A New Project, Family History Pitfalls, and a Special Offer

 

If I didn't have writing, I think I would have gone mad by now. I have no idea how people are coping with a year of on and off lockdown, and Brexit too. Not well, I suspect. We are, let's face it, very lucky. We have a nice old house, (demanding but nice) we have a lovely garden (equally demanding, but also nice, especially now that spring seems to be on the way) and we are well used to working from home. I've been editing some old work, and researching a new book, centring on the story of my Polish grandfather. 

Truth to tell, I'm still not sure what kind of book this will be - not fiction, because it really happened and I don't want it to be 'based on'. But not a grim history either, even though this period in history was very grim for those concerned and this man's life was ultimately tragic. It's beginning to look like narrative, reflective non fiction. Whatever that might be. I don't know yet. I need to write it to find out.  

I've done a lot of sorting out of material that I've been sitting on for many years. Now I have a box of files that are, essentially, a book in kit form. Some of these files - one in particular - is labelled 'can of worms'.  The interesting thing is that coming back to this file some 30 years after I first engaged with the material inside it, shows me just how much I've matured over that time, and how impossible it would have been to tackle this project any earlier. It'll be hard, even now - but my understanding has grown, as has my understanding of a page full of notes, among the many pages that my dear dad wrote down for me not long before he died, far too young, in 1995. 

Rereading it, somewhat gingerly, it struck me that I must have filed it away without even reading it properly the first time round. Now, coming back to it all these years later, the wisdom of my dad's response to something I had discovered about my grandfather strikes me very forcibly. So much so that I keep wanting to go for a long walk with my dad, and talk to him about it all. But I can't. And back then, I couldn't either, because he was unwell, and besides, I simply didn't have the wisdom of experience myself. I just didn't know what I didn't know. 

So, maybe that's what the book will be. The conversation I didn't have. 

Once again, family history research proves to be a minefield. Nothing is what you assume it to be. You draw conclusions and then find out something that proves them wrong. 

Anyway - this is me prevaricating before diving into that box of problems again. Wish me luck.

'Where do you want to go, when we can go somewhere?' my husband asked me the other day. He didn't mean real travel. That would involve us seeing our son for the first time in more than a year. He meant when we can go somewhere that isn't five flaming miles from the house. We've been thinking about it a lot. Castle Kennedy in a couple of months time, when the azaleas and rhodies are in bloom will be good. 

Castle Kennedy

Later in the year, Skye, to visit our friends there, but that will involve an overnight stay somewhere on the way. 

Meanwhile, here's a special offer. My spooky little novella Rewilding is on sale for 99p for a week, so if you're reading this within the required time and love Scotland, myth and magic and slightly odd stories, grab yourself a bargain. 

Skye from Raasay

Don't Mention the War

Little Polish boys after so called 'amnesty' in the Soviet Union,
before the deportations of 1942

 A little while ago, somebody on one of my online groups posted one of those jokey Brexity memes - a story about Churchill and Macron, the punchline of which implied that England won the war, single handed, while the rest of Europe simply surrendered.  

It struck me even more offensively than it otherwise might, because I'm in the middle of researching my Polish grandfather's life story for a new book. His son, my father, had been in a Nazi labour camp, eventually coming to the UK as a refugee, via Italy, with the Polish II Corps. My grandfather, in the Polish army, had been arrested along with many of his countrymen and women and sent east, in his case to the notorious Kharkiv prison in the USSR, a place from which tales of torture and execution emanate, all of them so horrible that I can only read about them for a certain length of time.

I came away from the group. It was either that, or lose my temper, which would have upset other people and wouldn't have made any difference. 

But I've thought about it a lot, since then: the whys and wherefores of it, and the way in which Brexit has spawned - or perhaps simply legitimised - a jingoism that seems largely without any foundation in reality, and that now goes hand in glove with a need to proclaim Britain's (aka England's) greatness at every opportunity. It isn't enough, apparently, to be merely competent or efficient. We have to be 'world beating' with the emphasis on that word 'beat'. It's an adult version of the language of the playground and I hate it. 

Along with many - perhaps most - people who experienced the worst atrocities of WW2, my father seldom if ever spoke about that time. The kindest, wisest of men, he hated nobody. He would, however, have hated Brexit and all that inspired it. Before he died, too young, in 1995, he wrote down reminiscences of his childhood in the countryside near Lwow, now Lviv in the Ukraine. He had little to say about the war. Later, I learned more from other people, from books, and from his war record which referred to his internment in a Nazi labour camp, his time in the army in Italy, and his resettlement as a refugee in Leeds.

My beloved Yorkshire uncle George, who served in the Royal Navy and took part in the Atlantic convoys, never spoke about the war either. When I visited Warsaw, as a young woman, in the 1970s, I remember a friend of our Polish family taking me for a walk around the beautiful rebuilt old town and telling me quietly and unemotionally about the uprising in which he had taken part, about this or that friend who had died in this or that place, and about the ensuing destruction. 

Warsaw destroyed

Two thoughts occurred to me as I pondered that thoughtless little joke. Mainland Britain has not, within living memory, been invaded. Not by a stronger and utterly ruthless force. Better, perhaps, to leave the Irish situation out of this for the moment. But the British people who like to scoff at those countries for their supposed 'surrender' have not the foggiest notion of the realities of invasion.

Moreover, those of us born in the years after the war, don't even know the reality experienced by our parents and grandparents, those who fought but also those who saw the full horror at first hand. 

Because they didn't tell us. 

Just like the soldiers who returned from the Trenches in WW1, none of them told us what it was really like. Partly because it was indescribably terrible, but partly because they needed to forget, to get on with their lives. Some, like my father, succeeded, but some didn't. Mostly I think they wanted to protect us, the loved ones who came after, the ones born into that brave new post war world. I can understand it, but now I'm no longer so sure that it was the right thing to do. 

Instead, they welcomed the way in which post war Europe, flawed and difficult as the project might be, came together as a community, with the hope that future horrors could be avoided. Later, most people had few illusions about the Common Market and then the EU. Their eyes were wide open. But it was far better than the alternative. I think we have betrayed them. 

To most of them, the real older generation, Brexit would have been unthinkable. My father loved his grandson very dearly, and he would have been nothing but proud of the fact that he considers himself to be a European, with friends from across the continent, including from Germany and Austria as, in fact, my father had himself. 

We think we know about the war but we don't. We watch films, but no matter how good the writing, the acting, the direction, the very nature of film sanitises. We can and do read about it, but words and images slide away from us. We can put the book down, make another cup of coffee, give ourselves a shake and walk the dog. We can't feel the helpless terror. 

Researching the background for my new book, I ran - as I am still running - eBay searches for photographs and ephemera from dad's part of the world. Much of what pops up consists of postcards of Lwow and other towns and cities of the region, mostly pre-war, some of them even older. 

But not all. 

Every so often I'll find a run of photographs, real photographs, casual snapshots, taken perhaps by soldiers. Photographs from the 1930s and 40s. And they are photographs of horrors. Mass graves, people burying other people in icy conditions, hanged men and women, corpses, pictures of destruction, as though you had taken the pictures of the Blitz, wartime Liverpool, or Clydebank, terrible as they all were, and replicated them across the whole of the British isles, including every small town or rural village, not just with utter destruction, but with millions of dead, with trails of displaced people, starving, skeletal people, cold and diseased people transported thousands of miles, and pictures of casual cruelty, genocide, summary execution. Not for nothing were these called Bloodlands. I've even bought a handful of them when I thought they might be relevant to my own researches. I don't show them around though. I seldom even look at them myself.

So forgive me if I find glib jokes about how plucky little England saved Europe so deeply offensive.

 Because they are. 

                                                                            

The Beatles, The Brontes and Opinionated People.

 

It's an odd feature of social media - I notice it particularly on Facebook, but I suspect Twitter is much worse - that when somebody posts an interesting conversation starter, and people weigh in with reminiscences and contributions and disagreements, some individual will occasionally add an opinion that simply amounts to 'you're wrong' - but often couched in much more robust terms. It happened recently, not to me, but to somebody else. It's so commonplace as to be instantly recognisable. I've deleted whole threads because of it - not because I dislike a good debate, but because I'm damned if somebody is coming onto my page to browbeat my friends. It is, let's face it, deliberately designed to do two things: draw attention to the person posting it, and close down any further debate. Like those exclamations in CAPITALS with FACT written after them.

This particular conversation was about the film A Hard Day's Night, and the music of the Beatles. It reminded me that I first saw the movie with my late mum. We had moved to Scotland a year or two before and the Beatles were my saviour during a time of intermittent misery. I loved Scotland, but hated my school. My mum and I went to see the film, and stayed in to watch it all over again. 

Even at the time, and young as I was, it seemed extraordinary; it seemed utterly unlike anything we had ever seen before - and when you look at other British 1960s movies, you can see why it was so striking, both musically and visually. I didn't know why I found it so wonderful, I just knew that it was. 

Many years later, I started to try to analyse why so many of us were so captivated and and why we remain so, watching it all over again. But because there's no point in trying to reinvent the wheel, here's a superb analysis from Colin Fleming in the Atlantic, from 2014, of The Deep Art of A Hard Day's Night.  'No band, maybe no artists ever, had a greater capacity for displaying and inducing wonder. And here we have that wonder made visual.' 

As Fleming points out, citing reasons, this isn't just any old rock and roll film - it's a Dick Lester film. A Dick Lester film that manages to capture the magic that was the Beatles. 

Pondering the phenomenon of the aggressive take down, though, it struck me that it existed long before social media. I remember a literary agent writing to tell me that one of my novels (this one, in fact) was 'a library novel fit only for housewives' He could just have said 'not for me, sorry' - but this grossly self entitled old man felt the need to take down a woman for writing a love story, while insulting other women and libraries along the way. What a tosspot. (More about this odd contempt for the love story as written by women in future posts.) 

In a similar vein, I vividly remember a certain middle aged male Scottish writer telling me loudly and angrily that the Bronte sisters were 'a bunch of daft wee lassies, with a crush on Byron'. It was one of those occasions where you spend several days afterwards thinking of suitable rejoinders, but it also coloured what had, until then, been an amicable relationship. I had considered him a friend. Afterwards, I never felt the same way about him. It wasn't just his misogyny showing as clear as day. Of course he didn't have to enjoy the books. Not everyone does. And there were many arguments he could have made. But it was the way in which he thought that his opinion mattered far more than mine, and was - moreover - indisputably right. Nothing I said would have made any difference. 

I'm happy to debate the relative merits of the Brontes and their various novels till the proverbial cows come home - as I'm happy to debate the extraordinary phenomenon that was the Beatles, especially since I experienced it at first hand. 

But sometimes the only response to an aggressive 'this is shit' is to shrug and walk away. 

Which is fortunately, easier to do on Facebook than in real life. 

Meanwhile, here's something to wake you up! 

 

                                           

Happy Birthday, Rab

 

I'm reblogging this post - with a few changes - from 2016, when the Jewel, my novel about the poet's wife, Jean Armour, was first published by Saraband. After all, it's the right time of year, even if the only Burns Suppers we'll be attending will be online. I never thought I would miss book events as much as I do but I miss meals with friends even more, and that's what a Burns Supper is, after all - a meal with good friends. And poetry. And song. Mind you, it's probably my least favourite meal of the year, given that the only parts of the menu I like are the oatcakes and cheese at the end. 

After many conversations about Jean and Robert Burns, with individuals and groups, I’ve realised that some misconceptions about the poet are still very much in existance. These are beliefs I thought had been disproved by more distinguished academics than me years ago.

So many people have repeated the notion that Burns was a drunkard. He wasn’t, but it goes back a long way. A mean spirited Dumfries draper called William Grierson attended his funeral and wrote that the poet was ‘of too easy and accommodating a temper, which often involved him in scenes of dissipation and intoxication, which by slow degrees impaired his health and at last totally ruined his constitution.’ 

Well, he was as fond of a drink as the next man, at a time when the next man often consumed a  prodigious amount of alcohol, the gentry even more than the poor. Partly this was because in the cities at least – less so in the countryside where many houses would have a well – fresh water was at a premium and it could be safer to drink ale, although ‘small ale’ contained very little alcohol. 

Actually, Rab was probably less inclined to overindulge in hard liquor than most, although he certainly had his moments. But when you look at the body of work he produced, alongside a vast amount of clever, entertaining, thought provoking correspondence, as well as hard physical work, first as a farmer and then as an exciseman, riding some 200 miles each week, winter and summer alike – and being a loving father to a great number of children - you can see that the occasional spree is much more likely than any persistent problem. 

He was a social drinker on high days and holidays. He also thought the odd ‘session’ contributed to his creativity, as perhaps it did. He was sometimes led astray by wealthy men who ought to have known better. And during his last grave illness, alcohol seems to have given him some slight relief, if only as a painkiller. But it wasn’t what killed him. 

He didn’t die of the drink, and he didn’t die of consumption either. The evidence seems to point to a diagnosis of endocarditis: chronic, although not necessarily fatal, inflammation of the heart muscle. This would certainly have been a challenge to a constitution already weakened by rheumatic fever in his youth. Here too was a man who was involved in hard physical work in all weathers.

In Dumfries, his health already deteriorating, he developed a painful tooth abscess, and it’s now thought that the resulting massive infection could have been enough to trigger acute endocarditis. He became gravely ill, with all the symptoms of that painful condition, and died the following summer. During his last few weeks, with his illness exacerbated by the 'cure' of seabathing in the chilly waters of the Solway, he seems to have been able to eat nothing. Milk mixed with a little port wine was all that gave him any relief. But the ‘flying gout’ diagnosed by the doctors of the time was only a way of describing the dreadful widespread pains that must have beset his attenuated body during his last few weeks. 

I’ve been asked more than once if I thought Rab was a violent man. Well, I reckon he was a lover not a fighter. Fond of fishing, he was no fan of shooting and once took a neighbour to task for wounding a hare on the borders of his land (and wrote a scathing poem about it afterwards). He loved his children and was happy to work with them playing around his feet. Not for him the retreat to the study and the writerly hush. He was by all accounts an indulgent father who appreciated a little mischief. 

He was, nevertheless, a man of significant presence, physical and intellectual. He was a better friend than an enemy and was known to threaten to ‘skewer in verse’ anyone who overstepped the mark, like the Celtic bards of old. But his reputation was always for non-violence, for tolerance and good humour and there is no evidence that he was violent towards any of the women with whom he was associated. 

Except for one notorious occasion.

Who knows just what went on with Jean in the stable in Mauchline when the couple were at their lowest ebb? Was it overwhelming passion or something verging on rape? We have Burns’s own version in a letter to a friend, bragging about a coupling he had persuaded himself Jean enjoyed as much as he did. But Rab was a chameleon and could write what he thought might most impress an individual correspondent. We would know nothing about this episode if the poet hadn’t chosen to brag about it himself. 

We know that Jean was struggling with a mass of intractable emotional problems, not least a second unwanted pregnancy, and she went into labour very soon after the incident. She undoubtedly loved this man but she can't have been anything but shocked and hurt by his behaviour. We also sense that the poet was ashamed of himself, in spite of the bragging letter. He was the son of a highly moral father, and it seems significant to me that during this second pregnancy, with Rab in Edinburgh, Jean had taken refuge near Tarbolton with the family of Willie Muir, a friend of Burns senior, as much if not more than Rab and the Armours. 

The tension between desire – theirs was clearly an intense mutual physical attraction – and Jean’s obvious vulnerability presented me with some problems as a novelist. All the same, I suspect my interpretation of events may be closer to the complicated truth than the poet’s version. May be closer to Jean's perception of it as well. 

Finally we should remember that we are reading and writing about an 18th century man. Very different times, and not always comfortable to contemplate, but we can't rewrite history or historical attitudes to suit our own sensibilities. Laddish he may have been, but the term 'sex pest' belongs in 21st century tabloids. 

For his time at least, the poet’s ability to project himself into the minds of the ‘lassies’ – to defend them and appreciate them and befriend them, older women as well as young  – is one of the things that most endeared him to me when I was writing the Jewel. 

I suspect Jean loved him for it too.

New Year, New Editions

Bird of Passage is finally out in paperback. It's print on demand only, and you'll have to go to Amazon to find it, but once book events begin again, I'll have a few more copies to distribute myself. 

I've blogged about this book a few times, but you can read a longish account of its history, here, written back when we were first in lockdown. And here we are again. This is one of two or three books from my past that somehow or other, even though I've also been happily traditionally published, slipped through the net. It's also, oddly enough, one of my favourites among all the books I've written. 

The book had been edited to within an inch of its life, so I had very little trouble in publishing it as an eBook, in which format it has been available for some time. I still wanted the satisfaction of holding a paperback copy, but I knew I wasn't up to the task of doing the necessary design and formatting, even though I wanted to maintain control over it. 

Hunting about online,  I found a small, well reviewed Scottish business called Lumphanan Press. I can wholeheartedly recommend them. They did an excellent job of designing and formatting a PDF, at a very fair price and when a couple of sample copies of the book arrived from Amazon, I was very happy with them. The upload process on the site is pretty simple, but what was reassuring was the way - as the software went through various important checks - each box was ticked. I can only imagine the chaos if I had tried to do this formatting all by myself. Sometimes we have to know our own limitations and employ professionals! 

I could, of course, use this same PDF to have other copies printed elsewhere, but for the moment, in the middle of this second lockdown, I'm happy enough. 

Meanwhile, I'm working on a new book called The Last Lancer, hopefully for my publisher, but I'm also doing a little editing of two more novels that never saw the traditional light of day: The Amber Heart and Ice Dancing. The Amber Heart has, if anything, an even more chequered past than Bird of Passage! 

Ice Dancing, on the other hand, is an unashamedly contemporary love story, and yet it isn't really a conventional romance. It's an odd, quirky novel, about love at first sight, and inadvisable attachments and painful pasts, and about Scottish lowland village life. Those who like it seem to like it a lot. I'm not surprised. I'm still very fond of my two main characters. Another one I plan to get out in paperback this year. 

So. Lots to do. Between the state of the UK (horrible) and the US and the virus, I'm keeping myself reasonably sane here in Scotland with lots of writing writing, playing the piano and learning Spanish. Soon it will be spring and I'll be able to get into the garden again. It all feels a bit like those visits to the cinema in the olden days where you would sit down in the middle of the B movie and then stay on till you thought 'Oh - this is where we came in.' 

Our local medical centre has just flagged up that vaccines are coming. My husband will be in an earlier cohort than me. Bring it on. Can't wait. 

Not here just yet - but they soon will be!

My Dolls' House at Christmas

 My late mum always wanted a dolls' house. When my dad spent a couple of years working in Vienna, as a visiting expert at the International Atomic Energy Commission there, my mum came back with a collection of dolls' house miniatures, picked up here and there, some new, some vintage. But she never got her dolls' house. 

I'm still not sure why, because my dad would have bought her one or - more likely - made one for her. He was good at making things. But perhaps she just enjoyed collecting the miniatures and dreaming about the house. Later, my husband made a dolls' house for me, but although it was beautiful, it was always a bit too big for the space available, so eventually we passed it on to a young relative. 

Then, a few years ago, Alan found the second hand house of my dreams and it turned up on Christmas Day. It's a solid plywood Georgian mansion, with six rooms, plus stairs and hallways, in its beautiful interior. It may have been made from one of those patterns that you used to get in Hobbies Magazine. 

I just love it. 

I furnished it with my mum's pretty miniatures, and then spent the next few years adding to them. It is a bit over-furnished now, but I don't care. Cluttered is a good look for a dolls' house. 

Over the years, I've found more things to go in it, finding them in charity shops from time to time. Because I do some part time dealing in antique textiles, to supplement my writing income, I visit our local saleroom quite a lot, and one week I came home triumphantly carrying several boxes full of miniature furniture and accessories. I sold many of them - regretfully. The stunningly beautiful hand crafted Victorian style book case, with shelves full of real miniature books, was much in demand and since it didn't really fit into my own house, I had to let it ago, along with other things like garden furniture. I could have a garden, but again, space is short in this full size cottage. The one thing I haven't yet done is make curtains. That's on the to do list for this year. 

Anyway - here are some more pictures, so that you can peer into the rooms. My two favourite objects in the whole house are in the nursery. If you look closely, you'll find a pair of hand sewn soft toys: hares, I think, given the long ears. One's on the little boy's knee, and one is sitting in the chair. They are tiny and exquisite and no, I didn't make them but somebody did. The other miniatures that I love are the tiny rack of sewing things, in the nurserymaid's room - and that absolutely gorgeous needlework cushion in the comfortable chair in the drawing room. But really, it's full of good things. And if you think this is a strange hobby for a grown woman, I once had a friend who had three. Right enough she lived in a big house herself. But they were magical houses. 

I don't know quite why I love this house so much, but I think it's very much tied in with being a writer. For me, it has a life of its own. Although not, I hope, the kind of life that the haunted dolls' house has in the M R James story of the same name. But it does represent a kind of escapism for me. A form of play that certainly bears some resemblance to the kind of 'play' most writers indulge in when they play around with ideas and characters and made up places and spaces. 

When literal people say - as they occasionally do - where does the cook sleep, and where is the bathroom? - I tell them that there is, of course, a lot more to the house. 

You're just not seeing all of it. But in my imagination, I know it's there!

The nursery is probably my favourite.

The main bedroom. 

This is the nurserymaid's room. She does a lot of sewing!

Mr and Mrs Doll, at teatime. 
There's champagne too.

The dining room, all ready for dinner.

My other favourite room - I love this kitchen.





 

Facebook for Writers

Dreaming of a white Christmas - or maybe not.

Over the past year, I've attended a few professional Zoom meetings with my fellow writers, and the subject of social media comes up fairly regularly. Some of us are happy to wade in and engage with Facebook, Twitter, Instagram etc, and others aren't. Some think that Facebook is the work of the devil. It may be, and you will need a long spoon to sup with it. It is also a huge time suck. A veritable sink hole of time suckery. 

But it's still a useful tool for writers. And there are some very nice people on there. I've made contact with many old 'friends in real life' as well as making some new ones. 

The truth is that, much like real life, all these sites are a mixture of the good, the bad, and the truly ugly, but if you want to sell books, or help your publisher to sell your books, (as well as keeping sane during a pandemic) you are going to have to learn how to do a little interacting and Facebook is probably the easiest place to start.

What surprises me is how many writers still claim to know nothing at all about using social media and are quite nervous about it in general. 

So here are a few pointers about Facebook in particular. And since I don't claim to be an expert, do feel free to add your own comments and recommendations below. This is an ever changing world, so if you are reading this in some hypothetical future, it may all be very different! 

1 Practical matters. There is no point in my reinventing the wheel, so if you want to set up a Facebook profile, go to the site, press the buttons, and follow the instructions. They make it pretty clear and I'm not going to be able to add very much that's useful to it. 

There are a couple of provisos though. When you are setting up your Facebook profile, you can search for - or Facebook will show you - potential friends. You can send friend requests. Don't send too many at once, (the Facebook Gods don't like it) and begin with people who are friends in real life. People will also send you friend requests. You don't need to click on them all at once. Or at all. You're in charge. Gradually, you will build up a circle of people who know you, on and offline. Or people with mutual friends. You will even meet some lovely, interesting new people.

Look at the tab marked 'Privacy'. You can make your account quite private. For example, I don't let anyone else post stuff on my pages. By which I mean that they can comment on my posts all they like, but I don't want them dumping unwanted stuff straight on my page. It's why I have comment moderation on my blog. You might be surprised by how much spam crops up on here, but never makes it onto the blog, because I just report it and delete it.  I relax my privacy settings in time for my birthday though! You can post things only to your friends, or you can make them public. Facebook explains all this much more clearly than I can, so again, do read the instructions. 

2 Once you have a Facebook account, you can also set up a dedicated author page. Or you can just focus on that, if you want to. Again, Facebook will tell you how and give you options for the kind of page you want. I'll come clean here. I use my private Facebook profile - with some privacy settings tweaked - far more than I use my author page. But I do still use it. I post links to blog posts such as this one, and other professional news, and information about the book I may be working on at any given time. That also links in to Goodreads, which I find a difficult site to 'work' so at least it keeps my profile current on there as well.  It also gives me the facility to set up details of events. In a normal year I would probably use it more than in a Covid year. 

3 Groups are where it's at with Facebook - increasingly so. If your books are set in ancient Rome or 19th century London, you can be sure to find a group of like minded individuals - not writers, but just people who are interested in that time and place. Join them. Join in. There are many writers' groups out there as well but remember that you are more likely to find your readers in special interest groups. Writers read a lot, it's true - but they also work a lot, and find themselves reading for work. I for one don't read very much new fiction when I'm deep into a book, although I often reread old, much loved fiction, Dickens and the like, mostly as a means of escape from the intensity of my own work. 

4 Probably the most important point of this whole post - be generous. Much like in the real world, you have to interact with other people. One thing that stands out to me is how many beginners will join a Facebook group and instantly dump a 'buy my book' post on there. No interaction, no chat, no likes, no sympathy, nothing. I attended a professional Zoom meeting earlier this year and while the speaker was speaking, there were people in the chat facility posting 'buy my book' links. Not sure if they would have got any takers, but for most of us, it's a bit irritating. Some groups don't allow it. There are people on Facebook who I never see or hear of from from one year's end to the next, unless they have a book to sell. Then it's 'oh, look, here's my book, you have to buy it.' No. No I don't. 

There is, to be fair, a whole spectrum of engagement. I'm on there a lot - too much probably. But I blog a lot as well. And I'm interested in what other people are doing and thinking and saying, whether it's online or out in the real world. 

In summary, Facebook can be good for writers. But if you put very little in, you'll get very little out. Much like computers, it's a case of garbage in, garbage out. We've all been to those parties where you meet somebody and try to talk to them, only to find them peering over your shoulder, in case somebody more interesting or useful comes along. Social media is much the same. You don't have to like everyone, but you do have to be interested in human nature in all its many manifestations. 

After all, isn't that what being a writer is all about? 

Old Photographs and Uncertain Times

 

The Czerkawski siblings, Meryszczow, 1926

As I said towards the end of my last blog post, I'm in the middle of researching my Polish grandfather's life story, for a new book. We're in the middle of a pandemic and enduring the hideous culmination of a Brexit that a large majority of people in Scotland (and many in England) didn't vote for and loathe more and more, the deeper Westminster drags us into it. 

All of which is keeping me awake at night.

The photograph above is in the book about the Kossak family that I also mentioned in that last post and that had been sitting on my bookshelves for some time. Wanda Czerkawska - the shyly smiling lady facing the camera - was going to marry artist Karol Kossak in 1927, so her story would become part of the much more famous Kossak family story. Wanda was born in 1898, so she was six years older than my grandfather, and 28 when this picture was taken. They must have believed that she would become an old maid, at a time when women especially tended to marry young. The book is in Polish. My command of that language is very limited, so I could do little more than skim through it, although a friend translated the chapter on Wanda's family for me. I thought I had looked at all the pictures, but when I was casually leafing through it a few weeks ago, the photograph above leapt out at me. I'm not sure why I hadn't noticed it, but perhaps it was because the book was still new and shiny, I had simply missed the page.

It excited and moved me.

I have only two other photographs of my grandfather. One is a small head and shoulders snapshot and the other is with my grandmother and my father as a young child. His hair is in a bob, and he's wearing a smock, as boy children did in those days. But until I saw this new picture, I had no group images of the siblings of the family and none so early. 

It's intriguing, that photograph. 

My grandfather

Firstly there's the focus on my grandfather, Wladyslaw Czerkawski, in the middle. He was more handsome than that in other pictures, but here, he is the main figure in the picture, with the rest of the family slightly out of focus, grouped around him. He looks solemn and thin and under a certain amount of stress. And he's wearing a black armband. I'm fairly certain that he is wearing it for his mother, Anna, who had died in 1925. This had left Wladyslaw central to the family in all kinds of ways. His widowed mother had made a second marriage, one of which, for various reasons that are becoming clearer to me, the family disapproved intensely, and which seems to have been less than happy. There was a child of that marriage, Danuta Hanakowska, born in 1920, and Wladyslaw must have known that her care and upbringing would be left to him and his young wife, again for reasons that are becoming clearer to me. I'd been wondering about the starched lady at the back of the picture, the one turning away from the camera as though she doesn't quite belong. But of course she would have been Danuta's nurse.

Of the others in the picture, the lady in profile with thick, dark, bushy hair (hair that she passed on to me) is my grandmother, Lucja. She was only 20, though she looks older, and the little bump she is showing would have been my father, who would be born in May of that year. At the back, between my grandfather and grandmother, you can see the profile of a pretty young woman, fashionably dressed in white. That would be Ludmila, or Ludka, the beautiful, spoilt baby of the family. I remember seeing a picture of her among Wanda's possessions, when I was in Poland in the 1970s, dressed in silk lounging pyjamas and sporting a cigarette in an elegant holder. It was, of course, difficult to copy photographs back then, but if anyone out there still has them, I'd be delighted to have copies of them. I think they may be with the Kossak relatives in Sweden, with whom, sadly, I lost touch. 

I don't know who the others are: the lady with the cloche hat at the back ('she looks like you' says a friend) or the tall, good looking man on the right, or the slightly self satisfied man on the left. But since the caption says 'Czerkawski siblings' they may be Wladyslaw's reckless elder brothers, Zbigniew and Boguslaw. Zbigniew died of consumption in 1932, while Boguslaw (Bogdan) was killed during the war in 1943.

The picture was taken at an estate called Meryszczow, but at this time, Wladyslaw and Lucja were living at another estate, some kilometres away, called Dziedzilow, which is where my father was born, so they must have been there because of the death in the family and its consequences. Wladyslaw would have fallen heir to Meryszczow as well, had war not intervened. 

Old photographs are always mysterious moments in time, caught like fossils in amber. This has a momentous quality to it, because it was a turning point for all of them in more ways than one. 

I look at this picture and see that none of them had an inkling of what was about to happen, a little more than a decade later. Only two of them would survive, three if you count the bump, and of those, only two would go on to have a fulfilling and happy life after earlier turmoil 

Which leads me back to thinking about the uncertain times we live in now. We're here at what feels - not like the culmination of something, although it is - but at the start of something worse. Unless Scotland can find a way of extricating itself from the hard right Eton Mess that has infiltrated the Conservative party (never my party of choice, but - at other times - never ever as mad and bad as they seem now) we are in for some miserable years. The notion of a sovereign and thriving UK is proving to be the jingoistic mirage we always suspected it was. Personally speaking, if we were younger, we may even have left by now, and taken our chances in mainland Europe or Ireland, much as many of those in this picture might have been better to move away, head west, possibly to America, where they would at least have stood a chance of survival. 

But we don't, do we? We have loyalties and allegiances, homes and friendships. And in our case, we have a Scottish government with a certain level of competence and care and the possibility of independence. So we hang on and hope for the best, even as we fear the worst.

These were people who knew all about the reality of difficult borderlands, where life could be short and violence was never very far away. Maybe like people living on the edge of a volcano, they thought it wouldn't happen to them. Maybe, like my friends and relatives here who keep shrugging and telling me that nothing will or can be as bad as all that, they thought it better to sit it out. Maybe they'll be right, although this small group of people were wrong.

Who can say? All I do know is that as a writer of historical fiction and non-fiction, I've learned a great deal over the past few years, lessons I would rather have avoided. I've often found myself wondering what it would have been like to live at a time and in a place where things had begun to fall apart around you. What would it have been like to try to maintain your footing, and a certain moral compass, amid those shifting sands. 

We read books or watch movies about Nazi Germany and we think 'Why didn't people do something?' 

We read about the dreadful fate of the Jewish people, and we think 'Why didn't they see the signs? Why didn't they move away while they still could?' 

We look at these people in the picture who must surely have had some small inkling of impending doom. 

Well, maybe they didn't. Whoever does? Whoever really believes that things will fall apart? That human beings will be careless and cruel?

I look at my grandfather's face, and I think that of all of them, he was perhaps the only one with any kind of prescience. But in uncertain times, we cling to the hope that things will and must get better.

Sometimes, they get much worse first. 

Julian, Wladyslaw and Lucja

An Extraordinary Christmas (or Two)

Aunty Wanda

 

This is a picture of my great aunt Wanda Kossak. She was the elder sister of my grandfather, Wladyslaw Czerkawski, the grandfather I never knew, and about whose life I'm writing a book.

I first met Wanda in the1970s, when I travelled by train to Poland and stayed with her and her watercolourist husband, Karol Kossak, the last in a line of distinguished Polish artists that included Karol's grandfather, Juliusz, and his uncle, Wojciech. My enchanted autumn with them is a subject for another post. My Polish was about as basic as their English, but my French was better, and as with many Poles of their generation, their French was good, so that was how we conversed most of the time. Over the weeks of my visit to their apartment in a spa town called Ciechocinek, I got to know and love them.

They were no longer young, and by the time I returned to Poland to spend Christmas there, Karol was dead, but Wanda had a long life, from 1896 to 1983. In fact, I had two Christmases in Poland, although they have somehow become fused in my mind and I will have to rummage through my box of old letters before I can properly distinguish one from another. 

The first time was when I was teaching English in Finland. Flights home to Scotland were very expensive so I travelled across the Baltic to stay with my Polish relatives. The second time was in the late 1970s, when I was working for the British Council, teaching English at Wroclaw University. Our longish winter vacation was in February, which meant that, once again, I headed for Warsaw, to spend Christmas with my father's cousin Teresa Kossak, her partner Andrzej, her mother, Wanda, and a whole heap of Kossak relatives, with whom, sadly, I have since lost touch. (If any of you are reading this, I'd love to hear from you!)

Those Christmases have become a series of vignettes of a time long past. So here's what I remember.

Warsaw was cold. Colder than Wroclaw, so much further south. There was frost and snow. There was a cheerful covered market, smelling of apples and dill pickles and cheap tobacco and that wonderful smoked 'mountain' cheese that I've only ever managed to buy in Poland. 

Teresa's tiny apartment was beautiful, with her collection of porcelain cups, her bright textiles, her books and artworks. In fact it sometimes strikes me that much of what I've decorated or planned since then, in our own house, has contained an echo of that time, in that warm, cramped, hospitable flat that I envied and wanted to emulate. She and Andrzej kept dogs that were much too big for the place, and since I was extremely allergic, they borrowed another apartment from a friend for me to sleep in, so that I shouldn't have to wheeze too much! 

I remember visiting the studio of one of their friends, an artist in amber, and the pungent scent of old forests from the polishing. He took me for a magical walk round the newly rebuilt old town. He must have been in his fifties, although he looked younger. It was evening, one of those clear, cold evenings, when the light leaches slowly out of the sky, and trees and buildings are sharply silhouetted against a golden sky. We walked and talked. His English was fluent and he told me something of the history of each place. He told me that he had taken part in the Warsaw Uprising when he was very young. Many corners of the rebuilt city held sad memories for him, where this or that friend or colleague had fallen. 

'I can still see them,' he said. 'Ghosts everywhere.' 

Warsaw was not bombed from the air. It was blown up from the ground, erased from the map. But it was rebuilt, and I was privileged to see it for myself, and to see it through his eyes as well. 

I had a proper Polish Christmas Eve at the Kossak house in - I think - Zoliborz. This is always a lengthy meal with many meatless courses, and makowiec - the most delicious Polish poppy seed cake - at the end of it. 

The house was crammed with Kossaks of all ages.  These included autocratic, intelligent Aunt Joanna Skarzynska, Karol's sister. She spoke excellent English, seemed to me a little like Lady Bracknell and quite as unnerving. She had worked in the American Embassy as a young woman, which was her post-war undoing, since she had survived, only to be imprisoned by mad, bad Stalin as a western spy. She survived that too. I got the impression that she could have survived almost anything. 

I remember a son - Wojtek? -who had been working as an archaeologist, I think, in the Gobi desert. He sailed sand yachts and gave me a little bronze Tibetan Buddhist platter with a sun symbol etched into it. There was a scientist daughter-in-law who worked her socks off in the kitchen, and there were assorted teens and children, and other more remote family members. 

The Kossak house was old and spacious and had survived the war relatively unscathed. There were polished wooden floors, lights, warmth, the inevitable pictures - and a tortoise that clip clopped about the floor, and tried to avoid being trampled underfoot. 

My dear, sweet, loving Aunty Wanda was my saviour, especially on the days following Christmas Eve when we went on family visits. I don't think I have ever met anyone whom I loved so completely after such a short acquaintance. She carted me about with her, while I felt the need to protect this fragile little lady on Warsaw's rickety trams. We laughed a lot. We visited relatives of whom - at this distance in time - I have completely lost track. But I know that, like the book of Genesis, or those Gaelic clan recitations, I could see that they were intent on fitting me neatly into the family genealogy. I was Wladyslaw's granddaughter, Wanda's great niece, Julian's daughter, the one who had fetched up in England after the war and married an Englishwoman. 

And I remember bigos. Every house offered bigos and every bowl was slightly different  - much as you'll be offered mince pies or Christmas cake here. It's good in reasonable quantities, but I also remember Andrzej who was brisk and sexy and very kind to an awkward young woman, who was a little in love with him, saying 'Poor, poor Kasia. Not MORE bigos!'

Only a few years ago, one of Teresa's friends wrote to tell me that she had died, and she sent me a book that Teresa had written about her family, including a chapter about her mother, Wanda Czerkawska. By that time, both my parents too were dead. This year, a Polish friend translated Wanda's chapter for me, which added another, even more intriguing dimension to what I already knew about my Polish family. 

But you'll have to wait for my next book to find out more! 

Missing People

I love writing Christmas cards. I mean I know it's a bit of a slog, but I still enjoy it. 

Which is just as well, because I write a lot of them every year, and often put a little note in or on each one - especially if the recipient is somebody I don't see very often, or don't chat to on social media. Not newsletters. I don't do those. Although one year, I did write a spoof newsletter, with various fictional relatives indulging in bizarre activities like evening classes in witchcraft and black magic, and equally fictional ten and eleven year old nieces and nephews obtaining first class degrees in Nuclear Physics and suffering from early onset male pattern baldness. A good friend of ours thought - at first glance - that it was genuine, and was disgustedly reading it out to his wife, before she pointed out that it was all made up 'because that's what she does!' she added. 'Makes things up.'

I've already written and posted cards to old friends in mainland Europe and elsewhere. This year that includes our son, currently living and working in Barcelona, and for once not able to come home for a Christmas visit. Not just a card but a large parcel, which next year will be made much more difficult by what is called, in this household at least, sodding Brexit. 

Still, this being Scotland, we have options.

But I digress. I like spending a little while thinking about all the people that I have known and loved throughout my life. I like remembering all the tiny and sometimes silly and often hilarious details about our friendship, especially when it's a long term friendship, even when we don't often see each other. 

Sadly, the older you grow, the more you find yourself missing the people who have fallen off the end of the list. You still remember them. And they are in the address book as well as in your mind. But you wish you could drop them a line, or phone them or see them. 

 So it is that I find myself wishing that I could write to my Canadian friend, Anna, who would phone me - latterly from Canada - for long, warm, chatty calls, roughly once a month. We were a generation apart, but she was smart and wise and witty and she took no prisoners, and I loved her. I wish my Auntie Vera was still here when I get out the gorgeous nativity set she knitted for me. I wish my lovely mum and dad and my kind, wise mother-in-law were coming for Christmas. I wish I could send a card with all my news to my old head of department, Scottish folklorist Stewart Sanderson, who I kept in touch with for many years. I wish I could send him a copy of my new book, because I know it would be right up his street. And I wish I could still open an envelope and find a newsy note from Leonard White, who produced a television series I worked on many years ago and who kept in touch with me for the rest of his long and productive life. 

Most of all, this year, I find myself missing two friends, my radio producers and friends, Hamish Wilson and Marilyn Imrie, who both died this year - I wrote about them on this blog and elsewhere, here and here, but it's very hard to accept that they're not here, when I see their names in my address book, and fleetingly imagine meeting up with them again before remembering that it isn't possible. 

All of which makes the remaining friends - and the new friends, of which there are many - all the more precious. If you ask me what I've missed most, during this last Covid and rabid politician infested year - I would say it has been the hugs. Sometimes the need to hug somebody, close friends, good friends, my son, has been so acute that it is a physical pain. I think many of us are feeling the same. 

For now, the occasional socially distanced walk, the Zoom calls and the phonecalls and Christmas cards with their messages and kisses will just have to do. 

As for me, I'll be queuing for the vaccine whenever it's available. 

It's not too late to bake your Christmas cake ...

 

I promised to post this recipe a while ago, and then got distracted by other things. This is the recipe my mum always made, written into the back of an old book on bakery. It's never too late to bake this one, so if you bake it now, it'll be good, but if you only get round to doing it at the last minute, it'll still taste nice. The trick is in soaking the fruit for a long time and using real butter. Don't use margarine and don't use spreadable butter! Unsalted or ordinary salted butter are both fine, but I don't recommend using those (otherwise lovely) butters with salt crystals.

You'll need

1 kilo mixed dried fruit (with or without peel)

200 grams (1 pack) glace cherries

300 grams (I just use 10 heaped tablespoons) plain flour

1 teaspoon bicarbonate of soda

1 level teaspoon salt

60 grams ground almonds (leave these out if you don't like or are sensitive to nuts) 

1 x 250 gram pack of butter (real butter, not spreadable and never marge)

250 grams soft brown sugar - light or dark will do

4 eggs, beaten.

Juice and zest of 1 orange and 1 lemon

Half a teaspoon of nutmeg

Half a teaspoon of mixed spice 

(NB these are optional - depends what you like. I add more nutmeg.)

1 teaspoon almond or vanilla essence

1 large tablespoon black treacle or molasses

Milk if needed.

Whisky, rum or brandy, to taste

You will also need a large and as heavy as possible cake tin, preferably one with a loose base. The one in the picture was my mum's, and possibly my nana's before that, so it's more then seventy years old and still going strong! Mary Berry has an excellent Christmas Cake Calculator I think mine is 21 by 9 cm high.

A day or two before you're going to bake the cake, put the dried fruit into a bowl, with the juice and zest of the orange and lemon, and a large sherry or smallish wine glass of whisky, rum or brandy. I favour brandy but sometimes I make a 'whisky mac' with whisky and a good measure of Crabbie's ginger wine, and use that instead. Stir the juices through, cover the bowl and leave at least overnight. You can leave it for a couple more days if you like, stirring occasionally. You can also add a bit more whisky or brandy. If you don't have these spirits, you can experiment with what you do have. I suspect a glass of sherry would do the job just as well. 

The fruit will begin to plump up, and it will smell wonderful. 

Before you begin mixing, line your cake tin, base and sides with a couple of layers of greased greaseproof paper. Let the paper come up over the edge of the tin as in the picture. Grease with a little melted butter.  

Heat the oven to Gas Mark 2, 350 F, 150 C. I actually bake this a little below that, because I have a hot oven, but better to bake slowly for a long time, than to bake it too quickly.

Wash the sticky glace cherries in warm water and leave in a sieve to drain. Pat dry with kitchen towel.

Soften your butter so that it's workable but not melted. You can do this in the microwave for a few seconds, or just leave it at room temperature for a while. 

Sieve the flour into a bowl and mix in the other dry ingredients, salt, spices to taste - include cinnamon if you like it -  bicarb and ground almonds

Put softened butter into a large mixing bowl with soft brown sugar and cream it together until fluffy. You can mix this cake with clean hands and I generally do. Add the beaten eggs a little at a time, and carry on creaming. Don't worry if it curdles. You will need to add your flour mixture also a bit at a time, as you're adding the eggs. You should finish up with a very stiff cake mixture.

Now, tip in your fruit, including any liquid at the bottom of the bowl, the cherries, and lastly a large tablespoon of black treacle. You can leave the treacle or molasses out if you don't have it but it enriches the cake. Mix it up and again you could do this by hand. It should still be softish, but should hold together well, and should not be at all runny. If you lift a big spoonful you should have to shake it quite hard to get it to drop off! If it seems too solid, you can add a little milk. 

Put it in large dollops into the prepared cake tin, and smooth it down, and out, so that there are no airlocks. Make a very slight depression in the middle. This is a cake that won't rise much, and you're aiming for a pretty flat top. 

Put more folded double layers of greaseproof paper around the outside of the tin, (you will need to tie this with thread or string) and then put several more loose layers of paper over the top. 

Put it into the middle of a heated oven. My old recipe says (unhelpfully) 2 - 1- Half. In reality this will take four to six hours of slow cooking, I turn the oven down from 150 C to just over 100 C after the first hour or hour and a half, and then leave it to continue baking at that low temperature for another few hours. After two to three hours, you can slide it out to check that the top isn't burning. It honestly doesn't matter if it cracks a bit - in fact there are benefits to that. If it does burn, and you're planning to ice it, you can simply cut the burnt bits off. 

It will make your whole house smell wonderful.

When it seems cooked, check it with a skewer, which should come out reasonably clean, and without raw mixture although it might be a bit sticky from the fruit. Another old fashioned method is to have a listen! If it is sizzling away, it's probably not done yet. 

Take it out of the oven but leave it in the tin, and - this is where a few cracks might come in handy - baste it while still warm with a few more tablespoons of your chosen spirit. NB - the cake isn't as alcoholic as you might think, because the soaking alcohol will have evaporated, leaving only its flavour behind, so you can afford to be generous.

When it is quite cool, take it out of the tin, peel off most of the greaseproof paper, but you can leave a layer of greaseproof at the bottom. Put away in a cake tin, lined with more paper. If you like, you can add a little more brandy or whisky after a few days. 

It will be good to eat almost immediately, but if you can leave it for a while, it will be even better. You can cover with marzipan and icing in the traditional way, or you can just use it as a cut and come again cake for the holiday. This year especially - when we won't be able to have too many visitors - it will keep for many weeks or even months, in a dry airtight tin. We've eaten the Christmas cake at Easter, and it was delicious. My Yorkshire grandad ate his Christmas cake with a good slice of Wensleydale cheese, and I like it that way too.

Above all, don't panic. This may seem like a complicated recipe, but it is the most forgiving of cakes. You can leave things out and put things in, to your own taste, and it will still be delicious. 

A Little Bit of Carrick History, Part Four: Life in an Eighteenth Century Manse

The Glebe

Moving on many years, for my final part of this gallop through the older history of the parish - there is a surviving notebook which describes life in the manse of Kirkmichael about 1720, when Mr James Laurie was ordained minister, and Kirkmichael had a population of 700 souls, scattered throughout the parish in a number of clachans. The village as we know it today was not yet in existence. 

In 1904, the Scottish Historical Review included a fascinating fourteen page summary of this notebook, later published by the Edinburgh University Press, and if you're interested, you can access it on the JSTOR site which gives access to academic articles. You'll need to create an account as an independent researcher, but they have made access easier during Covid. Look for Life in a Country Manse, about 1720 for a vivid and fascinating overview of life in and around Kirkmichael 300 years ago. 

This was well before the present kirk was built in 1787, although the lych gate, still in existence, dates to 1702. Once again, we can conclude that the parish had grown during the intervening period, with episodes of Covenanter activity disturbing the peace of the people. 

Life in the Manse

At the time when James Laurie was keeping his meticulous household accounts, the manse itself was by no means the grander building of later times, but was instead a smallish thatched house with a kailyard in front, half glazed narrow windows, thick walls, and four rooms divided by wooden partitions. It probably stood where the old manse of Gemilston stands now, although we can’t be sure. 

There was no 'village' as such. Kirkmichael was a remote parish, 'through which ran tracks over the moors to Maybole and Ayr.' Even the mansions of the lairds were 'homely and unpretentious' although we are told that Kirkmichael House was exceptional in being 'as desirable a dwelling in all the country, having good gardens and orchards, the first in Carrick planted with peaches and apricocks' 

From 1711 – 1732 James Laurie noted down memoranda of his income, his expenses and the details of his daily life, and these give us a fascinating picture of what that life was like. In the Manse, lived the minister, his wife Ann, and their children, four boys and three girls, as well as the minister’s sister, Betty. There were, besides, three women servants, a serving man and a herd lassie who slept over the byre. 

Money Problems

The minister was funded by the local people, lairds and farmers, but sometimes his stipend was hard to come by. It seems to have been very difficult for him to get his parishioners, even the reasonably solvent ones, to pay to keep the manse in a good state of repair. A lot of bartering went on, with the stipend sometimes being paid in meal and other necessities rather than money. Sometimes even that was hard to come by and he would wait three years for his payment. Often the lairds would give the minister 'precepts' or orders on their tenants, in lieu of actual cash, so the poor tenant farmers would have to give some of their own harvest to the minister, in the shape of malt, meal, barley, grey oats, white oats and something called 'horse corn' which would arrive in sacks or creels, on horseback, and have to be stored away by the minister for future use.

We should note here that the payments were, for most of the 18th century, still in Scots pounds and shillings, which had been considerably devalued, had been replaced by sterling after 1707, but which continued to be used, so the sums mentioned are smaller than you might suppose.

The manse is often in a poor state of repair and the 'heritors' who are supposed to attend to such things, resist spending money on its upkeep so that the minister himself must foot the bill from his stipend:  'Paid William Simson 4 shillings and sixpence for the window in my room, twelve foot of glass and mending ane old window.'  

Clothes and footwear

Woollen fabric such as 'grey plaiding' is made by local weavers, and is used for the minister's and his son's clothes, although he has a fine 'coat of blue broadcloth for solemn occasions' such as when he travels to Edinburgh to the General Assembly. In winter, the women of the house, including Ann and Betty, are engaged in spinning yarn, which they then weave into cloth for their own purposes, as most people did back then. However, Ann - as befits the minister's wife - has a gown of 'Musselburgh stuff' (this seems to have been fine quality woven wool) made by a local tailor for ordinary wear. The women also sell some of their work to the weaver who comes looking for customers' work to sell on. Ann and Betty are happy to sell Lady Killhenzie 'cloath napery' for 14 shillings. The minister has a flock of sheep to supply his own wool, and grows flax on the glebe so that the family can make their own linen. 

There are tailors in some of the clachans, with an interesting reference to a tailor from Straiton making a 'sackcloth' gown for one unfortunate Janet Kennedy. Adulterers and 'adulteresses' were supposed to appear in church in sackcloth robes, but even at this time, the practice is falling out of favour, and by the time of Robert Burns and his transgressions with Jean Armour some sixty years later, there is hardly a tailor to be found willing or able to make such a thing, nor a minister insisting on it. 'Daddie' Auld certainly doesn't. Mr Laurie, however, does seem to have approved of it and there is some mention of culprits 'not appearing in the kirk without sackcloth'. 

A travelling shoemaker, probably from Maybole, makes shoes for the family, in preparation for which, Mr Laurie gets in leather, hemp and rosin, the tanned leather often coming from his own beasts. The shoes tended to be for best, and for wearing to the kirk and for travelling, rather than for everyday use, although Ann has comfortable 'cloath slippers' made for herself. In August 1716, 'James Niven and his servant 'wrought nine days' making shoes for the family, for which he was paid board and lodging, plus 'six and a quarter pence sterling and seven pence for timber heels.' 

Household goods

The entries on other household goods are particularly fascinating. In Maybole, the minister buys hens and eggs too, as well as cheese, sugar, tobacco, coals, thread, soap and gunpowder. He spends money on 'plaiding' and on the wigmaker to mend his wig, a wig being an absolutely indispensable item for men of importance at the time, even quite young men, as he was. He spends a good deal on 'sugar candie' but some of this is to ameliorate the taste of the nasty medicines of the time, as we can see from its inclusion in various recipes, among which we find baked ground mother of pearl mixed with powdered slaters (i.e. woodlice) Those medicines involving the contents of the herb garden, however, seem more palatable and more efficacious, witness the use of horehound and coltsfoot for a cough, something still found in herbal cough mixtures today. 

Tea drinking is only just becoming fashionable and Mr Laurie buys 'lime' (meaning loam or earthenware) to drink it from. A pound of 'Bohea' or black China tea costs a massive 24 shillings. But they are a la mode  at the manse and must have indulged in the habit from time to time. 

In Edinburgh he buys not just useful vegetable seed for the manse kitchen garden, such as 'colliflower' lettuce, carrots and parsnips, but seeds for his flower borders: ‘africa marigold, sunflower, jelly flower, luppyns, double holly oaks, bella donna’ and others. I love the fact that even then, they had a flower garden, but we should remember that these also had medicinal purposes. He buys in wine for household use. Ale is brewed at home, but we sometimes find small sums for 'ale' in the accounts which represents coins given to tradesmen who come to the door with deliveries. 

Other small sums are given out to the wandering poor, of which there are very many, not least Scottish sailors who have been captured by pirates, sold into slavery, escaped and finally arrived home in a penniless and broken down state. 'To a poor man taken a slave in Algiers' or 'To a slave from Algiers, dumb'.

Balancing the books is always difficult, and with no enclosed land and few improvements, overwintering of beasts, even for the minister, is very hard and there are losses, although nothing is wasted and hides will be tanned for leather. It is obvious that without a bartering system it would have been impossible to survive. Mr Laurie is even forced to borrow from his canny sister Betty on one occasion, who charges him interest on the transaction. She needs cash for pins, needles and knitting thread.

Books and learning

Learning is a wonderful thing and he has managed to acquire a great many books - perhaps some from his minister father - which he lends to his friends, including the sons of local lairds, as well as ministers from neighbouring parishes. Human nature being what it is, the books sometimes go missing and he writes 'I do not know who has this' rather plaintively. (I have much the same problem!) His children go to the village school, and perhaps then to Maybole, Ayr and Glasgow for their further education. One of his sons, George, becomes a minister in turn and as minister of Loudon has a large part to play in encouraging Robert Burns. 

It's apparent from all this that most of the houses in what now constitutes the old parts of the village were not built till much later in the eighteenth century, well after James Laurie was buying his flower seeds in Edinburgh. When we had occasion to take down a bit of wall to build an extension, some years ago, we found the stones of a much older house, including a lintel, used as infill in the wall. Where from? Presumably from one of those much older cottages in the vicinity of the manse, or closer to Kirkmichael House or even further afield. 

There certainly used to be more cottages along the road towards Crosshill, towards the farm of Merkland. Older people here remembered the ruins. There was also the ‘Waukmill’ along there, where the cottage-woven fabric was taken to be stretched. There is little left of it now except for a shell of stones, down by the river at Merkland Farm. Incidentally, it is possible to trace some of the history of the parish through its mills of various kinds, many of them along the banks of the Dyrock burn or the River Girvan. 

There is a great deal more to the story of this village, including the Covenanters, (I think somebody else can tackle that complicated period!) and - in the 19th century - the brief rise of Ayrshire whitework, of which I have my own small collection. I'll write more about this needlework in due course. 

One final suggestion - if you find Mr Laurie's account interesting, you could do worse than seek out a book called The Annals of the Parish by John Galt. It is still in print in various forms, it is ostensibly a novel, published in 1821 but it's told in the voice of an 18th Century minister who sounds a lot like Mr Laurie. It is entertaining, informative - and in places, extremely funny. Reading it, you realise how little village life has changed in the intervening period. 

In the kirkyard

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