On 8 February 1869 the Board of the Treasury met to discuss “the drafting or preparing of Bills introduced into Parliament on the part of Her Majesty’s Government.” The Treasury minute goes on to note “the advantage of bringing all important Government Bills under the view of one person,” and being “pleased to direct that the office as proposed shall be constituted to be called the “Office of the Parliamentary Counsel”.

The Office of Parliamentary Counsel has grown from one man and his assistant in 1869 to consist of a staff of 60, including some 50 experienced barristers and solicitors. Led by Elizabeth Gardiner, the team’s job is to assist government departments in preparing Bills.

In a BBC interview Gardiner remarked that, "what they used to say was that every Labour government legislated more than a Tory government but that every government legislated more than the previous one, of that colour.”

The experience of Patrick Macrory, director of Unilever, seems to corroborate that view. He worked as an assistant at the Parliamentary Counsel Office during the late 1940s under Granville Ram (known as the ‘Maestro’) and alongside Harold Kent who later became Treasury Solicitor.

Interview with Patrick Macrory, C408/005, Tape 1, Side 2, 00:23:18 – 00:24:31

In this excerpt from her 1988 interview for NLS Legal Lives, Baroness Hale explains how parliamentary draftsmen contribute to the work of the Law Commission on law reform.

Interview with Baroness Hale, C736/008, Track 4, 00:17:29 – 00:20:52

Baroness Hale. University of Salford Press Office [CC BY 2.0 (https://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons

Those currently working in the Office of Parliamentary Counsel are facing unprecedented challenges, drafting legislation to accommodate the constitutional novelty that is Brexit.

Blogpost by Emmeline Ledgerwood (@EmmeLedgerwood), AHRC collaborative doctoral student with the University of Leicester and the British Library Oral History department. Her PhD research is looking at governments’ attitudes to the management and funding of scientific research, 1970-2005. 

This week's selection comes from Camille Johnston, Oral History Assistant Archivist.

Sculptor Eduardo Paolozzi (1924-2005) describes how it felt to be an artist in the 1950s. Post-war Britain was changing but there was nonetheless a pervading sense of austerity. Paolozzi says, 'we were all grey'.

This sense of austerity was, for Paolozzi, coupled with a sense of apprehension towards foreign art and foreign food. Picasso was deemed 'interesting but foreign'. Spaghetti was unheard of!

He mentions the Festival of Britain, a national exhibition that took place on London's South Bank in 1951. The Festival attracted millions of visitors and was seen as a turning point in Britain, where minds were opened to new achievements in the arts and new developments in industry.

Eduardo Paolozzi was recorded by National Life Stories for Artists’ Lives in sessions between 1993-1995. The interviewer was Frank Whitford.

Eduardo Paolozzi on post-war Britain (C466/17)

Sir Eduardo Paolozzi with his sculpture of Newton at the British Library, photographed by Chris Lee. © British Library. Image not licensed for reuse.

This clip features on the Voices of art website. Voices of art is a new British Library resource that explores the art world from behind the scenes. Extracts from oral history recordings accompany a series of essays by writers who have been immersed in the art world of the 20th and 21st centuries. To hear Paolozzi's clip in context, see Duncan Robinson's article The London art world, 1950-1965.

Follow @BL_OralHistory and @soundarchive for all the latest news.

Image Credit: Susie2779 on Foter.com / CC BY-NC

In 1999 a fifteen year old girl was interviewed at her home in Shrewsbury for the enormous BBC/British Library oral history project ‘The Century Speaks’. In a bedroom decorated with X-Files posters – partly reflecting her belief in government conspiracies – she spoke with considerable charm about other beliefs, including the belief in ‘a spirit of Christmas’:

"It's like a Father Christmas thing... something friendly" (C900/15116) 

An infectiously cheerful account of a world view in which forms of belief and doubt, unbelief and hope mingle. Another example, in other words, of what the Understanding Unbelief programme calls ‘hybrid configurations’ of belief and unbelief. For other configurations see a previous post, and another in the LSE’s Religion and Global Society series.

This blog is by Dr Paul Merchant, Oral History Interviewer, National Life Stories, The British Library. More information on Millennium Memory Bank can be found in our collection guide to Major national oral history projects and surveys.

Oral History Curator Mary Stewart reflects on the contributions of volunteers to the oral history collections, particularly remembering the sterling work of Audrie Mundy.

Anyone who has ever made use of the oral history collections will have used the interview content summary – the sometimes rather clunky piece of prose that acts as the main search tool to navigate around the (often lengthy) recordings that we make. Who writes these summaries, you might ask? Nowadays it’s standard practice in the oral history team for the interviewer to write up the summary, to allow them to reflect on the content and questions already covered in the interview, and prepare the topic areas to cover in their next visit to the interviewee. In earlier decades this practice was not so carefully enforced, and there was often a heap of cassettes waiting to be summarised. Helping to whittle down this pile, through careful listening and summarising, were several dedicated volunteers – unseen by the eventual researcher – whose efforts are often unsung. Marking International Volunteering Day, it seems apt to highlight some of the volunteers whose efforts have helped develop the Library’s oral history collections.

In the last 18 months we have seen the deaths of two of these stalwart volunteers for the BL oral history team, following the death of fellow longstanding volunteer Brenda Corti in 2010. We still reap the benefits of Katherine Thompson’s time as a volunteer. In addition to summarising many interviews, Katherine worked as an interviewer on City Lives and The Living Memory of the Jewish Community. The recordings Katherine made with scientists Aaron Klug, Max Perutz and Joseph Rotblat laid the foundations for the project An Oral History of British Science two decades later.

Katherine Thompson, 2014. Courtesy of Jenny Thompson.

When I joined the British Library in 2006 Katherine and Brenda had stopped volunteering, but I did have the absolute pleasure of working alongside Audrie Mundy, who volunteered until 2011, by which time she was in her early nineties.

Audrie recorded a few interviews, but her main task for over a decade was to summarise interviews from across the collections, particularly relishing working on Artists’ Lives, a project that married well with her own interests.

Audrie Mundy on writing summaries of oral history interviews

Although both Anthony Caro and Elsbeth Juda’s interviews are currently closed to public access, clips from Anthony Caro’s interview are accessible in our new Voices of art web resource. If you’ve ever had the pleasure of listening to the long interviews with Anthony Fry, Frank Bowling, Denis Bowen and Paula Rego – then please say a quiet thank you to Audrie as without her excellent content summaries you would be unable to navigate through the mountains of audio. If you’ve sampled interviews from our Food: From Source to Salespoint collection not only did Audrie summarise several interviews, she also invented the project title.

Audrie was never anything less than kind, direct and hardworking each time she trekked into the NLS office – no mean feat by the time I met her as it was quite a lengthy journey from her home in Kew Bridge to St Pancras. Always immaculately turned out, she would quietly put on her headphones and set to work. Our lunches and coffee breaks were many times the highlight of my day. It mattered not the great age difference. Audrie was inquisitive and interested – and through these times together I was privileged to hear snippets of her extraordinary life – her early adoption of yoga in post-war London, her love of languages as she taught herself French and Portuguese, her pride in her family and thoughts on theatre, books and culture.

Audrie Mundy and her art

Audrie Mundy, 2004. Photograph: Ali Musa.

We missed Audrie greatly in recent years when her mobility meant she could no longer come into the office – though she remained the champion proof-reader of our Annual Review – and we all stayed in touch with her, marvelling at her deft and newly acquired email skills.

Audrie Mundy on the wonders of email

Although she played hard to get, in 2012, to our delight, Audrie agreed to record some of her own life story with Cathy Courtney, and we are especially pleased that this is now available online at https://sounds.bl.uk/Oral-history/Oral-historians.

Volunteer effort is still greatly valued by the oral history team and this autumn we have been delighted to welcome the first two curatorial volunteers as part of the Unlocking Our Sound Heritage project. Anna Savory wrote a fascinating blog on Ghosts in the Collections, and Laurie Green-Eames is hard at work, including some sleuthing for one early 1990s collection attempting to match up pseudonyms used in a book with the recordings we have in the archive. Rest assured, however, we won’t be expecting them to volunteer into their nineties!

This blog is by Mary Stewart, Oral History Curator at the British Library.

Although we don’t go regularly to church [...] my wife would still feel, and I think I would still have a hankering feeling, that ceremonies like marriage ought to be blessed with a sacramental service of some sort or other. [409/01]

dmitryzhkov on VisualHunt.com / CC BY-NC-SA

In a recent collaboration between National Life Stories at the British Library and the Understanding Unbelief programme at the University of Kent, I have been exploring three collections of oral history interviews at the British Library for moments when interviewees talk about not believing in God or gods, lack of interest in and/or engagement with religion, and existential beliefs held in the absence of religious belief: C1364 ‘An Oral History of the Water Industry’, C409 ‘NLSC: City Lives’ and C900 ‘Millennium Memory Bank’.

This may, at first glance, seem a curious, even eccentric endeavour. But unbelief itself is far from eccentric – the majority of people living in the UK say they have ‘no religion’ and all evidence suggests that most of these are also either atheist or agnostic. Furthermore, as the ‘background’ to the Understanding Unbelief programme makes clear, the work is necessary as very little is known about religious unbelief, beyond the well-known public arguments of the New Atheists and other high-profile commentators.

In this blog, which follows my previous blogs ‘English Atheist’ and ‘Religious unbelief in the life of Professor Sir Fred Holliday’, I focus on ways on which interviewees in the collections I have used value religion in spite of their own unbelief.

Being there

Certain interviewees who say that they are themselves not religious and/or do not believe in God or gods nevertheless value the presence – in social and physical space – of religion. This extract articulates this position especially clearly:

"You can see the nice side of the church" C409/134

The reference of this interviewee to ‘wonderful cathedrals’, ‘glorious buildings’ that are ‘so uplifting’ is echoed rather closely by another interviewee:

"There's no pollution in the place as such"  C900/00631

This second speaker was born in Kenya in 1945 into a practising Hindu family, had moved to the UK alone as a teenager, and was – at the time of interview in 1999 – the Chairman of the Bristol Hindu temple. Though he regarded himself as ‘not religious’ and doubtful about the value of rituals performed in the temple, he was nevertheless clear about the value of the existence of the temple and the rituals: ‘I don’t want to knock it down: I don’t say that this is all rubbish because I don’t believe in it, then nobody should do it. [...] Those rituals must take place if that’s what the community want’ [C900/00631]. We tend to forget, perhaps because we are attuned to ‘New Atheism’, that not believing in God (or gods) is not the same thing as opposing religion.

Already implied in the extracts above, the existence of religion, physically and socially, is valued especially at certain times of life, especially at the end of others’ lives. The first speaker referred to the role of the church ‘when people get born and married and die’ and later in his interview, says of funerals: ‘the Church does it better [...] it's much nicer to have a beautiful service with well-known hymns and a lovely anthem, you know [...] it doesn't do the dead person any good, but it helps the survivors to carry on’ [409/134]. Another interviewee, equally clear about his own lack of religious belief, speaks (with evident emotion I think) of missing, and not missing, Christian funeral services. As the clips begins, he is speaking of his father:

"You need that kind of closure" C1364/19

Advert for the BBC's Millennium Oral History Project 'The Century Speaks'

Passing-on religion

More common than the valuing of the buildings, music or social role of religion, is a feeling that religion contains ‘values’ that are worth passing-on to the next generation. In the case of Christianity, the next two clips paint much of the picture:

"I encouraged the children always to go" C409/10

"To make absolutely sure that they got the exposure to that kind of values" C409/28

There is some evidence, in Millennium Memory Bank interviews with those with non-Christian religious backgrounds, of a somewhat similar wish to pass on religion in spite of personal unbelief. These three clips cover much of the ground. The first two speakers discuss a strong urge to pass-on to their children aspects of Judaism that they themselves have tended to live without. The third refers to the syncretic Sikh-Hindu upbringing of her children in the context of doubts about whether she can be described as ‘religious’:

"So we decided that we would like to celebrate the major festivals" C900/15067

"...and yet I want them to know those things" C900/05598

"I just practice it my own way" C900/09149

What this ‘passing-on’ might look like from the child’s point of view may be suggested – without claiming any perfect match up across very different lives and religions – in certain Millennium Memory Bank interviews with children and very young adults. In the next clip, a seventeen year old born in Bosnia, who had migrated to the UK to escape the Bosnian war, suggests that her mother was keen to pass on a Muslim inheritance or identity, without being ‘religious’ herself:

"My mum always educated me 'this is what you are'" C900/03085

In the final clip, a thirteen year old, born in Cambridge into a family that he regards as ‘normally’ non-religious, suggests that his parents have passed-on a positive regard for Christianity, along with certain ‘values’:

"I've got a rough idea, but I can't really explain it" C900/01066

Conclusion

In 1994 Grace Davie published her book Religion in Britain since 1945. It was very successful, and is especially well known for the argument that religion in Britain at the end of the twentieth century should be understood in terms of ‘believing without belonging’. Indeed, Davie’s position strongly influenced the text for the ‘Beliefs and Fears’ theme in the research guide used by BBC interviewers in the project – ‘The Century Speaks’ – that produced the Millennium Memory Bank collection. What we seem to have in the extracts in the blog are features of the partly reversed, and much less catchy, ‘valuing religion without believing’.

For more on unbelief, visit the website of the Understanding Unbelief project: https://research.kent.ac.uk/understandingunbelief/

This blog is by Dr Paul Merchant, Oral History Interviewer, National Life Stories, The British Library. More information on Millennium Memory Bank can be found in our collection guide to Major national oral history projects and surveys.

Eighty years ago on the 2nd December 1938 nearly 200 German Jewish refugee children arrived at Harwich in Essex; they were the first arrivals of what became known as the Kindertransport (children's transport).

The Kindertransport scheme emerged in the aftermath of the Kristallnacht Pogrom of 9th November 1938 in Germany when it became apparent that Nazi antisemitism was a national and structural phenomenon and that Jewish life in the Third Reich was untenable. Led by The Central British Fund for German Jewry (now World Jewish Relief) the scheme allowed nearly 10,000 Jewish children and children of other Nazi victims into Great Britain and placed them in British foster homes.

Many countries had strict quotas and, although many Jews escaped before the start of the war, some Jews were sent back to Nazi Europe. The Kindertransport provided a means for families to save their loved ones but it involved a terrible choice: whether to send their children abroad to safety or to keep the family together. Most of the 9,354 Kindertransport children never saw their parents again.

A child prepares to leave as part of the Kindertransport. Credit: The Hulton Deutsch Collection

At the British Library we hold multiple Oral histories of Jewish experience and Holocaust testimonies and within this are many testimonies of the Kindertransport. Through these oral histories we can begin to understand the human impact of the scheme and how it was experienced by those children who were saved by it.

In this clip Milena Roth, interviewed for the Living Memory of the Jewish Community project, describes how at the age of seven her mother made the decision to send her on a Kindertransport train but had to keep it a secret from her grandmother:

"I just understood we had to get out" (C410/007)

In the above clip Milena speaks of how she didn’t fully understand why she had to leave, but just knew she did. The magnitude of this comes into play when Milena looks back at a photograph from the Sunday before she left and describes the fate of her family who had to stay:

"I was about to get on a train" (C410/007)

Testimonies of the Kindertransport are not just found in oral history collections that look specifically at Jewish refugees and Holocaust survivors. Dame Stephanie Shirley completed a life story interview for An Oral History of British Science about her work in computer science and philanthropy, but also discussed her early life and her escape from Germany. This clip is especially powerful in conveying Stephanie’s immediate experience of the Kindertransport train , as well the impact it had upon her later life:

"Its effects are as important to me today as they were seventy years ago" (C1379/28)

These clips are just a small selection of the oral histories we hold related to the Kindertransport. Of specific note are the Central British Fund Kindertransport Interviews, a project run by World Jewish Relief and recently digitised as part of Unlocking Our Sound Heritage. Extracts from the interview in this collection with Frank Henley will be part of the A Thousand Kisses exhibition at Harwich International Terminal.

Martin Winstone from the Holocaust Educational Trust described the 80th anniversary of Kristallnacht as “probably the last landmark anniversary where there are still living witnesses to what happened” and the same might be said of the Kindertransport. Yet when there are no longer any living survivors to the events themselves, we hope that through oral histories their recorded voices with stand as testimony to a moment in history when Britain warmly welcomed child refugees.

Blog by Charlie Morgan, Oral History Archivist. The clips with Milena Roth can be heard on the web resource Voices of the Holocaust, the clip with Stephanie Shirley can be heard on the web resource Voices of Science. For more information consult the collection guide Oral histories of Jewish experience and Holocaust testimonies.

On 21 November 1918, women gained the right to stand as parliamentary candidates with the passage of the one-page Parliament (Qualification of Women) Act, 1918.

Credit: Parliamentary Archives

In the hundred years since the Act was passed, 491 women have been elected as MPs; that figure is only just higher than the 441 male MPs in the current Parliament alone. Understanding those numbers is not just about analysing how the electorate behaves at the ballot box or studying the preferences of party selection committees. It involves an appreciation of what comes before all that, an individual’s decision to step forward as a candidate.

A recent survey in the UK [‘An Analysis of Political Ambition in Britain’, Allen and Cutts 2018] showed that only 10% of the population have ever considered running for political office or think they would run for office in the future. Within that 10%, there is a clear gender gap in political ambition, with British men more than twice as likely as British women to consider putting themselves forward as a candidate.

Women who were MPs during the 1970s, 1980s and 1990s, and interviewed for the History of Parliament Oral History Project (C1503), speak about the thought processes and critical influences that drove or inhibited their political aspirations. Their stories demonstrate that the concept of ‘political ambition’ usually develops out of factors such as family upbringing, level of education, occupational background, age, minority status and recruitment by their peers.

Growing up in a politically active family is a consistent predictor of political ambition, and many of these interviewees had relatives in the House of Commons, but this sometimes added to the challenge of entering national politics.

Hilary Armstrong, credit: The British Library

Hilary Armstrong (North West Durham, 1987-2010) felt her biggest hurdle to becoming an MP was demonstrating she had independent views to her father, Ernest Armstrong, who she succeeded in the seat, while Emma Nicholson (Torridge and West Devon, 1987-97) decided to bide her time until her father Sir Godfrey Nicholson retired from political life.

Emma Nicholson, credit: The British Library

“Well my father was still in Parliament and there was nothing I could do … because the whole task was to support my father’s work first and foremost. I waited until my father left completely before thinking well, maybe I can now have a go.”
[Interview with Emma Nicholson, C1503/62 Track 1, 0:51:50 - 0:52:24]

As a child Llin Golding (Newcastle-under-Lyme, 1986-2001) was teased because her father, Ness Edwards, was the local MP, making her very wary of becoming one herself.

Interview with Llinn Golding, C1503/60 Track 1, 0:17:00 - 0:17:32

Only a few of those interviewed for the collection spoke about wanting to become an MP from an early age. Marion Roe (Broxbourne, 1983-2005) started thinking about it when her family commitments began to ease off.

Interview with Marion Roe, C1503/71 Track 1, 0:04:36 – 0:05:45

For the majority of these women however, the idea of running for Parliament was planted by someone else, and the current campaign for a 50:50 Parliament recognises the impact that being asked can have on a woman’s political aspirations, as illustrated by Alice Mahon.

“I got persuaded really by trade unions, I was on the trades council and … I went to the regional Labour party in 1980 and I just got bombarded with people saying you’ve got to stand. Tony Benn was there … he said the same. Barbara Castle came up to Halifax …. she came straight out with it, she said ‘Well they’re talking about somebody for the seat, I hope you’re going to put in for it?’”
[Interview with Alice Mahon, (Halifax, 1987-2005). C1503/30 Track 1, 0:17:18 - 0:18:15]

Ann Taylor, credit: The British Library

Other women such as Ann Taylor (Bolton West 1974-1983, Dewsbury 1987-2005) and Helen Jackson (Sheffield Hillsborough, 1992-2005) realised they could do as good a job as any other candidate, becoming more confident in their own capabilities.

Interview with Ann Taylor, C1503/81 Track 1, 0:46:11 – 0:46:53

Interview with Helen Jackson, C1503/124 Track 1, 1:15:46 -1:16:33

Rosie Barnes, credit: The British Library

Then there is the chance opportunity when a by-election comes along, from Nancy Astor winning the Plymouth Sutton by-election in 1919 to Rosie Barnes’ success in Greenwich in 1987 (Greenwich, 1987-92).

“And then of course events being as they are, they don’t always follow the pre-conceived plan so there was the by-election and I won and Jo wasn’t even two. It was a bit of a shock to the system actually ...because I had never thought of being an MP, I’d never been a councillor, I hadn’t had any ambitions to be an MP, I was just supporting the Social Democratic Party by standing. But of course when the election came I thought to myself I’ve got to behave like a winner because unless you behave like a winner you couldn’t possibly win.”
[Interview with Rosie Barnes, C1503/132 Track 1, 0:47:14 - 0:47:54]

As Barnes’s story confirms, what we call political ambition is often the product of chance, and for many of these interviewees, their journeys to Westminster started with a simple question: ‘Have you thought about standing?’

Blogpost by Emmeline Ledgerwood (@EmmeLedgerwood), AHRC collaborative doctoral student with the University of Leicester and the British Library Oral History department. Her PhD research is looking at governments’ attitudes to the management and funding of scientific research, 1970-2005. All the interviews featured are from The History of Parliament Oral History Project and can be listened to online at Bl Sounds.

This week's selection comes from Camille Johnston, Oral History Assistant Archivist.

To celebrate the launch of Voices of art we're listening to artist Sheila Girling's (1924-2015) description of fellow painter, Helen Frankenthaler (1928-2011). 

Helen Frankenthaler was an American abstract expressionist artist. Girling gives a detailed illustration of Frankenthaler's gestural and 'spontaneous' painting style. She mentions that Frankenthaler was one of 'Clem's' protegées. This was Clement Greenberg, the influential and at times contentious American art critic.

Sheila Girling was a painter and collagist known for her large abstract paintings and her sensitive use of colour. Born in Birmingham, she lived in Vermont for a short time with her family while her husband, the sculptor Anthony Caro, taught at Bennington College. The couple returned there many times. At Bennington, Girling and Caro were part of a close circle of artists who were experimenting with new artistic techniques. These included Kenneth Noland, Helen Frankenthaler and Jules Olitski.

Sheila Girling on Helen Frankenthaler (C466/296)

Sheila Girling. Courtesy Barford Sculptures Limited

This clip features on the Voices of art website. Voices of art is a new British Library resource that explores the art world behind the scenes through life story recordings with artists, curators and writers. Extracts from oral history recordings accompany a series of essays by writers who have been immersed in the art world of the 20th and 21st centuries. To hear more from Sheila Girling, see Hester Westley's article Coaching from the side lines: Sheila Girling and Anthony Caro.

Voices of art is supported by the Paul Mellon Centre for Studies in British Art.

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