In all good bookshops now!
Today I’m delighted to feature an interview with multi-talented composer, musician, writer and fairy tale aficionado, Louisa John-Krol.
Louisa, you have had an amazing career writing and performing music and words over a long period of time. Can you share some of your journey? How did you start, and how did your work develop?
Thanks, Sophie. It began with a hum. Singing plants and poems into melody, and believing in dryads, I made a garden with a wetland, frog pond and flowering vines, ripe for solitude. Fantasy chronicles of Earthsea, Middleearth and Narnia inspired me, as did Faeries co-written by Alan Lee (who went on to design sets for Tolkien films) and Brian Froud (who later made a music clip ‘Muse’ for my music). Life hasn’t felt like a linear journey. More a kaleidoscope with jumbled swirls that sometimes form patterns, hint at echoes, or slide into oblivion. Foreign indie labels released most of my music from the age of 30 onward. I got to perform, compose or record with brilliant eccentrics here and overseas; just as well, for I was never a virtuoso. Less a prodigy than a pixie. (Funny how in some circles it’s a contest as to how early one masters an instrument. Infancy, anyone?) The cliche of singing before we can talk, of dancing before we can walk, of surmounting setbacks, haunts Romantic notions. In some underground neo-medieval/ baroque/ classical/ gothic modern-primitive tribes I’ve inhabited, it’s customary to bemoan corruption. Perhaps I still revel in Voltaire’s ironic ‘best of all worlds’. But being a paid artist was no more admirable than other jobs. It all meant being present with a vast cross-section of humanity. Whether fairy storytelling at carnivals, teaching at disadvantaged schools, writing press releases for parliamentarians, liaising with ecologists, singing at festivals, or tapping royalties from boutique recording labels, I learned to respect time. Not sure I overcame bullying or disappointment, which abounds in corporations or bureaucracies. Whatever lands on a page, or screen, or reel, or disc, is stardust floating long after explosions that elude comprehension. A couple of years ago I signed off my record deal and ceased all employment. I’ve been volunteering, reading, rescuing cats, grooming manuscripts, listening tomusic and educating myself on fairy lore.
You have performed your work across the world, including with other artists. What have been some of your favourite experiences?
In France 2003 I performed at La Loco in the red district of Paris, the stomping ground of legendary cult bands like The Velvet Underground. Adjacent was the Moulin Rouge, to which we found a peep-hole while drinking beer backstage on red crimson sofas with our Swedish headliners, Arcana. Afterwards we went out with writers including Alyz Tale, then Editor of Elegy Magazine, who published her story entitled ‘Louisa’ about my song ‘Blackbird’, in her collection Mon dernier thé. I also cherish memories of Clisson, the medieval town of my record label Prikosnovénie, by the river Sèvre.
In Belgium at Trolls et Legendes festival 2009, meeting the British illustrator Brian Froud was a highlight. We presented a video Muse that he and his son made for my song ‘Which of these Worlds?’ with Robert Gould of Imaginosis who flew me to Oregon, USA, that same year to perform with the band Woodland at Faerieworlds, where the Frouds were guests again.It was moving to receive a message from José Géal of le Royal Théâtre de Toone, which is as old as Bruxelles itself, thanking me for my song ‘Poppet Plum’ being dedicated to his puppetry that I’d experienced six years earlier.
In Italy, on the borders of Umbria, Lazia and Tuscona, I stayed in a medieval castle overlooking the medieval town of Orte, belonging to the ambient artist Oophoi (Gianluigi Gasparetti), haunted by ghost and a white owl. Gigi later died of a rare blood disease, bereaving a loving wife, but the sonic alchemist’s legacy remains strong on the web, as in his masterpiece The Spirals of Time and our collaboration I hear the Water Dreaming.
There were wonderful experiences in other enchanting places, such as in Greece and Germany, but if I cover them all we’ll be here awhile!
The interplay between music, poetry, folklore and fairy tales is very strong in your work. Can you expand on that?
Let’s start with poetry. I love how the subconscious resonance of metaphors, layered in iconography over time, allows the imagination room to move, like a muse engaging in dalliance, in diaphanous gowns of Botticelli’s ‘Primavera’. Language can be musical, as with assonance or alliteration. How words ring together sometimes pivots on selection of synonyms, or arrangement. Just as a composer might let a melody leap from one player to another, so writers with an ear for melody recognise when a phrase sends a shiver down the spine. (A challenge in translation!) In folklore and fairy tales, as in poetry, I love economy of language: these modes are tightly packed seeds, full of symbols that leap across centuries and cultures with efficiency of memes. Hence the mother of Memory is the mother of Muses: Mnemosyne.
What’s coming up next for you, in terms of new work created and released?
A magic-realist novella and other manuscripts are bubbling, but my aim is to groom the Elderbrook Chronicles: a series of fantasy volumes. Musically, having recently released two productions after a long hiatus – Torlan (a compilation of water music from our various albums) and Elderbrook (a double-album soundtrack for my aforementioned chronicles), I’m preparing to reprint our discography that sold out on French, German and American companies: an opportunity to revisit mixes, add bonus tracks, include more illustrations and try new eco-friendly packaging.
As a lover of fairy tales, why do you think they still appeal to people? And do you have you any favourites? If so, which–and why?
Fairy tales do more than soothe worldly worries; paradoxically, they offer perennial wisdom for facing them. Wrongly, some view them as escapist, whereas on the contrary I regard fairy tales as a way to delve deeper into life. For me they’re about re-enchantment, of falling in love with the world. As Marina Warner asserts, fairy stories have ‘staying power’, for ‘the meanings they generate are themselves magical shape-shifters, dancing to the needs of their audience’ (From the Beast to the Blonde), a point that Athena Bellas revisits in her article ‘Contemporary fairy tales: Prohibition, transgression, transformation’ in the catalogue of an exhibition All the better to see you with: Fairy tales transformed that she directed at the Ian Potter Museum of Art, Melbourne. The title-essay by its curator Samantha Comte also cites Warner, further emphasising the adaptability of fairy tales; their fluidity, amorphousness and responsiveness to social context. My favourite tales are open-ended or layered. They emit a diffused lunar light, rather than a laser beam. I’ve often claimed to have a more poetic than polemic approach. That doesn’t mean I shy away from politics, it’s just that I won’t let didactic messages dominate. I’m partial to Wilde, d’Aulnoy, Dunsany, Byatt and Calvino. As to contemporary Australians: I particularly enjoy your writing, Sophie.
You are closely involved with the Australian Fairy Tale Society. Tell us about it and its work.
As a founding member and President of this national charity, I cherish our inclusive spirit. Our members are writers, researchers, educators, storytellers, illustrators, puppeteers and other fey folk. One of our committee members is a glass artist, Spike Deane, based at Canberra Glassworks. We’ve attracted such internationally acclaimed fairy tale authors as Kate Forsyth, Carmel Bird and you; I’ll never forget your launch of the thrilling Snow White re-spin Hunter’s Moon at an AFTS conference, flying away with a signed copy and reading it during a recording session at Pilgrim Arts studio while visiting South Australia; I later bought a copy for the producer Brett Taylor’s daughter. I’ve since reviewed more of your novels. A lot of fairy tale people in Australia are nourishing each other’s knowledge. We discuss sensitivities around colonisation, immigration and ways of seeking mutual ground, respectfully acknowledging differences while fostering intercultural collaboration. We are interested in exploring definitions of the very term ‘Australian fairy tale’ itself. I recommend Dr Rebecca-Anne’s spiel on this at our website: We are delighted that you have accepted our invitation to contribute to our forthcoming fairy tale Anthology, which we’ll have more to say about publicly soon. Meanwhile, we’ve already produced six editions of an illustrated Ezine, available exclusively to members. Thanks for all you do, Sophie.
Explore more of Louisa’s work:
Homepage of ethereal music & faerielore: http://louisajohnkrol.com/
Welcome portal to unfolding Elderbrook Chronicles: http://www.elderbrook.com.au/
Fairy record label in France: http://www.prikosnovenie.com/inde.shtml
Froud/Louisa ‘Muse’ video: https://www.youtube.com/watch?v=ahBe3Znj8lY
Fairy Blog: http://victorianfairytalering.blogspot.com.au/
Australian Fairy Tale Society: https://australianfairytalesociety.wordpress.com/
Connect with Louisa on Facebook: https://www.facebook.com/louisa.johnkrol
Today I’m delighted to bring you a great interview I recently conducted with writers–and now TV presenters!–Kate Forsyth and Sarah Mills, who very recently launched a book show with a difference. The Word of Mouth TV concept combines some of Kate’s and Sarah’s favourite things: food, books and friendship, to create lively, engaging TV, delicious in terms both of body and mind! The first episode, with authors and husband and wife writing team Graeme Simsion and Anne Buist, was most enjoyable, featuring great conversation, yummy food, and great literary–and cooking!-insights. I loved it, and am looking forward very much to the next episode. But while I’m waiting, I thought it would be great to talk to Kate and Sarah about why and how they’ve put together this excellent show with film-maker Claire Absolum. Enjoy! (And subscribe to Word of Mouth TV You Tube channel and website–it’s free!)
Kate and Sarah, congratulations on the launch of Word of Mouth TV and the show’s first episode! It’s a fabulous concept–innovative and appealing, with so much scope for fun and warmth, and a great title too! How did you first come up with the idea?
Sarah: It was one of those ideas that took a long time to manifest. The idea struck me about six years ago when I was in one of my aimless dreaming phases. The idea kept revisiting me and I asked Kate about three years ago if she would be interested in doing it. We agreed it was something that the book industry desperately needed because there is so little good news and content serving this industry.
Kate: I thought it was such a brilliant idea, but I didn’t know how we would ever find the time to do it when we had such busy schedules. But we kept talking about it and tossing ideas around. We agreed we wanted it to have really good production values but we didn’t know how we would achieve that when we had no skills or experience in that area. Slowly the idea took hold of our imaginations, though. Once we had our title, it really seemed to come to life.
Sarah: We decided upon Word of Mouth as the title because the Sound Bites that accompany the show involve authors recommending the best books they’ve read lately and their favourite cookbooks – so viewers get their reading tips straight from the author’s mouth.
Coming up with a great idea is one thing of course: bringing it to fruition quite another! There must have been a lot of work involved in getting to the launch of the show. How did you get from concept to reality?
Sarah: Yes, well, the idea lay nascent for years because we were both writers and neither of us had camera or video-editing skills. Then former SBS and ABC producer Claire Absolum moved into my neighbourhood and we met through mutual friends. Claire was sitting with me on the day I called Kate: “Remember that idea we were talking about a few years ago about interviewing and cooking with authors? Are you still interested?” And to our relief, she said yes.
Kate: It was complete madness! I had such an intense workload and had sworn I would take on no new projects. But Sarah finding Claire just seemed like a sign from the universe. And I’d actually been thinking about how sad it was that there was no great book chat show anymore.
Sarah: From there it was just a matter of putting everything together. We all have very complimentary skill sets. Claire obviously has the video production skills, I have creative direction and website production skills (I was a journalist for decades at Fairfax), and public relations, branding and marketing skills, and Kate had the contacts within the industry and styling skills from her time freelancing on magazines. And we are all reasonable cooks. We really liked the idea of three women working together to create the show – there is something magic about the number three. Perhaps we’ll be “Charmed”.
Kate: It just seemed to come together so well – I feel that we’ve found the sweet spot between people who love to watch cooking and lifestyle shows, and people who love to read. We’ve certainly had a great early reception!
The show has very high production values and works really well within its time frame. Not surprising, as you have such a skilled and experienced producer as Claire Absolum on board! Tell us what it’s like actually filming the show.
Sarah: It’s fun and very tiring. It is only a 10-minute Youtube show but so much ends up on the cutting room floor. Particularly for the first episodes because we were a bit nervous and if it wasn’t one of us making bloopers, it was the other. Or the dog would start whining, or the neighbour would start up with a drill. It seemed a process of endless takes. We are still trying to hone the process.
Kate: We are really learning on the job, aren’t we, Sarah? It took us a while to work out a template for the show, and a balance between the cooking, the eating and the talking. We’ve learnt a huge amount in just a few months.
Sarah: It is also difficult because we all live so far away from each other (about two hours) and we are trying to shoot Word of Mouth TV in our spare time. On the upside, the food is divine and we are collecting recipes for a cookbook at the end of the year. And the champagne … it speaks for itself!
How do you go about choosing books, writers–and recipes?
Sarah: Kate is plugged into the writing industry so this is her task. We try to interview a mix of authors from all different genres and levels of experience, and Kate is the best positioned to know who are likely to be producing good books.
Kate: It helps that I have so many friends in the industry, and that I read so much anyway. It means I have a good general knowledge of who is launching new books and whether or not our audience is likely to be interested in it.
Sarah: If we don’t personally like the book, we don’t feature it because we have to review it and we want to be kind in our reviews – we are, after all, authors ourselves. We understand how much heart and soul goes into the production of a novel.
Kate: Our aim is to celebrate books and reading and writing, and to encourage people to read outside their comfort zone. This is after all, one of the great benefits of belonging to a book club.
Sarah: I occasionally suggest books that I think will fit the show too. We also recommend cookbooks on every episode. That process is pretty simple. We both have some well-used and well-loved cookbooks. Then we ask the authors to recommend their favourite books read lately and their favourite cookbooks.
Your motto is ‘food, books and friends’hip: it’s the perfect nurturing combination. What are you hoping viewers will get from it? And what’s the response been so far?
Sarah: So far everyone who likes books has been really encouraging. We are steadily building a subscription base to the Youtube channel, the website, and to social media feeds such as Twitter and Facebook. The authors have been incredibly supportive as well. Mind you it is fun to be wined and dined and have the opportunity to talk about your book, and the subject of books generally, all at once.
Kate: We hope to become an integral part of the Australian literary scene, a show that bookworms will love and recommend to their friends to watch. The show comes out every fortnight, so that means we are recommending books twice a month – our hope is that Book Clubs will start watching it together, or using it to help them choose books to read, or simply enjoy what we do on a regular basis.
How many episodes are you hoping to make in the series?
Sarah: The first season will be 12 episodes, seven of which have already been filmed and the remaining five of which have already been scheduled. Hopefully, by the end of that time, we will have a big enough audience, and sponsorship, to continue filming. We really hope this happens as we’ve had more authors asking to be on the show and they are all so fantastic that we want to interview them all.
Kate: We hope there’ll be many more seasons to come!
Anything else you’d like to add?
Sarah: Well, towards the end of the season, if we don’t get corporate sponsorship, we might run a crowd-funding campaign. In the meantime, it would be great if readers could subscribe to our Youtube channel www.youtube.com/wordofmouthTV000 because we need 1,000 subscriptions under Youtube’s new rules to be able to earn money from the site. If readers want to hear all the latest news, views and reviews, then they can also subscribe to our website at www.wordofmouthtv.com.au We also have a Facebook and Twitter page that we are having a bit of fun with.
Kate: Every fortnight we give away huge piles of books to our subscribers who help spread the word about the show. We want to foster an atmosphere of joy and excitement about the act of reading, and to support as many other authors as we can.
Today, April 25, is Anzac Day, and the hundredth anniversary of the battle at Villers Brettoneux in northern France on 25 April 1918, where Australian regiments were instrumental in helping to secure the liberation of that area of France. As someone brought up between Australia and France, it’s made me reflect not only on the joint experiences of French and Australian troops and civilians in that terrible war, but also on how difficult it is to try and convey, as a writer, something about those experiences, especially when you are writing for children.
Until a few years ago, I never expected to write about World War One. In both France and Australia, as a child I’d seen, in churches and memorials, the staggeringly long rollcalls of the dead in World War One; a war that seemed not only horrible and tragic but absolutely incomprehensible. World War Two seemed more understandable by comparison, in part because my parents were children during the German occupation of France. I could imagine myself writing about World War Two (though I didn’t, in fact until very recently) ) but not World War One. Partly, perhaps it was because in Australia, Gallipoli loomed large, of course, and I did not feel able to write about it, but also could hardly begin to understand, let alone depict, the ghastly long years of trench warfare on the Western Front.
What changed that was, first, a brief visit many years ago to the heartbreakingly big and neat Commonwealth war cemetery just outside Villers-Brettoneux. In the back of my mind, a seed was being planted–and years later, in 2010, it sprouted, inspired by a longer visit–a stay of a few days, in fact, in the pretty, and war-haunted, cathedral city of Amiens and the countryside beyond. Being on the spot, in the quiet streets of the city and the green and pleasant Somme countryside which yet saw so many deaths, looking at memorials and the French Australian museum’s collections of touching photographs of both Australian and French soldiers and the local civilian population, made me change my mind. And also I read about the last year of the war–the way in which in 1918, trench warfare, at least in northern France, gave way not to the pitched open battles of the very beginning of the war, but to a more ‘guerrilla’ style campaign, on both sides, with ambushes and surprise attacks and street-by-street battles in devastated villages. I began to see how I could perhaps tell a story, through the eyes of a young French-Australian character .
So that’s how my first World War One novel, My Father’s War(Scholastic Australia 2011), began. Set in 1918, it is told in the voice of eleven year old Annie, whose Australian soldier father, fighting on the Somme, goes missing, and who goes with her French mother to Amiens to try and find him. Through Annie’s diary unfolds the story of that last year in the war and the experiences of both soldiers and civilians in northern France. It was a story that both flowed naturally from having been in the areas I was writing about and being immersed in pictures and documents of the time, but was also very hard to write. This was a work of fiction so it had to work as an engaging story, especially given the age of my readers, but I also felt a great responsibility to tell it in a way that would not trivialise or falsify. It was a very delicate balance to strike and at times felt almost impossible(and saddening; I found myself weeping several times over scenes) but in the end it worked. Or at least, readers seem to think so–seven years after its release, it is still finding its way into libraries, schools, and homes.
Writing My Father’s War had made me see I could tell a story set in that time. Three years later, my second World War One novel was published. This was 1914 (Scholastic Australia 2014), which from the point of view of Louis Jullian, teenage son of a French diplomat and his Australian wife, told the story of the beginning of that ‘war to end all wars’. It was a very different book, because it was set in a very different time to that of My Father’s War. In 1918, four years of dreadful stalemate and horrendous slaughter had changed the face of Europe, destroying the old order forever. In 1914, the old order was still there, sleepwalking towards disaster, and even by the end of that year, people imagined that the war might soon be over and things go back to what they’d been before. And my characters might both be French Australian, but they came from very different backgrounds and experiences. Annie had a difficult childhood dominated by war and her father’s absence; Louis, whose childhood was cosmopolitan and carefree, was coming of age at a time when everything would be thrown into question by a conflict that would engulf the world and truth itself. It was just as hard to write this novel as the first; harder even in a way, precisely because it was the beginning: reading about the causes of the war and the chain of events in those fateful few weeks from June 28 1914, when the Archduke Franz Ferdinand was assassinated in Sarajevo, you get a sense both of the so-called ‘inevitability’ of the war but also the fact that it need not have been so. There were times when the momentum could have been halted–but it was not. I chose to tell that story, and the way in which a carefree summer turned into a deadly winter, through Louis’ eyes as he goes from helpless witness of the attack in Sarajevo to scarred and determined young war correspondent on both the Western and Eastern fronts.
Both the novels have had unexpected offshoots: minor characters from My Father’s War inspired a short story of mine, The Other Anzac Day (set during the battle in Villers Brettoneux on 25 April 1918) which was published in a UK collection, Stories of World War One, edited by Tony Bradman(Orchard Books, UK, 2014). This story, told in the voice of Archie, a tough but troubled young Australian soldier, both echoes and contrasts with Annie’s own view of that ‘other Anzac Day’ in My Father’s War. And Louis’ daughter as well as the son of one of his pre-war Austrian friends will be featuring in a novel I’ve been writing, set at the beginning of World War 2 this time, to appear in 2019. In the novel, the experiences of World War One, which transformed the lives of Louis and his friends, haunt the lives of their families too–and of course, by extension, their communities and nations, as the drums of war beat yet again.
More about My Father’s War and 1914:
My Father’s War
By Sophie Masson
(My Australian Story, Scholastic Australia 2011)
It scares me a lot, thinking of Dad out there, far away in that dangerous, terrible place, wondering how it will be when he comes back-if he comes back, that is . . .
Annie’s dad has been away for two years, fighting on the Somme battlefields in northern France. For months there has been no word from him, no letters or postcards. Annie and her mother are sick with worry, so they decide to stop waiting-and instead travel to France, to try to find out what has happened to him. There she experiences first-hand what war is like, as she tries to piece together the clues behind her dad’s disappearance. Will Annie ever see her father again?
Teacher’s Notes My Father’s War: http://resource.scholastic.com.au/resourcefiles/8005439_228.pdf
By Sophie Masson
(Australia’s Great War, Scholastic Australia 2014)
A small black bottle or a torch came sailing through the air, and landed on the side of the car, close to the Archduke. An instant later came a terrific bang, the road exploded in a shower of dust and stones, and tiny sharp things went flying through the air like angry bees.
In June 1914, Louis and his brother Thomas are enjoying the European summer in a small town near Sarajevo. In the shadow of the assassination of the heir to the Austrian throne, the world erupts into war and Louis’ life changes forever. Old Europe is torn apart and Louis finds himself in the midst of his own battle – and fighting for the truth in war means that sometimes even your own side is against you.
Teacher’s Notes 1914: http://resource.scholastic.com.au/resourcefiles/8284239_24164.pdf
Today I’m republishing another story of mine–rather Gothic in feel, with a real twist in the tail. It was inspired by a very strange dream, in which I actually heard a voice saying, ‘He was such a grey man, till he came back with a Spanish wife” I woke on those words, intrigued: who was speaking? Who was the ‘grey man’? And what was it about the ‘Spanish wife’? This story was the result of answering those questions. Enjoy!
The Spanish Wife
by Sophie Masson
You’d never have credited it, of Moffat. He was such a grey, precise little man. The sort who is always at his desk a full fifteen minutes before anyone else. The kind whose desk ressembles some general’s abstract plan of attack—never the messy reality of the battlefield. The type of irreproachable bachelor who’s just that—not playing for the other side or anything, but a man who lived a blameless, virtuous, dull life, first with his widowed mother, then when she died, by himself, in a small Holborn flat as neat and grey as his person. He appeared to have no ambitions, no dreams, no hopes, no fears. He had risen in the company only in small steps but did not appear to be resentful of the fact that chaps like Jones or Carey, who’d come in at the same time as he, with pretty much the same qualifications, were streets ahead of him now. He had no enemies, but no friends, either. At least, unless you count me. I took an interest in the funny little chap, for no reason I can really explain, because he is a good deal older than I and not really interested in the same things as I am. My last lady friend, Cora, told me that it was because Moffat made me look good—that his greyness made me look much more sparkling, witty and charming than I really was. But as she said it just before saying I was the most immoral, most selfish man she’d ever met, and slamming the door in my face, we can probably discount that as an explanation. I suppose, if I was to be pushed for an explanation, I was intrigued by him, in a strange way. He seemed to live life in a kind of dream. No, not really a dream; he was like a shadow amongst the solid. Not like a ghost, mind you; ghosts are unexpected things, producing disturbance, fright, an upending of order, what have you. Moffat was the very soul of the expected; the very epitome of unchanging order, always there, never noticed. A nobody, in short.
Until the day when he returned from Spain, with a Spanish wife. The going to Spain was odd enough: the country was in the middle of a bitter civil war, with Reds and Brownshirts and I don’t know what other dismal colours battling it out for control. Why Moffat of all people would go there was a mystery big enough in itself. He was not political in any sense of the word—he’d no more have dreamed of joining one of those hotheaded foreign militias rushing over to drape themselves in the warring colours, than he’d have thought of dancing naked around the office. (The mind boggles!) He had no sense of romance either, none that I’d been able to discern, at least—and certainly the image of sultry senoritas with roses in their teeth and clicking heels and bullfights and all that sort of thing would, I’d have sworn it, simply failed to register with him. He had not, so far as I knew, ever travelled before beyond the various seaside resorts of the South of England. Oh, and once to Cornwall, I believe, but he hadn’t much liked that. Too foreign I suppose. And yet there it was—Moffat had not only gone to Spain, but he’d come back with a Spanish wife. A wife at his age—he was by then in his mid-fifties—was surprising enough. But a Spanish wife—that really took the biscuit. A real revolution, you might say.
Rather to my chagrin, I wasn’t the first to find out. Mrs Evans, the tea-lady, made the discovery. On the day Moffat returned from holidays, Mrs Evans had come in early, at the same time as Moffat himself, and had seen him sitting at his desk, gazing at a photograph. In the deft way of her kind, she had managed to contrive a glimpse.
‘And that’s when I saw her. Gave me quite a turn, I can tell you! Never would’ve thought Mr Moffat had it in him.’
Dolores, her name was, Moffat said. He did not seem at all put out at being caught by Mrs Evans. Indeed, she said, he seemed to positively relish the opportunity to talk about his sudden spouse. He’d met Dolores while on holiday in Spain. They’d ”clicked”, as the saying has it, at once. They married within the fortnight. Yes, he smilingly told the gaping Mrs Evans, she had come back with him to England. He was very happy. Everything was perfect.
‘I am sure it will all end in tears. It isn’t natural, ‘ said Mrs Evans, sagely, as we crowded around her, agog at her story. Moffat was out of the office, on some errand—rumour had it he’d gone to check on his Spanish wife, make sure she was still real, and not a dream. Some of the others in the office were inclined, despite the evidence of the photograph and Moffat’s words—the man had never spun a fantasy in his whole life—to believe that it couldn’t be true, that Moffat had somehow gone a bit senile or, for reasons of his own, was pulling the wool over our collective eyes. But I knew that it must be true—Moffat had no imagination, no mischief, no romance, as I said, in him. Continue reading
I wrote this story of unexpected magic quite some years ago, and it’s been popular with readers, so I’m republishing it here today. Enjoy!
The Neptune Clock
By Sophie Masson
The summer my grandfather disappeared, I had been with him, as was usual during the holidays. We’d spend the weeks just swimming and fishing and talking. Grandad was a great talker. Mum reckoned he could talk the hind flipper off a dolphin! It was a good picture to have of Grandad, if you know what I mean, because he was really a sea person.
He and Grandma, both. Every year, when she was still alive, they’d lock up the farm and head for the coast. Grandma was a wonderful swimmer; she’d nearly been chosen for the Olympics. It was hard for her, living at the farm; yet she loved it, loved Grandad, too, so she didn’t complain. But when she died, Grandad sold the farm and everything in it, and moved permanently to the coast. He said he felt closer to her that way; reckoned her spirit was in the sea, watching.
The only thing he’d brought back from the farm was the clock. His Neptune clock, as he called it. He had found it in a junk shop years and years ago before he and Grandma were married. I’d known it all my life. You just couldn’t imagine Grandad without it. That clock was a remarkable thing: a grandfather clock, with a glass front, a cedar case, and a carved brass face. Around the Roman numerals were all sorts of sea-figures: dolphins, seashells, a mermaid, seahorses. And the figure of an old man, holding a trident. Neptune, god of the sea, Grandad had said. When I was little, I used to think secretely that Grandad had been the model for Neptune’s face: kindly, thin, as filled with lines as a spider’s web. That clock ticked and tocked and bonged through all our days together; Grandad reckoned that it kept him going. He loved that clock, and used to polish it regularly. And when it stopped, he would open the case with a little key, a lovely brass key in the shape of a dolphin, and start the weights up again. And while he started it, he would tell me endless stories, stories of when he and Grandma were young, stories of the farm and the animals he’d had, stories of the sea. My favourite was that old Scottish story of the selkie–you know, the seal woman who is captured by a fisherman but eventually returns to the sea, leaving her family on land. It’s a sad story, and Grandad’s eyes always looked wet when he told that one. Sometimes I wondered if he thought of Grandma, then, Grandma, who’d so loved the sea, who’d seemed so at home in it…
I’m not sure when I noticed Grandad was a little different, that holiday. I think it started when I found him down at the beach, early one morning, without his beloved rod, just gazing out to sea. ’I saw the dolphins again today,’ he said. He turned to look at me, his blue-green eyes full of excitement. ’They’re coming closer!’ I nodded. I didn’t quite understand his urgency, his excitement, but it was nice to think of them out there, playing, leaping, the brilliant sea sparkling off their skin like scattered gems. Grandad sighed a little, and rubbed at his eyes. ’I don’t really feel much like fishing, these days.’ I looked at him sharply, but he had not sounded weary, only a little restless.
I watched him carefully for the next few days, but he seemed to be just the same as ever. Only occasionally he’d interrupt his talking and look out of the window at something I couldn’t see, but it was only a moment. Next moment he’d be back chatting and spinning yarns. And in its corner the Neptune Clock chimed out its creamy slices of days, chiming in with the rise and fall of his voice.
But then one morning–that morning!–I woke suddenly. The house was perfectly still; almost as if it was listening. Something in the quality of that silence made me jump up and fling clothes on. I ran from my room into the kitchen. No-one there. I looked in Grandad’s room. No-one there. The bathroom door was open–no-one there either. Behind the door, fishing rods, boots and all were still in place. But the clock was silent, its sound stilled, somehow adding to my fear.
There was no-one on the beach, and in the silver light of morning I ran and stumbled across the windswept sand, calling for Grandad. I ran and ran, my heart thumping and swelling with knowledge that I didn’t want to face.
It was near the end of the beach, as you go round into the next one, that I found them. His clothes, I mean. Even then, I shouted, ‘No!’ and looked around frantically for him, my eyes almost splitting from the enormous tears that ran all over my face.
Suddenly, there was an unusual movement in the long rolling waves uncoiling before me. Through the tears, I saw two backs, arching, sleek grey bodies slipping in and out of the silken water. Closer they came, closer; and then…People have told me I’m crazy, since then, that it’s just wishful thinking–but I swear that one of those dolphins’ faces was lined, as crazily as a spider’s web, with humorous, sea-change eyes, eyes that had so often been turned on me. And then I watched the dolphins, playing, leaping, looking for all the world like loving people who have found each other again after a long absence…
I can’t tell you how long I stood there, how long they stayed there. But after a while, I walked back slowly to Grandad’s house. And there, on the hall table was the clock key. I picked it up, and turned it over in my hands. ’It’s time, then,’ I whispered. I inserted the key gently into the keyhole.
It opened easily and there, under the weights, was a note in Grandad’s writing: ’This is your clock now, Jessie. It will be a good friend.’ And then followed instructions for starting up the clock. Carefully, I followed them. Then as the clock started ticking again, I looked up at it–and caught my breath. For the Neptune figure, the one which had once had Grandad’s face, stared back at me with a highly-polished grin, out of a face I knew well. Of course I knew it well. I saw it in my mirror every morning.
Today, I’m republishing a historical essay of mine about a real-life model for the legend of Robin Hood, back in the 11th century and the period of the Norman Conquest. It was inspired partly by research I conducted for the third volume of my big historical fantasy novel, Forest of Dreams, and partly by the fact my husband comes from Worcestershire, an area of England I’ve come to know quite well.
Wicked Sheriff and Outlaw Lord
by Sophie Masson
The legend of Robin Hood is the quintessential English myth. In it, we find all the elements that make up the English—as opposed to the Celtic British—character in the ancient land that the Celts called Logres. Combining ancient magical and symbolic aspects with the trauma of the Norman Conquest, Robin Hood’s legend still has many reverberations in modern England. It could be said, for instance, that the vicious class conflict which characterised English social life–and which still reverberates throughout it to this day–had its origins in the almost total destruction of the native English-speaking Anglo-Saxon aristocracy and its almost complete replacement by French-speaking Norman nobles. This produced a vast gulf of misunderstanding between the two peoples which became, in effect, class-based, for ‘ordinary people’ tended to be native English, whilst ‘the upper crust’ traced its origins to foreign despoilers!
As well as preserving the memory of the hideous physical and moral destruction wrought on Anglo-Saxon culture by the Conquest, the legend of the greenwood lord Robin Hood and his merry men is a perfect distillation of that light, lively and melancholy English spirit which had its most gifted and brilliant expression in the work of William Shakespeare. The slanting, ambiguous, mischievous light of the greenwood and its magic is more powerful, in the end, than the shadow of the castle stronghold in the stories of Robin Hood: an ancient light, that predates the Normans, the Anglo-Saxons, and even the Celts, and symbolises the enduring nature of the land.
It’s always a hard one, conquest. The attempt to brutally suppress a vanquished culture and replace it wholesale usually leads to it haunting the landscape, and the cultural psyche, in a way that eventually takes its toll on the confidence and identity of the conquerors themselves. It’s been the same story all over the world, including of course in Australia. In England, it happened to the Normans. . .
In the year of Our Lord, 1066, thousands of men came ashore at Pevensey under Duke William of Normandy’s lion flag. Attired for battle, William’s warhosts were attracted by the prospect of more loot and plunder than their Norse ancestors(the word ‘Norman’ comes from ‘Norse’ itself) could ever have dreamed was possible, and also by the joy of teaching their arrogant Anglo-Saxon rivals a lesson they
wouldn’t forget in a hurry. Lots of men there, twitching with excitement, the thrill of the hunt and of the fabulous rewards promised to them: landless sons, and illegitimate ones; adventurers and pirates and those who followed along just to see what would happen. Like the wolf in the fable, however, they must have a good reason for gobbling up their prey. And so they had it, not one, indeed, but several. Political reason: hadn’t Harold pledged support to William’s right of kingship in England, before Edward the Confessor had died? Religious reason: the Pope had given his blessing to the invasion, because the English Church was going its own way far too often. Cultural reason: the Norse thirst for gold and blood, only thinned a little by la douce France, was rising high. No doubt many of the French breathed a sigh of relief when the Norman army was gone. Personal reason: Duke William, driven by his illegitimacy, driven to conquer England and make it his own, though always his heart stayed in his green Norman fields.
That gathering of men, that roundup of reasons, was to have a far-reaching effect. Those warriors twitching to be gone to battle weren’t to know it: but this was to be the last conquest of England, because it was the most traumatic. And in its trauma would be born the greatest of the English legends: that of the outlaw Robin Hood, and his arch-enemy, the wicked Sheriff. Generations and generations into the future, the affrontement of Saxon and Norman would become metamorphosed into the age-old conflict of freedom and tyranny, of nature and authority, of summer and winter, of wild magic and castle law. And men who were once opponents would become reconciled within it. For the terrible crucible of history distils some potent brews, and the tale of the wicked sheriff and the outlaw lord was one of the most potent of all. And it is fascinating to peer into that crucible of time and watch the ingredients of legend being cooked up before your very eyes.
There, among those men on the English shore, are many who will leave the imprint of their characters and presence on legend. There are the powerful ones, first: greedy Odo, Bishop of Bayeux and William’s half-brother, notorious even amongst the Normans for his rapacity and lust, the epitome of a corrupt and oppressive Church; there is the honourable Ralph de Todeni, or Raoul de Conches,
magnanimous when it suited him; there is complex William the King himself, moneybags, tough warrior, harsh legaliser, driven bastard, nature-lover, faithful husband, cold in judgement, the man to whose bureaucratic instincts avant l’heure we owe the inestimably precious Domesday Chronicle, yet the man of whom the Anglo-Saxon Chronicle sadly wrote:
He had castles built
and wretched men oppressed. .
He was fallen into avarice,
and he loved greediness above all.
He forbade hunting the stags,so also the boars
he loved the stags so very much,
as if he were their father. .
Alas, woe! that any man should be so proud,
raise up and reckon himself above all men.
But it was not only the powerful who made that part of the legend, for if that was not so, the legend would not have become so ingrained. Oppression must be localised and personalised before it becomes more than just a distant story. And so, William’s followers, great and small, in all the corners of that green and pleasant land, all did their bit to help it along.
Urse d’Abetot, or d’Abitot(the medieval chroniclers are notoriously cavalier about names!)was just one of those petty followers. Urse hailed from a tiny place called Saint Jean d’Abetot, on the white cliffs of the Seine near Le Havre. From being a very minor lord in Normandy, a vassal of the powerful Tancarville family, who were chamberlains to William himself, and a mere mention in the invading fleet’s roll call, Urse went on to become Sheriff of the rich Western Midlands county of Worcestershire, and through the marriage of his daughrer Emmeline, allied to one of the greatest of Norman families, the Beauchamps, from whom past and present royal families are descended in one way or the other. Such were the rich rewards of conquest for the conquerors.
Urse bursts into history fully-fledged, as it were, as a perfect example of Norman rapacity, arrogance and violence. His name means Bear, and it is hard to avoid the image of him rampaging heavily through the older culture, looking neither to right nor left as he swipes this hive of honey, and that one, and that one, squashing all the bees in the process. Being no respecter of Anglo-Saxon persons, whether secular or ecclesiastical, he managed to grab one-sixth of the county of Worcestershire for his personal holdings: not only from banished and dispossessed English thanes, or lords, but also from the Church. Illiterate himself, he showed his contempt for the highly literate and cultured monks at Worcester(it was here that the Anglo-Saxon Chronicle was in part written) by building his castle in such a way that his latrines and drains overflowed onto the monastery cemetery. For this, Urse achieved the distinction of being cursed by the Saxon Archbishop of York, Ealdred, who was also the protector of the Worcester monks. Alas, poor Ealdred: the curse has ever been the last refuge of the powerless and vanquished! Ealdred’s words, as recorded by William of Malmesbury, can’t have made the Bear tremble too much:’Thou are called Urse. Have thou God’s curse!’
Sure it is, anyway, that Urse lived on for a good many more years of despoiling(he was Sheriff for 40 years!), whilst Ealdred died only a year after the Conquest. But later, maybe those words came back to haunt Urse, for his only son Roger, the inheritor of all his lands, was banished and disinherited by King Henry I, William’s son, for killing a servant of the King(and thus ensuring that Urse’s heir would now be his daughter Emmeline). The violence displayed by Urse and Roger seems to have lived on in the family: a d’Abitot was one of the four knights who rushed off to Canterbury to answer King Henry II’s exasperated question, ‘Who will rid me of this troublesome priest?’
Like thugs loyal to their gang leader, men like Urse took their vassalage seriously. An eager servant of William, the Sheriff of Worcester helped put down the 1067 rising of the Welsh and the English, as well as the later revolt of the Norman Earl of Hereford. And it was in that 1067 rebellion that we come to the other face of the Robin Hood legend, that of the outlaw lord. For one of the leaders of that rebellion in the West was Prince Eadric of the Magonsaeton tribe of that part of what had once been West Mercia: a famous figure who is known as Edric Silvaticus, or Edric of the Woods; and as Edric the Wild.
Even today, there are stories about Edric in the West Midlands, particularly in Shrosphire, where he had most of his lands; but he also held some in adjoining Worcestershire and Herefordshire. Edric is rumoured to have married a fairy wife, and to sleep under the ancient lead mines of the Stiperstones, waiting for the call that England is in danger again. What is known of Edric’s real history is just as extraordinary. A wild-tempered, darkhaired man who may well have been half-Welsh and half-English, he was the nephew of the infamous Edric Streona, who earlier on in that turbulent century had been instrumental in bringing England to the brink of ruin. Streona was a consummate politician who attempted to play off Saxons and Danes against each other, for his own gain. All these efforts came to naught in the end. For hated and reviled as a traitor by his own people, he was executed by orders of the ferocious English-born Viking ruler, King Canute. Edric the Wild’s own father, Aelfric, was not associated with this, however; and the family were undisturbed in their western lands.
All English thanes who had fought against William at Hastings were dispossessed of all their lands. In this way the new King sought to make an example to all who might try to rebel. Those who had fought against him to protect their lands were, in a neat bit of doublespeak, called traitors, and thus unworthy of holding land at all. In this way he hoped to break the backbone of resistance in England. Many of the dispossessed lords, witnessing the total collapse of their country, did in fact give up, and fled England: some of them ending up as far as Byzantium. Others made whatever accomodations they could with the invaders. Still others took to the woods and harassed the Normans. In the North of the country, this resistance was so strong that William determined to put a stop to it; the subsequent Harrowing of the North was a wound that bled for generations. But in the end, no matter what measures the Anglo-Saxon aristocracy took to protect and fight for their lands, all failed. By 1086, the time of the Domesday Book, there was only a tiny handful of landholders with Anglo-Saxon names left in the whole of England.
Edric the Wild, meanwhile, had not been at Hastings, for whatever reason. He was not dispossessed of his lands immediately. But he did not lie quietly under the Norman yoke and refused to submit to William. Almost immediately, in fact, he gathered support from two erstwhile enemies of his, the Welsh princelings Bleddyn and Rhiwallon, and descended on Herefordshire, harrying the Norman marcher lords in every direction. The historical record is silent on whether Urse the Sheriff met Edric of the Woods in armed combat; but one can certainly assume that their forces would have affronted each other. Edric and his allies were not successful in destroying Norman rule in the Borders; but they harried and harassed the thinly-stretched garrisons in the heavily wooded region to such an extent that William offered him peace.
In 1070 Edric was reconciled to William, but this was not a popular outcome amongst his people, and no doubt the name of the traitor Streona was much bandied about. Whether the old fox William and the lame wolf Edric really trusted each other is open to question: but as William had the reputation of keeping to his promises, and as his ‘protection’ was perhaps preferable to his agent, Urse’s naked rapacity, Edric agreed to keep quiet for the time being. In some ways, this part of the story is like the episode in Robin Hood when the outlaw is lured to the court and made soft with promises and protection by the King, who sees in this a better, more subtle way of keeping Robin under control than the Sheriff’s blunt, brutal approach, which has been a failure. Certainly ordinary people saw it that way, judging by the Shropshire legend of Edric—he is not allowed to die, but must be forever watchful against enemies, because he must expiate his crime of parleying with the invader instead of fighting him.
What happened after this is not entirely clear. But what is certain is that by the time of the Domesday Book, Edric was not a landowner any more. In fact Urse had some of the English thane’s former holdings. What happened to Edric? He must have been outlawed. Did he take part in the earl of Hereford’s rebellion in 1075, and was he punished for that by being deprived of his lands? It seems extraordinary that he might have joined up with a Norman, however rebellious; but those were extraordinary times, when ‘my enemy’s enemy is my friend’ was the only constant. He had engaged in woodland guerilla warfare before; there is no doubt that his cognomen Silvaticus was given for good reasons. Whatever, though, he lost out, like all the other thanes: the outlaw lord brought low not by the wicked sheriff, but by the inexorability of authority, and the crushing of time itself.
And so, Urse prospered, whilst Edric vanished; yet it is not as simple, and saddening, as that. For though it seems as if in this story the wicked Sheriff won, in fact the outlaw lord did not lose. For Edric’s family did not disappear: and the Savages, as they were then called, intermarried in later times with some of the great aristocratic families of England—including the Beauchamps. And their descendants included the Kings of England.
But there was more: for Urse himself, and his deeds, and his glory, were forgotten, doomed to remain as footnotes in history; whilst Edric was immortalised in legend as the consort of an elf princess, leader of a ‘wild hunt’, and became a kind of spirit of the land. A wryly melancholic, truly English, ending worthy of Shakespeare himself.