Humankind is not perfectible, but I hold out hope that it is perhaps correctable’- an interview with HP Wood, author of Mr Magruders Curiosity Cabinet

Magruder's Cover

H.P. Woods spent a fair few summers propping up the bar at Coney Island’s Sideshows downing Coronas with her friends and sometimes buying a round for Michael the Tattooed Man. The granddaughter of a mad inventor and a sideshow magician, she read for a degree in theatre studies and took a series of girl-gotta-make-rent jobs in New York City before she settled into the world of publishing. Instead of making things disappear, she makes books of all shapes and sizes and has now written her first novel, Magruder’s Curiosity Cabinet (Sourcebooks Landmark) which was published earlier this month.

Woods went back to Coney Island for inspiration for her story, setting it in May 1904, when the resorts newest amusement park, Dreamland, has just opened with the hope of making back the cost of its investment. many times over. As crowds continued to flock to seaside resorts in their thousands, Kitty Hayward and her mother arrive in the city by steamer from South Africa. When Kitty’s mother takes ill, the hotel doctor sends Kitty to Manhattan to fetch some special medicine but a series of unfortunate events leaves Kitty alone in the city with nobody to turn to except the denizens of Magruder’s Curiosity Cabinet.

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Cyclops from “Coney Island: Visions of an American Dreamland, 1861–2008” at the Brooklyn Museum

Magruder’s is home to a forlorn flea circus, a handful of disgruntled Unusuals, and a mad Uzbek scientist. Kitty is taken under their wing and with their help she endeavours to find out what happened to her mother only to run into problems when a plague hits Coney Island and the resort is placed under quarantine. As the once-glamorous resort is abandoned to the freaks, anarchists, and madmen, is Kitty’s missing mother the least of their problems?


Coney Island is as much a character in the novel as Kitty and the Unusuals. Once the largest theme park in the USA (between 1880 and World War Two) Coney Island drew crowds of several million visitors per year as they flocked to the three competing major amusement parks, Luna Park, Dreamland, and Steeplechase Park based there. They promenaded on its iconic boardwalk, congregated at Nathans HotDogs and Childs Restaurant to people-watch and shoot the breeze and soaked up the sun and sea air on the beach, just a few miles away from the hot, dusty and crowded streets of New York City.

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On the beach at Coney Island in 1902

The amusements attracted entrepreneurs, opportunists and carneys and their innovation and imagination birthed a new age in theme park design. The earliest carousels (as we know them today) were built in Coney Island, alongside what is widely considered the first modern roller coaster in 1884, the Gravity Switchback Railway. As night fell, over 250,000 electric bulbs lit up the skies at Luna Park which was soon nicknamed Electric Eden after its opening in 1903 and crowds gathered inside Lilliputian Village which was staffed by three hundred dwarfs.

Mr Magruders Curiosity Cabinet has been described as “gloriously original, colorful and alive…. a magnificent riot of unique turn-of-the-century characters…fools and sages, snakes and saviors” and a “cracking Coney Island roller coaster of an adventure, full of marvelous, colorful, and unapologetically authentic characters and a bright, breathless debut….” so  I asked HP Woods about the book and her inspiration. Here’s what she has to say.

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 Can you tell us about your family background of inventors and magicians?

Arthur F Poole was the inventor in the family and his main contribution to the world was an electric clock, which he spent the majority of his life and fortune perfecting… only to have a better ones be invented by others in the years that followed.  His son, my actual grandfather, was something of an inventor as well, and he was the only one who knew how to make what he called “a little doodad” that was required to make his father’s clocks run properly.  When he died in the 1970s, the little doodad went with him, and it is nearly impossible to make the family clocks run properly now.

So it is, if not a sad story, certainly one tinged with a certain irony and/or absurdity.

Theron Wood was a traveling sideshow magician in the 1920s and 1930s.  He gave it up to raise a family in central New York, although he did still perform from time to time.  My 11-year-old daughter is actually quite good at a basic coin trick that has been passed down in the family.  It’s a shame he never got to meet her… although I’m told that he was absolutely determined that women should not do magic, ever. Or wear trousers. So, perhaps it all worked out for the best.

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An advertisement of Theron’s, from when he settled down in NYC.

Is Magruders a story that has always been there, waiting to be told?

Ha! In a sense, Magruder’s is a story that has ALREADY been told!  By which I mean, the central premise—girl and mother check into hotel, mother gets sick and is “disappeared” by said hotel to cover up her dire illness—is apparently an “urban legend” that predates me by some time.  I was not aware of this when I was writing.  I came across the story in a book called The People’s Almanac, where it is presented as fact.  I’ve since been shown other versions of the story in other books, all likewise presented as fact.

In my blissful ignorance, I became very curious about what had become of the girl. As there was no information available (which makes sense in retrospect, the story being false!). I decided I had to write my own ending.  I set it in Coney Island because I have an abiding love for the place.

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Laurello, the Only Man With a Revolving Head appeared in Sam Wagner’s freak show on Coney Island, 1938. Reputedly, he could rotate his head 180 degrees.

 

Tell us about your research process…

For research, I read a lot about the history of sideshows; I had studied them a bit while getting a theater degree in college, but I really delved into it much more when I was writing the book.

I read a lot about the plague.  Two books about the Black Death, Boccaccio’s The Decameron and Defoe’s Journal of the Plague Year, were incredibly important to me. I also read about plague epidemics that hit San Francisco and Honolulu in the early 1900s.  Many events in my book, such as the spineless government cover-ups and scapegoating of immigrants, did actually occur, just on the West Coast rather than New York.  (Trivia moment: the Governor of California was thrown out of office in a scandal related to the fact that he spent two years lying about the existence of plague in his state.)

I’m very envious about your time spent at Coney Island and in the theatre. Were you actively storing up stories and vignettes back then?

I never worked at Coney Island, I just lazed about a great deal. But I did spend almost all my time until the age of about 24 in or around theater: amateur productions, student productions, professional, whatever I could do.  When I needed a job in high school, I got one in the box office of the Hartford Stage Company, which is quite a respected regional theater here in the US.  After college I worked at places like the now-defunct (not my fault!) Circle Repertory Company and New York Theater Workshop.

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The author, in her 20s, at the sideshow bar, on the Coney boardwalk

The playwright Lanford Wilson once stole my pen, so I’ve got that going for me.

My point is, as a writer I connected to my sideshow characters via that background, as fellow theater-types.  Not as biological oddities or weirdos.  And I think that does give the book a different angle on “freaks” than many other books have.  I don’t see the characters in Magruder’s as exotic in any way.  They are exoticized by others, for sure, and that’s a big deal in terms of how they live.  But I see them as regular showfolk trying to make a living and get by in an often-hostile world.

For instance, Zeph, a character who had his legs amputated after an accident, has to go around either on his hands or in a special vehicle.  There are little details about the gloves he has to wear, the handles that are bolted into furniture so he can climb around and reach things, and his utter shock at a girl ever flirting with him.  But all of this is discussed in passing.  It’s not, you know, Here Is A Disabled Character Let’s Discuss That.  It’s not exotic or weird, nor is it romantic or tragic. It’s just part of his regular day.

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The character of Rosalind is genderfluid but again, it’s just a fact of life. There’s no “coming out” narrative here.  In fact, Rosalind drops his boyfriend, Enzo, because Enzo hesitates to be “out” in public and Ros ain’t having it.

The character of Kitty, who is the newcomer to Magruder’s and therefore the reader’s surrogate, is just expected to catch up with all this.  It’s normal life at the Cabinet.

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Can the reader seek out their version of Magruder or is this a world and lifestyle that is completely gone? Our opinions about what makes a curiosity might have changed…

 Well the Coney Island Sideshow  is alive and well, that’s for sure.  In fact, yours truly will be reading from Magruder’s there on July 9, mark your calendars please.  They even have a sideshow school where you can take classes in fire-eating and banner-painting. Meanwhile, the World of Wonders Sideshow  still tours the US during the summer.

So I don’t think the tradition has completely gone away—although it is, as you hint, far more niche than it used to be.  One positive development, though, is that sideshows are much more performance-based now.  In other words, sideshows involve showing off weird skills, rather than exploiting biological differences.

Coney Island itself has had something of a resurgence of late.  New amusement rides, new restaurants, even a hotel going in finally.  But of course, that always sets up a different conflict, of the preservationists versus the gentrifiers.  By my nature I tend to side with the preservationists, but not all change is bad, either.  I’m glad that Coney Island doesn’t look like “The Warriors ” anymore.

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Michael Dolan: CC/ Flickr / Freak show signs at Coney Island

How challenging is it to balance the readers need for space to create his own image of Magruder’s curiosity cabinet and your obvious pleasure in describing it to your readers? I could have happily read a straight ten page description of the attraction as a section in itself but other readers seem to prefer more space. 

This is kind of a dream-come-true question for me, because I think of myself as being terrible at description!  As a reader I guiltily skim it.  I view myself—I think because of my theater background—as primarily a dialogue girl.  But since this isn’t a script, I knew I had to try to put the reader in the specific location.  I worked really hard at the description but never thought it was good enough.

I will say, it was hard to stop myself piling on more weird exhibits, just because they are fun to invent and/or discover.  Just to give you one tiny example, there really is a book called Ought I Be Baptized?  I saw it at a tag sale, and it must have been 500 pages at least.  You wouldn’t think that query would need such a thorough investigation but somebody clearly did.

But at a certain point I just wanted people to start talking!  So, returning to your actual question, I think I just followed my own instincts as a fairly impatient reader.  Don’t bother describing the furniture, gimme an argument.

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 I’ve always been interested in the tension that exists between what fascinates us and what repels us. The Victorian freak show was the incarnation of that and although it no longer exists in such a straightforward way, some might say we have its modern-day equivalent ie Jerry Springer, reality shows like The Kardashians and Donald Trump. What do you think about this? Are we less honest and self-aware about our need to ‘other’ some people than the Victorians were? 

My initial reaction is to deny any connection between my beloved Unusuals and Trump!  But I take your point.  However I am not so sure if the situation can be generalized as us being “more” aware or less.  In fact researching this book kind of led me to the supposition that humans really don’t change all that much.

Sideshows made their money by pinging whatever raw nerves society happened to have at the time.  Studying their history, you can see that very similar acts keep appearing and reappearing, but with adjustments based on whatever was bugging people at the moment.

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So for instance, there’s a famous act usually called Spidora or similar, in which a woman pretends to be part woman & part spider.  It’s an old act.  But what interested me was, the cause of the spider transformation changes over time.  Originally it would have been something simple like, a bite from an especially mean spider. So in that instance, the uncontrollable natural world is the enemy.  But later, “atomic radiation” was the culprit.  In the 1980s, that was adjusted to “toxic waste.”

In Magruder’s, you get to see Rosalind’s performance as a half-and-half, meaning one side male, one side female.  It’s an act whose popularity tracks pretty closely with the suffrage movement.  In the same era, you’d have cartoons in the newspaper showing “a suffragette at home,” where her husband is wearing a frilly apron as he cleans with one hand and holds a baby with another.  So there was tremendous gender anxiety at the time, and it was turned into performance at the sideshow.

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Anyway, it’s not hard to “read” Trump in this light.  He is performing hyper-masculine aggression at a time when a certain segment of Americans are feeling emasculated—by the post-Fordist economy, by globalization, by feminism.  By the very fact that a black man has led the free world for 7.5 years. Humankind is not perfectible, but I hold out hope that it is perhaps correctable.

I honestly don’t know enough about the Kardashians to get a read on them in this way, but I guarantee you there is some social itch that they are scratching, just like Spidora did back in her day.

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Who are you reading and what other books in the Magruder theme might you recommend to readers newly interested in this subject?

I am reading More Than Human by Theodore Sturgeon, which has pretty much nothing to do with Magruder’s, but you asked!  There are loads of novels about sideshows and Coney Island, most of which I avoided reading because I didn’t want to copy them.  But Alice Hoffman’s Museum of Extraordinary Things is supposed to be excellent, as is Church of Marvels by Leslie Parry.  (Aside to that one damn reviewer who dismissed me as “derivative” of Hoffman: I started my book several years before Hoffman’s came out. And indeed I had myself a good long cry when I found out about hers, because I was certain all my work was for nothing. Humph!)

The Platonic Ideal of a “freak” book is of course Geek Love.  It is a Modern Classic that means a great deal to a great many people.  It’s not some dumb old commercial “beach read” like mine: Geek Love is respected as Great Literature.

I hate the bloody thing.  I can’t stand how profoundly, aggressively ugly and cruel all the freaks are. (Yes, I understand that it is social satire.  I “get” it, I just don’t “want” it.)  Jean-Luc Godard said that in order to criticize a film you need to make another film… And you could definitely interpret my book as a response to Geek Love in that sense.

And finally, on my website  I have a page called Magruder’s Library, which lists the books I read as research.  So there you’ll find the real history of Coney Island, sideshows, plagues, and all manner of other oddities.

Coney Island Freak Show

 

Mr Magruders Curiosity Cabinet is out now.

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Michael Dolan / Flickr: Coney Island in 2010

https://twitter.com/swordswallow


 

 

 

 

 

 

 

A Home away from home: Anna Hope’s novel ‘The Ballroom’ has links with our own Suffolk history

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Picture: Mark Davis / Guzelian Picture shows the ballroom at West Riding Pauper Lunatic Asylum at High Royds Hospital, Menston, West Yorkshire. A photographic book entitled `Asylum’ has just been published and shows the work of photographer Mark Davis who has photographed derelict asylum’s round Britain and Ireland.
This feature was first published by The Bury Free Press in their print edition only and is reprinted here by kind permission.

Grand ballrooms are not the first thing that come to mind when we imagine the Victorian asylums of our recent past but a newly published novel by Anna HopeThe Ballroom, was inspired by her discovery old photographs of an ornate ballroom in a northern asylum, now fallen into disrepair. And whilst her story is set many miles away, in the Yorkshire Ridings, it has intriguing parallels with the old county asylum, once known as St Audry’s near Ipswich and the exhibition dedicated to it in Stowmarket’s Museum of East Anglian Life. After reading Anna’s novel and interviewing her for this feature, I realised that it was time to re-visit this local museum which has an exhibit about the old St Audry’s asylum and talk to Lisa Harris who is employed there as Collections and Interpretation Manager.

The St Audry’s Project tells the tale of the old St Audry’s Hospital in Melton, which began life as the Suffolk County Asylum in 1832, on the site of an old workhouse. When St Audry’s closed in 1993, its museum collection and archive were divided between various regional establishments. Since then, the Museum of East Anglian Life has been collating oral testimonies and working with local people to ensure that such an important and fascinating part of Suffolk history is not lost. Lisa explains the history of the collection and her involvement in it.

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Abbots Hall at Museum of East Anglian Life. Image: Museum of East Anglian Life

“The Museum of East Anglian Life was re-developing Abbots Hall and we wanted to look at the concept of home and belonging: home as in the people who themselves once lived in Abbots Hall; home as in being a proud Stowmarket girl, or a Suffolk person or even an East Anglian. We also wanted to look at different types of home, of which an asylum is one, and we knew we had the St Audrys collection which hadn’t actually been on public display before, to my knowledge,” she says

“All the archives that survived are based at Ipswich Records Office so this gave us a chance to talk about this whole element of life in Suffolk but also to link into the bigger picture and we were able to get funding from Comic Relief for this.

It is interesting that the collection came into being via the informal efforts of the staff who once worked at the hospital and I ask Lisa about this.

“The collection came here originally because it was in the teaching section of St Audry’s, housed in the attic. When they became a teaching hospital in the 1950s different staff gradually gathered items such as clothing, farm equipment and patients belongings and created a museum on site. But when the asylum closed in 1953, there was concerns as to where all of this might go. Some of the more medical items went to the Science Museum in London, a lot of it went to Felixstowe Museum and the rest came here”, she explains, sweeping her arm around the room lined with glass vitrines containing the tokens used as part of a patient-goods exchange system, the books and records, carefully inked in black fountain pen, pairs of spectacles, thick hard-to-rip nightgowns and decks of cards.

There’s staged vignettes too: a hospital screen has become an art installation where people have attached labels inscribed with the stigmatising language used to describe mental illness and the people who experience it. ‘Mental’, ‘schizoid’, ‘mental enfeeblement’ are starkly stamped on paper luggage tags and there’s a bed and bath with restraints in one corner plus the recorded voices of former staff who talk of their own lives there, often in a pronounced Suffolk burr. As visitors move slowly around the room, these voices fill the air, bringing the room to life.

Conducting research such as this can be made challenging by the stringent rules which control access to patient records: By law, a 30 year closure period is applied to administrative and committee papers, 80 years for student and staff records, and 100 years for personal medical records. This means the most important voices of all – that of the patients- are missing. Both Lisa Harris and Anna Hope emphasise the importance of that patient voice and the ways in which they sought it out for their respective endeavours.

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Anna Hope: author of The Ballroom

The voice of the patients in The Ballroom are vivid, born in part from the many hours of research its author put in, as Anna Hope explains. “Their [the patients] voices do break through too, particularly in the casebooks. I read extensively in the casebooks of High Royds for the period in which the book is set, and the patients jumped vividly from their pages; even the act of holding the casebook in my hands was powerful: the marbled covers, the smell of age, the photographs of the patients, and their own words, erupting into the present, making themselves heard.” Anna skilfully combines her research with the imagination of a fiction author, managing to avoid the trap that many authors fall into, of circumventing the objectivity of historical data to such a degree that accuracy suffers.

“We decided our exhibition would only go up to the 1920s because we can’t access any of the records after that date so why try to tell a story that isn’t out there yet in purely historical terms?” Lisa points out. “Our concern was telling that historical story in the hope that people can learn from it. And that maybe we don’t make the same mistakes in the future that we made in the past…or in the case of something has worked well, we’ll take that and work out how we can take that forward now. We’re trying to do sessions with medical professionals because in order to tell the story you’ve got to have some understanding of the terminology and the treatments. I’m not a medical expert, my understanding  is of curating and preservation: woodworm and rust!” She laughs. “I need to be able to point people in the right direction to get greater understanding, and to properly explain the context”, something which served her well when later on in our chat,  Lisa tells me about her encounters with some artefacts which appear to have a sinister purpose.
In 1832, when St Audry’s was called  The Suffolk County Asylum for Pauper Lunatics, Dr John Kirkman was appointed Medical Superintendent  and his reports and those of the doctors following him show a mind remarkably in tune with some of today’s philosophies of what constitutes good mental health care. The concept of an asylum as a home from home was central to his management: “Drugs are of course necessary in some cases, but moral treatment is essential to all and this is obtained chiefly by means of employment, amusement, pleasing associations and cheerful surroundings which act as medicine to the deceased mind” said the 50th Annual Report, back in 1888″  and the hospital became a self-sufficient community which nonetheless had strong ties to the village of Melton. Dr Kirkman couldn’t be more different to Dr Fuller, one of the narrators in Hope’s book.

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High Royds Hospital, Menston, West Yorkshire.

The Ballroom is Anna Hope’s second novel and it begins with the arrival of Ella Fay at the Sharston asylum in 1911. She is sent there because, after railing against the lack of light in the textiles mill where she works, she snaps and breaks one of the windows- a socially transgressive act in the eyes of her employers and her colleagues, albeit perfectly understandable and rational to us. John Mulligan is already a patient at Sharston, an Irishman suffering from depression provoked by the death of his daughter and his wife’s subsequent abandonment of him. When Ella and John meet at a Friday night dance in the asylum’s beautiful ballroom, they embark upon a slow-burn of a relationship, marked by surreptitious meetings outdoors and smuggled letters and encounters in the wild, expansive Yorkshire moors.

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The Ballroom by Anna Hope

Overseeing their care and to a certain extent, their fate, is Dr Charles Fuller, an ambitious yet inadequate medic who becomes slowly obsessed by the growing eugenics movement which advocated the social control and compulsory sterilisation of the poor and anyone with a mental illness or learning disability. In 1908, the newly appointed home secretary, Winston Churchill, was determined to solve the problem of what he referred to as  the“feeble-minded” – anyone who was deemed unable to self-determine. Churchill’s views on compulsory sterilisation crystallised and he began to circulate pamphlets on the subject among the cabinet. The Eugenics Society grew increasingly influential and in 1913 the Mental Deficiency Act established powers to incarcerate the “feeble-minded” in specially-built asylums. As we see in John and Ella’s story, the sexes lived separately and only met in strictly monitored meetings, in their case, the weekly dance and these impending laws threaten their relationship and very existence, in John’s case.

I asked Anna Hope about the clear parallels with todays social and political situation, not just in the UK but across Europe too, where cuts to health and social care have disproportionately impacted upon the poor and the mentally unwell and the language used to justify government policy has become ugly. “The welfare state; universal healthcare, access to education and greater social mobility are being eroded daily. Not just that, but I feel something even more insidious taking place; poverty has shifted in my lifetime from being something that should be ameliorated by a healthy government and society, to something that is perceived as the fault of those who find themselves poor. I think this is deeply dangerous and beneath the cuts to child benefits for instance, amongst many other cuts, there’s a disturbing echo, as you say, of eugenic policy,” she says.

As for the long view, Anna emphasises the importance of re-visiting the recent past in order to learn from it. We must guard against rose-tinted historiography too. “I think it’s a good time to look a little into our past and see what we were capable of” she says. “Churchill, for example, has been very well served by history, and for good reason, but if you look at his language as home secretary in 1911, in its insistence on ‘racial purity’ and the threat to the race from social degeneration it’s really not so very far from Hitler’s a few decades later.”

Do you think we lost as much as we gained from the abolition of the asylum system with regard to the purest meaning of the word? Have we forgotten that sometimes, some people do need a place of asylum while they recover, I ask Anna.

“That’s a really great question. Before I started researching I think my preconception, from reading lots of novels, about the Victorian and Edwardian asylum system was that once you were there you were there for life and the key was thrown away. Reading the casebooks gave me a different picture; there were many women for instance who were suffering from exhaustion or what sounded like post-natal depression, and who must have been working all hours in the mills or similar places, who simply needed a place to rest” she says.
“Following their stories in the casebooks I was really surprised and happy to read how many of them improved steadily over time with decent food, and rest and time away from work and families”, Anna adds. “So the asylum began to be a more nuanced, complex environment, not just this bleak, monolithic place from which no one ever emerged.”
Lisa Harris concurs with this and addresses some of the common stereotypes and misconceptions people held and still hold about an admission to an asylum. “A lot of people come to us and say “I’ve been tracing my family tree and I think I’ve found someone who was in an asylum and they get worried about this” she states, then looks back at her own initial reactions when she began looking through the St Audrys collection in the early days of developing the exhibit at the museum.
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The ‘Home From Home’ exhibition at Museum of East Anglian Life
“When I started this, I didn’t know very much about asylums at all and the first thing I found was this set of branding irons,” she says, pointing to a set of narrow branding irons displayed in a glass case. “Now the first thing that went through my head and our Learning Officers head was ‘Oh no, they branded the patients,  that is awful!’, but as we went on, we thought this cannot possibly be true. We had an over-active imagination and I do give a talk about the implications of this [for historical research]. But, in the light of the restraints we also found it was an understandable assumption and we were really pleased when we discovered the hospital had its own farm!”, she laughs wryly.
How many of us have assumed patients never left once admitted and lived in social seclusion, isolated from local villages, a source of fear, prejudice and trepidation to the locals? Not necessarily so, according to both Lisa and Anna although it would be naive to assume that the patients lived free from this. People with mental illness still have to negotiate the impact of stigma, whether this be socially, occupationally or politically [usually all three] and this prejudice is deeply rooted in the past. Lisa tells me more about St Audry’s and its position in the local community.
“The hospital was like a little city and the whole village of Melton relied on St Audrys. There was an overseeing of the patients as they went into the village and people were protective of them. That’s what humans do, what they should do. Look at the Second World War and how we cared for people. Would we still do that today? I hope so…” she says, quietly and goes on to touch upon the misconceptions many of us have about asylums whilst also warning against adopting a rose-tinted view of life in one.
” My concern was always that I would look at this with rose tinted glasses because its really easy to do that but the more you talk to people and the more stories you hear, you think actually, I’m not rose tinting it.And I spent months reading the medical records, and they are obviously written to sound good but as you read them you realise that on the whole, these people really did care and they wanted the patients to get better.”
You hear a lot of stories” Lisa smiles, warming to her theme. “St Audrys was a home for unmarried mothers- which was not necessarily true-and it was likely a misunderstanding of postnatal depression. People say ‘they went in and never came out.’ Well, the research I did showed that unless there was an issue with other illnesses like dementia or epilepsy for example, which weren’t really understood back then, people were admitted and usually came out within two years.”
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This bath was used for psychiatric treatments: from the ‘Home From Home’ exhibition

 

Anna tells me, that same lack of medical knowledge meant that “it certainly wasn’t a great time for mental health-care” and expands upon this. “I’d argue that it was perhaps a little better than the age of lobotomy and experimentation that came not so long after the First World War. When you look at the records for the pre-World War One asylums there were very few drugs used on the patients, which meant that many suffered without remission but also that they were awake and alive in a way that later patients perhaps weren’t allowed to be.” Certainly the discovery of Chlorpromazine in the fifties led to its being described as a chemical cosh and many people suffered from its terrible sedating side-effects.

And what of the ballroom which first inspired Anna Hope to write her novel? Well, interestingly I also discovered that St Audry’s had a ballroom too which is, for me,  one of the most unexpected counterpoints to the stereotype of an asylum as a dour and crepuscular place- all worthy, joyless therapies and rigid monitoring. I also discovered that ballrooms were common in Victorian mansions from the 1880s until around 1920, and these mansions were, after all, family homes which links beautifully to Dr Kirkman’s belief that St Audry’s should replicate the home as much as possible and be filled with activities and things that were not merely useful but also stimulated the patient aesthetically.

“The more we looked into it, the more we discovered that St Audrys acted as a home away from home and this was all of the principles that Dr Kirkman put into place about being able to step out of your day to day life and the drudgery and issues that worried you,” Lisa says.

“If you had a mental illness, [although obviously these illnesses were understood in a different way to how we interpret them today], you then could be taken somewhere that was safe. You could be kept warm, you could be fed and given the chance to keep yourself clean but also, be given something that would keep your mind active. So being involved in day to day running- making clothes, helping with washing, on the farm,. It kept you busy and gave you the time to heal, I suppose”, she adds, and her words very much reflect the  St Audry’s 28th annual report of 1865 which reports, in the purple prose of the Victorian age,”the admission is in dark insanity, the discharge in bright reason and  light.”

Interestingly, in The Ballroom, Dr Charles Fuller, is initially keen to encourage his patients to enjoy dance and music, playing the piano for them in the dayroom and when he is introduced to the new Ragtime music emanating from New Orleans by a local music-shop employee he attempts and fails, to embody its joyful and less boundaried spirit. I held my breath as I read this because Charles is as imprisoned, in his own way, as some of the patients but fails to recognise this and I really hoped he might break free. The psychic struggle he becomes embroiled in is something I asked Anna about, especially with regards to his lessening empathy for his patients and increased ‘othering’ of them in line with his belief that eugenics is the way forward. “I thought it was dramatically more interesting if he was deeply in denial about his own demons and desires. I think perhaps it’s impossible to become the sort of character Charles does without deep suppression of one’s empathy,” she says, something which chimes with Dr Kirkman’s own beliefs about how to care for the mentally unwell, some of which are inscribed on the walls of the exhibit in the Museum of East Anglian Life. “No restraint can be employed which is so powerful as tenderness. Watchfullness, activity, gentleness and that peculiar tact acquired by long training to replace contests of strength between patient and keeper.

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Vitrine containing nurses uniforms from St Audry’s hospital
Lisa is privy to the reactions of visitors to the St Audry’s exhibit.” I’ve come in and there have been groups of people in here and they start a conversation along the lines of ‘Oh, we worked at St Audrys and it was really like family, with everyone looking out for each other. Generations of the same families worked there” she explains. “Dr Kirkman started the hospital in the 1800s but his ideas and principles carried right on through.”
“We did a survey a couple of years ago” she adds, “and since we’ve opened, the St Audry’s exhibit has seemed like a room where people feel the need to come in and be quiet and we’re not that kind of museum, not a quiet museum really! But the survey said that people felt they needed to talk to each other about it and our work has opened up ways for them to do this.
“It has encouraged adults and children to talk about mental health.”
Sadly, it has been more challenging to encourage patients to come forward, the latter more understandably. “We struggle to get in touch with people who once were hospitalised” says Lisa. “We’ve done appeals but they don’t necessarily want to talk about it.”
There is pain here, I comment. Lisa nods. “This  exhibit has made our team more aware of mental health  issues, and more aware of how we each have our own needs. I think its one of the most exciting projects I’ve ever worked on.”

The Ballroom is out now. 

The Museum of East Anglian Life website.

Related links: an oral history of a Suffolk psychiatric hospital

Museum images courtesy of The Museum of East Anglian Life, except where indicated.

Image of The Ballroom book cover, Anna Hope, the High Royds hospital, courtesy of Anna Hope/Transworld publishers.

The header image of West Riding Pauper Lunatic Asylum is courtesy Mark Davis / Guzelian

 

Here come the #HeadClutchers – images of mental illness in the media

If you are thinking of writing an article on mental health and illness, why not use our handy guide to some of the most popular and predominate images of this in the media- the ones that are the symbolic and metaphorical equivalent of a brick over the head in their subtlety, bearing little accuracy to the lived experience of people.

Clearly media folk are super important and very busy so we’ve decided to save you having to think at all about how you depict mental illness and mental health problems. So let us help you with those important editorial decisions.

The first one is the most critical. It is vital that all images of people with mental illness convey the levels of their despair in the most terribly obvious manner and the easiest way to do this is by use of the #HeadClutch. The only decision you need to make is about how many hands the person uses to clutch their face-

(1) Is it a one hand kind of article:

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(2)or a double hander?

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Once you have made this decision, we need to consider the surroundings and remember that people with mental health problems-

(3) appear to spend a lot of time in alleyways.

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(4) Or on the floor in the dark.

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(5) They also appear to like to sit on the side of an unmade bed. Never a made one.

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(6) If they are male and have ever had a mental health problem then they will invariably be unshaven.

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(7) And spend a lot of time clutching their heads on a park bench.

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(8) If it is raining or too cold outside, then the alternative is the corner of a room.

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(9) Or on the floor by open doorways with light streaming out of them. To convey, you know, a light at the end of the tunnel in an artistic manner. See too- the Venetian blind backdrop as that’s very popular, especially with picture editors who grew up listening to Japan in the 80’s.

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(10) Or maybe they prefer to spend time in weird never ending corridors?

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(11) Which is enough to turn anybody to drink.

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(12) When there is light in the world of mental health imagery, it is often a light not seen in nature. We like this pink shade to ring in the changes.

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(13) And when things get really bad, there’s no longer any need to even see their face. And a bit of fog never did any harm- go that pathetic fallacy!

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(14) Although sometimes articles are illustrated by photos of people with mental health issues doing extra weird things like playing ‘Ring a Roses’ the wrong way around..This symbolises hope apparently.

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The MOST important thing you need to remember though is the #HeadClutch because without it, how will any of your readers know that the article is about mental health problems?

Every single one of these images was taken from an article in the mainstream press about mental illness or how to regain mental health. Google those terms and see what images come up.

Here are some other images of people you could use who may or may not have mental health problems, the point being it is not a fixed state or something that necessarily shows-

(1)  People with other people. Talking.

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(2) Or just people.

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(3) Or finding comfort in the coping strategies they have developed to manage their symptoms.

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(4) or follow the example of the IAINews and use images like this to illustrate the themes of your piece on the future of psychiatry:

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(5) Or get really creative and use photos showing groups of four people to illustrate the one in four stat that any one of them could have a mental health problem. Here’s four people doing regular stuff. Like eating and drinking.

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(6) Or images that show just how strong people with mental health problems can be and how strong they HAVE to be to cope with all the stereotypical crap in the media.

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So- editors, photo editors, journalists and copy writers….Are you going to settle for one of these same old stereotypes or maybe, just maybe, you might decide to be a little more careful and creative with the images you choose to portray mental illness in your next copy?