary Ann was left a widow. Not only that, in the same year, the Shorrocks family company that, in 1861 had employed 32 men and 22 boys, was declared bankrupt. Perhaps it was this that finished off poor Thomas at the age of 39.

It is not clear where Mary Ann was for the next year or so, but in 1895, Warrington licensing records show that she had taken over the running of the Old Red Lion inn in Hollinfare, (also called Hollins Green) a farming village near the Manchester Ship Canal. The inn, as was common in rural areas, had also once been run as a farm. It thus came with pasture, cow sheds and stabling.

1338650_1cb923401.jpg

The Old Red Lion today has seen extensive alterations in the 1960s and 1980s. It was one of the oldest inns in the village, and already in existence by the 1670s. Although Giles was born there in 1896, I’m not sure he would quite recognize it today.

*

Family legend says that the Fox family arranged for Mary Ann to take over the inn so she would have a roof over her head and an income to support her family. In fact it seems she took over the license from one George Fox who had been landlord there since 1894. This could have been either her father, George Brayley Fox, or her younger brother, George. Her father had sold up the farm stock in 1892 due to a depression in agriculture, and then given up the tenancy on Callow Farm.  After 1893 there were no more Foxes at Callow, a circumstance that made the local and regional press in that year.

001

Derbyshire Times & Chesterfield Herald 25 March 1893

*

When Mary Ann took over the inn in Hollinfare she called herself Mary Ann Williamson using her Christian names, and dropping the Shorrocks. Perhaps she wanted to escape the taint of bankruptcy. A year later she was getting married to Charles Rowles. Perhaps, when he was not piloting cargo ships into Manchester, he visited the inn. Again, he was considerably older, this time a widower with two grown-up daughters. According to my grandmother, the existence of these two young women was a surprise to everyone. They apparently came and ruled the roost for a time.

In 1901, Mary Ann exchanged inns with another woman licensee, and moved to the Bowling Green Inn at the top of the village. The inn no longer exists, and Hollinfare’s community centre now occupies the site. The reason for such a move is unclear, but perhaps the premises had more living accommodation. By now Mary Ann’s rather simple-minded younger sister, Louisa, was living with her and helping with household duties. It is likely,too, that their father also came to live there at some point, since he is buried in Hollinfare’s little cemetery, along with Mary Ann.

And so we come to Giles. In 1903, when he was seven, his father died. In 1909, when he was thirteen, Mary Ann died. Her death certificate suggests she was by then living with her step-son, Robert Shorrocks in Moss Side, Manchester. He witnessed her death from heart disease. She was 46.

What happened to Giles at this point is another mystery. The 1911 census shows the four Shorrocks siblings living in Moss Side. Robert is head of household and Aunt Louisa is still taking care of household duties. By now Robert is 28 and an insurance agent. My great aunt Mary and grandmother Lilian are in their early twenties and listed as ‘blouse finishers’. The youngest brother, Tom, was 19 and a railway clerk. Giles, though, is not with them. He is now 15 years old and trainee clerk with a shipping broker far away in Cardiff. He is living with his father’s widowed sister-in-law, Louisa Rowles and her two adult children. In 1912 there’s the possibility that he took passage to Halifax, Canada on the SS Hesperian, but there is no conclusive evidence.

When he appears again it is 15 October 1914. He is 18 and 7 months and enlisting in the Australian Imperial Force in Melbourne, Australia. He calls himself a sailor (all the Rowles men had sea-faring connections). AND he has changed his name to Victor. The enlistment papers give Louisa Rowles of Cardiff as his next of kin. He specifically denies ever having served an apprenticeship. (Did he run away to sea to escape being a clerk?)

But why the change of name? My own guess is that Giles seemed too soft a name for mariner. His military papers show he was 5 feet 5 inches. Perhaps a little on the short side too, so may be he felt he had something to prove. We’ll never know. There is no one left to ask.

He joined the 14th Battalion AIF and would then have gone to Broadmeadows for training, before embarking for Egypt on the Berrima in December 1914. After further training in Egypt, the 14th took part in the April landing at Gallipoli. So began the gruesome, fruitless, bloody siege. All we know is that he survived to take part in the August Offensive. This involved the Australian and New Zealand Army Corps moving up the coast to attack two peaks of the Sari Bair range while the British and French forces defended Helles.

Giles was presumably wounded while trying to land for the second time in 5 months on this torturous, wretched shore. The next record is 8 August 1915 when Private Victor Rowles no. 1402 is admitted to the hospital ship Devanha with gunshot wounds. He died at 10pm on 10 August and was buried at sea, 2 miles east of Mudros Harbour, Lemnos.

An inventory of his effects was made in 1916. It comprises “one brown paper parcel” which includes a cigarette case, pipe, letters, photos and a handkerchief. These were apparently sent to Aunt Louisa Rowles. Later, in 1919, official records say she received a memorial plaque and scroll. It is not clear what happened to his medals: 1914-15 Star, British War medal and Victory Medal.

Giles is commemorated in his ill-fated name of Victor at Lone Pine Memorial, Turkey and on the Australian War Memorial at Canberra. In the quiet little cemetery at Hollinfare, his passing is marked under his given name of Giles. Perhaps his step-siblings added the inscription to his parents’ and grandfather’s stone.  It commemorates “Pte Giles son of the above Charles and Mary A Rowles, who died of wounds received at the Dardanelles on August 1oth 1915 aged 19. He hath done what he could.”

DSCF9350

But in the end, and despite all the family tragedies, I would like to think that Giles had some happiness in his short life: when he went to sea; or in his early days in Hollinfare. My grandmother adored him, and her older sister Mary was said the kindest soul. I feel sure they would have ‘mothered’ him, probably beyond a boy’s endurance. Step-brother, Robert Shorrocks also appears  to have been everyone’s rock, including his step-mother’s. Certainly in old age he was still very close to my grandmother and grandfather.

Of her childhood days, grandmother told of how they used to raid the inn pantry for tinned fruit, and eat it secretly out in the garden. Then  they would slide down the steep banks of the Manchester Ship Canal, getting their knickers green. There were annual visits by the dancing bear and his man whom Mary Ann allowed to stay in the inn stables.

27338[1] - Copy

I would like to think that this photo of Hollinfare boys around the Coronation Tree included Giles. In the background is St. Helen’s chapel where Mary Ann could well have married Charles Rowles in 1895. These propositions, along with many others, remain to be verified. The search for Giles/Victor Rowles continues…

#nogloryinwar

© 2013 Tish Farrell

Meet Joe Sabuni P.I. aka Joe Soap

001

Perhaps it is Jonas Kilimani’s choice of alias that makes things go so badly wrong in Mbogo sub-location. Or maybe he’s just not cut out to be a sleuth. Or it could even be his bad choice in suits. But whatever the cause, everyone is running rings round ‘Joe Sabuni’, and it all starts when his Uncle Micah sends him upcountry to track down a man who owes him money. It’s not much of a job, but Jonas is desperate to impress. He has college loans to pay back, and rich girlfriend, Keziah, to keep happy. And if he pleases Uncle Micah, maybe the man will give him a real job, as he’d long ago promised…

Cover artwork: Bob Harvey

*

Okay, I am taking advantage of Frizztext’s JJJ-challenge for another piece of self-publicity. Also I think Jonas Kilimani deserves to be better known. He’s a really nice guy, and I’m glad I created him. He actually began life as a tiny notion while I was out on Kenya’s farms surveying smut-infected grass with the Team Leader. (For  more about smut see earlier post HERE). It’s amazing how one thing leads to another, and all apparently unrelated. There is no smut in Joe Sabuni by the way. Or maybe just a smidgeon – involving the dreadful Keziah of course.

I began writing stories for the African children’s literature market while we were living in Kenya in the 1990s. I think it was fury that started me off. There had been an article in the local press about children’s books, and the lack of locally written ones. It included a quote from a school girl saying she did not know there were stories with African heroes and heroines.

My first reaction was bewilderment. (The fury came later.) I began to look along the shelves of Nairobi’s bookshops. I could see that the girl had a point. Most of the locally produced fiction comprised folk tales, which I, as an outsider, had until then been more than happy to see and buy.

Now I began to regard them with fresh eyes. If I were six or nine or thirteen years old what would I think about such books? The design was often minimal, the paper quality poor, the stories wholly unrelated to modern day living, since the texts had mostly remained frozen in some colonial time when an avid ethnographer had recorded them. And so by comparison with these dry looking tales, would not the imported British and American paperbacks seem infinitely more glamorous and slick?

And yes, for sure, there would be no African kids featured in the rows of Enid Blytons or the Nancy Drew and Hardy Boys mysteries, or in the Ladybird versions of Snow White and Sleeping Beauty. For these, I discovered, were at that time the mainstay of the children’s section. Even the school curriculum  English literature texts were books like Gogol’s Government Inspector or Dickens.

In fact, given the era when all these books were written, there would be no dark faces in them at all. That the stories were written in times long past would not necessarily be apparent to young Kenyan readers. I remember a ten-year old girl telling me that her dream was to ride her bicycle on country lanes and go wherever she pleased just as the Famous Five did. It was hard to know what to say to this. It seemed such a lovely dream.

Anyway, all this started me wondering what it might be like to only read books about children who were nothing like me AT ALL. How would that make me feel about myself: that I wasn’t cut out for hero-dom?

Of course the reason for all the imported revamped  titles was because they were far cheaper than mainstream market books, and parents were more likely to be able to afford them. There is anyway a resistance to buying fiction, since stories are considered an unnecessary luxury when parents have to spend so much on school textbooks every year.

And so we start getting to the heart of the problem. Kenyan publishers, like many others across the continent, struggle along producing textbooks, often in collaboration with British publishers like Oxford University Press, Macmillan and Longman. They can’t afford to produce much fiction, and that means there are not many local fiction writers. Classic authors like Ngugi Wa Thiong’o and Meja Mwangi are few and far between, and Ngugi has anyway long lived abroad in America. The best Kenyan writing, then, is mostly to be found in the country’s excellent newspapers, and they are aimed at adults not children.

As a writer, though, I learned a lot from the late Wahome Mutahi and his hilarious Whispers column, and also from the trenchant political analysis of John Githongo. The end result was Joe Sabuni P.I., a humorous teen short novel set in the fictitious city of Greenvale, somewhere in East Africa. It is published in the Heinemann Junior African Writers Series, now a Pearson imprint.

One of my best moments came a few years ago when I learned that the book was also to be used in Zambian schools, and not only in English, but translated into 6 Zambian languages. This I gather was funded by the World Bank. Someone had the surprising idea that people learn to read best in their own language. I wonder how they came to think such a breath-taking thought.

Because that’s another thing, most African children who go to school do not learn in their vernacular, but in the language of whichever colonial power once ruled them. In Kenya the curriculum is conducted in English and the East African lingua franca, Ki-Swahili, although the vernacular may appear in the study of arcane oral literature texts.

I think this is what Ngugi wa Thiong’o means by ‘colonization of the mind.’

Of course you could say what on earth is an English woman doing writing for African kids in their second or third language? It’s a good question. As I said it was fury that drove me. I wanted to tell contemporary stories that showed Kenyan kids their own wonderful selves, and in situations they might recognize. That these stories have also proved popular in other English-speaking countries such as Zambia and Zimbabwe is a bonus. A couple have won prizes of which I am inordinately proud.

You can read a sample of Joe Sabuni P.I. on Google HERE. Please forgive the fact that Google copywriters can’t spell the word ‘rotten’. And nor can Amazon.

© 2013 Tish Farrell

 

giant gwendol makes the wrekin

100_5822

 

As hills go, The Wrekin (pronounced REE-kin) in my home county of Shropshire is not very high – just over 400 metres (1300 feet) . But then, as estate agents say, location is all, and this is the only big hill for miles around. It rises over a county of farm fields and the flatness of the Shropshire Plain beyond, and thus is a useful landmark when navigating the county’s ancient network of sunken rural roads. It has also long loomed large in local imagination. As with significant natural features the world over, it gives people something to think by, prompting many a tale and joke.

For instance, we have a saying whose usage extends into neighbouring  counties. To go all round The Wrekin means to ramble on for hours before arriving at the point. Hopefully not exemplified in this post. Because yes, I will get around to Giant Gwendol before too much longer. But first some geology. Please don’t groan. I’ll make it snappy.

Looking at the photograph above, the first thing that strikes you is that the hill looks like an old volcano, and I seem to remember being told that it was in year 3 geography at secondary school. This apparently is not the case, although it is composed of volcanic rock. The vent that spewed it out is no longer around or visible. This is perhaps worrying. One has to put faith in notions of volcanic dormancy and, since the spewing forth of rhyolites, tuffs and agglomerates took place in the Precambrian some 680 million years ago, we can perhaps rest easy in our beds: Shropshire has had long enough to get over its hot phase. 

This is also good because as you can see from the second photo, the place where I live, Much Wenlock, is rather close to The Wrekin. The yellow wheat field in the middle ground is behind my house.

But now for the Gwendol story.

IMG_1285

 

There once was a Welsh giant called Gwendol. For reasons unknown he had conceived a grudge against the mayor and townsfolk of Shrewsbury, in the neighbouring county of Shropshire. Since the town lay within a nearly closed loop of the River Severn, Gwendol came up with a dastardly plan. He would dam the river and so drown the town and all who lived there.

He set off from Wales with a great spadeful of earth to do the deed, and headed for Shrewsbury. He tramped for mile after mile, but somehow lost his way, ending up instead near the town of Wellington. Weary with the search, and from carrying a heavy load, he sat down to rest.

After a time, an itinerant cobbler came walking by. He had walked from Shrewsbury and was heading for Wellington. Over his shoulder he carried a big sack of used shoes for mending.

Gwendol stopped the man and asked for directions. He even told the cobbler his plan to fill in the River Severn and so drown Shrewsbury and all who lived there.

The cobbler was horrified, and especially appalled at the prospect of losing so much trade.

He thought fast.

“Oh dear me,” he told the giant, “that town is so far away. Many days’ walk.” Then he opened his sack of  old shoes. “See,” he said. “I have worn out all these shoes and boots walking from Shrewsbury.”

At this, the giant groaned. “I am too tired,” he said, “to carry my load of dirt that far. I had better leave it here.” And so he emptied it out there and then and, as a parting shot, before setting off back to Wales, he cleaned the mud from his own boots, and so left behind little Ercall, the small hill that stands nearby.

And so now you have the true story of how The Wrekin was born. In fact, for a not very bright giant, I think Gwendol did a pretty good job, landscaping-wise. Also the damming plan would never have worked. Old Shrewsbury town may sit inside the loop of the River Severn, but it is also on a very steep hill. Just as well, though, that Giant Gwendol trudged back into Wales and was never heard of more in Shropshire.

 

IMG_1364

 

copyright 2014 Tish Farrell

SOURCE: This tale appears in Charlotte Burne’s Shropshire Folklore 1883. In other versions the Devil is the hill-builder.

Flickr Comments ‘G’ words

Cee’s fun foto challenge: water/winter

100_1454

 

100_1451 - Copy

These photos of the C-Curve by Indian sculptor, Anish Kapoor, were taken on freezing cold winter’s morning in London’s Kensington Park. The marvellous stainless steel creation was one of four Kapoor pieces sited across the park for the Seeing the World Upside Down exhibition hosted by the Serpentine Gallery and Royal Parks in 2010-2011.

Some of you will have seen these  shots in earlier posts, but I thought they were perfect for Cee’s challenge for all sorts of reasons. For one thing, the stark silhouettes of trees say ‘winter’, but the bright sunlight also says that life goes on; and the trees themselves, though dormant, are still full of life. I also like the reflections of the couple and the trees in the puddles on the plinth, and the reflections of the puddles in the sculpture. It is all so playful, yet reflective too – and in every sense.

 

Cee’s Fun Foto Challenge: water or the season of winter    Go here to see more bloggers’ takes on this challenge

Floating not flooding: Adeyemi’s ‘Ark-ademy’

 

Makokos-Floating-School-NLE-2[1]

Photos © 2014 NLÉ

Makoko_approach-960x550[1]

And what is this extraordinary structure?

Why, a floating school of course. It is also a prototype building created by Nigerian-born architect, Kunle Adeyemi  and his Amsterdam-based company NLÉ. Adeyemi has more plans too, ones that will relieve the dire conditions for the 100,000 people who currently live in this, Nigeria’s Makoko slum. The fishing settlement in Lagos Lagoon has been there since the 18th century. To cope with changing tidal levels, the shanties are built on stilts, rising from the lagoon mud; the main way to get around is by boat. There is zero sanitation, and consequently much disease. Life expectancy is reckoned to be less than 40 years.

For the past two centuries Makoko slum dwellers have adapted to tidal changes, but now climate change, with rising sea levels and increasingly extreme weather events, is putting them at grave risk.

Recently the Nigerian authorities have addressed their plight by demolishing many of the stilt-built dwellings, making the inhabitants homeless. There will be re-development  naturally – not for the poor who have long lived there, but to replace their community with flashy lagoon-view high rises. Makoko as it stands is deemed a blot that must be erased. It is an interesting approach to social deprivation: to make it worse.

_61618156_a1zaixbb[1]

*

See instead Adeyemi’s vision:

NLEs-floating-school-casts-anchor-in-Lagos-Lagoon_dezeen_14[1]

Now doesn’t this make your heart sing? Homes to live for.

And here is where it begins:

ml_schoolatSea_Makoko_d2_600[1]

Diagram courtesy of NLÉ.

 

Makoko floating school, then, is literally the flagship of NLÉ’s proposed waterborne city. The structure was designed and built in collaboration with the Makoko Waterfront Community and with input from Dutch naval architect, Erik Wassen. It is movable, and capable of dealing with storm surges and flooding. The triangular frame which is mounted on 256 floating plastic barrels makes it very stable and with a capacity to keep 100 people safe in storm conditions. PV cells on the apex generate solar power, and there are facilities to recycle organic waste and harvest rainwater. Most importantly of all, it was built using the techniques and skills of local craftspeople. It is a building that fits with people’s view of themselves. And it is beautiful.

 

Makoko-Floating-School-5-606x400[1]

Photo © 2014 NLÉ

The school has three levels with a capacity for 60 -100 pupils. The 1st level is an open play area for breaks and assembly. Out of school hours this space may be used by the community. Level 2 is an enclosed space for 2-4 classrooms, and Level 3 has a partially enclosed workshop space.

The only fly in the ointment of NLÉ’s scheme for Makoko’s regeneration is the fact that Nigerian authorities say the floating school is an illegal structure, and should not be there. NLÉ are currently in negotiation with Lagos state government and are said to be optimistic that no immediate action will be taken.

I for one hope that this African solution to an African problem will be seen for what it is – an amazingly wonderful, life-giving, life-enhancing scheme of which Nigeria should be heartily proud. The floating school addresses both present need and future uncertainty, and in ways that its community can reproduce and embrace. It has inherent sustainability. It is a pattern to build on, adapt, develop, replicate, but on an individual human scale that everyone can understand. And as time goes on, we may all have need to tap into some of NLÉ’s ingenuity if we wish to continue living well and safely on our home planet. Town Planning that gladdens my heart and gives me hope, and believe me, that does not often happen.

text copyright 2014 Tish Farrell

 

Further info:

Kunlé Adeyemi Founder NLÉ

Kunlé-Adeyemi_1c_Photo-by-Reze-Bonna-293x400[1]

The Architectural Review Jan 2014

http://www.nleworks.com/case/makoko-floating-school/

 

Flickr Comments F – archive

living textures: ageing with dignity

Scan-140727-0008

 

Today, 10 August 2014,  is World Lion Day, and I’m posting this photo of a rather threadbare old lion. He might look world-weary lying here in the Mara oat grass, but he still conveys a sense of the powerful creature he once was. Of course in these days when humanity and wildlife increasingly compete for territory, it is wishful thinking to hope that all lions might live out their natural life span in the wilderness they have left to them.

World Lion Day

DP weekly photo challenge: texture

 

did anyone know private victor rowles 1896-1915?

SHOT AT GALLIPOLI, BATTLE OF LONE PINE,  8TH AUGUST, 1915

IMG_0568

 

My Great Uncle Giles (Victor) Rowles left little trace of himself on this earth. There is only this childhood photograph inside my great grandmother’s locket. For one thing he lived so briefly. Nineteen years. For another, he does not even have a grave. He was dropped from a hospital ship into the Mediterranean, two miles east of Mudros Harbour off the island of Lemnos. This happened around 10pm on the 10th August 1915 two days after admission. I know this only from the First Australian Imperial Force (1st AIF) records that the Australian National Archives have posted on the internet. I thank them for their dedication and care in making these records so freely available.

I have written what little I know of Giles Rowles in two earlier posts, but I have reason to repeat it.

On October 15th 1914, Cheshire born Giles (he later, and for unknown reasons, changed his name to Victor) enlisted in the 14th Battalion AIF in Melbourne, and then went directly for training at Broadmeadows. On 22 December 1914 he embarked for Egypt on HMAT ‘Berrima’, arriving there for further training in January 1915. In April the 14th Battalion took part in the landing at Gallipoli, and so began the hell-on-earth siege that achieved nothing but the pointless deaths of thousands of brave young men – Australian, New Zeleanders, French, British and Turkish.

480_2[1]

Landing at Anzac Cove 1915.  Photo: localhistory.kingston.vic.gov.au

*

Conditions at Gallipoli were unspeakable; it was a case of death by sniper, grenade or disease. Giles survived long enough to also take part in the August Offensive. This involved the Australian and New Zealand Army Corps moving up the coast from where they had been dug in for months to attack two peaks of the Sari Bair range while the British and French forces defended Helles. Giles it seems was hit by a Turkish sniper while trying to land at Gallipoli for the second time in five months. On the 8th August 1915, and listed as Private Victor Rowles no. 1402, he was admitted to the hospital ship Devanha with gunshot wounds. Two days later he was dead.

There are several mysteries here. The first is how did this English lad end up volunteering with the AIF in Melbourne?

The last certain record I have of Giles on English soil is from the 1911 census. He is listed as 15 years old and working as an apprentice clerk for a shipping broker in Cardiff. He is living with his widowed aunt, Louisa Rowles of 10, Despenser Gardens, where his older cousins, Beatrice a spinster, and John, a shipping agent also live. He is named after his uncle, Louisa’s late husband, Giles, a mariner. The Rowles family, it seems, have generations of seafaring connections.

Giles’ own father, Charles, was a retired ship’s captain, and thereafter a pilot on the Manchester Ship Canal. He was my great grandmother’s second husband. As a young widow with three small children and a stepson, Mary Ann Williamson Shorrocks (née Fox) ran the Old Red Lion Inn and farm in Hollinfare (Hollins Green), Cheshire. Her father or brother, (both were named George Fox), had taken up the license in 1894, a year after selling up the family farm of Callow in Derbyshire. At this time Mary Ann would have still been in mourning for her first husband. He had died in his late thirties, a bankrupt shuttle manufacturer.

It seems that the Fox family had secured the inn on Mary Ann’s behalf to ensure she had an income. It stood beside a then busy thoroughfare to Manchester, overlooking the new Ship Canal, which doubtless explains how the pretty young widow soon came to catch the eye of one Charles Rowles.

IMG_0007

Mary Ann Williamson Fox at Callow Farm, Hathersage, Derbyshire sometime before her first marriage to Thomas Shorrocks, a Bolton spindle manufacturer.

*

The sea captain was much older than Mary Ann, a widower with two grown-up daughters. They married in 1895, but by 1903, when Giles was only seven years old, Charles Rowles lay buried in Hollinfare’s quiet little cemetery. Six years later, Mary Ann joined him. She was forty six. She had died of heart disease at her stepson’s house in Moss-side, Manchester, where her simple-minded sister, and the three Shorrocks children (including my grandmother) also lived.

Whether Giles went to live with his Rowles relatives before or after his mother’s death is not known. Certainly he would have finished at Hollinfare village school at twelve years old, and the photo in the locket could well date from that time. It seems likely that the chance of a secure career in the shipping business prompted the move.

In 1912 there is a passenger list record for one G. Rowles travelling as labour to Halifax, Canada on the SS Hesperian, but there is no conclusive evidence that this is Giles. I could anyway find no evidence of his arrival in Canada, although if he had signed on as crew, he could have sailed onwards to Australia. A comment by a now deceased aunt repeated the family story that he had chosen to settle in Australia, and this line of enquiry remains to be followed up.

By the time Giles enlisted in Melbourne, he had changed his name to Victor. On the enlistment papers he calls himself a sailor, and responds to the question of whether he had ever served an apprenticeship, with a decisive ‘NO’. And perhaps this is the reason for the change of name. Perhaps he broke his apprenticeship, and used the knowledge gained in the shipping office to find a ship and run away to sea?

The Broadmeadows medical officer records him as being eighteen years and seven months, 5 feet 5 and a quarter inches, and 135 pounds in weight. His complexion is described as ruddy, his eyes green and hair brown. His only distinguishing marks are two vaccination marks on his left arm. The reason he has given Aunt Louisa Rowles as his next of kin is also a mystery. She was not in fact a blood relative, and I know for a fact that his Shorrocks half-siblings adored him. It must have been they who had the tribute to Giles added to his parents’ gravestone in Hollinfare.

DSCF9350

On his death, records say a brown paper package containing Giles’ few effects – a handkerchief, pipe, cigarette case, manicure-set, letters and photos, was later sent to Aunt Louisa, followed by his three service medals, a memorial scroll and plaque. All these items are now lost. He is nonetheless commemorated in his ill-fated name of Victor at Lone Pine Memorial, Turkey and on the Australian War Memorial at Canberra. On his parents’ and grandfather’s stone in Hollinfare it says:

“Pte Giles son of the above Charles and Mary A Rowles, who died of wounds received at the Dardanelles on August 10th 1915 aged 19. He hath done what he could.”

And why am I posting this story once again? Well surely someone knew Giles Victor Rowles? He must have had mates – at sea, at Broadmeadows, at Gallipoli. Did not some girl love him? Doesn’t his name occur in a fellow private’s letters home? Is there not some diary entry that mentions him? Doesn’t anyone know what happened to his medals?

The photo in his mother’s locket shows a boy with determination. His gaze is direct. He looks cherished. And it is his photo in the locket, and not one of his half-siblings. On the other side of the locket, delicate strands of hair from all five children – Robert (stepson), Mary, Lilian, Thomas Shorrocks and Giles – are woven together. Mary Ann would have been able to identify each child from the varying shades of blond and brown. This small locket, then, contains the only physical evidence of Giles Rowles’ existence.

100_6264

 

#nogloryinwar

copyright 2014 Tish Farrell

BY ALL MEANS SHARE THIS POST, BUT PLEASE ACKNOWLEDGE MY COPYRIGHT

Fun & games at the writer’s block party

100_3474

You can’t have a good party, even one with a negative cast, without some games. And here are a few that might unblock the block. And if they seem a tad childish, who cares? So much writer’s block is down to that domineering, sneery, superior, judgemental inner critic. Time to banish the rotten killjoy and play.

 

It’s in the cards…

This first game takes quite a bit of preparation, but this in itself will help with the loosening up process. Since you need lots of paper cut into small pieces, it is a good thing to do with several similarly afflicted friends. You are aiming for something credit card size. Three different colours might make it more interesting. How many ‘cards’ you have is up to you, but the more you have, the more possibilities you create.

Divide the cards into three equal piles.  These will be your 3 main story ingredients: protagonist, place, artefact. Work through each pile, writing down one possible protagonist on each of the protagonist cards, then the same for the ‘place’ and ‘artefact’ piles. DO NOT think about these. Write down first thoughts.

My first thought protagonists are: Captain Cook, Death, a leopard, Miss Marple, a hoover salesman. Places could be: ice cream parlour, the morgue, planet Europa, the subway, the Gobi desert. And  artefacts: a Bronze Age sword, a hat stand, thimble, memory stick, goldfish bowl…

Shuffle the cards in their individual piles and place face down. Every player deals themselves a card from each pile, and weaves the three prompts into a story. The dafter the better. This is all about letting go.

 

Story-time ~ old lamps for new…

Everyone has a favourite fairy story, but how about turning it on its head. And inside out. Or back to front. Why not re-tell Cinderella from the point of view of one of the mice who gets turned into a fine white horse so he/she may help pull the heroine’s coach to the ball. How does the mouse feel about this transformation. Is it a grave disappointment to return to mousedom at midnight?  Or what about Aladdin’s genie? How does he feel about all the conjuring, and being ordered about by a mere youth? Perhaps he’s a female genie who colludes with the wicked magician to retrieve the lamp…Think laterally.

 

Out of the hat…

Making funny hats is an excellent party activity. You’ll need lots of disparate makings: card, sellotape, coloured pens, scrap fabric, glitter…Create from anything to hand – viking helm, coronet, turban, veil or fascinator. When finished, put it on, or swap it for someone else’s, and then conjure the hat’s owner. Who are you? Where you off to in that hat?

 

Have Fun!

 

copyright 2014 Tish Farrell

 

Writer’s Block Party

Early Edition: Mau Mau Brother

Shades FINAL COVERS Set 3_Layout 1

 

An exciting little parcel arrived last week – copies of my latest quick-read for teens (or even for adults) in Ransom’s Shades 2.0 series. It’s a small, neat book. Pocket sized. As per the Shades’ format, it is a novelised short story, the text broken down into brief chapters, the whole designed for readers who find bigger books, and dense text too daunting to tackle. The pages have much white space, and the story’s 5,000 words are spread over 64 pages, which of course makes it easier for anyone to read. The aim is to build reading muscles and so (hopefully) nurture a love of books.

But if the books are small-scale, there is nothing ‘slight’ about their content. Their themes are of adult interest too. As a writer I can think of no bigger challenge than to woo readers who would probably rather not read. It unavoidably demands your crispest most affecting prose.

I knew, too, that historical fiction can be off-putting to many teen boys. In Mau Mau Brother, then,  I used first person, present-tense narrative to make events more immediate. The story tells of the 1950s uprising against British rule in Kenya as seen through the eyes of fifteen-year-old Thuo. This perspective on what happened is not widely known outside Kenya; the British authorities deliberately destroyed many records.  But for Thuo there many kinds of war – not only with the British, but also with the African Home Guard, and even with his own freedom fighter brother whom he blames for all his troubles. But in the end, the biggest war he  has to fight is with himself.

And now for an extract:

The British are bombing Kenya’s highland forests to flush out the freedom fighters. Thuo and his family have been driven off their farms and made to live under curfew in a fortified village. Their every move is ruled by the African Home Guard. Then one night Thuo’s elder brother, Kungu,  a seasoned fighter, finds his way to Thuo’s hut. He is wounded, and sick, and  Thuo is faced with the starkest choice – to inform on his brother, or risk detention and death to help him.

 

After the plane goes, Njonjo whispers that he’s overheard the Home Guards talking.

‘They know Kungu is near,’ he hisses. ‘Tomorrow the British soldiers will sweep this part of the Reserve.’

That night we sit in our hut ,weighed down with fear, expecting the worst. I am stunned when Kungu says, ‘I must leave now.’

‘But how?’ I cry.

This time I am more scared for him than for me. His brow glows with sweat. He still cannot walk properly.

‘The way I came, through the barbed wire.’

‘But the ditch. The stakes.’

‘I will roll down. Crawl out. Like a cockroach. Have no fear, little brother.’

‘But where will you go?’

‘A cave I know. I once shared it with a she-leopard.’

I shiver. A window on hell has just swung wide. I see the big cat’s yellow eyes, the white fangs. Then I see the falling bombs, hear elephants screaming, the rifles’ crack-crack, feel the breath of a pseudo-gangster on my neck.

The words fly from my mouth before I can stop them. But, once said, I cannot take them back.

‘I’m coming too.’

AVAILABLE ON AMAZON

 

 Flickr Comments: E words

FOR MORE ‘E’ WORDS STORIES

copyright 2014 Tish Farrell