June Weekend - 4

Helen MacEwan writes -

Coming back to reality (and the office) after a weekend in Haworth, I think I know something of what the Brontë siblings must have felt on returning to their teaching duties after a holiday at the Parsonage, exchanging literary enthusiasms on moorland walks!

It is of course not just the organised events, good as they are, that make the Brontë Society's June AGM weekends so memorable and bring members back year after year. It is the combination of the setting - Haworth and the rolling moors around, with long summer days to walk on them - and the opportunity to meet lots of other members. It may not be the best weekend of the year for communing in solitude with the spirits of Charlotte or Emily, but no-one who welcomes the chance to talk over Brontë passions with like-minded enthusiasts on café terraces in Main Street, in the lounge bar of the Old White Lion or while striding over the moors, should miss the June AGM.

Brontë Society members are such a varied lot, coming from such a range of ages, nationalities, occupations and backgrounds. Some grew up in the area, others run overseas branches of the Society at the other side of the world, in America or Australia. Some were brought to the Parsonage by creative projects requiring research (I met a choreographer who has created a ballet about the Brontës and a playwright who's written a play about them). Each member has his or her specific interest or story to tell. There's the lady who has a Brontë room in her house, and the member who's amassed a collection of around 500 Brontë-related books over the years. I spoke to couples who had met through the Society and people who'd formed some of their best friendships with other members.

The 2007 AGM weekend followed the usual pattern. By Friday evening the Haworth Bed and Breakfasts were bursting at the seams. The meat of the weekend was on Saturday, with a morning lecture, a garden tea party, the AGM itself, and a discussion on "Brontë lives" by the biographers Juliet Barker, Lyndall Gordon, Rebecca Fraser and Edward Chitham (biographer of Anne). Barker, Gordon and Fraser told the audience why they had believed that new lives of the Brontës were necessary. They had all wanted to demolish myths and stereotypes created by previous biographers, starting with Mrs Gaskell. Juliet Barker, who had approached her subjects as a historian rather than an English literature expert and chosen to write about the whole family instead of an individual member of it, had in particular set out to correct the stereotypes of Patrick, Branwell and of course Haworth itself.

The programme on Sunday was lighter: readings in the morning and an afternoon walk on the moors, followed by a film. Interestingly for Selina Busch and myself, as representatives of the Brussels group, the readings this year included a substantial Belgian component: one of Emily's Belgian essays and William Crimsworth's first impressions of Belgium in The Professor.

The 2008 AGM will be held over the weekend of 7 - 8 June.

Below, tea at Ashmount -

June Weekend 3

Thanks, Selina, for this picture of the four members of the biographers panel on the Saturday evening. From the left we have Lyndal Gordon, Edward Chitham, Justine Picardie, Rebecca Fraser and Juliet Barker.

June Weekend 2

Selina Busch writes:

For those who weren’t there, here are my recollections of the Brontë Society AGM I attended last weekend.

I had been looking forward to it so very much, not having been there last year; I have attended several AGM events in previous years and come to know and love so many friendly people. It was mainly because of the people I wanted to go back to Haworth, and to my beloved England.

When the bus from Keighley slowly approached the Haworth valley, and I saw the village appear on the horizon, I knew I would soon be at my favourite place; my ‘home from home’.

I felt terribly excited and happy to be back again, having last seen it two years ago; but at the same time, it was all so familiar, it seemed I had seen the pleasant rolling hills and walked the cobbled Main Street only the day before…

Friday kicked off at 2.00 pm with an interesting and entertaining talk by Victoria Glendinning, called Writers and their Houses. She discussed how the research of biographers and the curiosity of us readers makes us want to know all about the private lives, including the homes, of our favourite writers. Since the unromantic reality frequently fails to satisfy our curiosity and preconceptions, we hope to get closer to the creative origin of the fictional world of the writer by visiting their homes, now often turned into museums or owned by the National Trust. She dwelt in particular on the special atmosphere of the Brontë Parsonage, how small it is, and on Haworth.

In the evening, the AGM weekend saw its first Book Auction. A private collection, by Brontë society member Arthur B. Walker who died last year, was being auctioned and anyone who was interested could bid for books. My M. Heger, Brian Speak, with whom I did readings from Villette when he came over to Brussels in April, bought a lot of items; he told me he collects Brontë books. I only bought two, but I’m very pleased with my purchases. (Emily Brontë, by Winifred Gerin and The Brontës and their Background: Romance and Reality, by Tom Winnifrith)

The following day saw the usual Saturday programme of a lecture, church service, tea at Ashmount and the AGM. The lecture this year was given by Scottish professor Douglas Gifford, and was called: Border cousins: James Hogg and Emily Brontë.

James Hogg made his reputation in 1824 with his popular novel The Private Memoirs and Confessions of a Justified Sinner (a gothic novel about religious mania with a psychopathic hero). Gifford explored the thesis that Emily, who would surely have read his work, took inspiration from characters of folklore, such as the ‘Brownie’, for the creation of Heathcliff.

This year is the 150th anniversary of Mrs. Gaskell’s Life of Charlotte Brontë, and during the annual service in the Parish Church, we were treated to an excellent address by Patsy Stoneman about the enormous impact of this ‘novel-like’ biography, and some readings of the book by Jean Bull. Afterwards we had a pleasant afternoon tea at Ashmount, made even more agreeable by the lovely weather we had been blessed with all weekend, and the setting of the beautiful garden. Time passed by very quickly, as it always does on this busy day, and we had to rush off to the AGM, which started at 4.30. It was, on the whole, business as usual, but some eyebrows were raised with regard to the Society's continuing financial deficit and the new development plans, with seemed to cause concern to some members.

I had been looking forward all day to the evening programme, which I anticipated would be the highlight of the weekend. At 7.30 we were gathering in the West Lane Baptist church once again (all the comfy chairs were quickly occupied!) for a panel discussion chaired by Justine Picardie, featuring some big names in the Brontë biography world: Lyndall Gordon, Edward Chitham, Rebecca Fraser and Juliet Barker, no less, were all present at the table.

These great biographers, whose works I have read, discussed their first recollection of reading Mrs. Gaskell’s Life. We heard what new grounds, left untouched by Mrs. Gaskell, they wanted to explore, and what impact this important biography had and continues to have on subsequent biographers. The question time after the discussion ended with the very good question “What would have happened if Mrs Gaskell had NOT written the Life, and who did the panel think might have written the first biography of Charlotte Brontë?” They all had their own interesting and daring ideas, which set us thinking in our turn. The whole evening had been full of exhilarating and thought-provoking ideas and views. As far as I was concerned the talk could have been allowed to go on even longer. Open forum discussions have proved to be very popular in recent years, and this was no exception. There can’t be enough of this kind of events, where individual members have the opportunity to voice their own thoughts about the Brontës.

Afterwards, I somewhat nervously approach Juliet Barker, introduced myself and told her about our new Brussels group. She said it sounded like a very good idea. I suggested she look at our website and the report on our group in the BS Annual Report....

Readings also are one of my favourite events, as the original work still speaks volumes, and on Sunday morning Angela Crow hosted readings from the Brontës, read by Ian and Catherine Emberson, Robert Barnard, Helen Newman, Richard Wilcocks and Alexandra Lesley, who helped to transport us to another world.

Sadly, this was the last event I was able to attend; I was unable to join the others on one of the walks organised in the afternoon since I had to catch my plane back to the Netherlands.

It had been a whirlwind of emotions for me, full of discussions, readings, talking to friends, listening to people, looking, exploring, thinking…

Pure exhaustion, once back home, seemed like a very fair price to pay after such a brilliant weekend!

* more on the June Weekend soon...

James Hogg (The Ettrick Shepherd) below -

Another auction

Ann Dinsdale from the Parsonage is looking carefully at the Christies catalogue for the auction in London on July 3. One of the items is a letter from Charlotte Brontë. The recent book auction in Haworth is now well and truly eclipsed.

Albin Schram appears to have been a secret collector of mythical proportions. Perhaps Emily’s lost novel will one day be found in the attic (or laundry room) of someone like him.

A conscripted Wehrmacht soldier, he escaped from a Russian POW camp in Königsberg, East Prussia, just after the end of World War Two, walked home to Vienna to join his family, became a banker, then settled down in Switzerland.

His collection also includes a letter from Napoleon to Josephine, a letter of condolence from John Donne to Lady Kingsmill the day after the death of her husband dated 1624 and one from John Calvin about a friend’s suicide dated 1545. The charming, white-haired Herr Schram was known to auctioneers simply as ‘Henry” and was famous for his stubborn bidding style.

The full story can be found at the Telegraph site - www.telegraph.co.uk/news/main.jhtml?xml=/news/2007/06/04/nlets04.xml and on Bronte Blog - bronteblog.blogspot.com/2007/06/letter-by-charlotte-bront-found-in.html and on Swiss Info - www.swissinfo.org/eng/front/detail/Filing_cabinet_in_Lausanne_opens_its_secrets.html?siteSect=105&sid=7892336&cKey=1180974178000

Below – Albin Schram

June Weekend - 1

I used to go to furniture auctions, where most of the buyers and sellers were known to the auctioneer and it was dangerous to scratch your nose, because you might end up with a worm-eaten table you didn't need. The auction last Friday evening was different.

All of the Brontë-related volumes came from the library of the late Arthur D Walker, all of them had his label (with a catalogue reference) on the inside cover, and all the money raised went to the Brontë Society. Each person present was issued with a laminated piece of paper with a number on it, to be raised when a bid was made.

Most of the books went for between ten and twenty pounds - a little bit too much for some of them (who cares - all for a good cause), and some were bargains. Others, worth hundreds, were beyond the reach of anybody present - like the second edition print of Elizabeth Gaskell's Life of Charlotte Brontë.

Of course, most of those present had a fair number of the titles at home. There was a slightly embarrassing pause when a copy of Rebecca Fraser's Charlotte Brontë came up, because at first nobody made a bid, and its author was sitting at the back. Eventually she called out an offer for ten pounds, and there was laughter. It went for twenty.

What did I buy? I was outbid for a couple of items which would have plugged gaps or replaced what I have lent out and never had returned, but I ended up with Companion to the Brontës (Barbara and Gareth Lloyd Evans), Charlotte Brontë The Evolution of Genius (Winifred Gérin) and The Brontë Sisters (Ernest Dimnet)

Earlier in the day I had listened to a lecture on writer's homes by Victoria Glendinning (pictured below) - brilliantly entertaining, with insights into her working methods. It is absolutely necessary for a biographer to travel, to soak up atmospheres and appreciate ambiances, to walk slowly around houses, to poke around in garden sheds. She was particularly eloquent about Monk's House in Rodmell, East Sussex, home of Virginia and Leonard Woolf for many years. For much of their stay it did not have gas or electricity, and a little stream ran through it from front door to back door during wet weather. It was very isolated from the metropolis, and Leonard had to go to Lewes for basic necessities like coffee.

George Bernard Shaw's house in the Hertfordshire village of Ayot St Lawrence, near Welwyn, she described as a no-nonsense rectory, the interior plain "which is fitting for such a cerebral man". Jonathan Swift's house in Dublin she described as particularly full of atmosphere, hardly changed inside since his day, but in a different landscape because all the narrow streets and old courtyards which used to surround it have disappeared. She could imagine the "hyperactive" writer running up and down the wooden stairs until he was completely exhausted.

She wondered about the necessity of some of the rearrangements and reconstructions which have been undertaken in many famous writers' houses - the National Trust has finally stemmed the flow of water through Monk's House, for example - and brought the audience back to the Brontë Parsonage Museum.

From Simon Warner

Dear Richard,

I thought it would be interesting for your bloggers to read something about the Cornelia Parker talk at the National Portrait Gallery:

There was a turnout of over 100 art-lovers for Cornelia Parker's talk at the National Portrait Gallery on 26 April. Her presentation was specifically about Brontëan Abstracts, the exhibition produced for the Parsonage last autumn. The curator of talks introduced Andrew McCarthy who gave a spirited introduction to the Parsonage and the Contemporary Arts Programme that Cornelia's project kicked off.

Following an illustrated presentation by the artist herself, she was joined by writer Deborah Levy for a conversation about the inspiration behind the work and the methods she used to pursue different aspects of Brontë mythology.

Cornelia was especially eloquent about her unfulfilled ambition to implant strands of the Brontë Sisters' hair into Nelson's (the Duke of Brontë's) hair on Nelson's Column in Trafalgar Square. She felt this was an art intervention whose time has perhaps not yet come. (See this blog's archive to find Cornelia's full account of this)

I was struck overall by how much work she put in to Brontëan Abstracts - not just the electron microscope investigations, but the close-up photographs of the Jane Eyre manuscript, the Plymouth interview with Phyllis Cheney which I filmed for her, and the psychics' visit to the Parsonage. There were other enquiries too that were not followed up for the exhibition, such as the forensic tests offered by West Yorkshire Police on items of Brontë linen.

It was obvious from the talk that Cornelia Parker sets great store by her Brontë work, and will ensure that it is shown more widely. This can do nothing but good for the reputation and attraction of the Parsonage Museum. The project also shows the wealth of possibilities open to other artists as the Contemporary Arts Programme moves forward.

Simon Warner

Collecting Place Images

You can go to the special weblog set up for the Collecting Place project at www.thecollectingplace.blogspot.com to see progress reports, pictures and comments. You can even offer your own contributions by emailing photos@simonwarner.co.uk

Here are some further images anyway....

The Collecting Place

"The Brontës," says the Parsonage's Deputy Director Andrew McCarthy in the foreword to the handsome Brontë Society publication which accompanies The Collecting Place, "were all intensely interested in the visual arts. As children, their imaginations were shaped not only by the written word but also by visual images."

He goes on to mention Edward and William Finden's engravings from Byron's works, the miniature woodcuts of Thomas Bewick and the apocalyptic landscapes of John Martin, all of which influenced the Brontës and helped shape the people and places that feature in their early writings.

Simon Warner, the lens-based artist (he doesn't really mind being called a photographer) whose pictures can be found in so many illustrated books and calendars with a Brontë or a Yorkshire connection, undermines all clichés..... and there are plenty when it comes to the Brontës and Yorkshire. Somehow, most of his images have a subtle freshness about them.

In The Collecting Place, described as 'Literary Landscape through a Camera Obscura', the results of a photographic collaboration between himself and sight-impaired young people from Bradford which is at the Parsonage until 11 June, he gets near to the old magic of photographic image-making, the sort of magic which some long-lost tribe might believe in when it sees images of its own people for the first time and believes their souls to have been captured.

The project lasted for a highly creative six days over Easter. "I think we all felt a sense not just of belonging but of contributing to this wild cultural landscape, adding another chapter to its rich visual and literary history," writes Simon Warner before presenting a full history of the camera obscura (Chinese philosopher Mo-Ti mentioned it in 500BC) and an explanation of the workings which would sound impressive issuing from the mouth of a Physics lecturer.

Simon Warner is represented in Alchemy (2006 - 7), an Arts Council England touring show in which twelve contemporary artists explore the essence of photography. His contribution Lavater - The Shadow of History takes the form of a performed magic lantern lecture with photo-chemical demonstrations.

Creative connections between past and present are at the heart of the Brontë Society's contemporary arts programme. "We aim to undermine familiarity with the Brontës and stimulate new thinking about this remarkable creative family," comments Andrew McCarthy.

This collaboration is undoubtedly remarkable and might be unique. I would like to hear of anything similar. If you can make it to Haworth in the next week or so, get to see it, because you will be impressed.

Soon - a supplementary post containing more images.

June weekend approaches

This Friday, a couple of hundred members of the Brontë Society, mainly from the UK but with delegations from overseas, will be in Haworth for an annual series of events which will last until Sunday evening, with excursions on he Monday and the Tuesday of next week.

On Friday evening, a Jazz trio will play in the Parsonage Meadow and an auction of Brontë-related books will be held by Andrew McLauchlan.

On Saturday, the Annual lecture at 11am will be given by Professor Douglas Gifford from Edinburgh, who in addition to his university work is Honorary Librarian of Walter Scott’s Library at Abbotsford and Director of the Abbotsford Library Research Project Trust. The AGM (chaired by Society President Rebecca Fraser) will be at 4.30pm, then at 7.30pm there will be a panel discussion featuring the Brontë biographers Juliet Barker, Edward Chitham, Rebecca Fraser and Lyndall Gordon, chaired by journalist and author Justine Picardie.

Sunday begins with Coffee and Cadence, with readings by Robert Barnard, Angela Crow and Richard Wilcocks, followed by walks in the afternoon. In the evening there will be a showing of the film Cold Comfort Farm.

Haworth clampers

Over the past few years, car clampers have made quite a reputation for themselves in Haworth.


I have appeared on BBC Look North in the past (three years ago) deploring the situation, and have added my voice to many others more recently:


The activities of Carstoppers have little to do with parking control and everything to do with making an excessive profit from tourists to Haworth. The company's activities, especially its aggressive working methods, have been very damaging for both local traders and for the Brontë Parsonage Museum: quite clearly some tourists are staying away because they do not want their cars clamped for trivial or ridiculous reasons.

I would like to appeal to all those viewers who have said they will stay away from Haworth to reconsider their decision. It is possible to avoid car parks owned by Ted Evans. Please try parking in the Brontë Parsonage car park, which is owned by Bradford - or perhaps walk up from the railway station. The Brontë Parsonage Museum is at the heart of a wonderful village and is well worth visiting in spite of the antics of Carstoppers.


Richard Wilcocks
Chairman of the Brontë Society

Update (2016) - here is some police advice:

It is a criminal offence to clamp/block/tow away a vehicle on private land without lawful authority. Lawful authority to immobilise or move a vehicle is restricted to a number of organisation such as the police, DVLA and local authorities.

Privately owned land includes car parks, such as those at retail parks, whether or not there a fee is payable in order to park there (not local authority run car parks).


To commit this offence a person must intend to prevent the owner/driver from moving their vehicle. Therefore, clamping your own car to prevent theft would not be an offence. No offence would be committed where a driver was prevented from leaving a car park because the vehicle's exit was blocked by a fixed barrier. 

Engaged at the Parsonage

This is from a recent press release by Diane Kay:

‘Reader I married him. [..] All my confidence is bestowed on him,
all his confidence is bestowed on me. […] To be together is for us to be free.’
Jane Eyre by Charlotte Brontë

Staff at the Parsonage have seen a rush of engagements recently with earnest chaps going down on one knee at the door to the world famous home of the Brontë family in Haworth to ask for their girl's hand in marriage.

The family home of the Brontës has been a magnet for enthusiasts for many years with visitors enjoying a taste of what life was like in the 1800s for Charlotte, Emily and Anne. The romance created in their books draws courting couples from across the globe wishing to create their own piece of Brontë magic.

One such couple from Oxfordshire chose the Parsonage as the perfect setting for this important romantic gesture. Ben Heather proposed to his girlfriend of three years on the Parsonage steps and thankfully got a positive response!

Holly Simpson said yes on the couple’s third anniversary. Ben chose the Brontë home because of Holly’s interest in their novels through her studies in English, Media and Creative writing at the University of High Wycombe in Buckinghamshire. One of her favourites is Wuthering Heights.

Ben said, “Holly knew nothing at all about it so was very surprised. She started to cry the minute I pulled out the ring. We would like to thank everyone at the Parsonage for their hospitality and kindness, and for the wonderful gift we received on the day.

"I'm very sure we will be back in the future, as the museum will hold a special place in our hearts and memories. No date has been set for the big day as we both still live with our parents and are desperately saving up for a house first, then we will save up and sort out the big day, hopefully in a couple of years.”

Holly is currently finishing her final year at University and writing her dissertation which is on women's writing before, during and after women's emancipation and women's battle to get published. The Brontës were an inspiration.

John Joubert's song cycle

Brontë Society member Ian Emberson has told this blog that there is a new CD out which includes John Joubert's song-cycle Six Poems by Emily Brontë. The performers are : Lesley-Jane Rogers ( soprano ) and John McCabe ( piano ).

Full details as follows : John Joubert Four Song-Cycles Toccata Classics - TOCC 0045 - £13.99

Toccata Classics can be phoned at +44 (0)207 821 5020 or emailed at info@toccataclassics.com

John Joubert is pictured below

Birthplace auction

Barbara Whitehead, owner of the Brontë Birthplace in Thornton, wants it to be known that it is to be auctioned by Eddisons on 21 June. The website is at www.eddisons.com

The auction will be held on 21 June 2007 in the Banqueting Suite of the Leeds United Football Club at Elland Road in Leeds. I am told that the catalogue is still being prepared. If you want one, phone Eddisons at the Leeds office with your details: +44 113 243 0101

The guide price is 200,000 pounds

Page 99 test

Marshal Zeringue writes:
I edit a books blog that has recently run a couple of items that may be of interest to members of The Brontë Society.


The Page 99 Test invites authors to look at page 99 of their books at see if it faithfully represents the entire work. This "test" was inspired by Ford Madox Ford's observation, "Open the book to page ninety-nine and read, and the quality of the whole will be revealed to you."


Leading scholars are also invited to apply the test to classic works.


Recently, Wuthering Heights and Jane Eyre made appearances on the blog.


See Patsy Stoneman's take on Wuthering Heights at http://page99test.blogspot.com




Thank you for your attention.

'Who were the Brontës?' exhibition opens

Emma King - whose photo appears below - was primarily responsible for the new exhibition at the Parsonage which hopes to tackle some of the commonly held myths and perceptions about the lives of the Brontë family head-on when it opens to the public today for two years. It was officially opened yesterday evening by Chairman of the Brontë Society Richard Wilcocks, who described it as "excellent and very accessible".

He went on to talk briefly about the enduring mythic power of some of the characters created by the Brontës, one obvious example being the 'madwoman in the attic' created by Charlotte. This Bertha, or perhaps Antoinette, was still intriguing and influencing creative spirits like, for example, the theatre director Polly Teale, who had made her a central character in the Shared Experience play Brontë.

He chose Branwell as the member of the family who was often perceived as merely a drunk and a drug-taker who couldn't hold down a job. "He definitely had talent," said Mr Wilcocks before reading an excerpt from a poem written in Branwell's despair over the end of his secret relationship with Lydia Robinson. He then read lines which Branwell had written to be set to music, adding, "Branwell was the equivalent of the boy today who gets the wrong advice after finishing high school: I am sure he could have been a successful musician."

Visitors to the Museum will be taken on a journey of discovery and invited to interpret the evidence for themselves through the fascinating collection of objects, drawings, letters and hair samples of the Brontës, to arrive at their own conclusions to some fundamental differences between reality, fiction and established Brontë myths.

The lives of the Brontës have inspired many hundreds of biographies, novels, films and plays and Curator of the exhibition, Emma King, believes many of the stereotypical ideas of Charlotte, Emily and Anne Brontë are at least partially or wholly untrue. She said, “The popular story says that the Brontës lived a remote, rural life. It describes three sisters who lived in poverty with a distant father and unfriendly aunt. Their brother drank away the family money, forcing them to work. Yet before their tragic, early deaths they each wrote novels that would become famous around the world – the story is an attractive one, but not entirely true. This exhibition hopes to challenge some of these perceptions."

One of the earliest documented writings about the lives of the Brontës came from Charlotte Brontë’s first biographer, Elizabeth Gaskell, whose manuscript of The Life of Charlotte Brontë, published some 150 years ago, is on display at the Museum until June 2007. Gaskell made the
most of the tragic aspects of Charlotte’s life and her unkind portraits of Charlotte’s father and brother have been accepted as fact. Even 150 years ago, the book was met with libel action and threats of legal action. Mrs. Gaskell vowed never to write another biography, complaining that the book had landed her “in the hornet’s nest”.

The thoughtless critics, who spoke of the sad and gloomy views of life presented by the Brontës in their tales, should know how such work was wrung out of them by the living recollection of the long agony they suffered – Elizabeth Gaskell.

Hopefully, the exhibition will encourage visitors of all ages to decipher for themselves what is the real truth about this unique family with the help of some 21st century technology. New scientific research by The University of Bradford has recently thrown new light on a small part of the Brontë story. Dr. Andrew Wilson, an archaeological scientist at the University, carried out tests on Brontë hair from the museum’s collection for a recent ground-breaking Cornelia Parker exhibition at the Parsonage.

He discovered that the Brontës ate a healthy and balanced diet which was better than that for people living in the East End of London at the same time. The research disproves the myth that their father, Patrick, restricted his children’s
food.

The exhibition is free on admission to the Museum.


Diane Kay

A talk in Milan

Brussels events

Over the weekend of 21-22 April the newly-formed Brussels Brontë Group organised a day of events to coincide with Charlotte Brontë's birthday, for which we were joined by a small group from the Society's London and South-East group led by Margaret McCarthy.

Our members Eric Ruijssenaars, Selina Busch and Maureen Peeck O'Toole (all in the Netherlands) helped to organise similar events for the Society's 1993 and 2003 trips to Brussels.

This time we were guided round the Brontë places by Derek Blyth, a British writer living in Brussels who has written some of the main guide books on the city (his Brussels for Pleasure - 13 walks through the historic city includes a Brontë walk) and is fascinated by some of the unanswered questions about the Brontë places.

The weekend marked an interesting departure from previous Brontë Society events in Brussels. Although the 1993 and 2003 trips were able to benefit from Eric Ruijssenaars' findings on the Pensionnat Heger and Isabelle quarter, this was the first event organised by members actually living in Brussels who could offer our visitors an insider's view and insights.

To his main Brontë walk centred on the site of the Pensionnat, Derek Blyth added a second one, a mystery tour devised especially for our visitors. As soon they arrived we were all whisked off by him to see some spots with lesser-known or speculative Brontë connections, such as the building in front of which Derek thinks Lucy Snowe may have fainted after her visit to the cathedral.

Next day, after lunch on the roof terrace restaurant of the Museum of Musical Instruments with its fabulous view of Place Royale, so often crossed by Charlotte Brontë, and a visit to Chapelle Royale where she worshipped, came the Brontë walk proper. The territory for this one was more familiar but some novel features were incorporated: readings from Villette and from letters by an obliging "Charlotte" in the group, visual aids (old street views, pictures Charlotte saw in exhibitions during her stay), and, again, Derek Blyth's own theories about some of the routes taken by Lucy/Charlotte.

Concentrating in fascinating detail on what is geographically a smallish area, in two hours we covered a lot of ground in terms of the history of Brussels and the background to the Brontës' visit: not only where their English friends lived but the wider British community of the time and its amenities in and around Place Royale, for example.

After a "birthday" tea party and a dinner, the day was rounded off by some Brontë activities: a quiz and readings from Villette by Selina Busch and Brian Speak, introduced by Maureen Peeck.

It was wonderful to have Margaret McCarthy's group with us for this event. We are planning to make this April Brontë weekend an annual event and would love to invite more groups of members to join us in between the big excursions organised by the Society. Is anyone interested for next year?

Helen MacEwan

Below: Reading Villette in a Brussels restaurant and the whole group in front of the Cathedral.

From the Visitor's Book

It was a poem last time - see the archive. This time, here are some of the comments made by visitors in February and March. Thanks to Liz Walton for compiling them. If you wish to add your belated comment after a visit, please email it to hevelius@poriruacity.com

FEBRUARY


NICE COMMENTS:
Still feels like a family home
Very good exhibits and good value
Very professional
This will help me with my school work
The letters were very well presented
Liked the leaflet for children
Family tree was the best bit, it helped with my school work
An amazing, emotional place – not least because Daniel proposed to me upstairs
Well explained and maintained and a wonderful balance of information and preservation
The amount of seats was good – most museums make you tired and you fall down with exhaustion
Kids enjoyed upstairs activities
Best bit – virtual tour
It has inspired me to find out more about the Brontës, and read their books

CONSTRUCTIVE CRITICISM
Would have liked more linked arrows to the place – got lost twice
I loved it, but there were too many noisy schoolchildren
Very interesting and enjoyable, but would have been nice to have a proper tour
Liked it, but could be bigger
Short but interesting
Show a film of the Brontës' lives
It was great fun, but would have been nice to dress up (young girl from Leeds)

OTHER COMMENTS
I am about to read Wuthering Heights at school – seeing Heathcliff and Cathy’s gravestone have kind of ruined it, but I know how Emily was inspired.
The house is big, but the beds very small – why?

MARCH

NICE COMMENTS:
Really interesting, excellent displays and friendly staff
People who work here are friendly and lovely
The numbered rooms are a good idea
I was amazed at how talented as artists they were
Great collection of letters
A wonderful place to show the children (teacher from Huddersfield)
Friendly Pam
I thought there was really good info and liked the Bonnell Collection
Very enjoyable to wander at one’s own pace
Nice and cheery
Exhibition panels clear and readable. Liked layout of rooms and items in them – airy (Visitors from the Wordsworth Trust)

CONSTRUCTIVE CRITICISM
You need to have loos!
More on laptop would have been useful as I cannot always see clearly
Need more text in Spanish
The atmosphere is wonderful – shame some parts have to be ill lit
Original artefacts should be here, with reproductions in the National museums
Would have appreciated guides to answer questions (American visitor)
Bit of classical music/piano?
I was shocked – came many years ago & it was the Brontës' home. The Brontës wouldn’t recognise it. It was stark and cold like the moors – such a disappointment. Where are all the little books, soldiers and Emily’s paintings?
Very impressed by its presentation. Would like to have some interactive presentations to show my students in Pakistan
Poor signs to get here (confusing)
It was great but too short

In the Blood

A large and appreciative audience listened to Andrew Motion yesterday evening in Haworth. In the first half, the Poet Laureate read a number of his poems, one or two dating from his early twenties, others more recent, and extracts from his recently-published In the Blood, subtitled 'A Memoir of My Childhood'.

In the Blood is about growing up in post-war England, and is an evocation of family life, school life and country life. It also tells the story of how these worlds are shattered when his mother suffers a terrible riding accident. It is written from the point of view of a teenager, without the benefit of adult hindsight, capturing the pathos and puzzlement of childhood with great freshness of memory.

The main extract read out in Haworth was about a cricket match in which his father played, against a team called 'The Gentlemen of Essex'.

Questions from the audience occupied most of the second half: Motion spoke about the poets he reads ('More great ancients than great moderns nowadays'), about his opinions on how classic texts are poorly treated in schools and on what he does with the butt of sack given to him each year as payment. Apparently, he hates sherry.

Andrew Motion at the Parsonage

Yet another reminder that Andrew Motion will be coming to Haworth on Wednesday 18 April at 7.30pm, at the invitation of the Parsonage. Contact Andrew McCarthy by phoning 01535 640194 or by emailing andrew.mccarthy@bronte.org.uk if you intend coming.


Here are some preliminary comments:


'Compelling, simple and mysterious' Sean O'Brien Sunday Times


'His voice is unlike any other' Lavinia Greenlaw New Statesman & Society


'Motion is a beautiful lyricist unpretentiously and precisely describing those things worth having even as he casts unsettling shadows across them' Robert Potts The Guardian


Andrew Motion was appointed Poet Laureate in 1999. ‘I see myself as a town crier, can-opener and flag-waver for poetry’ His work has received the Arvon/Observer Prize, the John Llewelyn Rhys Prize and the Dylan Thomas Prize. He is Professor of Creative Writing at Royal Holloway and recently co-founded The Poetry Archive.


During the evening he will introduce his acclaimed autobiography In The Blood A Memoir of my Childhood (Faber), poems old & new and his work as Laureate.


‘Andrew Motion’s childhood memoir In the Blood is funny and spare and honest and clear. He captures perfectly the anxious yet optimistic incompleteness of being young.’ Julie Myerson Independent on Sunday


‘The great value of a memoir such as this is not only its revelation of someone else’s experiences, someone else’s consciousness, but the realisation of how much we share. He does write beautifully, of course, but I expected that; what’s given me even more pleasure is the amber-like quality of his memory, and the things I found myself recalling in sympathy.’ Philip Pullman


‘Deeply engaging … the innocence and the hardness of childhood are beautifully put together ... it’s a strikingly good book, framed by tragedy but full of intense life.’ Helen Dunmore


His website is at www.andrewmotion.co.uk

John Brown's for Easter?

Visiting Haworth at Easter or after? Need a place to stay? In February, this blog gave news of the refurbishment of John Brown's House. Perhaps February was a little early, so here is the item again:

The Brontë Spirit blog - www.brontespirit.blogspot.com - has an item which might be of interest to you: John Brown's House, aka The Sexton's House aka Haworth Church Cottage, can now be booked. Could you get any closer to the Parsonage without camping on the lawn?

Visit the blogsite to find the whole story and the phone number.

Thanks for supporting us

The Friends of the Bronte Parsonage would like to say a big thank you to everyone who supported the St.Patrick's night Ceilidh, their first fundraising event.

Over seventy-five people enjoyed a lively evening of great music from local band Northern Comfort, a tasty supper provided by the Friends and good company. Many local businesses donated prizes for the raffle for which we are very grateful.

The Ceilidh was a great success raising over five hundred pounds for Museum projects and is already being spoken of as becoming an annual event. If you missed it we look forward to seeing you there next year!




Pat Berry
Chairperson, The Friends of the Bronte Parsonage.

What's in a name?

Richard Wilcocks writes:

The last few days have been so hectic that I have not had a moment spare to sit down and put new material on the blog. The new material uppermost in my mind is the news release which I had sent to the local and the national media on Monday, which to my surprise brought more responses than my pessimistic mind had imagined.

It was timed to coincide with the posting of the individual (mail-merged) letters to the managing directors of a selection of companies which use the Brontë name. The response from the locals was immediate: soon I was talking to Clive White from the Keighley News (who did plenty of ringing around and googling for us), chatting on the Radio Leeds breakfast programme, answering emails and grabbing phones with not much space in between.

Today was similar, but I did reserve some special time for my son in London, because this morning I became a grandfather for the first time.

I have browsed through the write-ups so far, and I am generally pleased. I quite liked the Independent's article today in spite of the faces which went with it, but I am not sure what Mr Nevin is getting at. I shall look at a copy of the Keighley News soon.

To date, I have had one reply from a company and it was friendly. I shall make a personal visit in the near future. Readers of this blog will be updated. Meanwhile, here is the original media release:

MEDIA RELEASE

Date: 19 March 2007
For Immediate Release

What’s in a name?

The Chairman of the Brontë Society in Haworth is more than a little irritated by all those companies which use the name Brontë in their names.

“Very few of them have ever been in touch, and even less than that have given us anything by way of sponsorship or financial help,” he said.

“There are dozens of them in Britain alone, making or supplying a range of products, from stone to spring water and from outdoor clothing to cooked chicken. I decided to write to their managing directors”

Here is the letter:


Dear (name of Managing Director)

I am writing to you for the simple reason that your company uses the name Brontë in its title. I am guessing that this was chosen because it confers a certain prestige upon you, associating you in the public’s imagination with the Brontë family and perhaps the Brontë Parsonage Museum as well. Bronte is both the name of a town in Sicily and the Greek word for thunder, and it was chosen by the Reverend Patrick Brontë (with the addition of the diaeresis) as a new version of his family name of Brunty early in the Nineteenth Century, mainly because of its associations with Lord Nelson, a national hero at the time.

I hope that «Company_Name» is currently prospering. I am wondering whether you have recently visited the Brontë Parsonage Museum in Haworth, which is run by the Brontë Society. If you have, you will know that the home of the Brontë family, the Georgian house where Charlotte, Emily and Anne Brontë wrote the books which made them world famous, is lovingly preserved by a dedicated staff in spite of a tight budget.

There is a programme of special events at the museum which runs throughout the year, which includes special exhibitions, talks, day-schools, courses, children’s holiday workshops, film, theatre and musical performances. Its education programme is ‘inspired’ according to the Judges’ Citation for winners of the prestigious Sandford Award.

The Brontë Society possesses one of the most important collections of Brontë items in the world, housed in the Parsonage, an invaluable resource for the many researchers seeking to shed further light on the Brontë writings, the Brontë family and the social, political and economic history of the Brontë times. Thus, there will always be a demand on the Society’s financial resources as newly-discovered and existing Brontëana come on to the market. There is also a considerable cost in the professional care, conservation, storage and management of the Society’s existing collection.

The Brontë Society gets no direct government assistance, so it is reliant on the generosity of its supporters and visitors to the museum. This is where you come in, because I believe that you could help. I am inviting you to make a donation to us, which would be gratefully received and publicly acknowledged.

Your company could sponsor an appropriate artefact, a special event, an exhibition, a children’s workshop…….the list is long. Or, you could contribute to our Acquisitions Fund, with a focus on a particular item. Your company’s name would feature in our publicity.

Please do not hesitate to get in touch with me by letter or email, or by ringing me directly on xxxxxxxxxxxxxxx I would be very happy to meet you personally to discuss how you could help us.

Best wishes,

Yours sincerely,


(signed)

Richard Wilcocks

Chairman of the Brontë Society

Wuthering Heights at the BFI

The image below is from Emily Brontë at Haworth - A Personal Impression by Beryl Bainbridge (1973)

Simon McCallum writes:

I am a curator at the British Film Institute working on the Mediatheque, a resource in our new BFI Southbank venue where members of the public can access a range of material from the BFI National Archive.

I would like to let readers of the Brontë Parsonage Blog know that one of our opening collections, in a regular strand called The Book Group, is this month featuring Wuthering Heights. Users will be able to watch five TV and film adaptations of the novel and a range of documentary material on the Brontës. See below for the full listing of available titles - and I should stress that these will be available in their complete form, not just clips:

Wuthering Heights (BBC 1962) (starring Claire Bloom and Keith Michell)

Wuthering Heights (BBC 1967) (4-part dramatisation starring Ian MacShane)

Wuthering Heights (BBC 1978) (5-part dramatisation)

Wuthering Heights (ITV 1998)

Wuthering Heights (1970) (feature film starring Timothy Dalton)

The Brontës Lived Here (1973)

Emily Brontë at Haworth - A Personal Impression by Beryl Bainbridge (1973)

The Brontë Business (1977) with Joan Bakewell

The Brontë Connection (1979) - 'an investigation by Mary Butterfield'

Top of the Pops 78 (featuring music video for Kate Bush's Wuthering Heights)

The Mediatheque opened to the public today, and is open to everyone, free of charge. Some viewing stations can be booked in advance by telephone, or visitors can turn up on the day and book themselves in for a session.

Here are some useful links:

http://www.bfi.org.uk

http://www.bfi.org.uk/whatson/southbank

http://www.bfi.org.uk/mediatheque

A full Mediatheque website will be up and running soon but in the meantime there are some basic listings and information documents available.

This is a great resource for any Brontë fans or fans of the novel, and should be of interest to Brontë Society members and visitors to the Parsonage.

Vote Brontë Parsonage

Above - host Alan Titchmarsh

This year the Brontë Parsonage will be involved in UKTV History’s Britain’s Best campaign, which aims to find the nation’s favourite historical site.

Hosted by Alan Titchmarsh, the campaign will involve two television series and a final programme presenting the winner as decided by you and the British public.

As someone who values the Parsonage, please take the time to vote for it! You can do this from 5 April to 27 August in any of the following ways:

• visiting www.uktvhistory.co.uk and registering your vote

• texting BEST BRONTE PARSONAGE to 83222 (texts cost 50p plus standard network charges)

• calling 09011 31 2007 and quoting Bronte Parsonage (calls cost 50p)

• or visiting us and posting your vote into our voting box.

• For those of you who have Sky, you can also vote using your Red Button.

UKTV History is also launching a Britain’s Best directory on www.uktvhistory.co.uk that will help you find some of the best historical locations to visit across the UK, as well as reviews, pictures and videos for each place from people who have actually been there.

Britain’s Best will be on UKTV History (Sky channel 537, Virgin TV 203 and Freeview 12) from 9 April to 20 May and from 23 July to 27 August. Don’t miss the final result on 17 September to see if we’ve won!

New website

Congratulations to Brontë Society members who have set up a brand-new website with a focus on the city of Brussels.

It looks superb, and can be found at www.thebrusselsbrontegroup.org/

In particular, check out the Secret Mission collection in the Picture Gallery for a record of the direct action taken in 2004 by Selina Busch and Elle Vaessen to put up an appropriate blue plaque in the rue Terarcken. This exploit was featured in Brontë Society Gazette at the time. The plaque is there to this day.......

Parsonage people

Two members of staff have left the Parsonage recently - Curator Polly Salter and Weekend Manager Bill Dinsdale.

Polly (featured on this blog in October 2006) has moved to live by the banks of the River Derwent in Malton, North Yorkshire and is planning for consultancy and freelancing work.

Bill currently lectures in guitar construction on the Musical Instrument Technology course at Leeds College of Music and design and builds his guitars at his River Street workshops in Haworth. He is now concentrating on this. His website is at www.billdinsdale.com

Jane Eyre in Jeans

Are you “breaking the ice in the morning, scared what the references say?”

David Scott Crawford, Chicago singer-songwriter has penned a new genre of music for his album Belle Époque. He calls it ‘Pop Nouveau.’ It gives him the opportunity to combine music with literature - two things he knows well. As an independent artist, Crawford finds his song themes from extraordinary places or, as in this case, remarkable people.

In “Jane Eyre in Jeans” Crawford weaves Charlotte Brontë’s beloved heroine through a pop/ballad melody of piano, bass, drums, guitar and even mandolin. Lines such as “You swallowed the storybook ending in a Styrofoam cup full of tea” paint a vivid picture of Jane’s world meshed with our own modern-day dilemmas. The result is what Chicago writer and art critic Lucia Mauro calls, “racy, maudlin and romantic.”

Belle Époque, meaning “Beautiful Era,” refers to the glorious late ninetieth/ early twentieth century period of France. The album hosts an array of literary references from the start of track one, including Millais’ Ophelia model Lizzie Siddall, portrayed in “A Merry Little Afternoon.” Oscar Wilde, Sarah Bernhardt and Jim Morrison make an appearance in track thirteen entitled “Père Lachaise,” the setting of France’s famous City of the Dead Cemetery. But it’s not all about death.

The sweeping poetic images we see when listening to this album, in part, stem from Crawford’s own experiences, living and traveling to several countries including Scotland, Libya, South America, Australia and England, combined with his passion for literature in historical context. His improvisational, compositional, and piano playing skills are all self-taught. Belle Époque was recorded at the Chicago Recording Company & Beachaus Studios in Chicago with Crawford on Steinway and Böesendorfer grand pianos.

The album was mixed in England by David Hentschel and mastered at Abbey Road Studios, London. It boasts collaborative artists such as string arrangements by Paul Buckmaster and guitar solos by Mark Goldenberg. Lisa McClowry provides gutsy backing vocals for “Jane Eyre in Jeans.”

For more information on Belle Époque and to listen to “Jane Eyre in Jeans” visit: www.davidscottcrawford.com or http://www.cdbaby.com/cd/dscrawford.com

Belle Époque = Literature with Rock!

Kim Crawford

Jane Eyre - The Musical - in Dorset

One of the South’s largest youth theatre companies has embarked on its most ambitious project yet, and it’s leaving nothing to chance. The Big Little Theatre School brings new levels of professionalism to its production of the Broadway show Jane Eyre - The Musical Drama with West End directors and state-of-the-art stage effects and set design.

John Caird (Les Miserables) and Paul Gordon’s musical adaptation of Charlotte Brontë’s classic tale of passion, tragedy and forgiveness won the show no less than five TONY award nominations on the occasion of its Broadway premier in 2000.

Now, some of the West End stars of tomorrow are bringing Brontë’s Gothic romance to life in one of the first performances to be staged here in the UK.

Directing is Graham Hubbard whose impressive achievements include directing West End productions of Amadeus, Sweeney Todd and Mack and Mabel. “The challenge of producing Jane Eyre - The Musical for Big Little was irresistible,” says Graham. “The company’s talent belies their age, and who better to bring Charlotte Brontë’s classic love story to a new generation than performers from that generation itself."

Musical Director Colin Billing of the London School of Musical Theatre has long been associated with The Big Little Theatre School. His professional credentials include musical direction of Beauty And The Beast, Beggar’s Opera and Creatures of The Night. “Forget everything you ever feared about youth productions," says Colin. “The huge vocal talent and natural acting ability of the cast is more than a match for the moving lyrics and sumptuous musical score.”

Natasha Barnes from Ringwood plays Jane Eyre. Now 17, she has progressed through the ranks of Big Little since the age of 6 and is no stranger to lead performances both amateur and professional. Her credits include the title role in The Diary of Anne Frank, Laurel in The Chalk Garden, Cosette in Les Miserables in Concert with the Bournemouth Symphony Orchestra, Hope in her school production of Anything Goes, Marta Von Trapp in The Sound of Music and the title role of Annie in Fastlane’s Touring company for the National Youth Music Theatre.
Natasha is operatically trained by Jon Andrew and works locally with him and the Silhouette Opera supporting local charities.

The part of Rochester is played by John Sandberg from Bournemouth who also has worked through the ranks of BLTS, becoming a prominent member of their ‘Vision’ Cabaret group. John recently performed as the lead, R.P McMurphy in One flew Over the Cuckoo's Nest and has also received operatic training with Jon Andrew. John also played Seth/Shem as one of the few selected to perform in Children of Eden, the Steven Schwartz Broadway hit as produced and performed by BLTS in 2006.

A total cast of 45 young people, selected through auditions from the 250 strong main company are involved in bringing Jane Eyre – The Musical to the stage, and the production will benefit from 21st Century imagery and sensory set design to create an authentic feel for the period. The set has been designed to transport the audience seamlessly from the cold dormitories of Lowood School, through bleak English moorland, to the interior of a Gothic mansion. Superb costumes reflect the fashions of the 19th century by recreating authentic colours and fabrics from the Brontë era.

Broadway and West End musical theatre pedigree, soaring melodies, imaginative sets and contemporary innovation, lavish costumes, prodigious young talent and a classic love story by one of the most popular English writers of all time. It doesn’t get much better than that.

The Big Little Theatre School’s production of Jane Eyre – The Musical Drama is being staged at the Regent Centre, Christchurch, Dorset from April 11th – 14th. Tickets are available from the Regent Centre box office on 01202 499148.

Julie Barnes

Parsonage Ceilidh

This is the poster for the fundraising ceilidh on 17 March. It is being organised by the Parsonage staff. Please come if you can. If you can't, please remember to raise your glass of whatever you fancy to the Brontës and all their ancestors on the Irish side.

Inspired - a reminder

We've told you about this before. Here it is again in slightly more detail. On Wednesday 7 March 2007 at 7.30pm in the West Lane Baptist Centre in Haworth, a panel discussion entitled Inspired - The Brontës' Influence will take place.

The Brontës’ influence on writers has persisted through to the present day and this event will bring together a number of established authors who have acknowledged a debt to the Brontës. A panel discussion will be led by Patsy Stoneman and will include;

Stevie Davies: Novelist, literary critic, biographer and historian. Her first novel Boy Blue (1987) won the Fawcett Society Book Prize and Closing the Book (1994) was longlisted for the Booker Prize. Her fifth novel, Four Dreamers and Emily was published in 1996 followed by The Web of Belonging (1997) which was adapted for television by Alan Plater. Her most recent novel Kith and Kin was longlisted for the Orange Prize 2004 and The Eyrie will be published in February 2007. Stevie Davies is Director of Creative Writing at University of Wales, Swansea.

Patricia Duncker: Patricia Duncker’s first novel Hallucinating Foucault (1996), won the Dillons First Fiction Award and the McKitterick Prize. She is the author of two further novels, James Miranda Barry (1999) and The Deadly Space Between (2002) and two collections of short fiction, Monsieur Shoushana’s Lemon Trees (1997) and Seven Tales of Sex and Death (2003). Her most recent novel is Miss Webster and Chérifiss. She is Professor of Creative Writing (Prose Fiction) at the University of East Anglia.

Michele Roberts: Michele Roberts is the author of twelve highly praised novels including The Mistressclass (2003) and Reader, I Married Him (2005). She has also published short stories, poetry and essays. She was shortlisted for the 1992 Booker Prize and won the WH Smith Literary Award in 1993. Michele Roberts is a former judge of the Booker Prize and is a regular book reviewer and broadcaster. She is a Professor of Creative Writing at the University of East Anglia.

Patsy Stoneman: Patsy Stoneman is an Emeritus Reader of the University of Hull. She has published widely on the Brontë novels, including the introduction to the Oxford World’s Classics edition of Wuthering Heights and essays in both the Oxford and Cambridge companions to the Brontës. Her major monograph is Brontë Transformations: the Cultural Dissemination of Jane Eyre and Wuthering Heights. She has recently completed an illustrated edition of eight hitherto unknown Victorian stage plays based on Jane Eyre scheduled to appear in 2007.


Tickets for this event are £6.50 and should be booked in advance. For further details and bookings please contact the Brontë Parsonage Museum, Haworth, 01535 640194/ andrew.mccarthy@bronte.org.uk

John Brown's house

Visiting Haworth? Need a place to stay? The Brontë Spirit blog - www.brontespirit.blogspot.com - has an item which might be of interest to you: John Brown's House, aka The Sexton's House aka Haworth Church Cottage, can now be booked.

Visit the blogsite to find out more.

A poem for Valentine's Day

Visitors' Book

Up to Haworth for the early spring –
As was our brief custom – to see
The snowdrops pester out the winter grief
Of the Parsonage and retrace songlines
In the slab bleak churchyard. A half-starved
Plath, you’d drawn all this in, drinking
Greedily an unworded recognition,
With the thirst of the thwarted, the held-back
And terraced; like the time in El Prado
When I found you weeping before Goya
Unable to say why. I pay my fiver
And go inside. A circus family, really,
In their freakishness; with their tiny
Feet and tiny books. A puff of wind
Could blow them down permanently
And did. You said you felt at home
Here, though you couldn’t say how.
On a table in the hallway, I see it now
And cannot resist the urge of recollection,
Leafing back through the neutral years
Until, sure enough, there they are
Witnessed by a motley decade
Of subsequent strangers: our signatures
In the Visitors Book. The giddy roll
Of my stomach at seeing your hand
Once more, the blinking out of reason
Then the slow, haunted smile to a spring-melt
Of memory. ‘MM’ and ‘MM’: the rapid
Pulse of a small creature short of breath.
You told me on the night of our first
Coupling that I’d be pushed away and
You were as good as your word. But
Before the madness and separation,
Before the Wide Sargasso Sea of your
Dark history opened up between us
An unbridgeable gap, we strode the wild moors
As right and wrong as any lovers.
Later, in the guesthouse, the landlord
Leads me to the same Room 7,
The chipper undertaker of blind ironies.
Our ghosts, aroused, turn to greet me:
A naked threesome splayed and open,
Lashed to the bed of unlinear time
In the room where you were last joyful,
In the space where last we were beautiful.

Martin Malone