Ask anyone who has even a passing acquaintance with 20th century literature about the poets and poetry of the First World War, and I can guarantee that the names ‘Rupert Brooke’, ‘Wilfred Owen’ and ‘Siegfried Sassoon’ will be mentioned at some point. All three are rightly-reknowned poets (especially Owen), but they weren’t the only ones to be creatively inspired by their war experiences. In today’s World War One post, I’ll be looking at the life and death of another Great War poet – one who came from a very different background, and whose work is still perhaps not as well-known as it should be.
Born in Bristol on 25th November 1890, Isaac Rosenberg was the eldest son of a family of Jewish immigrants who had originally come over from Eastern Europe. When young Isaac was seven years old, his family moved to the East End of London in search of work. Settling on Cable Street, in the heart of the area’s large working-class Jewish community, the Rosenbergs found it difficult to make ends meet and Isaac, although intelligent and artistically talented, was forced to leave school at 14 in order to earn some money for the family.
He was apprenticed to an engraver, a job he apparently hated, but he was already beginning to write poetry and also started attending evening classes in art at Birkbeck College. He lost his job in 1911, but a lucky chance meeting led to his artistic talent being recognised by a patron, who agreed to fund his studies at the prestigious Slade School of Art. At the Slade, he studied alongside a number of young artists who went on to be very successful (and who also later reflected the impact of the war in their work), including Stanley Spencer and Mark Gertler.
Moving in the well-connected circles associated with this creatively charged atmosphere obviously had an impact on Isaac, as he was able to get a small book of his poetry privately published in 1912. A year later, he met Edward Marsh, the editor of the influential Georgian Poetry volumes and one of the most important people on the British poetry scene at the time. This meeting seems to have been very positive as the two men corresponded right up until Rosenberg’s death.
One sunny spring afternoon earlier this year, I found myself wandering round Isleworth Cemetery. This is a fascinating and peaceful place, opened in the 1880s when the graveyard at the nearby All Saints Church became full and was closed to new burials. Among the many memorials at Isleworth is one to a member of the well-known local Pears family (the soap manufacturers), who died in the Titanic disaster of 1912.
There are also a number of memorial stones relating to the two World Wars here. These headstones are easily identifiable, all conforming to the simple and elegant design laid down by the Commonwealth War Graves Commission in 1917. Each lists the deceased serviceman’s name, rank, age, unit and date of death, along with his regimental badge, a religious symbol and a brief inscription often chosen by the family.
As you can see from the photograph (left), William Samworth’s headstone is no different in that respect. But it was the nature of some of the details on there that really struck me. The first and most important thing was his unit. Despite having studied both World Wars in great detail, I had never encountered the Army Cyclist Corps before. I admit I was intrigued by the concept, and determined to find out more about the ACC – and about Private Samworth too…
The common cormorant or shag
Lays eggs inside a paper bag
The reason you will see no doubt
It is to keep the lightning out
But what these unobservant birds
Have never noticed is that herds
Of wandering bears may come with buns
And steal the bags to hold the crumbs.
Yes, this silly little ditty (one of the first poems I learned by heart as a child) is apparently* by the very same Christopher Isherwood who wrote Mr Norris Changes Trains (1935) and Goodbye To Berlin (1938) – the novels that were later adapted into the play I Am A Camera (1951) and the 1966 stage musical and cult 1972 film Cabaret. I was irresistably reminded of Isherwood’s nonsense poem when I encountered this beautiful cormorant stretching out his wings in the July sunshine as I walked by the Thames in Richmond last week. Incidentally, you might like to know that cormorants and shags (no sniggering at the back there!) are, although of the same avian family, two totally different types of bird – and there were no bears (with or without buns) to be seen anywhere, rather disappointingly…
*There is some debate over whether the poem is actually by Isherwood at all, but it is certainly widely attributed to him on most poetry websites and in pre-internet poetry collections (of the physical book kind) dating back over a number of decades that I have either personally seen or own.
I was invited by friends to visit Rochester Square Gardens in Camden, north London yesterday as this community garden project was celebrating its first birthday. Tucked away in a small, quiet square only five minutes walk from Camden Road station, this lovely space was once a plant nursery. Its current caretakers have transformed what had been a derelict site into a place where both plants and people grow sustainably. On their Facebook page (see below), they explain their ethos and invite people to get involved:
We currently facilitate workshops and events promoting environmental awareness and action, Art/Crafts/Music/Film/Photography and Movement. The space welcomes you to tune in with the rhythms of collective awakening, evolution and harmony on our planet.
If you have ideas for the space or would like to run a workshop / presentation / event, get in touch and be a part of the garden! :)
I thoroughly enjoyed my visit to this peaceful urban oasis and recommend you pop by if you’re in the area! If you’d like a taster of the place, you can see some of the photographs I took during my visit in the slideshow above…
It’s quite odd what strikes an emotional chord sometimes. I surprised myself last night by being genuinely upset to hear that there has been a large fire at the Stables Market in Camden, north London. It seems the fire broke out at about 8pm yesterday evening in the roof voids at the Chalk Farm Road end of the market, and the flames and smoke were soon visible for miles around – which resulted in hundreds of people being evacuated from the surrounding area. According to the BBC, ten fire engines and more than 70 firefighters were sent in to tackle it (which suggests it was a pretty big fire), eventually getting the blaze under control several hours later. Considering that yesterday was a beautiful, hot early summer day in London, the area around the market must have been very busy even at that late hour. It is quite amazing that no-one, it seems, was hurt in the incident. However, I suspect that many livelihoods and many memories have been destroyed by this blaze.
Camden is a part of this city that I know very well, and the markets there have long been an essential place to visit if you were ever an alternative kid in London – it certainly was an important and formative place for me. When I was growing up, Camden Market was one of only a few places in London where you could actually get such hard-to-find alternative essentials as black nail polish, extreme metal band t-shirts, bootleg albums of highly dubious origin, proper flared trousers, hair dye in colours never to be found in nature, glow-under-UV-light hoodies, stash tins with wonky-looking cannabis leaves painted on them and the kind of pungent Indian incense that sets smoke alarms off in ten seconds flat – amongst a vast plethora of other random things that you never knew existed, let alone that you wanted!
There was always a definite hippy kind of vibe about the place, almost as soon as you walked out of the tube station. Admittedly though, to actually get from the tube station to the Lock Market and the Stables Market you’d have to run the gauntlet of dodgy-looking geezers offering you something herbal that was allegedly weed, ageing punks with dogs on strings drinking Special Brew and shouting at people (the punks, not the dogs!), and, of course, the odd confused tourist standing in the middle of the pavement intently studying an upside down A-Z – but that was all part of the Camden Experience in the early 1990s.
We’ve looked at the concept of musical memorial benches on Another Kind Of Mind before, after I came across the late Ian Dury’s lovely bench with a view in Richmond Park last summer. It was not long after this that I was told about another bench in the London area commemorating a real musical hero of mine, someone I have also written about before – the wonderful and much-missed Kirsty MacColl, who was killed in a shocking boating accident in 2000 (the same year her Stiff Records labelmate Ian Dury died too).
Those who know Kirsty’s work will not be surprised to hear that her memorial bench is situated in London’s Soho Square, or that its plaque quotes lines from her song of the same name. Funded by fans and admirers, who still visit the site each year around about her birthday to pay tribute to her, the bench was unveiled in a public ceremony in August 2001 – exactly twelve years ago today it seems, strangely enough.
Before we start, I’d like to make it clear that I am very much a Bowie fan – indeed, when I compiled my Top 100 favourite songs last year, he was one of only a very few artists who appeared on my list more than once (‘Suffragette City’ and ‘Rebel Rebel’, if you’re interested!). I have long been fascinated by the musical and cultural history of the 1960s and 1970s anyway, so I was very excited when I heard about the David Bowie is… exhibition that’s currently running at the V&A in London. I obviously wasn’t the only one – this long-awaited and heavily publicised exhibition has been sold out for months, but we were lucky enough to get in to see it on Sunday.
For Bowie fans and cultural historians alike, there is much that is positive to see here. I was particularly interested in Bowie’s handwritten lyric sheets and set lists from various phases of his career, and the instantly recognisable hand-drawn storyboard for the infamous ‘Ashes To Ashes’ video – as well as the large selection of stage costumes on display that span the decades from the Ziggy Stardust days (and before) all the way up to more recent Alexander McQueen designs. Also on display here (and worth checking out) are two very striking portraits of Iggy Pop painted by Bowie during their notorious drug-fuelled 1970s Berlin period – and, much to my inner child’s complete and utter delight, Jareth the Goblin King’s crystal ball and sceptre from the cult classic Jim Henson film Labyrinth.
Despite this week’s rain and a wind so gusty that I almost thought I was going to be blown away like the queue of nannies in Mary Poppins, it seems that spring has finally arrived – much to the relief of everyone, including this lovely dog. Happily sunbathing on a lounger atop a houseboat moored on the Grand Union Canal at Ladbroke Grove, he sat up to watch me go by – and posed rather beautifully when I got my camera out!
Cute, aren’t they? This magnificent seven live along the Grand Union Canal at Ladbroke Grove in west London, and are being beautifully looked after by mum and dad. In fact, when I passed them this evening, they were sat on the grass, all trying to wriggle under mum’s wing at once to keep warm! I couldn’t help but smile at the sight of these seven little signs that spring has finally arrived…