I’ve just read two fascinating works by Cicely Hamilton, actress, writer and suffragette and one of my feminist heroes. Hamilton (1872–1952) wrote the words to the suffragette anthem, The March of the Women , as well as a number of sharp, funny suffragette plays. She also wrote Diana of Dobson’s , a play about a shop girl who comes into some money, and Marriage as a Trade which railed against the Edwardian women’s enforced inability to support themselves in any other way but marriage. The books are Theodore Savage , a novel published in 1922, and a play, The Old Adam , which had its first performance (as The Human Factor ) at Birmingham Repertory Theatre in 1924, and later played at Kingsway, London. Like her 1919 novel, William: an Englishman both are concerned with war and man’s destructive, violent nature. Both could also be described as science fiction for the prominent role of technology in them. In The Old Adam , two neighbouring fictional states are on the brink of war. De...

How peculiar to discover Richmal Crompton (1890-1969) included in The Independent Forgotten Author’s series in an article dated 23 May 2010. William Brown has hardly been forgotten if the over 8,000 results for books, CDs and DVDs that came up on Amazon today is anything to go by. Since their debut in 1919, the Just William stories have been translated into 28 languages and have spawned numerous radio and TV spin offs, the best of which to my mind are the BBC audiobooks read by the fabulous Martin Jarvis. If anything has been forgotten about Richmal Crompton, it’s the fact that she actually wrote books for adults. Even Christopher Fowler, the author of Forgotten Authors No 54 , only mentions this in passing: “Crompton wrote for adults too”. That’s all he has to say on the subject. But for Crompton it was a source of regret that her 41 novels and 9 short story collections were overshadowed by her children’s books. Yes, 41 novels. I had no idea either but now, thanks to Persephone Boo...

I’ve recently finished reading Richard Holme’s splendid two volume biography of Samuel Taylor Coleridge, and topped it off with Adam Sisman’s equally splendid Wordsworth and Coleridge: A Friendship . Coleridge’s was not a happy life, what with the failure of his marriage and the opium addiction that caused him such terrible physical and mental suffering. Much as I admire what I know of his work, I’m left with a mix of sympathy and irritation for the man. There’s no doubt that the problems within his marriage caused him much suffering, but I can’t help thinking that this was in large part because his wife Sara did not nurture his creativity. She does not seem to have been his intellectual or creative equal – Dorothy Wordsworth (not an objective witness) called her “the lightest weakest silliest woman” who lacked “sensibility”. Clearly a most unsuitable wife for a poet. She was not his muse, and she was too busy looking after his children, cooking, cleaning, and washing to act as his a...

I’ve just finished reading The Lacquer Lady by F Tennyson Jesse (first published in 1929). The novel is set in Mandalay in the 1880s and charts the fall of the Burmese royal dynasty and the annexation of Lower Burma by England. Jesse visited Burma in the 1920s, where she learned about the downfall of the kingdom and something of the people involved in those events. The book is beautifully written, and a profound study of passion and politics. There’s much in it that’s ripe for discussion, but one of the things that struck a particular chord with me was the way in which the Buddha and his followers are described. In Jesse’s book the Burmese in general, and the Burmese royal family in particular, are characterized as children: “a nursery of vicious children…playing with toy soldiers, but with real lives, had become so vicious that the grown-ups had to step in and take charge”. The grown-ups are, of course, the British with their “bloodless conquest”. The Buddhists’ “religion of pessimis...

Yesterday (2 April 2011) was the anniversary of the women’s boycott of the 1911 Census and I marked the event by joining historians Jill Liddington and Tara Morton on their “Artists and Evaders” walk around Kensington. As a suffrage demonstration, the refusal of many militant and non-militant suffrage campaigners to fill in their Census forms was far from being the most spectacular or successful of the protests made by disenfranchised women. According to the Registrar in a letter to The Times on 1 April 1911, if the suffragists hoped that the Census would be seriously affected they would be proved wrong. Even if 100,000 women were “bold enough to defy the law”, he said, in an overall population which “will no doubt be found to exceed 40 millions” (in fact he overestimated by half a million) their absence would make little difference. In the event, many evasion attempts simply did not work: women were counted anyway. Even so, Christabel Pankhurst hailed the demonstration as a success, a...

As in a theatre the eyes of men, After a well-grac’d actor leaves the stage, Are idly bent on him that enters next, Thinking his prattle to be tedious; Even so, or with much more contempt, men’s eyes Did scowl on Richard. Richard II , Act V, Scene II Thus the Duke of York describes Bolingbroke’s triumphant entry into London with the deposed King Richard riding in his train. This is a playful inversion of the drama for me for, as far as I am concerned, the play is dominated by Richard, not Bolingbroke. It’s Richard my gaze is fixed on when he’s on the stage; when he leaves it my interest takes a little dip. Of course, I soon ascend from the dip: this is my favourite Shakespeare play. It’s fair to say, though, that for this play-goer if Richard isn’t up to the job the rest might as well not bother. I’ve seen Fiona Shaw’s Richard, Kevin Spacey’s Richard, and a couple of other unfortunately unmemorable Richards. Now I’ve seen John Heffernan take on the role in a production by Shakespeare ...

I had another wonderful evening in Chepstow’s Drill Hall on Saturday (5 March 2011) at a Poetry on the Border event. This time I went to see Carol Ann Duffy and Gillian Clarke: a tremendous double bill. William Ayot, who organises PotB, introduced them as two “great” poets, reflecting on the fact that “great” is a word he often uses of poets, but is particularly applicable to these two. He’s right of course. Duffy offered us a range of poems, many of which touched on things we are losing, precious things that are slipping away. Elm trees, decimated by disease, and now the survival of the remaining few threatened by government spending cuts which decrees no more research into its cause. Old pub names full of meaning - local, historical, agricultural - replaced by rootless, manufactured nonsenses. Bees, gone with disastrous consequences for every growing thing. County names: this last a protest against Royal Mail’s instruction that we no longer need to include the county in addresses. B...