![]() 4) and though I wouldn’t imagine there’s a huge difference in our ages I’d say that process has largely passed me by. Dixon comments in Weeping Britannia that throughout his lifetime “stiff upper lips have been slackening” (p. It was entitled, ‘Cockney Stoic or Camden Town Kids Don’t Cry’.Īlthough I’d said I’d think about it, I had no intention of writing a blog post. Nevinson’s 1940 painting captured the Blitz spirit. I felt washed out and that my mascara had suffered (and also hugely moved but never mind about that) so I invoked my humour immediately “You’ll be interested in this,” I said, “I just wept freely in an archive.” “Write us a blog post,” Rhodri said.Ĭ. When I left the British Library (where the unfortunate incident took place) that day I bumped into Rhodri Hayward from the Centre for the History of the Emotions. They say it comes out in my well-made cups of tea and my sense of humour. If you were to ask me why I feel this way, I would make the telling joke, “It’s because I’m British.” People often remark on my pronounced Britishness. This blog post is about the day I cried in an archive.Īs I get older, I’ve found myself being moved to tears more often, but like some of Mass Observation’s lachrymose cinema-goers of 1950 who appear in Thomas Dixon’s Weeping Britannia, I too feel self-conscious, embarrassed and foolish when this happens. You can follow Sara on Twitter: In this post Sara reflects on her own British heritage and the experience of unexpectedly crying in the archive while undertaking historical research.She is currently writing a book on Diana Bromley. She has worked for HM Diplomatic Service since 2004, and is working on a novel that attempts to deal with the aftermath of the Kindertransports, via children’s memories of migration. She was awarded an AHRC studentship in 2013 for the project, ‘The diplomatic service family at home and abroad since 1945’ which is joint supervised by the Foreign and Commonwealth Office and Queen Mary. The orangery with its beautiful roof lantern, central dining table and large double doors has become the heart of the home for gathering friends, whether four or twenty! Fiona tells us in warmer months, the double doors are often open, creating an extension of the outdoor garden and making it a space to enjoy.Sara Hiorns is a doctoral researcher at Queen Mary University of London. The space strikes a perfect balance of light and airy open plan living, as well as staying true to the traditional feel of the property. With a modern shaker kitchen, Fiona describes choosing the Loire Rustique as it complemented it so well, “We were having a green and relatively modern kitchen so wanted something that was a contrast but not too much of a contrast! We searched high and low across many suppliers and the Loire Rustique French Limestone was the standout”. Searching for the perfect floor, Richard & Fiona wanted to use natural stone to give an authentic look as though an original feature of the property. ![]() The kitchen itself is by Herringbone kitchens and painted in Paint & Paper Library ‘Hunter Dunn’ with Buster + Punch pendant lights. It is classical, yet modern - but will not date!”. If I were to make a comparison it would be like an Armani suit. When asked, Richard explained they had a clear vision of the style and feel they wanted to create, “We wanted to respect the heritage of the house but also desired a contemporary twist. Now, this wonderful house also boasts a light and airy orangery, and modern, functional kitchen space all with the Loire Rustique French limestone tiles.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |