5 Book Reviews

Broken Realms
Author: D. W. Moneypenny
Published: 28th April 2014
ISBN13: 9780996076418
Goodreads Rating: 3.67 out of 5
Reviewed: August 2014

Broken Realms is a brilliant science fiction novel and the first instalment of The Chronicles of Mara Lantern by D. W. Moneypenny. Set in present-day Oregon, it deals with metaphysical ideas and bizarre creatures – a very intriguing read.

Mara Lantern is a young adult who has left school to work in a gadget repair shop, where her natural talent for restoring machinery is put to good use. At the commencement of the book, she is being driven to the airport by her New Age-obsessed mother in order to fly out to San Francisco to visit her father. Once the plane is airborne, it is clear there is something terribly wrong. Bright blue light flashes throughout the aircraft and the passengers around Mara appear to be distorting: growing fangs and snouts and changing eye colour. What is even stranger is a redheaded boy is running down the aisle, closely pursued by a clone of Mara.

In an attempt at an emergency landing, the plane crashes into the Columbia River – a crash impossible to survive – but everyone does. All the passengers and crew are pulled out of the river unharmed, all except Mara, who is found unconscious on the pavement with a head wound.

Detective Daniel Bohannon is assigned to the case to investigate the cause of the crash, but when some of the survivors start displaying super-human or animalistic traits, it becomes clear this is no ordinary situation.

Whilst the investigation continues, Mara begins to deal with what she saw on the plane. With the help of a fellow survivor, Ping, and the redheaded boy, Sam (who claims he is her brother), she begins to learn that her world, her life and human existence, in general, is not all she believed it to be.

Although Broken Realms is accurately described as a science fiction and fantasy novel, there were times, particularly during the police investigations, when it also felt a little like a crime thriller. There is nothing particularly bad about that, but to begin with, it was as though two different genres were competing with each other depending on which character’s point of view was being read.

What helped to make this book so great were the excellent writing skills of D. W. Moneypenny. It was written so clearly that vivid images came to mind whilst reading. The pace of the narrative was quick, and at no point did it stop being exciting.

Another good thing (admittedly others may not see it as such) was that there were no romantic attachments between the characters to detract from the main storyline. This meant the novel was completely focused on the plot without unnecessary interruptions.

Broken Realms is a highly recommended book for science fiction and fantasy lovers. It leaves the reader wanting to know what is going to happen next. So now the wait for the next book in The Chronicles of Mara Lantern begins.

The 100
Author: Kass Morgan
Published: 3rd September 2013
ISBN13: 9780316234511
Goodreads Rating: 3.57 out of 5
Reviewed: August 2014

The recently televised novel The 100 by Kass Morgan is the first in a unique dystopian series set centuries into the future. Cataclysmic nuclear and biological wars rendered Earth uninhabitable, forcing humans to create a new life in space on a large ship. Three hundred years later, scientists judge that the harmful radiation that destroyed Earth may have reduced or even completely disappeared, meaning that the planet would finally be safe for humans. To test this theory, the Colony sends one hundred adolescent lawbreakers with the mission to begin to recolonize Earth.

The novel is told from the point of view of four characters: Clarke, Wells, Bellamy and Glass. The first three are on the drop ship to Earth, but Glass escapes at the very last second and remains behind. Although there may be a hundred people on this mission, none of them has any idea what to expect or how to live on a planet. It does not help matters when the drop ship crash lands, leaving them, particularly Clarke, the only one with medical knowledge, in an even more difficult situation than they were anticipating. Meanwhile, back on the ship, Glass discovers that human life may be in as much danger there as it would be on Earth.

Each character has flashbacks to their life on the ship, which gradually reveals the events leading up to them being convicted as criminals and thus sent to their new lives or even possible deaths. Due to this, there was less action set on Earth than there could have been – there was not enough time for a Lord of the Flies situation to arise. Yet, it was fascinating to imagine their reaction to the first time they saw the sunset or felt the rain, being mesmerized by bird songs and enjoying their first-ever piece of meat.

As with most young adult novels, there is the inevitable romance theme consisting of conflicting feelings and love triangles. The overall situation some of the main characters found themselves in was due to actions they committed in the name of love. Sometimes this theme could get a little annoying and hinder the dystopian side of the story, but it would not have been able to function without these elements.

Kass Morgan concludes The 100 at the peak of the climax, leaving us desperately wanting to find out what happens next. This is a highly recommended book for young adult readers who love science fiction.

The Giver
Author: Lois Lowry
Published: 26th April 1993
ISBN13: 9780385732550
Goodreads Rating: 4.13 out of 5
Reviewed: October 2014

It has been over twenty years since Lois Lowry’s controversial children’s story The Giver was published, and it certainly deserves its status as an essential modern classic. Jonas has grown up in the perfect world of the Community whose survival relies on strict rules and rituals. Adults are assigned spouses and children (one boy and one girl) as they take up their roles within society. At the beginning of the book, Jonas is approaching the end of his eleventh year and feeling apprehensive about the Ceremony of Twelve, where he will be assigned a job for him to do for the rest of his adult life. Jonas gets selected as the Receiver of Memory – a very rare position – and begins to experience memories from humans who lived a long time ago. For Jonas, this is exciting until he begins to see the flaws in his perfect world.

Dystopian literature has become popular over the past few years, and it would not be surprising if it were The Giver that inspired these contemporary works. Lowry claims that she did not intend for The Giver to have a sinister feel about it; she was writing an adventure story and exploring the concept of the importance of memory, but it turned out to be much more thought-provoking. As the children’s novelist Margaret Mahy (The Haunting) pointed out, up until the publication of this novel in 1993, Lowry was best known for her funny stories about Anastasia Krupnik, resulting in The Giver being even more shocking and unexpected.

The Giver highlights that attempting to produce perfection can often result in the loss of good things as well as the bad. The notion of the ideal world may seem like a wonderful proposal, but in order to achieve it humans would have to do away with free choice. In ironing out the inequalities and injustices of the present world, everything becomes the same for each individual.

It is a difficult concept to grasp, particularly for a child. Although intended as a children’s series, The Giver and its following instalments are more suitable for young adults and older. The only issue with this is that the writing style was targeted at a younger audience meaning that the story is short and lacks depth. If written for older readers, there would have been the scope for it to become a much lengthier novel.

There are a lot of mixed reviews surrounding this book, although they have changed greatly since the original publication. To begin with, The Giver was banned in some areas, but the dystopian theme has become accepted in today’s society. What many people comment on now is the oversimplification of such strong ideas. Then again, as already mentioned, it needs to be emphasized that this book was aimed at children, thus the language reflects the reading skills of its target audience.

The Giver is a gem of a book that is not only enjoyable, but also educates the reader on the dangers of attempting a utopian society and why it is important to retain human memories – even the bad – in order that wisdom can exist. Those who have become fans of contemporary dystopian novels, for example, Divergent by Veronica Roth or Delirium by Lauren Oliver, will love this series.

Our Zoo
Author: June Mottershead
Published: 9th October 2014
ISBN13: 9781472226358
Goodreads Rating: 4.15 out of 5
Reviewed: October 2014

Many people in Britain may have recently watched the drama series Our Zoo on BBC1 about the Mottershead family who moved to Oakfield, Upton, in 1930 with the aim of building a zoo without bars. Based on a true story, the drama over exaggerated the difficulties the family faced in developing what became the famous Chester Zoo. Until 2010 when TV producer Adam Kemp approached her, June Mottershead had never thought about making her history available to the public. The truth had to be bent slightly for the television production with the removal of certain characters, added romance, and laws prevented chimpanzees from being filmed. So, June Mottershead has penned the true story, also called Our Zoo, which is just as fascinating as the scenes shown on screen.

June was only four when she moved to Upton with her parents, grandparents, her fourteen-year-old sister Muriel, and a selection of animals. The BBC1 drama only focused on her father, George, seeking permission to build his zoo despite the petition against it. In the book, this occurs within the first few chapters, then continues until June’s marriage to her husband Fred Williams in 1949. The period of the narrative also jumps around depending on the animals or events that June is describing.

A large chunk of the book focuses on the effect the Second World War had on the zoo. As can be expected, the rationing of vital products took its toll on the animals’ diets, and although the zoo never took a direct hit, the Liverpool blitz caused havoc by destroying the glass tanks in the aquarium. On the other hand, the number of animals rapidly grew, as it was not just humans that became refugees during the war.

It was a delight to read about June’s relationships with some of the animals, particularly Mary the chimpanzee, who was also June’s best friend as a child and behaved in a human-like manner. As well as the happy moments, there were the inevitable upsetting accounts of the deaths of some of the animals, either from old age, illness or accidents.

While Our Zoo cannot be described as a novel, it neither has the feel of an autobiography. The conversational tone of the writing made it a pleasure to read and easy to visualize the scenes. This easy-to-read book is a strong recommendation for those who enjoyed the BBC adaptation and wish to find out what happened next. It does not matter if you have not watched the drama, as it is still a fascinating story to read.

The Outcasts
Author: John Flanagan
Published: 1st March 2012
ISBN13: 9780440869924
Goodreads Rating: 4.38 out of 5
Reviewed: October 2014

The Outcasts is the first book in the Brotherband Chronicles about teenage Hal and his small team of misfit friends. Set in times when to be a warrior and be part of a crew on a wooden ship were some of the highest honours, all boys, when approaching the age of sixteen, have to endure months of exhausting training. The popular boys form Brotherbands containing the candidates with the most potential, leaving Hal and seven other social outcasts to form another group: the Herons. Despite their severe disadvantage, Hal must encourage the Herons to use their brains to outwit the strength of the other Brotherbands and defeat them at the challenges the instructors set and become the ultimate winners.

Hal is an instantly likeable character. He is talented, intelligent, kind and thoughtful, and makes an excellent and inspiring team leader. Although this book is set in a fictional historical period, there are many things that a young reader can relate to, for example, bullying and racial discrimination.

As well as the Brotherband training, there are a lot of ship and sailing references, which may appeal to male readers of a certain age. The author, John Flanagan, realises that many people today would not be familiar with the ins and outs of sailing and has included a glossary explaining numerous nautical terms used during the novel. These are defined in an easy-to-understand way, as the target audience is those aged ten and upwards.

There is a limited number of female characters, suggesting that these chronicles are written with male teenage readers in mind. Despite this, it is still an enjoyable, exciting book regardless of your gender. The character developments are excellent, and the Herons are an admirable team.

Initially, it took a while to get into the story. The reader does not meet Hal until part two of four because it begins twelve years before the main timeline. Throughout this section, the only characters are adults, to which the target audience is less likely to relate. For this reason, and due to some of the violence, I would recommend this book for ages thirteen and older rather than the “10+” suggested on the back cover.

Overall, Brotherband: The Outcasts is a brilliant book, and it was refreshing for a young adult novel not to revolve around a romantic relationship. The next book in the series promises to be as exciting as the first.


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An American Colourist

Until 16th October 2022, the Royal Academy of Arts is exhibiting the works of Milton Avery, one of North America’s greatest 20th-century colourists. Milton Avery: American Colourist is the first ever exhibition of Avery’s artwork on this side of the Atlantic Ocean. Falling between Impressionism and Abstract Expressionism, Avery’s work is full of carefully balanced colour, which became more harmonious and simplified as his career progressed.

Milton Clark Avery was born on 27th March 1885 in Altmar, New York to Esther March (d. 1926) and Russell Avery (d. 1905). His father was a tanner, and the family moved around a bit until they settled near Hartford, Connecticut. Avery attended school until age 16, after which he started working at the Hartford Machine and Screw Company. Four years later, Avery enrolled in an evening class at the Connecticut League of Art Students to learn “commercial lettering”. He hoped this would improve his job prospects, but part way into the course, he transferred to drawing classes and dedicated the rest of his life to art.

Avery’s early works, dating between 1910 and 1918, reveal the influence of American Impressionist painters, who produced impasto paintings of landscapes. Gradually, Avery began using thinner paint, making his paintings flatter and less natural. He also started using arbitrary colours, often creating a distorted reality. As he moved away from Impressionism, Avery stopped painting from life, preferring to make quick sketches on-site and return to his studio to recreate them in oil paint.

From 1920, Avery started spending his summers in the art colony of Gloucester in Massachusetts. Despite his aspirations to be an artist, Avery took on other jobs, such as construction work, to pay for his tuition. Avery could finally focus on his painting after meeting the illustrator Sally Michel (1902-2003) at the art colony in 1924. Two years later, Avery and Sally married and moved to a studio complex in New York. While Sally worked as an illustrator for the New York Times, Avery devoted himself to painting and studying the arts.

During the late 1920s, Avery began exhibiting his work, starting with the 11th Annual Exhibition of the Society of Independent Artists in 1927. After attending several shows, the Philips Memorial Gallery purchased Winter Riders, the first of his paintings bought by a museum. The art style shows Avery was beginning to move away from Impressionism, although he still used some techniques, such as layering thick paint to create a sense of texture.

Avery and Sally continued to spend their summers in Gloucester until the birth of their daughter March in 1932. During the summer months, Avery sketched and painted beach scenes, but around the time of his daughter’s birth, he began experimenting with cityscapes too. At this stage of his career, Avery’s paintings still contained a lot of energy, such as Chariot Race (1933). The carnival scene is a stark contrast to Avery’s other landscapes, which have the typical layout of a foreground, middle ground, background and horizon.

After settling in New York with his wife and daughter, Avery became part of the artistic community in the city. He joined the Valentine Gallery and held his first solo exhibition in 1935. The attention he received from this and other small exhibitions helped widen his friendship circle, which included the artists Mark Rothko (1903-70) and Adolph Gottlieb (1903-74). The Averys hosted many friends and acquaintances at their apartment, where they discussed art and read poetry.

Rothko and Gottlieb visited Avery daily, paying great interest in Avery’s work. Known for his prolificness, Avery often completed a painting every day, which inspired his fellow artists. Despite his popularity, Avery did not talk much during gatherings, preferring to sit, listen and sketch the surroundings. Many of the objects he drew ended up in future paintings, as did portraits of the people in the room.

Avery’s early portraits, such as March in Babushka (1940), which depicts his daughter wearing a headscarf, became less detailed than his earlier landscapes. Despite winning a prize for portraiture in 1919, Avery did not produce many portraits in his early years. After the birth of his daughter, he moved away from landscape to focus on portraits of people within cityscapes. This change also signalled a new approach to colour and form, which he simplified and stripped of any layers or sentiment. Yet, in 1947, Avery held his first retrospective exhibition titled My Daughter March, which emphasised his love for his family.

During the 1940s, Avery stopped creating formal portraits but continued to include human figures in his work. Most of these figures lost any distinguishing features, such as the faceless girl in Seated Girl With Dog (1944), whose face is split between light and shadow with two contrasting colours. Avery no longer used the colours of nature, instead experimenting with various hues and tones. By thinning the paint, Avery covered large areas of the canvas with a single colour, focusing on the shape rather than perspective. He used the tone of colour to determine the atmosphere of the scene rather than rely on intricate details.

Avery’s change of style in the 1940s established him as one of America’s leading colourists. In hindsight, he greatly influenced the next generation of artists, who moved on to Abstract Expressionism and other forms of modern art. Avery revealed the possibilities of colour, particularly non-associative or unnatural tones, in scenes of everyday life.

Toward the end of the 1940s, Avery’s health began deteriorating, and doctors advised him to slow down and stay home. Avery did not follow medical advice and suffered a major heart attack in January 1949. After a six-week hospital stay and months of recuperating at home, Avery returned to the art scene with an exhibition at the newly founded Grace Borgenicht Gallery in New York.

In 1952, Avery took his first and only trip to Europe with his family. They visited France and the United Kingdom, documenting his journey through sketches. Many of these drawings made their way into his paintings, such as Excursion on the Thames (1953). Avery sat on the steps of the Tate Gallery (Britain) to make the preliminary drawings for this painting. When speaking about his visit, Avery said, “I was visiting the Tate museum and got tired and went outside for a few minutes and saw this excursion boat and made this small sketch, and when I got back to New York City I painted a big canvas from it.”

With March now a young woman, Avery and his wife felt able to accept invitations to undertake summer residences, such as at the MacDowell Colony in Peterborough, New Hampshire, and Yaddo in Saratoga Springs, New York. In 1957, Avery spent the summer in Provincetown, Massachusetts, where he began creating large-scale paintings. The larger the canvas, the less detail Avery included. Instead, he focused on bold colours to draw people’s attention to the artwork. Yet, Avery still depicted some form of scene rather than a random pattern.

During the winter of 1959, Avery and Sally travelled to Key West, Florida, where the warmer climate was better for Avery’s health. During their stay, Avery completed several simplified beach scenes, such as Boathouse by the Sea (1959). Using only four colours, orange, blue, yellow and black, Avery created a sense of depth and perspective, although some people may need to know the title before the scene becomes clear. The large black portion of the painting represents the roof of the boathouse, presumably viewed from above by the artist. The yellow and blue represent the sea, and the orange is the sky. Either Avery intended to depict the sunset, or he used orange to contrast with the colour of the water.

Other seaside scenes feature less conventional colours, such as the pinks in Sails in Sunset Sea (1960). This painting differs from other works because Avery has included squiggly lines to represent the waves or ripples on the water’s surface. The choice of colour may not be as random as it first appears. Capturing only the two sailing boats rather than a larger scene, Avery has focused on the colours of the setting sun on the water. Whilst it may not be one of his better works, Avery’s thought process is still visible.

Avery suffered a second heart attack in 1960 and spent the following year recovering in New York. Most likely against doctors’ orders, he continued to produce paintings. In 1963, Avery was elected a Fellow of the American Academy of Arts and Sciences, one of the oldest learned societies in the United States. Members are nominated and elected by peers, making it a great honour to be accepted into the Academy.

On 5th March 1964, Avery, now critically unwell, completed his final painting, Hills and Sunset Sky. The following day, Avery went into intensive care at Montefiore Hospital in New York. He remained there for the rest of the year, eventually passing away on 3rd January 1965 at the age of 75. He was buried in the Artist’s cemetery in Woodstock, New York, and his wife donated all his personal papers to the Archives of American Art at the Smithsonian Institution.

“He was, without question, our greatest colourist. … Among his European contemporaries, only Matisse—to whose art he owed much, of course—produced a greater achievement in this respect.” So said the art critic Hilton Kramer (1928-2012) in his 1981 book about Avery. Several artists thought of Avery as an American Matisse due to his colourful compositions, which echoed the works of Henri Matisse (1869-1954). Critics initially disliked Avery’s work, claiming it was too abstract, yet when Abstract Expressionism became popular, they said his work was too representational. Due to these opinions, Avery does not belong to a particular art category. Instead, he bridges the gap between two art movements, Impressionism and Abstract Expressionism.

Avery was not a rule follower, which allowed him to experiment with his art rather than conform to the accepted standards of the early 20th century. Visitors to the Milton Avery: American Colourist will see the progression of Avery’s work from Impressionism to something not quite Abstract Expressionism. Some will prefer his early paintings and not understand why he altered his style, but others will appreciate his use of colour and his ability to express himself in new ways that inspired a new generation of artists.

Milton Avery: American Colourist is open at the Royal Academy until 16th October 2022. Standard tickets cost £15, although concessions are available. To guarantee entry, booking is recommended.


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Black Lives Matter (Part 4)

These articles were initially posted on Gants Hill United Reformed Church’s blog in 2020.

This image has been doing the rounds on social media over the last couple of years. Each named person lived during times when skin colour was more important than intelligence and personality. Whilst racism is nowhere near as bad as it was half a century ago, many people with ethnic backgrounds still face adversity, particularly in the United States. This poster encourages those people to dream, lead, fight, think, build, speak, educate, believe and challenge like the many heroes of the past.

Speak Like Frederick

“I would unite with anybody to do right and with nobody to do wrong.” These are the words of American social reformer, writer, and statesman Frederick Douglass, who escaped slavery in Maryland to become a national leader of the abolitionist movement. Many found it astonishing that such a successful orator was once a slave, proving false the misconception that slaves lacked the intelligence of independent Americans. Douglass believed everyone was equal regardless of their skin tone and heritage. He was also an active supporter of women’s suffrage.

Frederick Augustus Washington Bailey was born on a plantation in Maryland to Harriet Bailey, a woman of African and Native American ancestry. His father was white, possibly European, but Frederick never knew him or knew on which day or year he was born. Historians estimate his year of birth as 1818, and Frederick chose 14th February as the day to celebrate his birth. Separated from his mother at a young age, the infant Frederick lived with his grandparents, Betsy, a slave, and Isaac, a free man.

At the age of six, Frederick’s master transferred him to another plantation, but two years later, he moved again to a household in Baltimore. Despite being the property of Hugh Auld, his master’s wife Sophia ensured Frederick was well fed and clothed. When he was about 12 years old, Sophia taught him to read and write until her husband put an end to their lessons. Yet, Frederick continued to teach himself in secret, often observing the white children in the city. He believed “knowledge is the pathway from slavery to freedom.”

In 1833, Frederick went to work for Edward Covey, a farmer who repeatedly whipped him. Frederick attempted to run away, but his master caught him. In 1837, he met and fell in love with Anna Murray (1813-88), a free black woman who encouraged him to have another attempt at escaping. On 3rd September 1838, Frederick succeeded by sneaking onto a train to Harve de Grace dressed as a sailor. He then made his way to New York to meet up with Anna.

Frederick and Anna married on 15th September 1838, initially adopting the surname Johnson. Inspired by the poem The Lady of the Lake by Walter Scott (1771-1832), Frederick changed their surname to Douglass after the principal characters. They joined the independent African Methodist Episcopal Zion Church, and Frederick became a preacher in 1839. Soon after, at the approximate age of 23, Frederick Douglass gave his first speech about his experiences as a slave at the Massachusetts Anti-Slavery Society’s annual convention.

From then on, Douglass involved himself with many anti-slavery protests and conventions, resulting in physical attacks from slavery supporters. One occasion caused irreparable damage to Douglass’ hand. He exclaimed, “I have no love for America, as such; I have no patriotism. I have no country. What country have I? The Institutions of this Country do not know me—do not recognize me as a man.” Yet, he continued to fight to put an end to slavery. As well as oration, Douglass published many works, including his first autobiography, Narrative of the Life of Frederick Douglass, an American Slave in 1845, My Bondage and My Freedom in 1855, and Life and Times of Frederick Douglass in 1881.

In 1845, Douglass travelled to Ireland and England, where he was amazed at the different treatment he received, not “as a colour, but as a man.” Focusing on the abolition of slavery, Douglass gave many speeches in churches and chapels, drawing large crowds. He met with Thomas Clarkson (1760-1846), who had campaigned for the Slave Trade Act of 1807. Most importantly, while in Britain, Douglass legally became a free man.

With £500 from English supporters, Douglass returned to the USA in 1847 and established his first abolitionist newspaper, the North Star. The paper adopted the motto “Right is of no Sex – Truth is of no Color – God is the Father of us all, and we are all brethren” to attract a diverse readership. Meanwhile, Douglass and his wife helped over four hundred slaves escape on the Underground Railroad network managed by Harriet Tubman.

Douglass was the only African American to attend the first women’s rights meeting in New York. Douglass said he could not accept the right to vote as a black man until women also had the opportunity. “Discussion of the rights of animals would be regarded with far more complacency…than would be a discussion of the rights of women.” Unfortunately, Douglass received criticism when he paid more attention to the campaign to allow black men the right to vote, but he maintained he was never against women’s rights. He feared linking black men’s suffrage with women’s suffrage would result in a failure for both; it was better to focus on one at a time.

During the Civil War, Douglass met with President Abraham Lincoln (1809-65) to discuss the treatment of black soldiers. This meeting led to the declaration of the 13th amendment, outlawing slavery. After the assassination of Lincoln, Douglass met with President Andrew Johnson (1808-75) on the subject of black suffrage. In 1868, the 14th amendment gave blacks equal protection under the law, and in 1870 they finally won the right to vote. 

Due to his achievements, Douglass received several political appointments, including president of the Freedman’s Savings Bank and chargé d’affaires for the Dominican Republic. In 1872, Douglass became the first African American nominated for Vice President of the United States, although he was nominated without his knowledge. The same year, he was the presidential elector at large for New York.

Douglass and Anna had five children during their marriage of 44 years. Their eldest, Rosetta Douglass (1839-1906), was a founding member of the National Association for Colored Women and also helped with her father’s newspaper business, as did Lewis Henry Douglass (1840-1908) and Frederick Douglass Jr. (1842-92). Their youngest son, Charles Remond Douglass (1844-1920), also helped with the papers and was the first African-American man to enlist in the military in New York during the Civil War. Annie Douglass, their youngest child, passed away at the age of ten.

Anna passed away in 1882, and two years later, Douglass remarried suffragist Helen Pitts (1838-1913). This caused controversy and upset Douglass’ children because Helen was twenty years younger than their father. She was also white. Douglass responded to criticism by saying his first marriage was to a woman of his mother’s colour and his second to someone of his father’s colour.

Douglass continued to speak at meetings across the USA and further abroad. In 1888, he became the first African American to receive a vote for President of the United States. President Benjamin Harrison (1833-1901) won the election and made Douglass the consul-general to the Republic of Haiti. 

On 20th February 1895, Douglass attended a meeting with the National Council of Women in Washington, D.C, where he received a standing ovation. That evening after returning home, he suffered a fatal heart attack. Thousands of supporters attended his funeral, and four years later, they erected a statue in his memory. He was the first African American to be memorialised in this way. Frederick Douglass continues to receive such honours today. Statues of Douglass stand in the United States Capitol Visitor Centre, Central Park, and the University of Maryland.

Educate Like W.E.B

W.E.B Du Bois was the leader of the Niagara Movement, a group of African-American activists campaigning for equal rights. Through his campaigns and essays, Du Bois documented the widespread racism in the United States of America. Ultimately, Du Bois wished to put an end to prejudices, and in the process, educated many people about the inaccuracies of American history that painted blacks in a bad light.

Born on 23rd February 1868, in Great Barrington, Massachusetts, to Alfred and Mary Silvina Du Bois, William Edward Burghardt Du Bois grew up in a tiny black population. His father left when Du Bois was only two years old, and his mother raised him alone. Fortunately, Great Barrington had a large European American community that treated Du Bois well, and his school teachers encouraged him to pursue his academic studies at Fisk University, a historically black college in Nashville, Tennessee.

Du Bois experienced little racism until his time at university, where he came face to face with the harshest bigotry. Fortunately, this had little impact on his education, and after Du Bois graduated in 1888, he attended Harvard College, paying his tuition by taking on summer jobs and accepting loans from friends. In 1890, Du Bois graduated with a degree in history. Yet, this was not the end of his education. After another year at Harvard studying sociology, Du Bois received a fellowship from the John F. Slater Fund for the Education of Freedmen to attend the University of Berlin. While in Berlin, Du Bois observed the differences in the treatment of black people. “They did not always pause to regard me as a curiosity, or something sub-human; I was just a man of the somewhat privileged student rank, with whom they were glad to meet and talk over the world.” Racism, he noted, was much worse in the USA. On returning home, Du Bois earned a PhD from Harvard University, the first black person to do so.

Following this extensive education, Du Bois received many job offers, including a teaching job at Wilberforce University, Ohio. After working there for two years, Du Bois married one of his students, Nina Gomer, on 12th May 1896 and moved to Pennsylvania to work as an assistant in sociology. Whilst there, Du Bois worked on the study The Pennsylvania Negro, which noted the treatment blacks received in the area. He rejected Frederick Douglass’ idea of blacks integrating into white communities, believing instead that they needed to embrace their African heritage while contributing to American society. He published the latter in his article Strivings of the Negro People in The Atlantic Monthly

In 1897, Du Bois moved to and accepted a job as a professor of history and economics at Atlanta University. The US government gave Du Bois a grant to research African-American workforce and culture, which he did alongside hosting the annual Atlanta Conference of Negro Problems. In 1900, Du Bois flew to London to attend the First Pan-African Conference, which implored the USA to “acknowledge and protect the rights of people of African descent”. Later that year, Du Bois attended the Paris Exposition, where he organised The Exhibit of American Negroes for which he won a gold medal.

By the early 20th century, Du Bois was a respected spokesperson for his race, second only to Booker T. Washington (1856-1915). Du Bois disagreed with many of Washington’s ideas, which asked blacks to submit to white supremacy in exchange for fundamental education. He expressed his criticism of Washington in The Souls of Black Folk in 1903. Du Bois believed blacks should fight for equal rights and opportunities. 

In 1905, Du Bois met with other civil rights activists in Canada, near Niagara Falls. Together, they established the Niagara Movement, which aimed to reach out to other black people through magazines such as The Horizon: A Journal of the Color Line. Unlike periodicals owned by or sympathetic to Washington, The Niagara Movement encouraged African Americans to stand up for their rights rather than submit to humiliation and degradation.

It was not just the Niagara Movement that changed the minds of the African American population. In 1906, President Roosevelt (1858-1919) dishonourably discharged 167 black soldiers for allegedly committing crimes. Following this, riots broke out in Atlanta, where black men received accusations of assaulting white women. Rioters attacked any man with dark skin, resulting in at least 25 deaths. 

Fuelled by these events and his growing support, Du Bois continued to write about the dangers of white supremacy. He was the first African American invited to present a paper by the American Historical Association. Unfortunately, most white historians ignored his work, and the association did not invite another African American speaker for three decades. 

In 1909, Du Bois joined the National Association for the Advancement of Colored People (NAACP) and accepted the post of Director of Publicity and Research the following year. This entailed editing the NAACP’s magazine The Crisis, which denounced the US government and introduced the principles of the Socialist Party. Du Bois endorsed Democratic candidate Woodrow Wilson (1856-1924) in the 1912 presidential race, extracting from the future president the promise to support black rights.

When the First World War broke out, the NAACP established a camp to train African Americans to serve in the US Army. The government promised 1000 officer positions for blacks, but riots broke out across the country in opposition. Only 600 black officers managed to join the Army. Nonetheless, Du Bois saw this as a success and interviewed many African American soldiers during the first Pan-African Congress. Unfortunately, he discovered many officers served as labourers while the white men went out to fight.

Du Bois was more determined than ever to fight for equal rights. “But, by the God of Heaven, we are cowards and jackasses if, now that the war is over, we do not marshal every ounce of our brain and brawn to fight a sterner, longer, more unbending battle against the forces of hell in our own land.” Race riots continued to take place across the country, resulting in the deaths of hundreds of black people. As well as wishing to end this unnecessary violence, Du Bois wanted to educate black children about their heritage, teaching them that they did not deserve the racist treatment. As a result, Du Bois published the textbook The Brownies’ Book, which was full of black culture and history. 

After working with the NAACP, Du Bois resigned from his post in 1933 and returned to an academic position at Atlanta University. This allowed him to continue his research, documenting how black people were central figures in the American Civil War and Reconstruction. His magnum opus, Black Reconstruction in America, was published in 1935 and is still perceived as “the foundational text of revisionist African American historiography.” 

In 1936, Du Bois embarked on a trip around the world, where he received amicable treatment from people of all races. This was a stark contrast to the treatment of blacks back home. Du Bois admired the growing strength of Imperial Japan and was at first opposed to America joining the Second World War because he thought this would undo Japan’s fight to escape white supremacism. He was also disappointed that blacks only made up 5.8% of the US army.

Du Bois openly discussed his strong views in his books and papers, which eventually got him fired from his position at Atlanta University. Fortunately, scholars intervened, and Du Bois received a lifelong pension and the title of professor emeritus. Other universities offered Du Bois teaching positions, but he turned them down and rejoined the NAACP. Du Bois was one of three members of the NAACP to attend the 1945 conference in San Francisco, which oversaw the establishment of the United Nations.

The NAACP continued to fight for civil rights, submitting several petitions to the UN. Although the NAACP supported socialism, it made it clear the association had no involvement with Communism. Yet, Du Bois showed sympathy towards the Communist Party, resulting in the loss of his passport. He eventually regained his passport in 1958 and travelled the world with his second wife, Shirley Graham Du Bois (1896-1977), who he married in 1951. Nevertheless, when the US upheld the Concentration Camp Law in 1960, requiring all Communists to register with the United States Attorney General, Du Bois joined the Communist Party in protest. At this time, he was 93 years old.

In 1960, Du Bois travelled to Africa to celebrate the creation of the Republic of Ghana and to attend the inauguration of the first African governor of Nigeria. The following year, Du Bois took up residence in Ghana to work on the creation of a new encyclopedia of the African diaspora, the Encyclopedia Africana. By this time, Du Bois’ health was declining, and he passed away on 27th August 1963, not long after the US refused to renew his passport. On hearing of his death, thousands of Americans honoured Du Bois with a minute’s silence. Almost a year later, the US passed the Civil Rights Act of 1964, representing many of the things Du Bois campaigned for during his long life. 


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Can consumer culture be environmentally sustainable?

The following essay was originally written in 2012 as part of the requirements for my second year studying BA Graphic Design.

The first part of this essay will explore and examine the effects of consumerism on current societies where people are indoctrinated into buying what they do not essentially need. (Lawson, 2009) It will also touch on commodities and explain how consumerism has contributed to waste disposal. It will then focus on the concept of sustainability and discuss whether consumer cultures can be environmentally sustainable, and if not, how things can be changed for the better.

Consumerism is not a new idea, it has been in existence since trading of goods began in pre-Roman times and shopping lists have been discovered from as far back as AD 75. In a way, the term consumerism has become connected with everything that people buy, from clothes to holidays, and health care to education. (Lawson, 2009) However, in contemporary culture there is a greater “demand for a wider range of goods” which has resulted in further competition between manufacturers that sell similar products. (Ambrose and Harris, 2009:p44) Consumer culture has made Western societies concerned with “‘having’ rather than ‘being’” (Julier, 2008:p56). Consumption prompts ideological beliefs of how humans should behave or what they should buy, what is good and how people should appear.

Since consumer culture has become a massive part of life for people all over the world, it is now a primary method for both individuals and groups to build their identities. (Julier, 2008) Life, for most people, used to be defined by what employment role they had and how much money they earned, however this definition has now progressed to what people do with the money their work generates. Certain people are now preoccupied with what they buy rather than what they do with their lives. (Lawson, 2009) People are constantly judged by what products they own especially, for example, items of clothing. Clothes in particular, but also other merchandise, indicate status which “also implies the existence of a group for whom a particular commodity has a particular meaning.” (Miles, Anderson and Meethan, 2002:p3) On the other hand, it has currently become the norm for certain people to be the owners of particular commodities which then affect how each individual is identified as many people begin to appear the same. This has affected cultures in general and it could be argued that “if we are all consumers of the same products then we are all the same culturally, no matter where we originate from.” (Corrigan, 1997:p69)

Loss of identity does not just affect individual humans; it can also affect brands especially when there are many brands selling similar items. Brand companies no longer focus on selling their product but rather focus on generating brand awareness so that customers throughout the world can identify with them. (Barber, 2007)

“Since the collapse of Eastern-style communism, consumerism has emerged as a global hegemonic idea.” (Grabriel and Lang, 2006:p97) There has been a revolutionary rise in commoditisation of everything throughout the world especially since brand identity has become so important and competitive, providing more products, more commodities, to grab the attention of the consumers. (Ambrose and Harris, 2009)

Commodities have become fetishisms for many people. Marx described a fetish as “anything which people like to select for adoration” (Jhally, 1990:p53) The intended use of objects has become less important to consumers, it is what these objects now represent that is more significant. Sue Collins quotes Varda Burstyn to demonstrate this in relation to sporting goods: “… it is the idea of the athlete the equipment represents, not the equipment itself that is so passionately emulated and identified with…” (2000) [Online] It is because merchandises are being commoditised that they become more appealing to the average buyers. (Benjamin, 1973)

Commodities have become progressively publicised through various means such as packaging and advertising. (Julier, 2008) Since the twentieth century, advertising has begun to reject the individual consumer and has focused, rather, on a society as a whole, transforming “‘class’ society into ‘mass’ society”. (Corrigan, 1997:p74) In this way, brands have been able to connect particular merchandise with certain groups of people such as feminists or those wishing to live a ‘green’ lifestyle in order that they can target their advertising towards a particular demographic. When advertising certain products the truth, including benefits of the product, is not always presented. People are not always told what the genuine positive impacts an item has neither on people or on the environment. Instead a fairly old method is often employed in which an idea or image, often unrelated, is connected with the merchandise. This may produce a positive subliminal message which then helps sell the product to the public. For example, in 1929 Edward Bernays was hired to create a campaign intended to encourage women to smoke. To do this he focused on the female movement of the period, the suffragettes, using images of women smoking ““torches of freedom” while marching in an Easter Day parade in New York City”. (Holland, n.d.) [Online] The connotation of freedom connected to smoking entered women’s minds on a subconscious level and triggered a rise in female cigarette consumers. “Smoking and freedom was in fact a totally irrational connection but it worked.” (Holland, n.d.) [Online]

Stores are promising various guarantees for their products such as “happiness, every label guarantees high quality.” (Miles, 2010:P98) Advertising not only includes promoting individual products or brands but is effectively a process “drilling into our collective heads” the idea that buying and owning more ‘stuff’ leads to success and happiness. (Hamlett, n.d. a) [Online] Slogans have been a way of subconsciously telling people that they need to buy a particular item or consume a specific brand. Seiko, a brand of watches used the slogan “Seiko. It’s your watch that tells most about who you are”. (Textart, 2012) [Online] Therefore it could be suggested that as well as watches Seiko is selling people an extension of their identity. In this sense, companies are constantly selling people their identities. (Lawson, 2009) Banksy argues that advertisers are effectively telling people that they are inadequate, not good enough, and not sexy enough. He concludes that they are bullying people with the advanced methods of marketing: “They are The Advertisers and they are laughing at you.” (Solomon, 2012) [Online]

Since consumer society has effectively prompted people to buy more things that they do not necessarily need the amount of waste produced is in turn rising. Many commercial items are now built with the intention that they will eventually be disposed of. This can be referred to as built-in obsolescence, “a method of stimulating consumer demand by designing products that wear out or become outmoded after limited use.” (Attwood, 2008:p115) This process has been embraced by a variety of industries since the 1950s. At this time Harley Earl declared that the process of obsolescence should be sped up “In 1934 the average car ownership span was five years; now it is two. When it is one year, we will have a perfect score.” (Whitely, 1993:p16) Obsolescence is what consumers want which is why disposable products are increasing.

There are obvious items such as razors that make it clear that they are to be disposed of regularly however other products which, in the consumers’ eyes, are expected to last, are also disposable in their own way. The average life of electrical products used to be around 10 years, yet now commodities such as computers are only built to last 3 years and people are replacing other electrical items, for instance mobile phones, every year or so which is not always necessary. Before, people used to repair damaged goods and make do with what they had, but these skills are disappearing from modern culture, which effectively in turn causes more waste. (Lawson, 2009)

It is not just about the amount of waste that is produced that has risen but the amount of unused products that are eventually thrown away. An example of this is food waste; people buy unnecessary items on impulse or in response to advertising. Food has become the largest commodity that is thrown away, totalling up to 21% of the total waste produced in Britain alone. (Lawson, 2009) A questionnaire, by Brian Wansink to find out why people buy items they never use, revealed that many people end up with unused items because the intended purpose the product was bought for never occurred. Over 50% of the 412 American homemakers questioned admitted that they end up just throwing away these unwanted items. (CNN, 1999)

Disposal of waste has become increasingly challenging in recent years, partly as a result of the growth of consumer society. However there are a wide range of disposal methods at hand today such as landfill, incineration, composting and recycling, including reducing and reusing waste. Recycling is one of the more environmentally sustainable methods of disposal which involves “collection, separation… processing of wastes into reusable, marketable products.” (Mansvelt, 2011:p454) Despite this, landfill is still the most common method of waste disposal throughout the world as a whole. (Mansvelt, 2011)

People tend to forget or are not aware that it is not just the disposal of the product that can be environmentally harmful but also the production. Just packaging alone can be a massive issue in terms of sustainability. It begins with the manufacturer producing the raw materials, which are then turned into the required material, such as cardboard. The packaging then needs to be passed around to several people to pack and sell to the end user. Finally the product can be recycled. (Computer Arts, 2007b)

The idea of sustainability is a more recent concept. People, in general, are becoming progressively aware of how unsustainable societies have become globally. Developments have been made in technologies without realising just their potential impact for the environment. In the past, individuals and communities were unaware that the world’s resources could run out. “Effectively, what we have done… is to treat the planet simply as an infinite resource at our disposal.” (Fry, 2009:p1)

For many people today, the environmental challenges that consumerism faces is finally clear especially since the world has provided evidence of shortages of resources that consumerist societies need, including “oil, water, land, soil, clean air and minerals.” (Gabriel and Land, 2006:p196)

These challenges, however, have not necessarily hindered the consumerist culture. It is apparent in some instances that companies have utilized this issue as a proposition to increase sales. Some businesses are openly dedicated to making the world a better, sustainable place. On the other hand, for some it is a useful message to make consumers buy. Consumption is “the leading device through which individuals construct their identities.” (Julier, 2008:p57) The ideological belief that everyone should be greener causes masses to buy the products that will make them appear in this way. Now increasing numbers of companies are constantly inundating the public with messages from various advertising campaigns instructing them to “buy our products… and you will end global warming, improve air quality, and save the oceans.” (Greenpeace, 2012) [Online] These companies are not necessarily sincere in these claims; their products will not necessarily end global warming. This process is called Greenwashing, which is a term coined by Greenpeace around 1990.

Greenwashing has been likened to whitewashing through which unpleasant facts are effectively covered up. (EnviroMedia Social Marketing, 2012) The reality is companies have spent time and money on logos, slogans and packaging to make them appear environmentally friendly, whereas they could have been using the same time and money to actually do something to make a difference to the world’s problems. (Greenpeace, 2012)

It has been shown through greenwashing reports compiled by TerraChoice that things are improving with the number of greener products rising between 2009 and 2010 however 95% of “greener” products identified are still committing at least one of the “sins of greenwashing”. (TerraChoice, 2010:p6)

The opinion has been voiced that “green advertising is fragile” (Tuerff and Davis, 2011) [Online] because convincing consumers to buy products based upon exaggerated claims can do more, unintentional harm to the environment. Businesses that are honest and use sustainable tactics will help to improve the world whereas greenwashers will hinder any developments by using money to make themselves look better in order to sell. (Tuerff and Davis, 2011)

“Good design respects planet, profits and people.” (Aiga, 2011) [Online] Designers can be hired to make a company show through designs, such as packaging and advertisements, that they are environmentally sustainable. Designers are open to challenges that are connected to environmental concerns. Sustainability is more relevant to the environment than design itself, however designers can use the opportunity to fulfil the clients wishes whilst causing no, or very little, damage to society. (Aiga, 2011)

Environmental concerns were already in existence back in the 1960s. At the time certain designers and philosophers, such as Victor Papanek and Ivan Illich, expressed the belief that designers ought to combine commercial needs together with environmental requirements. However there is still a concern today that designers are not in powerful enough positions to make a genuine impact, also the potentially higher production costs and prices of sustainable items and products can hinder both designers and consumers when trying to become environmentally sustainable. (Chapman and Gant, 2007)

Design as a profession has become regarded as a feature of consumerism. (Hamlett, n.d. b) However Jonathan Barnbrook suggests that designers need to stop thinking in only commercial ways. To become more sustainable and actually help people, designers need to be aware of exactly what is going on within their own communities and the rest of the world. Barnbrook argues that design is first and foremost about communication. (Penfold, 2008) “Designers have a responsibility to make clients aware of the environmental aspects of what they’re asking for.” (Computer Arts, 2007b) [Online] Designers need to know all about the production and disposal methods commonly used in order to use a minimal amount of resources.

In 2001 designers, in general were unaware of processes and the amount of resources needed especially for packaging of consumer goods. They were also unaware just how significant the impact cycle of packaging has in relation to the environment. Charter and Tischner suggest that a common rule within packaging design should be that the materials used should “be easily recyclable… or should be made out of natural materials that can be disposed of without causing any problems to natural cycles.” (2001:p135)

The problem then arises when selling to the consumer that may involve changing consumption patterns. As previously mentioned, consumer culture is a massive aspect of life for everybody as it has been used as a means of constructing identities. (Julier, 2008) Possible strategies to promote ecodesign are to make sustainable goods more attractive in order to appeal to and interest potential buyers. With packaging there is the opportunity for designers to provide details about sustainability. This can also be achieved through advertisements and education. (Charter and Tischner, 2001)

Being ‘green’ has been used by some as a selling point however this has become a widely used and recognised approach for promoting many brands. (Swift, 2008) This can cause problems, as mentioned previously, with certain companies employing greenwashing methods to convince people their products will change the world whereas, in reality, they will not. (Greenpeace, 2012) Swift (2008) [online] maintains, “green advertising is still searching for its visual language.”

Despite such potential setbacks, the designer Rick Poynor is convinced that designers have the ability to communicate and influence consumer societies through their work. They can “persuade, change behaviour, initiate and spread visual trends” (Poynor, 2012) [Online] in order to inform society about the environmental challenges that everyone is facing and what can be done about it.

In 2007, the British Design Innovation (BDI), who represent Industrial designers, conducted a survey that concluded that as little as 13% of design businesses had a sustainability policy. (Computer Arts, 2007a) One example of a design business that does have such a policy is Viola Eco-Graphic Design, based in Australia. They make the claim that they are “devoted to best practices in ecologically sustainable design” (Sherin, 2008:p115) Viola designers do not just concentrate on creating appealing designs for consumers, they also focus on what materials they will use including printers. By choosing sustainable technologies they effectively respect the environment thus when the product cycle reaches consumers they are also helping them to become environmentally sustainable.

Anna Carlile, the founder of Viola, believes that there is now a great opportunity for graphic design to impact on the current consumer society by working alongside recognised brands and companies that have made the environment their key concern. Carlile believes that “in the very near future sustainable thinking and a working knowledge of responsible production will be an absolute must for designers.” (Sherin, 2008:p116)

To conclude, it can be seen that societies have tried to become more environmentally sustainable. Companies have begun to adopt more ecological tactics and consumers have become more aware of the effects of waste disposal on the planet. However there are still problems such as greenwashing that mislead people in their attempts to be ‘green’. Although there is evidence of this improving the problem has still not been eradicated. Therefore in a consumer culture it is impossible to be entirely environmentally sustainable. There will always be the consumer demand for new products to replace the old; consequently the issue of waste disposal will never be solved. Sustainable items have become commodities themselves as they have become attractive to current consumers who want to be identified as eco-friendly. So unless consumers stop buying what they do not need and adopt a fully environmentally sustainable lifestyle, it is not possible for a consumer culture to do so. In spite of this improvements can be seen and there are individual companies such as Viola Eco-Graphic Design who are doing what they can for the natural world, nevertheless it will take entire communities to start behaving in the same way for any significant difference to be made. Therefore, to conclude, consumers have the potential to become environmentally sustainable, but currently consumer culture is not.

References:

Aiga (2011) Good Design Respects The Environment [online] Available from: http://www.aiga.org/landing.aspx?pageid=10592&id=52 [Accessed on: 26th February 2012]

Ambrose, G and Harris, P. (2009) The Fundamentals of Graphic Design, AVA Publishing SA, Switzerland

Attwood, J. (2008) Edexcel A Level Design and technology: Product Design, Pearson Education Ltd, Essex

Barber, B. (2007) Consumed: How Markets Corrupt Children, Infantilize Adults, and Swallow Citizens Whole, W.W. Norton and Company Ltd, London

BDI. (2011) About BDI [online] Available from http://www.britishdesigninnovation.com/about [Accessed on: 14th March 2012]

Benjamin, W. (1973) Charles Baudelaire: a lyric poet in the era of high capitalism, Translated from German by Harry Zuhn, Verso, London

Chapman, J and Gant, N. (2007) Designers, Visionaries and Other Stories: A Collection of Sustainable Design Essays, Earthscan, London

Charter, M and Tischner, U. (2001) Sustainable Solutions – Developing Products and Services for the Future, Greenleaf Publishing Limited, Sheffield

CNN (1999) Study Unravels Consumer Waste [online] Available from: http://articles.cnn.com/1999-12-08/nature/consumer.waste.enn_1_products-brian-wansink-answer?_s=PM:NATURE [Accessed on: 29th February 2012]

Computer Arts. (2007a) Be A Greener Designer [online] Available from http://computerarts.co.uk/features/be-greener-designer [Accessed on: 26th February 2012]

Computer Arts. (2007b) Green Sleeves [online] Available from: http://www.computerarts.co.uk/features/green-sleeves [Accessed on: 26th February 2012]

Collins, S (2000) “E” Ticket To Nike Town, Counterblast: e-journal of Culture and Communication [online] Available from: http://www.nyu.edu/pubs/counterblast/issue1_nov01/pdf_files/collins.pdf [Accessed on: 14th March 2012]

Corrigan, P. (1997) The Sociology of Consumption: An Introduction, SAGE Publications Ltd, London

EnviroMedia Social Marketing. (2012) What is Greenwashing? [online] Available from: http://www.greenwashingindex.com/what.php [Accessed on: 7th March 2012]

Fry, T, (2009) Design Futuring: Sustainability, Ethics and New Practice, Berg, Oxford

Gabriel, Y and Lang, T. (2006) The Unmanageable Consumer, Ed.2, SAGE Publications Ltd, London

Greenpeace. (2012) Introduction to StopGreenwash.org [online] Available from: http://stopgreenwash.org/introduction [Accessed on: 7th March 2012]

Hamlett, P. (n.d.a) Are We Sustainable Yet? [online] Available from: http://www.commarts.com/columns/are-sustainable-yet.html [Accessed on: 26th February 2012]

Hamlett, P. (n.d.b) Everything You Know Is Wrong [online] Available from: http://www.commarts.com/Columns.aspx?pub=2075&pageid=857 [Accessed on: 25th February 2012]

Holland, D. (n.d.) Being Human: Feeling Our Way The New Millennium [online] Available from: http://www.commarts.com/Columns.aspx?pub=4707&pageid=1454 [Accessed on: 25th February 2012]

Jhally, S (1990) The Codes of Advertising: Fetishism and the political economy of meaning in the consumer society, Routledge, New York

Julier, G. (2008) The Culture of Design Ed. 2, SAGE Publications Ltd, London

Lawson, N. (2009) All Consuming, Penguin Books, London

Mansvelt, J. (2011) Green Consumerism: An A-to-Z Guide, SAGE Publications Ltd, London

Miles, S, Anderson, A and Meethan, K. (2002) The Changing Consumer: Markets and Meanings, Routledge, London

Miles, S. (2010) Spaces for Consumption, SAGE Publications Ltd, London

Penfold, M. (2008) Jonathan Barnbrook [online] Accessed from: http://www.computerarts.co.uk/interviews/jonathan-barnbrook [Accessed on: 26th February 2012]

Sherin, A. (2008) SustainAble: A Handbook of Materials and Applications for Graphic Designers and Their Clients, Rockport Publishers Inc, USA

Solomon, B. (2012) Banksy on Advertising [online] Available from: http://thefoxisblack.com/2012/02/29/banksy-on-advertising/ [Accessed on: 29th February 2012]

Swift, R. (2008) ‘Greenwash’ is losing its shine [online] Available from: http://news.bbc.co.uk/1/hi/sci/tech/7251380.stm [Accessed on: 7th March 2012]

TerraChoice (2010) The Sins of Greenwashing Home and Family Edition [pdf] Available from: http://sinsofgreenwashing.org/findings/greenwashing-report-2010/ [Accessed on: 14th March 2012]

Textart (2012) Database of Slogans [online] Available from: http://www.textart.ru/database/slogan/2-watches-advertising-slogans.html [Accessed on 7th March 2012]

Tuerff, K and Davis, V (2011) On FTC Green Guides: The ad industry doth protest too much [online] Available from: http://www.greenwashingindex.com/commentary_single.php?id=4303 [Accessed on: 7th March 2012]

Whitely, N (1993) Design For Society, Reaktion Books, London

Secondary Resources

da Silva, T (2000) The Curriculum as Fetish, Taboo, Volume 4, Number 1, p:26-27


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Black Lives Matter (Part 3)

These articles were originally posted on Gants Hill United Reformed Church’s blog in 2020.

This image has been doing the rounds on social media over the last couple of years. Each named person lived during times when skin colour was more important than intelligence and personality. Whilst racism is nowhere near as bad as it was half a century ago, many people with ethnic backgrounds still face adversity, particularly in the United States. This poster encourages those people to dream, lead, fight, think, build, speak, educate, believe and challenge like the many heroes of the past.

Think Like Garvey

Founder of the Universal Negro Improvement Association and African Communities League, Marcus Garvey was a Jamaican political activist leader who influenced Rastafarians, the Nation of Islam and other activists, such as Malcolm X. Although often controversial, his ideas and dreams about the unification and empowerment of African-American people have become known as Garveyism.

Marcus Mosiah Garvey Jr. was born on 17th August 1887 in the Colony of Jamaica. Although it was an ethnic country, there was a colourist social hierarchy and Garvey’s family, with their very dark skin, were at the lowest end. Garvey’s grandparents had been born into slavery and had taken on their Irish owner’s surname. Despite this, Garvey’s parents were considered well-off in the peasant community. His father, Malchus Garvey, was a stonemason and his mother, Sarah Richards, was a domestic servant.

As well as a stonemason, Malchus Garvey was a layman at the local Wesleyan Church, so it was only natural that Marcus attended the church school. At 14, Garvey left school due to a lack of funds and was apprenticed to his godfather, who ran a printing business. Until then, Garvey had not fully felt the effects of racism. He had friends with various skin tones, including a white girl, and he never thought his race would be a problem.

In 1905, Garvey moved to Kingston to work at P.A. Benjamin Manufacturing Company, where he became the first Afro-Jamaican foreman. He was able to provide for his mother and sister, who had moved in with him after leaving his father. Sadly, an earthquake struck in 1907, destroying his home. The family were forced to sleep in the open for several months, and his mother died the following year.

Whilst living in Kingston, Garvey converted to Catholicism. He also started to voice his opinions, which led to him being sacked from the manufacturing company. By this point, he was very angry with the inequalities in Jamaican society. After getting a job as the first secretary of Jamaica’s first nationalist organization, the National Club, Garvey enrolled in elocution lessons with Bahamian-born clergyman Dr Robert Love (1831-1914) and began entering public speaking competitions.

Between 1910 and 1914, Garvey travelled abroad, beginning with Costa Rica, where he worked as a timekeeper on a large banana plantation. He also briefly set up his own newspaper Nation/La Nación, in which he expressed his strong opinions. Garvey gradually worked his way through Central America, moving from job to job until he decided to travel to London in the hopes of improving his education.

In London, Garvey found a job as a labourer in the city docks. His sister, Indiana, came over to join him and found herself a position as a domestic servant. Garvey noted there were not many black people in the city, and those he came across were usually some form of labourer. Garvey visited the House of Commons during his stay and was impressed by the politician David Lloyd George. He also visited Hyde Park Corner and began to regularly speak there.

In 1913, Garvey got a job at the African Times and Orient Review as a runner and began writing for them the following year. After a brief trip through Europe, during which he had a short engagement with a Spanish-Irish heiress, Garvey had run out of funds and decided to return to Jamaica. During the journey, he met and spoke to an Afro-Caribbean missionary who inspired Garvey to envision a movement that would unite all black people of African descent.

This idea formed the Universal Negro Improvement Association and African Communities League, commonly abbreviated as UNIA, which Garvey launched in July 1914 with the motto “One Aim. One God. One Destiny”. The association aimed to establish a brotherhood among the black race, to promote a spirit of race pride, to reclaim the fallen and to assist in civilising the backward tribes of Africa.” The association got off to a very slow start but Garvey was enthusiastic and attended many meetings, including with the Queen Street Baptist Literary and Debating Society, where he met Amy Ashwood, with whom he secretly became engaged.

Having failed to gain many members in Jamaica, Garvey moved the UNIA to the USA, where he initially lodged with a Jamaican expatriate in New York City. He travelled the country lecturing, having been inspired by black Baptist and Episcopal preachers. Back in New York, Garvey targeted his speeches at Afro-Caribbeans as well as African-Americans. Membership of the UNIA began to grow rapidly.

Within 18 months of its establishment in the USA, the UNIA had branches in 25 states as well as some Central American countries. It is not certain how many people became members of the association, but at one point, Garvey boasted over 2 million members. Unlike other activist groups, the UNIA had a blacks-only policy, so Garvey was often accused of hindering attempts at racial integration. Things came to a head when Garvey called the writer Cyril Briggs (1888-1966) and other members “white” because of their mixed heritage.

In October 1919, a vendor of Negro World attempted to assassinate Garvey, who survived with a couple of gunshots to his legs. The shooter, George Tyler, was arrested but died attempting to escape from prison. With his mortality in mind, Garvey married Amy Ashwood at a private Roman Catholic service on Christmas Day. Sadly, the marriage lasted little more than three months, and they soon separated.

Garvey moved on to new and bigger ideas, including the Black Star Line, a ship for black people run by black people. The ships travelled between Africa and the Americas, and after a few monetary problems, began to do quite well. Unfortunately, many people were beginning to dislike Garvey for his views, and he was often booed at his speeches.

In 1922, Garvey and three other UNIA officials were charged with fraud involving the Black Star Line. Their finances were in a mess and contained many inaccuracies, so it was difficult for them to defend themselves. Garvey was found guilty and imprisoned for five years. On his release in 1927, Garvey was deported to Jamaica.

Garvey continued to work with the UNIA, but people were confused when he collaborated with organisations like the KKK. Garvey reportedly claimed he respected white supremacists because they acted on their word, unlike other white people. As a result, Garvey lost a lot of support within the Black population.

In 1935, Garvey moved to London, where he died after a series of strokes in 1940. By this time, he was far less popular than he had been a decade ago, but in 1964, Jamaica hailed him as a national hero. Although he alienated a lot of people through his radical beliefs and actions, he was the spark that influenced many civil rights activists, for instance, Malcolm X. Most of his Black Nationalist views have been ignored, but his key messages live on, particularly “Black is beautiful”.

“We must canonize our own saints, create our own martyrs, and elevate to positions of fame and honour black men and women who have made their distinct contributions to our racial history … I am the equal of any white man; I want you to feel the same way.” – Marcus Garvey

Build Like Madam C.J.

Madam C.J. Walker was the first female self-made millionaire in America; she was also the first black female millionaire. Despite racism being rife in the country, Madam C.J. built an empire from nothing, developing a line of hair and beauty products for black women. She is also remembered for being a civil rights activist.

Born on 23rd December 1867 in Louisiana to Owen and Minerva Breedlove, Madam C.J. was originally known as Sarah. She had one sister and four brothers, the elder of whom were born into slavery. Sarah was the first Breedlove child born into freedom after the Emancipation Proclamation was signed in 1862. Sadly, her mother passed away from cholera in 1872, and her father died the following year.

From the age of ten, Sarah was brought up in Mississippi by her much older sister Louvenia and her brother-in-law, Jesse Powell. Around the same time, Sarah began working as a domestic servant. As an orphan, she had no time or money to go to school, and the only education she received was at Sunday school before the death of her parents.

Sarah had a rough time living with Louvenia. Jesse was an abusive man, and Sarah took the first opportunity to escape from the household: getting married. Sarah was only 14 years old when she married Moses McWilliams in 1882. Three years later, Sarah gave birth to a daughter, A’Lelia (1885-1931), but in 1887, their lives were shattered by the death of Moses.

To earn money, Sarah moved to St Louis, Missouri, where her brothers lived to work as a laundress. She was determined to earn enough money to send her daughter to school, which was a difficult task earning less than $1 a day. Sarah also wanted to live an educated life and was jealous of the educated women at the African Methodist Episcopal Church she attended.

In 1894, Sarah married John Davis, but their marriage was not a happy one, and she left him in 1903. Meanwhile, Sarah was battling severe dandruff, leading to baldness, which was a common problem for black women at the time. Hair products were made for white-skinned customers and were unsuitable for African-Americans.

Sarah knew a little about haircare from her brothers, who were barbers, but she was determined to do something about the quality of products available for black women. In 1904, she became an agent for Annie Malone (1877-1957), a black inventor and businesswoman, who specialised in cosmetics. Using the knowledge she gained working for Malone, Sarah began to develop her own products. Meanwhile, she continued to work for Malone in Denver, Colorado, where she had moved in 1905. When Malone found out about Sarah’s products, she accused her of stealing the formula despite it having been around for centuries. From then on, Sarah and Malone were rivals.

In 1906, Sarah married a newspaper advertising salesman, Charles Joseph Walker (d.1926), and took on his name. Soon she was known as Madam C.J. Walker, a name under which she marketed her products. To begin with, Sarah sold her products door-to-door whilst her husband began to arrange advertising and promotion. When business improved, A’Lelia became involved with the business, setting up a mail-order operation in their home. Charles and Sarah travelled to the southern states to promote the business, eventually moving to Pittsburgh, Pennsylvania, to set up a beauty parlour and training college.

A’Lelia joined Madam C.J. in Pittsburgh in 1907 and persuaded her mother to open a beauty salon and office in New York. In 1910, Madam C.J. relocated to Indianapolis, where she established the headquarters for the Madam C. J. Walker Manufacturing Company and began hiring staff to help with the management.

Despite the competition, Madam C.J.’s products were popular because they helped hair to regrow and prevented them from becoming brittle. Between 1911 and 1919, she employed thousands of women and trained over 20,000 people. Unfortunately, Charles and Sarah divorced in 1912, meaning she lost her business partner.

As well as training her staff in haircare, she taught black women how to build their own businesses and become financially independent. In 1917, she established the National Beauty Culturists and Benevolent Association of Madam C. J. Walker Agents, which welcomed 200 people to its first annual conference. This was also the first-ever conference for businesswomen in the USA.

“I am a woman who came from the cotton fields of the South. From there, I was promoted to the washtub. From there, I was promoted to the cook kitchen. And from there, I promoted myself into the business of manufacturing hair goods and preparations. I have built my own factory on my own ground.” This is what Madam C.J. told the National Negro Business League (NNBL) when she spoke at one of their meetings in 1912. As well as concentrating on her business, Madam C.J. involved herself in many good causes, wishing to put her well-earned money to good use.

Madam C.J. helped to raise funds for the YMCA and donated money to various churches and schools. She also became a patron of the arts and became friends with notable people, such as the author Booker T. Washington (1856-1915) and civil rights activist W.E.B. Du Bois (1868-1963). In 1917, she joined the National Association for the Advancement of Colored People (NAACP), and the following year, the National Association of Colored Women’s Clubs (NACWC), making sizable monetary donations to both.

Around this time, Madam C.J. began to suffer from kidney failure and hypertension, passing away on 25th May 1919 at the age of 51. At her death, she was worth an estimated one million dollars, making her the wealthiest African-American woman in the country. Her daughter took over the company as its president, which continued to operate until 1981.

Madam C.J. Walker has been honoured several times since her death, including in recent years. Her company’s building in Indianapolis has been designated a National Historic Landmark, which now houses the Madam Walker Legacy Centre. In 2006, American actress and playwright Regina Taylor wrote The Dreams of Sarah Breedlove about Madam C.J.’s journey from rags to riches. Her most recent honour occurred in 2016 when the French beauty company Sephora launched a line of hair products called “Madam C. J. Walker Beauty Culture”, which are suitable for many different hair types. 

Not only did Madam C.J. Walker create a successful business at a time when black people were struggling for equality, but she also improved the lives of thousands of others. Thanks to her, black women were able to start their own businesses, thus helping them escape poverty and oppression. Madam C.J. was also a huge inspiration for future hair care and cosmetic businesses and will continue to be looked up to in years to come.


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Black Lives Matter (Part 2)

These articles were originally posted on Gants Hill United Reformed Church’s blog in 2020.

This image has been doing the rounds on social media over the last couple of years. Each named person lived during times when skin colour was more important than intelligence and personality. Whilst racism is nowhere near as bad as it was half a century ago, many people with ethnic backgrounds still face adversity, particularly in the United States. This poster encourages those people to dream, lead, fight, think, build, speak, educate, believe and challenge like the many heroes of the past.

Fight Like Malcolm

Malcolm Stuart Little, or Malcolm X as he was better known, was an African American nationalist and civil rights activist. Malcolm was born on 19th May 1925 in Omaha, Nebraska, to Baptist lay-preacher Earl Little and Louise Helen Little, who were both involved with the Universal Negro Improvement Association (UNIA). They taught their children to stand up for themselves and be proud of their heritage and black skin. Yet, the family were constantly targeted by the racist group, the Black Legion, forcing them to move twice, firstly to Wisconsin, then to Michigan.

Malcolm’s father died when he was only six years old. The official ruling was Earl had been involved in a streetcar accident, but Malcolm’s mother was certain it had been murder. In 1937, by which time Malcolm was 12, his mother suffered a mental breakdown and Malcolm and his siblings were separated and placed in foster care.

Malcolm did well at school but was deterred from going on to study law by a teacher who told him it was not a realistic career for a black man. As a result, Malcolm looked for jobs but never settled anywhere for long, eventually falling in with the wrong crowd in New York. For some time, Malcolm was involved with drugs, gambling, pimping and robbery until he was arrested for the latter in 1946.

While in prison, Malcolm was introduced to the Nation of Islam, a religious movement founded in 1930 that aimed to improve the lives of African Americans. On his release, Malcolm contacted the leader of the Nation of Islam, Elijah Muhammad, who helped him convert to Islam and encouraged him to join the movement. All members were instructed to leave their family names behind and replace them with the letter X. Malcolm was more than happy to leave the name “Little” behind, which had been given to his ancestors by a slavemaster. Thus, he became known as Malcolm X.

In 1953, Malcolm became the assistant minister at a temple in Detroit, where he proved to be a skilful speaker and encouraged many people to join the Nation of Islam. Amongst Malcolm’s recruits to the Nation of Islam was the boxer Cassius Clay, who adopted the Muslim name Muhammad Ali. The FBI opened a file on Malcolm after he declared himself a communist. His popularity amongst the movement’s members increased the FBI’s concerns.

Malcolm married Betty Sanders in 1958, who renamed herself Betty X after joining the Nation of Islam. They had six daughters who they named after notable Muslims: Attallah (Attila the Hun), Qubilah (Kublai Khan), Ilyasah (Elijah Muhammad), Gamilah Lumumba (Gamal Abdel Nasser and Patrice Lumumba), and twins: Malikah and Malaak, named after Malcolm, who took on the Muslim name El-Hajj Malik El-Shabazz.

Teaching the movement’s followers that all white people were bad, Malcolm made himself a public figure, turning up at police stations to protest the wrongful arrests of several black people. His comments on various issues were published in magazines or reported on radio and television. Topics included the Nation of Islam’s beliefs that black people were the original people of the world. They believed white people were devils, blacks were superior to whites, and the demise of the white race was imminent. These statements alarmed many people of all races, particularly followers of Martin Luther King Jr, who wanted blacks accepted as equal to whites.

Between 1962 and 1963, Malcolm began to reassess his involvement with the Nation of Islam. He began to disagree with some of Elijah Muhammad’s choices and disapproved of Muhammad’s involvement in extramarital affairs, which went against the movement’s teachings. By 1964, Malcolm believed the movement had gone as far as it could, and felt restricted by its rigid teachings. Although he wanted to remain a Muslim, Malcolm wanted to support other civil rights leaders, which Muhammad had actively discouraged.

After leaving the Nation of Islam, Malcolm converted to Sunni Islam, which focused more on the traditions of the Prophet Muhammad. Later that year, he took the obligatory pilgrimage to Mecca, where he met Muslims of “all colours, from blue-eyed blonds to black-skinned Africans,” which made him realise there was not a superior race, but that everyone was equal.

Having completed his journey to Mecca, Malcolm visited several African countries where he gave many interviews and television appearances. Following this, he visited France and the United Kingdom, where he involved himself in national debates. On his return to the USA, he was invited to speak at various universities and public spaces, encouraging people to fight for their rights and support one another.

As time passed, Malcolm received many death threats, and not only from anti-black organisations. The Nation of Islam branded Malcolm a hypocrite and wished to “bump him off”. Despite warning many people of the threats against his life, no one was able to prevent gunmen from advancing on him during a speech. He was pronounced dead at 3:30 pm on 21st February 1965, having suffered 21 gunshot wounds. The assassins were identified as members of the Nation of Islam, but only Talmadge Hayer was convicted. Hayer refused to name the other men, and, to this day, they remain unknown. The case continues to intrigue people, and earlier this year (2020), Netflix aired the docuseries Who Killed Malcolm X? which launched a new investigation into the assassination.  

After Malcolm’s death, Martin Luther King Jr got in touch with his wife, saying, “While we did not always see eye to eye on methods to solve the race problem, I always had a deep affection for Malcolm and felt that he had a great ability to put his finger on the existence and root of the problem. He was an eloquent spokesman for his point of view and no one can honestly doubt that Malcolm had a great concern for the problems that we face as a race.” Even those who were against Malcolm’s beliefs and ideas were shocked at his death.

Malcolm X has been described as one of the most influential African Americans in history. Although many did not approve of his tactics and beliefs, his actions stirred black communities into action to fight for the lives they deserved. As one biographer put it, Malcolm X “made clear the price that white America would have to pay if it did not accede to black America’s legitimate demands.”

Write like Maya

Maya Angelou was one of the most influential black poets of the 20th and early 21st century, writing on themes of racism, identity, family and travel. She was also a civil rights activist and worked with Martin Luther King Junior and Malcolm X. She was showered with awards and over 50 honorary degrees, but her life was not always plain sailing.

Born Marguerite Annie Johnson on 4th April 1928 in Missouri to Bailey and Vivian Johnson, Maya was given her nickname by her older brother, Bailey Jr. Unfortunately, her parents’ marriage was not a happy one, and they separated when she was three years old. Rather than take responsibility for his children, her father sent them to Arkansas to live with their grandmother, Annie Henderson. They remained there until Maya was seven when they moved home to live with their mother.

Sadly, living with their mother also meant living with their mother’s abusive boyfriend, who raped Maya when she was only eight years old. The man was arrested and locked up for one day but was murdered four days later, most likely by Maya’s uncles. The abuse greatly affected Maya, who became mute for five years, even after moving back in with her grandmother. Fortunately, her school teacher helped Maya to regain her voice whilst also feeding her passion for reading, introducing the young girl to authors who would influence her future career.

When Maya was 14, she rejoined her mother, who was then living in California. At 16, she became the first black female cable car conductor in San Francisco, where she worked whilst also attending school. Unfortunately, she got herself in trouble, and no more than three weeks after graduation, she gave birth to a baby boy, Clyde.

In 1951, Maya married a Greek electrician called Tosh Angelos, despite her mother’s disapproval. At that time, interracial marriages were unusual. Maya began taking dance lessons and dreamt of a career in a dance team. In an attempt to increase her prospects, Maya, Tosh and Clyde moved to New York for a year, where she studied African dance. For reasons unknown, in 1954, not long after returning to San Francisco, Maya’s marriage ended.

Having to fend for herself financially, Maya began dancing in local clubs, such as The Purple Onion, under her professional name, Maya Angelou. In 1954-5, she toured Europe by acting in the opera Porgy and Bess and, in 1957, wrote and recorded an album called Miss Calypso. In every country she visited, Maya made a point of learning the language, quickly becoming proficiently multilingual.

In 1959, African-American author John Oliver Killens encouraged Maya to focus on writing songs and poems rather than solely performing. She joined the Harlem Writers Guild and soon became a published author. The following year, she met Martin Luther King Jr and was inspired to organise a concert for the Southern Christian Leadership Conference (SCLC) called Cabaret for Freedom

Maya had a brief relationship with South African freedom fighter Vusumzi Make and moved with him to Cairo in 1961 along with her son, who had renamed himself, Guy. The relationship only lasted a year, after which Maya moved to Ghana, where her son enrolled at university. While Guy was studying, Maya worked as a freelance writer for The African Review and Radio Ghana. 

Whilst living in Ghana, Maya met Malcolm X, who was touring Africa. He encouraged her to return to the USA in 1965 and help him set up the Organization of Afro-American Unity. Shortly after, Malcolm X was assassinated, and Maya, at a loss, moved to Hawaii, where her brother lived and refocused on her singing career. Not long after, she returned to Los Angeles to resume her writing career.

In 1968, Martin Luther King Jr approached Maya for help organising a march. Tragically, in a similar fate to Malcolm X, King was assassinated on Maya’s 40th birthday. After a bout of depression, Maya resumed writing and published her first autobiography, I Know Why the Caged Bird Sings. Initially, the publishers were unsure whether to publish the book, but it went on to become a bestseller, earning Maya international recognition. 

In 1972, Maya became the first black woman to write a screenplay, which was filmed in Sweden and released under the name Georgia, Georgia. She also wrote the soundtrack for the film. The following year, she married the Welsh carpenter Paul du Feu, who had once been married to the radical feminist Germaine Greer. For the next decade, Maya continued writing articles, screenplays, poems and books and became close friends with Oprah Winfrey. Unfortunately, her second marriage ended in divorce in 1981.

Returning to the southern states, Maya accepted the lifetime Reynolds Professorship of American Studies at Wake Forest University in North Carolina, becoming one of the first black women to be a full-time professor. She taught on a variety of themes that interested her, including philosophy, ethics, writing and theatre, but also continued to write.

In 1993, Maya Angelou recited one of her poems at the inauguration of Bill Clinton – the first poet to do so since John F. Kennedy’s inauguration. This televised event increased her fame across the world and earned her a Grammy Award. In 1996, she finally achieved her goal of directing a film (Down in the Delta) and, by 2002, she had published her 6th autobiography. 

Hillary Clinton, during her campaign for the Democratic Party 2008 presidential primaries, used Maya Angelou’s endorsement in her advertisements. After Obama won the primary, Maya gave him her full support. When Obama became the first African-American president, Maya said, “We are growing up beyond the idiocies of racism and sexism.”

Maya published her 7th and final autobiography in 2013 called Mom & Me & Mom, focusing on her relationship with her mother. The following year, on 28th May 2014, Maya passed away after her health deteriorated. Despite cancelling a few events, Maya Angelou was working and attended events until her death. Tributes flooded in as soon as the news was made public, and her first biography instantly became the number one bestseller on Amazon. A public funeral was held at Mount Zion Baptist Church in Winston-Salem, North Carolina, where she had been a member for 30 years. 

As well as the Grammy Award for her poetry recital at Clinton’s inauguration, Maya Angelou received several awards, including a Pulitzer Prize, Tony Award, two more Grammys, the Presidential Medal of Freedom and over 50 honorary degrees. Although these were awarded for her talents, they were also a sign that she overcame her past and did not let racial inequalities stand in the way of her success.


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Jane Austen’s Bath

Situated at 40 Gay Street in Bath is a museum dedicated to Jane Austen, her writings and her experience in the City of Bath. All six of Jane’s completed novels mention the city, and two, Persuasion and Northanger Abbey, are set in Bath. Although Jane Austen only lived in Bath for a short period of her life, the city had a huge impact on her interests and writing.

Jane Austen was born on 16th December 1775 at Steventon, near Basingstoke in Hampshire. She was the seventh child of George Austen (1731-1805) and Cassandra Leigh (1739-1827), who married in Bath in 1764. George Austen was a rector and began taking in boarding pupils at the rectory in Steventon a couple of years before Jane was born. Although Jane attended a boarding school for a couple of years, most of her education came from her father and older brothers.

Jane had seven brothers, James (1765-1819), George (1766-1838), Edward (1767-1852), Henry Thomas (1771-1850), Francis (1774-1865) and Charles John (1779 1852), and one sister, Cassandra (1773-1845). For reasons unknown, Jane was the only sibling not given a middle name. Neither Jane nor Cassandra married and relied on six of their brothers for money later in life. The second-eldest brother, George, had little to do with family matters and was sent to live with a relative due to his mental disabilities. References in Jane’s letters to talking “with my fingers” suggests George may have been deaf or unable to communicate verbally.

In late 1797, when Jane was 21, she visited Bath for the first time with her mother and sister. During the six weeks they spent in the city, Jane experienced a different lifestyle from the quiet village life to which she was accustomed. Social events were high on everyone’s agenda in Georgian Bath, which Jane’s letters home described as exciting scenes. “I really believe I shall always be talking of Bath when I am home again – I do like it very much.”

Two years later, Jane returned to Bath with her brother Edward, who wished to “take the waters” to aid his ill-health. The Roman Baths in the city centre were renowned for their healing properties, as was the experimental electric shock treatment provided by local physicians. Jane took the opportunity to learn about the area, which helped form the setting of her first completed novel, Northanger Abbey

Jane, Edward and their mother stayed at No. 13 Queen’s Square for a couple of months, during which time Jane worked on her novel. She had started writing a book called Susan before coming to Bath for the second time and continued working on it while in the city. Despite selling it to a publisher for £10, the book was never published during her lifetime. After her death, Jane’s brother Henry published it under a different title, Northanger Abbey.

There are similarities between Jane Austen and Catherine Moorland, the protagonist of Northanger Abbey. Both young women grew up in the countryside and experienced Bath as innocent, inexperienced girls. Like Jane, Catherine was enthralled by the hustle and bustle of the fashionable city and exclaimed, “Oh! Who can ever be tired of Bath?”

Several notable locations are mentioned in Northanger Abbey, which Jane experienced during her first two visits to the city. Catherine Morland met her love interest, Mr Tilney, by the River Avon in what is now known as the Parade Gardens. This was the location of the Lower Assembly Rooms in Jane’s time, to which she referred in her novel. Catherine attended services nearby in Bath Abbey and visited the Pump Room daily. “As soon as the divine service was over, the Thorpes and the Allens eagerly joined each other; and after staying long enough in the Pump-room to discover that the crowd was insupportable, and that there was not a genteel face to be seen, which everybody discovers every Sunday throughout the season, they hastened away to the Crescent.

The Royal Crescent is one of the most iconic sights in Bath, as is the Circus, which was built between 1754 and 1756. Jane had friends living in the round circle of terrace houses, so it was only natural to refer to the area. Jane also mentioned the Upper Assembly Rooms, where she enjoyed attending dances and performances. The fictional Catherine also visited the Rooms for similar entertainment. Today, it is the location of Bath’s Museum of Costume.

In 1801, Reverend George Austen surprised his family by announcing his retirement and decision to move to Bath. They moved to 4 Sydney Place, a recently built Georgian townhouse in the Bathwick area of Bath. The nearby Sydney Gardens supplied public breakfasts, which Jane regularly attended. The breakfasts included tea, coffee, and rolls, and towards midday, they served Sally Lunn buns, followed by music and dancing. During the summer, galas were held in the gardens in honour of the King and Prince of Wales’ birthdays and the annual Bath races. During Austen’s time at 4 Sydney Place, André-Jacques Garnerin (1769-1823) took off from the gardens in his hot air balloon in September 1802. Garnerin was well-known for his balloon demonstrations and visited Bath as part of his tour of England.

The Austens remained in Sydney Place until the lease expired in 1804. Her father quickly sought cheaper lodgings, and the family moved to No. 3 Green Park Buildings East. Jane often complained about the dampness in the building but still declared it was “so very desirable in size and situation”. Unfortunately, Jane’s father died suddenly in January 1805 and Jane, Cassandra and their mother were forced to seek smaller accommodation.

The Austens found temporary accommodation at 25 Gay Street, not far from where the Jane Austen Centre is today. In the summer of 1805, they moved to a cheaper address in Trim Street, a less fashionable region of Bath. Although Trim Street boasts luxurious apartments in the 21st century, in Jane Austen’s time, prostitutes frequented the area. Needless to say, the Austens did not remain there long before deciding to leave the city for Southampton.

Despite witnessing the poorer side of Bath, Jane never lost her love of the city. During her time in Southampton, she wrote Elinor and Marianne, which she published under the title Sense and Sensibility in 1811, shortly after moving to Hampshire. Although the novel was set in Sussex and London, the characters reference their “earnest desire” to go to Bath.

In 1813, Jane Austen published Pride and Prejudice and finished writing her next novel, Mansfield Park. Both these stories mention minor characters visiting the city of Bath, as does Emma, which was published in 1815. “If she is really ill, why not go to Bath Mr. Weston?”

Nine years after leaving Bath, Jane Austen started working on Persuasion. At the beginning of the story, the Elliot family move to Bath to settle in a cheaper home until their financial situation improves. The protagonist, Anne Elliot, a 27-year-old unmarried woman, is unsure she will like the city but cannot upset her parents by making a fuss. Jane was a similar age when she moved to Bath, but she had already a favourable impression of the city from her visits in her early 20s. To write from Anne’s point of view, Jane imagined how she would have observed Bath and its social customs for the first time as a mature woman.

Several locations in Bath are written about in Persuasion, for instance, Milsom Street, where Anne first meets her ex-fiancé Captain Wentworth in the city. Jane set the encounter in Molland’s sweet shop, which, whilst no longer there, must have held significant memories for Jane. Gay Street, where Jane briefly stayed after her father’s death, also receives a mention. Although Gay Street contained cheaper housing, it still had a genteel atmosphere.

Behind the back gardens of Gay Street is a gravel walk known as Lover’s Lane during Jane Austen’s time. Young lovers used to meet for a romantic stroll along the lane, making it the perfect setting for Anne Elliot and Captain Wentworth to have a romantic encounter. Other locations in Persuasion include Camden Crescent, where Sir Walter Elliot lived. The houses with their position on a hill symbolise Sir Elliot’s lofty views of his self-importance. Dowager Lady Dalrymple and the Honorable Miss Carteret, cousins of the Elliots, lived in Laura Place, one of the most prestigious groups of houses in Bath. Their way of life greatly contrasted with the general public.

Jane started feeling unwell in 1816 but tried to make a start on another novel, Sanditon. After twelve chapters, she gave up and moved to Winchester with her sister Cassandra and brother Henry for treatment. Unfortunately, Jane passed away a couple of months later, on 18th July 1817, at the age of 41. Jane’s cause of death is still debated today due to Jane’s letters in which she made light of her symptoms. The two most accepted diagnoses are Addison’s disease and Hodgkin’s lymphoma, a form of cancer.

The Jane Austen Centre at No. 40 Gay Street focuses on Jane’s relatively short time in Bath. Visitors are given a talk by members of staff dressed up as well-known Jane Austen characters, such as the formidable Lady Catherine de Bourgh, and remain in character throughout the visit. The talk covers Jane’s family background, her trips to Bath, the inspiration for her books, and her untimely death.

A short film provides a brief tour of Regency Bath, particularly the locations relevant to Jane Austen and her books. A map of the tour is provided in the souvenir guide, so visitors can explore the area if they wish. The rest of the museum contains images, books and letters written by or concerning Jane Austen. There is also an opportunity to dress up in Regency clothing and pose next to a Colin Firth-look-a-like wax figure of Mr. Darcy. Before leaving, visitors are invited to try writing with a quill pen and visit the Regency Tea Room for tea, cake, scones and sandwiches.

One of the highlights at the Jane Austen Centre is the waxwork model of the author. A small watercolour painting by Cassandra Austen is the only existing image of Jane, but it was described as “hideously unlike” Jane by another family member. Fortunately, there are many written descriptions of Jane’s physical appearance from friends and contemporaries, which the forensic artist Melissa Dring used to bring Jane Austen to life.

Melissa Dring unveiled her drawing of Jane Austen in 2002. Nine years later, the Jane Austen Centre commissioned the portrait sculptor Mark Richards to produce a waxwork model of the artwork. Working with Dring, the hair and colour artist Nell Clarke, and costume designer Andrea Galer, Richards spent three years carefully crafting the model until he revealed it to the world on 9th July 2014. Many visitors to the centre comment on Jane’s height of 5 ft 8 in. Cassandra’s portrait of her sister led people to assume Jane was a short woman, but several accounts record her as “tall and slender”.

The Jane Austen Centre is open every day of the week. Due to popularity, booking is strongly advised with the option of reserving a table for afternoon tea. Adult tickets cost £12.50, but there are various concessions for children, students and the over 60s. Tickets are available on the Jane Austen Centre website.


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Walter Sickert

Until 18th September 2022, Tate Britain is exhibiting the works of Walter Sickert, one of Britain’s most influential artists of the 20th century. Taught by James Abbott McNeill Whistler (1834-1903) and influenced by Edgar Degas (1834-1917), Sickert became a prominent figure in the transition from Impressionism to Modernism. As painting techniques developed in Britain, so did Sickert’s artwork, and he was not afraid to depict the lives of ordinary people and places rather than the idealised scenes of yesteryear.

Walter Richard Sickert was born on 31st May 1860 in Munich, Germany, although neither of his parents were German. His father, Oswald Sickert (1828-85), was a Danish painter of landscapes and genre scenes who travelled to Munich for his studies. Sickert’s mother, Eleanor Louisa Henry, was the daughter of the English astronomer Richard Sheepshanks (1794-1855). Following the German annexation of Schleswig-Holstein when Sickert was eight years old, the family moved to London and obtained British nationality.

Sickert initially attended University College School, an independent school in Hampstead established by the philosopher Jeremy Bentham (1748-1832), but transferred to King’s College School in Wimbledon at the age of 11. Despite his father’s artistic influence, Sickert initially pursued a career in acting and joined Sir Henry Irving’s (1838-1905) company. After taking on minor roles in a few productions, Sickert switched to studying art.

After a short attendance at the Slade School of Art in 1882, Sickert left to become a pupil and assistant of James Whistler. Many of Sickert’s early works were influenced by Whistler, particularly the art of painting alla prima (literally “at first attempt“), which meant layering wet paint upon wet paint rather than waiting for individual layers to dry. The technique allowed Sickert to paint from nature and capture images quickly.

Sickert’s painting technique changed after he travelled to France in 1883 and became the mentee of Edgar Degas, who encouraged him to plan his paintings with preliminary drawings. Sickert began using a grid system and leaving layers to dry between coats.

Under Degas’ guidance, Sickert’s paid attention to individual components of a painting, resulting in precise details rather than the blurred outlines of his earlier work. Sickert preferred sombre colours, although Degas tried to persuade him to introduce brighter tones. Sickert’s previous training focused on Impressionism, a style often painted en plein air, but Degas persuaded Sickert to work with drawings and memory in a studio to focus more on the artwork’s details. Sickert took this advice on board, and many of his future works were created in a studio, sometimes using photographs as a reference.

In 1888, Sickert joined the New English Art Club (NEAC), an alternative organisation to the Royal Academy, influenced primarily by French artists. Founded in 1885, the NEAC held annual exhibitions at the Egyptian Hall in Piccadilly, London. Whilst the Royal Academy preferred traditional painting methods, the NEAC embraced Impressionism and other figurative styles. Ironically, the NEAC continues to exhibit similar artworks at the Mall Galleries, whereas the RA has embraced abstract and conceptual art. Some of the artists belonging to the NEAC included John Singer Sargent (1856-1925), Thomas Benjamin Kennington (1856-1916), William Orpen (1878-1931), and Neville Bulwer-Lytton (1879-1951).

Inspired by his previous career ambitions, Sickert’s first major works after joining the NEAC focused on the stage, including theatres, music halls, café concerts and the advent of cinema. One example, which Tate Britain used for the exhibition’s promotional material, is Little Dot Hetherington at the Bedford Music Hall (1888-9). Sickert frequently depicted the Old Bedford on Camden High Street in his paintings. In this scene, Sickert captured Hetherington singing The Boy I Love is Up in the Gallery, a music hall song written in 1885 by George Ware (1829-95).

Sickert also painted other examples of entertainment, including the circus. The Trapeze (1920) depicts an acrobat from the Cirque Rancy preparing to start her performance. Established by Théodore Rancy (1818-92) in the 19th century, the Cirque Rancy was a group of travelling circus acts across France. Still existing today is the Cirque Jules-Verne of Amiens, established in 1889 under the presidency of French writer Jules Verne (1828-1905). Sickert probably experienced the delights of the circus while living in Dieppe.

Other examples of entertainment in Sickert’s artwork include British Pierrots at Brighton, providing tourists with wartime relief, and orchestras performing from the pits of theatres. In the early 20th century, some music halls became early forms of cinemas, such as Middlesex Music Hall on Drury Lane, London. Using projectors and large white sheets or screens, the Old Mogul, as the hall was nicknamed, occasionally played films during their evening schedule. Sickert’s painting Gallery of the Old Mogul (1906) depicts men clambering to see the screen from the gallery. Only a tiny portion of the film is visible in the painting, but art historians believe it was one of the first Westerns ever shown. It could potentially be The Great Train Robbery (1903), which is generally considered the first of the genre.

During the 1880s, Sickert spent a lot of time in the French commune Dieppe on the coast of the English Channel. It is suspected that Sickert kept a mistress in Dieppe and potentially an illegitimate son. Artists at the time were known for having numerous mistresses, but Sickert also had three wives. He married his first wife, Ellen Cobden, in 1885 but divorced her after four years. He married his second wife, Christine Angus, in 1911 and remained with her until she died in 1920. In 1926, Sickert married the artist Thérèse Lessore (1884-1945), with whom he was still married at his death in 1942.

While in Dieppe in the 1880s, Sickert produced landscapes of the streets and buildings, including the church of St Jacques. Inspired by Claude Monet, Sickert painted the same scenes at different times of the day, exploring the effects of daylight on the architecture. In 1902, the owner of L’Hôtel de la Plage commissioned a series of paintings, which included a scene depicting bathers on the nearby beach. For reasons unknown, Bathers, Dieppe was never installed at the hotel. Instead, Sickert exhibited it at the Salon des Indépendants in 1903.

Between 1894 and 1904, Sickert visited Venice several times. During these trips, he focused on painting the city’s topography. He was particularly fascinated with St Mark’s Basilica, which like the church in Dieppe, he painted several times. Due to inclement weather during his last trip, Sickert began painting indoor scenes featuring groups of people. He continued exploring this theme on his return to Britain, using friends, professional models and possibly prostitutes to create tableaux from which to paint.

In the early 20th century, Sickert started painting nudes. Rather than depicting the idealised female body, he painted working-class women in dimly-lit rooms with crumpled bed sheets. Instead of glamorising nudity, Sickert’s artwork suggested poverty. When he first exhibited these paintings in Paris in 1905, they were well-received, but at the British exhibition in 1911, critics objected to the subject matter.

In 1907, Sickert became fascinated with the Camden Town Murder Case. In September of that year, the part-time prostitute Emily Dimmock was murdered in her bed by a client or lover. After having sex, the man slit Dimmock’s throat while she slept. Her body was discovered by her partner and the murder quickly became a press sensation. Causing controversy, Sickert renamed four of his previous nude paintings The Camden Town Murder. Each artwork featured a naked woman and a fully-clothed man, and although there were no signs of violence, the new titles gave the scenes a new interpretation. One painting shows a woman asleep on a bed while a man bows his head in thought. Originally called What Shall We Do for the Rent, the audience perceives the man as worried about money troubles; yet under the title The Camden Town Murder, the man may be psychologically preparing himself for the horrible act.

Shortly before the First World War, Sickert founded the Camden Town Group of British painters, named after the area of London he resided in at the time. Members met regularly at Sickert’s studio and mostly consisted of Post-Impressionist artists, including Lucien Pissarro (1863-1944), Wyndham Lewis (1882-1957), Spencer Frederick Gore (1878-1914), and Ethel Sands (1873-1962). The artists were influenced by the work of Vincent van Gogh (1853-90) and Paul Gauguin (1848-1903), who worked in heavy impasto. Sickert’s paintings of nudes are evidence of this style of art.

From 1908 to 1912 and 1915 to 1918, Sickert taught at the Westminster School of Art. The school was originally based in the Deans Yard, but by the time Sickert joined the staff, it had merged with Angela Burdett-Coutts‘s (1814-1906) Westminster Technical Institute in Vincent Square. Between Sickert’s two spells at the school, he established the Rowlandson House in London and another in Manchester. Unfortunately, they closed due to the outbreak of the First World War.

Following the death of his second wife, Sickert spent some time in Dieppe, concentrating once again on buildings and groups of people, particularly in cafes. After returning to England, Sickert became an Associate of the Royal Academy in 1924 and married Thérèse Lessore in 1926. Shortly after his marriage, Sickert became unwell, potentially suffering a minor stroke. The illness marked a change in Sickert’s artwork, and he also decided to go by his middle name Richard rather than Walter.

Sickert stopped drawing from life and began painting photographs taken by his wife or those found in newspapers, such as King Edward VIII (1894-1972) arriving at a church service in 1936. Most cameras only captured images in black and white, so the colours in Sickert’s paintings are based on memory or imagination. He used the tonal contrasts in the photograph to determine colour hues and shadow.

Although Sickert only worked from photographs, he continued to receive commissions, such as from Winston Churchill (1874-1965) and his wife Clementine (1885-1977). Sickert met Clementine in Dieppe when she was only 14, where she was struck by Sickert’s handsomeness. Before she could act on her attraction to Sickert, Clementine’s family returned to England, but she remained in touch with Sickert and his family. After introducing Churchill to Sickert, Clementine’s husband commissioned an informal portrait and asked Sickert for advice about painting.

Sickert’s passion for the theatre never left him. Using photographs from newspaper reviews or promotional materials, Sickert painted several actors and scenes from shows. In 1932, Sickert depicted the British actress Gwen Ffrangcon-Davies (1891-1992) as Isabella of France in the play Edward II by Christopher Marlowe (1564-93). Sickert included the photograph’s caption La Louvre, meaning “the she-wolf”, which describes the fierce character of King Edward II’s wife.

Other theatre scenes Sickert painted included Edith Evans (1888-1976) as Katherine and Leslie Banks (1890-1952) as Petruchio in William Shakespeare‘s (1564-1616) The Taming of the Shrew. The play opened in London in 1937 at the New Theatre, which is now called the Noël Coward Theatre. Sickert based his painting on a press photograph. He also painted stills from films, such as High Steppers, based on the story of the Tiller Girls dance troupe.

In 1932, Sickert painted Miss Earhart’s Arrival, which shows Amelia Earhart arriving during a thunderstorm near London after flying solo across the Atlantic. Earhart completed her challenge when she landed in Northern Ireland in May 1932, but only a couple of people witnessed it. Sickert’s painting of the press photograph shows crowds of people welcoming the American woman to England the following day. Sickert cropped the image to focus on the people and weather rather than the plane in the background.

During the final decade of Sickert’s life, he relied heavily on assistants, particularly his wife, to help complete his paintings. These paintings included portraits of close friends, such as Lord Beaverbrook (1879-1964) and the novelist Hugh Walpole (1884-1941). Sickert also painted landscapes of Bath, where he and his wife moved at the end of the 1930s. On 22nd January 1942, Sickert passed away at the age of 81 and was buried at the Church of St Nicholas in Bathampton.

Sickert’s art style changed throughout his career. Firstly, he imitated Whistler and Degas before adopting an impasto technique. His final works were smoother but still fell under the Post-Impressionism umbrella. Several people criticised Sickert for using photographs and suggested it showed his decline as an artist. In hindsight, these were some of Sickert’s most forward-looking paintings, which went on to inspire many artists and the Pop Art movement.

Due to Sickert’s fascination with the Camden Town Murder, some people have speculated his connection to Jack the Ripper, who murdered at least five women in London in 1888. Despite evidence suggesting Sickert was in France at the time, several authors named Sickert as a potential culprit. Although Sickert was not in the country, he did find the murders intriguing and painted Jack the Ripper’s Bedroom in 1905. Sickert based the painting on a room he lodged in after the landlady told him her suspicions of a man that stayed there a few years earlier.

In 2002, crime writer Patricia Cornwell (b.1956) adamantly claimed Sickert was Jack the Ripper in her book Portrait of a Killer: Jack the Ripper—Case Closed. Years earlier, Stephen Knight (1951-85) suggested Sickert was an accomplice in Jack the Ripper: The Final Solution (1976), although his sources of research were later discovered to be a hoax. All the information collected by Knight and Cornwell has since been scrutinised, and the consensus is any claim that Sickert was Jack the Ripper is fantasy.

The Walter Sickert exhibition is the first major retrospective of Sickert at Tate Britain in over 60 years. It explores Sickert’s approach to art and his changing styles and subject matter. Although it features The Camden Town Murders series, Tate does not allude to the rumours about Jack the Ripper. The exhibition is a celebration of Sickert’s work and the impact he had on future artists. It also honours the 80th anniversary of the artist’s death.

The Walter Sickert exhibition is open until 18th September 2022. Tickets cost £18 and must be purchased in advance.


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The Father of Modern Photography

Situated in a converted 16th-century stable at Lacock Abbey in Wiltshire is a museum dedicated to one of the owners of the building and the nearby village. Whilst the French inventor Louis Daguerre (1787-1851) is usually recorded as the inventor of photography, Lacock owner William Henry Fox Talbot equally deserves that title. The museum demonstrates the history of photography from Talbot’s era up until the present day and explores Talbot’s techniques and processes.

William Henry Fox Talbot was born on 11th February 1800 to a soldier called William Davenport Talbot and the daughter of the 2nd Earl of Ilchester, Lady Elisabeth Fox Strangways. When he was only five months old, Talbot inherited Lacock Abbey following the sudden death of his father. Unfortunately, the estate came with a £30,000 debt, which was eventually paid off when his mother married the sympathetic Captain Charles Feilding in 1804. Feilding carefully managed the estate on his behalf to allow Talbot to focus on his schooling.

Talbot’s education began with the Scottish governess Agnes Porter (c.1752-1814) before attending a primary school in Rottingdean. Talbot did not live at Lacock during his early years. Instead, he lived with his mother on the south coast of England while the Abbey was let out to various lodgers. For his secondary education, Talbot boarded at Harrow School in Greater London. During his teens, Talbot took a keen interest in chemistry and used his pocket money to buy equipment for experiments. He also excelled at mathematics, which he went on to study at Trinity College, Cambridge.

By the age of 21, Talbot could legally take possession of Lacock, but it was let to a local MP at the time, so Talbot decided to visit Europe with his stepfather until the house became vacant. During his travels, Talbot met the polymath John Herschel (1792-1871), with whom he went on to collaborate, and Sir David Brewster (1781-1868), who influenced Talbot’s research into light and optics. In 1826, Talbot submitted a paper called Some Experiments on Coloured Flame to the Edinburgh Philosophical Journal, followed by an essay to the Quarterly Journal of Science about monochromatic light the following year.

In 1832, Talbot married Constance Mundy (1811-80) of Markeaton Hall. Constance was the youngest daughter of Francis Mundy (1771–1837), a Member of Parliament for Derbyshire. In the same year of their marriage, Talbot became the MP for Chippenham, meaning the newlywed couple had to wait a year before they could take their honeymoon. In June 1833, the Talbots finally travelled to Lake Como in Italy for six months, where they attempted to capture the scenery on paper with pen and brush. Constance proved to have a natural artistic talent, but Talbot struggled with his efforts. Determined to think of a solution to his difficulties, Talbot began experimenting with various methods, which eventually led to the negative-positive process of photography.

Talbot initially experimented with a camera obscura, which used natural light to reflect views onto a surface for an artist to trace. Although this made it slightly easier for Talbot to produce drawings, he did not take naturally to using pen and ink. Instead, Talbot thought, “How charming it would be if it were possible to cause these natural images to imprint themselves durably, and remain fixed on paper.”

To attempt to capture images, Talbot coated ordinary paper with table salt and silver nitrate, which he placed in the sun with an opaque object, such as a leaf, resting on top. Talbot discovered that the paper became dark in the sunlight, except for the section covered by the object, which left a silhouette of white paper. Talbot called these creations sciagraphs, which is Greek for “shadow drawings”.

Talbot’s early sciagraphs did not survive for long because after he exposed the white silhouette to the light, it too began to darken. Throughout the summer of 1843, Talbot experimented with ways to stabilise the images, eventually developing a wash of potassium iodide that successfully fixed the silhouettes in place. Pleased with his discovery, Talbot set up several modified camera obscurae around his estate at Lacock Abbey. He commissioned the Lacock village carpenter to produce little wooden boxes with microscope lenses to reflect silhouettes of buildings around the Abbey onto the light-sensitive paper. His wife, Constance, nicknamed the boxes “mousetraps” and Talbot named the resulting pictures the work of “Lilliputian artists”.

The first successful image Talbot took with a “mousetrap” camera was an oriel window from inside Lacock Abbey. Talbot set up the camera obscura to point at the window and left it for several hours. The result, whilst tiny, captured the intricate details of the diamond-patterned glass, plus the view beyond the window.

When Talbot showed the silhouettes to his friend Herschel, the polymath pointed out Talbot had created a “negative” image where the light sections become dark and vice versa. Herschel suggested the “negative” could be placed on another sheet of light-sensitive paper to reverse the dark and light tones. Herschel subsequently coined the terms “negative” and “positive” in relation to photography.

Despite Talbot’s progress, his political work as a Member of Parliament took up much of his time, thus preventing him from making his findings public. In January 1839, Louis Daguerre revealed to the world that he had “frozen” the images from a camera obscura. Much to Talbot’s dismay, Daguerre was hailed the “father of photography” and rewarded by the French government. It later became clear that Talbot’s and Daguerre’s techniques differed greatly, but it was still a blow to Talbot. It was also revealed that other inventors, such as Thomas Wedgwood (1771-1805) and Nicéphore Niépce (1765-1833), had captured shadows on paper much earlier but failed to find a way to prevent the images from darkening over time.

In 1840, Talbot observed that if he coated his light-sensitive paper with silver iodide instead of potassium, the paper reacted to sunlight within seconds. This significantly sped up the exposure time when capturing images. Talbot also discovered that applying gallic acid to the already exposed paper developed the image into a full-strength negative. The chemical also revived faded negatives.

Talbot’s mother suggested he name the new technique the “Talbotype”, but Talbot was not too keen to name it after himself like his rival Daguerre and the Daguerreotype. Talbot was also hesitant to declare his process to the world, so took out a patent before introducing his invention. In spring 1841, Talbot publically named the process the “calotype” after the Greek word kalos, meaning “beautiful”.

Patenting the calotype caused more problems than it solved because anyone wishing to use the process needed to apply for a licence. Although Talbot received the Rumford Medal of the Royal Society for his photographic discoveries in 1842, he received many criticisms about the way he handled the administration of the calotype licences. Some accused Talbot of hindering the development of photography through money-grabbing schemes, although Talbot did not make much money from patenting his work. Meanwhile, the Daguerrotype became well-established as the principal method of photography.

Attempting to undo the damage to his reputation, Talbot published the first photographic book, The Pencil of Nature (1844). He wrote about potential uses of photography in the future, including portraiture, landscapes, architecture and documentation. The photographs for the publication were taken by Talbot’s former valet, Nicholas Henneman (1813-98), using the calotype process.

Henneman was not the first photographer to adopt the calotype process. Talbot previously licensed the painter Henry Collen (1797-1879) as the first professional calotypist in 1841. Collen subsequently set up the first calotype studio in London where he took one thousand portraits using Talbot’s process. One of his earliest photographs was of Queen Victoria (1819-1901) with one of her daughters.

Talbot set up the second calotype studio, the Reading Establishment, halfway between London and his home at Lacock. Talbot employed Henneman as a photographic assistant, who printed many of Talbot’s photographs. These include a series titled Sunpictures, which featured places mentioned in poems by Sir Walter Scott (1771-1832), and about 7,000 prints for Talbot’s article in the June 1864 issue of the Art-Union Journal. Henneman also developed negatives for other photographers, totalling over 50,000 prints before the short-lived studio closed in 1847.

Talbot continued to experiment with photographic processes for the rest of his career. He was one of the earliest researchers in the field of spectral analysis and investigated the polarization of light. He pioneered the polarizing microscope, which is still used today to identify minerals and chemical elements in rocks. Talbot also studied the diffraction of light using gratings, which led to the discovery of a phenomenon known today as the Talbot effect.

For development purposes, Talbot made the calotype licences free for scientific uses. Using his scientific knowledge, Talbot experimented with microscope lenses, including those used in telescopes, to take close-up images of flowers and insects. These are known as photomicrographs because they reveal details that are usually difficult to see with the naked human eye.

Whilst the development of photography took up a great deal of Talbot’s time, he still enjoyed his family and political life. His wife, Constance, encouraged his photographic exploits and became the first woman to take a photograph, but she also wanted to focus on raising a family. Talbot began to distance himself from politics during the 1840s, despite being made High Sheriff of Wiltshire by Queen Victoria in 1839, so he could spend time at Lacock with his young children.

Talbot and Constance had four children, Ela Theresa (1835-93), Rosamond Constance (1837-1906), Matilda Caroline (b. 1839) and Charles Henry (1842-1916). Matilda was the only child to marry and provide Talbot with grandchildren, John Henry (b. 1861), Constance (b. 1863) and Matilda Theresa (1871-1958). The youngest granddaughter lived at Lacock, eventually selling the Abbey and village to the National Trust.

Due to Talbot’s passion for photography, Lacock Abbey became the first widely photographed building. Talbot often asked his family and workers to pose, but when no one was available, he took still-life shots of the many statues and ornaments around the estate. As he got older, Talbot began to spend less time at Lacock, preferring to stay in Edinburgh, where his daughter lived with her husband, John Gilchrist-Clark (1830-82) and her children.

In 1863, Talbot received an honorary doctorate from Edinburgh University. As well as a photographer and scientist, Talbot was a geologist, mathematician, botanist, astronomer and classicist. He also helped decipher cuneiform, an ancient Assyrian form of writing, which he wrote about in eight books and over 100 articles.

After a lifetime of achievement, albeit not always recognised, William Henry Fox Talbot passed away in his library at Lacock on 17th September 1877. He is buried in Lacock village cemetery along with several members of his family. Whilst not many people know about his contribution to photography, the National Trust is attempting to change that with a museum dedicated to his work at Lacock Abbey.

Although Louis Daguerre usually takes the credit for the invention of the photograph, Talbot improved the process by developing the negative, which until the introduction of digital cameras, was a vital part of photography. Talbot’s contribution to science helped shape the future, but he also helped preserve the past. Through careful upkeep, much of Lacock appears as it did during Talbot’s time, almost as though he captured it as a photograph for posterity. Lacock is now a place of historical interest and is popular with filmmakers of period dramas. As Talbot’s granddaughter, Matilda, said, “I have a pleasant feeling that Lacock is rather like a tree which will go on growing, even if most of the people that sat under its shade have moved on to another world.”


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Lacock Abbey

Situated in the county of Wiltshire in South West England is a village that time forgot. Used as a backdrop in many period dramas, Lacock has a history that dates back around 800 years. Originally belonging to a nunnery at Lacock Abbey, followed by its subsequent owners, the village is now almost entirely owned by the National Trust.

Lacock Abbey was founded by Ela, Countess of Salisbury (1187-1261), in 1232 during the reign of Henry III (1207-72). The village predates the nunnery by several hundred years and is recorded in the Domesday Book as the property of Edward of Salisbury, Ela’s great-great-grandfather. The name derives from the Saxon word lacuc, meaning “little stream”, which references the nearby Bide Brook.

While under the ownership of the Abbey, the village inhabitants paid their rent by work and goods, such as hay, corn, hides and fleeces, which were collected in the old Tithe Barn. Lacock Abbey soon became known for its wool trade and owned a flock of 2,000 sheep by 1476. Many village tenants were responsible for shearing the sheep and washing the wool ready for trading. In 1539, Lacock was prosperous enough to be called a town by Henry VIII‘s (1491-1547) dissolution commissioners.

Lacock continued to thrive under the various owners of Lacock Abbey throughout the 16th and 17th centuries. The London to Bath road helped bring in more trade, which financed improvements to buildings in the village. Despite being made up of four roads, Lacock opened seven alehouses in the 1620s, of which only four public houses remain. The village also owned a “blind house”, where drunkards were left to sober up.

Despite Lacock’s early success, the Industrial Revolution during the 19th century took trade away from manual workers, replacing them with mechanical factories that could produce wool and other products at a quicker pace. The lack of a railway also reduced trade significantly. Without any money, the modernisation of the village ceased, and some inhabitants sought employment elsewhere. The landlord at the time, William Henry Fox Talbot (1800-77), tried to help his tenants and persuaded Parliament to sponsor a few to emigrate to Canada. Many of the remaining inhabitants ended up in the village poorhouse.

Talbot did his best to support his remaining tenants and established a new school in 1824, which still thrives today. Many people continued to work in the fields, and children occasionally left school early to help their fathers during haymaking season.

As time passed, the villagers set up local businesses in their cottages. These included four grocers, four bakers, two blacksmiths, a draper, a tailor, and a luxury goods store. Several men also worked as carpenters, masons, undertakers and plumbers. Between 1927 and 1966, Lacock had a postman named Harry Potter, who worked six days a week. Coincidentally, parts of Lacock and the Abbey became film locations for the famous film franchise Harry Potter (2001-2011).

Lacock has had a church since the Norman occupation of the 12th century. Although it was rebuilt around 1450, the church retains its Norman dedication to Saint Cyriac. According to legend, Cyriac was a three-year-old child killed by the governor of Tarsus in AD 303. His mother, Julitta, attempted to flee with her son from Christian persecutors but did not make it far. While his mother was being tortured, Cyriac scratched at the face of the governor holding him captive, who subsequently threw Cyriac down the stairs. Julitta refused to weep for her son; instead, she rejoiced that he had earned the title of a martyr. Angry with this reaction, the governor put Julitta to death.

Until 1962, St Cyriac’s Church was the home of the Lacock Cup, “one of the most significant pieces of secular English medieval silver” from the 15th century. Although it was intended for feasting, its purpose changed after the English Reformation in the 16th century. The church used it as a goblet to hold enough communion wine for the congregation. Previously, churches used cups decorated with religious imagery, but these were deemed too Catholic by Henry VIII.

Due to the Lacock Cup’s age and rarity, St Cyriac’s Church lent it to the British Museum for safe keeping in 1962, where it remains on display today. In 2013, the church needed significant money to maintain and restore the building, so they officially sold the cup to the British Museum and Wiltshire Museum for £1.3 million. The Wiltshire Museum agreed the Lacock Cup could remain at the British Museum in London but had a replica made for themselves and another for the church.

Visitors to Lacock may recognise some buildings and streets from period dramas, including Pride and Prejudice (2005). Whilst Lady Catherine de Bourgh’s Rosings was filmed at Belton House, parts of Mr Darcy’s Pemberley were filmed at Lacock Abbey, and the Bennets shopped in Lacock, which was renamed Meryton for the duration of the show. For the 2007 show Cranford, Lacock became an 1840s village with earth spread over the tarmac and a false facade erected in front of the Red Lion inn.

Other television shows and films recorded at Lacock include Downton Abbey (2015 and 2018), Mariah Mundi and the Midas Box (2012), Wolf Hall (2015), Beauty and the Beast (2017), and two Harry Potter films. One quaint building in the village appeared in Harry Potter and the Philosopher’s Stone (2001) during a flashback scene about the death of the titular character’s parents. More iconic scenes were filmed at Lacock Abbey, which was also used as a setting for Harry Potter and the Chamber of Secrets (2002) and Fantastic Beasts: The Crimes of Grindelwald (2018).

The Abbey Cloisters became corridors of Hogwarts School of Witchcraft and Wizardry on several occasions. Several rooms also became the Potions and Defense Against the Dark Arts classrooms. The Cloister originally ran around an 80-foot open square, but the west corridor later became part of the servants’ quarters. The medieval plaster still contains traces of wall paintings, such as the head of Saint Christopher carrying the Christ Child, which is visible in the Chaplain’s room off the South Cloister. There is also evidence of 15th-century graffiti signed Johan fecit hoc (John did this).

Restoration work in the 1980s uncovered other faded paintings, including a kneeling nun receiving the blessing of a bishop. The mural dates back to the early 15th century when Agnes Frary (1429-45) was the Abbess. Only the silhouettes of the two figures remain, but people assume the bishop is Saint Augustine of Hippo (354-430 AD), the founder of the Augustinian Order.

The first Harry Potter film used the Chapter House as the location of the Mirror of Erised, in which Harry saw his parents reflected back at him. The nuns met in the Chapter House to read a passage from the Rule of St Augustine. Written around 400 AD, these rules served as an outline for religious life in a community and emphasised chastity, obedience and charity.

Following the Dissolution of the Monasteries, Lacock Abbey came into the possession of William Sharington (c.1495-1553), an ambitious Tudor courtier who converted the building into a large house. Despite having three wives, Sharington had no children, so Lacock Abbey was passed on to Sharington’s brother, Henry (1518-1581). Henry entertained Queen Elizabeth I (1533-1603) at the house during her visit to Lacock in 1574, earning him a knighthood.

Following Sir Henry Sharington’s death in 1581, Lacock Abbey became the possession of his daughter Olive (d.1646), the wife of John Talbot of Salwarpe (d. 1581). Their eldest son, Sherrington, predeceased his mother by four years, so Olive’s grandson, Sherrington Talbot the Younger (d.1677), inherited the Abbey instead. Sherrington Talbot was a Royalist and was forced to give up Lacock Abbey to the Parliamentary forces during the Civil War. Fortunately, his younger brother Gilbert, a founding member of the Royal Society, managed to claim back the Abbey after the restoration of the monarchy. Gilbert died unmarried, so Lacock Abbey was passed on to the eldest son of Sherrington Talbot, John (1630-1714).

John Talbot only had daughters, so on his death, the Abbey became the home of his eldest grandson, John Ivory, who added the name Talbot to his name. During the 58 years he lived at the Abbey, Ivory Talbot made many changes to the building before passing it on to his son, John. Unfortunately, John died six years after inheriting Lacock, so it was passed on to his sister Martha, the wife of Reverend William Davenport (not to be confused with the fictional vicar in the television series Granchester).

When Martha died in 1790, her son, William Davenport Talbot (1764-1800), inherited the estate. As a soldier, Davenport Talbot racked up many debts and left his wife and young son penniless after his death in 1800. His widow, Lady Elisabeth Fox-Strangways, moved out of the Abbey and let it out until she remarried to Captain Charles Feilding in 1827. The Captain, later an Admiral, helped bring the estate out of debt and made it into a comfortable home for his stepson, William Henry Fox Talbot, the Victorian pioneer of photography and the inventor of the negative.

Lacock Abbey subsequently passed on to Fox Talbot’s son Charles in 1877, who left it to his niece, Matilda Gilchrist-Clark (1871-1958), who gave it to the National Trust. The house remained inhabited by Matilda’s great-nephew and niece until they died in 2002 and 2011. Since then, the house has become a museum of Lacock Abbey’s rich and varied history.

Most of the rooms at Lacock Abbey are open to the public, although access may depend on the number of volunteers available on the day. One notable room to see is the Blue Parlour, which William Henry Fox Talbot used as a library. The walls were painted blue by his grandaughter Matilda when she inherited the Abbey in 1916, which she believed to be very similar to its original colour at the beginning of the 19th century.

The desk in the Blue Parlour is known as a Carlton House desk. It was first made for the home of the Prince Regent in around 1825. Allegedly, the desk was given to Lacock Abbey by Queen Victoria (1819-1901), who wished to pay off the gambling debts incurred by her father. Also in the room are several items and books that allude to Fox Talbot’s studies. Lacock has a collection of almost 4,000 books that span from the late 13th century to the 20th century.

The South Gallery, which served as a corridor between the nun’s dormitory and the chapel, became a family sitting room during Fox Talbot’s time at Lacock Abbey. Guests frequently filled the long room for evenings of entertainment, which included poetry, singing and piano music. Situated next to the piano is an Angel harp made by the French instrument maker, Sébastien Érard (1752-1831). A photograph, presumably taken by Fox Talbot, shows his half-sister Horatia Feilding (c.1809-51) playing the harp. 

Fox Talbot enlarged the South Gallery by adding three oriel windows, which let in plenty of light and provided views across the land. One of these windows played a significant part in the development of photography.

Although Fox Talbot and Louis Daguerre (1787-1851) both lay claim to the invention of photography, Fox Talbot is credited for the development of the camera negative. In August 1835, Fox Talbot set up his camera in the South Gallery, pointing at one of the oriel windows. Although it took much longer to produce than a simple click of a button, the result was the first negative photographic image. Whilst the negative reversed the light and dark tones of the image, it captured the 200 diamond-shaped panes of glass in the window.

At one end of the South Gallery is the Dining Room, which John Ivory Talbot decorated in the Palladian style. The doors are set in cases with curved brackets and triangular pediments. The fireplace also features Palladian characteristics. Family meals were usually eaten here until Matilda converted it into a ballroom. The National Trust has since returned the dining table to the room to make it resemble the space where previous owners ate in relative privacy.

When John Ivory Talbot moved into Lacock Abbey, he immediately hired the architect Sanderson Miller (1716-80) to rebuild the “horrid” Tudor hall. At Ivory Talbot’s request, the barrel-vaulted ceiling was painted with 45 heraldic shields. Miller salvaged glass from the nunnery to use in the windows and designed the Gothick cornice and canopied niches. Austrian modeller, Victor Alexander Sederbach, produced several terracotta sculptures for the niches.

Many of the terracotta sculptures pay homage to the nunnery. Above the chimneypiece, a statue of Abbess Ela stands with her two granddaughters, who also served as nuns. Another statue is William Longespée (1156-1226), Ela’s husband. When Longespée died, Ela decided not to remarry and devoted herself to God instead. Longespée’s father was King Henry II (1113-89), who also stands in one of the niches, as do two of his grandsons, Ela’s children. The statue that stands out to most visitors is a man and goat, upon whose nose rests a sugar lump. A student staying at the Abbey in 1919 positioned the sugar lump as a prank, but Matilda found it so amusing that she insisted it remain there, replacing it with a fresh lump when necessary.

Outside the Abbey is an extensive parkland, with several gardens and beds of flowers that bloom at various times of the year. For the nuns, the land provided food and a peaceful sanctuary. For the subsequent inhabitants, it became a space to enjoy and escape the hustle and bustle of towns and cities. The gardens are still carefully maintained for visitors to explore.

Lacock Abbey is open daily for paying visitors and National Trust members. In addition to the Abbey, there is a museum about William Henry Fox Talbot, which documents his life and experiments with photography. Lacock Village is open from dawn to dusk, with several shops selling local products. Visitors need to be mindful that people live in the village and must not trespass on private properties.

For more information about visiting Lacock Abbey, go to the National Trust website.


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