Jean Wolfendale

Jean Wolfendale

Jean was born on 7th March 1933.

She is being interviewed by Sahra Ajiba on 14th October 2011.

SA:  This is an interview conducted by Sahra Ajiba, S-A-H-R-A A-J-I-B-A. It is 14th October 2011. I am interviewing Jean Wolfendale, J-E-A-N W-O-L-F-E-N-D-A-L-E. She was born in 1933 on 7th March and lived in Meadowhead and Norton between 1945 and 1965.

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Jean in the entrance to High Storrs School 1950

So, Jean, to start, did anyone read to you when you were young? Or how did you … gain your keen interest in reading when you were younger?

JW: Mm, yes, I think my parents read to me a little but not a lot because they were both, er, very busy people. I learnt to read when I was … I think five, almost as soon as I started school and got very bored because … … there wasn’t any stimulation in school. So, …  my parents took me to the children’s library which was in, well, where it is now, in the middle of Sheffield and I was enrolled there as soon as I was seven.  I think you couldn’t join before you were 7, …, and after that it was a weekly trip to the library to get suitable books. Mm … but I’ve always just loved reading … mm … They also bought me Arthur Mee’s Children’s Encyclopedia, all twelve volumes which I devoured, starting with the fiction and gradually got onto the more, erm … what’s the word … academic things, but the fiction and the poetry were the things that attracted me at that age. The trip to town became a very regular thing.  I had a close friend.  We went to music lessons in town and then from there we would go to … , the library and also to … a shop on Holly Street, Andrews, where they had the most wonderful display of children’s books, and we would save our pocket money and buy a book as often as we possibly could.  Then we’d share them. By ‘45, which is I think the time you’re wanting to talk about, I was at High Storrs School, I’d be a second year then, and of course we were very much encouraged to read the, sort of, [bimmer] [unclear word] classics.  I had Ivanhoe as a prize at one point.  So I read a lot of Walter Scott and a lot of Jane Austen.  Mm … for a sort of lighter reading there was Little Women and, er [long pause], let me think.  Oh, yes the Forsyte Saga, John Galsworthy.  My friend and I ploughed through all seven volumes of that, which we thoroughly enjoyed.  Erm … what else? [long pause] Let me think [long pause]. For light relief, yes, there were Biggles books which were all about wartime exploits and, of course, it was in … well, it was the end of the war but we’d been brought up through the war so that was all very, very … mm … what’s the word again … oh dear, I do hate this.  It was in the top of our minds sort of thing so there were the Biggles books and also there was an author called Mal-Malcolm Saville who . . . one of his books was Mystery at Witchend and there were others which were sort of spy story-type things but not spy stories.  We also had the Hans Andersen and the Grimms’ Fairy Tales and so on but I think that must have been at a younger age than teenage.  Mazo de la Roche, yes, I ploughed through all the Jalna novels and I absolutely loved them.  I couldn’t wait to find the next one in the series from the library.  Hugh Walpole, a lot of his books I read.  Mm, what else have you got here? Dickens, at that age I would have been reading Christmas Carol and David Copperfield … , I think the other ones came later.

SA: Are there any books that stand out in your mind as being a transition from childhood to adulthood that you chose to read and that you think made you feel more adult?

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Jean (left) Bridlington 1947

JW: Yes, there was an author called Frances Parkinson Keyes. He [sic] wrote very meaty, very long novels.  I can’t remember a great deal … a particular title now but again it was … several of them were set in the American Deep South and, …, they were quite adult and I enjoyed those very much.

SA: So it was more the change of genre that made you feel more adult than one book?

JW: Yes, and then there was Dornford Yates who wrote the Berry books.  Which were screamingly funny and, … I shouldn’t find them funny now but I did then and again … I used to annoy my parents by sitting in the corner and laughing at the books and they couldn’t understand why.  They were, they were fascinating … as I say I probably wouldn’t enjoy them now, although I’d love to read one again just to try it [laughs].  Er, I can see Gone With the Wind.  I think I probably read that about that time and that again was a much more adult one.

Erm, [pause] yeah my father read … goodness I’m sorry, dreadful this, they’re all on the tip of my tongue and I can’t remember them.  I’ll come back to that, it doesn’t matter.

SA: Ok.

JW: Er, so what else was there?

SA: So you said that you got most of your books from the library or you went down to the little shops and saved your pocket money to get them.

JW: Yes.

SA: Did your parents, even though they didn’t read to you that much, when you were younger, did they encourage your reading?

JW: Oh, very much so.  Yes.  To be fair, there wasn’t an awful lot else to do.  The only other thing to do in the evenings, apart from school work, was, erm … er, listen to the radio, which obviously we did as a family but, er, yes reading was very much encouraged.

Your supervisor was asking me about the, the little libraries that there were in Sheffield and I told her that my father through my mother belonged to one of these.  I told her it was, I forget the name, but anyway I’ve remembered it, it was the Red Circle library and it was on, I think, Angel Street, although it might have been on Haymarket.  Er, and erm, they stocked sort of popular fiction. He liked crime and cowboys and detective novels and so on and she could get those for him from there.  The public libraries didn’t have that sort of thing in those days – it was very much more erudite. You know, you were supposed to be educated if you went to the library rather than just amused.  Er, Nevil Shute, Dad and I both enjoyed those, that was something we shared together … because they were very well written, they were lovely.  [Long pause]  What else?  [pause].  Tarka the Otter, yes, I remember reading that but I think that was much later.  I don’t think he was writing when I was that age.  I seem to remember Tarka the Otter, probably in the late ‘50s, probably ‘60s, I’m not sure about the date on that.

SA: OK.  So your family was a positive influence on reading.  Is there anyone that made you feel like reading was a waste of time or that just didn’t encourage you to read?

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Jean and family in Scarborough 1948

JW: No, no.

SA: So everyone was happy – ?

JW: Everyone encouraged me to read, yes. Yes, definitely.

SA: So you said you used to sit in the corner and laugh and you don’t quite know why you would do that now.  Have you ever read a book that’s kind of a guilty pleasure or that you feel embarrassed about?  Anything like that?

JW: [long pause] Yes, let me think. Who was it? Which one was it? Oh gosh there was a famous one. Well, Lady Chatterley – when we were at school, of course, everyone wanted to get their hands on Lady Chatterley’s Lover. It was many years later before I did actually read it but we were all trying to read it at that time. There was another one … oh dear … I can’t remember its name but there was another, sort of, well I suppose it would be quite mild these days but it was considered very sexy in those days. All the girls in school were trying to get hold of copies of this but I can’t remember its name.

SA: So you noticed a difference between what was high-brow and what was low-brow?

JW: Definitely.  Yes.

SA: But did you read a mixture of both?

JW: Yes.  Yes, er, yes.  I think so.  Definitely.  As I say these Dornford Yates ones, you’d call them ‘pulp fiction’, I suppose, but they were, they were ok.  Erm, school was a very, very strong influence and it was very much: ‘Children, girls, you must read.  Uplifting books.’  Erm, we were very much discouraged from having, for instance, comics or anything like that.  I had something called Girl’s Crystal but . . . which was a … quite a decent comic but you couldn’t possibly have mentioned that in school because that wasn’t the done thing as it were.

SA: So reading was encouraged but only a certain type of reading?

JW: Yes. Yes … Geoffrey Thorne (Sp?).  Oh, that’s another one.  He would be considered light reading but we used to read those.  I’ve read most of those in my time.  John Buchan, he was more approved of … erm … much more literary.  I still enjoy reading him.  I’d quite like to see a Geoffrey Thorne again but I don’t know where you would get one now.  Hammond Innes.  I’ve read those but again I can’t remember what stage.  That’s probably pushing towards late teens rather than early teens.

SA: Yeah, that’s fine. We’re looking at how-how your reading developed as you get into adulthood so you can talk about anything you like.

JW: Yes. Oh, gosh, right, it’s something that stays with you for life.  I – I belong to a little group of ex-teachers and, when we meet, we swap books and we talk books all the time and I mean, you know, it’s still there.  Antony [sic] Hope, The Prisoner of Zenda, I’ve got that on the shelf, just over there.  That again was an early teenage one. Dennis Wheatley.  That was the one I was trying to remember that my father . . . my father had these and he didn’t think they were suitable for me, but I used to read them on the quiet.

SA: So, as you grew up and as you became older, did you streamline the kind of book that you read to a certain genre or did you have favourite authors or did you just continue to, like, devour, like lots of different types of literature?

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On the way to Mam Tor

JW: Devoured really, I suppose.  Yes, I don’t think I particularly … I suppose it was historical fiction in many ways that I used to go for.  I hadn’t realised that but I supposed it was.  To a certain extent ,anyway.  I don’t remember reading much Georgette Heyer. I tried her and didn’t like it but I read D K Broster and Baroness Orczy.  For some reason I never took to Jean Plaidy.  Anya Seton was another one that I really enjoyed.  There was … now what was her name?  A Traveller in Time by … Alison … Uttley.  That’s right. That was … erm, one that absolutely fascinated me as an early teenager I think, and that set me onto Mary Queen of Scots and all that sort of thing.

jean-wolfendale-mam-tor

SA: You said that you were a teacher.  Do you think that your love of reading either influenced becoming a teacher or was influenced by becoming a teacher?

JW: [pause] It influenced my becoming a teacher.  I … gave up on a chance to go to university and got married and had children so I didn’t become a teacher till I’d had my family and … when I went to college I specialised in English and French and that was obviously as a result of my – my reading and so on.  I did English at Higher School Certificate so I’d got a background of English.  So reading obviously played a tremendous part in my life, it still does.

SA: OK. That’s because one of the questions is: ‘Do you think reading has or how has reading changed your life?’  So you think it has?

JW: [pause] I can’t say it changed it because it’s always been there … mm … but I can’t imagine a life without it and in fact at the moment I’m beginning to have some trouble with my eyes and I can’t read for long and that is a real … er … hurt, you know, I have to do something else and I’d prefer to read [sounds sad].

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Bridlington 1947

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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