I have just pinned Hogsmill Tiddlers to another map, showing the location of the poem, on the Places of Poetry web site. This is an AHRC and Arts Council funded project which “aims to use creative writing to prompt reflection on national and cultural identities in England and Wales, celebrating the diversity, heritage
and personalities of place.”
We still cross the bridge nearly every day on our walks ‘Over the Fields’. Five generations of Furlongs and counting…
Last year I was lucky enough to be part of a wonderful project by 26 and the Imperial War Museum: Armistice 100 Days. This ambitious project involved 100 writers each writing a centena – a specially created form of writing for the project – about someone who was alive during the First World War. Each of these centenas would then be published, one per day, for a 100 days leading up to the centenery of Armistice Day.
I chose Annie Kenney, the amazing working-class suffragette, and this is how I went about creating the centena:
Annie Kenney (1879-1953), in 1905, at a Liberal Party rally at the Free Trade Hall in Manchester, stood on a chair and unfurled a banner on which was printed the legend ‘Votes for Women’. She had gone along with Christabel Pankhurst to try to get the question of suffrage for women heard, and ended up being arrested and put in Strangeways prison for three days. This was the start of the militant movement and the suffragettes.
A mill worker from Oldham, Annie Kenney was the only working class woman to be part of the executive of the Women’s Social and Political Union (WSPU) and was instrumental in helping women to get the vote. In fact, by 1912 she was running the WSPU while Christabel Pankhurst had escaped arrest by fleeing to Paris, and was visiting her there weekly, as well as directing the organisation in London.
I read her autobiography, Memories of a Militant, which was published in 1924, and is sadly long out of print. What shines out of the pages of her book, is the clear voice of someone who knew exactly what she was doing and was fiercely intelligent. Her writing is passionate and energetic, showing a determined positivity, as well as great comedic flair and lyrical wit.
My intention was to create a centena that would give Annie Kenney her voice, using snatches of her book to do this, as respectfully as possible. I needed to give it a structure, and to choose moments which would highlight Annie’s character and reflect the important part she played in the struggle for women’s suffrage.
The Kenney Papers held at the University of East Anglia added to the biographical information I had from Annie herself, and are a fascinating insight into the Kenney family. I re-watched the film Suffragette, and saw the wonderful and recent BBC programme Suffragettes with Lucy Worsley where, amongst others, Annie Kenney was brought to life on the screen.
Millicent Fawcett’s book, Women’s Suffrage: A Short History of a Great Movement was a very useful and illuminating read on the roots of the suffragist movement, and her views on the militant movement.
Suffragettes were “like eels” is at odds with the image of the starving mouse in the Cat and Mouse Act. Of course the suffragettes were slippery customers, doing everything possible to escape capture, and- eels are very strong. This quote along with the defiant bravery of Kenney regarding prison and hunger strikes is here in the face of her many arrests, hunger strikes and force-feedings.
The start of the First World War in 1914 came at the height of the suffragette campaign, and saw the WSPU declare a ceasefire on all of their activism and a determination to do everything possible to contribute to the war effort. In 1918 Annie Kenney saw victory, with women over thirty gaining the vote. She retired from activism, married and had a child. But she was once a militant.
Here is the centena:
I had the wonderful surprise of being invited to the Imperial War Museum, along with other members of 26 (see films of Lisa Andrews’s and Faye Sharpe’s centenas) and was inspired to dress as a suffragette for the day. It was great fun to go out with my green and purple VOTES FOR WOMEN rosette, and to be filmed in the museum’s beautiful peace garden on a very nosiy, hot and sunny day. It took many ‘takes’ to get the filming just right and the film crew were very patient and diligent.
The film above is the result of probably eighteen or so takes – I hope I did Annie some justice. I am very grateful to have had this wonderful experience and many thanks to the 26 and IWM team!
Liz very kindly said that one of her personal highlights was: “Lucy Furlong performing her centena in full suffragette costume in the gardens outside the museum and shouting ‘Votes for women!’ so loudly that it made the sound recordist jump…”
Maxine Peake summed up Annie Kenney’s importance beautifully at the unveiling
There is so much more to say about Annie Kenney – I am glad to say that in my own research I discovered there is plenty of other research going on into her and her extraordinary family, as well as the suffragettes.
Thanks to Lisa for inviting me to be part of it! I am very glad to be a member of 26 and looking forward to the next project…
It is the Urban Tree Festival this weekend – celebrating London’s amazing Urban Forest. While we celebrate our wonderful leafy friends this weekend, I am also commemorating the significant number of trees that are being destroyed at an unprecedented rate at the moment in the Royal Borough of Kingston Upon Thames. This is not something I want to write about but I made a commitment to focus on climate change in my writing (most of my writing is about that anyway) and so I begin here… we must value and protect our trees! #climateemergency
Well, we thought it would be blazing hot but in the end it was raincoats and brollies weather. A welcome respite from the sultry shimmer of the weeks preceding, and not so wet that we couldn’t wander gently, and stop for a poem or two. Proper British Summer Time drizzle. So, where is this special place in the heart of suburban Tolworth?
It is part of an ancient drove road, in the middle of Tolworth Court Farm Fields, hidden behind hedgerow on the A240. A beautiful wild, nature reserve, which until the 1980s had been farmed for a 1000 years at least, and is mentioned in the Domesday book.
Drove roads were the network of roads used over the centuries to move live stock up and down and across the countryside, all over the UK. There are traces of them everywhere, and where the drove has disappeared in its original rural form, it may be identified by names, including ‘Lane’, ‘Drift’, ‘Ox’, ‘Way’ and many other lexical giveaways.
There are certainly lots of them in this area. On my Over the Fields poetry map is ‘Sheephouse Way’ – a road characterised for its large number of blocks of flats these days, but which is shown with the same name on maps which are 500 years old of the local area, and which I was lucky to see at the St John the Baptist Old Malden Heritage Day, when I was doing my research at the time.
Drove roads avoided toll roads, and were a direct and safe route through the countryside for the drovers who could be taking large flocks of sheep, herds of cattle, or even large numbers of geese or turkeys to market. The largest and most famous of these markets being Smithfields Market in London.
They were wide, as much as 20 metres, and usually hedged on both sides, containing the valuable stock, and also helping to keep the animals safe and stopping them from getting infected by other possibly diseased animals living in farms en route.
How sweet I roamed from field to field
And tasted all the summer’s pride.
Lots have been paved over, but there is a part of ancient drove in the fields in Tolworth which is grass underfoot, with its double hedge intact, and it is a magical place. And this is where we ended up reading poems, in the drizzle and the green, surrounded by hedges already heavy with blackberries and elderberries, interrupted only by an occasional enthusiastic dog plus owner, not used to seeing a large gathering of people reading and chatting in this in-between-space-between-places. Perfect.
I had hoped to sing John Barleycorn, as we were walking just after Lammas, but my voice was croaky, so I read the words to the old song instead. Alison read the John Clare poemInsects, and Elizabeth read a poem My Orcha’d in Lindèn Lea written by Dorset writer and poet William Barnes (1801-1886)
I also read some Keats and Blake and, not forgetting, some Richard Jefferies.
I had also brought with me a beautiful corn dolly, made by the Wheatweaver, but was worried about it getting damaged during the walk / weather, so I left it for our after-walk chat and write at Court Farm Cafe afterwards- it is exquisitely beautiful, and so good to know that someone is keeping these ancient skills alive.
With enclosure, modernisation, the rail network and then the roads, the droves fell into disuse, farming methods changed and the old songs, traditions and seasonal customs faded… it is good to remember we still rely on the land for food, and that the sun (especially this year!) and rain are still intrinsic to what we eventually put on our plates.
Although this land is no longer farmed, it is a nature reserve, with bats, rare butterflies, deer and beautiful wild flowers, including pepper saxifrage, as well as some of the oldest trees in the borough.
Alison, who has been walking this way for many years, as part of her job as an ecologist and bat expert, has a deep knowledge and passion for this place. I have learned a lot from her and am so glad we have been able to go on these walks together.
People who joined us for the walk, who didn’t already know and love Tolworth Court Farm Fields, were amazed at how easy it was to enter, and how beautiful and special it is.
“…The walk along the old drove road felt like being in the depths of the country and I’ll try and walk the meadows when they are in flower next year…”
I was shocked to hear Tolworth referred to as a ‘ghetto’ by staff and students at Kingston University while I was studying there. It is one of the oldest parts of the Borough- with ancient and deep historical roots. There are the remains of a medieval moated manor at Tolworth Court, where Kingston Biodiversity Network holds open days. Tolworth Court Farm Fieldsis a wonderful wild treasure, which should stay that way.
On the borders of Tolworth is the Hogsmill Valley, where Millais painted the backdrop to his painting Ophelia, something I have written about in my poetry map, Over the Fields, an exploration of four generations of my family’s relationship with the greenbelt, which is at the end of the Sunray Estate, towards Malden Manor.
Tolworth is remarkable for its open green spaces, and we have a choice now- do we value them, and protect them, recognising them as our lungs and our unique heritage, or do we lose them and become more urban, more polluted and a lot less interesting?