This weekend, bells in towers up and down the country will be ringing to mark the Coronation of King Charles III. Since the Coronation was announced there has been a concerted effort, ‘the ‘Ring for the King’ campaign, aimed at recruiting new ringers to learn the fascinating and absorbing hobby of change ringing and join the celebrations.

The art of change-ringing – the ringing of tower bells in mathematical patterns known as methods – originated in 17th-century England and, although practised in other countries today, remains a primarily English phenomenon. As such, it is perhaps strange that it is so little reflected in English literature. While poets such as Tennyson in ‘Ring Out, Wild Bells’ or A.E. Housman in ‘On Bredon Hill’ no doubt had the sound of change-ringing in mind, their work does not evoke or describe its specific patterns, although George Butterworth’s musical setting of ‘On Bredon Hill’ does capture it to some extent. Bells are a regular theme in the poetry of John Betjeman, who comes closer to reflecting change-ringing specifically and in one poem, ‘Bristol’, even speaks of ‘the mathematic pattern of a plain course on the bells’. In his Collected Works the pattern is printed below the poem.

Bells Betjeman X.989-6365. Caption: ‘Bristol’, from John Betjeman’s Collected Poems. 3rd ed. (London, 1970) X.989/6365.

The most famous literary bells in fiction are probably those in Dorothy L. Sayers’ detective novel, The Nine Tailors . Crime writers seem to have an affinity with ringing – it features in two of M.C. Beaton’s Agatha Raisin books and an episode of the long running TV series Midsomer Murders – but Sayers’ novel captures it most (if not entirely) accurately, and ingeniously uses the pattern of a ringing method as the basis of a cipher that is a key to the mystery.

A recent British Library acquisition uses ringing methods in an equally ingenious and intriguing – though very different – way. The American author, poet and critic Randall Couch, like Sayers, was fascinated by this ‘tradition of algorithmic composition’ and the result was the unusual and beautiful book Peal (RF.2021.a.5), published in an edition of 300 copies by the Tipperary-based Coracle Press in 2017.

Couch uses the construction of various ringing methods to play with English syntax. The books starts with a ‘Cento’, a poem composed from other writers’ lines. The lines Couch uses, chosen from a wide range of literary, philosophical, musicological and scientific sources, almost all relate in some way to bells, numbers, pattern, syntax or melody. He then turns each line into a ringing method by moving the words as the bells move in the chosen method, creating juxtapositions that range from the poetical to the nonsensical. In keeping with the conventions of writing out ringing methods, the path of the last word in the original line, corresponding with the heaviest working bell in the method, is printed in blue, and the first word, corresponding to the lightest bell (the treble, which may follow a different pattern to the other bells) is printed in red.

Here’s a simple example, using the line ‘Every text is a cento’ from French linguist François Rastier’s Meaning and Textuality. The method is Plain Hunt on five bells, the same as the ‘plain course’ quoted in Betjeman’s ‘Bristol’, although Couch better follows convention by writing the rows out in horizontal rows rather than vertical columns.

Plain Hunt on Five Bells from Randall Couch’s Peal, (RF.2021.a.5). Image from PEAL by Randall Couch, published by Coracle Press, Copyright 2017 Randall Couch

For a work that plays with ideas of syntax and meaning, an obvious line for Couch’s cento is Noam Chomsky’s famous example of a grammatically correct but semantically nonsensical sentence, ‘Colorless green ideas sleep furiously’. Couch turns this into a plain course of Grandsire Doubles ‘Grandsire’ is the name of the method, and ‘Doubles’ means it is being rung on five bells. (You can read more about how methods are named here.)

Grandsire Doubles from Randall Couch’s Peal. Image from PEAL by Randall Couch, published by Coracle Press, Copyright 2017 Randall Couch

While Plain Hunt and Grandsire are among the easiest methods and the first that ringers tend to learn, Couch also uses more complex ones which he says were ‘chosen with an eye to the associations created by juxtaposing their names with the corresponding opening lines.’ Here is a line from a work by the earliest writers on change-ringing, John Duckworth and Fabian Stedman, set to a course of London Delight Bob Triples.

London Delight from Randall Couch’s Peal. Image from PEAL by Randall Couch, published by Coracle Press, Copyright 2017 Randall Couch

Couch also includes the method that bears Stedman’s name with a quotation from Gertrude Stein, ‘Money is what words are.’ Among the less familiar methods he uses are Bobby Dazzler Little Alliance Major (to Alan Turing’s words ‘Machines take me by surprise with great frequency’), Titanic Triples (John Cage’s ‘Every something is an echo of nothing’) and some with deliberately amusing names such as Ursa Minor (poet John Cleveland’s ‘I like not tears in tune’).

Couch’s cento and its variations may not have the instantly catchy appeal of Tennyson’s, Housman’s or Betjeman’s poems, but they are a unique and fascinating reflection on the structures of both change-ringing methods and the English language itself, with a lasting appeal for anyone with an interest in either.

Running now for its second year, the British Library and National Trust have collaboratively designed a doctoral fellowship programme which aims to examine the connections between each organisation’s collections. Starting in January 2023, I have had the pleasure of taking the role of Doctoral Fellow on a project which examines the importance of public entertainment spaces, such as Bath’s Assembly Rooms, within Georgian society. The project’s primary aim has been to analyse literature and other paper-based ephemera, found in the British Library and National Trust’s extensive catalogues, in order to gain insight into Austen’s society and, more widely, social life in Bath.

During the eighteenth century, Bath was a place for both the fashionable and the infirm, a city which enticed people for both their healing waters and lavish entertainments. Bath became synonymous with entertainment. Whilst there was an abundance of scheduled entertainments such as plays, balls and musical concerts, the biggest entertainment of all was that of the spa town’s social theatre.

Whether you believe that Austen liked or loathed Bath, the city most certainly had an impact on her life and writings. In fact, there isn’t a single one of Austen’s six major novels which does not mention Bath in some capacity, whether by using the city as the main theatrical stage for Northanger Abbey (1817), or a brief mention of Mr Wickham ‘enjoy[ing] himself in London or Bath’ in Pride and Prejudice (1813). The city features most prominently in Austen’s posthumously published novels, Persuasion (1817) and Northanger Abbey. The treatment of Bath within these texts receives two opposing perspectives: one of wonder and excitement of a small-town girl going to the “Big City” in Northanger Abbey, contrasted with the view of Bath as a faded metropolis, a place in which Anne Elliot rather reluctantly goes to join her family in Persuasion.

Whilst the city attracted fashionable society, this very social class became a prime target for criticism and ridicule, as seen in satirical prints of the period. Found within the British Library collection is an 1858 bound book which includes a series of satirical prints by Thomas Rowlandson titled, The Comforts of Bath, first published in 1798. The twelve-plate series depicts different entertainments within the city, including both a concert and dancing, waters being drunk at the Pump Room, and public gaming.

Christopher Anstey, plate ten from The Comforts of Bath. Designed and etched by Rowlandson, with versification by Christopher Anstey, Esq, 1858. British Library, shelfmark 1267.f.21.

Accompanying each print is an extract from Christopher Anstey’s New Bath Guide, first published in 1766. The title of Anstey’s work is fairly misleading. Instead of an instructional piece recommending the latest and most fashionable of Bath’s hotspots, the publication is written in a series of satirical, anapaestic poems, following the lives of the fictional Blunderhead family. In fact, it’s not really a guidebook at all. Here, the combining of both text and print merges the visual and textual, presenting two very similar satiric critiques of Georgian Bath society.

Christopher Anstey, The new Bath guide: or Memoirs of the B-r--d family. In a series of poetical epistles.1766. British Library, shelfmark 11633.c.5.

Looking closely at plate ten of Rowlandson’s The Comforts of Bath, we can see a multitude of activity happening in this concert setting. Whilst there are audience members intently watching the performance, many can be seen having conversations between themselves, staring off into the distance, fidgeting, and even having a light snooze. The role of the audience in Georgian entertainment spaces was vastly different to what we experience today. Whilst we are instructed to turn off the distractions that are mobile phones, and talking through movies is often met with a passive aggressive “shush”, eighteenth-century entertainment etiquette was a little different. Speaking of the experience of the theatregoer, Jim Davis states, ‘[r]efreshments, discussion of the performance in progress, casual conversation, a little ogling and flirting, were all part of the experience’ (Davis, p.520).

Christopher Anstey, plate two from The Comforts of Bath. 1858. British Library, shelfmark 1267.f.21.

The role of the audience member, or spectator, was a topic which many artists like Rowlandson adopted in their work. Found within the British Library collection, George Cruikshank’s Pit, Boxes & Gallery, published in 1834, illustrates a lively theatre audience split across three levels. Like Rowlandson’s The Concert, the print shows a variety of comic characters, all engaged in an array of activities, from conversing and drinking to fighting for space in the upper gallery.

George Cruikshank, Pit boxes & Gallery, from My Sketch Book, 1834, British Library, shelfmark C.59.d.5.

This visualisation of spectatorship, created by artists such as Cruikshank and Rowlandson, often portrays an audience whose full attention is rarely directed at the entertainment in question (Davis, p.520). Consequently, the audience are presented as active spectators as opposed to passive ones, playing a vital role within the experience of Georgian entertainments. This active participation of the audience is therefore instrumental to what we consider Georgian entertainment. It is not just the physical activity of dancing, acting or singing which creates entertainment, but the individuals who both watch and participate in not just the concert halls but also the social theatre of Bath. For is the spa town itself not simply a dramatic stage for the wealthy and fashionable to “perform” their celebrity? Bath therefore acted as a stage which facilitated the gossipy tête-à-têtes of the fashionable elite.

The theatre and concert halls were not the only spaces which society performed spectatorship; the Pump Rooms were a place which people frequented in order to see and be seen. In chapter three of Austen’s Northanger Abbey, the narrator describes the daily rituals of Bath life:

"Every morning now brought its regular duties – shops were to be visited; some new part of the town to be looked at; and the pump-room to be attended, where they paraded up and down for an hour, looking at everybody and speaking to no one." (Northanger Abbey, p.25).

Austen paints a picture of a society which, as Kathryn Sutherland states, is ‘continually watching’.  The Pump Room was not only a place for healing, where curative waters would be taken for those in ill-health, but also a space to be seen performing your correct, societal role. The presentation of oneself within society was also visible through newspaper announcements, evident in Austen’s Persuasion where the arrival of the Elliot’s wealthy cousins, the Dalrymples, are announced in the paper:

"The Bath paper one morning announced the arrival of the Dowager Viscountess Dalrymple, and her daughter, […] for the Dalrymples (in Anne’s opinion, most unfortunately) were cousins of the Elliots; and the agony was how to introduce themselves properly." (Persuasion, p.139).

Seen in both extracts, Austen not only exposes this societal “peacocking”, but also subtly hints at the absurdity of social formalities, for if agony is caused in trying to talk to one’s own relations, it must be near impossible to socialise with anyone else.  

Taking part in the social display of oneself within these public environments, both created and fed into a culture of gossip. To be spoken about, to be known, to have a respected reputation, were all a means to tap into the benefits of the celebrity culture of the time. For in Georgian Bath, gossip was the ultimate form of entertainment. Similar to the role of audiences, gossip was about active and passive spectatorship. Whilst the trading of gossip provided plenty of entertainment for consumption, members of these social classes also stared as the entertainers themselves, both being the subjects of such gossip and through their social appearance on this “stage”. This gossip culture is also an intrinsic feature of Austen’s writings. Catherine Morland’s naivety in Northanger Abbey is apparent when she struggles to know whose gossip to listen to, or in the case of John Thorpe, his lies and trickery. In a bid to thwart Catherine’s plans with the well-mannered Henry and Eleanor Tilney, John spreads misinformation of the Tilney’s whereabouts in order to secure Catherine’s time for himself.

Thus, Bath was a town of both active and passive entertainment. Bath’s amusements existed on the stage and in the audiences of plays and concerts, but also in equal measure in social spaces such as the Pump Room and tea rooms. People delighted in the scripted entertainments of the stage and ballroom, as well as taking part in the unscripted social theatre. Thus, public entertainment spaces in Bath were vital for the facilitation of not only scheduled entertainment but also the social displays of wealth and importance. It would therefore be remiss to define Bath’s public entertainment spaces as simply the sites of formal activities. The popular resort town functioned as a theatrical backdrop for the social circus that was the Georgian elite, ultimately providing a fashionable space to see and be seen.

By Joanne Edwards, Doctoral Fellow with the British Library and National Trust.

 

Sources

Austen, Jane, Northanger Abbey, 1817, (London: Penguin Classics edition, 2011)

Austen, Jane, Persuasion, 1817, (London: Penguin Classics edition, 2011)

Austen, Jane, Northanger Abbey, 1817, (London: Penguin Classics edition, 2011)

Austen, Jane, Jane Austen’s Letters, ed. by Deirdre Le Faye (New York: Oxford University Press, 2011)

Davis, Jim, ‘Looking and Being Looked At’, Theatre Journal, 2017, 69. 4, pp. 515-53

Sutherland, Kathryn, ‘Jane Austen and social judgement’, Discovering Literature: Romantics & Victorians, <www.bl.uk>

We were very saddened last week to learn of the death of the actor, director and archivist, Murray Melvin (1932-2023) on the 14^th April. Murray had a long association with the Library over a number of years and we were always grateful to him for sharing his knowledge and reminiscences with us, as well as being such good company. With that in mind we would like to celebrate Murray’s life and work today and in particular to highlight the way in which he worked to create and preserve the archive of the Theatre Royal Stratford East.

Murray had a long and distinguished career including time spent in the theatre company, Theatre Workshop, under the visionary director, Joan Littlewood. Murray joined the company in 1957, as a student and ASM (Assistant Stage Manager…or ‘dogsbody’ as Murray called himself). He went on to play Geoffrey in A Taste of Honey (both on stage and film), and acted in other significant Littlewood productions The Hostage, The Quare Fellow and Oh! What a Lovely War. His later career included films such as Stanley Kubrick’s Barry Lyndon and Alfie with Michael Caine, and appearances in television series including Torchwood and The Avengers.

Murray Melvin supervising the Theatre Workshop Archive being transported by van to the British Library in 2020. Photo with kind permission of Karen Fisher

Theatre Workshop remained important to Murray for the rest of his life and he was particularly concerned about the legacy of the company and its director, Joan Littlewood. Littlewood’s company had developed out of agit-prop theatre in the 1930s, formalised itself as Theatre Workshop in 1945 before settling permanently in Stratford in 1953. As well as preserving this history, Murray also cared a great deal about the history of the Theatre Royal building and of its location in Stratford, East London, and what the theatre symbolised and meant to the local community. 

Over the course of thirty years, Murray set about gathering archive material that was already held at Theatre Royal bringing it together in Littlewood’s own office and re-housing and listing it.

But he didn’t stop there. Melvin also used his extensive contacts, and an advert in the paper, to encourage others with relevant material to consider donating it to him at the theatre. It is a fitting tribute to the love and trust that people placed in Murray that so many were willing to do so.

The archive that Melvin created is remarkable—from the history of the building in the late 19^th century, to a record of every production all the way to 2017.

The Theatre Workshop Archive in its new home at the British Library

In 2020, the Theatre Workshop Archive was donated to the Library with the support of Murray, the theatre and its trustees. It was a great source of pleasure and pride to Murray that the archive should come to the Library and it is a generous gift that the Library is incredibly grateful for.

The archive joins Joan Littlewood’s personal archive, which was acquired in 2015 from her estate. Together these archives contain over 1000 files and offer an unparalleled insight into Theatre Workshop and the Theatre Royal Stratford East.

Murray Melvin was one of those people that it was always a pleasure to work with. His dedication as the archivist of the Theatre Workshop Archive was tireless, but it was also joyful and captivating. He not only brought together the archive but it clearly gave him great pleasure to see others using it and he was always ready to tell a rich and colourful story on any aspect that caught interest, as well as assist curators and colleagues at the British Library in any query they might have. We will miss him greatly and always remember him fondly.

In 2022, Murray began recording a Life Story with the British Library. This complete oral history of his life began from his earliest years, through the course of his life and career, and, at the point of the last recording reached over eleven hours. It will no doubt be another great resource for researchers wishing to know more about Murray’s life and work and 20^th century British theatre more widely.

A collection of correspondence, poems and booklets from the writer, Edgar Mittelholzer, to his friend, Ruth Windebank, have recently been catalogued and made available to researchers in the British Library reading rooms.

Edgar Mittelholzer was one of the earliest professional English-language novelists from the Caribbean and is widely considered to be one of the most prominent, having been among the first to gain a significant European readership.

Born in New Amsterdam, British Guyana in 1909, Mittelholzer was prolific, writing more than twenty novels over the course of his life. His work ranges in setting from the earliest period of European settlement to the then-present day, and are known for dealing with complex matters of psychological and moral interest as well as the historical and political, such as relations between ethnic groups and social classes, reflecting his own experiences in a middle-class colonial environment.

The archive, now catalogued among our Contemporary Archives and Manuscripts collections, contains 31 letters, 12 poems and 2 pamphlets, mostly dated between 1941 and 1943, and offering insight into his personal life and consequently his writing. The majority of the letters are from Mittelholzer to his friend, Ruth Windebank (nee Wilkinson), whose daughter donated the archive to the Library.

A selection of letters from the Edgar Mittelholzer Correspondence to Ruth Windebank, Add MS 89653. Credit: CC-BY Estate of Edgar Mittelholzer

Mittelholzer’s close relationship with Ruth - affectionately referred to in the letters as ‘Ruthie’- is such that his correspondence to her provides particularly candid accounts of his personal experiences, with honest descriptions of matters as everyday as his eating habits to his deeper thoughts and feelings, such as his outlook on love.

In reading these letters, usually signed off with his nickname ‘Barno’, you accompany Mittelholzer through the early 1940s. He discusses his life, work and relationships in Georgetown, Guyana after the self-publishing of his first novel Creole Chips in 1937 and awaiting the publishing of Corentyne Thunder. He writes about his decision to join the Trinidad Royal Volunteer Naval Reserve (TRVNR) and his service, with letters from his time aboard the ‘Hellene' and HMS Benbow; he continues to write as he settles in Trinidad, discussing his first marriage and the birth of his eldest daughter.

A letter written by Edgar Mittelholzer to Ruth Windebank, 27th April 1943, from Add MS 89653. Credit: CC-BY Estate of Edgar Mittelholzer

Poems accompany many of the letters, with 12 in total in this archive, most of which appear to be otherwise unpublished.  Some are written with Ruth or others in mind and certain lines are marked out for their intended recipients. Many have parallels with the letters, for example: conflict only briefly described during his time in the TRVNR is revisited in Mazaruni Rocks, Afternoon Reflections and Death in Prospect. Here, thoughts he alludes to in conversation are explored fully in his art.

‘Ruthie’ and ‘Barno’ had lost contact by the mid-1940s but in the last letter in the archive, dated 15^th June 1962 the two have reconnected after 21 years. Mittelholzer writes from Farnham, in Surrey, where he would go on to spend the remainder of his life. The daughter he welcomed in his previous letters is now 19 and he also describes his other children and recent remarriage. Mittelholzer had just completed his novels The Aloneness of Mrs Chatham and The Wounded and The Worried and was awaiting the publishing of his autobiographical A Swarthy Boy.

This archive provides a small window into Mittelholzer’s inner world and into the difficulties that thematically underpin much of his published work. It also includes a selection of typescripts of poems including Afternoon reflections, Mazaruni Rocks, and Just Between Us, which has handwritten annotations.

Sadly, in May 1965, Mittelholzer took his own life by setting himself on fire, three years after the final letter in the archive. Mittelholzer’s end was foretold in his final posthumous novel, where the main character meets the same fate.

This quote from a letter Mittelholzer sent to Ruth on 15^th May 1941 sums up his life reflected in the letters:

‘But life is so complicated that I just wonder where I’m going to end up. If you told me tomorrow that I’d be a millionaire in the evening I wouldn’t doubt you. Or if you told me that I’d be dining with the Governor or with an East Indian beggar in Albouystown this evening I wouldn’t doubt you, either.’

A letter written by Edgar Mittelholzer to Ruth Windebank, 13th May 1941, from Add MS 89653. Credit: CC-BY Edgar Mittelholzer

 

By Megan Richardson, Library Information and Archive Service Apprentice (LIAS) and cataloguer of the Edgar Mittelholzer correspondence. 

 

Further reading

Edgar Mittelholzer Correspondence to Ruth Windebank – Add MS 89653

Louis James, ‘Mittelholzer, Edgar Austin’, Oxford Dictionary of National Biography (online) Accessed 25 February 2023: https://doi.org/10.1093/ref:odnb/69688

James Ferguson ‘Edgar Mittelholzer: the Dark One’, CarribeanBeat, (2009) Accessed 29 March 2023: Edgar Mittelholzer: the Dark One | Caribbean Beat Magazine (caribbean-beat.com)

by Gwen Morris, Digital Learning Administrator, the British Library Learning team. 

In this post, Gwen reflects on her role and her work on our digital campaigns for primary schools. These creative campaigns aim to spark love of reading, writing and drawing, in response to the treasures on our Discovering Children’s Books website. Our current campaign (running until 28 March 2023) invites children to cook up their own fairy tales with tips from Michael Rosen, Sandra Agard and other brilliant storytellers. Schools from across the UK are making little books and filling them with their own stories, inspired by tales of the past.

What’s a typical day for you as the Digital Learning Administrator?

My role as Digital Learning Administrator is varied and fulfilling. I especially enjoy collaborating with my colleagues to provide teachers and students with exciting online learning resources.

My day often begins with a team meeting to discuss our digital campaigns. These range from making miniature books to ‘Step inside your story’, which puts young writers at the heart of their own tales and proves that everyone can be an author. Our meetings are a great opportunity for me to learn from my colleagues’ points of view as we share ideas for our campaigns.

Michael Rosen created a film revealing what makes fairy tales special, with brilliant animations by Allen Fatimaharan

Cinderella’s fairy godmother turns lizards into footmen. Shelfmark: 12410.r.5. Title: Cinderella, retold by C S Evans and illustrated by Arthur Rackham (1919). Public Domain.

Once we’ve decided on a theme and an activity, our next step is to spread the word to schools across the UK. It’s my job to send out emails to our target schools and to keep track of which schools have signed up. Our Outreach campaigns are designed to support schools in low socio-economic areas, so I do a lot of research to make sure that we’re contacting those most in need of our support.

As a member of the Digital Learning Team, I also help with the process of building webpages so that our resources are accessible online to anyone who wants to use them. Although I had some experience in creating digital content before starting in this role, I’m glad I’ve been able to receive training in this area as it’s helped me grow in confidence whilst learning different strategies for improving SEO. Since completing the training, I’ve enjoyed putting these strategies into practice on our Learning website.

This Roma story by Richard O’Neill is one of the stories featured in our fairy tales project. It depicts the Parno Gry, a magical horse who takes children to wonderful faraway places. Shelfmark: LC.31.a.20058. Title: Yokki and the Parno Gry (2016). Reproduced by kind permission of Child's Play (International) Ltd. Text copyright © 2016 Richard O’Neill and Katharine Quarmby. Illustrations copyright © 2016 Child's Play (International) Ltd. First published 2016 by Child's Play. All rights reserved. You may not use the material for commercial purposes. Please credit the copyright holder when reusing this work.

Do you have a favourite digitised collection item from Discovering Children’s Books?

I absolutely love looking through Quentin Blake’s rough sketches of Matilda. Matilda was my favourite book growing up and these sketches bring back lovely memories of laughing at Matilda’s antics with my family.

Discovering Children’s Books features interviews with authors and illustrators including Quentin Blake, Jacqueline Wilson, Zanib Mian, Joseph Coelho and Julia Donaldson.

What’s your favourite part of your job?

One of the most wonderful things is seeing the fantastic stories we receive from schools and families across the UK. When a campaign is launched, we ask teachers, parents and guardians to send us photos of the children’s work and I’m always amazed by the quality of submissions. There’s nothing better than opening my inbox to find stories about time-travelling cats and magic shoes!

Overall, it’s been a joy to take on this role at the British Library.

Fairy tales © Millbrook Primary School, Mill Hill.

Step inside your story entries © St George’s Church of England Primary School, Barrow-in-Furness.

To learn more about our online learning resources, visit Discovering Children's Books, Discovering Literature and Windrush Stories – or explore our full offer.

We are delighted to announce that the British Library will host a symposium on Ted Hughes and Expressionism in collaboration with Dr Steve Ely, Director of the Ted Hughes Network at the University of Huddersfield.

Ted Hughes by Fay Godwin © British Library Board

This symposium is designed to explore and investigate the claim that Hughes’s most characteristic, distinctive, and innovative work—wherein lies the weight of his claim to be regarded as a major poet and an internationally significant artist—is essentially Expressionist, characterised by a rejection of objectivity in representation in favour of a Visionary Subjectivity that draws on inner life and imagination to transform and distort content, deploying abstraction, typologies and symbols to shape presentations in an essentially didactic manner.

Hughes’s Expressionist mode manifests throughout his oeuvre and includes many of his most celebrated poems and books, including ‘Wind’, ‘Mayday on Holderness’, ‘Thrushes’, ‘Pike’, Wodwo, Crow, Cave Birds, Gaudete, Remains of Elmet and Capriccio.  Many of his plays and short stories—'Difficulties of a Bridegroom’, ‘The Wound’, ‘The Head’—are similarly Expressionist, having particular affinities with German Expressionism. Of course, not all Hughes’s work is Expressionist by any means, and across his career he produced celebrated poetry that seems to represent a more objective—Naturalist, Realist—response to experience, in works including Season Songs, Moortown Diaries, River and Birthday Letters, for example. 

Focusing on Hughes’s art, method and technique in this way invites approaches to his work that go beyond the Anglophone literary-historical tradition and discuss his work in the context of European and international artists and movements in the arts—visual, dramatic and musical as well as literary—looking at affinity, influence and collaboration: one thinks immediately of Hughes’s work with, and advocacy of, innovative, experimental and avant-garde artists in the Expressionist tradition, including the Eastern European poets Herbert, Holub, Pilinsky and Popa; the American artist Leonard Baskin; the dramatist, director and impresario Peter Brook and the photographer Fay Godwin.

The British Library is a major centre for Hughes study with substantial collections relating to the poet that include archival, printed and audio-visual material. Researchers can learn more about all aspects of Hughes’ work by exploring his large personal archive (Add MS 88918), which was acquired in 2008 and a number of smaller related collections including Hughes’ correspondence with Olwyn Hughes, Leonard Baskin and Keith Sagar. Please see the Library’s collection guide on Hughes for more information about its Hughes holdings.

Material from the Ted Hughes Archive

Subjects for papers might include, but are by no means limited to, the following.  Proposals should make the link to the themes of the symposium clear.

• Works by Hughes: specific poems, sequences or collections; radio plays; short stories; critical prose or pedagogical works
• Hughes’s poetics: artifice, method, style, technique
• Hughes and ‘visionary precursors’ (including, but not limited to, Christopher Smart, William Blake, Emily Dickinson, Gerard Manley Hopkins, D.H. Lawrence, W.B. Yeats)
• Hughes, T.S. Eliot and Modernism
• Hughes, Dylan Thomas & the poets of the New Apocalypse
• Hughes’s relationship with modern and contemporary experimental and avant-garde English language poetry
• Hughes, European and International poetry & poets
• Hughes and visual artists (including, but not limited to, relevant collaborations, for example, with Leonard Baskin and Fay Godwin)
• Hughes and Drama
• Hughes’s work with Peter Brook
• Hughes and German Expressionism
• Hughes and Music

Please send proposals of up to 250 words for 20-minute papers, plus a short biographical note, to Steve Ely at [email protected] by Friday, 12^th May, 2023. There will be no charge for registration.

For more information about the Ted Hughes Network, see: https://research.hud.ac.uk/institutes-centres/tedhughes/.

By Eva Isherwood-Wallace, PhD Placement Student with Contemporary British & Irish Published Collection.

As part of the British Library PhD placement scheme, I spent three months investigating small publisher fairs across the UK and Ireland to support collection development for artists’ books and fine press. This placement was based in the Contemporary British and Irish department, under the supervision of curator Jerry Jenkins. Small publisher fairs are held all over the UK and Ireland, showcasing the work of artists and small presses that produce handmade and limited-edition books. Curatorial staff from institutions like the British Library regularly attend these events to acquire new publications for their collections and to develop their relationships with individual artists and presses.

What can the British Library learn from these book fairs? By comparing lists of exhibitors to the British Library’s holdings, we can see whose work is being collected and where they are based. This is particularly important when assessing the regional diversity of the collection. During my placement, I had the opportunity to attend a few of these book fairs. My first visit was to the Small Publishers Fair in October 2022. Around 60 artists and publishers from across the world gather to share their work each year at Conway Hall in Bloomsbury. The hall was packed, filled with artists, printmakers, publishers, editors, librarians, curators, collectors, students and interested members of the public. These fairs are a great opportunity to discover unique publications from a wide variety of places. I left with a bag filled with as much as I could carry home with me, including a pamphlet from a Yorkshire-based printmaker, Irish writing from Aberdeen and a French novel printed in London.

Image by Eva Isherwood-Wallace

As well as seeing all of these interesting books and meeting the artists and presses behind them, attending the fair allowed me to do some in-person detective work. With my list of exhibitors, I made my way around the busy room to work out which exhibitors were relevant to the placement project. For my purposes, ‘relevant’ meant artists and presses based within the UK and Ireland who produce work in editions rather than unique artworks. This means that each individual work has multiple copies (e.g. in an edition of 50) because one-off pieces are considered manuscripts, a category handled by a different department. Exploring the fair in this way took most of the afternoon, mostly because I wanted to stop to examine every book on every table!

Before my visit, there were a few questions I particularly wanted to find the answers to. Do online fairs allow for wider regional representation? Did some of the changes made because of the Covid-19 pandemic actually benefit artists and presses based outside of London? We might expect to see a big shift in the locations of exhibitors when a fair is held online. However, the data I collected during my research suggests that the story is more complicated.

Image by Eva Isherwood-Wallace

More Scottish presses participated in the online Small Publishers Fair in 2021 than in person in 2022. However, nearly all of these presses had already travelled to the Small Publishers Fair before the pandemic. Only one Scottish press, Stichill Marigold, exhibited at the Small Publishers Fair for the first time when it was held online. This was also the case for artists and presses based in Wales and the Republic of Ireland. This points towards the close-knit nature of this publishing community, with exhibitors returning year after year to the same fairs. For artists and presses in this industry, online provision does not necessarily equal accessibility. This can be partially explained by the difficulty in accurately representing work of this kind on a screen.

The work of these artists and presses is tactile and material. The making of artists’ books and fine press editions involves traditional techniques and equipment, with some publishers like Distillers Press in Dublin using printing presses that are over a century old. Artists’ books also act as physical documents of experience. Some recent works have been produced in a ‘lockdown diary’ format, which provides artists with a way to record their experiences of the pandemic. By acquiring these works for the collection, the British Library can safely archive them and make them available to readers who would not have otherwise been able to see them.

Image by Eva Isherwood-Wallace

One example of the ‘lockdown diary’ artist’s book is Setting by Helen Douglas of Weproductions, a press based at Deuchar Mill in the Scottish Borders. Attending these fairs opens up the possibility of face-to-face encounters between collectors, curators and artists from across the UK and Ireland. We were able to meet with Helen Douglas and see her latest works, and this also gave me the chance to observe a British Library acquisition in the wild. The value of these fairs as meeting places underlines their importance to the British Library’s collecting practices.

From the data I collected during this visit, I was able to develop my understanding of the British Library’s relationship with small publisher fairs. By comparing the list of artists and presses at the Small Publishers Fair 2022 with the British Library’s holdings, I found that 70% of these exhibitors can be found in the Library’s collection. In contrast, 29% of exhibitors at another major fair­—Bristol Artist’s Book Event 2022—are represented in the collection. In preparing my final report at the end of my placement, I thought about how the British Library can develop its collecting strategies to ensure that the collection is inclusive of artists and publishers across the UK and Ireland.

It is, however, important to remember that this data doesn’t necessarily have a simple explanation. While the comparison between the Small Publishers Fair at Conway Hall and the Bristol Artist’s Book Event might suggest a skewed regional representation based on proximity to London, there are other factors at play. With 42% included in the British Library collection, more exhibitors at Dublin Art Book Fair 2022 are represented than those in Bristol. Nevertheless, these small publisher fairs are key to identifying regions that are underrepresented in the collection. By ensuring that the British Library has a presence at small publisher fairs throughout the UK and Ireland, curators will be able to acquire a diverse range of exciting new works for readers to discover.

By Catherine Angerson, Curator of Modern Archives and Manuscripts.

The Blavatnik Honresfield Library is a collection of books and manuscripts of exceptional historical and literary importance formed by the Lancashire mill owner William Law (1836–1901) in the late 19th century and cared for by subsequent generations of the family until the sale of the collection in 2022. The collection includes manuscripts and rare editions of the work of Jane Austen, Robert Burns, Sir Walter Scott, the Brontë siblings, and Alfred, Lord Tennyson.

Honresfield House, just outside Littleborough near Rochdale, was where William Law lived with his brother Alfred, who inherited the collection after William’s death in 1901. It then passed to a nephew, the Conservative MP Sir Alfred Law (1860–1939). Selected scholars were granted access during the 1930s and transcriptions of several of the manuscripts were made, but the collection then largely disappeared from public view after the death of Alfred Law in 1939.

The Blavatnik Honresfield Library was purchased for the nation in 2022 by the Friends of the National Libraries with the support of the Blavatnik Family Foundation, the National Heritage Memorial Fund and many other generous supporters. The collection has been shared between cultural heritage institutions in the UK who are all committed to making the items in their care publically accessible.

The British Library was one of the beneficiaries, receiving 102 printed books, four manuscript items, and the William Maskell chapbook collection. The manuscript items have now been digitised and you can access the images by following the links below.

Emily Brontë’s notebook of poems, 1844–46, Add MS 89488, ff. 5v-6r.

One of the highlights of the Blavatnik Honresfield Library is the notebook of Emily Brontë’s poems (Add MS 89488) which she kept between 1844 and 1846. Few of Emily Brontë’s literary manuscripts survive and the notebook is a fascinating record of her creative process. Brontë transcribed neat copies of 31 of her own poems into this notebook, recording the date of original composition next to each.

The first poem, ‘Loud without the wind was roaring’, is dated 11 November 1838 when Emily was 20. She composed the final poem, ‘No Coward Soul is Mine’, on 2 January 1846 at the age of 27. Some of the poems include further revisions in the hand of her sister Charlotte. Beneath the poem ‘How beautiful the earth is still’ of 2 June 1845, pictured below, Charlotte has written, ‘Never was better stuff penned’, in the miniature script shared by both sisters.

Emily Brontë’s poem ‘How beautiful the earth is still’, composed 2 June 1845, Add MS 89488, f. 17v.

The notebook is the source for 15 of the 21 of Emily Brontë’s poems selected for Poems by Currer, Ellis, and Acton Bell (1846). The other six poems came from Emily’s ‘Gondal Poems’ notebook which she kept at the same time. Emily Brontë’s own signed copy of Poems (1846) is also among the treasures of the Blavatnik Honresfield Library.

Another treasure allocated to the British Library is a miniature book by Charlotte Brontë titled, 'Characters of the Celebrated Men of the Present Time by Captain Tree' (Add MS 89486). The tiny book, created by Charlotte when she was just 13 years old, is one of seven early Brontë manuscripts now jointly owned by the British Library, the Brontë Parsonage Museum and the Brotherton Library at the University of Leeds. The book is narrated by Captain Tree, one of Charlotte’s childhood pen names. It consists of ten chapters that feature ‘Celebrated Men’ such as the Duke of Wellington, Lord Charles Wellesley, Captain Bud and Young Man Naughty. These figures were drawn from real life as well as from the fictional world of Glass Town. The Glass Town Federation was a complex fantasy land created by Charlotte and her siblings Branwell, Emily and Anne.

Charlotte Brontë, ‘Characters of the Celebrated Men of the Present Time by Captain Tree’, 12–17 December 1829, Add MS 89486.

The book measures a tiny 5 x 3.7 cm, the size of a small matchbox. The digital images allow us to zoom in on Brontë’s tiny script and to examine the pages of the manuscript in detail. The pages are slightly uneven in size. This is because Charlotte cut the paper by hand and sewed the pages together using a needle and thread, and the book is still bound in its original yellow sugar paper cover.

The manuscript items allocated to the British Library also include a letter dated 10 November 1847 from Charlotte Brontë to William Smith Williams of Smith, Elder & Co., the publisher of Jane Eyre (1847) (Add MS 89487). In this letter, Brontë (using her pen name ‘C. Bell’) complains about the ‘exhausting delay and procrastination’ that her sisters Emily (‘Ellis’) and Anne (‘Acton’) have had to endure in the publication of their novels by Thomas Newby. Emily Brontë’s only novel Wuthering Heights and Anne Brontë’s first novel Agnes Grey were both published by Newby in December 1847 shortly after Charlotte wrote this letter.

In addition to the Brontë manuscripts described above, the British Library also received two leaves from the manuscript of Walter Scott’s Kenilworth (Add MS 89485), a novel of intrigue and deception set in Elizabethan England. These handwritten pages were part of the manuscript which Scott sent to the printer John Ballantyne for the publication of the novel in January 1821. The Library also holds the larger part of the manuscript of Kenilworth and two further leaves acquired in 2017.

The manuscripts have been digitised in full and images can be accessed via the archives and manuscripts catalogue and through the links in this blogpost. The printed items are described in the main catalogue and can be identified by the shelfmark prefix ‘Hon’. See our new collection guide for further details.

A small selection of books and manuscripts from the Blavatnik Honresfield Library is currently on display in the Treasures Gallery at the British Library in London (until 19 February 2023). The display includes a leaf from Walter Scott’s Kenilworth manuscript, the letter from Charlotte Brontë to WS Williams, Emily Brontë’s poetry notebook together with her own copy of Poems (1846), and two of the chapbooks from the Maskell collection.

We are delighted to be working with the Brontë Parsonage Museum and the Brotherton Library to make the Brontë material available to new audiences (online and in an exhibition) over the coming months and years.