Pages

E. S. Thomson: 'Kissing the Shuttle' - A Short Story

For 200 years, Stanley Mills used the power of the River Tay. Its workers, many of them women, endured long hours and dangerous conditions. And it wasn’t only the machinery that they had to fear.
[Stanley Mills, by the river Tay]

When I was six years old my father showed me the tunnel cut through the rock. ‘Your great grandfather built this,’ he said. ‘He spoke only the language of the islands, but he knew what was being asked of him when they put a shovel in his hand and sent him down into the earth.’ I watched the water racing out of the dark hole. It was black – not clear, like water should be – black and cold as the ground it had surged through. ‘Black with the souls of the men who died digging it,’ my father used to say, ‘and as cold as Mackenzie’s heart. There’s never been a foreman at Stanley as cold and hard as John Mackenzie.’ By the time I was 17 my father’s hatred had solidified into something as unyielding as the stones on the hillside, and as capricious as the river.

From the foot of the brae, at the gate to the mills, we could watch the Tay rushing past. Unstoppable, slate grey, tumbling around the peninsula as the land fell away, swollen with the rain that poured from the skies and the water that drained off the land. By the time it reached us at Stanley, it had coursed all the way from the southern Highlands, through the lochs and glens some of us had once called home, and it raced and boiled as though filled with all the rage and sorrow of those lands. A narrow curving weir, built out into the flood, scooped up an armful of the Tay and hurled it into the tunnel my great grandfather and his fellow workers had sliced through the rock.

As my father and I walked across the yard from the workshops, we heard Mr Mackenzie telling the factory inspector about it as they stood outside the Mid Mill. My father made me stop, and pretended to adjust the burden I carried so that he might listen.

‘Yes,’ said Mr Mackenzie, ‘the Duke of Atholl dug the tunnel right through from the falls up at Campsie Linn – brick-lined all the way. The Tay drops 21 feet as it passes around the headland. The waters are harnessed to power the wheels that drive the mills here at Stanley.’

‘The Duke of Atholl didn’t dig anything,’ said my father.

Fortunately Mr Mackenzie didn’t hear. The inspector looked uninterested. It was the buildings that concerned him, the buildings and the machines inside, not the mill lades and the river – though we would not have one without the other. He blew a breath into the wintry air and watched it bloom before him.

‘Does it freeze?’ he said. ‘The mill lade? What happens then?’

‘Sometimes it does,’ said Mr Mackenzie. He shrugged.

‘Then we go curling on it.’

The water in the lades was as smooth as a mourning band by the time it reached the mills, a shining ribbon of silk tamed by the flat bottom of its brick-lined bed as it curved behind the low buildings of the North Range. Giant black cogs and studded wooden gates drew it to a halt before the wheel pits. Sometimes, in the summer, we saw the silver flash of a trapped trout glistening in the dark pool at the sluice gates. My father caught one once. He killed it with a stone. It was a pale and fleshy thing in his hands, a reminder of what happened up at the top of the Mid Mill. I had to look away.

The lades passed under the road and into the wheel pits – two beside the Bell Mill and two beside the East Mill. A boy died down in the water, right beneath the windows where I worked, crushed and drowned while helping to fix a broken bucket on the East Mill’s wheel.

‘Should’ve been Mackenzie,’ my father had said. ‘It was him who sent the lad down there. For two pins I’d hold him under the water.’

‘Jenny McRae said John Mackenzie was in Glasgow all week,’ I’d said. ‘He didn’t send Tom Rennie into the wheel pit, it was Tom Rennie’s da’ –.’

‘Should’ve been Mackenzie. He’s the foreman. He’s responsible. Should be him drowned down there.’ He’d not looked at me. ‘Jenny McRae said so, did she? Well, well.’

I’d thought of Mr Mackenzie drowned and floating face down as the wheels turned above him, his head pulped by the blows of the metal-edged buckets. Perhaps things would be better if he was dead – my father seemed to think so. I’d peeped into the wheel pits. It was hard to imagine that they had not always been there, those great curving slopes of wet stone, slime-green and slippery, dripping and dark as the giant wooden blades that swept over them. They drove the gears that worked the machines crammed into the hulking buildings – including those that my father tended, for he was over-looker to Nearly 100 looms on the top floor of the Mid Mill. Two of those looms were mine, and I worked them every day from half past five in the morning until seven at night. Five floors beneath our feet the water ran and ran. I could feel its power and fury in the thrum of the belts that drove the shuttles on our looms back and forth with a vicious clack and rattle. After that, it escaped beneath the mill and back into the Tay. But I could never escape. Not from him. None of us could.

The Mid Mill was only recently re-opened. Destroyed by fire – as is often the case with mills, so my father said – it had taken two years to put it right again, though Mr Buchanan, the owner, said it would take more than a few flames to put him out of business. Mr Mackenzie insisted that a water tank be fitted on the roof of the Bell Mill, the building that ran adjacent to ours, so that fires could be attended to quickly and efficiently with the necessary resources to hand. I heard him laughing with the inspector about it.

‘Yes,’ he said, ‘despite the greatest river in the kingdom flowing right around our ankles, it seems that a good part of the Mid Mill still managed to burn down.’ My father heard him too. ‘I doubt whether Isobel Douglas and Jean Reid are laughing, for they both lost sons to the blaze,’ and he scowled at Mr Mackenzie, who didn’t notice as he was pointing to the new brickbuilt water tank. The factory inspector shaded his eyes as he peered up, and then dropped his gaze to watch the wheels turning. I could tell at a glance that they were running sluggish. It had been raining for days and there was every likelihood that the river would back right up into the wheel pits and prevent the wheels from turning altogether. The inspector, who had no doubt seen hundreds of water wheels, seemed to be thinking the same. ‘How many days’ production do you lose a year?’ he asked. ‘It varies,’ said Mr Mackenzie. ‘Sometimes 30, sometimes 50.’

‘Unfortunate,’ said the inspector.

‘For who?’ muttered my father. ‘It makes a change to get a day off.’

‘But we get don’t paid when the water stops the mills,’ I said.

‘Hm,’ said my father. ‘No doubt we have Mackenzie to thank for that state of affairs too.’

In fact, I’d heard that Mr Mackenzie had told Mr Buchanan that we should be paid when the wheels wouldn’t turn, as it was hardly our fault if the rain came down and the Tay rose up, and it was no less than Mr Dale or Mr Owen would have done when they’d run the place, no matter how long ago that was. I opened my mouth to say as much – but Mr Mackenzie caught my eye, and I closed it again.

‘Well, well, Tam McGregor,’ he addressed my father. ‘Don’t you have work to do? Take that stuff inside.’ He never said much – not to my father, at least. My father said it was because John Mackenzie didn’t have the courage for a fight. It seemed to me that it was probably because my father only sneered at Mr Mackenzie when he was out of earshot. I’m twice the man he is, he used to say to anyone who would listen – apart from Mr Mackenzie himself. If I’d had his opportunities, his luck, I’d be something better than a miserable foreman like him. Now, he tugged his cap, his face stony at so public a rebuke, and stalked into our building. Resentment seemed to boil inside him like hot treacle whether Mr Mackenzie spoke to him or not. The McGregors had always been weavers, he had often told me, though not in big places like Stanley. He said weavers were once respectable people, skilled people with money and status, not children and barely competent young women like me. But that was before the mills came. Before men like Mackenzie, whose only talent, he said, was ordering people about.

Mr Mackenzie took the factory inspector by the elbow and led him away, his head bent towards the other man’s ear, his hand over his mouth. Even though we were outside, the noise of the place filled the air with a constant clatter. They were now too far away to overhear, but I saw him glance at my father. Perhaps he was saying that he had not been the same since my mother had left. That had been years ago now.

‘Come along then, Annie!’ my father cried. ‘Don’t stand there gawkin’!’ Read more exclusive crime stories:

I followed him inside.

Our building – the Mid Mill – was built along the riverbank, and was as tall and wide as a barracks. Our closeness to the water kept everything damp, which was good for the cotton, though in summer the sun blasted its southern face, so that the rooms with the carding engines and the spinning machines were raging hot, and we had to open the windows wide to catch any breeze. The north side lay in perpetual shadow. At the base of the mill, the wheels turned in their dark and shaded pits. Above them row upon row of windows stared in blank indifference. No one looked out. The windows were there to let the light in or the heat out, not to allow our gazes to stray from our work. In the roof, the line of north lights that ran from east to west told where we toiled over our looms, beneath bright but sunless skies so that we might easily see any imperfections in the cloth. My father fixed the looms and kept them running smoothly. There were others housed in low sheds behind the East Mill, but I was not lucky enough to work there.

Within, the noise of the place was like a blow to the head. When I had first started work as a weaver, when I was 10 years old, I thought it might be possible to touch the sound with my fingers, for it had felt like a physical, tangible presence. But I had got used to it quickly enough, and now I hardly noticed the air trembling and the walls ringing with the din of wheels and gears turning belts and shafts, and machines rumbling and rattling. Once, years ago, Elspeth McInnes got her hair caught in the shuttle. A great bloody hank of her scalp and hair was torn out, though we didn’t hear her screams because of the noise. At Stanley Mills, on the weaving floor, no one’s screams could be heard.
Stanley Mills, Perth (Scotland)
For 200 years, this spectacular mill harnessed the power of the River Tay. As demands for textiles changed and technologies developed, buildings were added, adapted, expanded, destroyed by fire, rebuilt, shut down, reopened and demolished. Machinery came and went, powered initially by water wheels, and latterly by electricity generated by water-powered turbines on the site. Built in the 1780s, many were employed by the mills before they finally closed in 1989. Visitors to Stanley Mills can uncover the stories of these workers (mainly women and children) and experience the clamour of the factory floor through interactive displays in one of the best-preserved relics.
We were allowed home for lunch – we could not take our piece and jam at our machines – and then streamed back to work, down the brae from the village and into the mills. I ran up the stairs with the other girls. My father would already be at the door, where he stationed himself every morning and every afternoon, watching the women file in after breakfast or lunch, noting which of them was the last to arrive. He treated me no differently, and he took me away from my machines the same as he took anyone else. When the others realised this, they had looked at me pityingly, though they said nothing. Now, we hung up our bonnets and stood before our looms. I saw that Jeanie Gilchrist was late again. He’d make her pay for it – but only when Mr Mackenzie wasn’t looking. And yet perhaps she would not suffer today, for had I not been with him when Mr Mackenzie had told him to get back to work? I had heard the reproach and I had seen my father’s face as it was uttered – though it was no less than he deserved. I knew him better than anyone, and I knew how he would slake his sense of inferiority, and his anger, and I felt my stomach knot inside me at the thought.

Later, on the way back from the privy, I met Mr Mackenzie on the stairs. This time he was alone.

‘How are you keeping, Annie McGregor?’ he said. His voice was mild and soft. Even though there was no one around to listen to us he brought his face as close as a lover’s to my ear so that I might hear him above the noise. And yet he had no need to do so, for I could read his lips well enough. We all could read lips, there was no conversation to be had otherwise.

‘I’m very well, sir,’ I said.

‘Are you crying, child?’

I said I was not, that it was just the air full of cotton dust that made my eyes water. He nodded. ‘I think you have just come from your father,’ he said.

‘No,’ I replied, perhaps a little too quickly, for he smiled grimly and said ‘No?’ in a questioning way, as if he didn’t believe me. He offered me his handkerchief.

‘It was made a long way from here,’ he said. ‘I’m afraid we produce nothing so fine at Stanley.’

But we were paid by the piece and I had already been away from my looms for too long.

‘Mr Mackenzie,’ I said, using the backs of my hands rather than his handkerchief to wipe my eyes, ‘please let me get back.’

‘You tell that father of yours I’m watching him,’ he said, suddenly stern.

‘Yes, Mr Mackenzie,’ I said. But I knew I would say no such thing, for no one could be watched all the time.

The Mills were constantly changing. My father said that when he was a boy there had been only one water wheel. Now there were four. Some years earlier, when he had taken over the place, Mr Buchanan had ordered a North Mill to be built, enclosing the wheel pits and the gas works in a dark cramped square bounded on all sides by the tall mill buildings. Not 10 years later he had torn the North Mill down, so that only stumps of stone jutting from the East Mill told where it had once stood. The lades were always needing repairs, for the winter weather caused cracks to appear and the stonework to rupture.

The flues that heated the buildings, drawing hot air upwards from fireplaces in the lowest levels of the mills, had to be maintained too; and the bearings in the wheel pits replaced whenever they became worn and caused the wheels to shift. That winter, the stonework in the pit beside the Bell Mill had shattered due to the force of the water and the constant turning motion, and it had thrown the wheel off-kilter. The grinding of it against the masonry was terrible to hear, and the broken stones were to be replaced with wood. I heard Mr Mackenzie complain about the size of the task and the difficulty of working in the slippery wheel pits in the cold weather, but it could not be helped. Other jobs were to be tackled at the same time – one of the flues in the north wall of the Mid Mill needed work. It had been blocked off years ago at the top, and the fireplace at the bottom bricked up. But the old flue had become prone to damp, and a great dark patch had appeared on the plasterwork near the looms. Now, workmen had torn a hole in the wall revealing part of the flue behind the brickwork. Its blackened lining was exposed against the whitewash on the weaving floor like a dark and angry sore. My father complained that it wouldn’t do to have a great sooty hole like that beside a working loom, even though Mr Mackenzie said he would cover the hole with canvas sheeting, and promised to seal it up as soon as the work was done. ‘It won’t take longer than a day, two at the most,’ he said.

‘Smoke smuts won’t come out at the bleach works,’ said my father.

‘Then stop the looms,’ replied Mr Mackenzie. ‘Stop these ones close by and cover them up.’

‘But the women are paid by the piece,’ said my father. ‘They will have nothing for two days.’

‘That cannot be helped,’ said Mr Mackenzie, in front of all the women. ‘They can thank you for the stoppage. And I’ll thank you to remember who’s the foreman, Tam McGregor, for it isn’t you.’

My father halted the looms, as he had been instructed, and went about his business with a furious face. Those girls whose machines were silent found other work about the mill that day, and they smiled as they left for the weaving sheds beyond the East Mill. My father’s knuckles turned white as he gripped his hammer. The stoppage of half a dozen looms near to the open flue made no difference at all to the din of the room, and the roar and clatter of the place seemed to burl and buffet us, as if we were surrounded by the whirling fury of his rage and resentment. There was plenty for my father to do. Two of the looms kept sticking, and a third needed its reeds replaced. The leather straps on some of the older machines were in a poor state of repair, worn and soft-looking as they thwacked the shuttle back and forth, and he had promised to replace them weeks ago. One of the stopped looms had been troublesome for a while, and he might just as well have opened it up while he had the chance and fixed that too – but he didn’t. Instead, he watched the men working on the flue, shaking his head as they made the hole even bigger to allow them to re-block the chimney, and in no time at all it was as wide as a fireplace and as tall as a man. When they disappeared down to the workshops to get some new bricks to block up the hole, he went over and jabbed at their work, loosening what they had done so that some of it fell out and spilled all over the floor. He took to pacing amongst us, then, criticising our work and stopping machines here and there on the most flimsy of pretexts, making us wait while he pretended to fix something, before starting our machines up again. And all the while I saw his lips muttering and cursing. We kept our eyes on our work as he stalked up and down, for we knew what was coming.

He chose Mary Golspie that day – the youngest at only 15 years old – and he took her, as he always did, into the store room that overlooked the wheel pits in the shadowy corner of the East and Mid Mills. Not two months ago they had found a body down there, floating in the water, for the river was so high in December that the corpse had not drifted out beneath the building into the Tay. It was Mary Golspie’s older sister. Mr Mackenzie had told the Fiscal and her family that she must have slipped, and banged her head as she fell, making it impossible for her to cry out, for she was no doubt dead before she even hit the water. He said she had surely died quickly, and without pain. He said this so that she might be buried properly, and with dignity, but all of us in the weaving room knew what had really happened. We all knew that Jane had worked alongside Mary, that she had been a pretty girl, that both her parents were dead, and that she had been one of my father’s favourites. We also knew that she had killed herself in fear and desperation at my father’s tyranny. John Mackenzie knew it too, I was sure, though he said nothing.

At first my father used to make excuses – some fault or other in the mechanism of the loom that needed it to be stopped, and then he would take the girl into the store room to find ‘a spare part’. If a girl objected, then he took her anyway, but he would let her machine run and run until the thread broke and the weave was spoiled, and so she took twice as long to catch up once she came back. Flora Campbell had resisted him forcefully at first, and had almost lost her job because of it. But every one of us needed to work, and there seemed nothing we could do to stop him. Latterly, he had given up stopping our looms, finding us more compliant if we were threatened with the destruction of our work and the fouling of the loom – a situation that we alone would be blamed for. We lived and worked in fear of him, and he knew it.

And so he took us away; whoever he wanted, whenever he wished. No one could hear what happened in the store room, half-hidden amongst bales of cotton. The roar of the machines blotted out all cries, and we were deaf to anything but the crack of a hundred shuttles being smacked through the warp, the turning of the drive belts and the quick, rhythmic lift-and-drop-and-lift-and-drop-and-lift-and-drop of the loom reeds. But we knew what he did. All of us knew. We knew that he would stuff the girl’s mouth with a piece of fabric woven on one of our own looms; that he would bind her hands with a strip of cotton. And if we complained? No one would listen – we were women, after all, and of little value to anyone if we did not keep up our work. Besides, none of us ever got pregnant, that was not his way, he was far too clever – and far too brutal – for that.

The others looked down at their work, their faces impassive, as Mary was led away. The girls nearest to me looked over to catch my eye – but I was no different to them, I knew what happened in there as much as they, and I had no words to say in his defence. How could I? My father had done the same to me. They hated him, of course they did, but not as much as I.

Mary Golspie wept as she walked back to her loom. I saw two droplets of blood on the floor where she had passed by, scarlet and thick and as big as pennies, smeared by the hem of her trailing skirts. My father stood and looked out at us with his hands on his hips, and he smiled. And then all at once he was no longer standing there at all. I heard nothing because of the noise, but I saw him jerk suddenly, half spin around and then fall sideways, collapsing onto the floor with his arms and legs awry. Three of us, who had seen him drop, stopped our machines and rushed over to where he lay – and then we stood still. I held out my hands to keep the others near me, taking their fingers in my own as we looked down so that they would not touch him, would not show him any compassion. We did not stoop, or kneel at his side, but just stood there, staring down. None of us spoke. None of us could have been heard if we had, for the belts and the drive shafts kept turning overhead, the floor kept trembling beneath our bare feet, the echo from the walls hard and flinty with the clatter of the pickers striking against the metal-tipped shuttles over and over again. Beside him, on the wooden floor polished smooth by machine oil and the passing back and forth of so many feet, lay one such shuttle, six inches in length and bloody at the end. The side of his face – the cheek below his right eye socket – was bleeding; the skin sliced open to expose the bone beneath in a gash of white and crimson. The lips of the wound seemed to have drawn back, pulling it open like an obscene second mouth.

It was uncommon, if the machines were well-cared for, for such an accident to happen, but a sloppy overseer deserved what he got. It was not the first time the shuttle had flown out of the loom when the leather strap that bound the picker had snapped, though it was the first time that it had found its mark. We watched as the blood leaked from his face into the floor. Was he dead? Perhaps the white stuff I could see was brain as well as bone. And yet, would the blood flow so profusely if he was dead? I was sure it would not. And then I noticed a pulse throbbing in his neck and I knew he was no more dead than I, and I felt a terrible sense of injustice welling up inside me – how close we had come to being liberated! Were we meant to call Mr Mackenzie and have our persecutor taken up to the infirmary? He would be back amongst us in little more than a week and what, if anything, would have changed for the better? Had the shuttle been but two inches higher, I thought, it would have plunged into his eye, perhaps into his brain, killing him instantly. Beside me, I saw my father’s blood mixing with a splash of little Mary Golspie’s. Some of the others noticed it too, and I saw their faces darken.

It was not long before the men returned from the workshop. They brought with them a truckle of wet cement and some new bricks, and they laboured as fast as they could so that they might get out of the place and away from the dementing racket of the looms. They asked where my father was, mouthing the words as if I were deaf. I shrugged that I did not know.

When I walked home that night, back up the brae to the village, I was wearing my father’s boots under my skirt. No one noticed. Later, I went out and I threw them into the Tay.

The next day, the men came back to plaster the wall. By the following morning when the plaster had dried, and been whitewashed, there was no evidence that there had ever been a hole there. Mr Mackenzie came up to look at the job. He ran his hand over the plasterwork and inspected his fingers, and seemed satisfied enough. He looked out of the window at the wheel pits, and at the men swarming about down below, at the lifting gear that had been brought in and the carts and horses standing around. The inspector was waiting over by the gate house, scribbling in his notebook. There were plenty of things for a foreman to fret about, trying to keep the mills as productive as possible while one of the wheels was not working, and I saw his shoulders lift and fall as he sighed. He turned to me.

‘Where’s your father?’ he mouthed.

‘I don’t know, Mr Mackenzie,’ I replied. ‘Perhaps someone’s bricked him up inside this wall.’

He grinned. ‘I’d be tempted, if I were you.’

I smiled, as I was supposed to, and watched him walk away. How simple he made it sound! And yet it had taken six of us to do it, six of us working in silence as the looms roared and rattled around us: six of us to bind his hands and feet and stuff his mouth with rags, to clean up his blood and force him into the derelict flue. Our fingers were quick with his bindings – had we not spent our lives knotting and tying? We could truss him as fast as we could thread any shuttle. But then we had struggled, for his shoulders would hardly fit and his knees bent and wedged tightly against the bricks, his boots catching on the stonework so that eventually I had torn them off and tossed them aside. We had stuffed bricks and rags in after him, filling the hole as the workmen had done, mopping the blood from the floor with old sacks and pushing them up there, before stepping away to admire our handiwork. We were afraid of being caught, very afraid, for what would become of us if we were found out, even those who had helped only with their silence? But what was done was done.

And so we waited: would he move his knees and ankles and slip back down? Would the workmen look up and see the soles of his feet protruding from the stuff we had rammed in after him? We had no sleep until the hole was bricked up and its scar painted over. I wondered, sometimes, what he had thought when he awoke in that dark confined space, tightly bound and gagged, with the stink of blood and whale grease in his nostrils from the shuttle, and the pain of where we had pushed it. Did he die screaming? No one heard him if he had.

This is an edited extract from ‘Bloody Scotland’ (2017).

The Resurrection of Desmond Bagley

Desmond Bagley (1923-1983) was an English journalist and novelist known mainly for a series of bestselling thrillers. He and fellow British writers, such as Alistair MacLean, set conventions for the genre: a tough, resourceful, but essentially ordinary hero pitted against villains (and weather conditions) determined to sow destruction and chaos for their own ends.
Bagley's work spanned 16 thrillers, written between 1963 and 1985, the last two were published after his untimely death in 1983.

As was the case with Alistair MacLean, several unfinished manuscripts were discovered after his death. His wife, Joan Magaret Brown managed to finish two of them, namely 'Night of Error' (1984) and 'Juggernaught' (1985). Both were published posthumously.

Then it went quiet.

But in 2019, Brockhurst Publications, the company that managed the estate of Desmond Bagley, decided that another unfinished manuscript of Desmond Bagley should be completed. Originally drafted in 1972, the first draft of a thriller entitled 'Because Salton Died' was only discovered in 2017. This first draft had handwritten annotations by both Bagley and his editor, Bob Knittel.

Brockhurst Publications hired writer Michael Davies to complete the thriller. The result, 'Domino Island' was published in 2019, a hiatus of 34 years after Bagley's last thriller.
Then, in October 2022, HarperCollins announced they had acquired Bagley's catalogue from Brockhurst Publications. Alongside the deal, publisher David Brawn revealed that a new original novel – written by Michael Davies as a sort of sequel to 'Domino Island' and using the same protagonist, Bill Kemp – would be published as a centenary tribute to Bagley. The novel, entitled 'Outback', was published in 2023.

Such was the (commercial) success that a further sequel, 'Thin Ice', also featuring Bill Kemp, has been published in 2024.

Therefore, it is entirely possible in this Aetate Inutilis Notitia ('Age of Useless Information') to resurrect a somewhat forgotten writer. Therefore it is not beyond the realm of impossibilities to rivive Alistair MacLean too again.

[Review] Elaine Thomson: 'Hawthorn'

In 1871, the Ordnance Survey is charting Scotland's most remote north-easterly county, a bleak landscape of endless moorland and lonely crofts. Then, cartographer Robert Sutherland twists his ankle, tumbles into a bog, and the accident leaves him inches from death. He is taken to Leask House, to recuperate under the care of Mrs. Sinclair and her beautiful daughter Isabel. Sutherland is treated with copious amounts of laudanum.
As he slowly recovers, Sutherland is plagued by strange occurrences and apparitions, and he thinks that these dreadful visions are the result of the medicines he has been prescribed. But as events take ever stranger and more terrifying turns, Robert begins to wonder whether his presence at Leask House is really a coincidence at all. Someone - or something - has summoned him here.

So, what to make of this book? We know Elaine Thomson from her mysteries that feature Jem Flockhart, the apothecary. This, however, is a novel approach to a route well-travelled: haunting, mysterious, and ghostly. I kept hoping that a tendril of the story would reach out to the universe of Jem Flockart. Not so.

Robert Sutherland is the almost classical persona: the orphan who knowns next to nothing about his past. What seems to ail Sutherland? Is the house haunted and wants to keep him sort of hostage? Is one of the occupants of Leask House using their creepy fingers to induce madness? Or is all that happens just a figment of Sutherland's warped imagination?

It's my rational mind that suspects (or hopes) that Sutherland suffers from a (then unknown) condition called Dissociative Identity Disorder (DID), caused by traumatic experiences and exacerbated by the mind-bending medication he had taken. This disorder was previously called Multiple Personality Disorder (MPD) or, as the French would call it so fittingly, dédoublement. It is a disorder that might explain the disruptive actions that seemingly happen to Sutherland. Are there two Sutherlands?

I really liked the brooding, moody, and evocative descriptions of the landscape, the forever changing weather, and the interaction between Sutherland and the Sinclairs. Yes, there is some explanation as to what was the cause-and-effect of part of the mystery, but the most important question remains unanswered.

'Hawthorn' is a novel worthy of Elaine Thomson. But, somehow, I missed a protagonist, someone who would find the culprit, explained it all in a rational way, even if it was Sutherland himself. Elaine Thomson knows that I hate being left in the dark.

[Recensie] Anita Terpstra: 'De Hoop van Holwerd'

Ooit lag Holwerd, net als Harlingen, aan zee, maar opeenvolgende bedijkingen en inpolderingen zorgden ervoor dat het plaatsje van zijn levensader werd afgeknepen. Jongeren trokken weg, de middenstand verdween, werkgelegenheid nam af en huizen bleven te koop staan. Mede aan de hand van haar eigen familiegeschiedenis vertelt Anita Terpstra het verhaal van het dorp dat maar geen stad kon worden.
Wat als rode draad door het boek loopt, is het verval van een dorp waar Anita zo van is blijven houden. Zelf woont ze met haar gezin in Leeuwarden en dus is ze op microniveau onderdeel van het probleem waarover ze schrijft. Het boek is wat chaotisch van opzet, wat ontstaan is door het concept dat gekozen is: ze vertelt de geschiedenis van Holwerd en vindt ruimte om ook de historie van haar omvangrijke familie te beschrijven.

'De Hoop van Holwerd' voelt als een pendant van de boeken van Anne-Goaitske Breteler die bijvoorbeeld in 'De traanjagers' schreef over de boerenzonen die een carrière op de walvisvaart kozen boven de onzekere toekomst van het boerenbestaan.

Holwerd raakt stilaan leeg en die trend lijkt niet te stoppen. De afgelopen decennia zijn er voor Noordoost Fryslân door diverse overheden talloze plannen en visies ontwikkeld om de regio uit de verpaupering te halen. Al deze plannen zijn op enkele onderdelen na in een la beland en Holwerd glijdt langzaam, maar zeker verder weg. Visionairs hebben echter een plan ontworpen: Holwerd aan Zee.

Holwerd aan Zee is de hoop om die achteruitgang te keren. Doorbreek de Waddenzeedijk en laat het water in een binnenmeer stromen, zo luidt het hoofddoel van het plan. De achterliggende hoop was economische ontwikkeling door de aanleg van een haven, boulevard, binnendijks strand, vakantiewoningen, bezoekerscentra en het opwaarderen van de pier.

Holwerd aan Zee doet ook denken aan al die projecten die ook de gemeente Harlingen voortdurend probeert uit te voeren om meer toeristen de stad Harlingen in te lokken. Zowel Holwerd als Harlingen zijn slechts opstapplaatsen voor toeristen naar de Waddeneilanden. Men hoopt dat men gezinnen kan verleiden om een dag of dagdeel in Holwerd of Harlingen door te brengen voordat men met de veerboot naar Vlieland, Terschelling of Ameland vaart.

Ik kan alvast iedere ambtenaar of visionair die hoop ontnemen, want draai het eens om: ieder jaar kiezen miljoenen mensen een vakantiebestemming aan de kusten van de Middellandse Zee. Hoeveel, denk je, zullen daarvan denken: laten we een dagdeel in Amsterdam besteden, want daar is zoveel interessants te beleven? Misschien een handvol, maar de meesten van hen hebben hun zonnige bestemming al in hun hart en hoofd zitten.

Intussen is Holwerd aan Zee een bijna stille dood gestorven. Ambtenaren en geldschieters hebben hun handen er vanaf getrokken. Het bleek een ijdele hoop.

Ik snap het wel. Het verval van een geliefd dorp vreet aan je en je hoopt dat iets of iemand het tij kan keren. Holwerd ligt echter zo excentrisch dat toeristen uit de Randstad het simpelweg te ver weg vinden. Voor iemand uit de Randstad ligt Friesland psychologisch al bijna in Scandinavië. Vergetelheid is misschien het lot van Holwerd en dat is een treurige conclusie.

'De Hoop van Holwerd' is een leesbaar document dat vaag doet denken aan Geert Mak's 'Hoe God verdween uit Jorwert'.

'De Hoop van Holwerd' van Anita Terpstra is uitgegeven door Thomas Rap en is verkrijgbaar bij je plaatselijke boekhandel of bol.com.

Elaine di Rollo on 'Bleakly Hall'

Elaine di Rollo (later known as Elaine Thomson) is the author of the heart-warming novel, 'Bleakly Hall'. Set at a hydropathic in post-WWI Britain, we see old values change, and meet a range of characters who are dealing with the aftermath of war.
I know that you have a PhD in the Social History of Medicine; how did you first become interested in writing fiction?
I was always interested in writing fiction. Early attempts included 'The Fox Who Lost His Tail' and 'How Bunny Got His Bounce' when I was six or seven. Shortly after, I went to secondary school and gave up such foolish ideas. However, I read all the time. There was nothing else to do in Lancashire in the 1970s and 1980s apart from watch the sprout fields grow. When I began my PhD I tried again – I think I felt constrained by the requirements of academic writing.

'Bleakly Hall' is set in post-WWI Britain with episodes on the Front; what was the research and writing process like for this novel?

At first, I didn’t want to set any of the book at the Western Front – with books like 'Birdsong' and 'Regeneration', it seemed a risky undertaking, but it proved impossible to ignore. Mostly, I read first-hand accounts from people who had been in the trenches or at the Front in hospitals. I visited the Imperial War Museum and spent the entire day in the First World War exhibits. One source I found particularly interesting was the 'Wipers Times' – a trench newspaper, printed on an old press culled from the wreckage of Ypres. It’s unique and poignant, but filled with wit and gallows humour. I was afraid to write the sections set in the trenches, but they came together much easier than other parts of the book. War is so extreme, so dramatic, that it writes itself, but I only wanted sections at the Front. It would have been too intense, too overwhelming otherwise.
A hydropathic is an unusual setting for a novel; can you tell me more about the decision to base the book at Bleakly Hall?
I work in a building that used to be a hydropathic hotel, and which became the famous Craiglockhart Hospital. Wilfred Owen and Siegfried Sassoon met there. After the war, the place never really managed to get itself back on its feet as a hotel. I liked the idea of a crumbly institution representing "the establishment". Perhaps I had Arthur Marwick’s 'The Deluge: British Society and the First World War' at the back of my mind when I chose the watery location. And hydropathy is so bizarre – it seemed fitting to contrast the older generations’ preoccupation with trivial health ailments against the real issues of life and death, pain, loneliness and loss. At the same, time it provides some of the main comedy moments.

WWI is often under-shadowed in fiction, television, and film with more of the emphasis and storytelling focused on WWII, can you tell me why you decided to focus on this period?
I chose this period because it was the end of an era. The British Empire was in terminal decline, the Victorian values, which had dominated the previous century had been undermined, the lives and roles of women were changing, social class was becoming more fluid, social and political change seemed imminent and the prospect of this was frightening to some. I didn’t address all this, but I tried to be aware of it when creating the strange world of Bleakly.
Your first novel, 'The Peachgrowers’ Almanac' cq 'A Proper Education for Girls' is set between England and India in 1857. You are drawn to the past, can you tell me about this decision to explore events in history?
Sometimes fiction can remind us of significant past events, or make us see them in a different light. Fiction can make historical figures more real, it can generate sympathy or fear, or remind us of the importance of love, or hope. Simply reading history books doesn’t always make our own past meaningful to us. The best historical fiction should at least try to, and the past can seem more reassuring than the present. At least we know what happens next!

Each character in 'Bleakly Hall' has a specific role, how did you determine their personalities, and more specifically how they would interact with each other?
The characters evolved over a few drafts. I knew I wanted to have people whose experiences of the war were all very different. Some were to have hope, and some were not. Ada was the most interesting character for me. She began as a maid with a walk-on walk-off role with a tea tray. By the time I’d re-drafted the book a couple of times she was an important character, and one of the most optimistic.

How do you feel the novel explores each character’s personal narrative?
Each character has been changed or damaged by the war, some more obviously than others. Their experiences are deeply personal, but they are all united by their common understanding. I thought the idea of a sort of reluctant comradeship due to their shared experiences of the war was interesting – I tried to show this comradeship as supportive, and necessary, but also as stultifying (the hydropathic overheats badly) and as something that might prevent one from moving forward, to better times, but breaking out can be hard, and lonely, as the characters in the book show.

You use humour to explore complex relationships and the aftermath of war; can you tell me more about your use of language?
I’m glad you mentioned it as 'Bleakly Hall' must sound terribly depressing, but it’s not. Your question takes me back to the 'Wipers Times', I suppose. I’ve always admired its gallows humour; its satirical tone doesn’t diminish the events it describes. I was interested in the way tragedy and comedy can sit together. Do we feel relieved that we can laugh after or during a tragic event? Do we feel guilty when we are amused by something that we know is awful? I’m not sure what the answers are, but the questions interest me. I tried to use language, rather than events, or situations, to generate the comedy.

If you had to choose your favourite character in the book, who would it be and why?
Grier Blackwood. He is weak and indecisive, and ultimately is unable to move forward alone. But he was brave, ended up playing a part he had no stomach for, and is the one who tries, and fails, to keep everyone happy – including himself.

What are your plans for the future?
I have almost finished the first draft of a new novel, set in a department store in the 1880s. Like 'Bleakly Hall' and 'A Proper Education for Girls' it’s serious and humorous at the same time. It’s about consumerism, which is an absurd way to behave, when you think about it!

Source.

[Recensie] Anne-Goaitske Breteler: 'De laatste dagen van de dorpsgek'

In 'De laatste dagen van de dorpsgek' onderzoekt Breteler hoe plattelanders eeuwenlang zijn omgegaan met geestelijke gezondheid. Ze vraagt zich af hoe het kan dat er op het Friese platteland opmerkelijk veel zelfmoorden plaatsvinden en wat er met de 'dorpsgek' is gebeurd. Breteler heeft een punt, want het is inderdaad een onderbelicht onderwerp.
Toch heb ik het gevoel dat er weinig verschil is in psychische problematiek tussen het Friese platteland en die in de Friese steden, al zal het isolement en de eenzaamheid van het platteland wellicht een rol hebben gespeeld bij de overdaad aan zelfmoorden. Iemand, die lijdt aan depressie of zielenpijn, heeft in de stad meer mogelijkheden om zijn of haar kwaal met iemand te bespreken. Buurvrouwen kletsen en arbeiders ouwehoeren. Op het platteland lijdt je veel meer in eenzaamheid en dat alleen al kan de discrepantie in het aantal zelfmoorden verklaren.

Mensen met psychiatrische stoornissen moesten in vroeger tijden wel in dorp of stad worden gehouden. Er was geen alternatief. Pas bij extreme vormen konden deze mensen in een zogenaamd dolhuis geplaatst worden. Rond de eeuwwisseling (die van de 19de naar de 20ste) werden de eerste psychiatrische ziekenhuizen opgericht en daar konden de ernstigste gevallen opgenomen worden. Ze verbleven daar lange tijd (soms de rest van hun leven) en werden daar aan structuur en regelmaat onderworpen. Dat hielp voor veel patiënten. Intussen zijn de tijden veranderd en worden patiënten, nu cliënten genoemd, weer zoveel mogelijk in hun eigen omgeving opgevangen. Begeleid wonen is tegenwoordig het toverwoord.

Dan de vraag wat er met de dorpsgek gebeurd is. Allereerst is de dorpsgek niet slechts een fenomeen van het platteland. Afwijkende personages komen tot in deze tijd ook voor in de stad. Het verdwijnen is ook geen mysterie: hij is gediagnosticeerd en gemedicaliseerd.

Eerst kregen veel van deze mensen het etiket MBD (Minimal Brain Damage) opgeplakt en toen de wetenschap geen schade aan het brein kon ontdekken, kreeg de afkorting de betekenis Minimal Brain Dysfunction. Ook die kwalificatie is in de vergetelheid geraakt en tegenwoordig zijn er talloze diagnoses mogelijk. De psychiater kan daarbij een diagnose kiezen uit zijn bijbel, de Diagnostic and Statistical Manual of Mental Disorders ofwel de DSM. Maar psychiatrie is natuurlijk geen exacte (of zelfs echte) wetenschap en iedere diagnose is daardoor slechts de beste gok van een psychiater.

Ik heb de indruk dat het gekozen onderzoeksgebied wat te groot is voor die paar interviews die Breteler gevoerd heeft. Ook blijkt ze regelmatig in de war te zijn voor wat betreft de betekenis van de termen 'incest' en 'inteelt'.

Indien de titel van het boek je doet denken aan 'Hoe God verdween uit Jorwerd' dan heeft de lezer gelijk: Geert Mak las het boek en meende 'Het fenomeen 'dorpsgek' zo ziet de tegenkant van het idyllische plattelandsleven er dus uit. Origineel, inhoudelijk sterk, zeldzaam leesbaar. Wat een goed boek!'

Ik ben het niet met Geert Mak eens, maar ik begrijp hem wel: hij heeft het einde van zijn schrijversloopbaan in zicht (en wordt in 2025 al 78 jaar oud) en ziet in Anne-Goaitske Breteler wellicht een literaire opvolger.

Ondanks mijn gemopper is Breteler's boek zeer leesbaar en zeker moderne psychiaters zouden het verplicht in hun boekenkast moeten hebben, al was het alleen al om inzicht te krijgen in de historie van de eenzaamheid.

'De laatste dagen van de dorpsgek' van Anne-Goaitske Breteler is uitgegeven door Prometheus en is verkrijgbaar bij je plaatselijke boekhandel of via hier bij bol.com.

Elaine Thomson reveals title of next book [1]

Amazon stated on 4 July 2025 that Elaine Thomson's second Scottish ghost story would be published on 18 June 2026.
Which was even a surprise for Elaine Thomson herself.
Early August 2025, Amazon revealed that the second of Elaine Thomson's series of ghostly novels will be called 'Saltwater: A Midsummer Ghost Story'. The hardcover is slated to be published on 18 June 2026.
The description:
'The Isle of Stroma, 1896. Tom Torrance has been sent to oversee the completion of a new lighthouse, which will guide ships through one of the most dangerous stretches of water in the United Kingdom. The construction so far has been plagued by difficulties, giving rise to superstitious whisperings amongst the men, but Tom is a man of sense and science. He will not be cowed by stories of hauntings and bad omens.

Yet Tom is unprepared for the conditions on the island: the isolation and delirium of the endless summer nights. He soon learns that the real dangers on the island have nothing to do with the wild waves. There are some problems that science cannot answer, and some threats so ancient and strange, that nothing can keep them at bay'.
This post will be updated as more information becomes available.

A scientific article
If you're bored and want to read an interesting scientific article. Elaine Thomson was a contributor to 'Tobacco children: An ethical evaluation of tobacco marketing in Indonesia'. See here.

[Review] Giles Milton: 'Nathaniel's Nutmeg'

Giles Milton’s 'Nathaniel's Nutmeg' with its somewhat expansive subtitle, 'How One Man's Courage Changed the Course of History,' is a captivating dive into the world of 17th-century spice trade, centered on the obscure figure of Nathaniel Courthope (1585-1620). Milton masterfully blends meticulous historical research with narrative flair, transforming what could have been a dry account of colonial commerce into a thrilling tale of adventure, betrayal, and global power struggles.
The book chronicles the fierce rivalry between European powers - primarily the English and Dutch - for control of the Spice Islands, particularly the tiny island of Run, a key source of nutmeg, then worth more than gold.

Milton strangely focuses on Nathaniel Courthope, an obscure English merchant, hired by the East India Company. He arrived on 25 December 1616, with his ships, Swan and Defence, on the island of Run, the smallest of the Banda Islands.

In his efforts to break the Dutch hold on the nutmeg supply, he persuaded the natives to start trading with the British. Don't be fooled, because the islanders were always trying to evade the Dutch and were selling their nutmeg to the highest bidder, often to Chinese traders but sometimes to the British.

Our Nathaniel Courthope quickly ran into trouble. He lost his two ships to mutiny. He then proceeded to fortify the island by building forts to overlook approaches from the east. With just 39 men and the natives (who could not be trusted) with hardly any food and water, he managed to hold off a siege of the Dutch for over 1,540 days.

Very brave of him, you might think, but the East India Company sent numerous letters allowing Nathaniel Courthope to leave his post, but he doggedly persisted. Eventually, he was shot by the Dutch. In the end, it was all in vain, because the British traded Run and New Amsterdam for Surinam. Now, nothing is left of that once great empire.

Through vivid storytelling, Milton paints Courthope’s exploits against the broader canvas of the competition of the East India Company and the Dutch Vereenigde Oostindische Compagnie (VOC) for the Spice Islands.

Milton weaves together primary sources, such as letters and logs, with colourful anecdotes, bringing to life not just Courthope but also an entire cast of explorers, traders, and rogues. The narrative is rich with sensory details: the stench of ship holds, the allure of spice-laden breezes, and the constant threat of violence. He also deftly contextualizes the era’s geopolitical stakes, showing how a small island’s fate rippled across continents.

However, Milton’s focus on Courthope sometimes feels as if it was a construct. Even the subtitle - 'How One Man's Courage Changed the Course of History' – is rather stretching reality, because Nathaniel Courthope didn't change history. He was a small part of the history of the Spice Islands.

Still, 'Nathaniel's Nutmeg' is a compelling blend of history and adventure. If you devoured Milton's 'Paradise Lost: Smyrna 1922' (as I did), you won't be disappointed with this book.

[Review] Mark Stay: 'The Crow Folk'

While World War II rages in Europe, another sort of war is erupting in and around Woodville, a quiet village in rural Kent.
Faye Bright always felt a little bit different. And now she’s found out why. She’s just stumbled across her late mother’s diary, which includes not only an interesting recipe for jam roly-poly, but also spells, incantations, runes, and recitations. Which means it's witch’s notebook.

And Faye seems to have inherited her mother’s abilities.

Just in time, too, because the Crow Folk are coming. Led by the charismatic Pumpkinhead, their strange magic threatens Faye and the villagers. Armed with little more than her mum’s words, her trusty bicycle, the grudging help of two bickering old ladies, and some aggressive church bellringing, Faye will find herself on the front lines of a war nobody expected.

Right, by now the reader will have understood that this is a book that is clearly in the realm of fantasy. What did I make of it?

Yes, the story is inventive and creative, but the way the story is written is not. I got the distinct impression that Mark Stay somehow has lost the love of writing, and that he sees it as doing a 9 to 5 job. A job that didn't even involve doing proper research.

Already in the first chapter, the main character, Faye, observes that a regular in the pub of her father, leaving the toilet without flushing or washing his hands (page 25). The problem is that during World War II, running water in England was a vital, but mostly limited resource. While some areas, like larger cities, had access to mains water, rural areas often relied on wells, handpumps, or water from communal sources. And that's one of the problems: you never get the sense of time and place. Faye is a modern girl in an historic setting.

The conclusion is that 'The Crow Folk' is a bit of a disappointment.

[Review] Stuart Douglas: 'Death at the Dress Rehearsal'

Many of us fondly remember the British sitcom 'Dad's Army' about some bungling members of the United Kingdom's Home Guard during the Second World War. The series ran from 1968 to 1977. The Home Guard consisted of local volunteers otherwise ineligible for military service, either because of age (hence the title 'Dad's Army'), medical reasons or by being in professions exempt from conscription, such as greengrocers and butchers.
'Dad's Army' was set in the fictional seaside town of Walmington-on-Sea, located on the south coast of England, presumably not far from Eastbourne. The platoon was commanded by the rather pompous Captain George Mainwaring (Arthur Lowe), assisted by the somewhat too relaxed Sergeant Arthur Wilson (John Le Mesurier).

Fast-forward to the 1970s, and we encounter somewhat familiar faces in the BBC sitcom 'Floggit and Leggit', where the main roles are played by Edward Lowe and John Le Breton.

During the filming of their sitcom in Shropshire, Edward Lowe discovers the body of a young woman, apparently the victim of a tragic drowning accident. But something doesn't sit right by Edward Lowe, and he thinks that the woman might be the victim of foul play. The police are, as you would expect from a comedy like 'Dad's Army' wonderfully inept. Edward Lowe is irresistibly drawn to an investigation, assisted by John Le Breton who has retained trademark air of helplessness of Sergeant Wilson.

Unknowingly, the intrepid duo of aging actors become part of a rather sinister story that has its murky origins in wartime Britain.

No, this is not a simple pastiche of 'Dad's Army'. It's much more than that. It's more a reimagining of the characters. Yes, you can certainly hear the voices of Captain Mainwaring and Sergeant Wilson in their alter egos Edward Lowe and John Le Breton, but that makes them an unforgettable pair of sleuths. A beautifully rendered group of supporting characters builds a very strong tale with a rewarding and thrilling conclusion.

Sitcoms like 'Dad's Army' or ''Allo 'Allo!' cannot be made anymore these days. People have grown longer toes over the last decade or so. If you're not one of these irritating humans, you will certainly enjoy 'Death at the Dress Rehearsal'.

The second Lowe and Le Breton mystery titled 'Death at the Playhouses' has just been published. I've immediately ordered it.

[Review] Alexandra Benedict: 'The Christmas Jigsaw Murders'

On 19th of December, renowned puzzle setter, lonelyness expert, and Christmas hater Edie O’Sullivan finds a hand-delivered present on her doorstep. Unwrapping it, she finds a jigsaw box and, inside, six jigsaw pieces. When fitted together, the pieces show part of a crime scene – blood-spattered black and white tiles and part of an outlined body. Included in the parcel is a message: ‘Four, maybe more, people will be dead by midnight on Christmas Eve, unless you can put all the pieces together and stop me.’ It’s signed, Rest In Pieces, shortened, obviously, to RIP.
Edie contacts her nephew, DI Sean Brand-O’Sullivan, and together they work to solve the clues. But when a man is found near death with a jigsaw piece in his hand, Sean fears that Edie might be in danger and shuts her out of the investigation. As the body count rises, however, Edie knows that only she has the knowledge to put together the killer’s murderous puzzle.

At first glance, it seems a bit of a stretch to imagine an octogenarian embarking on a dangerous mission to solve strange clues that a murderer leaves on victims and even on her doorstep. Why, you might rightfully ask, does a murderer want to leave pieces of a puzzle that could eventually become his (or her) own downfall.

The idea of using pieces of a jigsaw to drop clues to the killer’s plan is very creative in itself, but it would have worked so much better if these pieces were depicted in the book. Now, we do not have a clue what they actually look like.

But this is a wicked mystery that Alexandra Benedict treats us with. Let's not dwell on some of the inconsistencies in the story and worry about the question: Can Edie solve the puzzle and find the killer first before more, and more personal murders are committed?

As always, Alexandra Benedicts' writing itself is a joy to read. The style often borders on poetic but is sensitive when she enters the darker territories of the story.

What bothered me just a tiny bit was that the real spirit of the days of Christmas was lacking. You would expect that it would have featured more in a book that was adorned with the title 'The Christmas Jigsaw Murders'.

In the end, I'm sorry to conclude that 'The Christmas Jigsaw Murders' is a just bit mediocre.

Elaine Thomson and her thesis on women in medicine

Elaine Thomson came to Edinburgh University in 1987 to study English Literature but switched to History after a year. By the time she left the University in 1998, she had passed through the departments of English, History, Sociology, Law, and back to Sociology for her PhD in the history of medicine.
In 1998 Elaine Thomson submitted her thesis titled 'Women in medicine in late nineteenth and early twentieth-century Edinburgh: a case study'.

This thesis explores the foundation and operation of the first hospital to be established and run by women doctors in Scotland, the Edinburgh Hospital for Women and Children (1885), and its sister Hospital, the Hospice (1899). The main concern of this thesis is to consider the social and cultural. factors which shaped women doctors' professional interests at these Institutions.

Chapter I outlines notions of feminine propriety which prevailed in the Victorian period, and considers how middle-class women sought to subvert these restrictions and gain for themselves some sort of active role in public life. The foundation of the Edinburgh Hospital, and the Hospice, is considered within this context. The women who made up the Executive Committee of the Hospital are shown to have been part of a wider local and national feminist network, and this support undoubtedly contributed to the Hospitals' success.

Chapter 2 looks at the significance for the medical women of the changing nature of medical knowledge in the late nineteenth century. In this period the discipline of physiology gradually shifted from a holistic conception of the body to a more organ centred, reductionist model. Women doctors argued that the older conception of physiology, which could also be understood as hygiene, was of great interest to female practitioners. Women doctors, they suggested, would be the most suitable ambassadors for the dissemination of knowledge of personal and domestic hygiene to women at large. As the dispensers of such knowledge, it was also suggested that women doctors would act as agents of morality with regard to health, cleanliness and moderation amongst this important constituency.

Chapter 3 suggests that the actual practice of medicine at the Edinburgh Hospital for Women and Children reflected the same preoccupation with hygiene and the holistic conception of physiology that had been used in women's arguments to enter the medical profession in the 1870s. The theme of morality, specifically the morality implicit in the practice of medicine at the Edinburgh Hospital continues to be explored.

Chapter 4 shifts the focus of attention to the recipients, rather than the providers, of medical care at the Edinburgh Hospital by considering the lower middle and working-class women who received medical treatment there. It explores the illnesses (and their causes) which these patients complained of, and explores the social role which the Hospital served in the community, from its foundation in 1885 to the end of the century.

Chapter 5 is concerned with the medical women's work at the Hospice. It discusses the emergence of a distinct specialism, infant and maternal welfare, which occurred at this institution from 1905. The development of this specialism is linked to the limited opportunities which existed for medical women in the city, as well as to the moral role in medical practice which they had outlined for themselves in the previous century.

Chapter 6 continues to explore these themes in relation to the development of the Edinburgh Hospital as a centre for the treatment of VD in the inter-war period. A growing pragmatism amongst the. medical women is observed, and a shift in the moral tone of their work is pin-pointed as they become increasingly bound up with the propaganda campaigns of the NCCVD and the Public Health Department of Edinburgh Town Council.

Interested? Download Elaine Thomson's entire thesis here.

Extra: In 2001, Elaine Thomson also publiced a paper on the same subject with the title 'Physiology, Hygiene and the Entry of Women to the Medical Profession in Edinburgh c. 1869–c. 1900' in the somewhat grandly titled academic journal 'Studies in History and Philosophy of Science Part C: Studies in History and Philosophy of Biological and Biomedical Sciences'. See here.

[Recensie] Anne-Goaitske Breteler: 'De traanjagers'

Noem tegenwoordig de walvisvaart en menigeen zal negatief of walgend reageren. Niet dat walvissen aaibaar zijn, maar 'het kan niet meer'.
Wat iedereen vergeet, is dat een deel van de welvaart van ons land afkomstig is van de jacht op walvissen. Vanaf de zeventiende eeuw werd de walvisvaart in de Noordelijke IJszee door Nederlanders grootschalig aangepakt. Het loonde zelfs om op Spitsbergen een nederzetting te stichten met de naam Smeerenburg. Al rond 1670 waren bij Spitsbergen zo weinig walvissen over dat schepen moesten uitwijken naar andere polaire gebieden. De winsten liepen daardoor scherp terug en Nederland stopte uiteindelijk maar met de jacht op walvissen.

De gevolgen van de Tweede Wereldoorlog zorgden echter voor een herstart van de walvisvaart. De bezetters hadden de veestapel weggevoerd om de Duitse militaire magen te kunnen vullen. Daardoor was er in ons land een groot gebrek aan dierlijke vetten. Die waren nodig voor de productie van margarine. De oplossing lag voor de hand: herstart de walvisvaart.

De Nederlandse regering kocht een Zweedse tanker en liet deze ombouwen tot de Willem Barendsz (10,635 BRT), een moeder- en fabrieksschip voor de verwerking van walvissen die door de jagers (wendbare scheepjes) werden gevangen. De walvisvaart in de wateren rondom de Zuidpool bleek een succes en dat leidde in 1951 tot de bouw van de Willem Barendsz II (26,830 BRT). De oorspronkelijke Willem Barendsz werd hernoemd tot Bloemendael en werd wederom omgebouwd tot een tanker, bestemd voor de bevoorrading van het nieuwe moederschip.

'De traanjagers' is een eerste poging tot geschiedschrijving van de walvisvangst in de 20e-eeuwse Antarctische regio, gezien door de lens van de auteur. Breteler woont in Moddergat, een plaatsje in de gemeente Noardeast-Fryslân en werkte af en toe in het café 'De Bûnte Bok (voorheen 'De Albatros') in het nabijgelegen Lioessens. Daar bevond zich een muurschildering met een afbeelding van de walvisvaart. Dat was het begin van haar zoektocht naar de verhalen van die naoorlogse activiteit.

Wat 'De traanjagers' van meer academische boeken onderscheidt, is de manier waarop het historische feiten verweeft met persoonlijke verhalen. Anne-Goaitske Breteler beschrijft het verhaal met gevoel en mededogen.

Door middel van gesprekken met nog levende walvisjagers, nu allemaal ver in de 80, biedt Breteler een verslag van een vervlogen tijdperk. Tegelijkertijd schijnt ze eindelijk een licht op een industrie die het sociaal-economische landschap van kustgemeenschappen heeft gevormd. Het boek is een eerbetoon aan de menselijke veerkracht en de complexe, voortdurend veranderderende relatie tussen mens en natuur.

Af en toe heb je echter de indruk dat het boek nog wat meisjesachtig geschreven is, alsof Anne-Goaitske Breteler nog wat te weinig kennis over het onderwerp had vergaard of nog te weinig levenservaring had.
'De traanjagers' is een waardevolle aanvulling op de literatuur over de walvisvangst en een ontroerend eerbetoon aan de onbezongen helden van de Antarctische zeeën. Tegelijkertijd is het boek noodzakelijk omdat het een vergeten (of zelfs verdrongen) deel van onze vaderlandse geschiedenis belicht.

Extra: Deze recensie is op 22 november 2024 ook verschenen in de regionaal verschijnende Harlinger Courant.

'De traanjagers' van Anne-Goaitske Breteler is verkrijgbaar bij je plaatselijke boekhandel of via hier bij bol.com.

Unknown Bram Stoker story rediscovered

While browsing the archives of the National Library of Ireland in October 2023, Brian Cleary, an amateur historian discovered a long-lost short story by Bram Stoker, published just seven years before his legendary gothic novel Dracula.
'Gibbet Hill' was originally published in the 1890 Christmas supplement of the Daily Express Dublin Edition. The short story but has been undocumented ever since.

The story is set in Gibbet Hill in Surrey, a location also referenced in Charles Dickens’ 1839 novel Nicholas Nickleby. It tells the tale of a sailor murdered by three criminals whose bodies were strung up on a hanging gallows as a warning to passing travellers.

The blurb reads 'As if by the irony of fate, there, beside me, was a grim memorial of man’s wickedness and lust for blood─a tombstone by the roadside… A man escaping the confines of London walks on Gibbet Hill in Surrey, drinking in the lush scenery, taking a breath from his busy life, when from this idyllic landscape emerges something out of place: a tombstone, and beside it three children, striking in their youth, yet with a presence that feels almost as old as the hills themselves.

Paul Murray, Bram Stoker's biographer, said 1890 was when he was a young writer and made his first notes for Dracula. He confirmed there had been no trace of the story for over a century. "It's a classic Stoker story, the struggle between good and evil, evil which crops up in exotic and unexplained ways," Murray added.

'Gibbet Hill' is being published by the Rotunda Foundation - the fundraising arm of Dublin's Rotunda Hospital for which Mr Cleary worked.

All proceeds will go to the newly formed Charlotte Stoker Fund - named after Bram Stoker’s mother who was a hearing loss campaigner - to fund research on infant hearing loss.

Order your copy here.

Elaine Thomson: The Creation of Jem Flockhart

I’d always wanted to be a writer. I read a lot as a child, and wrote loads of stories at primary school – long rambling things, usually based on thefts and hauntings (“The Mystery Of The False Teeth” is an unpublished classic!) Then I went to secondary school and was shepherded towards maths and physics and other things I’m really bad at. I kept reading, but I read mostly 19th century novels – Wilkie Collins, Charles Dickens, RL Stevenson; later on some HG Wells, Graham Green, DH Lawrence… I spent a year reading nothing but Dylan Thomas. Anyway, as I was mostly reading stuff written by dead men, I never really got a sense that writing was something someone like me could do. Growing up in the 1970s and 1980s in a small town in the middle of the Lancashire sprout fields and coming from a non-graduating family, writing a novel and getting published seemed as likely as visiting Mars.
Then I went to Edinburgh University (my family are from Scotland), where I studied English then switched to history. I kept reading novels. I got a job at Waterstones after my undergraduate degree and eventually tried some contemporary fiction. At that point, I thought “I could do this!” for the first time. I got a PhD in the history of medicine, and found it all so fascinating that I decided to see whether I could put it into a novel. I got an agent on the back of 'A Proper Education for Girls' (2009), that first manuscript. I wrote another novel called 'Bleakly Hall' (2011) and got a publisher this time too! I started off writing more literary fiction, but when my publisher suggested I try crime, Jem Flockhart was created in 'Beloved Poison' (2016).

Crime fiction is often regarded as inferior to other sorts of fiction but recent authors like Robbie Morrison, Graeme Macrae Burnet and Alis Hawkins have shown that it can be beautifully written and deeply evocative of time and place, as well as having a compelling narrative and being intricately plotted. I love crime fiction – as a genre it offers a puzzle, and we all like to work out puzzles. It’s a safe space to read about awful things, which I think humans also find appealing – exciting and horrifying, but with a satisfying resolution and no actual threat to ourselves. And there are so many excellent writers too; readers have so many opportunities to find characters and locations and historical time periods that appeal to them – and if there’s a crime, then you can add excitement into the mix. What’s not to love about that?

I wrote my first two novels on the Number 23 bus going from Stockbridge to Morningside. Forty minutes every morning and then again in the evening as I went back home. I never write on the bus these days as I walk to work now. I started off writing longhand with a fountain pen in a hardbacked wire-spined A4 notebook, and I still write this way. I love the connection between the mind and the hand, and the pen and paper. It’s centuries old as an approach and that appeals to me. I have to use a fountain pen – I have four favourites. If I forget my pen, I can’t write. I’ve written nine novels like this. Every few days (if I can) I type up what I’ve written.

Now, writing is much, much harder. I no longer have an hour and a half on the bus – time to myself to be creative. My job is ten times busier than it used to be. I now have two sons, and although they are old enough to look after themselves, they are still at home. When writing the first four Jem Flockhart books I was a single mother with a full-time job. It was super-hard producing fiction, but I could do it when my sons were in bed (they went to bed at 7pm on the dot!). Now, my day job as university lecturer takes up so much more of my time and energy – plus I am older and more tired, my sons watch things on TV that tempt me to loll exhausted on the sofa and watch with them. These days I only get to write when I go an a writing retreat – I’ll blitz out 20,000 or 30,000 words in a frantic week long hand then type them up in between the blizzard of emails and classes when I get back. It’s quite stressful. But what else can I do? Carry on or give up are the only options. I choose to (try to) carry on.

Source.

[Review] Lucy Worsley: 'Agatha Christie'

Writer and historian Lucy Worsley (1973) has written 'Agatha Christie: A Very Elusive Woman', a passionate and very readable biography of Agatha Christie (1890-1976). Surely, there have been other biographies that covered the same subject and the question is if Lucy Worsley would be able to add something new to these.
Until Worsley's book appeared, Laura Thomson's 'Agatha Christie: A Mysterious Life' was considered to give the best insight into the life and times of Agatha Christie. Worsley certainly gives me the impression that she tried to get into the mind of the great writer. What drove Agatha Christie and what held her back?

"The psychological approach - that's the only thing nowadays," Colonel Easterbrook says in 'A Murder is Announced' and he was right, although he was portrayed by Agatha Christie as somewhat dim. Worsley uses Christie's books to get an insight into the mind of the author, because every writer puts something of herself into the text. You write, they say, what you know about.

Worsley had to cover Christie’s 1926 mysterious disappearance. No biography of Agatha Christie would be complete without it. What Worsley does do when discussing it is to build a convincing argument that Agatha Christie had temporarily lost her memory due to the huge emotional stress of the breakdown of her marriage and the discovery of her husband’s affair. She actually couldn’t remember what had happened to her. The psychological term for this sort of temporary memory loss is fugue (Latin: flight). Your brain tries to protect and heal itself by temporarily shutting down.

What emerged from this biography was that there existed several versions of Agatha Christie. The Christie the public knew was shy, introvert, and guarded. In private she liked (extended) family gatherings and to spend her money on houses and she amassed quite a few of those.

Worsley sprinkles interesting factoids thoughout the book and that makes the 'Agatha Christie: A Very Elusive Woman' so very readable. It amazed me is that Lucy Worsley could find the time to gather all the information about Agatha Christie. Remember that Worsley is a historian, author, television presenter, and at the same time curator at Historic Royal Palaces.

Lucy Worsley wrote a well-researched biography and it is a fascinating read, looking at Christie in an almost tender, loving way. Buy the book!

[Review] E.S. Thomson: 'Under Ground'

Finally, I had the book in my hands: the seventh adventure of Jem Flockhart and Will Quartermain. In this installment, Flockhart and Quartermain are called to a house of ill-repute owned by the well-known Mrs Roseplucker. There, a client has been murdered. The face of the corpse has a look of mortal terror, and its throat has been slashed like a frenzied animal has been at work. Jobber, an employee of the house, is arrested by the police because 'if he isn't guilty of this crime, he will sure be guilty of another'. Keen to keep the establishment’s 'reputation' for discretion, Mrs Roseplucker asks the pair for help. It turns out that the victim is Edward Mortmain, the heir to the family fortune, which has largely been accumulated via rents from the dilapidated Prior's Rents.
Jobber is surely going to be found guilty of a crime he did not commit and our intrepid duo are therefore hurled into a race against time. Flockhart and Quartermain are also tasked with finding the murderer by Henry Mortmain*, the ailing, but perfectly sane patriarch of the family. Throughout the family history, a giant rat features heavily. It is reputed to always kill the heir. Remember, Edward Mortmain was the heir.

Meanwhile, Will has taken on a commission to investigate the crumbling sewer system below London. Unwittingly, he's on the trail of another notorious killer: cholera. London was a city overwhelmed by the human excrement of its ever-growing population in the squalor of overcrowded slums, such as Prior's Rents. Human waste piled up in courtyards and overflowed from cesspits into the gutters and waterways. The River Thames had become London's largest open sewer.

I have always known that Elaine Thomson could evoke the sensations of decay, stink, and other malodorous substances that covered Victorian London in the mid 1850s better than anyone else, but in this novel she has reached a new level, worthy of a Grand Mistress, in describing the fetid atmosphere that you had to endure if you lived in London.

Rats – I hate them now even more than I ever did before – feature both above and underground, and their effect was like Arthur Conan Doyle’s 'The Hound of the Baskerville'. Always lurking in the shade. Always menacing.

'Under Ground' is a masterpiece of gothic suspense, crime, slime, and grime. Publishers so often put the word 'unputdownable' on the cover of their books that it lost virtually all meaning. This one, however, is guaranteed to be unputdownable. I promise.

* Mortmain ('dead hand') is also the perpetual, inalienable ownership of real estate by a corporation or legal institution.