Book Review: When the Clyde Ran Red- A Social History of Red Clydeside

When the Clyde ran Red

When the Clyde Ran Red by Maggie Craig.

Maggie Craig. When the Clyde Ran Red: A Social History of Red Clydeside. Edinburgh: Birlinn, 2018. RRP £9.99 paperback.

I don’t need much of an excuse to go book shopping, but traveling is one of them. Whenever I go somewhere new, I keep an eye out for books about local history, particularly relating to protest and dissent. On a recent trip to Scotland, I bought When the Clyde Ran Red: A Social History of Red Clydeside by Maggie Craig. The book tells the story of a period in Glasgow’s history known as Red Clydeside. In the first half of the twentieth century Glasgow and the surrounding areas experienced a period of radical politics which saw a number of dedicated campaigners fighting to improve the lives of working-class Glaswegians. When the Clyde Ran Red tells the story of Glasgow between the Singer Sewing Machine Factory strike in 1911 and the Clydebank Blitz in 1941.

Warm and witty, kind-hearted and generous, interested in everything and everyone, the spirited men and women of Red Clydeside had one goal they set above all things…to create a fair and just society, one in which the children of the poor had as much right as the children of the rich to good health, happiness, education and opportunity.

Craig, p. 301

When the Clyde Ran Red is an engaging and lively read, it is a book that I thoroughly enjoyed. Maggie Craig has an informal writing style, her prose peppered with phrases in Scots that helps to transport the reader to Glasgow in the first half of the twentieth century. The book is comprehensive, covering everything from party politics undertaken by idealistic and self-sacrificing men, to rent strikes organised by fierce and determined housewives. Craig also brings in social history, explaining the context of Red Clydeside by describing the social, economic, and cultural life of Glasgow. For example, the Scottish Exhibition (1911), the Empire Exhibition (1938) and the popularity of increasingly ‘raunchy’ dance styles as a form of social revolution.

I criticised the last book I reviewed, The Road Not Taken by Frank McLynn (LINK), for going into too much detail. Sometimes, When the Clyde Ran Red goes to far in the opposite direction. I occasionally found its lack of detail frustrating. For example, the Singer Sewing Machine Factory strike in 1911 failed, but Craig does not any offer explanations about what went wrong. There were several points where I just wanted more information. Nevertheless, I think the book is a good introduction to an area of history that I previously knew very little about, and I can always find more detail elsewhere about all the events featured if I wanted to. When the Clyde Ran Red is an excellent starting point.

I admit that my knowledge of Scottish history is patchy at best, but When the Clyde Ran Red was an enjoyable way of filling some of those gaps. I would recommend it to anyone interested in labour history, the history of protest, or Scottish history.

Turbulent Hullensians: Dr. Mary Murdoch, 1864-1916

Regular readers of this blog will know that I usually write about Turbulent Londoners, women who participated in some form of protest or dissent in London. However, I have recently moved to Hull in East Yorkshire, so I have decided to celebrate the turbulent history of my new city. I recently reviewed a book about the city’s Headscarf Revolutionaries, but they are not the only women that have caused a stir in Hull. Dr. Mary Murdoch was a prominent suffragist, as well as being the city’s first female doctor.


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Dr Mary Murdoch (Source: Hull History Centre).

Most of the names associated with the histories of British towns and cities are men. Look a bit harder, however, and it is almost guaranteed that you will find women who also helped to shape that local history. In Hull, Dr. Mary Murdoch is one such woman. She was the city’s first female doctor, as well as being a suffragist and dedicated social campaigner.

Mary Murdoch was born on the 26th of September 1864 in Elgin, Scotland. She was the youngest of 7 children, and her father was a solicitor. She received a good education at home from governesses, and at schools in Elgin, London, and Switzerland. She returned to Elgin in 1883, and from 1885 looked after her mother until her death in 1887. During this time, Mary discovered her love of medicine, and used the inheritance from her mother to fund her studies at the London School of Medicine for Women.

It was still unusual for women to train as doctors at this time. The London School of Medicine for Women was co-founded in 1874 by Elizabeth Garrett Anderson, one of Britain’s first female doctors and sister of Millicent Garrett Fawcett, the leader of the National Union of Women’s Suffrage Societies (NUWSS).

Mary finished off her studies in Scotland and qualified as a Doctor in 1892. The following year she moved to Hull and became the house surgeon at the Victoria Hospital for Sick Children in Park Street. In 1895 she moved back to London to work at the Tottenham Fever Hospital, where she gained experience in the diagnosis of infectious diseases. In 1896, she returned to Hull and worked there as a GP until her death in 1916.

In 1900, Mary employed the recently qualified Louisa Martindale as an assistant. They worked together until 1906. Mary listened to her poorer patients and developed a good understanding of the difficulties they faced, caused by a range of interconnected problems such as poor nutrition, hygiene, and housing, precarious employment, and childcare. She supported social reform and and public education, and helped to improve the services available to women and children in Hull; she founded the first creche in the city, and a school for mothers. Mary encouraged male dock workers to take a more active role in child rearing. She was a vocal critic of poor quality housing in Hull, which got her in trouble with prominent Conservatives in the city for portraying Hull in a bad light.

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The plaque commemorating Mary Murdoch on the house where she used to live, 100-102 Beverley Road (Photo: Hannah Awcock).

As well as working to improve the social issues faced in Hull, Mary was also politically active. In 1904, she founded the Hull Women’s Suffrage Society, which was part of the NUWSS. Mary disagreed with their policy of  not supporting militancy by any suffrage campaigner however, and eventually joined the more militant Women’s Social and Political Union (WSPU). She gave talks at the International Council of Women in Toronto (1909), Stockholm (1911), and Rome (1914). Mary was also a leader in the National Union of Women Workers, founding a local branch in 1905. She was also active in the Association of Registered Medical Women, which represented the interests of medical women and female patients (the organisation is still active as the Medical Women’s Federation).

Dr Mary Murdoch died on the 20th of March 1916; she became ill after going out in bad weather to see an emergency patient. Mary had been the first woman in Hull to own a car, and she earnt herself a reputation for driving around the city at speed. Her funeral procession was led by her car, and thousands of the city’s residents turned out to show their gratitude for everything she had done for Hull.

Dr. Mary Murdoch was a brave and energetic woman who dedicated herself to her adopted city of Hull. She worked hard to improve the lives of the city’s residents, on a social and a political level, and she helped to shape Hull as it is today.

Sources and Further Reading

Carnegie Hull. “Dr. Mary Murdoch.” Hull Firsts Trail. No date, accessed 7 January 2019. Available at https://www.carnegiehull.co.uk/hull-firsts/dr-mary-murdoch.php

Cockin, Katharine. “Murdoch, Mary Charlotte.” Oxford Dictionary of National Biography. Last modified 26 January 2005, accessed 7 January 2019. Available at https://doi.org/10.1093/ref:odnb/69838 [Requires a subscription to access].

Cockin, Katharine.  ‘Dr Mary Murdoch (1864-1916) and the ‘Heart of Hull’: Campaigning for women’s suffrage, education and health care’; audio recording of a lecture delivered by Professor Katharine Cockin of the University of Hull to the Hull Amnesty Group on 15th November 2016, 11am-12noon at Hull History Centre. Available at https://hydra.hull.ac.uk/resources/hull:14055

Cockin, Katherine. “Dr. Mary Murdoch.” Remember Me. Last modified 5 April, 2017, accessed 7 January 2019. Available at https://remembermeproject.wordpress.com/2017/04/05/dr-mary-murdoch-1864-1916-a-woman-doctor-of-hull/

Wikipedia. “Mary Murdoch (Hull).” Last modified 10 December 2018, accessed 7 January 2019. Available at https://en.wikipedia.org/wiki/Mary_Murdoch_(Hull)

 

Politics and Street Art: Brexit in Brick Lane

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Street art is a format the frequently expresses political viewpoints (Photo: Hannah Awcock).

If you’ve spent any time in the UK over the last few years, then you won’t have been able to escape Brexit. Britain’s exit from the European Union may well be the most significant thing that’s happened in this country in decades, and it hasn’t even actually happened yet. Brexit has seeped into every aspect of life. Brick Lane in Shoreditch is one of the best places in London to see street art (and to get bagels!). The street and surrounding area has a fascinating social and cultural history, and in the last twenty years or so has become one of the most painfully cool parts of London. It is a hub of independent shops and cafes, art galleries, and gentrification. Brick Lane itself is an informal open air art gallery, covered in street art that is painted or covered over regularly. Street art is a format that often engages with politics, and the artists who produce it are not afraid of expressing subversive or critical views in their work. On a recent visit to Brick Lane in December 2018, I noticed a distinct anti-Brexit theme to much of the street art I found.

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This is an example of paste-up art, which has been produced elsewhere then attached with wheat paste or wallpaper paste. It looks hand drawn rather than printed. The artist, Honesy, has a bold, simplistic style that I quite like (Photo: Hannah Awcock).

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This is also an example of paste-up art, although it was obviously printed rather than hand drawn. This means the artist can produce as many identical copies as they like, although I only saw this poster once on Brick Lane. It was produced by a pair of artists called Quiet British Accent, who make street art based around pre-decimal pennies, a red white and blue colour scheme, and the acronym QbA (in this case it has been expanded to Quiet Balanced Advice) (Photo: Hannah Awcock).

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To be honest, this is the least artistically accomplished artwork that I came across in Brick Lane that day. It looks like permanent marker on a bathroom or kitchen tile, but I don’t know if the tile was installed by the artist, or if it was already there and the design was drawn on in situ. There is so much street art and grafitti in Brick Lane that it is often layered on top of each other, with new stuff partially or completed obscuring older artworks. My gut instinct is that this tile was already on the wall, and the artist made use of it rather opportunistically. That doesn’t mean that there wasn’t time and thought put into the design, however. This might not be as high-quality as the other artworks featured here, but someone still put some effort in (Photo: Hannah Awcock).

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This is another example of paste-up street art, this time produced by Uberfubs, also know as the Street Jeweller. This artist is known for images of skulls, often adorned with rhinestones or crochet. Their works also often contains a political message, such as this one. (Photo: Hannah Awcock).

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I haven’t been able to find out who produced this poster, another example of paste-up art. Many of the key architects of Brexit have been accused of acting to serve themselves, rather than in the best interests of the country (Photo: Hannah Awcock).

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This poster was obviously produced by the same artist as the previous one. It features the inexplicably influential Jacob Rees-Mogg, comparing him to Voldemort, the evil villain from Harry Potter (Photo: Hannah Awcock).

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This mural was produced by American street artist BK FOXX, who is known for her photorealist style. It was painted in September 2018. It doesn’t explicitly mention Brexit, but it is hard to interpret it any other way. (Photo: Hannah Awcock).

London’s Protest Stickers: Anti-Capitalism and Anti-Austerity

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Stickers of all kinds are a common sight in London (Photo: Hannah Awcock, Shadwell Gardens, 12/09/17).

Many of the issues that I talking about in these protest stickers blog posts can be traced back to our underlying economic system: capitalism. As such, many of the protest stickers I find take issue with capitalism directly. Linked to capitalism is austerity, an economic policy of public spending cuts associated with neo-liberalism, the system which governments in the UK and USA have followed for almost the last half-century. Since the last global financial crisis in 2008, the UK government has enforced a policy of austerity that has affected public services in all areas. A significant amount of the energy of activists and social movements since 2010 has been devoted to fighting these cuts, and countering their impacts. The protest stickers I’ve found reflect this struggle against austerity and the wider economic system that it derives from.

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‘Fat cat’ is a common way to describe rich, greedy people. This sticker takes the metaphor literally (Photo: Hannah Awcock, Aylesbury Estate, 05/05/15).

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This sticker was produced by the Communist Party of Great Britain (Marxist-Leninist). Their name may not be very punchy, but the sticker is (Photo: Hannah Awcock, Bloomsbury Road, 28/05/17).

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This sticker was produced by Active Distribution, but points viewers towards the websites of two other groups. The Campaign to Stop Killer Coke works to combat the violence that union leaders often face when standing up to Coca-Cola and it’s bottlers and subsidiaries, particularly in Columbia and Guatemala. War on Want campaigns on a variety of issues with the overarching aim of creating a more just world. In 2006, they published a damning report on Coca-Cola’s activities around the world (Photo: Hannah Awcock, Kennington Park Road, 04/06/15).

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This sticker is produced by a group called Anti-Capitalist Action. The website on the sticker doesn’t exist, but there is an active community page on Facebook (Photo: Hannah Awcock, Euston Road, 09/02/16).

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This sticker isn’t associated with a particular group or campaign, but has a general anti-capitalist sentiment, urging the viewer to live for their own pleasure rather the profits of their boss (Photo: Hannah Awcock, Torrington Place, 21/02/17).

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This sticker was also produced by Active Distribution. It features an unattributed quote relating to the way that it is often the most vulnerable people, such as the poor, the homeless, or immigrants, who are blamed for some of society’s biggest structural problems (Photo: Hannah Awcock, Euston, 17/02/15).

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The People’s Assembly is an anti-austerity movement that argues that austerity is not the only way to improve the British economy. In fact, they argue that it does not lead to a strong economy at all (Photo: Hannah Awcock, Malet Street, 17/02/15).

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Stick it to the Tories is a sticker campaign thought up by the West Wales Peoples Assembly. The project is a few years old now, and unfortunately the website is no longer functioning. Nevertheless, it is an interesting example of a forum for sharing sticker design and encouraging protest stickers (Photo: Hannah Awcock, Charing Cross Road, 24/05/15)

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This sticker also focuses on the Conservative government’s austerity policies rather than austerity more generally (in recent years, Labour and the Liberal Democrats have been just as supportive of cuts as the Tories). This sticker highlights the hypocrisy of austerity, which takes resources away from those who need it the most, supposedly because of a lack of money. At the same time, the richest in society get tax cuts (Photo: Hannah Awcock, Swiss Cottage, 12/10/17).

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This sticker uses symbols rather than words to get it’s point across. Scissors have been a well recognised symbol for economic cuts for the last decade or so. One of the key slogans during the student protests in 2010 was “Don’t run with scissors,” warning against hasty cuts that would do significant long-term damage (Photo: Hannah Awcock, Fleet Street, 20/06/15).

Book Review: The Headscarf Revolutionaries-Lillian Bilocca and the Hull Triple-Trawler Disaster

The Headscarf Revolutionaries Front Cover

The Headscarf Revolutionaries by Brian W. Lavery

Brian W. Lavery. The Headscarf Revolutionaries: Lillian Bilocca and the Hull Triple-Trawler Disaster. London: Barbican Press, 2015.

Whenever I move to a new place, I like to find out about its history, particularly its radical history. I recently moved to Hull in east Yorkshire, and one of the most famous episodes of protest in the city’s history took place in 1968. In early 1968, three trawler ships from Hull were lost in the Artic ocean in the space of just a few weeks. All three crews were lost, apart from one sole survivor. For some women in Hull, this was a tragedy that could have been avoided with better equipment and more stringent safety checks on the trawler ships, and better training for inexperienced crew members. The women started a campaign which captured national attention, won concessions from the ship owners, and changed government policy. They were largely pushing against an open door, but they did face hostility and criticism, including from some trawlermen who didn’t like women interfering in their working lives. The women became known as the Headscarf Revolutionaries because of their distinctive headwear. In The Headscarf Revolutionaries: Lillian Bilocca and the Hull Triple-Trawler Disaster, Brian W. Lavery tells the story of the campaign, the women involved, and the men who lost their lives on the St. Romanus, the Kingston Peridot, and the Ross Cleveland.

Lily’s Headscarf Revolution may have been a naïve one. But it was a powerful action from the heart that caught the imagination of the world and shamed an industry and a Government into action. Hands that rocked the cradle shook the world and changed it for the better.

Lavery, 2015; p.190

I was not surprised to find out the Brian Lavery has training in both journalism and creative writing. The Headscarf Revolutionaries is incredibly well-researched; it seems like Lavery interviewed almost everyone who is still alive and had any involvement in the campaign. Virginia Bilocca-McKenzie, is the daughter of Lillian Bilocca’s, who kickstarted and was one of the key leaders of the movement. Virginia obviously had significant input into the book; multiple conversations between her and her mother are included. Many sections of the book feel more like fiction than non-fiction; it is much more descriptive that many of the other history books I read. It is an effective approach, particularly the section near the beginning in which some of the men on the crews of the doomed ships say goodbye to their families and head out to sea for what the reader knows is the final time.

There are some elements of Lavery’s writing style that I am not so keen on, however. He has an odd way of using commas that I found irritating. It’s not necessarily wrong, but there are lots of commas in places where I wouldn’t put them, which I found distracting.  Also, some details are repeated in a way that felt unnecessary. These are minor issues in what is otherwise an excellent book, and I guess it isn’t Lavery’s fault that I am quite pedantic when it comes to grammar and style; I blame it on all the undergraduate marking I do.

The Headscarf Revolutionaries is about a local tragedy which sparked a campaign which had national implications. It shines a light on both labour and gender relations amongst Britain’s working classes in the mid-twentieth century, and as such has a much broader appeal than those who are just interested in local history.

 

Journey to Justice Exhibition at the International Slavery Museum

On the third floor of the Merseyside Maritime Museum at the Royal Albert Dock in Liverpool is the International Slavery Museum. Opened in 2007, the museum aims to increase understanding of the transatlantic slave trade and its continuing impact, but also draws attention to contemporary slavery. From the 5th of October 2018 until the 7th of April 2019, the Museum is playing host to the travelling Journey to Justice exhibition, designed by an organisation of the same name that uses the arts and education about human rights movements to try and inspire people to take action for social justice.

The Journey to Justice exhibition focuses on some of the lesser-known stories of the American civil rights movement, highlighting what motivates people to get involved and stay active in social justice campaigns. Unlike a lot of museums, the temporary exhibition space at the International Slavery Museum is not clearly separated from the permanent exhibitions, so Journey to Justice almost merges with the museum’s section on the contemporary impacts of the transatlantic slave trade. This is quite effective, highlighting the links between the legacies of the slave trade and the civil rights movement.

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The Journey to Justice exhibition, which is currently at the International Slavery Museum in Liverpool (Photo: Hannah Awcock).

The exhibition features a number of ‘bus stops,’ each one telling the story of an individual or small group of people who took a stand against injustice during the civil rights movement. It starts with a map, detailing the dates and locations of 21 important moments in the civil rights movement during the 1950s and 60s. As a Geographer I may be biased, but I always find maps a really helpful way of contextualising examples and getting my head around the bigger picture.

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The ‘bus stop’ about Elmore and Peggy Nickleberry. Elmore was a sanitation worker in Memphis who took part in a strike of more than 1000 sanitation workers for better pay and conditions (Photo: Hannah Awcock).

Each ‘bus stop’ features text, images, quotations, and recorded interviews or a poem written by local schoolchildren in response to the exhibition. The final example represents the Greensboro Sit-ins, when four black students sat at the lunch counter in an all-white restaurant and refused to leave. It also encourages visitors to interact with the exhibition, filling out labels about how they can take action for social justice. There is also a map of the UK labelled with important social justice campaigns which visitors are asked to contribute to. These interactive elements highlight the importance of properly maintaining exhibitions; the labels for people to write on had run out, which meant that no one else could contribute. It is a minor issue, but demonstrates that a museum’s work isn’t finished once the exhibition opens.

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The lunch counter section of the Journey to Justice exhibition encourages visitors to sit and reflect , and interact with the exhibition by writing down and displaying their responses (Photo: Hannah Awcock).

There is also a section for radical zines, self-published magazines that are frequently produced by activists. The Represent! exhibition at the People’s History Museum in Manchester (open until the 3rd of February 2019) also has a section for zines; perhaps this is an emerging trend amongst museums. It is also quite common now for exhibitions to feature sounds, speech, and/or music played out loud, so the visitor has no choice but to listen. The Journey to Justice Jukebox plays songs associated with the civil rights movement. I find speech played out loud in museums distracting, as I struggle to listen to one set of words and read another at the same time, but music I can deal with. In this case it adds an extra dimension to the exhibition, illustrating the relationship between the civil rights movement and popular culture, and highlighting the role music can play in motivating and inspiring activists.

Journey to Justice is a small exhibition with ambitious goals. It aims to use the history of the civil rights movements to encourage people to take their own stand for social justice. Whilst I am not convinced that a museum exhibition is an effective method of creating activists, I do think it is a thoughtful and interesting exhibition that is well worth a visit. The exhibition will continue to tour the country when it’s stint in Liverpool finishes, visiting London, Edinburgh, Leeds, and Leicester over the next few years, so don’t worry if Merseyside is a little too far for you to travel!

 

My Oscars Acceptance Speech: PhD Acknowledgements

Thesis acknowledgements are a chance to say thank you to everyone who has supported you through the long, arduous process of a PhD. I am under no illusions of how many people are actually going to read my thesis, however, and I wanted to make my appreciation a little more public. So I have reproduced my acknowledgements here. If my PhD was an Oscar, this is what I would say in my acceptance speech:


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Me with my supervisors, David Gilbert (left) and Innes Keighren (right) on my PhD graduation day (Photo: Graeme Awcock).

First of all, I would like to thank my supervisors, Professor David Gilbert and Dr. Innes Keighren. They agreed to supervise my PhD when my original supervisory team fell through during my Masters, and I will always appreciate that. Since then, they have guided me through the PhD process with skill and wisdom. They work well as a team; their expertise complements each other, and they always made an effort not to offer contradictory advice. I will always be grateful for their knowledge, feedback, and support. I would also like to express my appreciation to my advisor, Dr. Mike Dolton, who has always been ready to provide a second (or third, in this case!) opinion.

I owe an important debt to the Economic and Social Research Council, for funding my PhD, and for trusting me with the freedom to change the project as my research evolved. I am also grateful to the staff at the various archives I have consulted during my PhD; their knowledge and advice has been invaluable. I would also like to thank my examiners, Dr. Briony McDonagh and Professor David Green, whose feedback helped me to produce a better thesis.

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The post-graduation group photo (Photo: Graeme Awcock).

The Department of Geography at Royal Holloway, University of London, has been an encouraging and supportive intellectual home for me over the last eight years, I am grateful to everyone there for contributing to such a nurturing environment. The Social, Cultural, and Historical Research Group has been particularly important to me during my postgraduate career. The Landscape Surgery seminar group has been a lifeline over the last four years, making me feel part of a community in what can be a lonely experience. I am also grateful to the organisers and attendees of the London Group of Historical Geographers seminar series. The meals afterwards in the Olivelli restaurant on Store Street were integral to the development of my networking skills—they helped me to feel like I belong in the world of academia. I would also like to thank my fellow PhD students, at Royal Holloway and elsewhere, with whom sharing experiences has given me strength.

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Celebrating my PhD graduation with my family and partner (Photo: Hannah Awcock).

Lastly, I could not have got through this without the support of my friends and family. Rachel Taylor has shared my achievements and setbacks with equal enthusiasm, even from the other side of the world. Daniel Dougherty has always believed in me, even when I haven’t believed in myself. My cousin, Theo Hardcastle, has made my Wednesdays a joy and has been a wonderful distraction from all things PhD. My sister, Emily Awcock, is unfailingly positive, unless you try and make her go for a walk. My Mum, Tricia Awcock, from whom I could not ask for more. My Dad, Graeme Awcock, who showed me what an academic looks like. I am grateful to you all.

This thesis is dedicated to my Nan, Olive Awcock, who always supported me, even though she never understood why a nice girl like me would want to study protest.

Turbulent Londoners: Mary Augusta Ward, 1851-1920

Turbulent Londoners is a series of posts about radical individuals in London’s history who contributed to the city’s contentious past, with a particular focus on women, whose contribution to history is often overlooked. My definition of ‘Londoner’ is quite loose, anyone who has played a role in protest in the city can be included. Any suggestions for future Turbulent Londoners posts are very welcome. To celebrate the centenary of the Representation of the People Act, all of the Turbulent Londoners featured in 2018 will have been involved in the campaign for women’s suffrage. For the last Turbulent Londoner in this Vote100 series, I am looking at one of the most prominent anti-suffrage campaigners, Mary Augusta Ward.


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Mary Augusta Ward in 1901. Photo by Crowdy and Loud (Source: National Portrait Gallery).

Not every woman in the early twentieth century wanted the right to vote. Some, including some very well-respected, intelligent, talented women, actively campaigned against giving women the right to vote. The most prominent of these women, now lost in obscurity because of her unpopular views, was Mary Augusta Ward, campaigner, novelist, and president of the Women’s Anti-Suffrage League.

Born on the the 11th of June in Hobart, Tasmania, Mary Arnold was part of a family that was highly influential on British intellectual life. Her family left Australia when she was 5, and Mary spent much of her childhood in boarding schools. She moved back in with her family in Oxford in 1867; her father was a lecturer there. During this period she starting conducting research and writing stories and novels. In July 1871 Mary met Humphry Ward, a fellow of Brasenose College. They were married on the 6th April 1872. The couple had three children: Dorothy in 1874, Arnold in 1876, and Janet in 1879. Female education was a cause close to Mary’s heart. She helped establish the Lectures for Women Committee, which then led to the foundation of Somerville College in 1879, one of the first colleges for women at Oxford University.

In 1881 Humphry became a writer for The Times and the family moved to London. Mary started to get her writing published. In 1888 she achieved widespread critical and commercial success with Robert Elsmere; she became the highest earning novelist in England. Mary was also very active with charitable works during this period; in 1897 she founded the Passmore Edwards Settlement in Tavistock Square near Euston Station. Settlement Houses were established all over London in the Victorian period to offer social services to the poor and campaign for social justice and equality. Mary wanted equal access to education, irrespective of background. For a small annual fee, members of the Passmore Edwards Settlement could take intellectual and practical classes, participate in social activities and participate in self-help groups.

At the Passmore Edwards Settlement, Mary pioneered the Play Centre movement in England, providing care for children after school and during the school holidays. This enabled working class mothers to work full time. The Settlement was also the location of the first school in England for disabled children, opening in 1899. After her death, the Settlement was renamed the Mary Ward Settlement, and it still exists. The Mary Ward Centre is an adult education college, whilst the Mary Ward Legal Centre offers free legal advice to Londoners. Mary wanted the Settlement to be “A place for ideals, a place for enthusiasm,” and that legacy continues today.

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Mary Augusta Ward poses for a photograph by Henry Walter Barnet (Source: National Portrait Gallery).

In 1908, Mary agreed to become President of the Women’s Anti-Suffrage League. She threw herself into the campaign with her usual dedication, writing articles, giving speeches, and founding and editing the Anti-Suffrage Review. By June 1910, 320,000 people had signed an anti-suffrage petition. The group has 15,000 members, and 110 branches. Having women like Mary in the anti-suffrage movement allowed the argument to be made that respectable, intelligent women did not want the vote.

There has been much speculation about why Mary agreed to take such a prominent position in the anti-suffrage campaign. It cost her dearly; she alienated friends, family, and colleagues at the Settlement. The popularity of her writing was also affected. It did earn her political capital for the causes she was passionate about; the education of children and the working classes. Her anti-suffrage stance was also motivated by fear. Mary saw suffragettes as terrorists, and was also wary of the influence of lesbians in the pro-suffrage movement. Finally, Mary’s reasons for opposing women’s suffrage also related to the British Empire. Mary believed that only the special knowledge of men could solve the problems facing the empire. She also argued that the vote was a reward that men deserved because they risked their lives to protect the empire. Women did not take such risks, and therefore did not deserve the right to vote. This argument is flawed, as many of the working-class men who served in the British military did not have the right to vote until the 1918 Representation of the People Act, but it was Mary’s argument nonetheless.

During the First World War, Mary was the first female journalist to visit the Western Front. She wrote propaganda for American audiences, and is credited with helping persuade the USA to join the war. She was made a CBE in March 1919, and was invited to become Britain’s first female magistrate in February 1920. Her health was very poor by this point, however, and she died on the 24th of March.

Mary Augusta Ward fought hard for a position that we now find difficult to comprehend. If she hadn’t fought so hard for the anti-suffrage cause, she would probably be remembered as a talented novelist and dedicated philanthropist and campaigner. As it is, she is barely remembered at all.

Sources and Further Reading

Griffiths, Jack. “Anti-Suffrage: The British Women Who Didn’t Want the Vote.” History Answers. Last modified 22 October 2015, accessed 2 October 2018. Available at  https://www.historyanswers.co.uk/people-politics/the-gruesome-origin-of-sweet-fanny-adams/

Mary Ward Centre. “Settlement History.” No date, accessed 3 October 2018. Available at  http://www.marywardcentre.ac.uk/history/

Simkin, John. “Mary Humphry Ward.” Spartacus Educational. Last modified June 2017, accessed 2 October 2018. Available at https://spartacus-educational.com/Wward.htm

Sutherland, John. “The Suffragettes’ Unlikeliest Enemy.” The Guardian. Last modified 4 June 2013, accessed 2 October 2018. Available at  https://www.theguardian.com/commentisfree/2013/jun/04/suffragettes-mary-ward

Sutherland, John. “Ward [nee Arnold], Mary Augusta [known as Mrs Humphry Ward].” Oxford Dictionary of National Biography. Last modified 10 January 2013, accessed 30 September 2018. Available at https://doi.org/10.1093/ref:odnb/36736 [this link requires a subscription to access].

Wikipedia. “Mary Augusta Ward.” Last modified 19 Septmber 2018, accessed 30 September 2018. Available at https://en.wikipedia.org/wiki/Mary_Augusta_Ward

Protest Stickers: Liverpool

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The Beatles are Liverpool’s most famous export (Photo: Hannah Awcock).

Since I have become an honourary Northerner, I have had the chance to explore some of the North’s cities. Liverpool is a great city, a fascinating mix of industrial decay, glossy redevelopment, and creativity. It has grown on me very quickly, not least because of all the stickers I have found there.

One thing that stands out about Liverpool’s stickers is the large number advertising various escort services– I have never seen so many in any other city I’ve been to! I wouldn’t like to suggest why that might be, but it’s certainly an interesting trend. Another reason Liverpool’s stickers stand out is that they made the national news recently when a feminist group called Liverpool ReSisters put anti-trans penis-shaped stickers (featured below) on Anthony Gormley’s sculptures on Crosby beach.

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96 Liverpool fans were killed during the Hillsborough Disaster on 15th April 1989. The Sun newspaper is still unpopular for the way it blamed the fans for what happened (Photo: Hannah Awcock, 03/09/18).

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Anti-fascist groups are some of the most common producers of protest stickers. This one is produced by the Merseyside Anti-fascist Network, and uses the animation style of the popular cartoon Rick and Morty (Photo: Hannah Awcock, 10/06/18).

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This sticker was also produced by the Merseyside Anti-fascist Network. The logo of two overlapping flags is a common anti-fascist symbol, but this group have given it a local spin by adding a Liver Bird, one of Liverpool’s most famous symbols (Photo: Hannah Awcock, 10/06/18).

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Anti-fascist groups don’t just put up stickers in their local areas, they also put them up when they travel. This sticker was made by the North London Anti-fascists (Photo: Hannah Awcock, 10/06/18).

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Antifaschistische Aktion is a German anti-fascist network, suggesting this sticker has come from even further afield (Photo: Hannah Awcock, 09/03/18).

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Migration is one of the most controversial topics in British politics at the moment. This sticker was produced by the International Workers of the World, an international union that has been around since 1905 (Photo: Hannah Awcock, 03/09/18).

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This sticker has a similar message, but was produced by a different group. Global Justice Now works to create a more equal world, launched in 1967 (Photo: Hannah Awcock, 10/06/18).

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This sticker is part of a series where members of Marvel’s superhero team the Avengers confront prominent politicians. The stickers are quite old, going back to at least 2015, so some of the politicians they feature are in different positions now. George Osborne, for example, is no longer Chancellor of the Exchequer, which is the context in which this sticker was produced. The sticker is advertising Another Angry Voice, a political opinion blog. (Photo: Hannah Awcock, 10/06/18).

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Feminist issues are a common topic of protest stickers. This sticker refers to the debate about whether women are ever even partially responsible when they are sexual assaulted, because of their clothes or behaviour.  This sticker was produced by Active Distribution, a radical publishing group that sells protest stickers, amongst many other things (Photo: Hannah Awcock, 10/06/18).

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This sticker relates to a controversial issue within modern feminism about whether or not transgender people should be able to self-identify as women. Some women view transgender women as just another example of sexist oppression. This is the sticker that made national news recently when it was put on the Anthony Gormley sculptures on Crosby beach (Photo: Hannah Awcock: 03/09/18).

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This sticker commemorates British people who have died fighting for the People’s Protection Units (YPG) in the Syrian Civil War. The YPG is the armed wing of the Kurdish left-wing Democratic Union Party. The Kurdish text translates as “Martyrs don’t die.” The sticker is obviously quite recent; Anna Campbell, the only woman on the sticker, was killed in Afrin in Northern Syria on 15th March 2018. It is an unusual sticker, I have never seen on related to this issue before (Photo: Hannah Awcock, 10/06/18).

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Animal rights, vegetarianism, and veganism is another common topic of protest stickers. It is not clear who produced this sticker, although the logo does (probably unintentionally) remind me of the X-factor. (Photo: Hannah Awcock, 10/06/18).

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It is also not clear who produced this sticker. It is informing people of their rights if the police use Stop and Search powers–you have no legal obligation to provide your name or address. It is an interesting design, but I don’t no how effective it is as a protest sticker. It took me a few seconds to figure out that the main text reads “No Comment,” and I doubt most people would put as much effort into reading it as I did (Photo: Hannah Awcock, 10/06/18).

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I saved this sticker for last because it is my favourite sticker for quite some time, I like the clever design. Stand Up to Racism is a campaign group formed in response to the increasing racism and xenophobic politics around the world (Photo: Hannah Awcock, 10/06/18).

 

Film Review: Peterloo

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The film poster for the 2018 film Peterloo, directed my Mike Leigh (Source: Thin Man Films).

2019 will mark the 200th anniversary of the Peterloo Massacre, arguably one of the key turning points in the history of British radicalism. In anticipation of this anniversary, Peterloo, directed by Mike Leigh, was released on the 2nd November 2018. I recently went to see the film, and whilst I think it is a very well-made film that will make an excellent teaching resource, I don’t think it has much popular appeal, and I wonder what it is actually trying to achieve.

On the 16th of August 1819, between 60,000 and 80,000 protesters gathered in St. Peter’s Fields in Manchester to call for more men to be given the vote. The local magistrates panicked and ordered local soldiers and special constables to disperse the crowds. Mounted soldiers charged into the crowd with their sabres drawn. Unable to leave the area, hundreds of people received injuries from the sabres or were trampled by horses. It is estimated that 18 people died, although more may have died later from their injuries. The horrific events became known as the Peterloo Massacre, a play on the Battle of Waterloo, a triumphant victory for the British and Prussians over Napoleon’s French forces in 1815.

The massacre was an important moment in the history of British radicalism. It started a period of repression of dissent by the British government, but it also served to crystalise the goals and determination of radicals, leading to significant victories in the mid-nineteenth century. Much like the centenary of the Representation of the People Act in 2018 (for more information, see the Vote100 page of this blog), the bicentennial of the Peterloo Massacre in 2019 looks set to be marked with a wide range of events, exhibitions, and cultural outputs. Peterloo is sure to be the first of many.

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The famous orator Henry Hunt (played by Rory Kinnear) greets the crowds in St. Peter’s Fields (Source: BFI).

It took me a while to work out what I actually think about Peterloo. It is undoubtedly a well-made film, with historically accurate costumes, sets, and dialogue. The representation of the massacre itself is wonderful; well, when I say wonderful I mean shocking and violent and awful, but that is because it was made so well. The acting is very good; Maxine Peake is wonderful as always, and Rory Kinnear does an excellent job of portraying the charismatic but pompous Henry Hunt. At 2 hours and 34 minutes it is a long film, but it doesn’t drag at any point. It also takes care to make sure that the viewer understands the context of Peterloo; the political and social conditions that allowed such an event to take place. For some, this may also be one of the film’s biggest weaknesses. It has a very ‘educational’ feel about it–I think it will make an excellent teaching resource, but how many people go to the cinema or choose something on Netflix because they want to learn something?

For me, this issue gets at the biggest problem with Peterloo; it isn’t clear who it is trying to appeal to. It is quite different from other recent films about historical British protest. Pride (2014) is a light-hearted comedy about overcoming difference to develop mutual respect and solidarity. It appeals to anyone who enjoys light-hearted comedies with a happy ending. Suffragette (2015) is a character driven story about Maud Watts, a fictional woman who grows as a person through her participation in the women’s suffrage movement. It appeals to anyone who likes character driven stories. I don’t really know what kind of film-goer Peterloo would appeal to, beyond people who like historical protest, which I am willing to admit is a relatively niche group.

Both Pride and Suffragette have been criticised for leaving out individuals and groups in order to simplify the stories and politics (for example, see Diarmaid Kelliher’s post on this blog: Thoughts on Pride: What’s Left out and Why does it Matter?). This can be very frustrating for historians, but perhaps it is worth editing the story a bit in order to make it more approachable for the general public. A historically accurate film is all well and good, but is there any point being historically accurate if nobody watches it? Peterloo has what feels like hundreds of characters, many of whom we meet only briefly. In most films, all the characters have a purpose; they learn a lesson, develop as a person, or do something to drive the story along. Peterloo has multiple characters that seem to do nothing but make the film more difficult to follow. It lacks the neatness of fictional stories or those adapted to better suit the silver screen, like Pride and Suffragette.

Peterloo is not a bad film, but I’m just not sure what it’s trying to achieve. If Mike Leigh wanted to make an accurate portrayal of a significant event in British history, then I think he has done a good job. If he was trying to bring the story of the Peterloo Massacre to a new audience, then I’m not convinced the film will be effective.