“The Fifth Floor to Heaven” (28 December 1939)

In the 1930s, Sheffield’s libraries were being reformed and developed, and the numbers of borrowers and books issued were both rising.  One strategy to promote the library service seems to have been to seek coverage in local newspapers.  Here is an example of this – an odd little anecdote in the Sheffield Daily Telegraph of 28 December 1939.  Odd because it seems incomplete without the name of the teacher or details of the books she wanted and why these were unobtainable locally (there were established library services in Manitoba at the time).  Today, when the story might at most have merited a tweet, we would have had a photo and a quote from her, but no doubt transatlantic communications three months into the Second World War were restricted.  At this remove, we will likely never know who she was or whether she ever returned to Sheffield.  At all events, the fact of this slight story appearing in the paper suggests the good links between the library and local media.

“The Fifth Floor to Heaven”

City Library Praised

Sheffield has just had a remarkable tribute to the efficiency of its library service.

A Sheffield girl who is teaching in a small town in Manitoba, Canada, required books of reference for a lecture she was preparing.

Being unable to get the books in the district and not knowing of any place near at hand where she could get them, she wrote to the Sheffield City Librarian (Mr J P Lamb) asking him to send books and offered to pay postage both ways.

In her letter she described the Sheffield Library as “the fifth floor to heaven”.

As it is scarcely possible to send books from Sheffield to Canada in this way, Mr Lamb has referred the request to the Chief Librarian of Toronto, suggesting that some regional library organisation in Canada might be able to supply the demand.

Domestic Goddess, 1930s Style

As Theresa May settles into Downing Street and Hilary Clinton campaigns for the White House, anyone travelling in time from the early 1930s would be surprised by the changes in women’s lives.  In the UK of the 1930s, after all, the vote had been extended to all women aged over 21 as recently as 1928*; women in the professions were relatively rare; and marriage was still the usual destination (despite the shortage of men after the slaughter of the First World War).  Women were routinely expected to stop working on marriage (why, supported by their husbands, would they need jobs?) and in some cases, such as teaching and the civil service, were required to do so#.  Looking after husband, children and home was the norm.

 

It seems that, whatever else has changed, the provision of advice on home-making is a constant.  Today, the main channel tends to be television, with Kirstie, Nigella, Sarah and the rest appearing on our screens and producing tie-in books etc.  In the 1930s, women may have looked for advice to books from the local library if the following (to us, rather patronising) paragraph from Sheffield Libraries’ occasional magazine, Books and Readers, is anything to go by.

Is the housewife paying greater attention to details in the home nowadays? It is difficult to say as we have no comparative details on which to base a statement.  But it is revealed from the issue of 12,632 books on domestic economy from the Libraries last year that the women of Sheffield are not ashamed to confess that they find need for help and guidance in domestic affairs.  It is very gratifying to think that even in the prosaic details of housekeeping the Public Library is having a very considerable influence. “Feed the brute” has always been a fairly popular maxim, but “feed the brute intelligently and in improved surroundings” is better still.

The books on offer included, for example: Dinners Long and Short (1928) by A H Adair; What Shall We Have Today (1931) by X M Boulestin; and Feeding the Family: Hints for the Intelligent Housewife (1929) by M L Eyles.  ‘Feed the brute’, by the way, was a well-known phrase from Don’ts for Wives (1913) by Blanche Ebbutt.

(Licensed under Creative Commons)

(Licensed under Creative Commons)

What was the life of a 1930s housewife? It depended on your place in society.  Working class wives and mothers had no help, other than perhaps their daughters (not sons – they were generally exempted from household chores).  In the Depression of the 1930s, many such women were struggling to keep their families together.  Middle and upper class women, who were perhaps the only ones who had the time or energy to borrow books about housekeeping, had it better, managing the household and directing servants or perhaps just a daily.  The servants doing housework were usually women, of course.

A wartime housewife (1941) (public domain)

A wartime housewife (1941) (public domain)

But, whoever did the work, it was hard grind, without the labour-saving devices and products we take for granted.  When, in 2011, Proctor and Gamble challenged some bloggers to live the life of a 1930s housewife for a day, they commented on: the length of time it took to make three meals from scratch; the drudgery of the laundry without a washer-dryer or even a spinner; and using vinegar and newsprint to clean windows and lemon and baking powder to clean floors.  Here is a typical account.  Or if you want read some (roughly) contemporary accounts, there is: Love on the Dole (1933), by Walter Greenwood, about the Salford slums; South Riding (1936), by Winifred Holtby, where the Holly family struggle to survive; or House-bound (1942), by Winifred Peck, about a middle-class woman who struggles to do her own housework during WWII.

* From 1918, women over 30 and property owners could vote, but this excluded about 60 per cent of the gender.

# In the UK, the marriage bar for teaching was abolished in 1944, for the Home Civil Service in 1946 and for the Foreign Service in 1973.  Equal pay was a dream until the 1970 Equal Pay Act, and for some women it still is.

‘A great wealth’: the reading journey of Julia Banks

Julia was born in Chesterfield in 1939 and moved to Woodhouse on the east of Sheffield in 1945. In later life she became a primary school teacher.

Though there were not many books in the house, Julia’s home always had a bookcase and ‘books around’. Julia  was read to by both her mother and her aunt. The local library was the family’s chief source of books: ‘I was always taken to the library with my mother.’ Her mother’s favourite was Naomi Jacob.  Books were Julia’s favourite presents – Enid Blyton, for example: ‘I could never wait to get the next one. Mmm … Valley of Adventure and the Malory Towers series.‘

Aunt Lil, on her father’s side ‘bought books from Boots library, in town, when they were selling them off.‘ She bought history books and read them ‘avidly’. ‘She could talk about Elizabeth the First as if she were a neighbour, you know.’

I’ve still got Black’s Elizabeth that she gave me that I used to queue for at school or use from the reference library.

As a teenager, it was non-fiction that inspired Julia too.

Because I was at that stage when I was learning anyway and there wasn’t really time for just fiction. There wasn’t a lot of spare time to do nothing. If you’re at school you’ve got homework and you’re quite busy. But I can remember using it as a tool, really, the library.

The first adult fiction book Julia remembers reading was a book she borrowed from Woodhouse Library, The Good Earth by Pearl Buck. It fascinated her because the life of the Chinese farming family was so alien but the feelings universal.

Pearl Buck

The library in Woodhouse was a great influence because they had a story hour for children in a lovely part of the building.

There was a fire place, benches and a carpet and you could sit there and listen to stories. That was in the children’s library … it was good to have something that could teach you something and lift you.

Story-telling corner at Woodhouse Children's Library

Story-telling corner at Woodhouse Children’s Library

A lot of Julia’s friends had homes in which there were no books. The presence of books in a home made her aware of ‘an outside … you were not just so concerned with the immediate’.  At some time she realised they were also a ‘ladder to social mobility’.

Julia went on to Bingley to train as a primary teacher. She and her friends tended to pass round books and share them. They studied ‘Anna Karenina, you know, Henry James, and you know all the … normal … things’.  She likes the fact that these books were not chosen by her.

I didn’t choose them and I think that’s good. Through school or through college you’re given prescripted books. Otherwise you would never get the chance to read them would you? As with Shakespeare you need to be taught how to read it and you should be, in my opinion, because it’s a great wealth to have. So I’m glad that I did read them but I wouldn’t go to the library and pick up Tolstoy.

But her favourite reading was Bertrand Russell: ‘you know the really hard stuff. You think, “well yeah, I never thought about that before but yeah”. You know? It was that you were learning something new.’

In 1965, when her husband’s job took the family to Holland, Julia came across a completely new source of books: the British Women’s Club Library in the Hague which was filled with paperbacks.  She and her friends would run through series after series, author after author.

Mm … oh… the Poirot series, Agatha Christie, and I read through Agatha Christie like I’d read through Enid Blyton as I was a girl and loved it. And eventually you realise they’re all the same don’t you? So you’d go onto something else. One friend, she read, oh the historical one, Georgette Heyer. So we went through all those. You know, that sort of reading. Again, because we’d not got a television and because you did have time; you’re in at nights, you’ve got children

‘And so you read,’ says our interviewer.

The other legacy of her time in Holland was a knowledge of nursery rhymes in Dutch. She learned these to prepare her two children for nursery school. ‘My Dutch is based on nursery rhymes.’

During her years as a mother of young children reading time was in short supply. Julia snatched time whenever and wherever she could, as she still does.

So, I read in bed at night, I read on the bus if I go into town on the bus which I often do. I never drive into town, I go on the bus. I’ve always got a book in my handbag, that’s why the size is more important than the content.

Julia connects the experience of reading, the process of writing and the role of prayer.

Reading takes you into different situations; it puts different questions, scenarios before you. …  I think very often if you read, just as if you write something, if you have a problem and you write it down it helps you to sort it out. Which I think the role is that prayer has, if you put something before somebody else really it’s like writing it down, you’re seeing it for what it really is rather than from a subjective point of view in a way.

Nowadays, Julia is more selective than she used to be and some books fail the ‘Darnall test’.

If I’ve not got into a book by the time I’ve got to Handsworth Church I very often shut it. … It passed the test if it got me through Darnall. Very often I’ve said ‘no’ and closed it before I’ve got to Darnall.

Julia looks back with gratitude on the people and libraries that helped her find the books she loved.  But she concludes that, though she would have found some way of reading, because of the person she is, it would have been harder without her Aunt Lil and her wonderful books, without the trips to the library with her mother.

I would still have gone because I’m me, so I would still have gone to do my research from school and I would still have joined the reading group and got great joy from it. I would have still read and got the books from the British Women’s Club in the Hague. But perhaps a bit later on. I was lucky, you know, I had a family that gave me books and encouraged me to read. And I do think it’s a great wealth to be able to read and enjoy literature.

You can find Julia’s interview here.

Arnold Bennett? Really? Most popular novelist?

Yes, that’s right.  Arnold Bennett was the most popular ‘classical novelist’ with Sheffield Libraries borrowers in 1931.  His competition included the likes of Thomas Hardy, John Galsworthy and Charles Dickens.

Most popular author - Arnold Bennett (Project_Gutenberg_etext_13635.jpg)

Arnold Bennett – Project_ Gutenberg_etext_13635.jpg

Librarians have long been numbered among those who worry about fiction. Are novels worthwhile or a frivolous waste of time?  Do they have anything to teach us or are they doing us harm?

One of the justifications for the free public library movement of the 19th century was self-improvement (of the working class in particular).  Irritatingly, however, many borrowers persisted in preferring books of the imagination over books of information, leading librarians to denounce them.

From the hysterical:

…undoubtedly novels are the most dangerous literature of the age: they dissipate the attention; they appeal to the lazy feelings; sensation and novelty are all that are required from them … better would it be that these lending libraries should cease to exist than that they should disseminate evil influences. (J Taylor Kay, the librarian of Owen’s College Manchester, now the University of Manchester, in 1879).

To the patronising:

It may be that the library authorities of the future will maintain that the business of the library is to supply what the public wants to read irrespective of quality in much the same way that cinema proprietors supply films. (William Berwick Sayers, chief librarian, Croydon, in 1931).

But there were always public libraries which welcomed fiction.  They took the view that good novels spoke to the human condition, and that popular fiction could refresh people.  Sheffield was one of them.  In 1931, the following article appeared in Sheffield’s Books and Readers bulletin:

 

Who is the most popular classical novelist?

Public Libraries are often criticised on the score of the amount of fiction issued by them. It is too readily assumed by these critics that fiction is all of one standard, and that a poor one, and to these Jeremiahs we point out the result of a recent test made of the popularity of twelve English novelists whose works may be definitely classed as literature. The Librarians at each of the Lending Libraries in the City were asked to report the number of books by certain authors available for loan and actually on loan to borrowers, with the following results:-

Author Stock On Loan %
Barrie 127 69 54
Bennett 352 314 89
Conrad 261 176 67
Dickens 395 218 55
Galsworthy 288 203 71
Hardy 270 183 68
Kipling 266 132 50
Meredith 146 45 31
Scott 362 105 29
Stevenson 152 89 58
Tennyson* 135 34 25
Wells 532 337 63

An examination of these details reveals that there is no reason to feel ashamed of the quality of the fiction read in Sheffield.  The high percentage for Bennett is perhaps too flattering.  It may be partially explained by the fact that the test was made soon after his death, but allowing for this factor, his popularity is remarkable.

It is fascinating to review this list 85 years on.

  • They are all men. They are all white men.  They are all British (yes, I’m counting Conrad, born in Poland, but naturalised in 1884).  Eight out of the twelve were dead by 1931, and the four still alive were all well over 60 in 1931.
  • Literary reputations change over time. Not all of the twelve authors be considered ‘classical’ today.  Only half of them appear in Robert McCrum’s 2015 list of the best 100 novels written in English (a list which generated criticism, as all such lists do – this one not least because male authors heavily outnumbered female).
  • The very fact of the test and the language used (‘no need to feel ashamed’) perhaps indicate the scale of the debate about fiction.
  • We don’t know much about the context. Which titles were borrowed? Out of the 532 books by H G Wells, say, were some more popular than others?  The article speculates that Arnold Bennett’s popularity was due to his recent death.  There may have been other contributory factors such as the author’s work appearing on the radio.  Wells, for example, took part in three radio talks between 1929 and 1931.  Then there are the borrowers themselves.  Were there more men than women, older than younger people?  Finally, who were the popular novelists (we can speculate that they included the likes of Edgar Wallace and Ethel M Dell) and how would they compare if included?  We can’t answer any of these questions, although we do know that a survey about five years later showed 40 per cent of the fiction borrowed to be ‘classic and standard’ and the rest ‘semi-standard and popular’.

‘Prose fiction today’, wrote Sheffield’s City Librarian in the 1930s, ‘provides one of the most common means by which social, political, religious and other ideas are given to the people’, while action stories had a ‘definite, if limited, place… They give mental refreshment to highly intelligent and well-read library borrowers, they are “introductory readers” to [new borrowers] and … “escape” literature to [the] mentally and physically jaded.’

‘Destroyed by the war…’

This month has seen international commemorations of the Battle of the Somme, which resulted in over a million men being killed or wounded.  Even with this anniversary to remind us, World War One is very distant now.  But in the years immediately following it, the Great War was of course still very much in people’s minds.  Gradually over the 1920s, memoirs, novels, plays, poetry and official histories began to appear.

One of the best remembered today is All Quiet on the Western Front (1929) by Erich Maria Remarque*.  The novel, describing the experiences of German soldiers in Western Europe (where Remarque fought briefly as a conscript), attracted both great acclaim and criticism.  Millions of copies were sold and there were over 20 translations from the original German.  But the book was seen by some in Germany, including the Nazi Party which was then rising to power, as a condemnation of their war effort and even as a betrayal of the country itself.  In 1933, Goebbels banned Remarque’s books and had them publicly burned and Remarque left Germany to live in Switzerland.

Erich Maria Remarque (Bundesarchiv, Bild 102-10867 / CC-BY-SA via Wikimedia Commons

Erich Maria Remarque (Bundesarchiv, Bild 102-10867/CC-BY-SA via Wikimedia Commons

In November 1929, not long after the novel’s publication, Sheffield Public Libraries commented on All Quiet on the Western Front and war literature generally in its publication, Books & Readers.  The terms used are unusually strong for what was a free monthly bulletin listing new books and announcing library news:

 

Remarque’s “All Quiet on the Western Front,” of which there are sixty-five copies circulating in our libraries, has set a fashion in war books which is now being feverishly copied by writers and publishers.  “All Quiet” has been criticised in some quarters because of its frankness.  It has been said that however true the book may be of the German side, it is certainly not true of the British.  Anyone who saw the war at close quarters must realise that “All Quiet” suffers from the defect that all war books must share – the whole truth is too foul ever to appear in print.  J. L. Hodson’s “Grey Dawn, Red Night” describes the gradual moral, spiritual, and physical degradation that sapped away the humanity of a fine soul.  It deals with a war foreign to Bairnsfather and the war correspondents with a restrained yet devastating realism.  It is to the good of humanity and the coming generation that those who were stricken dumb for ten years by their war experiences can now write as truthfully as ordinary decencies will allow about them.  There is no surer encouragement for the efforts of Britain and America to make war unthinkable, than the realisation of what the four years meant to those who in the words of Remarque’s dedication of his book, “were destroyed by the war, though they may have escaped its shells.”

‘…the whole truth is too foul ever to appear in print,’ and the novel ‘deals with a war foreign to Bairnsfather and the war correspondents,’ says the unknown author.  This sounds like bitter experience talking.  No doubt men and women who worked in Sheffield’s libraries suffered and died because of the war, and after ten years the author felt that the truth could, or should, be faced.  The war correspondents dismissed here had perhaps massaged their reports to keep up morale or spare feelings; and the very popular ‘Old Bill’ cartoons of Bruce Bairnsfather were there to make people laugh.  That 65 copies of All Quiet were bought for the libraries in 1929 is an indication of the interest in the war, the need to reflect on it and perhaps to process it, as we might say today.  There are by the way a few copies of All Quiet available from Sheffield Libraries today, including one, in storage, which dates from 1929.  Perhaps the last of the original 65?

Old Bill (By Bruce Bairnsfather (http://www.gutenberg.org/ebooks/11232) [Public domain], via Wikimedia Commons

Old Bill (By Bruce Bairnsfather [Public domain], via Wikimedia Commons

(There are no library copies of the other novel mentioned, J L Hodson’s Grey Dawn, Red Night, also published in 1929.  Hodson was an English journalist who fought in the war and dedicated his novel to the people who went to France with him, but did not return.  Why Remarque’s book survives and Hodson’s does not is not clear.  Perhaps All Quiet is simply a better book, or perhaps the Nazis’ treatment of it ironically ensured its survival.)

Today’s reader is of course conscious that, just ten years after this Books & Readers was published and only 21 years after the war to end all wars, World War Two broke out.  The League of Nations – presumably what the author had in mind when writing ‘the efforts of Britain and America to make war unthinkable’ – had failed.

 

* The novel was one of those read by Reading Sheffield interviewee Sir Norman Adsetts before he went to university. Here is his reading journey.