by Kate Owen Kate Owen has recently completed her MA in the English department at King’s College London. She has an interest in the medical humanities, the transmission of scientific knowledge in the early modern period, and is currently a volunteer at St Bartholomew’s Hospital Museum and Archive.
In the second semester of my master’s programme, Early Modern English Literature: Text and Transmission, I took a module called ‘professing writing’. This module looks at a large range of literary and non-literary genres, such as poetry, devotional texts, travel writing and scientific writing. Through guest lecturers and trips to professional libraries, the module also introduced different approaches to academic research. It was on one of these trips to the Wellcome Library, that I first came across early modern women’s recipe books.
“I was photographed three times a week[,] for which I received a settled income…
Two famous dressmakers, one in London and one in Paris, dressed me for nothing, and a famous English designer called her models after me and made my clothes at a very nominal fee…
My picture advertised all sorts of wares, and face creams and soaps, and I gave advice in all the papers on how to keep healthy and beautiful and young. If I had followed the regime I laid down, I could never have finished in the twenty-four hours…”
So writes Constance Collier in her 1929 memoir Harlequinade, reflecting on her time as a ‘Gaiety girl’ on the 1890s Strand. On 8 February, I’ll be talking about Collier as part of an event at the London Transport Museum, themed around London love stories, representing the Centre for Life-Writing Research’s Strandlines project (an online archive of stories about ‘life on the Strand, past, present and creative’ – do contribute if you haven’t already…). I’ll be describing how Collier and her co-stars won the hearts of late Victorian Londoners with a series of racily contemporary ‘musical comedies’ combining cutting-edge fashions, romantic spins on everyday scenarios and saucy/sentimental songs. Pitched somewhere between ‘legitimate’ theatre and burlesque, musical comedies turned Gaiety impresario George Edwardes into a very rich man and many of his ‘girls’ into household names. Continue reading Reinventing Stardom on the Strand→
by Martina Zimmermann, honorary Associate Professor in Pharmacology at Goethe University Frankfurt, with an MA in Literature and Medicine and a second PhD in Health Humanities at King’s College London.
I am a pharmaceutical scientist by training who specialised in neuropharmacology. For over 15 years, my research interests have been the molecular mechanisms that cause the death of brain cells in conditions like Alzheimer’s disease. While pursuing, and later supervising, laboratory based experimental projects, I more and more often wondered how patients actually experience the condition which I only knew from studies in cell culture and other disease models. The methodologies, models and approaches I used were unsuited to answering this question.
Still, Alzheimer’s patients would not write…
I began looking for patient accounts about a decade ago. At the time, I found only just over a dozen of books published in English, and one diary in French. I was astonished that there were so few, especially because I felt that the popular press had long preferred Alzheimer’s disease to any other subject in its health and wellbeing pages. Also, patients usually have five to ten years between diagnosis and death, and, at the time of clinically perceivable onset, can continue to articulate themselves proficiently in writing, as well as retaining figurative language. Still, Alzheimer’s patients would not write. Continue reading The Poetics and Politics of Alzheimer’s Disease Life-Writing→
Faten Hussein (FH) is a LAHP-funded doctoral researcher in Comparative Literature and the Medical Humanities at King’s College London. Her research investigates representations of illness in Arabic literature. She is specifically interested in what literature reveals about cultural and social attitudes towards illness, and the political, social, and economic determinants in access to health. She is about to take up a fellowship with the House of Common’s International Development Committee, through the Parliamentary Office for Science and Technology (POST).
Dr Neil Vickers (NV) is Reader in English Literature and the Medical Humanities at the Department of English, and co-director of the Centre for the Humanities and Health. He is associate editor of the journal Medical Humanities, published by the British Medical Journal group.
NV: Hello Faten. It’s a real privilege to be able to discuss your work with you, and to bring it to wider public notice through this blog interview. Why don’t you begin by telling our readers what you work on?
FH: I work on written accounts of illness from the Arab world. These can be fictional or autobiographical and in any form, so long as illness has a central place in them.
The Dear Diaryexhibition is now open, until 7th July! Promotion got underway well before opening, with various radio features including Radio 2’s Jonathan Ross Show on 4th May, and BBC London, Monocle Radio, Radio Oxford and other outlets; on 3rd June, I take Dear Diary to Radio 4’s Saturday Live show (listen from 9:00 BST).
One publicity commission was for the Sunday Times series ‘6 of the Best’. I thought long and hard and put together a list only to discover that ‘Best’ is determined by what the picture editor thinks can be illustrated best. Several suggestions hit the cutting room floor. One was British artist Ian Breakwell’s visual diary – an idea I owe to Lucy Bayley, a PhD student at the ICA (thank you, Lucy). You can see a selection of Breakwell’s work at the Tate, including The Walking Man Diary (1975-1978).
A diary’s lure of intimacy…
Breakwell has made various experiments with the diary form. One of the most compelling is the photographic diary he made of an unknown man who regularly walked past Breakwell’s flat in Smithfield in the City of London, where from his third floor window the artist was often looking out. The images all have the same vantage point and the same mysterious subject; the passing of time is captured through the diary unevenly, so that some photographs are taken seconds apart while others are separated by months. The resulting pattern of similarity and difference, heightened by collage, plays with a diary’s lure of intimacy: by denying us even incremental knowledge, Breakwell makes his diary intriguingly baffling.
Another suggestion was W.P. Barbellion, The Journal of a Disappointed Man (1919). This diary has an extraordinary story. The author’s real name was Bruce Cummings; he made his pseudonym from Wilhelm, Nero and Pilate as examples of the most wretched people to have lived.Continue reading Leaves of Silk→
by Diya Gupta, PhD researcher, Department of English
Two-and-a-half million men from undivided India served the British during the Second World War. Their experiences are little remembered today, neither in the UK where a Eurocentric memory of the war dominates, nor in South Asia, which privileges nationalist histories of independence from the British Empire. And yet military censorship reports from the Second World War, archived at the British Library’s India Office Records and containing extracts from Indian soldiers’ letters home, bear witness to this counter-narrative. What was it like fighting for the British at a time when the struggle for India’s freedom from British rule was at its most incendiary?
by Clare Brant, Professor of Eighteenth-Century Literature and Culture and Co-Director, Centre for Life-Writing Research
‘It’s in my diary’
is a phrase you still hear. The expression gives no clue as to whether the speaker uses a paper diary or an app, and not needing to make the distinction shows how old and new forms of diary co-exist happily. The paper appointment diary is still an everyday object – I have a Filofax I was given in the 1990s when they were fashionable and it’s still easy to buy an annual refill. Meanwhile an increasing number of apps make the diary mobile-friendly, multi-media, synchable – and, if you want to keep it private, encryptable.
Do you have a paper diary? Do you use a diary app? Do you contribute to an online diary platform? Do you do none of the above but are curious about diaries? Then put in your diary 26 May – 7 July, the dates for Dear Diary, a forthcoming exhibition at the Inigo Rooms, East Wing, Somerset House on diaries old and new. It’s a collaboration between the Centre for Life-Writing Research, which I co-direct, and the Great Diary Project, directed by Dr Polly North.
Diaries are among our most precious items of heritage… No other kind of document offers such a wealth of information about daily life and the ups and downs of human existence…
by Sejal Sutaria, Marie Skłodowska Curie Fellow, English Department, King’s College London, and Pragya Dhital, PhD (2016), Religions and Philosophies Department, SOAS
My journey into radio research began when a series of happy accidents led me to discover the ‘British in India Oral Archive’ at the British Library, SOAS, and Imperial War Museums. The interviews here were conducted by history writer Charles Allen, best known for his books on Indian colonial history, Rudyard Kipling, and Tibet. As someone working on a project about how the global circulation of migrants, capital and ideas shaped Indian resistance to colonialism and fascism, my access to these first-hand accounts of life in India during the forties led me to link ideas of literary life-writing with oral history. When the World Service Project at King’s invited proposals from researchers working on radio, Elaine Morley and I decided to organise the ‘BBC and the World Service: Debts and Legacies’ conference.
In July 2015, one King’s PhD researcher and a group of Philippine community artists, academics and documenters undertook a two-week ‘RoRo’ journey in Mindanao, the largest island in the southern Philippines. The journey was part of PSi#21, an international Performance Studies research project, which coordinated conferences in fifteen locations across the globe in 2015.
By Ella Parry-Davies, PhD student in Performance Studies
By Catriona Livingstone, PhD student in English Literature.
One of KCL’s most famous alumni has returned to the college, taking up ‘a room of her own’ in the lobby of the building named in her honour.
‘Wax Virginia’, a work by sculptor Eleanor Crook, was unveiled – or ‘unleashed’ – on Wednesday evening, at an exciting event organised by Professor Clare Brant, co-director of the Centre for Life-Writing Research at King’s, and well-attended by staff, students, and other Woolfish enthusiasts. The sculpture is the result of over 120 hours of work and careful research – Crook studied photographs of Woolf in order to trace the changes in her face over time and to select the particular moment – and emotion – which she wanted her sculpture of Woolf to occupy. Continue reading Wax Virginia→
From the Department of English at King's College London