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Thursday 29 November 2012

The Comedy of Errors, by William Shakespeare, Reviewed


Heresy! Infamy! Thou darest malign the Bard?

The Comedy of Errors appears to be based on a premise that I found impossible to swallow, for two simple reasons. First; why would the twins, both sets, not have been named prior to their separation and therefore have different names? It seems unlikely that these infants were so young as to have been denied such a basic ceremony as naming. Secondly, and perhaps more to the point, why were both sets of twins dressed identically, bearing exact copies of the same hairstyle, using the same manner of speech? So identical, in fact, that they could not be separated by the intimate servants or, in the case of Antipholus of Ephasus, by his wife and her sister. One was raised in Syracuse, a town in Sicily, with, admittedly, Greek influence. And the other in Ephasus, in Turkey, again, with Greek influence. However, the manner of speech in these two widely distant provinces would undoubtedly have been equally wide. Manner of dress, customs, mannerisms etc would all have been very varied, and Shakespeare would have been aware of such regional differences from his exposure to such during his everyday life in England.

A farce, and this play is definitely a farce, requires the audience to suspend their disbelief in order to appreciate the confusions caused by the plot. I found I was unable to suspend my incredulity to the extent necessary to enjoy this piece of comic drama.

I’m an admirer of our national Bard; what writer of English could fail to prize the literary skills of this world renowned wordsmith? But I couldn’t push past what quickly became an insuperable barrier to my enjoyment. This impediment was further reinforced by the poor quality of the poetry of the piece. We’re all used to the subtlety, variety, cleverly composed and richly metaphorical nature of Shakespeare’s dialogue. But in this, one of his earlier plays, he seems not to have quite got the hang of things. The language is unnecessarily convoluted, as if he’s more concerned with impressing the audience than with conveying his meaning. The usual contemporary references aside, I found the meaning often difficult to determine because of the structure of the sentences and the employment of obtuse metaphors. I accept, when reading Shakespeare, that some of the language’s more subtle meanings will be lost on me: I’m not a scholar of the period and I lack the time to delve into references that require lengthy searches to unpick. But, in this play, I felt the playwright was more concerned with fireworks than with substance. Also, although I’ve never seen a production, I very quickly knew the outcome, since this was flagged too clearly in the first act.

So, not the best of his work, but, hell, it’s Shakespeare, so it must be good, yes? 

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To my regular readers, my apologies for the lack of a piece on writing today. My ME/CFS has returned and it limits my energy and creativity. I'll try to get back to normal next week. Thank you for your patience.

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Tuesday 27 November 2012

Girl With a Pearl Earring, by Tracy Chevalier, Reviewed

In Chevalier's fictional account, the characte...
In Chevalier's fictional account, the character Griet is the model for Vermeer's painting. (Photo credit: Wikipedia)

Vermeer’s muse for his famous painting is brought to life in the fictional Griet, who narrates her story in a voice at once apt and accessible. The reader is quickly transported to the Delft of the mid 17th century and plunged into a world where Protestant and Catholic are labels with real meaning.

The place of women in society has long been that of second class citizen, with even the relatively recent progress appearing mostly as lip service to equality. Here, in the Europe of 1664 to 1676, a time when the plague swept through the region and London was all but destroyed by fire, we learn at first hand what it must have been like to be a young woman from a less than wealthy background.

Tracy Chevalier has done her research, gleaned enough information and background to bring alive the times, the fears, the hopes and the dreams of the young woman who is her central character. Griet combines a natural naivety with a worldliness that makes her both courageous and vulnerable. In spite of the almost continuous thread of drudgery and usage, the injustices that visit her daily, her acceptance that this life is what she will live until the end, there is a spirit here that lifts her out of the ordinary, raises her above the mundane and portrays her as vital, intelligent and questing.

The maid’s acceptance of casual bullying and usage is hard for the modern reader to accept, yet it is written with such openness and confidence that the reality cannot be questioned. Her mixed attitude to minimal exposure and maximum concealment echoes the hypocrisy of the church in which she has been raised and which she accepts without question. No modern girl could be so accepting, in light of the many proofs regarding the lies, hypocrisy and dogmatism of the church, but the reader is persuaded that such considerations are not available for Griet. She has no opportunity to question society and its unjust traditions, merely accepting that this is the way things are.

The love story, such as it is, remains understated. Hints alone draw the picture as the self-obsessed painter, drawn sparely and shrouded in a false air of mystery by the skill of the author, finds a way to persuade the shy but willing maid to model for him. Her very willingness to perform difficult and dangerous tasks for him leads the reader to understand the feelings she never expresses. The claustrophobic settings and customs lend menace to a relationship that could lead to only a pair of outcomes. We can hope for the better of the two whilst understanding that the worst is more likely.

The novel explores themes of injustice, bullying, the casual and cruel superiority of the wealthy, familial loyalty and the pragmatism of the poor. I cannot describe this as a happy book, yet it is strangely compelling. And, although the pace rarely alters, there is a quickening of movement in the denouement. I found I was driven to finish the book in a final sitting once I’d reached a certain point in the narrative.

There is a film of this book. I doubt it does justice to the narrative, which maintains an honest and credible voice of the maid as narrator throughout. But I will make the effort to watch it, in the hope that the director illuminates the shadows and borrows the colours of the novel.

This is a book I enjoyed and one I happily recommend to all those who like their fiction steeped in history and character.  

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Sunday 25 November 2012

Do You Work Best in Chaos or Control?


Stones on the beach at Flamborough
Do you work well in clutter? Does it really matter to you if the desk is covered in piles of manuscripts, notes to remind you, a document stand overflowing with ‘things to do’? Is it no problem for you to step over those things you’re planning to sort out every time you enter the room?

On the other hand, do you have to have a tidy desk, with everything in its place and nothing outstanding. Is that box of odds and sods already sorted for sale on Ebay or ready for the local charity shop? Or does such a box never exist in your life because you always clear these things as they come along? Is your inbox only ever the place where new emails live for the short while it takes you to deal with them? Are you obsessive about the places your things are located, ensuring everything is always exactly where you want it?

I lie somewhere in between these two extremes of chaos and obsessive tidiness.

For a number of reasons, with which I won’t bore you, I’ve had to allow certain irritations to build up over the last few weeks. It’s always a question of priorities. But I do find it difficult to be creative and disciplined in my writing habits when the desk has a pile of correspondence awaiting attention, the inbox has over 100 emails I need to explore further, the room I use as a study is crowded with objects that need some attention before I can either sell them or recycle them via the local Help the Aged shop.

So, on Wednesday afternoon, when I arrived home from the half week I spend at an office in order to supplement my earnings from writing, I decided enough was enough. It was time for a serious bout of deck-clearing. I want to get on with the fantasy trilogy I’m writing, and all these interruptions are getting in the way. The only solution is to deal with them.

So far, I’ve reduced the inbox to 13, and 12 of those are required for future action I can’t actually take at the moment. I’ve updated the Writing Contests page on this blog and therefore removed from the desk the pile of magazines, leaflets and other printed matter I consult for this task. I’ve restored my daughter’s old computer to a working state, which took some 10 hours of attention, reformatting and re-installing of software, so I can see if that will sell on Ebay. Along the  way, I’ve dealt with all new emails (I get around 70 a day), posted a couple of items on the blog, kept up to date with Pinterest and Twitter and Facebook and LinkedIn, all of which are social sites I use to keep in touch with readers. But, as a happily married man who wishes to remain so, I’ve also spent some real quality time with my wife, who is a great support to my writing activity. An earlier post on here describes our day in Hull to see the Da Vinci drawings and watch the latest Bond film. And we also managed a longish walk along the local cliffs near Flamborough. I love the sea and find it refreshes my spirit. Took some pictures along the way, which I’ll add to the albums I have on Facebook when time allows.

Why am I telling you all this? Well, the lesson of the last few days has been that I work better without clutter. And, if I’m able to keep it at bay, I’ll get a lot more writing done. So, I’ve found my ideal working situation. Have you found yours, or are you continually in a state where you’re either fighting against a chaos over which you have no control, or are you so busy keeping everything tidy that you have no real time to do what matters most; you writing?

There you go. I’ve even found time to write and post this piece on the blog. So, here’s your challenge: if you’re not already working in your ideal environment, do something about it and sort it out so you can work in your optimum way and actually get that writing done.

Good luck, and have fun!

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Thursday 22 November 2012

A Day of Cultural Contrasts


I want to share with you a strangely satisfying day of contrasting culture. This morning, my wife and I travelled to our nearest city, Hull, to view some of Da Vinci’s drawings on exhibition at the Ferens Art Gallery. Hull is not noted for its culture, though both Philip Larkin and John Godber produced some of their best work in the city. And, of course, it is the birthplace of William Wilberforce, whose influence on world culture through the abolition of slavery must be considered great.

To get back to the Da Vinci: A few weeks ago, we were in Paris and spent some time in the Louvre, where, over the heads of the multitude, we saw the Mona Lisa in its original form. It was distant, because we were unwilling to elbow our way through the throng, and it was protected by non-reflective glass to protect it against the assaults of the multiple flashes from the tourists’ cameras (the signs asking people not to use flash have little or no effect on those who haven’t a clue how to actually use their cameras, of course).

Today, in Hull, we joined a much smaller number to walk in peace and quiet around an exhibition where we could get up close to the drawings made by Da Vinci. The subtlety of his technique, the detail captured by his eye and the skill of his translation of reality into pictorial form were aspects I will treasure for a long time. That we could actually examine them as closely as if reading a book, spend uninterrupted time before each of the ten examples, study and absorb the brilliance, was wonderful. Information boards enhanced the experience and the gallery staff were on hand to enthuse and guide where necessary.

An exhibition I urge you to visit if you’re anywhere near the city. It’s on until 23 January 2013. The drawings are on loan from the Royal Collection, by the way.

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Because we are not city lovers, we rarely visit without a specific purpose. Today we also decided to go to the cinema to watch the latest Bond movie. Skyfall is a very typical Bond film with plenty of chases, improbable action scenes and occasional sexual encounters, understated so that the films can be watched as family entertainment. Though it’s always puzzled me that film classification allows extreme violence to be witnessed by young children, yet prevents youngsters seeing the natural state of human beings. Never understood why nudity should be considered bad for children when violence and killing is apparently considered acceptable. But that’s maybe a subject for a different post.

The film is the best of those starring Daniel Craig. There is a great story and more interaction and narrative than the previous efforts. The film is also full of surprises. Naturally, James wins most of his unlikely fights, defeats his enemies and gets the girl. I won’t spoil the story for those who haven’t seen the film. But, if you’ve been less than impressed by the previous outings of Craig’s Bond, you will find this one a real improvement.

As I say, a day of cultural contrasts. But a very enjoyable day in spite of, or maybe, because of, that.

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What Do You Love/Hate About Traditional Publishers?


Way back, in the fogs of the ancient past, when men were apes and women were damned glad to be fleet of foot, traditional publishers took on a role in the world of books. They sought out and nurtured talent. They actively encouraged good writers. They sold their authors’ books. It was a dream world, where writers could actually spend their time writing, learning technique, coming to grips with the process of telling stories, unburdened by the constant need to expose themselves to their public like some lurid music hall act.

Way back then, the publisher took on the tasks of marketing and sales, jobs requiring entirely different skill sets from those needed to produce creative fiction. Sales people are a breed. They are driven by money and the idea of reward. Creative people are artists, driven by the need to express themselves and living in hope that someone somewhere might enjoy their output sufficiently to pass a positive comment and maybe even recommend it to a friend. Publishers organised the production of the book; engaging and paying for skilled cover artists to draw attention to the work, hiring editors to iron out inconsistencies and grammatical errors, choosing the font most suitable for the text, taking a pride in turning the creative work into a marketable product. Publishers negotiated with booksellers and others in the book trade to get the volumes on the shelves of stores and libraries. They produced publicity material and arranged for signings and, sometimes, tours by their authors.

All this activity released authors from the need to worry about a side of writing mostly foreign to the creative nature. It allowed writers to spend time actually learning their craft and developing into practitioners with insight, depth and experience. Their writers grew in talent and value to their readers. The authors were protected from day to day anxieties regarding deadlines and targets and sales list positions. They could actually get on with the job of writing; the role for which they were best fitted.

Of course, there were downsides, for both writers and publishers. Occasionally a publisher would encourage a promising prospect only to discover either a lack of real talent or a lack of discipline, which resulted in the one-book author or the procrastinator who promised but never actually delivered. For the writer, there were restrictions in genre. Publishers would light on the first novel and then drive the writer along the same route time and time again, trying to turn their protégée into some sort of word machine churning out endless versions of the same, once-successful book until both the writer and his readers became disenchanted with the whole business. Readers then turned to some other talent whilst the writer went off to be a plumber or park warden instead.

We have reached a stage in publishing today where the potential for a better deal for all is possible. Because it costs almost nothing to produce an ebook, financial risk for publishers regarding that first novel is no longer relevant. The only potential loss involves their time. The monetary layout is negligible and there is no concern for overheads with a warehouse full of unsold books. The publisher can devote time and effort to marketing the books and, should the ebook prove successful, can then produce a POD, again at little cost, but with the confidence that the book is likely to sell well. This is a win/win situation for publisher and author. The writer is spared the time-consuming and destructive work of marketing and can get on with the actual creation of a really good book. And the publisher can return to the role of nurturing mentor and guide, taking care of those tasks most authors find so onerous; i.e. marketing and sales.

So, why are so few publishers doing this? Why are so many locked into the recent cycle of backing pointless celebrity with huge advances only to lose these enormous sums when the product fails the first test of quality? I suspect it’s because publishers, along with most other businesses, are now run by bean counters rather than by those with imagination, flair and taste. As long as money is seen as the only worthwhile outcome for publishing, traditional publishers will continue to fail and decline. Once they start to understand and return to their original role of mentor and protector of talent, there is a strong possibility that they will flourish as never before. I just hope they discover this fact before I’m too old and decrepit to benefit from such services.

As always, I value your thoughts. Please comment freely and pass on this piece to as many of your writing/reading friends as you can.

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Tuesday 20 November 2012

The Tales of Beedle the Bard, by J.K.Rowling, Reviewed.


Just over a hundred pages of delight in this slim volume from the queen of fantasy. Many may be convinced that this book is exclusively for children. It most certainly isn’t, though most children will undoubtedly take great pleasure in the tales. The commentary, in the voice of Albus Dumbledore, is so good that the reader hears it in his mellifluous tones. There is humour and real magic in the words of wisdom dispensed by the ancient Headmaster of Hogwarts.

The stories themselves are wonderful little fairy tales, paying homage to the traditions of the genre whilst carving out a new niche in fantasy. There is morality here, side by side with great humour and lessons to be learned. I won’t give away the plots, or the messages that lie at the hearts of the stories, but I must express my admiration for the storytelling skill shown in each of them. To proclaim such moral messages without preaching and, at the same time, providing the reader with amusement, is a rare and valuable feat.

It’s great to know that by buying this book, recently produced as a Kindle for those who no longer handle paper books, you will not only treat yourself to some first class entertainment, but will support Children’s High Level Group, a very worthy charity. It’s typical of J K Rowling to be so generous; her support of this charity, which she set up with Baroness Nicholson of Winterbourne MEP, brings hope to children all over the world who would otherwise spend their lives neglected and abandoned.

I spent a pleasant lunch time reading this book and urge you to indulge. If you have small children, read them the tales; they’ll love them. And, if you don’t, well read them yourself and enjoy Dumbledore’s pithy narratives as well. I thoroughly recommend this book to adults and children alike.


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Monday 19 November 2012

My Next Big Thing








I’ve been invited by Penny Grubb  (http://pennygrubb.blogspot.co.uk/2012/11/my-next-big-thing.html) to take part in the Next Big Thing Blog Tour. My five nominees were supposed to be listed at the end, but, for various reasons, they were unable to commit, so I guess this is the end of this particular leg of the tour!

In common with most published writers, I write to be read. But I also break a great publishing rule, imposed by agents and traditional publishers for reasons of their own: I don’t write in only one genre. In fact, I rarely consider genre before I set out to write a story. This makes my work difficult to categorise, of course. But, as I give a description of every book, I see no difficulty with this approach.

Take a look at the titles under the tab ‘My Books’ and you’ll see what I mean. There’s a romantic thriller, a sci-fi novelette, an anthology of tender love stories, a collection of dark speculative fiction, a cheeky story for the New Year, a selection of stories from my writing group, an erotic anthology and a collection of prize-winning sci-fi and fantasy stories to which I was invited to contribute.

So, it’s not immediately obvious what my next big thing might be. But, I am currently working on the second volume of an epic fantasy trilogy intended for an adult readership. Volume one is ready for publication and volume two is well along the editing path. Volume three is around as an outline combined with a huge number of ideas floating around the caverns of my mind. I intend to publish this story after I have introduced it by publishing a number of short novelettes starring various minor characters from the main story. So, that is likely to be the next big thing for me. Capricious? I’m an artist, in the sense that I create from imagination, and it’s difficult to pin me down. One thing I can promise my readers, however, is that the epic fantasy will be well on the way to completion before I publish volume one. I think there is nothing more irritating for readers than to become involved in a story that runs over several books only to find that the writer has either lost interest or failed to engage the level of discipline needed to complete the work.

What is the working title of your book?

The series will go under a title which, for the moment, remains secret. However, the first volume is ‘Joinings’, the second ‘Partings’ and the third is provisionally titled ‘Endings’.

Where did the idea come from for the book?

This series has been around in my head for so long that I can no longer recall its germination. I can, however, let you know that it deals with themes of injustice, betrayal, religious hypocrisy and the strength or genuine love.

What genre does your book fall under?

It’s an epic fantasy, but excluding elves, dwarves and dragons (thought the latter mythical creatures do feature in the folklore).

How long did it take you to write the first draft of your manuscript?

About seventy years! Actually, for reasons I won’t bore you with, it’s been an on and off project that started over 30 years ago with the development of the imagined world and the drawing of the map. The actual writing was interrupted by domestic events and life that got in the way but began around seven years ago. In that time, I’ve written two volumes of around 220,000 words each. I’ve edited one and am currently half way through editing the second.

What other books would you compare this story to within your genre?

I’m not into comparisons for my work, as I don’t consciously feed off the work of others. The book neither refers to nor borrows from any other. It’s the product of my imagination, influenced by the thousands of books I’ve read, the many films and plays I’ve watched, the multitude of life experiences I’ve passed through. I understand that literature is necessarily incestuous but I’d be hard put to identify any parents or siblings for this work. I’ll let readers decide.

Who or What inspired you to write this book?

My work is almost always the result of free imagination. I’m able to sit at the keyboard and produce a short story without any preparation. Obviously, for a series of this complexity and scope, I had to develop a history, customs, religions, landscapes, social patterns, laws, traditions, myths and all those other things that bring an imagined work to life. The themes, however, as explained above, permeate much of my writing; in particular the issue of injustice and the all-pervasive idea of hypocrisy within organised religion. It was undoubtedly thinking on these matters that brought the pot to the boil until the ideas melted together and became the story that now feeds the books.

What else about your book might pique the reader's interest?

My stories are character driven. I aim to make the people who inhabit my fiction into characters they will know or, at least, come to know. Some are very bad, others are very good and, in between lie those people we all meet and live with, escape from, love, hate, like, despise and worship.

Which five writers will take over from you next week and tell us about their next big thing:-

Here was supposed to be the list for links to the blogs of 5 other writers taking part in the tour. Unfortunately, they were unable to commit for a multitude of reasons, most of which I fully understand, as a busy writer myself.

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Sunday 18 November 2012

Fusion, by Fantastic Books Publishing, Reviewed.


This collection of 25 science fiction and fantasy tales represents the cream of the entries for a short story contest run by Fantastic Books. The stories included are the contest winners plus a couple from professional writers, invited by the organisers. 10% of sales receipts will go to cancer charities.

Anthologies are sometimes patchy affairs, but not this one. The quality of the writing is pretty consistent and all the stories are well told (I must add here that I contributed one of the tales). But consistency doesn’t mean similarity. There’s great variety here. Some humour, some darkness and something for younger readers. All speculative fiction, the stories entertain, amuse, inspire and make the reader think.

There are characters of every sort lurking in this selection and plots to suit all tastes. This is a collection you can read at one sitting, as I did, or dip into for those short breaks over coffee, when a longer piece must be interrupted. I enjoyed all the stories but I don’t intend to describe them in this short review. All are different and all demonstrate the imaginative power of their creators, the skill of these writers as storytellers. I thoroughly recommend the book to all who love their fiction with a twist of the unexpected.

To buy for Kindle through Amazon UK, click here.
To buy for Kindle through Amazon USA, click here
To buy for all ebook formats through Smashwords, click here.


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Tuesday 13 November 2012

The Silence of the Lambs, by Thomas Harris, Reviewed.


Everybody has, of course, heard of this modern crime classic. Many people have seen the film. I’m not one of them. Intrigued by the many references to the book, when I stumbled upon it in the charity bin of a local Co-op, I made my donation and brought a copy home.
At last, I’ve got around to actually reading it, and I’m glad I have.

For me, fiction is made real and compulsive by the quality of its characters. I mean by that not the natures of the people themselves but the depth and detail gifted them by the author. The story is important, of course, but I find I’m unable to enter a fictional world if I don’t care about at least one of the primary characters. There was no such difficulty with this book. Crawford is easy to empathise with, in spite of his hard-nosed sheath of self-protective toughness. Dr Lecter is, of course, become the archetypal sociopath; a man more concerned with demonstrating and playing with his intellect than he is with any emotional connection. He is the epitome of the unfeeling genius. And in Starling we have the caring, clever, resourceful, courageous, insightful and strong young woman we can all so easily love. Chilton, of course, is the selfish, cunning and sly man who everyone can as easily hate. And the antagonist, who I won’t name for those few who have yet to come across this excellent work, is a superbly drawn piece of human detritus mostly formed from his history but choosing the path upon which he has set out destructively and without concern for any but himself. The woman we encounter as his final victim is anything but a stereotype, displaying courage, resourcefulness and a strength of character that has the reader desperately urging the authorities to get to her before it’s too late.
Clarice Starling
Clarice Starling (Photo credit: Wikipedia)

I had no idea what the story was really about and was surprised to find it dealt with the hunt for a serial killer in quite the way it does. I’d more or less expected to find a police procedural with little reference to emotion or justice. That the book transcends its genre is clear almost from the first page. I confess to some irritation with the US crime fighters’ jargon that peppers some pages and leaves a UK reader, unfamiliar with police procedures, somewhat confused. But the fact that such a stumbling block never even came close to stopping me read is testament to the power of the story and the characters who drive it.

The denouement is expertly handled. Indeed, I deliberately put off finishing the book at night for fear of having nightmares if I went to sleep on the ending. Read in my lunch hour, the final chapters were no less powerful, the ending no less satisfying than that late night read may have rendered them. The book finishes in the only way it can. A satisfactory conclusion to a tale of pace, incident and superbly engineered personal interrelationships.

I enjoyed this book more than I expected to. Should I now watch the film? Will I be disappointed? I don’t know. But the book is definitely worth the read and I can thoroughly recommend it.

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Sunday 11 November 2012

A Remembrance for the Grandfather I Never Knew.


Frederick Burden, seated, with an unknown soldier.
Today, 11th November 2012, is Remembrance Sunday, one of those few occasions when Armistice Day actually falls on a Sunday.

I’d like to take this opportunity to say something relating to my paternal grandfather, and the trip my wife, Valerie, and I recently took to France in order to see the monument in Arras, where his death is commemorated.

Frederick Burden, born in Sculcoates, Kingston-Upon-Hull on 14th September 1886, was one of a large family. He left school at 13 and trained as a plumber. Not much is known about him or his life, as he died before any of his 3 children, Dorothy, Vera and Ken, could get to know him. This fate was later echoed by my own experience of my father, Ken, who died a little over 2 weeks before I was born.

Frederick joined up to serve in the First World War and fought in France with the 1st East Riding Field Company, which later became the 529th Field Coy of the Royal Engineers, part of the 3rd Division. On 9th April 1917, the Company was engaged in the Battle of Arras and became part of the VI Corps, Third Army. Frederick died during the battle, on 18th June 1917, and his body was never recovered. As a result, after the war, he was commemorated, along with others of his Company, on the Arras Memorial:

WE WILL REMEMBER THEM

Those of the 529th (East Riding) Field Company Royal Engineers who died 18th June 1917 with no known grave:
Leonard Alker, 438594.
Frederick William Barnaby, 474333, age 26
Frederick Burden, 474500, age 30
Walter Carmichael, 474562, age 33
Charles Maurice Steele 474102, age 19
William Galpin, 474387, age 20
John William Jones, 177715, age 36
Joseph Henry Parkin, Second Lieutenant, age 29
Robert Pickard Sharp, 474636


Ken Burden
Florence with Vera, Dorothy & Ken.
My own father, the youngest child, was probably at least held by Frederick, when he came home on leave a short time before the battle that claimed his life. Ken was born 16th January 1916 and died 23rd April 1948. Frederick’s eldest daughter, Dorothy, was born 11th February 1912 and died in 2001. Vera, the middle child, was born 15th December 1913 and now lives in Southampton. It was partially on Vera’s behalf that we went to France, as she’d never had the opportunity to see the memorial herself and, rapidly approaching her 100th birthday, is unlikely to do so. Of course, even Dorothy was only 5 when Frederick died, so none of the children had any recollection of their father. And his widow, Florence, who he married in 1910, died in 1958.

Vera
Dorothy’s son, Charles Hunter, started some family research a few years ago and set up a website in memory of our grandfather at http://www.hunt.karoo.net/  And it was through Charles, via Friends Reunited’s Genes Reunited site, that I discovered the existence of my Aunt Vera some few years ago. It turned out she’d been trying to find me. I suspect my mother’s death, when I was aged 16, and my frequent moves around the country had made this search rather difficult.

Outside the Monument.
The Memorial at Arras bounds the eastern side of the earlier Fauberg D’Amiens Cemetery, where 2,681 servicemen are buried, and records the names of 35,700 servicemen and a further 1,000 airmen, all without known graves. Designed by Sir Edwin Lutyens, and commissioned by the Commonwealth War Graves Commission, the Memorial itself is an austere, sober, but rather beautiful stone monument to all these deaths.

Looking along the Memorial Bays.
We visited in September this year on a day when the heavens had decided to weep, the winds to gust fitful and strong. The walk from the railway station, where we’d journeyed from Paris, was wet and wild. It surprised us that there were no directions from there to the monument, but we’d brought maps and found it easily enough.

The open fronts of the tall arches occasionally allowed in drenching rain as we sought out the relevant bay where we could find Granddad’s name. But a quick look in the register, housed in a small cabinet, led us where we needed to go. The names are carved into the stone and the years have softened the letters a little so that they blend with the background. But we found Frederick’s name and spent some time in silent contemplation of a life about which we know so little; a life ended too soon in the madness of war.

There is a visitors’ book and I was able to make a short entry on behalf of ourselves and of Aunt Vera.
Rows of graves
We ventured out amongst the graves for a sortie between blustery showers but quickly returned to cover as the unseasonal weather continued. We met a young couple from Colchester, Essex, who’d made the visit simply out of interest and to pay their respects to these unknown heroes. And we were able to guide a small group from Birmingham who were having difficulty identifying the bay in which their relative was commemorated.
Frederick's name on the Memorial

The whole place has an air of solemn sadness about it, yet manages to convey a feeling of hope for the future in its tall open arches of pale stone. We were glad to have managed the visit and both felt that it, alone, had made our trip to France worthwhile.

Pointing out the Inscription
Our walk back to the railway station took us through the Place de la Victor Hugo, where we followed a French woman out of the lashing rain into the Peter Pan Brasserie, a proper French Café. There, the patron, who spoke no English, and Valerie, whose French is much better than my few words, managed to organise a hot meal for us, accompanied, of course, by a glass of real French red table wine.

On the TGV train back to the Gard du Nord in Paris, the weather slowly improved and, once out of the station, we found ourselves in such bright warm sunshine that we climbed to Sacre Coeur and walked through Montmartre and along the wide avenues until we reached our hotel near the Arc De Triomphe.

A trip worth making for us, and a good day.

Florence Barker, his wife.
Remembering the dead of those appalling wars is often seen as a duty, but, when there’s a personal element, the whole process becomes far more real. Our visit to the Arras Memorial and our short sojourn of contemplation over Granddad, Frederick Burden, will live with me long. Each Armistice Day, I’ll have more reason to spend those two short minutes in silent thought and thanks for those heroes who gave their lives to ensure a safe world so that we now live in freedom.

Commemorative Death Penny
We will never know the exact circumstances of his death; whether it came swift, or in slow agony, whether he died alone under the bullet of a sniper or with others of his Company, victims of a shell. But of one thing we can be confident, since he was posthumously award the Death Penny, inscribed with his name and the words, ‘He Died For Freedom And Honour’, that he died with courage. This small coin came with a note saying "I join with my grateful people in sending you this memorial of a brave life given for others in the Great War. George R J."

Along with all those other men commemorated at the Arras Memorial, and many others in France, Europe, and the whole world, he died fighting in defence of a better future for his family. That other men, and it is always men, caused the conflict that resulted in his death is a matter of great shame for humankind. Whether such violent conflict will ever be eradicated from our race is uncertain. But those of us who remain, those of us provided with a promise of long life and freedom by those who to kept us free, must strive to ensure we make full use of our opportunities. We must live our lives in celebration of the bravery of such men as Frederick Burden, the grandfather I never knew.

Thank you, Granddad Frederick, I Will Remember You.

Notice Board
Information board


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