In this chapter, the author talks about her mother. She started keeping a baby diary on 5 July 1943, just over three months after the author was born. From starting off as a real Austerity baby, war time model, she soon became lovely and plump. The author also talks about the anxious childhood of the British journalist Anne Karpf, daughter of Holocaust survivors, in London.
This book can be described as an 'oblique memoir'. The central underlying and repeated themes of the book are exile and displacement; lives (and deaths) during the Third Reich; mother-daughter and sibling relationships; the generational transmission of trauma and experience; transatlantic reflections; and the struggle for creative expression. Stories mobilised, and people encountered, in the course of the narrative include: the internment of aliens in Britain during the Second World War; cultural life in Rochester, New York, in the 1920s; the social and personal meanings of colour(s). It also includes the industrialist and philanthropist, Henry Simon of Manchester, including his relationship with the Norwegian explorer, Fridtjof Nansen; the liberal British campaigner and MP of the 1940s, Eleanor Rathbone; reflections on the lives and images of spinsters. The text is supplemented and interrupted throughout by images (photographs, paintings, facsimile documents), some of which serve to illustrate the story, others engaging indirectly with the written word. The book also explains how forced exile persists through generations through a family history. It showcases the differences between English and American cultures. The book focuses on the incidence of cancers caused by exposure to radioactivity in England, and the impact it had on Anglo-American relations.
Ideas about the effects of a certain colour, its associations and symbolism, are far from uniform cross-culturally. In addition, the naming of colours is almost impossible to clarify for earlier periods and for other cultures. The complementary colour is the combination of the two other primaries (red plus yellow as complementary to blue). Or (the Newtonian version), the colour which, combined with its primary, makes white in coloured light, grey in coloured paint. In this chapter, the author focuses on the social and personal meanings of colour (mainly blue). In Western Europe since the medieval period there are plenty of examples of shifting meanings of colour terms. Blue, says Michel Pastoureau, was considered a warm colour in medieval and Renaissance Europe, and only began to be seen as cool in the seventeenth century.
In this chapter, the author focuses on the industrialist and philanthropist, Henry Simon of Manchester, including his relationship with the Norwegian explorer, Fridtjof Nansen. Lawnhurst is one of several mansions in Didsbury, built as family homes by wealthy industrialists and businessmen in the second half of the nineteenth century. In Lysaker, Norway, just outside Oslo, there is another mansion house, called Polhøgda, which is very like Lawnhurst. The house was built in 1901 for the Norwegian explorer Fridtjof Nansen, who then lived there until his death in 1930. It was inspired by Lawnhurst: Nansen had borrowed the plans from Henry Simon, after staying there as Henry's guest in 1897.
In this chapter, the author talks about his father's interest in philately than in chemistry. The author's own family's history can be read through stamps. The first new stamps were contemporary German stamps, overprinted with 'Sarre', and with a heavy solid bar striking out the 'Deutsches Reich' at the bottom. The Schwitters portrait of Klaus Hinrichsen was one of six 2010 special issue stamps in the Isle of Man. Among the others are paintings by other internees such as Herbert Kaden, Herman Fechenbach, Imre Goth and an artist known as Bertram.
In this chapter, the author, through a family history, speaks of how forced exile persists through generations. From Claude Levy's own narrative in the film,The Jewish Cemetery - the Last Jews of Wasgau, and from an article about him in another German newspaper, Die Rheinpfalz, she learned a few new things about the family. The German television channel OKTV Südwestpfalz livestreamed this film by the American filmmaker Peter Blystone. The film focuses on small German towns and gives an account of what happened to the Jews there after the Nazi accession to power in January 1933.
In this chapter, the author discusses the cultural life in Rochester, New York, in the 1920s. The city of the 1920s is often referred to as 'Mr Eastman's town'. Economically, the first three decades of the twentieth century had been described as Rochester's golden age, and the centrality of Eastman-Kodak to the city's prosperity had important cultural consequences. The establishment by George Eastman of the Eastman School of Music and the Eastman Theatre in 1922 was the single most important event marking the 'end of provincialism'. The 'Rochester Renaissance' owed a lot to Eastman's wealth and philanthropy .
In this chapter, the author focuses on the reflections on the lives and images of spinsters. He talks about spinsters in the novels of Muriel Spark. A peculiar aspect of the changing discourse of the spinster is the collusion of feminism with her demonisation in the early twentieth century. The Cult of Single Blessedness affirmed the vocational life of unmarried women. The author traces the ways in which single women have been regarded in Western culture, specifically in Britain and America, over the past two centuries.
In this chapter, the author focuses on the liberal British campaigner and MP of the 1940s, Eleanor Rathbone. She is best known for her long campaign for family allowances. The author talks about Tante Leonie's life in Offenburg, or about how their lives changed after the National Socialists came to power in January 1933. The author presents the letter written by Leonie's sister-in-law Meta (wife of Sigmund's brother, Bernhard) to her daughter Trudel.