The More You Read…

“The more that you read, the more things you will know. The more that you learn, the more places you’ll go.”
– Dr Seuss

Lies We Tell Ourselves
Author: Robin Talley
Published: 30th September 2014
Goodreads Rating: 4.06 out of 5
Reviewed: September 2014

Lies We Tell Ourselves by Robin Talley is a realistic tale about the beginning of the integration of coloured people into white schools in late 1950s America. In Virginia, it is 1959 and ten Negros are beginning their first day at Jefferson Highschool. The experience is narrated by one of the ten: Sarah. In other parts of the novel, the voice changes to that of Linda, a particularly nasty white girl, one of countless students opposed to integration.

Although many people are taught about the Black civil rights movement, it is still shocking to read about the horrible things they had to endure. By writing in the first person, Talley encourages the reader to try to understand how they would feel in a similar situation. Sarah and her friends instantly become the victims of verbal and physical abuse, to which members of authority turn a blind eye.

To Sarah, Linda is a nasty spoilt bully who, although she does not join in with the taunting and abuse, is as bad as the rest of them. Through reading Linda’s account, it becomes clear that her behaviour has a lot to do with her home life, particularly her father’s attitude. After being forced to partner with Sarah for a French project, Linda begins to question why there is so much emphasis on skin colour. Yet, not wanting to be shunned by her friends, she keeps these thoughts to herself.

Sarah is also struggling to come to terms with her sexual preference for girls. It has been drilled into her that these thoughts are a sin. She hides her true feelings from everyone and constantly berates herself mentally for being “unnatural”. But it turns out she may not be the only one with these thoughts.

The lies referred to in the title are not the blatant or harmful lies but rather the lies the characters believe or even want to believe. Each chapter begins with a lie that reflects what is occurring in the novel at that time; for example, “There’s no need to be afraid” and “I don’t care what they think of me.” This is an interesting way of telling the story as it emphasizes Sarah’s determination to keep going despite what she is subjected to. It also reveals the mental struggles she faces. The lies also disclose Linda’s conflicting feelings towards the segregation laws.

Although not a religious novel, each part begins with the title of a Christian hymn. It was the norm for everyone to attend church, and despite the separate churches, it was something both black and white people did. Sarah and Linda have faith in God, yet both use the bible’s teachings for opposing arguments. The religious aspect also highlights Sarah’s self-hatred and belief that she has fallen into sin.

Unfortunately, in today’s world, there are still issues with racism and homophobia, but after reading Lies We Tell Ourselves, it is evident that these situations have vastly improved since the 1950s, at least in the Western world. Without children such as Sarah going through these horrible experiences, the situation would never have changed. There would still be separate schools, slavery and inaccurate opinions about race inequality. America has a lot to thank these brave students for, who were the first to create mixed-race schools.

Overall this is a brilliant book. Well-written and realistic, it draws the reader into the characters’ stories. Although Lies We Tell Ourselves is a work of fiction, it is historically accurate and can teach a lot about America’s history to young adults today.

Black Ice
Author: Becca Fitzpatrick
Published: 7th October 2014
Goodreads Rating: 3.87 out of 5
Reviewed: September 2014 (pre-published copy)

The author of the Hush, Hush saga, Becca Fitzpatrick, steps away from the paranormal genre with this new contemporary thriller, Black Ice. Britt Pfeiffer has persuaded her best friend, Korbie, to go on an adventurous backpacking trip in the Teton mountains for their senior spring break. It immediately gets off to a bad start when the girls get caught in a freak snowstorm and stranded a long way from their lodge. Luckily, they come across a cabin owned by a guy named Shaun, who is there with his friend Mason. But it may not be the haven they hoped it to be. With her best friend’s life in danger as well as her own, Britt has to remain strong to save them; either that or hope that her ex-boyfriend will realize they are missing and rescue them.

Initially, it is difficult to connect with Britt, who narrates the entire story. She, as well as Korbie, is a rather annoying, spoilt daddy’s girl. It first appears the novel is about two whining teenagers, both used to getting their own ways, fending for themselves in the mountains. Once the girls face a life-or-death situation, Britt’s character develops rapidly. She becomes more independent, clever and likeable, which makes the story a lot easier to read and enjoy.

Black Ice is a thriller containing a murder mystery, which links all the characters together but in ways that you would not originally expect. It is also a romance novel. Although Mason is perceived as a bad guy, Britt falls for him, sparking a risky relationship.

Despite the shaky start, Fitzpatrick’s latest novel is full of exciting twists and turns. It is exhilarating to try and work out who is good, who is bad, and who has been murdering girls in the mountains.

Tin Lily
Author: Joann Swanson
Published: 6th July 2014
Goodreads Rating: 4.05 out of 5
Reviewed: October 2014

Joann Swanson’s debut novel Tin Lily is a beautifully written story about a teenage girl’s struggle to deal with the murder of her mother by her alcoholic father. Lily Berkenshire narrowly misses being killed herself when her father runs out of bullets. While the police are out looking for him, Lily moves to Seattle to live with her Aunt Margie. With the help of a therapist, Lily battles to deal with triggering memories and the dissociative spells that follow. There begin to be small improvements in her condition – making a new friend, getting a pet cat – yet, her father is out there somewhere, meaning she is still in danger.

Lily’s first-person narrative emphasizes the mental struggle she is undergoing. Short sentences and the quick topic changes reveal how hard it is for Lily to remain focused on the here and now rather than retreat into the silence of a dissociative period. Those with experiences of mental health problems will understand the confusion Lily feels as she tries to come to terms with the sudden events that have changed her life forever.

One particularly striking thing about Swanson’s writing is her use of metaphors, specifically the one used within the title. The words Tin Lily only begin to make sense as the novel progresses. Lily originally describes herself as tin: plain and hollow with no emotion left inside. A short speech from her aunt gives an alternative metaphor for tin, which is intensely thought-provoking: “Tin isn’t very interesting just flat. It’s got a lot more character when it’s been stressed and moulded. The only way to do that is to bend it until it cries.” Aunt Margie, a metallurgist, is referring to the way tin is adapted to create other, sometimes beautiful, objects. Swanson is showing that although a person may go through terrible times and feel broken inside, they can become a different person in a good way, see things in new ways, become more empathetic etc. It is a powerful message for the readers to take away from this book.

There were times when it felt like the story could be drawn out or go in different directions. For example, Swanson introduces a spoiled rich girl who lives in the building where Lily’s therapist works. Lily bumps into her twice and feels uncomfortable and unworthy, but after that, there is no more reference to that girl. For a moment, it seemed the narrative would introduce a bullying theme, but nothing happened.

Overall, Tin Lily is a moving novel containing serious themes. Although intended for young adults, it may not be suitable for some teens who are either very fragile-minded or unable to grasp the gravity of Lily’s situation.

The Daughter of the Sea and the Sky
Author: David Litwack
Published: 12th April 2014
Goodreads Rating: 3.62 out of 5
Reviewed: October 2014

The Daughter of the Sea and the Sky by David Litwack is set in a world ravaged by religious wars. The people have separated themselves into believers and non-believers. Helena Brewster and Jason Adams live in the Republic, where the people rely heavily on reason and reject the supposedly irrational ramblings of the zealots who live on the “Blessed Lands”. One day, a nine-year-old girl, Kailani, escapes from the Blessed Land and sails to the Republic, where Helena and Jason find her. Kailani is immediately captured and questioned by the authorities, who want to send her to a correctional facility to undo the brainwashing of the zealots.

Since it is several months until her tribunal, Helena and Jason become Kailani’s legal guardians and take her to live at Glen Eagle Farm, away from the main population of the busy towns. Kailani is loved and admired by the inhabitants of the farm, but people on the Blessed Land want her back.

It is an interesting story that explores a range of themes. For Helena, there is the grief she is suffering as a result of the recent death of her father and the feelings she has towards her mother, by whom she felt abandoned. Between Jason and Helena, a romance develops as the two connect in their determination to protect Kailani. The most important theme, however, is the antagonism between believers and non-believers. Those living in the Blessed Land want to indoctrinate everybody with their ideals about the soul, whereas in the Republic, this is forbidden, as they insist on living a life ruled through fact. As the story goes on, certain characters begin to understand the need for both realism and religion. One person even suggests, “In our pursuit of reason, we’ve become as unreasonable as the other side.”

Kailani is a lovable character, which makes the novel a joy to read. It is interesting to compare how a child raised under a strict religion innocently views the world, in comparison with adults who have no faith whatsoever. Although written for adults, it is suitable for young teens to read too, who although they may not understand the significance of the two different sides, are sure to love and enjoy reading about Kailani.

Capturing Jasmina
Author: Kimberly Rae
Published: 1st March 2014
Goodreads Rating: 4.07 out of 5
Reviewed: October 2014

Kimberly Rae draws attention to the ongoing trafficking of children in India in her young adult novel Capturing Jasmina. Jasmina was only ten when her father sold her and her brother Samir to a man promising safety and good education. In reality, the siblings end up in a sweatshop slaving over clothes to be sold in America. After three years, they escape, only to be trafficked a second time. Eventually, Jasmina and Samir are separated, and Jasmina becomes a street kid.

Whilst living on the streets, Jasmina encounters a Christian missionary, Asha, rescuing women from brothels by either offering them a safe place to live, or at the very least, spiritually, by teaching them about God and Jesus. Intrigued, Jasmina follows Asha, who offers to help her, too. After having her childhood robbed from her, it seems like Jasmina, with the help of those who trust in God, will get back on her feet again.

Despite being a short novel, Rae paints a contrasting image of the Western world. Jasmina finds the concept of a simple toilet baffling. It is not until you hear or see what is happening to innocent people in other parts of the world that you realize there are many things you take for granted.

Capturing Jasmina emphasizes how difficult it is to escape once trafficked. In these situations, people belong to everyone but themselves. They have no freedom, and running away can cause more problems than it solves. The novel also shows what Christians can do to help. Although no one can completely solve the situation, the tiniest piece of aid they can provide is a step in the right direction.

It is slightly disappointing that we do not find out what happened to Samir once he was separated from his sister. Jasmina’s first-person narrative makes it clear that what she wants most is to be reunited with her family. In a way, although there is a positive ending, not finding her brother makes it clear that there cannot always be happy endings. It is not possible to save everyone.

Written from a young teenager’s point of view makes this book suitable for readers aged twelve and older. Christians will appreciate the biblical references, yet there is not too much religious jargon for non-believers or those of other religions to get offended.

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The Hymns of William Williams

“Arglwydd, arwain trwy’r anialwch,” wrote the Welsh premier hymnist William Williams (also known as Pantycelyn), which would eventually be known as Guide Me, O Thou Great Jehovah. Recorded as one of the greatest literary figures of Wales, Williams was among the leaders of the Welsh Methodist revival in the 18th century.

William Williams was born on 11th February 1717 in the Welsh parish of Llanfair-ar-y-bryn to John and Dorothy Williams. The nickname Pantycelyn, which means “Holly Hollow”, comes from the name of the farmhouse where Williams died aged 73. Not much is known about Williams’ childhood other than he was brought up in a nonconformist household and attended a nonconformist college. He originally intended to study medicine but changed his mind after listening to the evangelical Methodist revivalist Howell Harris (1714-73). Following this, he felt called to the priesthood and abandoned his nonconformist upbringing to take orders in the Anglican Church.

Williams’ first position was as curate to Theophilus Evans (1693-1767) in the mid-Wales parish of Llanwrtyd. Whilst there, he became involved with the Methodist movement, which upset his parishioners, who reported him to the Archdeacon. At the time, Methodism was not a church denomination but a faction, which many saw as a threat to the Anglican Church. Due to the complaints, Williams’ application to be ordained as a priest was refused.

Since he could not be an Anglican priest, Williams opted to serve as a Methodist preacher instead. Williams began to travel throughout Wales to preach the doctrine of Calvinistic Methodism. Since his pay was poor, he supplemented his income by selling tea. As there were no Methodist churches, Williams preached his sermons in seiadau (fellowship meetings), which he organised as he went from place to place. Although there were several Methodist revivalists, Williams mostly worked alone, which was a considerable physical and mental burden, yet it was rewarding to see his community of converted Methodists grow.

As well as being a leader of the Methodist Revival, Williams was a celebrated hymn writer. He became known as “Y pêr ganiedydd” (The Sweet Songster), which echoes the description of King David in 2 Samuel 23:1: “the sweet psalmist of Israel”. Williams’ hymns were deeply rooted in his personal faith and experiences. He wrote about the love of God, the sacrifice of Jesus Christ, and the hope of salvation. His hymns often reflected the struggles and joys of the Christian journey, resonating with believers who sought solace and guidance in their spiritual walk.

The majority of Williams’ hymns were written in Welsh apart from Hosannah to the Son of David , Gloria in Excelsis and O’er the Gloomy Hills of Darkness. The latter calls believers to share the message of salvation with those who have not yet heard it. It emphasises the importance of spreading the Gospel and bringing light to a world in darkness.

Williams’ most famous hymn is arguably the English translation of “Lord, lead thou through the wilderness”, which has been adapted into Guide Me, O Thou Great Jehovah/Redeemer. Cwm Rhondda, as it is sometimes known in Welsh, is based on Isaiah 58:11: “The Lord will guide you always; he will satisfy your needs in a sun-scorched land and will strengthen your frame. You will be like a well-watered garden, like a spring whose waters never fail.” The hymn, which was translated into English by Peter Williams (1722-96), describes the journey through the wilderness of God’s people after they escaped from slavery in Egypt. They were guided by a cloud by day and fire by night, eventually arriving in the land of Canaan after forty long years. God kept his people alive during the journey by supplying them with daily manna. 

Some people interpret Guide Me, O Thou Great Jehovah as a Christian’s journey through life. By following Christ’s guidance, the Christian eventually reaches the gates of Heaven. The lyrics “verge of Jordan” can be understood as the gates and “death of death and hell’s destruction” as the end of time. As a result, the hymn is often sung at funerals, for instance, the funerals of Princess Diana (1961-97)and the Queen Mother (1900-2002). On the other hand, it was also sung at the royal weddings of Prince William (b.1982) and Catherine Middleton (b.1982) and Prince Harry (b.1984) and Meghan Markle (b.1981).

Non-Christians may be familiar with Guide Me, O Thou Great Jehovah from attending Rugby Union matches. Known as the “Welsh Rugby Hymn”, it is often sung by supporters of the Welsh team. Alternatively, the tune may be familiar to football fans, although, as of 2016, the lyrics have been changed to “You’re Not Singing Any More” and sung at the losing opposition!

Williams’ hymns were not only spiritually rich but also culturally significant. He wrote in the Welsh language, which was a deliberate choice to preserve and promote the Welsh culture and identity. In addition to his hymns, Williams also wrote poetry and prose, leaving behind a significant body of work. His contributions to Welsh literature and religious music have earned him a place of honour in Welsh history and culture.

The hymns of William Williams are a testament to the power of music and poetry to inspire and uplift the human spirit. They continue to touch the hearts of believers, reminding them of the love and grace of God. 

(A shorter version of this post was written in 2020 for Gants Hill URC)

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Shanklin Chine

Located on the Isle of Wight in England, Shanklin Chine is a natural wonder that has captivated visitors for centuries. Shanklin Chine is believed to be one of the oldest tourist attractions on the Isle of Wight, with records dating back to the early 1800s. As visitors enter, they are immediately transported into a world of natural beauty. Towering cliffs covered in vegetation surround the narrow pathways that gradually wind down from the top of a waterfall to sea level.

The name chine is derived from the Old English word cynn, meaning a deep, narrow ravine or gorge formed by water cutting through soft sandstone. The word is now only used on the Isle of Wight and Dorset. It took over 10,000 years for Shanklin Chine to form. Of the 21 Chines on the island, Shanklin remains the largest accessible Chine.

Before Shanklin Chine opened to the public, Shanklin was merely a small agricultural and fishing community. The Chine was part of the Manor of Shanklin, which had belonged to the Popham family since 1705. The family opened the land to the public in 1817, yet it was not until the latter stages of the century that Francis White-Popham helped develop Shanklin into a thriving seaside resort.

When Shanklin Chine opened as a public attraction, William Colenutt cut a pathway and steps from the top of the waterfall to the shore for visitors to navigate. Before then, the Chine could only be navigated by horseback. In 1813, the author Jane Austen (1775-1817) declared the Chine “lovely” and wrote in her journal about going on a drive through the Chine. Since her visit predates the excavation of a path, Austen’s experience of Shanklin Chine greatly differed from visitors today.

Other writers and painters from the 19th century felt inspired by Shanklin Chine’s natural beauty. It features in paintings by J. M. W. Turner (1775-1851), Thomas Rowlandson (1756-1827), William Daniell (1769-1837) and William Westall (1781-1850). The poet John Keats (1795-1821) also took inspiration from the Chine whilst staying in Shanklin in 1819.

Shanklin grew in popularity after Queen Victoria (1819-1901) and Prince Albert (1819-61) arrived on the island. Although they spent most of their time at Osborne House, they visited the Chine to experience the waters. Shanklin Chine retains one of its Victorian brine baths, which drew many people to the attraction. The marble basin dates to c1845 and was originally situated in a cottage belonging to the Manor of Shanklin. Bathers used water piped in from the sea, which they heated in copper tanks over a fire. Brine baths were believed to have health-giving properties but went out of fashion when it became acceptable in society to bathe directly in the sea.

Tourists continued to visit Shanklin and the Chine as seaside holidays became popular at the turn of the 20th century. Unfortunately, the Chine closed to the public during the Second World War, when it became a training ground for the 40 Royal Marine Commando. Using the Upper Chine School as their headquarters, the Marines used the Chine as an assault course, which helped them prepare for Operation Jubilee or the Dieppe Raid in 1942.

Shanklin Chine also played an important part in winning the war. Lord Louis Mountbatten (1900-79), who later became governor of the Isle of Wight, devised a method of secretly transporting petrol from England to France to assist the Allies with the 1944 invasion of Normandy. Known as PLUTO, which stands for Pipe Line Under The Ocean, the British piped 56,000 gallons of petrol a day through 65 miles of pipe to Cherbourg from the Isle of Wight. Although the pumping station was situated in Sandown along the coast from Shanklin, the pipe ran directly through the Chine. Today, 65 yards of the pipe remain in Shanklin Chine as a reminder of the success of Operation Pluto.

Unavoidably, Shanklin Chine suffered significant damage as a result of the war. After a great deal of expense and effort from Francis Cameron Macpherson of Cluny (1901-66), the owner of the Manor of Shanklin, the Chine regained its natural beauty and reopened to the public in 1946. Since then, the family has remained dedicated to maintaining and improving the land.

Situated in Shanklin Chine is one of the oldest houses in the town. Known as the Chine Lodge, it was a popular destination for newlyweds and briefly served as a school for the children of local fishermen. Today, the Victorian building contains a heritage centre, which provides visitors with the geography and history of the Chine and the development of Shanklin as a seaside resort. The lodge also provides refreshments in the Victorian Tea Garden.

Entering the Chine at the top of the cliff, visitors come face-to-face with a 45 ft waterfall, which cuts through 10,000 years worth of Lower Greensand Cretaceous sandstones. The reddish hue of the cliff face evidences the high iron content in the water, which gushes down into a stream at the bottom of the waterfall. Another waterfall then transports the water over a 29 ft drop, which, although smaller, is equally impressive.

The Chine is home to around 150 varieties of plants, including ferns, grasses, wild garlic and fuchsias. Japanese Knotweed is also abundant, but persistent pruning prevents the invasive species from choking all the other plants. New shrubs are frequently added so that something is flowering during every season. The replanting programme also includes trees, particularly wych elm, sycamore, alder, elder and beech. Many trees have been lost to landslides or falling rocks.

Several species of birds are recorded at Shanklin Chine, including green woodpeckers. Herons also visit in the hopes of finding fish in the water. Fortunately, the fish ponds, which contain goldfish and golden orfe, are protected by netting.

Depending on the time of year, many insects make Shanklin Chine their home. Holes in the cliff face are the remains of wasp nests built by thousands of wasps over the years. Bees enjoy collecting pollen in the summer, as do various butterflies throughout the year.

A few lucky visitors may spot a red squirrel amongst the trees. The Chine is a safe space for the squirrels to breed. Separated from the mainland by the Solent, the Isle of Wight provides a natural habitat for around 3,000 red squirrels. Since the introduction of grey squirrels to Britain, the population of red squirrels has dwindled dramatically. Fortunately, the island is free from grey squirrels, which allows the red squirrels to thrive.

Millions of years ago, dinosaurs inhabited the British Isles, including the Vectaerovenator inopinatus, which means “Isle of Wight air-filled hunter”. The dinosaur’s bones were first discovered nearby in 2019 by Robin Ward, a fossil hunter who was holidaying on the island. Analysis of the bones suggests the dinosaur lived around 115 million years ago during the Cretaceous period. The dinosaur, which was not fully grown when it met its demise, spanned approximately 13 feet.

For 2023, Shanklin Chine has hidden a handful of dinosaur statues and eggs for visitors to discover. Amongst the dinosaurs are Jock the Tyrannosaurs rex, one of the largest known dinosaurs, and Adrian the baby Apatosaurus. An Apatosaurus is also called a Brontosaurus due to confusion back in 1877 when Othniel Charles Marsh (1831-99) mistook a giant Apatosaurus skeleton for a new type of dinosaur.

For many visitors, the best time to visit Shanklin Chine is an hour before closing. After dusk, 200 lights transform the Chine into a magical, enchanting location. The multicoloured illuminations change the waterfalls into a rainbow of different colours. When the 5.5 miles of cables were originally laid, the intention was to create the impression of a cathedral roof. Unfortunately, landslides caused parts of the cliffs to collapse, changing the landscape of the Chine. Nevertheless, the effects of the illuminations are still impressive.

Shanklin Chine is open between 30th March and 31st October, although may close without notice due to bad weather or health and safety reasons. The evening illuminations are switched on “at dusk” approximately an hour before closing. The Chine closes at 9 pm, except in August when it stays open until 10 pm.

The entrance ticket allows visitors unlimited free returns within seven days, making it perfect for families holidaying in the area. Tickets cost £9.50 for adults, £7.50 for children between 5 and 15, and £8.50 for people over the age of 60. For more information about visiting, see the Shanklin Chine website.

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The Pioneer of Abstract Art

Tate Modern is currently exploring the works of two groundbreaking artists, Piet Mondrian (1872-1944) and Hilma af Klint (1862-1944). The exhibition, subtitled Forms of Life, which runs until 3rd September 2023, displays the works of two artists who never met yet inspired each other. Mondrian is the better-known of the two artists. Even those who do not know his name will recognise his iconic abstract paintings of blue, yellow and red rectangles. The works of the lesser-known Swedish painter af Klint will be a brand-new experience for many since the art world is only recently uncovering the forgotten female artists of the past.

Hilma af Klint and Piet Mondrian were two of the first abstract artists of the Western world. Af Klint’s paintings differed slightly from other artists of this genre because she used complex spiritual ideas as inspiration for her work. Af Klint was both an artist and a mystic who followed Theosophy and aimed to make contact with the “Masters of the Ancient Wisdom”, also known as mahatmas and the Elder Brothers of the Human Race.

Born on 26th October 1862, af Klint was the fourth child of Captain Victor af Klint, a naval officer, and Mathilda née Sonntag. The summers the family spent at their manor Hanmora on the island of Adelsö inspired af Klint’s love of art and spirituality. Initially, her father tried to instil a passion for mathematics and botany, but after the family moved to Stockholm, af Klint enrolled at the University of Arts, Crafts and Design to study portraiture and landscape painting.

At age 20, af Klint joined the Royal Academy of Fine Arts and continued to study portraiture and landscape painting until 1887 when she graduated with honours. After setting up her studio in Stockholm, af Klint’s reputation grew, and she produced numerous landscapes, botanical drawings and portraits throughout her career. Yet, Tate Modern focuses more on the work Klint created behind closed doors, which differs greatly from her commercial artwork.

Af Klint’s fascination with the spiritual dimension began in 1880 following the death of her younger sister Hermina. She became interested in the Theosophy of Madame Blavatsky and the philosophy of Christian Rosencreutz. The latter was a potentially fictional Christian pilgrim who travelled to the Holy Land, where he developed ideas that bordered on the occult. Rudolf Steiner, the founder of the Anthroposophical Society who had a particular interest in Rosencreutz, visited Stockholm in 1908 and introduced af Klint to some of his theories. These, in turn, inspired af Klint’s art.

Modernist artists at the turn of the century searched for new art forms through which they could depict spiritual beliefs, politics and new scientific systems. Many of these artists, including Piet Mondrian, took inspiration from the Theosophical Movement. Members described themselves as “an unsectarian body of seekers after Truth, who endeavour to promote Brotherhood and strive to serve humanity.” Af Klint used theosophical beliefs as inspiration for abstract art, but she felt the world was not ready for such a groundbreaking genre and kept her work secret.

While studying at the Royal Academy of Fine Arts, af Klint met the Swedish artist Anna Cassel (1860-1937), who introduced her to three spiritualist women, Cornelia Cederberg (1854-1933), Sigrid Hedman (1855-1922) and Mathilda Nilsson (1844-1923). As a group, they joined the Edelweiss Society, which embraced the teachings of Blavatsky. In 1896, the five women formed an independent group, Dem Fem (The Five), which focused on the paranormal.

At the beginning of each meeting, Dem Fem began with a prayer, meditation, a Christian sermon and a reading from the New Testament. They followed this with a séance, the results of which they recorded in a book. It appeared they were contacting or trying to contact higher spirits or High Masters. These sessions inspired af Klint’s artwork, leading her to experiment with geometric forms to capture the unknown spiritual forces in the world.

“The pictures were painted directly through me, without any preliminary drawings, and with great force. I had no idea what the paintings were supposed to depict; nevertheless, I worked swiftly and surely, without changing a single brush stroke.” – Hilma af Klint

Af Klint began her first series of abstract paintings in 1906. The series totalled 193 artworks in all, which af Klint divided into sub-groups. Ten large canvases, aptly named The Ten Largest, demonstrate the different phases of life from birth to death. When Rudolf Steiner saw the series in 1908, he was unimpressed, stating that painting was inappropriate for a theosophist and that Blavatsky had claimed using any form of a medium was faulty practice, leading to black magic and the occult. Steiner seemed to disregard the outlines for visual artists written by Annie Besant and C.W. Leadbeater, who took over from Blavatsky following her death in 1891:

The forms of thoughts are determined by three principles: 1. Quality of thought determines colour. 2. Nature of thought determines form. 3. Definiteness of thought determines clearness of outline.

Naturally, af Klint felt devastated after Steiner rejected her art, but it did not stop her painting. She continued to depict symbolic elements in her work, often representing symmetrical dualities. One series, The Swan, illustrates love and nature. Although they do not resemble a swan, the colours represent various aspects; for instance, the female spirit is blue, and the male is yellow. Pinks and reds stand for physical and spiritual love.

Spirals and circles frequently appeared in af Klint’s work. They usually represent growth, progress or evolution, while other shapes signify ideas or elements of nature. Af Klint dreamt of building a temple in the shape of a spiral where her paintings could be hung in a long, continuous line, demonstrating the human spirit moving towards a higher state.

Although af Klint focused mainly on theosophical, spiritual beliefs, she also incorporated Christian elements into some of her work. Between 1913 and 1915, af Klint produced a series called Tree of Knowledge, which references the Christian narrative of the beginning of the world. The watercolour paintings look like detailed diagrams that break down a three-dimensional planet into two-dimensional planes.

The Tree of Knowledge appears in many cultures and religions, although in different contexts. In some traditions, the tree connects every part of the universe. In Norse mythology, for example, Yggdrasil is a tree at the centre of the cosmos, connecting the heavens with Earth.

Af Klint used a variety of shapes, including botanical-like images, which implies she took influence from the Art Nouveau movement that was prevalent at the time. Her later works lost these details and became simplified geometric compositions.

Although spiritual life drove much of af Klint’s abstract art, she also remained connected to physical life. In the early 1800s, the English physicist John Dalton (1766-1844) introduced the concept of atomic theory, which maintained that all matter is composed of particles called atoms. Over the following century, scientists gained a deeper understanding of atoms, which intrigued af Klint and influenced her paintings.

In 1920, af Klint combined Theosophy with atomic theory to produce a series of black-and-white circles. From a scientific perspective, the paintings resemble diagrams of atoms, but af Klint was also exploring the nature of different world religions. The exact meanings of af Klint’s black and white shades are unknown but may relate to the Chinese philosophy of Yin and Yang, in which Yin is negative, dark, and feminine, and Yang is positive, bright, and masculine. In theory, the interaction of Yin and Yang maintains the harmony of the universe and influences everything within it. Each of the religions portrayed by af Klint has a different combination of black and white, suggesting all religions are made up of the same basic concepts but are utilised differently.

During her career, af Klint filled over 150 notebooks of thoughts and studies. Whilst some of her notes and sketches inspired artwork, her books show how af Klint processed the information she learnt about the world. Since childhood, af Klint held an interest in botany and particularly enjoyed studying Carl Linnaeus’ Systema Naturae, which formalised the naming of living organisms. Af Klint also took inspiration from the illustrations of plants produced by European colonisers. Some of her earlier works incorporated the organic curves and sinuous lines of these drawings, which also inspired Art Nouveau.

In one notebook, af Klint produced an index of flowers, mosses and lichens. Rather than draw accurate diagrams, af Klint used a mix of text and illustration to connect the natural world to her spiritual system. She used symbols, circles and colours to demonstrate the connection between organic entities with character traits and emotions. The plants she included were indigenous to Sweden, including dog rose and water iris.

Despite Rudolf Steiner’s earlier rejection of af Klint’s work, Steiner kept some photographs of af Klint’s work, which he allegedly showed Wassily Kandinsky (1866-1944), inspiring the Russian artist to embrace abstract art. Later in af Klint’s career, Steiner gave her advice about her artwork, encouraging af Klint to develop a “wet on wet” technique. This method allowed watercolour paint to bleed together, thus representing Steiner’s belief that plants participate in a spirit that permeates all of nature.

Although af Klint never officially exhibited her abstract paintings, new evidence suggests she attempted to display them at The Anthroposophical Society. Whilst this was unsuccessful, her work was featured at the 1928 World Conference on Spiritual Science in London. Other than this, only close friends viewed her artwork until the 1960s.

On 21st October 1944, five days before her 82nd birthday, Hilma af Klint died in a traffic accident in Djursholm, Sweden. She bequeathed her collection of over 1,200 paintings and 150 notebooks to her nephew, Vice Admiral Erik af Klint (1901-81), with the instructions that they should be kept secret for at least 20 years after her death. Af Klint’s latest known artwork was allegedly painted in 1932. Ominously, it portrays a map of Europe blowing flames toward England. It has since been titled The Blitz and has been used to cement claims that af Klint was clairvoyant and able to converse with the spirit world to predict events of the Second World War. Or, perhaps, the painting was misdated.

As per her dying wishes, af Klint’s art remained locked away until the 1960s. Her nephew offered the paintings as a gift to the Moderna Museet in Stockholm, but they declined. Unable to get rid of the artwork, most likely because no one knew of Hilma af Klint, Erik af Klint established the Hilma af Klint Foundation. With the help of art historian Åke Fant (1943-97), af Klint’s work was presented at a Nordik conference in Helsinki in 1984. Gradually, the art world learnt her name, and Hilma af Klint became one of Sweden’s most esteemed artists. Finally, in 2018, the Moderna Museet agreed to display af Klint’s paintings in a specially-built gallery, where they remain today.

To view some of Hilma af Klint’s paintings and notebooks in conjunction with Piet Mondrian before they return to Sweden, visit the Forms of Life exhibition at Tate Modern. Tickets are available until 3rd September 2023 and cost £20. Some concessions are available.

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