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Archive for the ‘Suffrage Movement’ Category

Today I’m delighted to welcome fellow Honno Press author, Pembrokeshire-based Judith Barrow, to the blog. I’ve long been a fan of Judith’s brilliant historical family sagas, the ‘Patterns’ trilogy, which follows the story of the Howarth family. So it’s great to be part of the blog tour for Judith’s latest saga, ‘One Hundred Tiny threads’.

Hello Judith, and welcome to the blog.  ‘One Hundred Tiny Threads’ is a gripping prequel to your ‘Patterns’ trilogy that sets the scene for the stories that go down the generations. What drew you to write a prequel? Was it to delve further into the background of your characters, or was it the time in which ‘100 Tiny Threads’ is set?

I’ve said many times that these two characters wouldn’t leave me alone when I’d finished the trilogy; they wanted to explain themselves; to tell their stories. And I have to admit I didn’t resist too much; the era of the first decades in the twentieth century have fascinated me all my life.

It was the time of the most horrific devastating war; of loss of men and women; something that haunted me for a long time after the first time I saw images and read of it and since I studied the first World War poets.

And, socially, these were the years of dreadful hardships even through the weakening of class divisions that had been so rigid in the past.Then there was the political unrest between the UK and Ireland. My grandparents came from Ireland. My grandfather was a particularly angry man and I never knew why until I was older and I was told of his reluctance – and resistance – to moving to the UK until eventually being persuaded by my grandmother and the fact that he couldn’t get work to feed his ever growing family in the village where they lived. He hated it and, I think, always resented my grandmother. He loved the outdoors and spent much of his working life underground in the coalmines. And he was a strongly political man and a Union leader.

The story of the book is set against dramatic political upheavals. Was there a particular reason that you set part of the book against the background of conflict in Ireland?

I think I partially answered this in your previous question, Juliet but I would like to explain more. When I knew I was going to let Winifred and Bill tell me about their lives I knew I would have to do a lot of research about Ireland at the time that my grandad was a young man because I had the feeling that Bill had been there at the same time. Mind you, it’s no hardship to research; I love and spend hours (more than I should, by the way) researching for my books. Although, for some reason I didn’t have to do as much research for Living in the Shadows set in nineteen sixty-nine – ha-ha!! Sorry, I digress.

The research gave me a greater understanding of the reasons for the fight for Independence. I never knew that the Easter Rebellion had such little support from the rest of Ireland; that it was the execution of fifteen rebel leaders, ordered by General Sir John Maxwell, the Commander of the British troops in Ireland, that turned those leaders into heroes and established Sinn Fein so firmly in the hearts and minds of so many Irish people. Nor did I know an awful lot about the Black and Tans initially. There was violence on both sides but the Black and Tans became notorious for the killing and torturing of men and the burning and looting of property. For a man such as Bill with his unstable childhood, his mostly solitary life and experiences in the first World War, it felt inevitable that, coming out of the uniform of a soldier to unemployment and homelessness, he would succumb to the bribery of ten shillings a week and a familiar home of army barracks; he would join the Black and Tans

I know what you mean about research! That is fascinating. Can I also ask how  you went about your research into the actions of the Suffragettes? Was there a particular reason you were drawn to that side of the story?

I wanted to show that Winifred was a feistier woman when young, even if for such a short while. Growing up under her mother’s thumb she rebelled only in her thoughts. And it took the backing of her new friend, Honora to encourage her to break through the natural reticence and timidity that is shown in Pattern of Shadows. I think, with the loss of the people in her life that believed in the inner person (giving nothing away here!) it became easier for her to acquiesce and accept what she was given as she grew older.

You tell much of the story through the eyes of a complex male character. Did you find it more difficult to get inside his head that inside the head of your female characters? And did you find it difficult to balance the two sides of the story?

It’s never been difficult for me as a writer to get inside the heads of my male characters. I do ‘get on’ with men in real life… (Hmm, perhaps I should rephrase that?). In my working life I mixed mostly with men; I learned to stay quiet and listen to their conversations and how they felt about various subjects. That environment stood me in good stead in many circumstances and I’ve used those emotions to round out even the most difficult of my male characters. And, as I said, I also had a most vocal grandfather. And, by the way, a most difficult father so I had lots of memories to fall back on. As for the mellower, ‘nicer’ side of Bill I have my husband to study (but don’t tell him that). Oh dear it does sound as if I’ve studied men from an empirical slant doesn’t it.

For female characters I’ve used my imagination … well, I’m not going to say I’ve used my friends and their reactions to anything , am I? And, being a woman, it does help me to know how I generally feel about situations – and that can be turned on its head.

Keeping the balance in the story was quite difficult. I hope I succeeded… mostly.

I won’t mention a thing! (I’ve met Judith’s husband, and he’s lovely). I’m glad you’ve got such good research subjects. I liked the way your male characters were rounded human beings rather than heroes or villains, which can be the temptation! Can I also ask ifyou plot your novels in detail, or do you find they evolve as you write them?

Oh, I do try so hard to plot! But usually they evolve as the story continues; either because I realise a character wouldn’t do as I want them to or because a certain thread of the book isn’t working.

Do you have one thing you enjoy (and/or) hate about the editing process?

I enjoy, oh so much, the last draft of the book, when I know it’s the best I can do. Then I hate the editing when I realise it’s not the best I can do and I have to rework and alter until it really is finished.

That made me laugh – I totally agree. That’s the feelings I have too, and we have such really good editors at Honno, who don’t let us get away with a thing! So, I have to ask, what are you planning to write next? Will there be another story connected to the Howarth family?

Well, that’s a question! I have written eight short stories of the minor characters in the trilogy. Two of them are shouting out for me to write about them. But the book I have almost ready to go to the editor is different. It’s still about a family but it’s more contemporary and examines a different aspect of life. Still, I’m not sure I’ve completely left behind the Howarth family.

Thank you, Judith, and happy writing (and editing) – I’m already looking forward to the next book!

If you would like to meet Judith in person, she will be at the Narberth Book Fair on September 23rd.

A Hundred Tiny Threads

You can buy a copy of the novel from Honno Press HERE

And the Kindle edition from Amazon HERE 

You can learn more about Judith and follow her blog HERE

It takes more than just love to make a marriage… It’s 1911 and Winifred Duffy is a determined young woman eager for a life beyond the grocer’s shop counter. The Great War intervenes leaving her facing difficult choices in love and life.

Praise for previous novels in the Howarth family series:
“Not… an ordinary romance but a book that deals with important issues which are still relevant today” Historical Novels Review

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As I now live in beautiful Snowdonia, in North Wales, I always feel a bit sad that conventional wisdom states that no one wants to read stories set in Wales. So I’m delighted that my alter ego, Heather Pardoe, currently has a historical serial set in Llandudno, just up the coast from me, and famous for its connection with Lewis Carroll and Alice in Wonderland.

‘Together We Stand’, currently being serialised in ‘The People’s Friend’, the longest running weekly women’s magazine, is a serial that I (or rather Heather) had great fun writing, with a suffrage ladies’ tearoom, an intriguing inheritance and a touch of low-down skullduggery reaching back to the Crimean War.

The view from the pier

It’s funny where your ideas come from as a writer. I’d been toying with the idea of the picture wagon (an early mobile photographic studio that has been used by one of the first war journalist in the Crimean war) on and off for years. When I trained as a photographer in London, it was (I have to confess) before the days of digital, when we used studio cameras that had changed very little from 1904, when the serial is set, and it was darkrooms and chemicals and never being quite sure what you had taken until the print began to develop in front of your eyes.

Don’t get me wrong, I love my digital SLR, and I never go anywhere without my little compact camera in my bag, and I wouldn’t go back to using those eczema-inducing chemicals if you paid me. But it has left me with a fascination of just how such unwieldy cameras were used. So it’s no coincidence that Tanni, the heroine of ‘Together We Stand’ is left an inheritance that encourages her set to up as a studio photographer, just as Bea, the heroine of my novel ‘The White Camellia’ becomes one of the first female photojournalists, covering the campaigns of the suffrage movement in London.

Unlike Bea, Tanni doesn’t have to dodge the police when using her camera, as 1904 was before the more militant campaigns began. But she does have her own brush with danger, and an unknown foe who is determined to prevent her from succeeding, all against the backdrop of Llandudno and the Great Orme, which I had great fun in researching.

The other inspiration for ‘Together We Stand’ was a night I spent in one of the old hotels on the edges of Llandudno, where I’ve placed the guesthouse in the story. The hotel was old and atmospheric, and from my tiny room at the top I had a view of the bay. I’m usually dashing round Llandudno, or taking my dog for a walk round the Orme, so it was a real treat to simply be able to wander around in the evening, and parade along the pier, searching out the locations (including the pier) that play a vital role in ‘Together We Stand’. That night, there was a stunning full moon over the bay – a truly magical memory!

The view from my room

 

 

 

 

 

 

 

So now I’ve set historical serials in Coed y Brenin, famous for its cycling trails and its goldmine, in Conwy, famous for its medieval town wall and castle, and in Llandudno. Time, I think, to start looking for another great Welsh location.

Mind you, I had a wonderful time last year in picturesque Tenby

 

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When I first read Margaret Atwood’s ‘The Handmaid’s Tale’, many years ago, it scared me witless. Watching the recent adaption for TV through my fingers, I’ve found it even more unnerving. After researching the conditions for women in Victorian and Edwardian England the world of ‘The Handmaid’s Tale’ feels all too recent and too real, and the rights women have won all too precarious.

But I’ve also learnt about an amazing heroine, and a courageous group of women who, although powerless, without even a legal existence of their own, fought the many injustices of such a system, and won.

 

If you’d asked me a few years ago about Millicent Fawcett, the leader of the suffrage movement in the UK, and now the first woman to be honoured with a statue in Parliament Square in 2018, I wouldn’t have had a clue. I’d vaguely heard the name, but until I began researching for ‘The White Camellia’ I’d never (to my shame) thought to find out more about her, or even the difference between the suffrage movement and the suffragettes. Although main story of ‘The White Camellia’ centres on a crumbling mansion in Cornwall, and a feud that has torn two families apart, one of the characters becomes an early female photojournalist who finds herself inadvertently drawn into the transition point between the suffragists and the suffragettes.

It was when I began researching the background for Bea’s story that this new and riveting story of the suffragists had me transfixed. It’s a history that’s barely noted, but it is one of women (many proudly supported by the men in their lives) successfully outwitting, out-arguing, and out-manoeuvring politicians to establish so many of the rights we take for granted today.

What is even more remarkable is that when they began their campaign, around the 1860s, these women had no legal existence whatsoever. They were the property of fathers, then husbands. Even the richest woman lost any rights over her money and property once married, and even after a divorce, all her earnings still went to her husband, whose only obligation was to keep her out of the poorhouse (as in, the responsibility of the state).

 

It’s a long and fascinating story, of working-class girls risking everything to fight for a living wage for their work, for education and training. Of middle class women fighting for the right to take a degree and follow a profession, and proving such things didn’t send them mad or shrink their wombs to nothingness. Of the right for a woman to keep her children after a divorce, instead of being forced to flee abroad or lose contact with them forever. Of a recognition that prostitution was not a means of idly living in luxury, but rather a result of desperation and abuse, and of pitiful pay that forced even fully employed and skilled women to resort to the most desperate of measures to survive.

The suffragists were supported by many leading figures of the day, including Florence Nightingale (whose pioneering use of statistics to prove a point was adopted by many of the suffragist campaigns), Josephine Butler, and pioneering doctor Elizabeth Garrett Anderson.

And then there was the question of the vote, as underlying the position of women as rational human beings, rather than as being childlike, in need of guidance and protection. Again, I had no idea that, until the 1860s, very few men had the vote, or that the battle was such a long-fought one for both sexes, with the argument only finally won in 1928, when all men and all women achieved the vote. That’s a long time ago – but still within living memory, which, in the context of all of human history, is no time at all.

Single women (the only women subject to paying tax) braved the bailiffs being sent in, under the banner ‘No Taxation without Representation’, and the campaign gradually moved the idea of women voting from being laughable to MPs (all male, voted in by men) voting twice for women to have the vote, the first being passed by 100 votes, and the second private member’s bill in 1911 by 255 for to 88 against. Okay, so both times the democratic process was overturned, but that also puts quite a different slant on the direct action of the suffragettes. Women didn’t start their campaign for the vote by throwing stones and chaining themselves to railings, but such actions (along with the destruction of property) were the furious response to the democratic process being denied. Whether you agree with direct action or not, men have been known to have a similar reaction, too – and no one ever called them a bunch of raving hormonal hysterics whose real motive rested in being too ugly/old/clever to find love!

So hurrah for Millicent Fawcett, and the many and varied battles of the suffrage campaign battling to be the ones to walk in the sun, rather than as mere handmaids to their overlords. As a woman with a degree, who can vote and earn her own living, take part in sport, walk down the street unchaperoned, and live a fulfilled and independent life, I shall be cheering as loud as can be when that statue to my heroine, Millicent Fawcett, goes up in Parliament Square next year.

A woman Doctor. Now there’s a thought … 🙂

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