Enter the Odditorium: a crafty look at our new book, Part II

The Odditorium: The tricksters, eccentrics, deviants and inventors whose obsessions changed the world (Hodder & Stoughton, Oct 2016) is a playful re-telling of history told, not through the fish-eye lens of its victors, but through the fascinating stories of lesser known creative mavericks, tricksters, subversives and pioneers who changed our world. 

In part two of this post, we give you a taste of a few more tales from our new book including an atomic gardener, a man who created a formula for the perfect cup of tea, a journalist who imagined herself mad, a psychoanalyst who attributed the rise in Fascism to a lack of orgasms and a writer who championed aquatic ape theory. 

The Odditorium is curated and written by Ernest editor Jo Keeling and regular contributor David Bramwell, along with guest contributions from a host of talented writers. 


Muriel Howorth: the atomic gardener (guest writer Sarah Angliss)

In 1960 Muriel Howorth was pictured in newspapers tickling an extraordinary plant that was growing on her windowsill. The gardening correspondent from the Sunday Dispatch wrote, ‘Yesterday I held in my hand the most sensational plant in Britain. To me it had all the romance of something from outer space. It is the first “atomic” peanut.’

Despite having no formal training in the field of science, Howorth had taught herself the rudiments of nuclear physics at her home in the English seaside town of Eastbourne. ‘To lead women out of the kitchen and into the Atomic Age’ was Howorth’s aim. ‘Not to know all about atomic energy and the wonderful things it can do is like living in the Dark Ages,’ she wrote (Atomic Gardening for the Layman (1960). 

By 1948, she’d set up her Ladies Atomic Energy Club and was already writing to the great physicists of the time, asking them to endorse her efforts. Einstein graciously sent some encouraging words. One of the atomic stunts she staged was to eat a Sunday lunch in 1959 that contained potatoes and onions that were three years old. They’d been stored in the labs of Harwell, Oxfordshire, with a few grains of radioactive sodium - enough to kill any germs... and all the taste. 


Francis Galton: the man who measured the unmeasurable (guest writer Dan Maier)

Francis Galton was a true polymath, a seminal figure in subjects as weighty as heredity, statistical theory and meteorology. Galton strove to take ineffable, abstract concepts and calibrate them; to take the emotional and the human, and to regulate it. In the 1840s, he spent months refining a formula designed to create the perfect cup of tea. The paper ‘Measure of Fidget’, published in Nature in 1885, proposed a ‘boredom index’. And in 1888, Galton travelled from city to city, surreptitiously counting the number of beautiful, average-looking and ugly women, before returning to London and collating the results into a ‘Beauty Map of Great Britain’. 


Elaine Morgan: the writer who championed aquatic ape theory

Writer Elaine Morgan had a fascination for evolutionary theories and a deep frustration for how they considered human adaptation from an almost exclusively male perspective. In 1972 she wrote The Descent of Women. In her book she addressed this imbalance, while also exploring Alister Hardy's theory that humans evolved from aquatic apes. While researching, Morgan made important discoveries by studying water births, including a diving reflex in new born babies, how our heart rate slows down when we enter water and how swimming is the safest and best all-round form of exercise for mind and body. Although largely dismissed at the time, and the target of a great deal of hostility ever since, the aquatic ape theory has seen somewhat of a revival recently, with David Attenborough exploring the possible supporting evidence in a two-part BBC documentary. 


Nellie Bly: the journalist who flew into the cuckoo’s nest

On Blackwell Island, in the winter of 1887, a new inmate to New York's municipal lunatic asylum was being subjected to the humiliation and discomfort of an ice-cold bath. 

‘I began to protest. My teeth chattered and my limbs were goose flesh and bruised with cold. Suddenly I got ice cold water in my ears, nose and mouth. They dragged me out gasping, shivering and quaking, from the tub.’ –Ten Days in a Mad-house (1887) 

The young woman had been at the asylum only for a few days and found it to be one of the most unpleasant experiences of her life. Since the first night, she had been unable to sleep because of the hard bed and screams of other patients. She was appalled by the rancid food and frightened by the sadistic nature of many of the nurses and doctors. She witnessed patients bound together with rope and found some who appeared to be there for no other reason than their poverty or inability to speak English. Some of the women, she discovered, to her horror, had been committed by cruel husbands wanting to be rid of them. 

Like Randle McMurphy in One Flew over the Cuckoo’s Nest, the woman was no ordinary inmate. She had faked her own insanity in order to get access to the asylum. Not for an easy ride, as McMurphy had foolishly hoped, but to investigate and expose the abuse of patients. For the brave journalist Nellie Bly, this was a big scoop. 

Wilhelm Reich: the godfather of the sexual revolution

Born in Austria at the turn of the 19th century, Wilhelm Reich studied medicine and quickly rose through the psychoanalytical ranks to become one of Freud’s star pupils. That is, until they fell out over orgasms. For Freud, the libido was an unruly beast, which needed to be diverted into ‘healthier’ pursuits, while Reich believed the opposite. He saw the rise of fascism in Europe in the 1920s and 1930s as a direct result of repressed sexual desire, sublimated into hatred and war. 

To stimulate orgone energy in the individual, Reich invented the Orgone Energy Accumulator. Looking like a one-person sauna, it was an upright rectangular box made of different layers of wood and metal to amplify the ‘orgone energy’ for any user sitting inside, rather like heat in a greenhouse. Claims around the properties of this device ranged from boosting the immune system, to destruction of cancerous cells, to ‘orgiastic potency’. 

The Odditorium: The tricksters, eccentrics, deviants and inventors whose obsessions changed the world is on sale on Amazon and in many high street book shops. 

Calling the Wild Back In

As a natural history enthusiast and founder of Eastern Biological, Alfred Addis is no stranger to studying exotic creatures – but embarking on a drawing class with real life reptilian models is definitely a step outside his comfort zone. 

A model lizard from the Wild Life Drawing class.

A model lizard from the Wild Life Drawing class.

It’s a sobering thought, how over the centuries the urban human has removed his or herself from the natural world. Buildings grow taller and towns spread wider. City dwellers complain of rapid development whilst simultaneously trying to rationalise why they choose to live this way. Do we all feel the urge, deep within, to escape?

Every day, in a bid to connect, I find myself reaching out to nature – whether that's tuning in to Planet Earth II, re-reading a Herman Melville epic or simply staring into an illustration of the natural world. It’s these tenuous links to nature I’m drawn ever closer to, driven by a need to explore.

I’ve recently finished reading a graphic novel about the revolutionary 19th century French-American artist John James Audubon. In this epic story – On the Wings of the World – the painter’s life has been romanticised, with the spirit of the early American dream. I tend to develop small obsessions with explorers like Audubon, who forged a way in a new world  – people conceding to the realisation that they need to be with nature.

On the Wings of the World,  Fabien Grolleau & Jeremie Royer

On the Wings of the World,  Fabien Grolleau & Jeremie Royer

Audubon's drawings

Audubon's drawings

It was these explorers who led the way in understanding the world they lived in. In Audubon’s case it was painting the wild birds of North America that took hold of his life. He dedicated himself to seeking out every type of bird, painting them in an ‘artful’ manner, depicting the natural world and its rich diversity in ways that were unorthodox to scientists at the time. They thought he took too much theatrical licence. Illustrating was also vital to Charles Darwin. Without any camera equipment on-board The Beagle, he constantly sketched and scribbled, which shed light on how new species looked to those back home. In later years, he theorised from his evidence how all of life is beautifully connected.

In a city where being able to see the Milky Way at night is a rarity, little acts of defiance spring – rooftop allotments, urban beekeeping and a cosmopolitan infatuation with houseplants. Here, another bid to connect an urban audience with nature has surfaced: Wild Life Drawing. These are workshops with a key difference – real-life-moving animals are the ‘models’. The idea is the brainchild of visual artist, illustrator and natural history enthusiast, Jennie Webber. Her aim is to inspire an appreciation for the natural world and an understanding of animals, allowing us to harness our own creativity and a childlike curiosity akin to Audubon’s own.

For some reason I feel more inclined towards exotic species of animal, so I sign up for a workshop sketching large lizards. Jennie works with animal handlers, animal sanctuaries and charities that have earned an excellent reputation and for this class, she had carefully chosen Snake’s Alive.

Is this my best side?

Is this my best side?

I watch the handlers take out the first reptiles – a Savannah monitor lizard and a python. He places them on the long table. Mia, the python, slithers around, while Hugo sits there obediently, not moving. He immediately charms everyone, and it’s strange to see just how docile he is, surrounded by eager sketchers.

Pete from Snakes Alive introduces the family company, which is based in Essex. They have been operating since 1996, largely offering interactive educational events for children, as well as supplying reptiles for private events. They also act as a sanctuary. Pete goes on to explain that Hugo, and the vast majority of their animals, are in fact unwanted pets, which leaves me feeling slightly dejected but I’m rallied by how affectionate the handlers are with their lizards; the animals are fully acclimatised to being around humans. Hugo, in particular, has formed a bond with Pete, who continues to stroke him gently under his chin. On watching this, that child-like wonder is brought back to me in an instant.

Simply sitting and observing this curious Man-Reptile intimacy seems to be relieving my stress, but I remind myself that I need to start drawing. I’m naturally hesitant, being not particularly confident person with a paper and pencil. I don’t know exactly where to begin. On Jennie's advice, I start with the eye. It means noticing that Hugo is now staring at me suspiciously. Does he know what I’m thinking? That I haven’t drawn an animal since 2009? Stop staring at me Hugo.

It’s a shameful admission that I haven’t picked up a pencil for years, but Wild Life Drawing is open to all – beginner and fully fledged artists – the latter I’ve noticed have brought along slick fine liners, felt tip brush pens and even scissors and coloured paper to create whimsical abstract shapes.

Jennie is moving around between participants, giving tips and encouragement. With some further advice, I break my sketch of Hugo down into simple shapes – slowly drawing the outline, then deciding to fill in details at the end. Hugo is an ideal model as he seems to like sitting still for a long time.

We’re lucky with Hugo’s dormant pose but when I move onto Mia, I take a photo for reference. She is a lot sleeker, perhaps a bit enigmatic in personality too – or am I being too presumptuous? Anyway, I start with a slender curve and emphasise her shadows. I feel like she couldn’t care less about my secret drawing shame, so I am more confident. Curiously, I find the snake more difficult to draw, perhaps because of her vivid pattern. Focusing on this detail reminds me just how intricate the texture and pattern of a python can be. I channel what I consider is my inner-Audubon, trying to capture Mia in a dramatic or unusual pose, fangs out and hissing loudly, but my imagination doesn’t quite match up with my pencil, so I focus instead on what I’m actually seeing. By focusing on the proportions and articulation of the shapes, I’m actually getting more in touch with Audubon.

I begin to understand why Wild Life Drawing feels so compelling. I’m learning about the animals at the same time. Education is fundamental in these workshops. As well as the classes starting with an in-depth introduction, we also learn about their behavioural characteristics. Hugo, the savannah monitor, I learn, is not actually this chilled out in the wild. He’s fully domesticated and used to being spoiled. They have a varied diet consisting of grasshoppers, crickets and mice. I learn about the ethics of feeding live animals and, most importantly, about the animal’s long-term welfare and the global issues threatening species in the wild. A proportion of Wild Life Drawing’s ticket sales goes directly to the handlers and a share is also donated towards the conservation and protection of the animals.

As well as workshops held in London, Jennie also hosts events at more scenic venues such as Woodberry Wetlands, an urban nature reserve and reservoir in Stoke Newington that was recently opened by Sir David Attenborough. Interestingly, the area has been closed off to the public since 1833 and was considered wasteland. It has since been transformed into an urban oasis by enthusiastic volunteers, and now welcomes kingfishers, reed warblers and dragonflies. The project is a breath-taking achievement that has reversed the effects of development.

For city dwellers, encouraging with wild spaces can be unsettling but perhaps it's the key to improving our quality of life? The hidden psychological benefits are crucial to our emotional well-being. It feels sensible not just to introduce plants, trees and greenery into the city and into our homes, but also to seek engagement – where all the senses might reap the reward of what it means to live in the natural world.

Back at our drawing class, I haven’t quite been able to capture these animals in either a naturalistic, theatrical or scientific pose, like Audubon once did. But despite reassuring words from the others that my drawing skills aren’t that bad, I’m undoubtedly encouraged to attend more classes, both to improve my skills and also to learn more about other species of animal and their continued conservation. The class reminds me why I feel strangely drawn to the great 19th century naturalists. A link to nature permeated Audubon. His naturalist spirit can help us all and with many of us city dwellers having little to no contact with the natural world in our daily lives, Wild Life Drawing’s aim to reconnect us has never felt more important.

You can learn more about Wild Life Drawing and book classes here.

Alfred Addis is founder of Eastern Biological, London's first independent natural history and concept lifestyle shop. Take a longer look at some of their inspiring sale items in the online store.

Avoid rocks, roots and errant pine cones with this new robust and stylish range of footwear

ohw? shoes are bringing out six rather dashing new ranges for autumn/winter 2016 featuring premium materials – waxy suede, hairy suede, full grain, embossed leathers and neoprene textured rubber – as well as a suitably autumnal palette of Oxblood, Umber, Olive, Burgundy, Taupe, Date Palm and Sand. You can bet your conker collection that Ernest had to have an ogle. Here are the two ranges that particularly grabbed our interest… 

DODGE (W0531), a six-eyelet shoe in dark olive waxy suede and neoprene, £75

DODGE (W0531), a six-eyelet shoe in dark olive waxy suede and neoprene, £75

Glide into autumn

Glide is a new retro trainer range available in three styles – Deacon, Dodge and Hawking. Each style features a rubber cupsole unit and stitched toe guard together with the tireless attention to detail we’ve come to expect in ohw? – hand-stitching, waxed cotton laces, padded collars and tongue loops. 

We’re particularly drawn to the Dodge and Hawking styles. Dodge is a six-eyelet shoe in waxy suede and neoprene. Hawking is a eye-catching high top style eight-eyelet boot in full grain leather and nubuck. We love the forest feel of the darkest olive green, but both also come in a stargazing-suited black. Deacon also caught our attention with its rich burgundy full grain leather and date palm suede, which made us hanker for a stride amongst autumn leaves.

DEACON (W0537), is a five-eyelet unlined shoe in burgundy full grain leather and date palm suede, £80

DEACON (W0537), is a five-eyelet unlined shoe in burgundy full grain leather and date palm suede, £80

HAWKING (W0539) is an eight-eyelet boot in dark olive full grain leather and nubuck, £90

HAWKING (W0539) is an eight-eyelet boot in dark olive full grain leather and nubuck, £90

Waterproof booties

Two styles of Waterproof Goodyear Welted boots – a high-cut plain front boot (Ambler) and a low-cut moccasin front boots (Holden) made in hydrophobic full grain leather with treated suede and wool – were launched in response to demand but also demonstrate the shoemaker’s skill and attention to time-honoured detail. 

We were particularly interested to see that the Waterproof range uses a manufacturing method traditionally the preserve of formal shoemakers. A ‘Goodyear welt’ is a time-consuming process, invented hundreds of years ago, that is still considered one of the finest methods of shoe construction. It is an intricate method whereby a strip of leather – the ‘welt’ – is stitched to both the insole and the upper and then attached to the outer sole with a heavy-duty lock stitch seam. The machinery needed for the process was invented by Charles Goodyear Jr in 1869. 

The two designs are both made in a ‘bootie’ construction, with a waterproof membrane between the lining and the upper material. The membrane also has insulating properties, which will no doubt be welcome during this season’s more invigorating outings. 

HOLDEN (W0463) is a five-eyelet Goodyear Welted moccasin front boot in black full grain leather and black suede, £150.

HOLDEN (W0463) is a five-eyelet Goodyear Welted moccasin front boot in black full grain leather and black suede, £150.

AMBLER (W0460) is a seven-eyelet Goodyear Welted plain front boot in black full grain leather black suede and dark grey wool, £160.

AMBLER (W0460) is a seven-eyelet Goodyear Welted plain front boot in black full grain leather black suede and dark grey wool, £160.

We’ve teamed up with ohw? shoes to offer readers 20% off the entire collection. Simply enter code EJ20 when ordering online. The offer is valid until midnight on 11th November 2016.

We're partnering with ohw? shoes (pronounced 'who') in issue five and six of Ernest Journal. You can read more about the stories behind the brand in our Ernest directory

Enter the Odditorium: a crafty look inside our new book, part I

The Odditorium: The tricksters, eccentrics, deviants and inventors whose obsessions changed the world (Oct 2016) is a playful re-telling of history told not through the fish eye lens of its victors but through the fascinating stories of lesser-known creative mavericks, tricksters, subversives and pioneers who changed our world. 

Here are just five of our favourite stories from the book, which comes out today, including a man who tried to walk around the world in an iron mask, the world's worst vegetarian, a wild avant-garde artist who may have originated the most important work of art in the 20th century, a surreal poet who told tales of befriended sparrows and secondhand cups of tea and the subversive theatre director who pulled off one of the greatest pranks in British history, prompting an investigation from Scotland Yard…

The Odditorium is curated and written by Ernest editor Jo Keeling and regular contributor David Bramwell, along with guest contributions from a host of talented writers including John Higgs, Daniel Maier, Tim Smith, Sarah Angliss, Tim Lott, James Burt, Simon Ingram and Richard Turner. It is published by Hodder & Stoughton and comes out today (6 Oct, 2016)! 

Order your copy on Amazon today!


Harry Bensley: the other man in the iron mask

In the winter of 1908, a strange act appeared in the music halls of south-east England. Sandwiched between comedians and performing midgets, he gave his name only as ‘The Man in the Iron Mask’. Face covered by a knight’s helmet, he explained that, because of a bet, he was seeing whether it was possible to walk around the world without being identified. 

That simple wager had been complicated with a list of other conditions. He had to remain masked throughout the journey, to visit every county in England (getting a signature from a mayor or other dignitary), to keep himself alive only by selling postcards and souvenirs, and to never accept any gifts from strangers. According to the Brighton Herald ’s article in February of that year, ‘perhaps the most extraordinary condition of all is that he should find a wife on the road, who must be “between the ages of twenty-five and thirty, well-educated, of even temper, with some knowledge of music”.’The number of conditions on the bet was fiendish – this is the sort of thing that ruins people’s lives.


Ken Campbell: the seeker who sought to astound

‘There is a meaning to life that can be peripherally sensed by being astounded or astounding others. And it may be fully glimpsed by astounding yourself.’
– Ken Campbell’s Meaning of Life (2006) 

Ken Campbell was a performer, comic, theatre director and creative powerhouse. His life could be described as one ‘great caper’, a mission to seek out ‘the other’. What was the other? Anything that had the power to astound. And Campbell was a rare individual who possessed such power. 

Campbell first came into prominence in the late 1960s with an anarchic comedy ensemble, The Ken Campbell Roadshow, which included Sylvester McCoy, Bob Hoskins and dwarf actor,
David Rappaport – who Ken would introduce as ‘not the world’s smallest man, but fucking close!’ His ensemble mixed comedy with music-hall stunts – nails up the nose, ferrets down the trousers – with McCoy always as the fall guy. Side-stepping theatre’s elitism, dwindling audiences and funding bodies, Ken took his roadshow into working men’s clubs and pubs, often unannounced. ‘If the audience won’t come to us, we’ll go to them,’ became their motto. 

In 1979, Campbell entered the Guinness Book of Records by co-writing and directing the world’s longest play, The Warp a 22-hour autobiographical tale of one man’s journey of self- discovery through beat culture, jazz, scientology, New Age and psychedelia. That’s the equivalent to six Hamlets. Those who saw The Warp or starred in it were never the same again. In 1980, Campbell pulled off one of the greatest pranks in British history….


Baroness Elsa von Freytag-Loringhoven: the woman who was the future

Baroness Elsa was wild. She wore cakes for hats, postage stamps for make-up and a bra made from two tomato cans and green string. Over a 100 years before Lady Gaga turned up at the MTV Awards wearing a meat dress, the Baroness was genuinely shocking. She lived in abject poverty and was repeatedly arrested for offences ranging from theft to public nudity. She is now recognised as the first American Dada artist, although it might be more accurate to think of her as the first New York punk – 60 years too early.

 


Ivor Cutler: the poet who never grew up

Somewhere in north London, a bus driver is having a bad day. His foul mood is picked up on by all of those boarding his bus. The passengers, in typical English fashion, ignore his tempestuous face and hurry along to find a seat. The last one on is a short man, sporting round spectacles, plus-fours, a tweed jacket splattered with badges and a hat decorated with a plastic sunflower. Noting the driver’s countenance, the man silently reaches into a bag, pulls out a sheet of stickers and attaches one to the driver’s lapel. The driver stares down at the three words on his jacket and breaks into a huge grin. The man takes his place on the bus and sits down. On the driver’s lapel are the words ‘You are beautiful’. 

 

Meet the man who dedicated his life to writing strange poetry and songs that captured a unique, parallel twist on the everyday, in which the minutiae of life – from socks to micro-organisms
– took on a gently surreal life of their own. It was a place where market stalls sold second-hand cups of tea, people had woollen eyes and Ivor’s toe bore a hole through which he could see Australia.


Frank Buckland: the world’s worst vegetarian

Ever wondered what a fly, earwig or rhinoceros might taste like? You haven’t? Well perhaps that’s no great surprise. Had you been alive in Victorian England during the mid-1800s, however, you just might have been caught up in a craze known as zoophagy: the practice of eating all animals, the more exotic the better. Zoophagy’s leading exponent was no experimental chef but a Victorian eccentric called Frank Buckland, who gave up a medical career in favour of natural history and fisheries. Not content with merely studying the animal kingdom, Buckland made it his life ambition to determine the palatability of every living creature. 

Buckland – a stout, bearded man with butcher’s arms – was often found with a creature in tow or about his person. He kept a matchbox filled with toads and a small tortoise in his pocket. When Buckland studied at Oxford, chameleons, marmots, snakes, an eagle, a jackal and a bear named Tiglath-Pileser shared his digs. Unsurprisingly, they often escaped. After moving to London, Buckland added to his menagerie a parrot, a troop of monkeys, tame mice and a jaguar. These often scarpered too – notably the monkeys, which, according to Buckland’s biographer, G. Burgess, once resulted in a ‘thrilling chase across the housetops of London’. 


Curious artefact: the orrery

We've teamed up with the Museum of the History of Science in Oxford to gain insights into scientific apparatus that revolutionised mankind's understanding of the world and the cosmos. Dr Sophie Waring is your guide to the orrery...

You can see fine working examples of orreries, such as this one, on display at the Museum of the History of Science, Oxford

You can see fine working examples of orreries, such as this one, on display at the Museum of the History of Science, Oxford

Mankind has always been curious about our place in the cosmos. For millennia we, rather smugly, believed that Earth was at the centre of the universe with celestial bodies orbiting around us. This was challenged by astronomers who made heliocentric (sun-centred) models of the universe after observing the movement of the planets. The first of these models was described by mathematician and astronomer Nicolaus Copernicus in 1543. He justified his system with astronomical observations and a rich geometric description of his model. It is this sun-centred model of the universe that an orrery usually depicts.

The great patron of scientific thinking, the Earl of Orrery, was given one of the first models and bequeathed his name to the invention. English clock makers George Graham and Thomas Tompion built the first modern orrery around 1704 while Christiaan Huygens published details of his newly-built planetary machine in 1703 from Paris.

The clockwork nature of these contraptions reflected our new mechanistic explanations of the universe made possible by Isaac Newton’s theory of gravity. Orreries would reflect and inspire the sense of awe people had in the 18th century as they discovered their place within a ‘clockwork universe.’

You can see working orreries on display at the Museum of the History of Science in Oxford.

Words: Dr Sophie Waring, Modern Collections Curator, Museum of the History of Science, mhs.ox.ac.uk

This originally featured in issue 5 of Ernest Journal, on sale now.

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