Category Archives: writing

London Calling

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Part 1: Welcome to Seven Dials

This review has taken me a while to write. Matt Houlbrook’s Songs of Seven Dials: An intimate history of 1920s and 1930s London turns out to be so rich that I have had to split my responses to it into two posts. This first post will be a slightly more formal review alongside a discussion of the ways in which the book is shaping my thinking about The Return of the Soldier, my own tilt at a broad social and cultural history of the legacy of the First World War in Britain. The second, which I will publish in the next couple of weeks, half term permitting, will focus on how the book intersects with my own family history.

In Songs of Seven Dials, Matt Houlbrook sets out to write a social and cultural history of the tiny neighbourhood of Seven Dials which lies between Shaftsbury Avenue, Charing Cross Road and Covent Garden produce market.  Originally defined as a neighbourhood in the seventeenth century, Houlbrook focusses on this ‘shabby cosmopolitan working-class neighbourhood’ (p.3) in the 1920s and ‘30s, a period in which the area was represented as, variously, a crime-ridden slum, London’s ‘Black Colony’, an artistic Bohemia and an opportunity ripe for commercial development. Subtitled an intimate history, the book attempts to focus on the lives of those who actually lived in Seven Dials, alongside those who attempted to impose their social, cultural or economic vision on the area from the outside. Unfortunately, this only has mixed success. The voices of the latter tend to be much louder in the archives than those of the former, and the extensive naming of names can’t always balance the narrative in favour of the historically marginalised who called Seven Dials their home. Even the use of the historic present, which allows Houlbrook to tell the story of Jim and Emily Kitten’s libel case against John Bull with some immediacy, can only go so far in bringing the names of other Seven Dials residents to life, and, at least for this reader, too often got between me and the story being told.

The other stylistic technique that Houlbrook uses to support his analysis is the structure of the book through seven chapters, each one focussing on one or two of the streets radiating out from the central square which make up the district. This structure both emphasise the microhistorical approach that Houlbrook takes to the subject, as well as allowing him to employ circular imagery as a metaphor across the volume as  whole. While this is generally an effective strategy, the inclusion of Long Acre and the Strand in chapter four disrupts the pattern in problematic ways. Both these streets, chosen to represent the locations of the press and legal system that imposed an external narrative on Seven Dials through the Kittens’ libel trial, are not only outside the district itself, but aren’t even accessed directly by Shorts Gardens (Chapter 3) or Great Earl Street (Chapter 5). Subject-wise, the location of the chapter is equally confusing. Houlbrook begins his introduction with the statement ‘It starts with a libel trial, held over three days in the High Court of Justice in February 1927.’ (p.1) Yet it isn’t until Chapter 4 that the reader is given the story of the trial itself, making the background detail of the actors given in the preceding chapters somewhat hard to follow, not least because, while there is a very rough chronology at work, Houlbrook moves back and forth not only across the two decades between 1919 and 1939, but as far back as the 1890s and as far forward as the 1960s.

A key point that this chronological muddying underpins is that the ‘modernisation’ of London, so often associated with the 1920s and 1930s, was far from a tidy linear progress. Grand modernist visions, both economic and architectural, failed. Nostalgia for an imagined past and old stereotypes were evoked to dismantle progressive trends towards diversity and anti-colonialism. At the same time, ‘the foundations of the what would be called gentrification were laid in the 1920s and 1930s, when politicians, planners, and entrepreneurs tried and failed to raze Seve Dials an build a new city from the ground up.’ (p.12) The making of modern London was, as most history is, far more messy than all-too-often romanticised visions of the ‘interwar’ would suggest. Houlbrook makes a powerful case for the need to think about this period as more than just the clichés of ‘The Roaring Twenties’, ‘The Hungry Thirties’, ‘The Interwar’. Yet in titling this story as one primarily about the 1920s and 1930s, contradictions start to emerge. Whatever Houlbrook’s intentions, this categorisation marks the period as ‘a kind of caesura – space between, a time apart’ (p.10), implicitly reinforcing the First World War as a historic paradigm shift in the creation of modernity. At the same time, the war itself is only a tiny part of the story that Houlbrook is telling. Jim Kitten’s wartime internment at Ruhleben and the gunshot wound to his arm he received there echoed through his life and may even have contributed to his death in 1940 (p.230), but they are less important to the story of the years between than his place of birth in Sierra Leone, his marriage to a white Englishwoman and his work as a café owner.

This question of periodisation and the way in which historians use time spans to organise and contain their arguments, particularly as it relates to the early twentieth century, are central to my own thinking about the arguments I am making in The Return of the Soldier. The historiographic tendency to position the years between 1914 and 1918 as not simply a time apart but as a paradigm shift – the end of the long 19th century, the birth of the modern era – has been something that I have tried to resist in all the histories that I have written.  Almost without exception, the men that I wrote about in my first two books were born in the 19th century. The same is true of the men who are the subjects of The Return of the Soldier. They survived the war and went on to live and work throughout the twentieth century. On the one hand, there is a story of social and cultural continuity to be told through these survivals. On the other hand, the very premise of the book is based on these men’s status as having served in the war. The war years were undoubtedly significant in shaping men’s lives and, as a total war, the lives of those who made up the society in which they lived. Bodies and minds were altered by the experiences lived through during the war – by wounds and illness, by separation and deprivation, by unanticipated opportunities for travel and work. The story of social and cultural discontinuity that emerges is a powerful one. How to explore the nature and meaning of the ruptures that war created without isolating the years between 1914 and 1919 as a time apart or the sole defining event in the lives of those who lived through it is the challenge I have been wrestling with since I first began trying to shape my research into  a coherent argument. If individuals lived their lives across the temporal boundaries historians attempt to impose, writing histories that do honour to those lives, and which, as is Houlbrook’s ambition, inform our present, forces us to rethink comforting historic periodisations.

My way of addressing this problem has been to rethink the subtitle of The Return of the Soldier as ‘British First World War Ex-Servicemen and the Making of the Twentieth Century’. The intention is to focus on a discussion of continuity and discontinuity in which the war plays a defining but not an exclusive role, and on the particularity of the lives of these men and those around them, rather than the more abstract categories of ‘the war’, ‘demobilization’ and ‘legacy’. The previous subtitle, ‘The Intimate History of Demobilization in Britain After the First World War’ tried to make this point by invoking the concept of ‘the intimate’, an idea that Houlbrook also uses in his subtitle. Yet I soon discovered that the intimate is a slippery historical category. For Bruno Cabanes it is the study of ‘the relationship of individuals to their own body, to their familiar haunts, and to their family and friends’[1], combining the history of the body with the history of the domestic, an approach exemplified in Joanna Bourke’s Dismembering the Male. Yet Bourke, in her own An Intimate History of Killing, uses the term to indicate as study of subjectivities, the intimacy that of the individual psyche. [2]

In Songs of Seven Dials, intimacy appears to be two-fold. On the one hand, in support of his argument that Seven Dials in the 1920s and 30s was a place of residence and work rather than simply the opportunity for improvement, development or entertainment that many imagined and represented it as, Houlbrook peoples his history with named individuals, located in specific places of residence and types of work. This is the intimacy of the reader with the specific historical actors. It is enabled by the digitization of the 1911 and 1921 census records, which Houlbrook uses, alongside local newspaper records, to great effect. The problem is that the level of intimacy achieved remains limited. While Houlbrook can give names and occupations to the residents of Seven Dials, these records don’t give deeper insight into their lives. Naming is, of course, vital to the process of remembering, but the only way that Houlbrook can give us more than government records offer in relation to people about whom there are few reflexive records is through speculation. He does this with care, and it is here that the historic present is most effective, but it remains speculation nonetheless. Like the tense, I found it got between me and the story being told, making it more distant rather than more intimate.

Where Houlbrook does convince with his claims to writing an intimate history is through the physical intimacy he evokes. Even without reliable images of many of the places he writes about, he conjures the cramped, noisy, sometimes squalid, always vivid nature of the streets, houses and businesses that make up this tiny pocket of London. As becomes clear in the conclusion, these are streets that Houlbrook has walked himself many times as he sought to understand how it transformed from a place ill-repute to the gentrified site of up-market commerce that it is today. It is the place, not the people, which makes this history feel intimate, pointing to the many forms of intimacy that the historian might seek to explore.

This multiplicity in meanings of the intimate is important for my thinking about ex-servicemen’s return for at least one chapter of The Return of the Soldier. ‘Returning Home’, which I am currently working up into my sample chapter for agents and publishers, is divided into two sections, ‘People’ and ‘Places’. Thinking of each as facets of an intimate historical appraoch is proving extremely helpful for working out how the chapter functions as a whole and what sort of evidence I need to support my argument about the long-term significance of ex-service return. At the same time, it is helping me to understand that some of my other chapters may not be intimate histories. Trying to force the ‘Returning to Work’ chapter into this conceptual box may be why I have been struggling so hard to make it work for so long.

So I return to the redrafting process with a new sense of direction having read Songs of Seven Dials. But first I need to grapple with the relationship between Houlbrook’s text and my own family’s history, a question which has been haunting me almost since I first picked up the book and which will form the subject of my next post.

[1] Bruno Cabanes, ‘Negotiating Intimacy in the Shadow of War (France, 1914-1920s)’, French Politics, Culture & Society 31(1): Spring 2013, 13.

[2] Joanna Bourke, Dismembering the Male: Men’s Bodies, Britain and the Great War (London: Reaktion Books, 1996); Joanna Bourke, An Intimate History of Killing: Face-to-Face Killing in Twentieth-Century Warfare (London: Granta Books, 1999).

Taking Stock

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It has taken a week, but I have finally unpacked all the boxes of books and papers and accumulated office accessories that I acquired over 15 years at Leeds. So now that I am fully installed in my home office, it seemed like a good time to enumerate the projects I have underway and planned, and what I hope to acheive in the next 18 months.

Men of War: A Modern History

Under contract with Polity Press, with the manuscript due in 2028, I currently have aproximately 10,000 words of a very, very messy draft of Chapter One and a detailed outline of all eight chapters. The goal is to have a completed first draft by the end of the calendar year. I anticipate this being a complete mess, with the aim of a serious edit the following year.

The Return of the Soldier: British First World War Veterans and the Making of Twentieth Century Britain

This one is now on is fourth or possibly fifth subtitle as my ideas have shifted through the drafting process. I currently have between 3,000 and 5,000 words drafted for three of the five chapters, with a plan for a conference paper for the fourth chapter in the works. These will then form the cores around which I will build the longer chapter, with a full draft of ‘Return Home’ next on the agenda so that I can send it out to publishers and agents for consideration. The goal is to have a contract for this one by the end of the year.

The Return of the Soldier: British First World War Ex-Servicemen and the Making of the Twentieth Century

This project is now on its fourth or fifth subtitle, but, after far too long, I think I finally have a central thesis and a sense of the voice for this book. I also have 3,000 to 5,000 words for three of the five body chapters, with plans for a conference paper that will give me another 3,000 words for the fourth. These will go on to form the cores of the longer chapters. What I don’t currently have is a publisher so, in addition to the conference paper, my next step will be to write up the chapter on ‘Returning Home’ for submission to publishers and agents. The goal is to have a contract for this book by the end of the year.

A chapter on the ethics of doing disability history, accepted subject to minor ammendments.

This is due in two weeks, so is currently at the top of my priority list.

An 8,000-10,000 word chapter on front-line battlefield medical care.

I still need to check with the editor what the temporal and geographic scope of the expected chapter is. Submission in June.

A history of Golden Age detective fiction and the two world wars.

I can’t really let myself commit to this one until I have the two on-going book projects much nearer completion, but I do want to get a proper proposal off to an agent. This is the one that has the most potential as a trade history, I think. Certainly, everyone I have mentioned it to has been very enthusiastic and encouraging. In the grand tradition of writing procrastination, this is, of course, the book I want to write at the moment.

The novel

I keep telling myself that this one is just for fun, that I have to prioritise the non-fiction because that is my bread-and-butter and where I am more likely to publish successfully. Really, I need to stop researching this one and just get on with writing it.

This blog

I am hoping to post on here once a week, but I am also aware that doing so risks taking writing time away from other projects. Indeed, this post has taken two days to write in what is an exceptionally busy week of family responsibilities and pre-existing commitments. So while a weekly post will be my goal, I will need to reassess this if either of the book projects start to suffer. In which spirit, I had better stop writing about writing, and get on with actually completing that chapter on ethics!

Hello again

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Last week I had a day haunted by my mother. It started with an unexpected email from a very old friend of hers with good wishes for the new year. Then there were the references to Jim Kitten’s work for Lyons’ catering arm in Matt Houlbrook’s The Song of Seven Dials which I am currently reading, prompting me to think about how the histories of migration and social integration my mother was mapping through her family history research in the final years of her life can engage with those Matt exposes in his excellent book. And finally my husband suggested that we watch Ben Stiller’s documentary about his parents, Jerry Stiller and Anne Meara. My brother had recommended it to us over the holidays, on the basis that there were a lot of shots of the apartment building where we grew. The Stillers were our neighbours, quite literally next door, occupying 5AB while we were in 5D, sharing a back hallway for the bins and the emergency exit stairway.

The emotional gut-punch of the film for me, however, wasn’t so much the images of the distinctive awning at the corner of 84th and Riverside, and Riverside Park, or even the Proustian emotions evoked by pictures of the Stillers from the 1980s, familiar from regular encounters in the lobby of a building Ben refers to accurately as its own eco-system. Rather it came from the framing of the documentary not only around the hours of home video and tape recording that Jerry Stiller made and preserved, but the clearing of the apartment and its subsequent ‘staging’ by realtors for sale. Because, about a year before, the same thing had happened in my mother’s apartment following her death from pancreatic cancer in 2018. (I say my mother’s apartment because it was the place she lived for nearly forty years, raised her children and died. It was also my father’s apartment throughout my childhood, but he gave her full ownership when they divorced at the turn of the 21st century, after which she redecorated, making it very much her own.)

The number of ways in which my mother’s memory was evoked that day may have been rather more intense than usual, but the fact is that, that I am reminded of her  on an almost daily basis, even nearly seven and a half years after her death. I use her sewing scissors and cooking equipment. Some of her (many, many) books are now displayed on my bookshelves. I wear her earrings when I dress for professional speaking engagements in the hopes they will endow me with some of her skill in holding a classroom.

Her memory shapes other aspects of my professional life as well. Matt’s book is not the only work of history that I have read through the prism of my mother’s research into the complexities of the Gluckstein family, of which we are descendants. My responses to Laura King’s and Michael Roper’s books on the methodological importance of family histories have also been informed by her interest and the archive that she left me. Even more, my sense of myself as an academic has been shaped by the fact that my mother was, for many years, a teacher, and a very good one. Of the three main roles that 21st century academics are expected to undertake – research, administration and teaching – the last has always been the one I have had most difficulty embracing. While for many it is the primary role of a university lecturers, one which energises them and inspires their scholarship, for me it often feels like a duty that I will never be able to bear lightly or with grace. As a result, I don’t believe that I will ever have the skill, the creativity or the passion to inspire students as a truly great teacher (and I have had a few in my time) can. In short, I will never be as good at it as my mother was.

Why am I posting this now? Because, as of today, for the next eighteen months, I am in a position to be able to slough off the anxiety of never quite living up to my mother as a teacher as I attempt to fulfil the other ambition that we shared, to write full time. I am taking a sabbatical from Leeds to finish writing my next two books, a history of masculinity and warfare from 1750 to 2000 in global perspective, under contract with Polity Press, and a history of the social and cultural impact of First World War ex-servicemen on 20th century Britain, the book I have been trying to complete since the Men, Women and Care project ended in 2020. (It really is almost there; I have a central thesis and, I think, the right tone for a project that will be something more than an academic monograph).

But what I have realised in the past week, picking through the emotions arising from the reminders of my mother and her loss, as well as the fears that have surfaced as this change in circumstances grew ever closer, is that there are lots of other things I want to write as well – the history of Golden Age detective fiction and the world wars that has haunted me since I wrote my Phd thesis, a work of fiction that has been coming together, in fits and starts for nearly as long and, it turns out to my surprise, my take as a social and cultural historian of early twentieth century Britain on my family history. This last has been sparked in part by The Song of Seven Dials, which places Lyon’s in the context of the modernisation of London in ways which suggest further exploration of its creation as the family business of a complex family of Jewish immigrants could prove worthwhile, as well as by a request for information from my playwright cousin which prompted speculative questions about name changes by my ancestors. So yes, I might be ready to unpack the boxes in the office that are my mother’s archive and pick up the task of writing about her family which she never managed to complete herself.

I plan to reflect on my writing to some extent on social media (these days Bluesky rather than the site formerly known as Twitter), but not everything, particularly the family history, is suitable either for traditional publication or dissemination as a social media thread. All of which is a very long-winded way of saying that I will, once again, be reviving this blog as a space of record and reflection both on subject and process. Having tried to lay the groundwork for some effective writing habits through the semester of research leave I enjoyed at the end of 2025, I will use this space to keep me disciplined about writing something every day, as well as for exploring ideas as they emerge.

I hope you will join me as I shift gears and possibly course in this latest stage in my career as a historian and in the life of this blog.

    The Book I Wish I Had Written

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    The culture section of the Saturday edition of a major British newspaper runs a regular column in which celebrities in the arts are asked to identify subjects from their cultural life such as ‘The book I am currently reading’, ‘The instrument I wish I had learnt’ and ‘The last film that made me laugh/cry’. These lists are always fun to play along with but, while my answer to topics such as ‘My favourite piece of music’ has changed over the years, my answer to the regular question ‘The book I wish I had written’ has long remained the same: The Great War and Modern Memory by Paul Fussell.

    Celebrity answers to this topic tends to be couched in terms of either a personally inspirational text or a best-seller that made the author a lot of money. In my case, the answer arises from a mixture of both. I first read The Great War and Modern Memory as a freshman, a first year undergraduate in my first semester at university. I thought at the time that I wanted to be an English major. By the end of the year, I knew that I would be a history major. This shift was only in part down to Fussell’s pivotal work of cultural history (Geoffrey Parker’s lecture on the possible role of sunspots in the development of early modern military strategy also had something to do with it), but what the book undoubtedly informed was my commitment to history that took fiction as one of its primary sources. This would shape not only my undergraduate module choices but the topic of my senior essay (an analysis of Ford Madox Ford’s Parade’s End tetralogy and R.H. Mottram’s The Spanish Farm trilogy as representations of the Western Front), but also my master’s and doctoral theses as well as almost every major work I have published since.

    Of course, my view of Fussell’s work has evolved since then but that ‘heady mixture of literary criticism and cultural and historical analysis’ [1] remains deeply alluring as a point of reference not necessarily as a cultural history of the First World War, but as a pivotal moment in the cultural turn in First World War studies. As Ian Isherwood and Steven Trout argue in their excellent recent review article, ‘But It Still Goes On: Paul Fussell’s The Great War and Modern Memory at 50’, ‘the book is perhaps best approached as a an experimental study – a hybrid mixture … of  literary scholarship, cultural analysis, historical writing, and veiled autobiography.’ [2] This hybridity, if not Fussell’s argument about the centrality of irony to a Modernist paradigm shift in cultural expression, has gone on to inform the approach and ambition of major works in the field, including Samuel Hynes’ A War Imagined (1990) and Jay Winter’s Sites of Memory, Sites of Mourning (1995), as well as many of their students, among whose number I include myself. And, in ‘reigniting a debate from the late 1920s and early 1930s over literary treatments of the Great War and their portrayal of disillusionment supposedly shared by an entire generation’ [3], Fussell helped shape what we now define as the canon of British First World War literature as surely as any writer, publisher or critic of the ‘war books’ boom. We cannot understand not only how we in Britain and the US remember the First World War today, but how it is represented in contemporary cultural forms. Alice Winn’s almost constant references to Robert Graves’ Good-bye To All That in In Memoriam (2023) provides only the most recent testimony to Fussell’s historiographic influence.

    It is, as Isherwood and Trout note, the representativeness of the authors selected by Fussell for analysis that lie at the heart of many of the critiques of his approach. Yet representativeness was never really the point: ‘Drawn … to highly literate, middle-class junior officers like himself (albeit members of a different army in a different war), he never intended to write a comprehensive study of British Firs World War literature or, for that matter, an exhaustive treatment of British culture before, during, and after the conflict.’ [4] But that debate, with its echoes of the critiques of Douglas Jerrold and Cyril Falls [5], highlights an issue that those of us who use fictional, semi-fictional and poetic sources in our research and analysis still grapple with today. No cultural history of the war can ever be comprehensive, either in breadth or depth, particularly when the conflict is considered in global rather than national terms. How do we choose which texts to focus on? How do we balance close reading of the symbolism of particular texts with broad claims about the culture in which they were produced and which they sought to shape?

    It is here that Isherwood and Trout’s identification of the importance of autobiography to Fussell’s endeavour spoke most strongly to me. Unlike Fussell (or indeed Hynes), I am not trying to use my practice of cultural history to grapple with experiences as a former soldier. I make no claims to, as Fussell did, to sharing a bond of experience with the authors he selected for particular consideration. But I have always been aware of the extent to which my own personal preferences and youthful exposure to particular literary works has shaped the texts I have chosen to focus on (the work of Dorothy L. Sayers being the most obvious example), as well as my vulnerability to the critique levelled by Charles Carrington against Fussell, that the analysis of someone who wasn’t there can never be a true history of the war. Indeed, as a newly minted PhD, I was bluntly told by one ex-serviceman (himself too young to have served in the First World War), that my thesis on representations of wartime masculinities was worthless because I was not a man and had not myself served in the war. (My gender and age clearly trumped my nationality in this instance as my critic chose not to point out the fact that, like Fussell, I am an American.)

    So I take comfort from Isherwood and Trout’s argument that ‘Fussell’s status as a cultural outsider … sharpened his insights … and emboldened him to say things that he might not have if he had been British…. [H]is distance from the war’s living memory enabled him to study the “troglodyte world” of the trenches and the mythology it produced with fresh eyes.’ [6]  Which is not to say that I necessarily take comfort from the text itself, which remains as challenging and provocative today in many ways as fifty years ago. For me today, the particular challenge of the autobiographical element is the most stimulating as I grapple with the ‘genealogical’ or ‘family history’ turn in social history, as exemplified by the work of Alison Light, Michael Roper and, most recently, Laura King. My family’s history doesn’t fit neatly with the history of the First World War, challenging cultural narratives of the war’s universality. But is this distance a handicap or a benefit? As I grapple with these questions as part of the process of writing my own book, The Great War and Modern Memory will continue to remain as much of an inspiration for my historical practice as it was when I first read it thirty years ago

    [1] Ian Isherwood and Steven Trout, ‘But It Still Goes On: Paul Fussell’s The Great War and Modern Memory at 50’, The Journal of Military History, 89 (January 2025): 155-170 (160).

    [2] Isherwood and Trout, ‘But It Still Goes On’, 158.

    [3] Ibid., 160.

    [4] Ibid., 160.

    [5] Douglas Jerrold, The Lie About the War: A Note on Some Contemporary War Books (Faber & Faber, 1930); Cyril Falls, War Books: A Critical Guide (Peter Davies, Ltd, 1930)

    [6] Isherwood and Trout, ‘But It Still Goes On’, 168

    Accountability Revisted

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    Having reflected on the recovery of the past year on New Year’s Eve, the start of the new year seems a good time to revisit and report back on the plans I made a year ago. I have also updated with some plans for the coming year.

    Writing:

    1. Reviews: I completed and submitted both book reviews due in early 2024, and both have been published. I now have a review (over)due that was supposed to be written by September, but I didn’t receive the book until October. This will be completed in the next couple of weeks.
    2. Conference papers: I had to pull out of the conference on military welfare history as my injured knee made travel too complicated. The paper at the Academic Archers conference was well received, and I am contemplating proposing a follow-up (although not for this year’s on-line conference, sadly). I gave papers at a different conference on military history and, joyously, at the Dorothy L. Sayers Society annual symposium and helped organise a conference on military welfare history. In the coming year, I am already scheduled to give public lectures in February, June and November, and a conference keynote in February. I am also hoping to get to Austria for the Military Welfare History Network conference and to Greece for the International Society for First World War Studies conference, although I am not sure what, if anything, I will be writing for either.
    3. The big one: The book. Definitely did not get finished this year. In fact, I have made very little progress, with the one chapter that I have worked on significantly currently is a state of chaos that terrifies me. I have done some initial work on other chapters, and do have a clearer sense of what I am trying to do, but I need more space to sit with this work than I have at the moment or am likely to until the summer at least. Work continues.
    4. And the new project: The article on ambulance drivers never materialised, but in the spring I was approached by a publisher interested in a global history of masculinity and warfare. I have written a proposal and received encouraging feedback. I will be redrafting the proposal in the coming month. Should it be accepted, writing this will be the focus of my forthcoming research leave.

    Knitting:

    1. The cardigan that I started as a lockdown project still doesn’t have button bands, but I have bought the required wool from the supplier. It is next on the knitting project list. This may require another ball of wool from the supplier.
    2. Three family sweaters were all completed in 2024, although my son’s was finished in a huge rush on 27th December. Only my husband received Christmas wool this year, as he has requested a replacement sweater for one he has worn to death. I have already made a start on this and am making good progress as I still can’t ski due to the knee injury.
    3. And the new projects: I still haven’t come up with a project for the reclaimed wool from the baby blanket, but I have just offered to make a non-knitting friend a cable sweater. I will be knitting some swatches to test the gauge when I get home, and hoping she likes the colour. If not, I have a large stash of other colours, hopefully something suitable will be found. I also bought myself a copy of Margery Allingham’s Mysterious Knits (coincidentally by the same designer as my friend’s requested sweater) for my birthday and have bought myself a Christmas present of wool for one of the sweater patterns. So it looks to be a year of Kate Davies knits for me this year.

    Quilting:

    1. Autumnal quilt. I have not touched this this year.
    2. Alice’s Wonderland quilt: Completed, long arm quilted, bound and given to its intended recipient. I am enormously proud of myself and of it.
    3. Aurora Stars Tricolour quilt: Last year’s new project. I haven’t quite completed the quilt top, but hope to be able to do so in the next couple of months, having just ordered the backing and binding fabrics. However, there are…
    4. The new projects: Instead of wool, this year I gave my children the materials for their quilts, a full kit for my son, a BOM for my daughter. I have also built up enough of a fabric stash to start compiling the materials needed for my nephew’s quilt top. I will have a significant period to focus on these during my period of recovery from surgery, which will hopefully happen in the spring, but we will have to see how far I get with these.

    In the kitchen, the garden and the house:

    As ever, the annual events of the kitchen and garden recur.

    1. Marmalade. Successfully made, in spite of my impairment. The kits for this year’s batch are on order.
    2. Germination: One of the great achievements of last year was the completion of two big house renovation projects, an update to the family bathroom and the complete redesign of the utility room and office, a project that involved replacing the roof over that part of the house. This has given us not only a lovely space to work in (with, miraculously, enough shelf space for all our books!) but also a large space for potting and germinating. As the greenhouse still doesn’t exist, this will do for now.
    3. The front bed has been dug over, although too late to plant the intended bulbs. I will be putting in shrubs, including a gift from an old family friend, in the spring, Then I need to work out what to do with all the rocks that I removed as part of the process.
    4. Plant-based baking: The cinnamon rolls never did happen. I may try again this year.
    5. And the new project: Having completed the bathroom and office space, the next challenge is redecorating the rest of the house. I am hoping my husband will get around to laying the wood floor in the living room. My goal is to paint the front hallway so that we can finally hang the artwork that is currently occupying a corner of the spare room.

    As with last year, these are ambitious goals which will not be completed, but I fully intend that this year shall be different in terms of the pattern and pacing of my work across the different categories. There will be changes this year, some them scary, but all, I think, necessary to enable me to tackle the goals outlined above.

    Enough is as Good as a Feast

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    Kate Atkinson, Human Croquet

    Kate Atkinson, Normal Rules Don’t Apply

    It may have been a mistake, saving my stash of Kate Atkinsons to take with me on holiday over the summer. Not because they are not wonderful; they absolutely are. Reading Human Croquet, which I did in a day, gulping it down in a way I haven’t done with a book since the height of the pandemic, was a joy, an immersion in language and characterisation and intricately intersecting plot lines that took me to another place as only a great book can.

    But oh! they are so rich! Coming to the end of the book after a day spent reading like that felt a bit like getting up from the table after an overly rich meal, or waking up with a hangover. It was almost too much, to the point where I felt lethargic and slightly headachy. So following such overindulgence with more of the same may, as I say, have been a mistake. Yes, Normal Rules Don’t Apply was, as a collection of short stories, briefer and lighter, but the collection of linking characters, locations and storylines required work, the language was just as intoxicating and the emotions evoked were, if anything, even more quietly devastating.

    To recover, I gave myself a palate cleanser of Georgette Heyer’s The Quiet Gentleman, which was light and funny and straightforward in terms of plotlines and the emotions aroused, although not, perhaps, overly memorable. But it did leave me slightly out of time to tackle Shrines of Gaiety, which I had been keeping to savour,before the end of our stay in the US. I was left with the choice of starting it on the plane ride home or saving it for the long weekend trip to Scotland scheduled for the week after we returned. The former option risked my staying up all night reading, followed by jetlagged exhaustion on arrival. That was how I read Life After Life, but I wouldn’t have slept on that flight anyway, In the depths of grief following my mother’s death the week before, that book saved me from going mad, a life raft in the ocean of suspended time that flying back to my family in the UK entailed. This time I anticipated no such need, just the prospect of houseguests to prepare for, making the prospect of exhaustion compounded by jetlag a less than enticing prospect.

    Saving it for Scotland, meanwhile, would give me something to look forward too when my husband and son headed off to climb Ben Nevis without me, a challenge to far for my torn ACL, which had been playing up even in the slightly less strenuous context of the hills of Western Massachusetts. So that is was I decided to do, planning to balance the intensity of Atkinson’s rich literary vision of 1920s London with the anticipated jeu d’esprit of Juno Dawson’s Hebden Bridge-set witchcraft novels.

    Summer Reading and Future Plans

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    Somehow, it is the August bank holiday weekend, and thus almost the end of summer. I am back at work (which means hundreds of emails and frantic lecture writing and lesson planning for a month before teaching starts) on Wednesday and the kids are back at school the following week. This summer seems to have gone by in a blur, over before it barely began, but it has seen two important developments, at least as far as this blog is concerned.

    In the first place, I have managed to to a lot more fiction reading this summer than I have for the past couple of years. Returning to immersion in fiction as a space for relaxation and recuperation has been a joy, and I hope to carry on with this habit even as the busyness of the academic year accelerates. My-to-be read shelf has not noticeably contracted, as holiday travels have involved many bookshops and and I appear constitutionally unable to enter a bookshop without purchasing something, particularly second-hand bookshops, and there is also the list of things I want to read but haven’t quite got around (or found a good excuse) to purchase yet.

    The second development of the summer was my decision (along with many others) to finally cut ties with the social media site formally know as Twitter and move my micro-blogging onto Threads, where I go by @thehistorianskitchengarden. As I originally joined Twitter to publicise this blog, in the days when there was a 180-character limit, this transition feels like a good excuse to revive and revise what I am doing on here.

    My initial enrolment with Threads was due to the fact that I have an Instagram account, where I mainly post pictures of my cooking and gardening endeavours, as well as views from my morning runs and holiday walks. However, I have also been intermittently involved with the #bookstagram hashtag, primarily through posting stacks of books prompted by a theme. However, I also enjoy reading reviews of books posted on the site, and have considered posting my own, thwarted only by the incovenience of writing a detailed review on my phone keypad. Given the regularity with which I post typos due either to fat fingers or the vagaries of auto-correct as it is, attempting this on a regular basis seemed like a bad idea.

    I did flirt with the idea of launching a Substack, something I may do in the future depending on the direction my writing career develops in the future, but adding an additional platform at this stage, when I already have this one at my disposal. So how I will be using this blog will change over the next few months. In addition to publicising my posts on Threads, I will be posting more (and hopefully more regular) book reviews. These will mainly be fiction, moving this site away from its focus on the First World War, although there will be some non-fiction reviews as well.

    I don’t want to move entirely away from the role that this site has played as a research diary, not least because I am now working on not one but two book, a history of men and war in the modern period and a history of the returning British servicemen of the First World War. Both of these are now at the proposal stage and starting to have both argument and form. All that is lacking is sufficient time for me to write them. I will be trying to carve this out over the next year and the practice of working through ideas on this blog can only help make the process more efficient. Again, I will use Threads to help disseminate my writing, highlighting the historian as much as the kitchen and the garden of my handle.

    So there will be quite a lot going on on here, I hope, and I will be updating the look of this site as part of that. There will be separate pages for the reviews and the two book projects, as well as an updated profile. There will be more photographs integrated into my posts, reflecting how I have developed my use of Threads in conjunction with Instagram. There may be some publicity for my other project, the podcast on the intersections of the First World War with popular culture, that I co-present, although I am not clear what form this will take. Finally, there will, I hope, be more scope for comment and discussion both on here and on social media, particularly relating to the book reviews. All of this may take some time, not least because, as of next week, my priority will be writing and creating the presentation slides for the eleven lectures I am due to deliver in the current term. But there will be reviews of at least some of the books I have read this summer before then, and before the start of the new year catches up to me.

    Accountability

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    Having noted in my last post that I ended 2023 with a number of unfinish projects, I thought I would start the new year listing those that I hope to make progress with if not actually complete over the coming year. This is not a resolution (I’m possibly a bit late for that on Epiphany), but rather a hope to the point of intention.

    Writing:

    1. Janaury/February: Two book reviews. I’ve read both books and have a good sense of what I want to say, but I have negotiated a bit more time for both of these as I know that I will get very little writing done once marking and postgraduate studentship applications come in in a couple of weeks.
    2. April: Two conference presentations.
      • Discussant on a panel in military welfare history as a sub-field. My contribution will be considering intersections with histories of disability and gender.
      • ‘The Playboy, the Father, the Scholar and the Brute: Ambridge Masculinities in Historical Perspective’ for the 2024 Academic Archers conference. I am very excited about this one, and can’t wait to start writing this properly. It has been a couple of years since I last attended an AA conference, which are some of the most fun out there.
    3. The big one: The book. This will definitely not get finished this year, but the goal is to end the year with at least a couple of full chapters in place, and possibly even an agent for it.
    4. And the new project: One of the books I’ve been reading for review has inspired me to think again about the status of ambulance drivers and non-combattant care-givers (or not). I think there may be a journal article in this, drawing together some of the material that I was only able to mention in passing in An Equal Burden.

    Knitting:

    1. The cardigan that I started as a lockdown project. I have finally built up the courage to steek it (successfully, I think), but now have to complete the button bands and grafting. This may require another ball of wool from the supplier.
    2. Three family sweaters. Every year for Christmas I give my husband and two children the wool for a new sweater, which I then knit for them. This year I began my husband’s before Christmas, intending it for his birthday, after last year’s effort ended up far too tight in the arms and chest due to a miscalculation. However, as I have chosen an extremely complicated fair isle pattern, it is taking considerably longer than anticipated. Thankfully, the children’s sweaters should be more straight forward, so I may actually complete these before the weather gets too warm to wear them this year.
    3. And the new project: Today’s clearout of the bathroom cupboards in advance of the builders arriving tomorrow disclosed the sad fact that the baby blanket my mother made when my son was born had fallen victim moths. So I spent an hour today unravelling it, ending up with approximately six 50g balls of lovely, soft DK wool which, for sentimental reasons, I would like to make into something new. I’m not sure what yet, but all suggestions will be gratefully accepted.

    Quilting:

    1. Autumnal quilt. My first full-sized bed quilt which I am very, very slowly hand quilting. Not one that I can see getting completed this year, but I would like to make more progress on it than I have done in the past 12 months.
    2. Alice’s Wonderland quilt: A Block of the Month project from Alice Caroline which I started in January 2022. All that remains is to attach the final four borders, after which I will take it to be long-arm quilted at my local quilt store. It is intended as a gift and I am not yet confident enough at hand quilting to take this aspect on (nor to do I have the time if it is to go to its recipient – currently age 4 – before they leave home for university).
    3. And the new project: Because I clearly can’t resist the siren call of the new project, I have signed up for another Alice Caroline BoM project this year. Hopefully this one will be a little bit quicker, now that I am more confident of my technique.

    In the kitchen and the garden:

    These are less unfinished projects from last year than annual events which come around every year. Nonetheless, they fall under the heading of projects, and very enjoyable ones, too.

    1. Marmalade. The making of this year’s batch will be made more interesting by my current temporary impairment relating to my knee injury, which requires brace and crutches and means I am only partially mobile.
    2. Germination: We still don’t have a greenhouse (a very long-term unfinished project), so some time in the next few months the window sills will start to play host to pots of seeds in anticipation of one of the summer’s main garden projects, the veg patch.
    3. The front bed: Yet another project that is now several years old. Having removed a hugely overgrown berberis, I now need to finish digging out all the stones to replant with a callicarpa and bulbs. This one, however, will have to wait until the weather improves.
    4. And the new project: For Christmas, my husband asked for and received a cookbook about plant-based baking. I may have rashly agreed to try making plant-based cinnamon rolls at some point…

    As I say, I won’t complete all of these projects, but I hope to finish some and at least make progress with the rest. Whatever else it turns out to be, 2024 looks to be a busy year.

    Not Doing Family History

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    Last week I attended the Social History Society annual conference, held this year in Essex. It was the first time I attended this conference since 2013, when it was held in Leeds and where I presented my first paper on what would eventually become An Equal Burden. This time, I presented not-quite-the-first paper on what I intend to be my next book, on the social history of demobilization after the First World War in Britain.

    It was an enjoyable, if hot and exhausting, few days. The Essex Business School in built on the precepts of a tropical glass house and, despite a torrential downpour which deafened us on the first day, the humidity remained a noticeable factor throughout. And there were a lot of papers to cram in, particularly on the final day when I spent a fair amount of time dashing around the building, trying to hear as much as possible. But it was lovely to catch with old friends and colleagues, some of whom I hadn’t seen in person since well before the pandemic, and hear about exciting new research, particularly from postgraduate research students. Honor Morris and Mandy Barrie, both writing about working-class women’s experiences of feminism at either end of the 20th century, produced engaging and intriguing analyses which makes me excited to read more of their work. Clare Tebbut’s paper on a complicated story of a trans(?) marriage in the interwar years, and Jessamy Carlson’s discussion of child protection in the same period, both chimed with my own work, prompting me to rethink the significance of my arguments about the time frame of developments in the entangled relationships between the domestic and state welfare provision.

    The highlight of the panels I attended, however, was the final session on Friday, when Julia Laite, Cath Feely, Laura King and Lucinda Matthews-Jones discussed their uses of their own family histories in their historical work. Separately, the four papers were fascinating studies in their own right; together, they suggest important new methodologies for those of us who work on histories of emotions, material objects and the everyday. This was, in fact, the second event on the topic that I had attended in as many weeks, following the roundtable discussion hosted by the IHR’s Contemporary British History Seminar, where Julia and Laura spoke alongside Michael Roper and Matt Houlbrook, both of whom have written or are writing histories which included consideration of their own families. That so many important historians in fields related to my own (and who I have had the honour of working with over the years) should be developing practice in this area suggests that this is an approach I need to consider exploring in my own work. Certainly listening to Cath’s discussion of the ways in which her great-grandfather’s death was mythologised through his First World War service, and how the wider historical context and her expertise as a local historian shaped her research into the story, suggested a number of questions about the returning soldier and the legacy of the First World War that I want to pursue further in my own work.

    But that work won’t be through my own family history and Friday’s panel, in combination with the IHR seminar, has forced me to think about why not. After all, I have my mother’s archive, including both her own papers and the research she conducted into her parents’ histories in the final years of her life, sitting in my spare room in half a dozen boxes. Why not use them as a springboard for my discussion of 20th century domesticities, or integrate the information they contain into my analysis? No, the connections between my family’s history and the First World War are not obvious, but I am, at least in part, a historian of the everyday in time of war. There may be relevant stories of the quotidian in my own family’s experiences of the war. And, even if there are not, I do not need to be defined solely as a First World War historian for my entire career, even if this is how I predominantly see myself. Indeed, my current project is not about the war itself but about its resonance through the lives of those who lived through it throughout the rest of the 20th century. Surely there will be members of my family whose lives can help me explore the process. If not, there must be other stories they can tell of 20th century British social history, from the intimate variation on the special relationship that was my parents’ marriage to the changing nature of women’s employment across at least two generations. Why should I not think about exploring these?

    And yet I still find I cannot. My mother’s archive sits in the spare room unexamined, as it has done for four and half years now. There is always something more urgent to do, either professionally or privately, than opening those boxes and exploring their contents. And the reason for this avoidance is that the emotions that such research would evoke are still too powerful for me face in order to do this work.

    In the discussion session following Friday’s panel, Michael Roper asked about the role of grief in the work each of the panelists were undertaking, pointing to the ways in which his own work on his family’s history, incorporated into his new book, Afterlives of War, formed part of the process of grieving for his late father. And maybe someday I will be able to use my mother’s archive to work through my grief over losing her too early at 73. But the primary emotion I feel when contemplating those boxes and the work that they represent, both that done already by my mother and that which I would need to do to integrate them into my historical practice, is fear.

    I am still working out what, precisely, I am so frightened of. It has, I am sure, something to do with the anger I still feel about my mother’s death, an anger that swells every time I read of another celebrity dying of pancreatic cancer. But there is also the fact that the history contained in the files is that of my mother as much as that of my more distant ancestors. As I noted in my own question to the panel, none of them were working directly on histories of family members more proximate than grandparents. I asked if they thought too-close generational proximity makes the work of integrating family history and academic history harder. As the discussion touched on, proximity brings into focus the fact that family histories are, in the end, emotional histories and these emotions, as Laura King argued in her paper, are a direct challenge to the idea of the pre-eminence of objectivity in professional historical practice.

    I am, among other things, a historian of emotion, something I was reminded of listening to Julie-Marie Strange’s tribute to Joanna Bourke on her retirement earlier this week. I am one of the many heirs and beneficiaries to Joanna’s pioneering work in the field, which has and continues to profoundly shape the questions I ask, the sources I explore, the arguments I make. And I do not merely analyse historical emotions but engage emotionally with the past. I regularly respond to the grief of wartime loss or the anger of injustice in the treatment of the disabled or dispossessed when reading archival sources. But when asked to consider my family history, I do not know how to manage the emotions it makes (or threaten to make) me feel. Even contemplating  the boxed archive feels overwhelming and, to protect myself, I continue to turn away.

    Citing Richard White’s Remembering Ahanagran, Laura spoke of the cruelty inherent in intimate histories of subjectivity and emotion which rely on the analysis of the stories that individuals tell about themselves. I am all too aware of this, having provoked fury on the part of one descendant of a man whose diaries I quoted in my first book, who felt that my interpretation was an insult to his ancestor.  This is also a point that has been made in relation to personal essayists and authors of autofiction, such as Rachel Cusk, who use (exploit, even) their intimate relationships – with parents, with partners, with children – to produce work for publication. This was a discussion that my mother herself was familiar with. Her own writing, principally her MFA dissertation, explored her complex relationship with her father, but was only written after his death. Her diaries, which she asked to be burnt without reading after her own death, almost certainly grappled with her feelings about motherhood, including reflections on her perceptions on her relationships with us, her three children. Telling the stories of interpersonal relationships, whether in the past or the present, has immense power, the power to enlighten, inspire, even comfort, but also the power to disrupt and harm.

    So the fear I feel when faced with my mother’s archive is, at least in part, fear of the damage I will do – to myself and to others, not least my two siblings, my children and theirs – by trying to negotiate the boundaries between subjectivity and objectivity that the process of doing family history as an academic historian demands of us. I agree with Laura’s central argument that we need to challenge the reification of objectivity in academic history, and that family history can help us to do this. But, at least for now, I cannot participate to this methodological project through the doing of family history. I can, however, contribute through the process of thinking about and exploring the emotions that prevent me. There is, I believe, a story to tell in not doing family history as well.

    A resolution

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    Every year since 2013 I have posted a reflective blog post at some point between Christmas and New Year. I posted throughout my chidren’s early childhoods, when Christmastime was a welter of preparation and lack of sleep. I posted through my parents’ illness and in the wake of their deaths. I posted the year I caught a stomach bug and spent much of the holiday feeling extremely sorry for myself.

    But not last year. Somehow, there didn’t seem much to say last year, after a year of anxiety and restrictions, with yet another lockdown (and its attendant home-schooling-while-full-time-teaching-on-line stresses) on the horizon. And that failure to post seems to have set the tone for this past year, a year in which I have failed to write.

    I don’t mean that entirely literally. I have written syllabi, reports, and many, many comments on students’ work. I have drafted an article (currently under review following a revise-and-resubmit) and wrote three new talks on my research. I even submitted a short story to a competition over the summer (it didn’t get long-listed, so no feedback). And yet it has still been a year when I have felt blocked in my writing, when nothing has flowed, when I have struggled to find my voice on the page.

    It is not just that I have not posted on this blog since July 2020. Having entered the pandemic with ideas for three major pieces of writing, all of them have stalled. The proposal for the monograph based on the research from Men, Women and Care remains unwritten. I have done nothing about the trade history beyond speaking to a couple of possible literary agents. And the novel I started so blithely remains stubbornly stuck at 25,000 words.

    There are, of course, good, explicable reasons for this lack of writing productivity. The above-mentioned home-schooling-plus-on-line-teaching absorbed much of the start of the year. The hybrid return to campus in the autumn, along with the resumption of my children’s extra-curricular schedules (choir, rugby, drama, riding) brought its own set of stresses and challenges. As for the summer … I’m not actually sure what happened to the summer this year. Whatever it was did not involve putting pen to paper (or fingers to keyboard).

    Writing in a pandemic is hard, and I am trying my hardest to be kind to myself and not to berate myself over the lack of progress. But the fact is that reflecting on this writing block makes me feel sad and anxious in a way that is different from the sadness and anxiety I have felt (and often felt acutely) in past years.

    I need to write. I need get the ideas in my head on paper (or a screen). I need to make mistakes, cross things out, find the perfect phrase, delete whole paragraphs and then rewrite them. And I have plenty to write. In addition to the monograph, trade history and novel, there is a blog post on the White Feather campaign I want to write, an article with a deadline next month and the character I have left in limbo in an incomplete AO3 story. Those three new talks should, I hope, form the basis of monograph chapters and there is a call for papers for an edited collection which could give me scope for exploring a key angle to emerge from Men, Women and Care.

    So, for the first time in many years I am making a specific New Year’s resolution, one which I intend to hold myself accountable for. Every day for the next 365 days, I will write for a minimum of half an hour. It doesn’t matter what it is – a blog post, fiction, a draft chapter, a proposal. It doesn’t matter when in the day it is, although I do know I write best in the mornings. It doesn’t matter if I am working that day or on holiday, at home or traveling (as I hope to be doing come the spring). For half an hour every day I will write in the hope of getting my writing muscles working again, just as I have this past year sought to get my running muscles working again.

    So there is the marker I am placing in 2022. Given the current state of the world, I have no confidence in making any predictions for what the new year may bring, but I will enter it with some hope that there will, at least, be a few more posts on this blog than last year, and maybe even a draft book (or two) by its end. I can but hope.

    So I will close this piece of end-of-the-year writing by wishing you all a hopeful, health and happy new year.