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Published in "AMARU COOKS - A Touch Of Suriname Through Food & Anecdotes" - Published by URAMA BOOKS, ISBN: 9781716511394
A Taos picture of mine now graces this book cover, from New Directions press. Available for pre-order at Amazon... due out September 22 this year.
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published freelance photographer
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Catalogue published by Asahi Kōgaku Kōgyō c.1938.
Document owned and scanned by Rebollo_fr. It is in public domain, as are all anonymous documents published in Japan more than fifty years ago.
See also the Camera-wiki pages about Ricoh and Asahi Bussan.
Size 46x50in. White, Royal Blue and Burgundy fr 100 Afghans to Knit & Crochet. For the book go to amazon.com and search for Jean Leinhauser and Rita Weiss.
A print (1858).
Published in Traditions of De-Coo-Dah, and antiquarian researches: comprising extensive explorations, surveys, and excavations of the wonderful and mysterious earthen remains of the mound-builders in America; and the traditions of the last prophet of the Elk Nation relative to their origin and use; and the evidences of an ancient population more numerous than the present aborigines (1858) by William Pidgeon.
Used courtesy of Snell Library, Northeastern University and the Internet Archive.
Note: the plates appear identical to those published in an 1853 edition of the book.
Size 37x63in.using 3 shades of Periwinkle fr 100 Afghans to Knit & Crochet. For the book go to amazon.com and search for Jean Leinhauser and Rita Weiss.
The electronics magazine Elektor published schematics for a 6502 based DIY computer named "Junior Computer". Jörg Walke modified this design with more ROM and RAM, an RS-232 interface and wrote an extended monitor program. The updated design is named Junior Computer ][: retro.hansotten.nl/junior-computer-ii/
VCFe 24.0 exhibition No 32.
Photograph published 11th April 1918.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognize anyone in the images and have any stories and information to add please comment below.
A big thanks goes out to Greg Thomas. He did a superb job on the article. It was awesome talking about a fish to someone you held in high regards as a fisherman. Quite odd, as I always thought that if I ever got a chance to meet him, I figured it would be me asking him ; ) BUT I hope one day soon, I will have that opportunity.... Can you say...."Sea Run Cutts!"
Check it out --> March2009 issue
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this page without written permission and consent.
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Ichiko Aoba, l’acclamata cantante, compositrice e virtuosa chitarrista giapponese arriva in Italia all’interno del suo tour mondiale Saison Des Fleurs lunedì 10 aprile al Circolo Arci Bellezza di Milano.
Pubblica musica con la sua etichetta, Hermine. Il suo strumento principale è la chitarra, da cui è composta principalmente la maggior parte della sua musica, ma suona anche il pianoforte, il clarinetto, la fisarmonica da sola e il flauto. Aoba è nota per il suo suono acustico e per la scrittura di canzoni, ispirata dai suoi sogni.
Il 2022 è stato un anno memorabile per Aoba, con i tour negli Stati Uniti, Regno Unito ed Europa completamente sold out e migliaia di nuovi fan innamorati del suo tocco musicale unico e affascinante, che attraversa i confini del folk ambient, psych, jazz e musica classica impressionistica per ipnotizzare creando un senso di intimità nell’ascoltatore. Il suo settimo e ultimo concept album, “Windswept Adan”, rappresenta il lavoro più complesso e gratificante della sua carriera, è un pezzo di musica da camera e un’opera orchestrale contemporanea, è la colonna sonora onirica di un film immaginario, un fantasy musicato, è un viaggio sonoro attraverso il Mar Cinese Orientale. Insieme agli spettacoli dal vivo, durante i quali suona brani selezionati dal suo catalogo di 10 anni, ha generato scalpore nella critica e attraverso i social network.
Il lavoro di Ichiko Aoba ha guadagnato la meritata esposizione durante la pandemia, in un momento di solitudine dove il suo sound confortante ha accompagnato le nostre esistenze. Ichiko Aoba ha un raro dono musicale, accompagnato dalla sua raffinata capacità di suonare meticolosamente dal vivo. La sua musica abbraccia ed eleva l’ascoltatore verso spiagge sonore riparate e tranquille. Immergendosi nelle composizioni di Aoba, gli ascoltatori provano un senso di consolazione e possibilità – una sensazione che si riflette perfettamente nelle sue performance dal vivo.
Cresciuta a Kyoto, in Giappone, Ichiko Aoba ha imparato a suonare la chitarra classica a 17 anni. Ha trovato ispirazione nelle colonne sonore della Disney e dello Studio Ghilbi ed è stata affiancata dalla cantautrice giapponese Anmi Yamada. Ichiko ha pubblicato il suo primo album, “Kamisori Otome” nel 2010, a soli 19 anni, e ha continuato a ricevere molti consensi per le sue composizioni folcloristiche e influenzate dal jazz, scritte per chitarra classica e voce, tra cui l’album “0” del 2013 e “qp” del 2018. Ha collaborato con la leggenda giapponese Ryuichi Sakamoto e con il sound artist americano Taylor Deupree; con il collega della Yellow Magic Orchestra di Sakamoto, Haruomi Hosono; con il cantautore canadese Mac DeMarco; e con il produttore e polistrumentista giapponese Cornelius. Si aggiungono le collaborazioni con il produttore hip hop giapponese Sweet William e con la band indie giapponese MahiToThePeople. Il violinista canadese Owen Pallett l’ha citata come fonte d’ispirazione, paragonando le sue composizioni a quelle di Burt Bacharach. Ichiko ha anche lavorato a diverse produzioni teatrali, tra cui una produzione di Cocoon scritta e diretta da Takahiro Fujita e un revival di Lemming di Shuji Terayama.
The Postcard
A postally unused postcard that was published by Hinode-Shoko of Seoul. The card has a divided back.
Itinerant vendors in Korea in the early part of the 20th. century generally used to transport their wares on large wooden frames carried on their back.
The man's burden of poultry would have been heavy.
The Korean Gat
The man in the photograph is wearing the traditional Korean gat (Korean: Hunminjeongeum 갓)
A gat is a traditional hat worn by men along with hanbok (Korean traditional clothing) during the Joseon period. It is made from bamboo or horsehair with a bamboo frame, and is partly transparent.
Most gats are cylindrical in shape with a wide brim on a bamboo frame. Before the late 19th. century, only noble class men could wear gat, which represented their social status and protected their topknots.
Robert Neff of the Korean Times has written the following about Korean male headware:
'One of the most important articles of clothing for Koreans in the late 19th. century was the hat. The elderly man with his majestic black horse hair hat, often seen in pictures, is the iconic image of Korean male society during the Joseon Dynasty (1392 - 1910).
According to Percival Lowell, an American who stayed in Seoul in the winter of 1883-84:
"No Korean can in decency appear
without it [hat], except only to make
room for some other hat."
It was a sign of manhood, "the most essential of attributes," and a badge of one's position in Korean society.
Lowell seemed amused with the difference between Korean and American culture. In the United States it was considered poor manners to wear a hat indoors, and one would rarely remove one's shoes, but the opposite was true in Korea:
"A man would part with any or all of
his clothing sooner than take off his
hat. On entering a house, he leaves
his shoes outside to await his return,
but he and his hat go in together.
As he sits down to eat, he divests
himself of his outer garments that he
may eat with greater freedom, but his
hat stays on; and so it sticks to him
through life ― a permanent black halo."
There were many types of hats. The iconic hat, the gat, was made from horse hair and bamboo and was black and somewhat transparent.
It had a fairly wide brim that in the past, according to popular legend, was much wider as a means of preventing unrest. Because of its wide brim, conspirators were kept apart, and were unable to whisper their plans to one another.
There was also a large mourning hat made from bamboo. It was designed to hide the face of mourners from others they might encounter on the streets. It was considered a grievous breach of etiquette to look into the face of the mourner.
Early French missionaries used the mourning hat to disguise themselves as they traveled the Korean peninsula before the 1880's. They were able to move about in relative secrecy for no one would attempt to communicate with a mourner.
Court officials' hats had slightly bent-forward ear-shaped horizontal wings. It was said they symbolized the wearer's attentiveness and willingness to "catch every word of command that the King may utter."
As Korea entered the 20th. century, there were many reforms forced on the population. Some were readily accepted and appreciated, but others, especially those that dealt with hair styles and hats, were vehemently opposed.
"A man is much more firmly bound to
his hat than he is attached to his wife.
He may put away the latter; without
the hat, life becomes a hollow mockery,
for the hat makes the man. Without it
he remains forever a boy."
Hats remained a part of male culture throughout the first half of the 20th. century, but have since disappeared. The only exceptions are those worn by elderly males in the Jongno area, or the bright colorful caps that young teens and adults wear while out with their friends. The "permanent black halo" is no more.'
How Japan Took Control of Korea
Erin Blakemore has written the following for history.com in 2018, and updated it in 2023:
In 1910, Korea was annexed by the Empire of Japan after years of war, intimidation and political machinations; the country would be considered a part of Japan until 1945. In order to establish control over its new protectorate, the Empire of Japan waged an all-out war on Korean culture.
Schools and universities forbade speaking Korean, and emphasized manual labor and loyalty to the Emperor. Public places adopted Japanese, too, and an edict to make films in Japanese soon followed.
Topographical and other postcards of Korea were published with descriptions in Japanese text.
It also became a crime to teach history from non-approved texts, and authorities burned over 200,000 Korean historical documents, essentially wiping out the historical memory of Korea.
During the occupation, Japan took over Korea’s labor and land. Nearly 100,000 Japanese families settled in Korea with the land they had been given; they chopped down trees by the million and planted non-native species, transforming a familiar landscape into something many Koreans didn’t recognize.
Nearly 725,000 Korean workers were made to work in Japan and its other colonies, and as World War II loomed, Japan forced hundreds of thousands of Korean women into life as “comfort women”—sexual slaves who served in military brothels.
Korea’s people weren’t the only thing that was plundered during Japan’s colonization—its cultural symbols were considered fair game, too. One of the most powerful symbols of Korean sovereignty and independence was its royal palace, Gyeongbokgung, which was built in Seoul in 1395 by the mighty Joseon dynasty.
Soon after assuming power, the Japanese colonial government tore down over a third of the complex’s historic buildings, and the remaining structures were turned into tourist attractions for Japanese visitors.
As historian Heejung Kang notes, the imperial government also attempted to preserve treasures of Korean art history and culture—but then used them to uphold imperial Japan’s image of itself as a civilizing and modern force.
This view of Korea as backward and primitive compared to Japan made it into textbooks, museums and even Koreans’ own perceptions of themselves.
The occupation government also worked to assimilate Koreans with the help of language, religion and education. Shinto shrines originally intended for Japanese families became places of forced worship.
Historian Donald N. Clark explains:
"The colonial government made Koreans
worship the gods of imperial Japan,
including dead emperors and the spirits
of war heroes who had helped them
conquer Korea earlier in the century.”
This forced worship was viewed as an act of cultural genocide by many Koreans, but for the colonists, it was seen as evidence that Koreans and Japanese were a single, unified people.
Though some families got around the Shinto edict by simply visiting the shrines and not praying there, others grudgingly adopted the new religious practices out of fear.
By the end of its occupation of Korea, Japan had even waged war on people’s family names. At first, the colonial government made it illegal for people to adopt Japanese-style names, ostensibly to prevent confusion in family registries.
But in 1939, the government made changing names an official policy. Under the law, Korean families were “graciously allowed” to choose Japanese surnames.
At least 84 percent of all Koreans took on the names since people who lacked Japanese names were not recognized by the colonial bureaucracy, and were shut out of everything from mail delivery to ration cards. Historian Hildi Kang writes:
“The whole point was for the government
to be able to say that the people had
changed their names ‘voluntarily.’”
The Plundering of Korea by Japan
(a) Historic Korean Artifacts
Koreans accuse the Japanese of plundering hundreds of thousands of ancient Korean artifacts, mostly during their 36-year occupation of the peninsula. Most Japanese consider the issue a dead one, resolved by the 1965 Japan-Korea Treaty, which led to the return of some 1,400 items.
However the treaty was not definitive, as it neglected artifacts in Japanese private collections, as well as those originating in North Korea.
The size of the haul is astounding. Eighty percent of all Korean Buddhist paintings are believed to be in Japan. And, says Seoul art historian Kwon Cheeyun:
"35,000 Korean art objects and
30,000 rare books have been
confirmed to be there, too."
However that is only the tip of the iceberg: vastly more is believed to be hidden away in private collections.
Determining legal ownership is far more difficult than with the art looted by the Nazis. Toshiyuki Kono, a law professor at Kyushu University. states:
"It's almost impossible to trace the
provenance of centuries-old artifacts."
Besides, the Japanese annexation was internationally recognized in 1910, meaning that relocating Korean artifacts within "Japanese territory" was lawful at the time.
To Korea's annoyance, Japan holds many items of particular value. More than 1,000 bronze, gold and celadon pieces owned by the late businessman Takenosuke Ogura now make up the core of the Tokyo National Museum's Korean section.
A lot of precious Korean artifacts are now owned by private Japanese citizens or organizations, which means that the Japanese government can’t just acquire them and hand them back to Korea. So, unless the Korean government offers to actually spend millions of dollars to buy back the artifacts, it is unlikely they will ever be returned.
As well as removing cultural artifacts to Japan, the Japanese also burned countless Korean government buildings and palaces.
(b) Natural Resources
The Japanese also removed vast amounts of Korea's natural resources, including lumber, rice, coal, iron ore and many other minerals.
The land itself was also appropriated by the Japanese; by 1910 an estimated 8% of all arable land in Korea had come under Japanese control. This ratio increased steadily, and by 1932, the ratio of Japanese land ownership had grown to 53%.
Japanese landlords included both individuals and corporations. Many former Korean landowners became tenant farmers, having lost their entitlements almost overnight because they could not pay for the land reclamation and irrigation improvements forced upon them. As often occurred in Japan itself, tenants had to pay over half their crop in rent.
I managed to get some of my super wide angle photography published in the May 2010 "Photographer" Magazine.... albeit the Ukrainian edition. I should have asked for a translation eh?
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You may not modify, publish or use any files on
this page without written permission and consent.
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i supporter dei Wolf Alice, il 25 novembre 2022 al Fabrique di Milano, sono i Figura.
“È ancora estate (emoteen)” è il loro nuovo singolo.
Per fortuna questa volta il pubblico dei Figura non ha dovuto attendere a lungo. Citando una battuta di Lundini ai Måneskin, dicono di suonare «rock con le loro dannate chitarre», ma quello che appare dai sei brani su Spotify è una dolcissima vena romantica, filo rosso di tutta la loro produzione.
Si uniscono nel marzo del 2017: due chitarre, una batteria, un basso e la voce del cantante. Metà della band milanese doc, l’altra di San Felice, ultimo lembo in cui Peschiera Borromeo si incontra con Segrate e Pioltello.
Un primo studio – dall’acustica non proprio eccezionale – scontenta Piero il batterista (che è anche fonico), ma questo non arresta la voglia di produrre e soprattutto di fare live. Il primo step è infatti un concerto al Circolino, Arci Impegno a Milano. Fine 2019: sono già pronti alla pubblicazione del loro primo EP “Sarà un leggero ricordo” composto dai tre brani sopravvissuti a una stringente selezione: “In un silenzio”, “Dammi del tu” e “Pensieri miei”. Questi pezzi in pieno stile alternative rock vengono registrati in soli due giorni perché Federico, il bassista, è all’estero per studiare. L’EP sarà però reso disponibile al largo pubblico solamente nel dicembre del 2020. La pandemia, in qualche modo, investe anche loro. Il viaggio dei Figura continua sorprendentemente proprio con uno dei brani che avevano cestinato. Nell’estate 2021 pubblicano “Di noi” (inizialmente titolata “Epica”) la cui coloratissima copertina mostra un chiaro cambio di rotta per la band: è un’esplosione di energia che supera le orecchie e arriva dritta allo stomaco.
È il 3 novembre scorso che compare sui loro profili social una nuova miniatura sui toni dell’arancione: una nuova canzone. Il testo, dal refrain inconfondibile, è scritto poco prima di un live, il cantante e autore Alberto rende bene sotto stress. Tra delusioni d’amore e nostalgia del periodo più spensierato dell’anno, nasce un brano che ci riporta alle emozioni adolescenziali e ci fa dire anche nel gelo della periferia milanese “È ancora estate”.
Alberto Ricchi (cantante e chitarrista)
Federico Riva (bassista)
Francesco Ricchi (polistrumentista)
Giulio Ambrosio (chitarrista)
Piero Leddi (batterista)
Photograph published 11th September 1918.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognize anyone in the images and have any stories and information to add please comment below
A postally unused postcard published by the Asheville Post Card Co. of Asheville, N.C. The card was produced in the USA.
On the back of the card the publishers have printed:
'This grey castle of medieval style
is large enough for visitors to walk
into.
Cages inside the building contain
parakeets, love birds, guinea pigs,
hamsters, skunks, terrapins and
other small animals'.
The castle doesn't look big enough to contain all those animals.
The Postcard
A postally unused carte postale that was published by Lévy Fils et Cie of Paris and distributed by Fernand Benoit.
Visé Paris No. 2244
The card bears the imprimatur 'Visé Paris' followed by a unique reference number. This means that the image was inspected and deemed by the military authorities in the French capital not to be a security risk.
'Visé Paris' indicates that the card was published during or soon after the Great War.
Abba Eban
"History teaches us that men and
nations behave wisely when they
have exhausted all other alternatives".
This was said during a speech in London UK on 16th. December 1970 by Abba Eban (1915-2002), an Israeli diplomat and writer.
'The Next War'
'The Next War' is a prescient poem written by Robert Graves (1895–1985) which features in his 1918 book 'Fairies and Fusiliers':
"You young friskies who today
Jump and fight in Father’s hay
With bows and arrows and wooden spears,
Playing at Royal Welch Fusiliers,
Happy though these hours you spend,
Have they warned you how games end?
Boys, from the first time you prod
And thrust with spears of curtain-rod,
From the first time you tear and slash
Your long-bows from the garden ash,
Or fit your shaft with a blue jay feather,
Binding the split tops together,
From that same hour by fate you’re bound
As champions of this stony ground,
Loyal and true in everything,
To serve your Army and your King,
Prepared to starve and sweat and die
Under some fierce foreign sky,
If only to keep safe those joys
That belong to British boys,
To keep young Prussians from the soft
Scented hay of father’s loft,
And stop young Slavs from cutting bows
And bendy spears from Welsh hedgerows.
Another War soon gets begun,
A dirtier, a more glorious one;
Then, boys, you’ll have to play, all in;
It’s the cruellest team will win.
So hold your nose against the stink
And never stop too long to think.
Wars don’t change except in name;
The next one must go just the same,
And new foul tricks unguessed before
Will win and justify this War.
Kaisers and Czars will strut the stage
Once more with pomp and greed and rage;
Courtly ministers will stop
At home and fight to the last drop;
By the million men will die
In some new horrible agony;
And children here will thrust and poke,
Shoot and die, and laugh at the joke,
With bows and arrows and wooden spears,
Playing at Royal Welch Fusiliers."
Arras in the Great War
Arras is in Northern France by the Scarpe River. It is the capital ('chef-lieu') of the Pas-de-Calais department. In 2012 the city held over 43,000 residents.
During the Great War, Arras was near the Western Front, and a series of battles were fought around the city and nearby Vimy Ridge.
Medieval tunnels beneath the city, which were linked and greatly expanded by the New Zealand Tunnelling Company, became a decisive factor in British forces holding the city.
The Arras Townhouses
In Arras there is a unique architectural ensemble of 155 Flemish-Baroque-style townhouses bordering La Petite Place (also called La Place des Héros) and La Grand'Place.
These houses were built in the 17th. and 18th. centuries, and were originally made of wood. After the Great War, most of these houses were so severely damaged that they had to be rebuilt, this time using bricks.
Arras in WW II
In the Second World War Arras was occupied by the Germans, and 240 suspected French Resistance members were executed in the Arras Citadel.
During the invasion of France in May 1940, Arras was the focus of a major British counterattack. On the 3rd. September 1944 the town was entered and liberated by the British Guards Armoured Division.
'The General'
'The General' by Siegfried Sassoon:
'“Good-morning, good-morning!” the General said
When we met him last week on our way to the line.
Now the soldiers he smiled at are most of 'em dead,
And we're cursing his staff for incompetent swine.
“He's a cheery old card,” grunted Harry to Jack
As they slogged up to Arras with rifle and pack.
But he did for them both by his plan of attack'.
Robert Graves
Captain Robert von Ranke Graves, who was born on the 24th. July 1895, was an English poet, historical novelist and critic.
His father was Alfred Perceval Graves, a celebrated Irish poet and figure in the Gaelic revival; they were both Celticists and students of Irish mythology.
Robert Graves produced more than 140 works in his lifetime. His poems, his translations and innovative analysis of the Greek myths, his memoir of his early life — including his role in the Great War — Good-Bye to All That (1929), and his speculative study of poetic inspiration The White Goddess have never been out of print.
Robert is also a renowned short story writer, with stories such as The Tenement still being popular today.
He earned his living from writing, particularly popular historical novels such as I, Claudius; King Jesus; The Golden Fleece; and Count Belisarius.
He also was a prominent translator of Classical Latin and Ancient Greek texts; his versions of The Twelve Caesars and The Golden Ass remain popular for their clarity and entertaining style.
Graves was awarded the 1934 James Tait Black Memorial Prize for both I, Claudius and Claudius the God.
Robert Graves - The Early Years
Robert Graves was born into a middle-class family in Wimbledon, then part of Surrey, now part of south London. He was the eighth of ten children born to Alfred Perceval Graves (1846–1931), who was the sixth child and second son of Charles Graves, Bishop of Limerick, Ardfert and Aghadoe.
Robert's father was an Irish school inspector, Gaelic scholar and the author of the popular song "Father O'Flynn."
Robert's mother was his father's second wife, Amalie Elisabeth Sophie von Ranke (1857–1951), the niece of the historian Leopold von Ranke.
At the age of seven, double pneumonia following measles almost took Graves's life, the first of three occasions when he was despaired of by his doctors as a result of afflictions of the lungs, the second being the result of a war wound, and the third when he contracted Spanish influenza in late 1918, immediately before demobilisation.
At school, Graves was enrolled as Robert von Ranke Graves, and in Germany his books are published under that name, but before and during the Great War the name caused him difficulties.
In August 1916 an officer who disliked Robert spread the rumour that he was the brother of a captured German spy who had assumed the name "Karl Graves". The problem resurfaced in a minor way in the Second World War, when a suspicious rural policeman blocked his appointment to the Special Constabulary.
Graves's eldest half-brother, Philip Perceval Graves, achieved success as a journalist, and his younger brother, Charles Patrick Graves, was a writer and journalist.
Robert Graves' Education
Graves received his early education at a series of six preparatory schools, including King's College School in Wimbledon, Penrallt in Wales, Hillbrow School in Rugby, Rokeby School in Wimbledon, and Copthorne in Sussex, from which last in 1909 he won a scholarship to Charterhouse.
There Robert began to write poetry, and took up boxing, in due course becoming school champion at both welter- and middleweight. He claimed that this was in response to persecution because of the German element in his name, his outspokenness, his scholarly and moral seriousness, and his poverty relative to the other boys.
Robert also sang in the choir, meeting there an aristocratic boy three years younger, G. H. "Peter" Johnstone, with whom he began an intense romantic friendship, the scandal of which led ultimately to an interview with the headmaster.
However, Graves himself called it "chaste and sentimental" and "proto-homosexual," and though he was clearly in love with Peter (disguised by the name "Dick" in Good-Bye to All That), he denied that their relationship was ever sexual. Robert was warned about Peter's proclivities by other contemporaries.
Among the masters, Robert's chief influence was George Mallory, who introduced him to contemporary literature and took him mountaineering in the holidays. In his final year at Charterhouse, he won a classical exhibition to St. John's College, Oxford, but did not take his place there until after the Great War.
Robert Graves and the Great War
At the outbreak of the Great War on the 4th. August 1914, Graves enlisted almost immediately, taking a commission in the 3rd. Battalion of the Royal Welch Fusiliers as a second lieutenant on the 12th. August.
He received rapid promotion, being promoted to lieutenant on the 5th. May 1915 and to captain on the 26th. October 1915.
Robert published his first volume of poems, Over the Brazier, in 1916. He developed an early reputation as a war poet, and was one of the first to write realistic poems about the experience of frontline conflict.
In later years, he omitted his war poems from his collections, on the grounds that they were too obviously "part of the war poetry boom."
At the Battle of the Somme, he was so badly wounded by a shell-fragment through the lung that he was expected to die, and was officially reported as having died of wounds. However Robert gradually recovered and, apart from a brief spell back in France, spent the remainder of the war in England.
One of Graves' friends at this time was the poet Siegfried Sassoon, a fellow officer in his regiment. They both convalesced at Somerville College, Oxford, which was used as a hospital for officers. Sassoon wrote to him in 1917.:
"How unlike you to crib my idea of
going to the Ladies' College at Oxford,"
At Somerville College, Graves met and fell in love with Marjorie, a nurse and professional pianist, but stopped writing to her once he learned that she was engaged. About his time at Somerville, he wrote:
"I enjoyed my stay at Somerville. The
sun shone, and the discipline was easy."
In 1917, Siegfried Sassoon rebelled against the conduct of the war by making a public anti-war statement. Graves feared Sassoon could face a court martial, and intervened with the military authorities, persuading them that Sassoon was experiencing shell shock, and that they should treat him accordingly.
As a result, Sassoon was sent to Craiglockhart, a military hospital in Edinburgh, where he was treated by W. H. R. Rivers and met fellow patient Wilfred Owen. Graves was treated here as well. Graves also had shell shock, or neurasthenia as it was then called, but he was never hospitalised for it:
"I thought of going back to France, but realized
the absurdity of the notion. Since 1916, the fear
of gas obsessed me: any unusual smell, even a
sudden strong scent of flowers in a garden, was
enough to send me trembling.
And I couldn't face the sound of heavy shelling
now; the noise of a car back-firing would send
me flat on my face, or running for cover."
The friendship between Graves and Sassoon is documented in Graves' letters and biographies. The intensity of their early relationship is demonstrated in Graves's collection Fairies and Fusiliers (1917), which contains many poems celebrating their friendship.
Sassoon remarked upon a "heavy sexual element" within it, an observation supported by the sentimental nature of much of the surviving correspondence between the two men. Through Sassoon, Graves became a friend of Wilfred Owen, who often used to send him poems from France.
In September 1917, Graves was seconded for duty with a garrison battalion. Graves's army career ended dramatically with an incident which could have led to a charge of desertion. He wrote:
"Having been posted to Limerick in late 1918,
I woke up with a sudden chill, which I recognized
as the first symptoms of Spanish influenza.
I decided to make a run for it. I should at least
have my influenza in an English, and not an Irish,
hospital."
Arriving at Waterloo with a high fever but without the official papers that would secure his release from the army, he chanced to share a taxi with a demobilisation officer also returning from Ireland, who completed his papers for him with the necessary secret codes.
Robert Graves After the Great War
Immediately after the war, Graves with his wife, Nancy Nicholson had a growing family, but he was financially insecure and weakened physically and mentally:
"I was very thin, very nervous, and with about four
years' loss of sleep to make up, I was waiting until
I got well enough to go to Oxford on the Government
educational grant.
I knew that it would be years before I could face
anything but a quiet country life. My disabilities were
many: I could not use a telephone, I felt sick every
time I travelled by train, and to see more than two
new people in a single day prevented me from
sleeping.
I felt ashamed of myself as a drag on Nancy, but had
sworn on the very day of my demobilization never to
be under anyone's orders for the rest of my life.
Somehow I must live by writing."
In October 1919, Robert took up his place at the University of Oxford, soon changing course to English Language and Literature, though managing to retain his Classics exhibition.
In consideration of his health, he was permitted to live a little outside Oxford, on Boars Hill, where the residents included Robert Bridges, John Masefield (his landlord), Edmund Blunden, Gilbert Murray and Robert Nichols. Later, the family moved to Worlds End Cottage on Collice Street, Islip, Oxfordshire.
Robert's most notable Oxford companion was T. E. Lawrence, then a Fellow of All Souls', with whom he discussed contemporary poetry and shared in the planning of elaborate pranks. By this time, he had become an atheist. His work was part of the literature event in the art competition at the 1924 Summer Olympics.
While still an undergraduate Robert established a grocers shop on the outskirts of Oxford but the business soon failed. He also failed his BA degree, but was exceptionally permitted to take a Bachelor of Letters by dissertation instead, allowing him to pursue a teaching career.
In 1926, Robert took up a post as a professor of English Literature at Cairo University, accompanied by his wife, their children and the poet Laura Riding, with whom he was having an affair. Graves later claimed that one of his pupils at the university was a young Gamal Abdel Nasser.
Robert returned to London briefly, where he separated from his wife under highly emotional circumstances (at one point Laura Riding attempted suicide) before leaving to live with Riding in Deià, Majorca.
There they continued to publish letterpress books under the rubric of the Seizin Press, and wrote two successful academic books together: A Survey of Modernist Poetry (1927) and A Pamphlet Against Anthologies (1928). Both works had great influence on modern literary criticism.
Robert Graves' Literary Career
In 1927, Robert published Lawrence and the Arabs, a commercially successful biography of T. E. Lawrence. The autobiographical Good-Bye to All That (1929, revised by him and republished in 1957) proved a success, but cost him many of his friends, notably Siegfried Sassoon.
In 1934, Robert published his most commercially successful work, I, Claudius. Using classical sources, he constructed a complex and compelling tale of the life of the Roman emperor Claudius, a tale extended in the sequel Claudius the God (1935).
I, Claudius received the James Tait Black Memorial Prize in 1934. Later, in the 1970's, the Claudius books were turned into the very popular television series I, Claudius, with Sir Derek Jacobi shown in both Britain and United States.
Another historical novel by Graves, Count Belisarius (1938), recounts the career of the Byzantine general Belisarius.
Graves and Laura Riding left Majorca in 1936 at the outbreak of the Spanish Civil War, and in 1939 they moved to the United States, taking lodging in New Hope, Pennsylvania.
Their volatile relationship and eventual breakup was described by Robert's nephew Richard Perceval Graves in Robert Graves: 1927–1940: the Years with Laura, and T. S. Matthews's Jacks or Better (1977). It was also the basis for Miranda Seymour's novel The Summer of '39 (1998).
After returning to Britain, Graves began a relationship with Beryl Hodge, the wife of Alan Hodge, his collaborator on The Long Week-End (1940) and The Reader Over Your Shoulder (1943).
Graves and Beryl (they were not to marry until 1950) lived in Galmpton, Torbay until 1946, when they re-established a home with their three children, in Deià, Majorca. The house is now a museum.
The year 1946 also saw the publication of Robert's historical novel King Jesus. He published The White Goddess: A Historical Grammar of Poetic Myth in 1948; it is a study of the nature of poetic inspiration, interpreted in terms of the classical and Celtic mythology he knew so well.
He turned to science fiction with Seven Days in New Crete (1949), and in 1953 he published The Nazarene Gospel Restored with Joshua Podro.
Robert also wrote Hercules, My Shipmate, published under that name in 1945 (but first published as The Golden Fleece in 1944).
In 1955, he published The Greek Myths, which retells a large body of Greek myths, each tale followed by extensive commentary drawn from the system of The White Goddess. His retellings are well respected; many of his unconventional interpretations and etymologies are dismissed by classicists.
Graves in turn dismissed the reactions of classical scholars, arguing that they are too specialised and prose-minded to interpret ancient poetic meaning, and that:
"The few independent thinkers are
the poets, who try to keep civilisation
alive."
He published a volume of short stories, ¡Catacrok! Mostly Stories, Mostly Funny, in 1956. In 1961, he became Professor of Poetry at Oxford, a post he held until 1966.
In 1967, Robert Graves published, together with Omar Ali-Shah, a new translation of the Rubaiyat of Omar Khayyam. The translation quickly became controversial; Graves was attacked for trying to break the spell of famed passages in Edward FitzGerald's Victorian translation.
L. P. Elwell-Sutton, an orientalist at Edinburgh University, maintained that the manuscript used by Ali-Shah and Graves, which Ali-Shah and his brother Idries Shah claimed had been in their family for 800 years, was a forgery. The translation was a critical disaster, and Graves' reputation suffered severely due to what the public perceived as his gullibility in falling for the Shah brothers' deception.
In 1968, Graves was awarded the Queen's Gold Medal for Poetry by Queen Elizabeth II. His private audience with the Queen was shown in the BBC documentary film Royal Family, which aired in 1969.
From the 1960's until his death, Robert Graves frequently exchanged letters with Spike Milligan. Many of their letters to each other are collected in the book Dear Robert, Dear Spike.
On the 11th. November 1985, Graves was among sixteen Great War poets commemorated on a slate stone unveiled in Westminster Abbey's Poets' Corner. The inscription on the stone was written by friend and fellow Great War poet Wilfred Owen. It reads:
"My subject is War, and the pity
of War. The Poetry is in the pity."
Of the 16 poets, Graves was the only one still living at the time of the commemoration ceremony, though he died less than a month later.
UK government documents released in 2012 indicate that Graves turned down a CBE in 1957.
In 2012, the Nobel Records were opened after 50 years, and it was revealed that Graves was among a shortlist of authors considered for the 1962 Nobel Prize in Literature, along with John Steinbeck (who was that year's recipient of the prize), Lawrence Durrell, Jean Anouilh and Karen Blixen.
Graves was rejected because, even though he had written several historical novels, he was still primarily seen as a poet, and committee member Henry Olsson was reluctant to award any Anglo-Saxon poet the prize before the death of Ezra Pound, believing that other writers did not match his talent.
In 2017, Seven Stories Press began its Robert Graves Project. republishing fourteen of Graves' out-of-print books.
UK government documents released in 2023 reveal that in 1967 Graves was considered for, but then passed over for, the post of Poet Laureate.
His religious belief has been examined by Patrick Grant, "Belief in anarchy: Robert Graves as mythographer," in Six Modern Authors and Problems of Belief.
Robert Graves' Sexuality
Robert Graves was bisexual, having intense romantic relationships with both men and women, though the word he coined for it was "pseudo-homosexual." Graves noted:
"I was raised to be prudishly innocent,
as my mother had planned I should be."
In fact his mother, Amy, forbade speaking about sex, save in a "gruesome" context, and insisted That:
"All skin must be covered."
During his days in Penrallt, he had "innocent crushes" on boys; one in particular was a boy named Ronny:
"Ronny climbed trees, killed pigeons with
a catapult and broke all the school rules
while never seeming to get caught."
At Charterhouse, an all-boys school, it was common for boys to develop amorous but seldom erotic relationships, which the headmaster mostly ignored.
Graves described boxing with a friend, Raymond Rodakowski, as having a "a lot of sex feeling", and although Graves admitted to loving Raymond, he would dismiss it as "more comradely than amorous."
In his fourth year at Charterhouse, Graves met "Dick" (George "Peter" Harcourt Johnstone) with whom he would develop "an even stronger relationship".
Johnstone was an object of adoration in Graves's early poems. Graves's feelings for Johnstone were exploited by bullies, who led Graves to believe that Johnstone was seen kissing the choir-master.
Graves, jealous, demanded the choir-master's resignation. During the Great War, Johnstone remained a "solace" to Graves. Despite Graves's own "pure and innocent" view of Johnstone, Graves's cousin Gerald wrote in a letter that:
"Johnstone is not at all the innocent
fellow I took him for, but as bad as
anyone could be".
Johnstone remained a subject for Graves' poems despite this. Communication between them ended when Johnstone's mother found their letters and forbade further contact with Graves. Johnstone was later arrested for attempting to seduce a Canadian soldier, which removed Graves's denial about Johnstone's infidelity, causing Graves to collapse.
In 1917, Graves met Marjorie Machin, an auxiliary nurse from Kent. He admired her "direct manner and practical approach to life". However Graves did not pursue the relationship when he realised that Machin had a fiancé at the Front.
This began a period where Graves would begin to take interest in women with more masculine traits. Nancy Nicholson, his future wife, was an ardent feminist: she kept her hair short, wore trousers, and had "boyish directness and youth."
Her feminism never conflicted with Graves's own ideas of female superiority. Siegfried Sassoon, who felt as if Graves and he had a relationship of a fashion, felt betrayed by Graves's new relationship, and declined to go to the wedding. Graves apparently never loved Sassoon in the same fashion that Sassoon loved Graves.
Graves's and Nicholson's marriage was strained, with Graves living with "shell shock", and having an insatiable need for sex, which Nicholson did not reciprocate. Nancy forbade any mention of the war, which added to the conflict.
In 1926, he met Laura Riding, with whom he would run away in 1929 while still married to Nicholson. Prior to this, Graves, Riding and Nicholson attempted a triadic relationship called "The Trinity."
Despite the implications, Riding and Nicholson were most likely heterosexual. The triangle became the "Holy Circle" with the addition of Irish poet Geoffrey Phibbs, who himself was still married to Irish artist Norah McGuinness. This relationship revolved around the worship and reverence of Laura Riding.
Graves and Phibbs both slept with Riding. When Phibbs attempted to leave the relationship, Graves was sent to track him down, even threatening to kill Phibbs if he did not return to the circle. When Phibbs resisted, Riding threw herself out of a window, with Graves following suit to reach her.
Graves' commitment to Riding was so strong that he entered, on her word, a period of enforced celibacy, which he did not enjoy.
By 1938, no longer entranced by Riding, Graves fell in love with the then-married Beryl Hodge. In 1950, after much dispute with Nicholson (whom he had not yet divorced), he married Beryl.
However despite having a loving marriage with Beryl, Graves took on a 17-year-old muse, Judith Bledsoe, in 1950. Although the relationship was described as "not overtly sexual", Graves later in 1952 attacked Judith's new fiancé, getting the police called on him in the process.
Robert later had three successive female muses, who came to dominate his poetry.
The Death and Legacy of Robert Graves
During the early 1970's, Graves began to experience increasingly severe memory loss. By his 80th. birthday in 1975, he had come to the end of his working life.
He lived for another decade, in an increasingly dependent condition, until he died from heart failure on the 7th. December 1985 at the age of 90 years.
He was laid to rest the next morning in the small churchyard on a hill at Deià, at the site of a shrine that had once been sacred to the White Goddess of Pelion.
His second wife, Beryl Graves, died on the 27th. October 2003, and her body was interred in the same grave.
Three of Robert's former houses have a blue plaque on them: in Wimbledon, Brixham, and Islip.
Graves had eight children. With his first wife, Nancy Nicholson (1899-1977), he had Jennie (who married journalist Alexander Clifford), David (who was killed in the Second World War), Catherine (who married nuclear scientist Clifford Dalton at Aldershot), and Sam.
With his second wife, Beryl Pritchard Hodge (1915–2003), he had William (author of the well-received memoir Wild Olives: Life on Majorca with Robert Graves), Lucia (a translator and author whose versions of novels by Carlos Ruiz Zafón have been successful commercially), Juan (addressed in one of Robert Graves' most famous and critically praised poems, "To Juan at the Winter Solstice"), and Tomás (a writer and musician).
Photograph published 11th April 1918.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognize anyone in the images and have any stories and information to add please comment below.
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