My Scottish Common People is the account of a family history which could stand for a history of the Scottish working class over the last four hundred years. George Smith has tracked eight paternal and maternal lines of forebears, common people who lived in Angus, Inverness-shire, Perthshire, Fifeshire, Orkney and Dundee. They include jute mechanics, seamstresses, handloom weavers, smallholders, farm hands, and fishing families, and finally the not-so-common author’s father, a shipyard joiner who became a trade union leader, TUC president and knight of the realm who will be familiar to many in the Labour Movement.
This book tells of the life events of ordinary people and their pursuit of livelihoods. Included are: members of a congregation that quit the Church of Scotland over a point of principle in 1733, a thirteen-year-old fisherman who joined the naval militia during the Napoleonic war, a politically active shoe clicker who supported a Proletarian Sunday School, a stone mason who helped to build Stevenson lighthouses, an Orkney ploughman and family who migrated to Dundee for a better life, a poor agricultural labourer given free oatmeal and cash from the the Church of Scotland, a widowed mother who survived as a seamstress. All are representative, including, and perhaps especially, a handloom weaver, later soldier, who was in a mutiny in 1794.
George Smith was born in Dundee and moved to England as a child. He has since visited Scotland many times. He was educated at Nottingham University, Garnett College, the London School of Economics and the Institute of Education, London University which awarded him a doctorate. For most of his working life he was a lecturer in social studies and contributed to academic publications. He was a magistrate for nine years. In retirement he has furthered his long-held interest in family history through research and published articles. A volunteer, he is an adviser for Citizens Advice. He lives in Worcestershire.
This book paints a vivid picture of a west Essex country village in the nineteenth and early twentieth centuries. In 1900 and again in 1912, Nazeing Parish Council described it as ‘a purely agricultural parish’, and the book asks how true this statement was. Almost half of Nazeing people were born in the village, and almost half of those who worked had jobs related to the land. Yet in 1908 a new housing development and the building of an important new road began the changes that were to transform Nazeing in the twentieth century.
A wide range of sources includes censuses, the Lloyd George land survey of 1909-12, trade directories, newspapers, and reminiscences of older people who were children in Nazeing before the Great War. There are short biographies of the thirty-three men who died in that war and the names of the 155 who served. Over a hundred buildings are described, most of them accompanied by photographs, and there is an unusual and refreshing emphasis on ‘ordinary’ working families.
The book will interest anyone who lives or has family roots in Nazeing, and also the general reader and the specialist historian.
Nazeing History Workshop was founded in 1993 to discover, record and share the long and rich history of this west Essex village.
David Pracy is a retired librarian who has an MA in Local and Regional Studies from the University of Essex.
Jacky Cooper is a retired therapist whose family roots in Nazeing go back 200 years.
The cover images were painted by Kate Henty, who lived in Nazeing from 1872 to 1886.
Nazeing History Workshop was founded in 1993 to discover, record and share the long and rich history of this west Essex village.
David Pracy is a retired librarian who has an MA in Local and Regional Studies from the University of Essex.
Jacky Cooper is a retired therapist whose family roots in Nazeing go back 200 years.
The cover images were painted by Kate Henty, who lived in Nazeing from 1872 to 1886.
It is the middle of the nineteenth century. Brothers William and Robert Crossley both seek refuge from the severe discipline of their father in their very different dreams. William wishes to stay in their hometown of Northampton and follow his uncle as the town’s best watch and clock maker. Robert longs to get away and become famous. William defies his father and refuses to take the Cambridge entrance examination. Robert finds a tutor in the Vicar of Upstone, who not only prepares him for the examination, but also leads him in the creation of a seminal mathematical theorem. Robert finds fame and fortune through the work.
But Robert’s authorship of the theorem is questioned. The President of the Royal Society sends Edward Pennington, a distinguished mathematician, and Doctor Clara Cox, to investigate. They uncover secrets that not only change themselves, but also have unforeseen consequences for the whole Crossley family.
Two young, recently widowed mothers try to find a way to survive in war-scarred Britain. Kirstine and her German friend, Gerdy, lost their husbands at the end of the Second World War. They find themselves penniless, without any extended family support, each with two very young children and with scant prospects of earning a living.
A great deal of determined initiative is needed. The stakes are high with chaos threatening them at every step. The two women find a de-requisitioned building in seaside Devon. They transform it into a family hotel, which eventually becomes renowned for its excellent cuisine.
This enchanting story, told with a lightness of touch, moves from tragedy, to comedy, to triumph and back again.
Kirstine Richards née Rasmussen was born in Edinburgh to a Danish father, Christian Rasmussen, and Hilda Hill-Jones, on 14th March 1912, whose mother was Mary Ann McNair.
She attended Edinburgh School of Art for one year, until her father died and the fees could no longer be paid. Life with her eccentric mother became intolerable. Fortunately an aunt came to the rescue and Kirstine moved to Devon, where she worked as a poorly paid designer at the Honiton Pottery.
Subsequently Kirstine opened a café on Honiton High Street, called the ‘Highland Fling’ and it served excellent coffee and homemade cakes; making it very popular. She met her future husband, Gerald Arthur Richards; a young medical student from St. Bartholomew’s Hospital, at the ‘Highland Fling’.
Their two children, Nicholas and Louanne, were born during the 2nd World War and their father, Gerry, was accidentally wounded in Burma and died at Imphal on the 23rd January 1945.
Kirstine, now a widow with two young children, had to find a way of earning a living. She and Gerdy Ramsay, who was also a widow and mother of two, together established a family hotel; ‘The Seagull’ in Exmouth in South Devon. The hotel opened in 1945.
In 1959 Kirstine moved on from being a hotelier to becoming the case worker at the newly formed Agnostic Adoption Society, which was later to become the Independent Adoption Society.
On retirement, she went to live near her cousin in the South of France, where she rented a small house; paying for her keep by hosting summer guests. A secondary breast cancer made her decide to move back to England, where she found an apartment at Queen Alexandra’s Court in Wimbledon; an attractive establishment for the widows of officers who had served in the forces.
Kirstine died at St. Raphael’s hospice in London on the 25th February 1989.
Reader Reviews...
Review by Richard Moss The Seagull Hotel offers a fascinating, moving and heart-warming first hand account of the struggles of two young mothers widowed during World War II. Told with candour and humour we hear about the conditions at the time and about the characters who worked at the hotel, and those who were guests. How would you turn a semi-derelict building into a thriving business when just getting hold of linen, furniture and food needed a special sort of daring and guile?
Review by Jane Dunbar
A truly inspiring book. A story of perseverance in the face of amazing difficulties., in which the author manages to infuse one disaster after another with humour.
Oh how I enjoyed it.
Amazon review by Mrs Rivers
I have just romped through The Seagull Hotel in 3 sittings- I loved it!
What a very special woman Kirstine was, so full of determination, courage and enthusiasm, undaunted, it seems by anything.
Reading her story, she emerges as a precursor to 60’s feminism; widowed towards the end of WW2, mother of two small children with virtually no money, she navigates a path through what was then very much a man’s world of bankers and builders, discovering en route the thrills and spills of the black market in order to beat the post-war rationing system. With her friend Gerdy, also a young widow with children, she battles to establish The Seagull Hotel not just as a viable business but also as a loving home for the two families. What could have been just another drab seaside hotel on the English coast develops into a truly creative enterprise and becomes widely known for its excellent gourmet food.
This splendid book is a hymn and testament to these two young women who refused to let misfortune, or men, get the better of them but don’t get the idea that it is in any way heavy going or gloomy. It is written with a lightness of touch, masses of humour - I laughed till I cried over the chapter about her mother - and, above all, humanity.
Amazon review by nettiek50
This is a beautifully written memoir
About two young widows struggling in a male dominated post war era.
A very easy and enlightening read. Parts of Exmouth remain the same to this day.
In May 1926 Britain experienced a General Strike that lasted nine days. Why it occurred and what happened have been the subject of very polarised accounts, reflecting the different interpretations of the different groups of people involved as well as the differing viewpoints of the observers. Trade unionists, miners, the T.U.C., the Conservative government, Marxists and Communists, moderates, economists and, of course, historians of all shades of opinion, have all highlighted different aspects of this conflict. Wolverhampton and the Black Country have been little involved in this debate, mainly because the most dramatic events took place elsewhere. However, all the issues of the General Strike were reflected in Wolverhampton and the Black Country and in such a way as to allow all the different opinions of the protagonists to be more clearly discerned.
The general strike is variably interpretable, because it really did mean different things to different people and this book explores these different points of view within the context of Wolverhampton and the Black Country.
The Swinging Pendulum of the Tide
Tom is an Anglican clergyman battling with his beliefs. He can’t come to terms with his wife’s tragic death in a car accident. He’s on his way to the remote Welsh island of Bardsey where he hopes to rekindle his faith away from the rush and demands of everyday life.
Beth is an Arthurian scholar on a quest to uncover the truth behind Bardsey Island’s claim to be Arthur’s Avalon. But, abandoned by her former lover, she too has her demons.
They meet in the bar of a hotel on the mainland where they are staying, before setting off to Bardsey on their separate quests. It is the beginning of a long and tortuous path which they must both tread. But it is a meeting that is destined to change their lives for ever.
After an early career in broadcasting (Granada TV) and PR (Britain in Europe Campaign 1975 and Queens’ Silver Jubilee 1977) Chris Green has worked in the cultural industries for 40 years. He was Popular Events Director of the City of London Festival (1978-1991), Director of The Poetry Society (1989-1993) and Chief Executive of the British Academy of Songwriters, Composers & Authors (1998-2008). He co-chaired the Music Industry’s Broadcasting Committee at the time of the 2006 BBC Charter Review. He contested Hereford and South Herefordshire for the Liberals (Liberal Democrats) in 1979, 1983 and 1987 when he came within 1200 votes of winning. He currently works as an independent arts consultant from his home in rural Herefordshire. He is chair of the Education Charity ‘Learning Skills Research’, a board member of Hereford’s Courtyard Arts Centre, a member of the newly formed Herefordshire Cultural Partnership and chair of the Francis W Reckitt Arts Trust. He is a Fellow of the Royal Society of Arts and a Freeman of the City of London. He was awarded the BASCA Gold Badge of Merit for service to the Music Industry in 2009. ‘The Swinging Pendulum of the Tide’ is his first novel.
The most profound mystery of Christian theism is the affirmation that the man Jesus of Nazareth was also Divine. Exactly what that means has been a matter of constant debate for two millennia. Christian theologians have made use of a great variety of physical analogies and metaphysical concepts in the attempt to give a rational account of this belief, but the metaphysical algebra no longer has much traction for most people and divinity is not within the reach of materialist rationality. In order to emphasise the presence of the exceptional in him it has been natural to give greater narrative weight to the Divinity of Jesus of Nazareth than to his humanity, which has effectively been shrouded in the glow of the Divine The purpose of this brief essay in imagination is the belief that unless we grasp the biological earthiness of Jesus we cannot fully understand his the Incarnation.
The Very Revd. Hugh Dickinson, Dean Emeritus of Salisbury: Queen’s Scholar at Westminster. MA Oxford, Chaplain Trinity College Cambridge, Chaplain Winchester College, Bishops Adviser in Adult Education Coventry Cathedral, Vicar of St Michaels St Albans, formerly Dean of Salisbury, retired in the Cotswolds, distinguished poet and painter.
Perhaps the most popular strand of the local history of War World One concerns those who died in the war, looking at their lives and war experience, particularly the action in which they died or the unit they served in. Another strand considers the Home Front, particularly in the towns and cities or in locations where a notable activity took place, such as Zeppelin Raids or explosives manufacture. However, there is a third strand, equally important but little investigated, and that is the impact of the war on rural communities. This booklet looks at one such community, on the edge of the Black Country but clearly rural in character, the villages of South Staffordshire centred on what is now known as Smestow Vale.
Published:
Aug 2017
Extent:
64 pages
Paperback:
£5.00
ISBN:
9-781911-175742
£5.00 (+ £2 postage) Number of copies:
These villages have their own tale to tell of what happened between 1914 and 1918. There were the absences and deaths of many young, and not so young, men. But also there were air raid precautions, lack of public transport, increasing food production for local towns and themselves, new housing requirements and many other irritations and difficulties caused by the war. Followed by the celebrations at the Armistice and the signing of the Peace Treaties, and then the commemorations for those who would never return. The Impact of World War One on the Smestow Vale Villages looks at these villages to find out what we can discern after 100 years of what life was like in the countryside during The Great War.
When you have produced the final draft of your book, it is always advisable to have the text read and checked by a professional editor or proof reader.
You may have friends that are willing and competent to do this and we can advise you on the type of editing that is required.
We can offer four levels of editing as well as proof-reading.
You choose which, if any, are appropriate in your case: 1. Edit of sample pages and short report (£30)
We will edit a few pages to highlight editorial issues so that you can look for similar problems throughout the book.
This will reduce the amount of further copy-editing required when the book is finished. 2. Broad structural editing and criticism (£5 per thousand words)
A structural review is particularly relevant for works of fiction.
The structural reviewer will address the following main areas and produce a short report for the author ” Read More 3. Copy editing (£10 per thousand words)
A copy-editor takes a close look at your text, line by line, with an eye to grammatical errors, repetition, inconsistency and lack of clarity. The copy editor will make changes to the text, with suggestions for rewriting, grammar, and punctuation. When you receive the edited version, you have the final choice about accepting of rejecting the individual changes. 4. Proof Reading (£8 per thousand words)
Proof reading is a line-by-line check that the book is ready for publication. Proof readers will make small corrections for punctuation, grammar and spelling but they will not make significant changes to the text.
A proof reader will identify any significant issues and add comments to the text so that you can make those corrections yourself. 5. Consistency Scan
If you decide your book doesn’t need a full proof reading, we offer an electronic scan to search for common errors and inconsistencies. This looks at issues such as inconsistent spelling and inconsistencies of hyphenation and capitalisation.
We can also identify inconsistencies in the spelling of proper names. 6. Cover text
The quality of the text on the cover is very important as it indicates the quality of the writing in the book.
The title, sub-title and back-cover blurb are all important elements and we can work with you to make sure that these are correct and effective.
Copy Edit
Copy-editors get the raw material into shape for publication i.e they edit the copy.
When they have finished, the designer can lay out or typeset the book and produce a proof.
It is quite normal for the author to make additional changes after a book has been copy-edited.
Working through the material, the copy-editor may identify errors in spelling, punctuation, grammar, style and usage, but also very long sentences and overuse of italic, bold, capitals and exclamation marks.
They should correct or query doubtful facts, weak arguments, plot holes and gaps in numbering.
In fiction, they should also check that characters haven’t changed their name or hair colour, look for sudden changes from first to third person among other things.
The Copy-editor is not a proof reader and should not be expected to find all of the errors in the text particularly if the text is badly written to start with.
This is the job of the proof reader.
The final proof should be checked by a proof reader or an experienced reader friend before going to print.
It is almost inevitable (and acceptable) to miss a few errors which can be corrected in a later edition.
Proof Reading
Proof reading is a line-by-line check that the book is ready for publication.
Proof readers will make small corrections for punctuation, grammar and spelling but they will not make significant changes to the text.
A proof reader will identify any significant issues and add comments to the text so that you can make those corrections yourself.
If you have decided to complete this stage of the process yourself, we will send a detailed check-list to help you.
We ask you to try and ensure that the book is completely ready before we start the layout.
Once the layout has started, we expect that you might want to to make a small number of amendments but
if there are a significant number, we may need to charge for the extra time it takes to change the layout
so best to discuss this with us first.
Structural Review
In fiction, the main areas that a structural editor will address are:
Plot: Does the plot make sense? Is it believable? Is it satisfying or does it leave the reader frustrated? Themes: Are the themes effectively handled? Are there so many that the book lacks focus? Do they interfere with the plot or complement it?
Characterisation: Are your characters well developed and believable? Are they cast in a role that fits their personality? Do they sometimes behave out of character? Point of view/voice: Is the voice consistent or is it sometimes confused? Is the voice authentic? Are you using too many or too few POVs? Pace: Does the plot move forward at an appropriate pace? Should you cut that preface? Should the action happen sooner or should the tension build more slowly? Dialogue: Do your characters sound real when they speak? Is your dialogue cluttered with adverbs and beats? Do you use clunky dialogue to move the plot forward? Flow: Is the narrative interrupted by dead-ends and tangents? Is there so much back story that the main plot is dwarfed? Are there missing plot points that would give the narrative greater integrity?
In non-fiction, the principle is the same, but the specific issues are slightly different:
Thesis: Is your thesis relevant? Is it clearly defined or is it lost among marginal issues? Exposition: Are your arguments clear and cogent? Are they well researched and properly supported? Do they have a clear relationship with your thesis? Content: Are all the necessary topics sufficiently dealt with? Are the chapters weighted correctly? Is there superfluous content? Organisation: Is the information organised logically? Are tables and illustrations used appropriately? How many levels of subheads do you need and how should they be arranged? Tone: Is the tone appropriate for the audience? Do you need to eliminate jargon? Is the text accessible? Pace: Are there passages that are bogged down in detail? Do you spend too long on detail irrelevant to the main thesis? Are there areas that need further exposition lest they be skipped over?
Cover Text
The quality of the text on the cover is very important as it indicates the quality of the writing in the book.
The title, sub-title and back-cover blurb are all important elements and we work with you to make sure that these are as effective as possible.
Consistency check
If you decide your book doesn’t need a full proof reading, we can run an electronic scan to search for common errors and inconsistencies.
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It also checks for consistent formatting of numbers and dates as well as undefined abbreviations.
Subsequent Script Edit
It is very normal and generally beneficial for the script-editing process to go through at least a couple of cycles
i.e. the rewritten draft to be worked through once again by an experienced script practitioner – though this would be entirely at the discretion and behest of the writer.
Full Script Edit
The script that you deliver to us will probably constitute what the industry would classify as the ‘Initial Rough Draft’, i.e. a full screenplay written without any other professional input or advice, and probably without a great deal of rewriting. We work through your draft, line by line, scene by scene, and come back to you with a comprehensive set of notes from which you can then work towards the official ‘1st Draft’. Some of our notes will be broad and general, dealing with such areas as the overall shape and structure, pacing, plot and character development; others will be far more specific, with corrections, clarifications and suggested cuts etc. It is of course entirely up to you whether or not to take these suggestions on board, and to what extent.
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