Jean H

Jean H

Jean was born on the 3rd August 1926.

Jean is being interviewed by Mary Grover on 8th May 2012.

Mary Grover: Well Jean, I know you are a great reader. When did you start to read?

Jean H: I think it was when I was about five or six years old.

Mary Grover: So who started you reading? Was it school or parents?

Jean H: Both. My mum and dad and school.

MG:  So did you parents read to you?

JH: At night, before I went to bed. [Laughs.]

MG: And can you remember what they read to you at all?

JH: Not really.

MG: But it must have been fun.

JH: Yes.  Nursery rhymes, or little poems.

[Jean starts laughing because Mary has to sit on the floor to get the microphone nearer Jean.]

MG: Sorry, I have just had to sit on the floor which is a strange position to interview somebody from.  When you went to school, Jean, what did you read there?

JH: [Pause.] Do you know, I can’t recollect.

MG: Did you enjoy school?

JH: Yes, and as a matter of fact, English was one of my main subjects that I really loved, reading and reciting and reading plays.

MG: Was that at secondary school or …?

JH: No, just at normal school.

MG: And can you remember any of those plays you were in?

JH: No.

MG: But you enjoyed them?

JH: Yes, I enjoyed reading them, especially reading poetry.

MG: Has that stayed with you for the rest of your life?

JH: Really, but I can’t remember such a lot now.  My memory is just going.

MG: What school did you go to?

JH: I went to Hartley Brook Rd School in Shiregreen.

MG: And when did you leave?

JH: I left at fourteen.

MG: And what did you do then?

JH: First of all I worked at Shentalls. Do you remember? First of all, I worked in the office at Shentalls. First of all, when I was fourteen, you used to scrub floors, do the windows and then it was … do you remember dried milk? [MG: Yes.] There were stacks of different dried milk in the windows. I used to go out and bring peoples’ orders in. Write them all down when I was working in the office as well as on the counter.

MG: And did you have any time to read when you were working at Shentalls?

JH: I don’t think I did really. No, not really.

MG: So, when as an adult, did you get back into reading?

JH: When I was in the Forces.

MG: So 1939 onwards.

JH: 1944 to the 1950s.

MG: Where did you find your books when you were in the Forces?

JH: We had like libraries where you could go and read if you wished.

MG:  Were they pleasant places to be those libraries?

JH: Yes.

MG: Did you enjoy being in the library?

JH: Yes, I loved Dickens. They were the only books that stick in my mind somehow.

MG: Did you have a set of Dickens?

JH: I just borrowed them either from the library or wherever I could.

MG: Were any of those Dickens novels special?

JH: Yes, I used to love Christmas Carol. That’s the only one that sticks in my mind.

MG: Did your parents like Dickens?

JH: My mum and dad were quite clever. They only went to secondary school because that’s the only thing their parents could afford for them to do. They were both very clever.

MG: They never made you feel that reading was a waste of time?

JH: Oh no, never. Never. [Emphatically] Never. They used to go down to the library in Firth Park every week and on a Friday they used to have a story-teller which was really lovely and they used to collect the books. As I say, I used to like poetry as well as reading.

MG: Did you learn any by heart at school?

JH: Yes. I used to have to stand up in front of the class and read [Laughs.] and if we had visitors, I used to have to stand up. I remember having to do these different things and when the visitors came to school, I used to have to round with them.

MG: And that was because you were a good speaker, I imagine.

JH: Perhaps so, yes.

MG: So when you were in the Forces, you were obviously a keen reader.

JH: I didn’t have an awful lot of time. You were nearly always alert for the sirens going and being in London was a bit dicey.

MG: What was your job?

JH: I was in the Medical Corps. I was a sergeant at 19.

MG: So you must have been very tired in the evening.

JH: I was the youngest sergeant in the London District.

MG: Good heavens!

JH: It was very … you know, had to go out, any time.

MG: Very frightening.

JH:  As well as being in the RMC, I was [inaudible] at a kind of reception station for people who were very poorly.  You sorted them like going to the doctors.

MG: So were you a nurse or on the administrative side?

JH: No, I wasn’t a nurse, I was a medical orderly.

MG: Very interesting.

JH: It was very interesting, taking people to hospitals, especially when you’ve got soldiers who had come from the Far East, Middle East.

MG: Do you think those very interesting experiences led you to read different books than if you had stayed in Sheffield?

JH: No, I don’t think so.

MG: But you had access to the Forces library.

JH: It was NAAFI and they used to exchange books.

MG: Did you find that Joan? [Inaudible response from Joan.]

MG: So when you got back to Sheffield, what did you do then?

JH: First of all, I thought I’d love to be a nurse because when I was in the Forces they said that I was a born nurse, but I didn’t. I went to work in Shentalls, in the office there, would it have been … ? I’ve forgotten now.

MG: You got married.

JH: Yes, I got married.

MG: And did you read at all when you first got married?

JH: I don’t think I did.

MG: So when did you pick up books again? When did you find that you had time for reading?

JH: As I got older. But I more or less like to go to the theatre, plays, you know.

MG: Yes, so where did you go to them?

JH: Lyceum  …The Empire which used to have like …

MG: So theatre was a great love.

JH: I used to go.

MG: Was there one production which stands out as a very good evening out?

JG: No I don’t think so.

MG: So it was partly the fun of going out and being with friends?

JH: Well, I’ve never been very good at making friends but I’ve always gone to the theatre, to plays, on my own.

MG: So it meant that much to you?

JH: Yes, I just loved going. And I loved going to the opera more than anything when the operas used to come to Sheffield.

MG: They don’t come as much now.

JH: Yes. [Inaudible.]

MG: I am afraid so. Leeds is the nearest now for opera. So the cinema – did that figure?

JH: I’m not all that keen on cinema.

MG: Well, thank you so much, Jean.

Recent Posts

Reading Agatha Christie today

By Amelia Finley

Amelia is the last of our guest bloggers from Sheffield Hallam University, and she has chosen to write about Agatha Christie.

Though I had not until now ever read one of her many works, I can’t recall a time in my life that I was unfamiliar with Agatha Christie. The televised versions of the adventures of Hercule Poirot and Miss Marple always seemed to be airing on television in the early afternoon throughout my younger years, though my first real introduction to the illustrious author likely came via one of my other childhood interests: Doctor Who. The 2008 episode The Unicorn and the Wasp, features Fenella Woolgar starring as Christie and the episode chronicles a mystery similar to that which you would find in one of her own novels. Truthfully, many of my preconceptions of the author stem from this fictional portrayal of her and the many references to her life and works throughout the episode. Woolgar’s portrayal was that of a shy but brilliant woman struggling with her impending divorce and pressure of fame. Through my research I found that this was largely accurate, Christie’s obituary in The Times newspaper reads: ‘She was a shy person: she disliked public appearances: but she was friendly and sharp-witted to meet.’ (1976, p. 16). My next encounter with Christie’s infamous tales came in the form of the 2015 BBC miniseries And Then There Were None, an adaption of the novel of the same name. It was after watching this series, that was said to be the most accurate adaption of the novel ever made, that fully ignited my interest in Christie. I went on to watch and adore both Evil Under the Sun (1982) and Murder on the Orient Express (1974) soon after, though I still had not personally read any of the source material. When I discovered that Christie was on the list of authors we could choose from to study for this module, I was quick to select her and begin my research. Christie’s large cultural impact and her novels’ abilities to be relevant decades after their publication and be reimagined in so many different forms remain fascinating to me.

And Then There Were None is widely perceived to be Christie’s most successful novel, reportedly having sold over 100 million copies since its publication in 1939 (Grabianowski, 2009). However, the book and its author are not without its controversy. The novel was first published under the name Ten Little N***** Boys in the United Kingdom, a reference to the poem that the plot of the novel takes much inspiration from, with each character dying in a similar manner to one of the ‘boys’ in the poem’s narrative. The poem was originally published in 1868 as a counting rhyme for children, used in minstrel shows. Minstrel shows were a form of American entertainment which relied on the deeply racist donning of blackface by white performers who would portray black people as ‘lazy, easily frightened, chronically idle, inarticulate, [buffoonish]’ (Pilgrim, 2000) in the name of comedy. The novel was never published under this name in America due to perceived sensitivity surrounding the poem and the racial slur, instead always going by And Then There Were None, in reference to the final line of the poem. Over the years the novel has had many name changes to remove the slur, replacing it with ‘Indian; or ‘soldier’, in the name of censorship. Though I have mixed views on censorship overall, I think the removal of the slur from the novel is a perfect example of using censorship to protect readers and better the source material. In this instance, the slur is in no way central to the novel like it may perhaps be in a narrative that directly concerns itself with themes of racism, therefore its removal has no damaging affect on the story or its message and avoids the use of harmful racist language. Furthermore, the title And Then There Were None, in my opinion is far more fitting in tone for a mystery thriller novel than any of the variations on the ‘Ten Little’ names are, creating more of an atmosphere of foreboding. Fortunately, the controversy doesn’t seem to have affected the success of the book nor any of its many adaptations, censorship in this case working to enhance the experience rather than take away from it, with the book reportedly being the sixth best selling novel of all time (Grabianowski, 2009).

Agatha Christie (Creative Commons Licence, National Portrait Gallery)

Bibliography

Grabianowski, E (2009) The 21 Best-selling Books of All Time. Retrieved from: https://entertainment.howstuffworks.com/arts/literature/21-best-sellers.htm

Pilgrim, D. (2000) The Coon Caricature. Retrieved from: https://www.ferris.edu/jimcrow/coon/

Christie, A. (1939) And Then There Were None. Retrieved from: http://pustaka.unp.ac.id/file/abstrak_kki/EBOOKS/And%20Then%20There%20Were%20None.pdf

Harper, G. (2008) The Unicorn and the Wasp [Television programme]. United Kingdom: BBC.

Viveiros, C. (2015) And Then There Were None [Television Series]. United Kingdom: BBC.

Hamilton, G. (1982) Evil Under the Sun [Film]

Lumet, S. (1974) Murder on the Orient Express [Film]

(1976) Obituary: Dame Agatha Christie. The Times. January 13th, page 16.

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