1905 Life Modeling Class, Art Institute of Chicago

1905 Life Modeling Class, Art Institute of Chicago

I knew I would eventually hear comments about Vicky posing nude and whether an Edwardian girl would ever think about doing such a scandalous thing.  My editor questioned Vicky’s actions when we first embarked on our editorial journey together, so I knew it would come up in readers’ minds, too.  It’s a valid point because most books written about or set in the Edwardian and Victorian era paint the picture of proper young ladies who wouldn’t dream of doing such a scandalous thing as posing nude.  But truly, the Edwardian era wasn’t as buttoned up as you might think. For instance, affairs were common.  People tended to marry for other reasons besides love.  Love came later.  After children were born, both wife and husband were free to fall in love and have affairs, providing they didn’t speak of it out loud or flaunt it. King Edward had many affairs, most of them public.  His most famous paramour was Alice Keppel, maternal great grandmother of Camilla, Duchess of Cornwall and second wife of Prince Charles.

When talking about Victorian morality, Sally Mitchell, in her fabulous book, DAILY LIFE IN THE VICTORIAN ERA, says: “All stereotypes simplify the real world, and most people’s values are too complex to express in easy maxims.” She also says that “more nonsense has probably been written about the feminine ideal than any other aspect of Victorian life.  Many Victorian essays about women’s delicacy and fragility, for example, were written by men who wanted to prevent girls from playing sports, studying Latin and mathematics, or planning to practice medicine when they grew up.”

Let’s talk about the nude posing. Life drawing is an important anatomy lesson for an artist and always has been.  Without it they never truly understand how to portray the human figure.  Artists know why they are drawing from the nude.  It’s not for sexual reasons, and anyone leering or asking a model to pose provocatively is usually asked to leave.

It took Vicky a long time to even contemplate posing, and the decision wasn’t an easy one for her to make, but when she was confronted with her own hypocrisy, she couldn’t say no.  As Vicky says: “There can’t be two sets of expectations, one for them and one for me, the only girl in the class.” Of course there was fallout from Vicky’s decision to pose, but there often is when anyone dares to step outside the norm. And this risk led, ultimately, to a better life for her.  But how did Vicky become so free thinking? Her time in France around the artists opened her eyes to a different sort of life, one where creativity is found beyond the clutches of society.  She wanted to have a life like the male artists had, and so she naturally followed in their footsteps.

It’s said that female models were usually prostitutes who had nothing to lose or working class women who often didn’t adhere to the morals of society, but I’m sure there were other women like Vicky who posed nude.  The last time I was in Rye I discovered this photograph of a teenage model in a book called EDWARDIAN RYE by Geoffrey S. Bagley.  The photo was found in Mary Stormont’s house after her death.  Mrs. Stormont was a famous artist in Rye and today her house is the Rye Art Gallery. I can’t help but think this model is Vicky every time I look at it.

Nude model. Rye (1905)

Nude model. Rye (1905)

1909, the year my novel is set, was a time of girls behaving very badly indeed.  Suffragettes were becoming more and more militant, chaining themselves to railings, heckling politicians, and smashing windows.  Even today people often reflect upon this militancy as out-of-control hysteria, which really annoys me.  It’s perfectly fine for men to wage wars on other countries or in their own country when rights and freedom were threatened, but when women dared to rise up and insist on equal rights they were called hysterical and unladylike.

Dora Thewlis, 16-year-old suffragette.

Dora Thewlis, 16-year-old suffragette.

I don’t think women had any less passions and desires in the Edwardian era than they do now.  We didn’t invent sex, after all. In my research I found many cases of women acting in a way we would label modern.  For instance, Sylvia Pankhurst had a long love affair with the very much older and married politician Keir Hardie.  In 1899, Vita Sackville-West was a teenager when she fell in love with Rosamund Grosvenor and a long, secret affair with her.  Also as a teen, Vita had an affair with Violet Trefusis, daughter of the aforementioned Alice Keppel. They even ran away to Europe together for a time.

As Elizabeth Wein says in the author’s notes in her wonderful book CODE NAME VERITY, all she asks is that her details be plausible.  And so for Vicky, it’s certainly plausible that she would pose nude.

A Mad Wicked Folly, Folly Friday

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Some really good news for a very cold and snowy Monday. The Children’s Book Council chose A MAD, WICKED FOLLY as one of their anticipated bestsellers.  All I can say is WOW! 

Here is the link: Hot off the Press

A Mad Wicked Folly

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Dancing was an important feature of Edwardian society and so it was imperative for a well-bred young lady to know the latest dances as well as the more traditional ones.  I really loved researching this part of Vicky’s story (although I doubt she would agree with me, not being a fan of dancing herself!). Although I don’t do a lot of research online, I found a wealth of information through some very good websites.  One in particular called Capering & Kickery.  The Library of Congress also has many videos of historic dances that you can peruse online.

The popular new dances during the Edwardian era were short sequence dances (where a pattern of steps repeat) created for Ragtime songs. The dances included the cake walk, turkey trot, and the Castle Walk.  The waltz had also become very popular in England, and in January 1909 the Telegraph wrote an article touting the dance’s virtues.  At King Edward’s State Ball on July 10th 1909 the dance list included the waltz, quadrilles, polka, galops, mazurka, polonaise, schottische, two-step, and waltz-minuet.

I needed to chose a traditional dance that Vicky would dread doing. I went through several Library of Congress videos until I found the quadrille, a cringe-worthy dance that would terrify our heroine.  I’ll let her explain it:

The quadrille struck fear into my heart more than any other because I could not blag my way through the steps by skipping and hopping as I could in the waltz and the polka.  The quadrille was done by a group of four couples that made patterns within a set space upon the floor.  If one went wrong, then the whole pattern collapsed.  Worst of all, a dancer going wrong would be stranded in the middle of the figure, looking daft as her fellows cavorted around her and her forsaken partner continued on alone, arms in hold as if escorting a ghost dancer around the floor, for one never stopped in the middle of a dance if one could help it. 

I just knew I would make a fool of myself at the ball.  I knew I’d be the one to go right when I was meant to go left, bumping into the other dancers.  And then poor Edmund would be lumbered with me, dragging me around the dance floor as if I were a sack of coal someone had handed him to dance with as a jest.

And here it is:

 

 

A Mad Wicked Folly, Folly Friday

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William Fletcher, Vicky’s muse, hails from the medieval village of Rye in East Sussex, which is located on the south coast of England, about an hour or so from where I lived in Kent.  It’s a little hilltop village and very picturesque.  It’s just about my favorite place in England and I go there whenever I return to England.  Because it was a favorite place for artists and writers I decided it would be a perfect hometown for Will, a writer himself.  Here are some photos of Rye, from my last visit.  I’ve also included a fun video from a popular British ghost hunting show called Most Haunted, from when they visited the very haunted Mermaid Inn.  I’ve had many a pint of beer there but I can’t say I’ve ever seen a ghost, although I’ve heard stories from people who have.

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A Mad Wicked Folly, Folly Friday

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One of the best things about setting historical stories in England is that the places, for the most part, still exist. I was recently comparing a London street map from 1908 to a modern map and not a lot has changed.  I’m a very visual person so immersing myself into my character’s world opens up a load of story opportunities.  And of course I take photos and refer to them back home whenever I need inspiration. Here is a sampling of places mentioned in A MAD, WICKED FOLLY.

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A Mad Wicked Folly, Folly Friday

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My fabulous editor, Leila Sales, sent me this review from The Bulletin of the Center for Children’s Books, which will appear in their January edition.  For those that don’t know, the BCCB is one of the country’s leading book reviewers helping librarians and educators choose books for young readers.  Thank you, BCCB!

Waller, Sharon Biggs

A Mad, Wicked Folly.  Viking, 2014   [448p]

ISBN 978-0-670-01468-2 $17.99

Reviewed from galleys R Gr. 8-12

Seventeen-year-old Victoria Darling’s decision to pose nude for an art class sets London’s society ablaze with gossip in 1909, and she is immediately brought home from her Parisian finishing school to quell the scandal and begin to rebuild her reputation. Vicky, however, would much rather focus on her art than ladylike behavior, and she begins the arduous (and in her case, necessarily discreet) process of applying to the Royal College of Art, an endeavor that eventually leads Vicky to throw in her lot with the suffragettes. A budding romance with a working-class police officer complicates matters further, and Vicky is soon forced to decide between her artistic and romantic passions and the comfortable life her father’s wealth will afford her. An author’s note and bibliography reveals Waller’s extensive research, and she builds on the facts with a storyteller’s flair, deftly incorporating historical details (the gossip surrounding King Edward’s love life, the grassroots strategizing of the suffragettes) into this compelling coming-of-age tale that’s as good as any British period drama. Vicky is ahead of her time but not anachronistic (her initial suspicion of the suffragettes, for instance, is highly plausible), and her romance with the cop is sweet but refreshingly not always the focus. Her ultimate decision to follow her heart may not be terribly surprising, but the Edwardian world here is so immersive and Vicky so likable that readers will want to put on the kettle on and settle in for a lovely read.  KQG

A Mad Wicked Folly

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There are several works of art woven into the storyline in A MAD, WICKED FOLLY.  I love to think about the meaning behind art, and so I chose works that helped me deepen the story’s themes  or emphasized what Vicky was feeling or experiencing.  So this Folly Friday I’m highlighting the art of A MAD, WICKED FOLLY. I don’t want to create any spoilers and I’d love for you to discover for yourself why I chose each painting or poster, so I’m not going to say anything more! But I will leave you with a quote from Vicky herself:

“Such art can awaken feelings inside us for which there are no words.”

A Mermaid, J.W. Waterhouse

A Mermaid, J.W. Waterhouse

Absinthe Drinkers, Edgar Degas

Absinthe Drinkers, Edgar Degas

René Gruau

Formidable, René Gruau

The Scapegoat, William Holman Hunt

The Scapegoat, William Holman Hunt

Ophelia, John Everett Millais

Ophelia, John Everett Millais

Arthur's Tomb—The Last Meeting of Lancelot and Guinevere, Dante Gabriel Rossetti

Arthur’s Tomb—The Last Meeting of Lancelot and Guinevere, Dante Gabriel Rossetti

 

Le Dejeuner des Canotiers, Pierre-Auguste Renoir

Le Dejeuner des Canotiers, Pierre-Auguste Renoir

 

David, Michelangelo

David, Michelangelo

Waverley Cycles, Alphonse Mucha

Waverley Cycles, Alphonse Mucha

 

Folly Friday

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