19th century Scottish passport records

I recently discovered that Edinburgh City Archives holds a set of passport records issued by the Edinburgh Lord Provosts between 1845 and 1916 (ECA reference GB236/SL165). Helpfully these have recently been made available online through Ancestry.co.uk and are available with digital images and partial indexes with a paid Ancestry subscription.

I discovered them because I was doing another occasional online Ancestry search for my ggg-grandfather John Usher Somner (1829-1879) from the Scottish Borders. And was stunned to find him show up in these records, which were new to me. On 14th August 1851 John Usher Somner obtained a passport along with his cousin Richard Somner Frier. Both were heading off to Paris of all places! I have included a portion from the relevant record page, to show the kinds of details recorded in these records.

Obviously this raises lots of questions to me as a family historian. Were the two young men off on a holiday together? Both were still unmarried. Also fortunately for any travel plans both came from relatively wealthy families. What was the prompt for their trip at that particular time? And what might they have seen and done when they were in Paris? Did they travel anywhere else?

For genealogists the records tend towards the wealthier members of society. You needed to have a certain amount of disposable income to travel overseas for personal reasons at this time. The Ancestry indexing/transcripts are also somewhat unreliable, so you may have to be creative. The keyword search does allow for some searches by home address, but again with that proviso re transcription quality, and also that places could be written down in many varied ways, and there is no standardised indexed version.

The records also open up possibilities for academic researchers. Though I suspect that poring page by page might be more appropriate here. Which is also available through Ancestry, where you can step through images. What sort of people were applying for Edinburgh passports at this time, and from where in Scotland (it looks from first glance to be much of Lowland Scotland at least)? Where were they off to, and are there patterns that develop over time? What sort of groups look to have been travelling together, with multiple passport applications at the same time? What does this tell us about this sector of Scottish society and their experiences of elsewhere in the world at this time? So many questions.

I have already found more relatives in these records. But am now musing the academic research possibilities. And even with the indexing issues they are a compelling data source.

Note the date ranges of browseable Edinburgh passport record images available in Ancestry are as follows:

• 1845 July 30 to 1851 December 30
• 1851 November 7 to 1855 August 10
• 1857 May 1 to 1857 December 30
• 1858 January 1 to 1862 May 2
• 1862 May 5 to 1866 December 19 
• 1867 January 7 to 1879 June 18
• 1879 June 19 to 1892 March 24
• 1892 March 28 to 1903 July 4
• 1903 July 7 to 1914 October 5

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Watching the Cymera writing festival on catchup

This passed me by in previous years, but this year I was lucky to find out in time about the Cymera festival of fantasy, scifi and horror writing. It takes place in Edinburgh, but in recent years due to Covid has been online too. It took place in early June and I bought a digital weekend pass. This let me watch events streamed live, but more importantly let me also watch after on catchup. I had until today, 3rd July, to watch them, and have been putting in the time in recent weeks to get through as many as I could. Today I watched my last talk, my 22nd. This is a quite incredible tally for seriously ill me to have managed. And as someone with a very restricting neurological illness (I am mostly bedbound now, and asleep most of the time) it was a marvellous opportunity to watch and enjoy things from home at my own convenience that in the past you would have to be there in person to see.

I watched a huge list of panels and author chats, as listed below. Initially looking through the programme before the event I spotted 3-5 events that immediately jumped out to me. Events taking place live in Edinburgh that were streaming too, or Zoom chats that would be available to watch either live or on catchup for digital ticket holders later. However because I bought a digital weekend pass (£50, though available earlier at £40) I could watch *everything* recorded live and on catchup. And in practice I ended up watching way, way more than even I could hope. Not all the talks aired, but a huge number of them.

• Folkways with JJA Harwood and Kit Whitfield
• Cityscapes with Adrian Tchaikovsky, E.C. Hibbs and J.L. Worrad
• Expanding Universes with Aliette De Bodard and Ann Leckie
• Dead Weird with Gemma Amor, John McGlade and Heather Parry
• Unlikely Friendships with Travis Baldree and Heather Fawcett
• Haunted and Hunted with Fiona Barnett, Anya Bergman and Catriona Ward
• Catching Up With Helen Sedgwick
• War Stories with Gareth Hanrahan, Anna Smith Spark and Ian Whates
• The Epic’s New Clothes with Sharon Emmerichs, Juliet McKenna and Claire North
• It’s Grim up Norse with Thilde Kold Holdt, Shauna Lawless and Suzie Wilde
• N.K. Jemisin in conversation with Tasha Suri
• Daring Deeds with Justin Lee Anderson and Sebastien de Castell
• Adventures in Time and Space with A.G. Riddle and Gareth Worthington
• Catching Up With Silvia Moreno-Garcia
• Connection, Interrupted with Nina Allan, Cory Doctorow and Ian McDonald
• Catching Up With Brent Weeks
• Yesterday’s Tomorrow with Nicholas Binge and Christopher Priest
• New Scottish Stories with Paul Tonner, Letty Wilson and Ell J Walker
• Of Gods and Dragons with Amie Kaufman and L.R. Lam
• Dangerous Magics with Chelsea Abdullah and Hadeer Elsbai
• Underworld with C.K. McDonnell, Sarah Painter and Adam Simcox
• CyberJunk with M.R. Carey, Dave Cook and Ever Dundas

The order in which I watched the events above isn’t representative of what I was most intrigued by. I could flit from event to event, and saved some of the best to last. Many were two or three-author panels based around a theme with a chair person. Others were single author chats with a chair by Zoom.

The range of fantasy, scifi and horror writing covered was immense. There would rarely be a panel where I wouldn’t be adding titles to my book watch list, or even buying something immediately. Some authors I knew already, but I discovered many authors new to me, whose works I now want to read. And despite watching so many of author events I was impressed by how little overlap there was in terms of content. Every panel or chat would give me new insights and experiences into the writing process, as well as touch on the specific themes of that panel and introduce me to the writers and their books.

I would like to thank the organisers for allowing streamed access like this. It was so enabling for me, and as a reader and writer myself I am throughly inspired by having watched these. I would also like to thank the festival team for managing the technology and practicalities so well. This was a very smooth operation. I will definitely be back to watch next year. Though aiming to book my digital weekend earlier so I can benefit from the reduced early bird weekend pass price!

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Attending the Edinburgh Book Festival online rather than in person

This year I’ve been an online attendee of the Edinburgh Book Festival. I thought it might be helpful to blog some thoughts about this, and in particular how it compared for me to being there in person in the past.

I’ve been going to the Edinburgh Book Festival many times since the late 1990s. In the early visits I would travel down by train. More recently, as my neurological disease progressed, my husband and I had to switch to driving down with my wheelchair and staying a couple of nights in a hotel. Much more costly and time consuming, but giving me much valued experiences and memories.

This year the festival is being held in a new venue, and is offering a hybrid in-person/online attendance option. It would not have been safe for me to go there in person this time, being immunosuppressed during a Covid pandemic. The vaccine has fortunately given me antibodies – yay! – but at an extremely low level. So I am still at great risk, and being ultra cautious. But the availability of online tickets for most of the book festival’s events this year allowed me to attend in a different way.

The highlight of the festival for me has always been the author talks. I’ve written here before about attending some of these in person, e.g. in 2013, 2015 and 2018. Usually because I have to travel from a distance I can only see one or at the very most two author talks, depending on the timing options, and what I can get tickets for. But online attendance allows me to potentially attend more events more events spread over more days, even at a distance.

This year I bought online tickets for three events: Helena Attlee talking about the tale of a violin through time (I am a long lapsed violin player), James Robertson talking about his new ghostly novel set in the Angus glens (I live in Angus), and Denise Mina talking about her new novella retelling of the Rizzio murder. I watched the first and third of these live, and the second on catchup in the middle of a neurologically disturbed night. All were watched from bed in my pyjamas, on my iPad with Bluetooth headphones. Definitely a form of access I haven’t enjoyed attending the festival before!

With each event I was able to watch video footage of the author talks, with good camera shots of the authors, interviewers and audience in the room (a very spaced out and masked up audience). The audio was clear, and the experience of watching reassuringly close to being there in person.

In addition to the live video stream online attendees have access to online text chat rooms, where we can share comments, and ask questions to be posed to the speakers. I didn’t ask a question myself, but participated actively in the chats. I was pleased to see the online questions asked by the interviewers on behalf of the online audience members. This was integrated well alongside questions from the audience in the room in Edinburgh.

So yes, positive impressions from watching author talks online. On the downside online participants do miss out on face to face signing events, though some of the author talks had prebookable (days in advance) online signing options. I was more concerned though at how online members could miss out on the festival bookshop. Visiting the festival bookshops – adult and children’s – was always a major highlight for me of attending in person. With a huge range of books on offer, including from publishers I would never normally encounter, I would always come away with unexpected gems.

Yet the bookshop is not promoted effectively in the festival website. Yes on individual events pages there is a link to order book(s) associated with the event. And clicking on that takes you to the bookshop website. But otherwise the online bookshop is not linked as far as I can see from the festival website. Even if you know it exists it can be very hard to find. Google is often the best option! Which is ridiculous. Because when you get there it is possible to browse the shelves well, and find gems. Ok not the same as physically in person, but worth some minutes of your time for many online attendees.

So yes some downsides, but overall I’m really happy I could attend in person. Very grateful in fact. Looking ahead it may be safer for me to attend in future years, but my neurological disease is progressing, and that might simply not be practical. But I’m encouraged that the festival organisers have said that they value the online attendance, and intend to continue to make it part of the festivals in future years. So hopefully I can attend in that way in future years. And maybe the bookshop be better linked too?

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Review of the Ray Harryhausen Titan of Cinema virtual exhibition experience

The Scottish National Gallery of Modern Art is currently hosting an exhibition about pioneering stop-motion special effects wizard Ray Harryhausen, so famous for stop-motion animated monsters and other creatures in numerous classic films such as The 7th Voyage of Sinbad (1958) and Clash of the Titans (1981). For those who can visit the exhibition in person in Edinburgh it looks to be a fantastic show, where you can see hundreds of artefacts and exhibits associated with his life and work in cinema.

Alongside the in-person exhibition the National Galleries of Scotland are offering a £10 virtual exhibition experience, allowing people who can’t go to the exhibition in person to experience a version of it from home. I took advantage of this offer, and thought it might be helpful to share my thoughts after viewing.

The virtual exhibition is focused around five specially created films that take the viewer through Ray’s life story and works chronologically and thematically. The five films are King Kong and the Early Years, Imagination to Life, Dynamation, Creatures of Legend and A Life in Objects. Each film is a visual treat, full of information, with insightful contributions throughout, including from Ray’s daughter Vanessa.

Through watching the films the viewer gets a good overview of how Ray Harryhausen worked. Frequent examples discuss specific animation features in detail, and there are good views throughout of his creatures, original designs and other artefacts. Panning shots of the exhibition space also give the viewer a sense of the physical exhibition in Edinburgh, though you have no option to view any given exhibit up close, if there is something you want personally to see more of at any given time. Many of the exhibits are shown well as part of the films though.

The total running time of the five special exclusive films is about one hour. The films don’t all need to be watched at once, and your virtual exhibition ticket remains valid until the Edinburgh exhibition closes in February 2022. The films and other resources available through the virtual visitor ticket are viewed and accessed through a password locked webpage.

Note there is additional material in addition to the core films. Virtual experience goers can view short videos of some 3D models relating to Ray’s work. They can also view an hour long special in conversation chat with Vanessa Harryhausen, the first of multiple planned virtual events for the virtual exhibition. This combined with the five core films gives already a solid two hours of extremely rewarding viewing for any fan of Ray’s work, film history or special effects.

Although I regret that I cannot go to the exhibition in Edinburgh I do feel that the virtual experience is a worthy alternative. In many ways it has probably given me a fuller understanding of Ray’s life than I might have picked up on the spot, especially if time was limited in Edinburgh. Though I would like to have been in the same room -as some of his more famous creature creations, which would have left me appropriately awestruck.

I do feel that the virtual experience would be worthwhile accompanying viewing for anyone going to the in-person exhibition. Indeed the National Galleries of Scotland offers a combined ticket option for in-person + virtual for this event.

I am very glad I saw this anyway. Thanks to the virtual experience I now have a deeper understanding of and greater appreciation for Ray Harryhausen’s work.

Another alternative to the face to face exhibition is the exhibition book, which is available from the exhibition shop, in person or online, along with other commemorative exhibition items.

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Celebrating 50 years of the Open University

Wow the Open University is 50 years old today!

This snuck up on me! Fifty years ago, today, the Open University received its Royal Charter. I’m a huge fan, and thought I’d reflect a little on the extra chances the OU gave me. The OU is a much venerated UK university, that set out from the start to support part-time distance learning at home, giving people a chance who might otherwise be unable to study at university level.

The OU gave me a second chance after I dropped out of my science PhD, after falling seriously ill with a MS-like illness at just 22. Once I was finally diagnosed properly and started life saving chemotherapy treatment it made me nauseous and vomit for up to 8 hours every day, every single day, for years. I had to try something to take my mind off it, so started studying part-time with the Open University. The OU support staff thought I was too disabled to study with them by this time, but I tried. When I went to St Andrews University in 1990 I had wanted to study two subjects: Scottish history and computer science. But I could only do one, and was qualified for the latter, so stuck with that. But history – and especially Scottish history – was unfinished business for me. Now was my chance!

My first course in 1998 saw me jump straight in to second year history, and a course on Culture and Belief in Europe 1450-1600. Renaissance history basically. I loved it! It was phenomenally hard. I’d skipped the foundation year that teaches you to write academic essays, and analyse historical sources, and do art history and literature. So I didn’t make things easy for myself. Didn’t get the best course result, because of these circumstances. But oh it was brilliant. It also made me fall in love with Venice, and I went there later that year for the first time.

The next year I studied a course on family and community history. Yes that was good for me, a lifelong genealogist! I was able to use my family history stories in the essays for it. So, for example, I wrote an essay looking at my 3xg-granddad John Usher Somner running a rather posh boarding house in West End Edinburgh in 1871. At the other extreme I analysed the poor relief records for a 4xg-granddad John Hall, in 1860s Hawick, From my husband’s family I did a mini project looking at the extent of interbreeding (yes there was a lot!) in two Suffolk parishes where his ancestors lived. And for my final big end of year project I analysed Coldingham baptismal witnesses.

By this point I was well on my way to a history degree, and with credit transfer from my Computer Science BSc(Hons) I had extra points to shorten the amount I needed to study. But I took a big swerve in my final year, veering towards classical studies, with two courses. The first looked at the Roman Empire, particularly regarding power and identity. That was fascinating. Archaeology, mixed with written sources, visual images of gravestones and stuff, from all over the Roman Empire. I loved that. At the same time I studied a course on Homer’s Iliad and Odyssey, which combined the literary works with the archaeology of Troy. Which I had a family connection with. That 3xg-granddad John Usher Somner was a nephew by marriage of Charles Maclaren, first editor of The Scotsman newspaper, who first pinpointed Hisarlik as the likely location of Troy.

Throughout my OU studies I studied from home, using course materials – published books, course books written by the course team, handouts, etc. – sent to me in regular chunky postal packages. This was supplemented by face to face tutorials, but for much of the 3 years I was too ill to attend those, even the ones nearby in Dundee (I lived in Cupar at this time). I was also too deaf at this time from my neurological disease, so couldn’t chat to a tutor by phone. So I was extremely isolated. But the course materials were almost all superb. The course books, written by the course teams, particularly wowed me. These were written collaboratively, to a very high standard. And were much better quality, in overall terms, than many science lectures I’d attended as an undergraduate student at St Andrews. In addition I had contact with other students through the FirstClass online computer networking system, which made me feel less isolated, and helped build up a community. 20-odd years on, long after the demise of FirstClass, I’m still in touch with OU friends I made then. The OU supported disabled students brilliantly, long before the Disabled Students Allowance started, and long before many other universities made any kind of provision.

I studied with the OU between 1998 and 2000, and by the end of my classical studies courses I had enough credits to earn a BA(Hons), joint history and classical studies. This then provided the foundation on which I studied further at Dundee, doing a taught MPhil and a PhD, both part-time, both in history (mainly Scottish). My OU degree was very well regarded by the lecturers at Dundee, and they particularly valued how it showed independent learning.

In more recent years funding changes by the UK government have slashed revenue to the Open University, and reduced the financial support for part-timers to extremely low levels. This is especially the case in England, where it is very unaffordable now to study with the OU, especially if, like I was, you already have a first degree. But I was retraining, in a totally different subject area, so needed a second chance. And many people are keen to study lifelong. The OU is at great risk now, but I will always be grateful to it for the support it gave me. And it’s an institution that should be very proud.

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Review of Murray Pittock’s “Enlightenment in a Smart City: Edinburgh’s Civic Development, 1660-1750”

I recently read the new book by Murray Pittock about Edinburgh in the seventeenth and eighteenth centuries, and thought I’d jot down some notes. I was keen to read it, having studied urban history in my postgraduate taught Masters degree. But I also worked as the research assistant on the Scottish small towns project started by Bob Harris at Dundee, and later involving Charles McKean. Both of whom were successively my history PhD supervisors.

The book considers what made Edinburgh at this time such an ideal breeding ground for Enlightenment ideas. To do this the book examines the nature of Edinburgh society, the myriad of networks and connections within the city, and the wider influences at play, such as European links. A series of chapters focus on specific topics and themes in detail, such as trades and professions, the arts, and the literary aspect of life in the city as seen in bookshops and libraries. Generally these sections of the book worked well, and especially those where the complex intermingling of different parts of society was clearly demonstrated. The huge number of pieces of evidence cited could be overwhelming, but is generally well handled, and used effectively. A rare weaker subsection for me was that on divisions within the Church, which seemed to be more narrative than argumentative, and not adequately tied in to wider Edinburgh society and the core arguments that the book was making. But this was a rare exception in what was, generally, a well-written series of chapters and case studies, which amply demonstrated the complex networks within Edinburgh society well.

I particularly enjoyed the chapter examining demographic and socio-cultural aspects of Edinburgh life at this time. This relied to a large extent on incomplete data, especially for the seventeenth century. Fortunately a number of key sources were well utilised, and this chapter laid essential groundwork for all those that followed. Likewise I was constantly struck by how many connections the book highlighted between Edinburgh and the Netherlands, including in trade, education and the arts. I hadn’t realised that these links were so strong at this time, and the book demonstrated this very effectively.

Happily I also greatly enjoyed the chapter about print and reading culture, with its astute presentation of the state of newspapers, bookshops and libraries in Edinburgh. This was a mix of detailed examples – for example Allan Ramsay – and more numerous pieces of evidence, such as an insightful discussion of Edinburgh bookselling as a whole. I also appreciated, given that this fell within my PhD speciality, that this chapter of the book was reassuringly well grounded on prior research and academic writings.

I do have some other critiques though. Firstly for a book incorporating modern Smart City theory so prominently, including in its title and the publisher’s marketing and advertising, I would have preferred a more straightforward explanation of what Smart City theory is, and, indeed, what constitutes a Smart City. There is some coverage of this in the opening chapter, but not to the point enough for me; a pity in a chapter otherwise very good at introducing key concepts to the reader, such as theories of and approaches to the Enlightenment and relevant wider Scottish history. I wonder if the Smart City emphasis was added later in the publication process, but given the title of the book it would have been good to see it addressed more directly at the start.

The other major omission for me is the lack of any concluding chapter. In the print culture chapter the very last paragraph does act as an overall conclusion of a sort. But it’s extremely short, and it would have been nice to allow more space for reflection and a summary of the factors that made Edinburgh at this time such a hotspot for fermenting Enlightenment ideas. A section briefly addresses this in the opening chapter, but it was a shame not to see the threads of the arguments drawn together at the end of the book. Also some of these ideas have been theorised before, for example I well remember my supervisor Charles McKean covering many similar arguments in our urban history seminars nearly twenty years ago. But it could have been usefully summarised here, along with a clear statement of the book’s new contributions to the academic debate.

Those are downsides, but in other respects I would recommend this book highly to readers, and think that it makes an extremely valuable contribution to Scottish history in this period, and urban and Enlightenment history more generally. I would also like to praise how readable it is, very much a page turner. I found it frequently highly compelling, and dripping with interesting snippets. Also I would like to praise the decision to initially publish the book as a low-cost paperback alongside a more costly hardback version. This is still relatively unusual for an academic history book, and makes the book affordable for a wider audience, as it deserves to be.

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At the Edinburgh Book Festival to see Ian Rankin talk

Every few years I head to the Edinburgh Book Festival for a fun flying visit. Last time in 2013 was to see Neil Gaiman talk, and also the Iain Banks memorial event. This time I was there to see Ian Rankin talk about the return of Rebus, with a new novel, and a recent short story collection. Because of my MS-like illness, which means I need to use my wheelchair while in Edinburgh, it is easiest to drive down from Dundee. And because I need to rest after and before travelling it makes sense to stay in a hotel the night before and after. Which is costly, but we think is worth it for the treat. We make a real break of it.

So last night after Afternoon Tea at Edinburgh’s famous Balmoral Hotel on Princes Street we got a taxi to Charlotte Square, arriving at about 6.50pm. The site was packed, with people there to attend author talks, browse in the bookshops, and soak up the friendly atmosphere. Our first stop was to go to the two bookshops, where I bought a few books: one a Gaelic children’s book (I’m learning the language, slowly), and also two other books I’d been wanting to get for a while, on astronomy and the history of Edinburgh.

By 7.45pm we were waiting in the queue for people with reserved seats (mainly disabled people like me) and were in in good time before the event started at 8.15pm. As usual we had good front row seats, and a good view of the speakers: Ian Rankin, and Phill Jupitus who would be chatting to him for the hour.

Ian opened the event by reading an extract from his latest soon to be published Rebus novel Even Dogs in the Wild. This was interesting, and quite gripping, and made me want to read the book when it comes out. Indeed the whole event made me want to read more of the Rebus novels – I’ve read a lot of them, but not all – and also read (and reread where necessary) the short stories. I particularly liked the discussion after this opening read through about Rebus’s relationship with the gangster ‘Big Ger’ Cafferty, which Ian likened to Holmes and Moriarty. Coincidentally I’m currently reading Anthony Horowitz’s Moriarty.

After this opening section there was a more general discussion. Indeed I was relieved that they didn’t just talk about the new novel, but covered a much wider range of subjects, including as the book festival entry for the event had indicated the recent short story collection The Beat Goes On: The Complete Rebus Stories. As a big fan of short stories – partly for the form, partly because they are often easier for me to read due to memory and reading problems from my neurological disease – I was particularly interested in what Ian said about the joy of writing them, and seeing a new artefact as the end product in a pretty quick time, as opposed to the marathon many months writing that each new novel requires.

One of the most interesting sections of the talk for me was where Ian reflected on his breaks from Rebus, both more recently and in the past. His recent break was prompted by deaths in recent years of a number of friends, all at fairly young ages. So he didn’t sign a new contract for a new novel then, but took the chance to do fun things, including other types of writing – like scifi – that he normally doesn’t do, but likes to. This was picked up on to an extent in one of the questions at the end. It was a bit sad that even a very successful writer like Ian Rankin feels the pressure to write what will sell, and doesn’t have the time to write other perhaps more experimental works. But the benefits of his break were apparent.

I also liked his discussion of the writing process, both in terms of how many hours he works on the first draft of a novel, and also how he discovers plot and character through his writing. He spoke of an example where he had advance plotted a novel to great detail, and his agent loved the concept, but Ian felt no desire to write it after sorting out everything so much in advance! I don’t write fiction, but in my academic writing I often find that I am feeling my way through the writing process, coming up with new thoughts and ideas by writing, and it’s a process that I enjoy too. I could also relate to his reflections on the importance of getting away from modern pressures to write. He goes to Cromarty (“no wifi”) and finds that in a secluded environment the writing process can flow extremely effectively. He also knows of other writers who play white noise in their ears to chill out the sound of the modern world while writing.

Quite a large chunk of the talk was about Ian’s love of music, including his experiences being in a band. For quite a while there I thought Phill was going to try to coerce him to sing, but Ian dodged that, though he did share some of his lyrics with us – very dark and gloomy, and quite in keeping with much of his later writing as a crime novelist! He also shared some entertaining reflections on touring life from his brief experiences of that. And he mused on how he had been so tempted to buy a record shop …

Returning to the writing craft one interesting observation Ian made fairly late on in the talk was that he doesn’t like to over research books, to the extent of filling them with “look what I found out!” stuff in the say way that some other writers do, including in the crime genre. Though having said that, a constant running joke throughout the event was his struggle to keep up with the changing police situation e.g. current retirement age for police officers, location of CID units, even the terminology used. Phill joked that it was almost as if the Scottish police were deliberately trying to foil Ian’s writing.

There were only limited questions at the end, in the last ten minutes, but they were interesting, and all sparked off lengthy responses from Ian. Indeed during the talk Phill was a fairly gentle interviewer, typically providing a short starting point that Ian could use to explore an issue in more depth.

We skipped the signing at the end, though I’d brought a paperback copy of the recent short story collection just in case I decided to stay and get it signed. But we had a great time. And, as I said, I am very much looking forward to reading more Rebus on my Kindle (the main way I have to read now due to the brain damage and reading problems it causes). Though I think I’ll start with the short stories, because those are so approachable for me. Many I have read before, but a lot I haven’t, and should enjoy them all.

So thanks Ian! And Phill!

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Layers of Edinburgh, The Old Town, an illustrated historical map

I recently bought Eleanor M. Harris‘s historical map of old Edinburgh, and have now had a good chance to look through it. I developed a strong interest in urban history, and Scottish urban history in particular, thanks to my PhD supervisor Professor Charles McKean, and also the taught PG Masters course I did beforehand in Cultural and Urban Histories 1650-1850. Plus being born in Edinburgh I was always going to be interested in this map!

Eleanor did all the artwork and wrote the text, including the calligraphy work, herself. It’s impressive how much she has squeezed in. The map unfolds to open with a so-called “short history” of the city, but it’s full of detail, from the earliest dates through to the 21st century, and gives a good potted account of developments over time.

But the bulk of the content is on the map proper, on the other side, accompanied with notes about specific places and people. The emphasis is very much on the Old Town, so there isn’t for example any content on the map from Princes Street and further north, the area developed so much in the 18th century. What is there though is generally well presented, with colour coding to show different dates of development, as well as numbers which can lead to further information in the notes section on the back of the map.

If I have one criticism, it’s a small one, but much of the text on the map is written at all different angles, which can mean you need to turn it around a lot to read the contents. But that’s sort of necessary, given how much information has been squeezed in. And I don’t think it would be a problem using the map in the field so to speak.

For anyone with an interest in Edinburgh’s history, or urban history in general, I strongly recommend that you get hold of this map. If you can use it on the ground, and explore the streets with it to guide you, all the better. Copies of the map are available from Eleanor’s Etsy shop.

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Another flying, albeit memorable, visit to Edinburgh Book Festival

The Edinburgh International Book Festival is billed as the “largest festival of its kind in the world”. It takes place in August each year, in Charlotte Square at the west end of Edinburgh city centre, and is a concentrated venue for talks by numerous authors, as well as related bookshops, cafes, bars, signing tents etc. This year, the 30th anniversary event, saw apparently 225,000 visitors to the book festival over the space of a few weeks, and a rise in ticket sales over the previous year. By any measure it is a massive event.

For me the strength lies in the depth of programming. The printed brochure, or online version, is perused avidly by yours truly as soon as it is released each June, and there are always too many things that I want to go to. Even picking a day at random would probably find events of interest. As it is I have to plan my visit more carefully. Because of an MS-like illness I need to take my wheelchair to the event, which isn’t really much fun by train or pushing it about the streets of Edinburgh at the height of festival season when the pavements are jam-packed with hordes of tourists. So we end up driving and staying in a city centre hotel for a couple of nights, to give me a chance to rest after the journey and before my time at the book festival. So it’s costly! But I think it’s worth it, for the time there, and the memories and experience.

This year I booked us into two talks at the book festival. The first was with Neil Gaiman, who was speaking four times at the event, but I really wanted to get to his talk about his landmark Sandman series of comics and graphic novels. I read these for the first time a few years ago, and was blown away by the power of the storytelling. They’re not like most traditional comics, that focus on superheroes. Instead these are a rich tapestry of stories and ideas, and myth and legend. Quite magical. My husband hadn’t read them though, and I was a bit worried that he wouldn’t enjoy the talk so much, or might be spoiled for the stories. But he said go ahead and book it. He wants to read the Sandman in future anyway.

The other talk that I booked us into was the Iain Banks celebration with Ian Rankin, Val McDermid and Ken MacLeod. I’ve only read a little of Iain’s work, but plan to read more. And I enjoyed the Crow Road TV version many years ago, and again more recently. I admire Iain’s writing skills and storytelling, and didn’t want to miss this event. The Iain Banks event was immediately after the Neil Gaiman Sandman talk, in the same venue with half an hour in between. That would be fine, and worked out really well. And because of my having a wheelchair and needing husband to help me we were able to get pre-reserved front row seats, and free admission for my husband. Fabulous. Thank you book festival!

So fast forward to August 24th. We travelled down. Stayed in just about the poshest hotel in Edinburgh – if you’re going to do this you might as well do it right! Lovely meal that first night, me rest the next day, afternoon tea, then taxi, with wheelchair, at 6.30pm to Charlotte Square. That worked out perfectly. The festival site is very well laid out, in a large square formation, with tents for talks around the edge. The walkways are good for wheelchair access, and it’s generally easy to get around. The central grass area is laid out with chairs for people to sit in and drink and/or read, usually the latter whether a drink or not. And it’s just a really cheery place for a book lover to be.

We browsed in the main bookshop for quite some time. As usual I bought too many books. So many in fact that we got a £5 voucher off future sales. Hubby wondered why they couldn’t have taken it off our massive spend already! But I said no problem. We’re going into the children’s bookshop next, we’ll spend it there. And we did. I found a history of the Beano, absolutely gargantuan, that I’ve read before, via university library copy here in Dundee, but was rather keen to own for the future. RRP £25, marked down to £10, then with our £5 voucher that meant this absolute brick cost just £5. Result!

After that, lugging the heavy books with us, we wheeled round to the main theatre at the festival site, to wait for the Neil Gaiman talk that was due to start soon. Because of the reserved seats we could wait by the door. Most people were queuing all round the square. We’d seen this in previous years. It gets quite funny – and difficult to manage! – when the queue loops back on itself. Anyway the doors opened about 7.50pm and we were in at our reserved seats ready for 8pm.

The Sandman talk was excellent. It was chaired by Hannah Berry, whose opening question to Neil was “How are you?” Given that he’s nearly completed a many months international book tour for The Ocean at the End of the Lane, and has been extremely tired, understandably, at times, it was really nice to hear how happy he was to be seeing the end in sight (this week), and buoyed up by this. And he was delighted to be talking to us about Sandman that night, which he hadn’t been talking about for months, so wouldn’t be going over the same ground, both for his own benefit, and for the audience.

Hannah was a very relaxed presenter, prodding Neil on where necessary, though he didn’t need too much encouragement. I’m not going to cover everything that he said, but it was a wide ranging hour’s talk, particularly about the background to the creation of Sandman i.e. how he got the gig in the first place. And how he learned – starting from absolutely nowhere – how to write for comics. Some of the stories were particularly funny, for example his tale of a school careers talk, where he said that he wanted to write American comics, and the careers advisor didn’t take it too well! Anyway the audience enjoyed it, my non-Sandman reading (yet!) husband did too, and it was a great success.

Sadly we had to miss the book signing afterwards because we were going to the Iain Banks event. And because of that I hadn’t brought anything to be signed, though I’d have brought The Graveyard Book if anything. Which meant that when Neil, on leaving, dashed up to me and said that he’d arrange for me to be at the front of the signing queue I was “Aarrgghh!” inside! Anyway it was extremely kind of him. Maybe next time!

As it was we had a prior appointment. And the Iain Banks event did not disappoint. It was chaired by BBC Scotland political correspondent Brian Taylor, who did an excellent job. And as well as the three author friends of Iain’s, all Fifers, by birth or residence, actress Valerie Edmond, who starred in the TV Crow Road, was there to read from Iain’s work. The event was tinged with sadness, but was ultimately a celebration. It covered both the mainstream writings, particularly The Bridge, and Iain’s science fiction work, which Ken particularly talked about. Rather amusingly Ian Rankin revealed that he can’t read sci fi. He’s tried. He tried again when Iain’s cancer was diagnosed. But he just can’t, though he buys Ken’s books for his son.

There was a surprise guest too. Neil Gaiman ran in halfway through, breaking away temporarily from his book signing next door, to tell us all a story about a drunken Iain antic at a world science fiction convention many years ago. The audience loved it, and Neil was really glad to be able to share the story at last.

In the closing moments we saw a clip from Iain’s final interview with Kirsty Wark. I’d watched this on TV, the full-length version broadcast in Scotland, and it was very moving and powerful. The clip they chose to show at the end of the book festival talk was Iain talking about how happy he was with the different types of writing he was able to do. That seemed like a perfect choice, and a very moving point to close on. Also throughout the talk there was the crow book sculpture that had been gifted to the book festival by the anonymous book sculptor in memory of Iain. That sculpture sat on a plinth throughout the talk, for someone who’d gone away the Crow Road too soon, and would be transferred soon afterwards to Stirling University, Iain’s alma mater.

We left the festival site shortly after 10.30pm and were able to pick up a taxi at the west end of George Street moments later. Then one more night in the hotel, and back home the next day. It was a wonderful trip. I’m glad I made it, and I have wonderful memories. It was also nice to see a good recap of the Iain Banks event in The Scotsman newspaper the next day.

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Old travel guidebooks for entertainment and historical research

A TV series which I’ve enjoyed in recent years is Paul Murton’s Grand Tours of Scotland using an old 19th century guidebook as his guide. I bought a copy of the same guidebook, Black’s Picturesque Guide to Scotland, in my case the 1892 edition, and have been enjoying reading it. It has useful descriptions – often illustrated – of the main tourist destinations, as well as information on lesser-known attractions.

Although it’s hardly the main focus of the book I particularly like the series of advertisements at the back, many from Scotland, but some from other parts of the UK and Ireland too. These include adverts from hotels touting for guests. The one that really made me grin was the thought of buses transporting people from the railway station at Melrose to the George & Abbotsford Hotel. It’s only about 2 minutes walk round the corner! But I guess if you were a high-falutin guest you would not want to walk and get your shoes and clothes – especially skirts for ladies – dirty or wet.

I used travel guides and similar books quite a bit during my year working as a Research Assistant looking at towns in Angus in the late 18th and early 19th century. Such books were a very useful insight into how the different towns were perceived by outsiders at this time. In a similar way I used travel guides in my postgraduate Masters degree in Cultural and Urban History, using them for an essay looking at urbanisation in the Borders, and specifically whether individual places were regarded at the time as towns (with all the appropriate trappings and facilities) or were the lesser-regarded villages.

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