Category Archives: Arts & Media

Television, film, music, paintings, poetry, photographs, theatre.

Reading the Room

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The Queen’s Reading Room today celebrated its second annual festival at Hampton Court Palace.

Rather than focus on the festival event specifically, of which I could not find much footage, I wanted to use the opportunity to write more broadly about the reading room as a concept.

At the start of 2021 Camilla, then Duchess of Cornwall, launched the reading room under her title as an online book club. In 2023, her husband having acceded to the throne, she reconstituted it as a charity and updated the name to reflect her change in status.1

I had been intrigued by the royal couple’s literary interests since the pandemic forced so much of public interaction into the virtual space, and the bookshelf backdrop became an important element of one’s self-presentation. Conferences held from her study at Birkhall show her with at least three books by J. K. Rowling and six by Philippa Gregory2 — the latter suggesting an unorthodox approach to family history. Charles’s shelf was also the subject of some news articles.

The website contains numerous video interviews with authors, celebrity readings and, of course, a weekly podcast.

The most intriguing part of the enterprise, naturally, is in the particular choice of books: There is a page dedicated to Her Majesty’s own picks, which are named in batches of four every season (i.e. sixteen per year). As of June 2024 there have been fourteen literary seasons, resulting in a list of fifty-six books so far. I have listed them here oldest to newest.

Pride & Prejudice Austen, Jane 1813
Frankenstein Shelley, Mary 1818
A Christmas Carol Dickens, Charles 1843
The Queen’s Necklace Dumas, Alexandre 1849
A Tale of Two Cities Dickens, Charles 1859
The Woman in White Collins, Wilkie 1859
Black Beauty Sewell, Anna 1877
Dracula Stoker, Bram 1897
A Book of Food Shand, P. Morton 1927
Rebecca Maurier, Daphne du 1938
I Capture the Castle Smith, Dodie 1948
My Family and Other Animals Durrell, Gerald 1956
Mrs ‘Arris Goes to Paris Gallico, Paul 1958
The Far Pavilions Kaye, M. M. 1978
War Horse Morpurgo, Michael 1982
Love in the Time of Cholera Márquez, Gabriel García 1988
The Remains of the Day Ishiguro, Kazuo 1989
The Light Years Howard, Elizabeth Jane 1990
A Suitable Boy Seth, Vikram 1993
Charlotte Gray Faulks, Sebastian 1998
The Poisonwood Bible Kingsolver, Barbara 1998
Atonement McEwan, Ian 2001
The Secret Life of Bees Kidd, Sue Monk 2001
The Kite Runner Hasseini Khaled 2003
Suite Française Némirovsky, Irène 2004
The Various Haunts of Men Hill, Susan 2004
Labyrinth Mosse, Kate 2005
The Island Hislop, Victoria 2005
Half of a Yellow Sun Adichie, Chimamanda Ngozi 2006
Restless Boyd, William 2006
The Book Thief Zusak, Marcus 2006
The Lords’ Day Dobbs, Michael 2007
The Year of Eating Dangerously Parker Bowles, Tom 2007
My Brilliant Friend Ferrante, Elena 2012
The Architect’s Apprentice Shafak, Elif 2013
The Red Notebook Laurain, Antoine 2015
A Gentleman in Moscow Towles, Amor 2016
Magpie Murders Horowitz, Anthony 2016
The Little Library Cookbook Young, Kate 2017
Where the Crawdads Sing Owens, Delia 2018
City of Girls Gilbert, Elizabeth 2019
Girl O’Brien, Edna 2019
Girl, Woman, Other Evaristo, Bernadine 2019
Lady in Waiting Glenconner, Anne, Baroness 2019
The Secret Commonwealth Pullman, Philip 2019
A Half Baked Idea Potts, Olivia 2020
Dark Tides Gregory, Philippa 2020
Hamnet O’Farrell, Maggie 2020
Miss Benson’s Beetle Joyce, Rachel 2020
The Mirror & the Light Mantel, Hilary 2020
Great Circle Shipstead, Maggie 2021
Left You Dead James, Peter 2021
The Fair Botanists Sheridan, Sara 2021
The Paper Palace Heller, Miranda Cowley 2021
Lessons in Chemistry Garmus, Bonnie 2022
The Whalebone Theatre Quinn, Joanna 2022

The selection skews modern. While there are some obvious classics in there (e.g. Dickens and Austen) the majority of entries are from the present century. In this long list the only one which I personally recall reading in full is The Book Thief, about eleven years ago. Fittingly enough, that story is itself about the importance of literacy for intellectual development and freedom, in the context of living through World War II under the German regime that encouraged book-burning.

There are many others from which I have at least read extracts (or listened to them in audiobooks) or which I know by reputation.

The one which sticks out to me the most, given the regal patronage of the Reading Room is The Lords’ Day (2007) by Michael Dobbs. This is a political thriller about the Palace of Westminster being captured by terrorists on the day of the State Opening of Parliament, with fictionalised versions of Elizabeth II and her then-Prince of Wales among the characters. Dobbs (himself ennobled in 2010) earlier wrote the famous House of Cards/To Play the King/The Final Cut trilogy whose second instalment also features a fictionalised version of Charles — ascending to the throne thirty years earlier than in real life and then swiftly being forced to abdicate after a losing a constitutional battle against an evil prime minister. Also featured is Lady in Waiting (2019) by the Lady Glenconner (which I bought at a charity shop last year but haven’t gotten around to reading yet), a memoir which goes into great detail about her time with the Princess Margaret.

The historical novels also often touch on potentially-sensitive topics: e.g. Dumas’s The Queen’s Necklace and Dickens’s A Tale of Two Cities both centre on the French Revolution while Towles’s A Gentleman in Moscow deals with the Russian one. Seth and Kaye both write about British India, Kingsolver about the Belgian Congo. It would be hard to find a set of popular historical books set in Britain (whether fictional or factual) without encountering at least one about the royal family themselves. In this case Her Majesty chose Mantel’s The Mirror & the Light, the last in a trilogy about the career of Thomas Cromwell in the court of Henry VIII. There are quite a lot more books about Word War II as well.

The King also gets a look-in. Before his accession to the throne, the Prince Charles shared five of his favourite books: The Battle of the Atlantic by Jonathan Dimbleby, Along the Enchanted Way by William Blacker, Lustrum by Robert Harris, Travels with Myself and Another by Martha Gellhorn and Napoleon by Adam Zamoyski. That second book is likely particularly important to Charles, given his attempts to live that life himself.

There is a further section dealing specifically with children’s books, figureheaded by the Princess of Wales.3 On World Book Day 2022 Catherine similarly made five personal recommendations, and there are dozens more recommended by other friends of the charity. The proportion of these which I have personally read is higher than in the adult section but there are fewer interesting points I have to make about them.

It is also worth noting that while quite a few of the entries end up being about the royal family, there are so far as I can tell none of the books by them e.g. A Vision of Britain, The Old Man of Lochnagar, Crowned in a Far Country or Budgie the Little Helicopter. The Queen did, however, recommend one book by her non-royal son.

I daresay that Her Majesty is at times being a little, well, courageous in associating herself with some of these books. The monarchy strives to be above politics, yet literature is fundamentally about ideas and politics are never far away. A reading room project which took a wide berth from any possible controversy would probably end to watered-down to be worth doing, so Camilla has taken the riskier but more rewarding path. This was exemplified by her Clarence House speech in 2023 for the relaunch of the project, at which she told writers collectively to “remain true to your calling, unimpeded by those who may wish to curb the freedom of your expression or impose limits on your imagination” in what was widely perceived as an intervention in an ongoing controversy over the proposed Bowdlerisation of some classic Roald Dahl books. The edits ultimately did not go ahead.

FURTHER READING

UPDATE (June 2025)

I originally meant the title of this post to be a weak pun on the project’s actual name, but lately I have discovered that there actually is a newly-launched podcast called Reading the Room.

UPDATE (October 2025)

The Queen has, reportedly, gotten herself included in The Hawk is Dead, an upcoming crime novel by Peter James.

FOOTNOTES

1 It went straight from “The Duchess of Cornwall’s Reading Room” to “The Queen’s Reading Room” without being called “The Queen Consort’s Reading Room” in between, perhaps the earliest hint at the eventual abandonment of this honorific crutch at the coronation.

2 I can’t get a perfect view even in 1080p, but I think I recognised The Lady of the Rivers, The Red Queen, The Kingmaker’s Daughter and Three Sisters, Three Queens. What Camilla chose for the above list, however, was Dark Tides, one of the non-royal Fairmile series.

3 Catherine’s URL slug has been updated for the new reign but Charles’s has not, giving the impression that they are husband and wife instead of father and daughter-in-law.

Review: Charles III by Robert Hardman

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Robert Hardman is no stranger to royal biography, having already penned quite a handful about Elizabeth II in the last decade or so of her life, including Queen of Our Times which came out in March 2022 as part of her Platinum Jubilee season and then in December of the same year was released again in a “commemorative edition” to update for the fact that she’d died. Now he moves into the present reign with a biography of her eldest son. I am a little confused about the title of this one as the British publication is called “Charles III: New King. New Court. The Inside Story”1 but on Google Books I can see that the United States version is called “The Making of a King: King Charles III and the Modern Monarchy”. I suspect the titles must be written this way for SEO purposes, or perhaps he just couldn’t decide which description he wanted so used all of them at once. It must be quite a fraught process to come up with a distinctive and meaningful name for a biography when you know that lots of other biographies will be documenting the same person and all competing to emerge in future history as the one definitive authority thereon. Most likely in the long run the general public (maybe academics too) will discard the pretentious subtitle and just remember it as “[AUTHOR] on [SUBJECT]” (e.g. “Jenkins on Churchill”) instead.

Hardman’s lengthy volume covers the first year of the New Carolean era. As one might expect, this period in royal history was particularly dominated by two big ceremonial events: His mother’s funeral and his own coronation. In the book, the funeral (as well as the period of Operation London Bridge leading up to it) takes up chapters 3, 4 and 5 while the planning and execution of the coronation takes 9, 10, 11, 12, 13 and 14. That makes for nine chapters out of a total of eighteen across the whole book. The coronation section in particular is loaded with dense historical comparisons, detailing not just the crowning of Charles III but also quite a lot about those of George VI an Elizabeth II. A less charitable reader may accuse Hardman of padding here, though doubtless a lot of the innovations (and omissions) of 2023 cannot be fully appreciated without an understanding of what came before. Anyone buying this book at first printing will, doubtless, have already watched the public side of these events on television as they were happening, so the real value of these chapters is in reading the personal accounts of the people involved as to what went on behind the scenes, such as the aide who spontaneously hugged Princess Anne to console her in her grief, the brigadier getting a summons back to London while giving a speech at his daughter’s wedding in Corfu, the Duke of Norfolk getting his GCVO investiture in a rush so he could wear his sash in the procession or the royal pages being packed off into a side room with some video games. It is worth mentioning as well that Hardman directed a BBC documentary about the coronation and some other aspects of royal life that year which aired at Christmas and can be seen in some ways as the prelude to this book.

The other chapters are about the personalities of Charles & Camilla, the looming political challenges for the institution of the crown and some of the other projects in which the sovereign couple have engaged themselves (such as the Prince’s Trust/Charity/Foundation organisations which now all have to be renamed). The running thread is the process of establishing Charles’s approach to kingship and the need to assert, like most new incumbents whose predecessors served an unusually-long time, that he is his own person and is not obliged to become a clone of his forbear with whom the institution had become synonymous. Charles, of all our sovereigns, had the longest pre-accession life and a brings with him a much more complete (and publicly-known) individual persona, which makes this task all the more pressing. I was amused to read in Chapter 15 that an unnamed senior courtier refers to this as “Doctor Who syndrome”, showing that the habit of explaining the British constitution in terms of that franchise is one that runs all the way to the top. Given the relative perceptions of the new king and his late mother, I would especially see parallels to Colin Baker succeeding Peter Davidson, or Capaldi following Tennant and Smith.

Being acutely aware of some of the less-sympathetic perceptions that have swirled around the royal family as a whole in recent years, and around Charles in particular for many decades, Hardman occasionally includes explicit references to and arguments against ideas emanating from either that acclaimed Netflix drama or statements by the exiled Duke & Duchess of Sussex. At times it can feel as if he has a bit of an axe to grind. It’s probably redundant in any event, as the people likely to be credulous of the claims he’s refuting are not likely to picking up his book in the first place. I’d like to think this is merely a demonstration of Hardman’s passion for truth over sensationalism, but I can’t entirely trust him on that front given he writes for the Daily Mail after all.

These minor quibbles aside, New King New Court is an engaging and enlightening work which I would recommend to anyone interested in the topic area, though any customer (or library) sinking their money into the original edition now may wind up feeling short-changed he does another expanded version in the near future.

1The use of full stops means that the title mercifully evades what TV Tropes calls “Colon Cancer”, though I would have preferred commas.

Awdry Arms Again

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Back in November I discovered the coat of arms of Sir John Wither Awdry, paternal grandfather of children’s author Wilbert Vere Awdry. The illustration was based on a blazon found in Burke’s Landed Gentry, 1862.

Page 39 of that book gives the shield Argent three cinquefoils Or on a bend Azure cotised of the same and crest out of a ducal coronet a lion’s head Azure for AWDRY OF SEEND.

The next entry is AWDRY OF NOTTON, and it is this one which includes Sir John. For the arms and crest of this branch, Burke merely says “same as AWDRY, of Seend”.

Today I have found the family referenced in the Burke’s Landed Gentry 1921. Page 53 of this book gives a slightly different blazon – shield Argent on a bend Azure cottised Sable between two crescents of the second a crescent between two cinquefoils Or and crest on a wreath of the colours in front of a lion’s head erased Azure gorged with a collar gemel Argent a cinquefoil between two crescents fesseways Or. Curiously the entry for Awdry of Seend in this edition gives no armorial details at all. Wilbert was ten years old when this version came out, and his date of birth is given in his father’s paragraph but no other detail about him personally is included.

The Awdrys are also mentioned at least twice by Arthur Charles Fox-Davies in his Armorial Families series. Page 51 of the 1895 book gives entries for multiple Awdry men, each time with the same information about Sir John’s arms – shield Argent on a bend cottised Azure three cinquefoils Or a crescent of the second for difference and crest out of a ducal coronet Or a lion’s head Azure. He also takes care to note that these are armorial bearings as used, and as quoted in Burke’s “Landed Gentry”, but for which no authority has been established. These comply with the blazon as I first encountered it, except that the crescent for difference was not originally there. The crescent, of course, is the traditional English mark of cadency for an armiger’s second son. I find it a little odd that Fox-Davies types the exact same information out for each of Sir John’s many sons whom he records, but does not say if any of them added extra cadency marks for their own position in the family tree. Pages 55 and 56 of the 1910 book gives the exact same blazon as Burke’s 1921.

For now I will accept the later version as the correct one and I have modified my illustration accordingly. Pending further research, I would speculate that the Awdrys of Seend are the senior branch of the family with the relatively simple arms while the Awdrys of Notton are the long-established offshoot with permanent (although inconsistently recorded) augmentations.

FURTHER VIEWING

Liberating a musical relic

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In discussions of artistic and intellectual property it is often remarked that “There is nothing new under the sun.” in reference to the frequency with which works under copyright turn out themselves to have been copied or derived from older material which may or may not have been public domain already – such as popular film scores taking cues from classical compositions.

One example is Howard Shore’s In Dreams, part of his soundtrack to The Fellowship of the Ring. The melody, especially the first seven notes, came from the 1901 hymn This Is My Father’s World.

The lyrics were written by Presbyterian minister Maltie Babcock and set to music by composer Franklin Sheppard. Despite the musical similarity, thematically they are entirely different: Babcock’s lyrics are mainly about the beauty of natural creation, with a few explicit references to scripture, and obviously multiple references to the Christian deity. Shore’s song, in common with everything else in Jackson’s films, avoids any direct mention of Eru Ilúvatar. Principally the song seems to be about perseverance through adversity and the emotional pain of separation from close friends. Given how the story ends, it could be interpreted as anticipating reunification after death. That the song should allude to spiritual principles without actually naming a real religion is in keeping with Tolkien’s conception of the book (albeit he was Catholic not Presbyterian).

This was the favourite childhood church song of prominent atheist Penn Jillette, who even parodied it for the opening them of his podcast. Personally I only discovered the hymn when searching backwards from the FOTR score, and on further investigation it does not seem to have made much of a cultural penetration outside North America. Searching for it on YouTube mainly brings up American religious schools.

Given the song’s publication and Babcock’s death both occurred in 1901, with Sheppard dying in 1930, the music and lyrics have both been in the public domain for some time, so I was a little surprised to see that Wikimedia Commons did not have an audio file. I set about creating one, based on a photograph they did have of a printout of the sheet music. It had been a long time since last I used MuseScore, but in about an hour I had relearned enough to copy out the page, render it as a sound file and upload it. Obviously mine is instrumental only as MuseScore does not have a singing function and I did not wish to record my own voice for this.

EXTERNAL LINKS

  • This Is My Father’s World, performed by pupils of Fountainview Academy, British Columbia. They really seem to be leaning into the LOTR comparisons with the rowboats and the fallen leaves.
  • Extract from LOTR making-of documentary, showing the recording of In Dreams.
  • Rendition by Sean Holshouser. Twelve years and forty videos later (many of them being actual Christian songs), this remains by far his most popular.

Public Domain Day 2024

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Public Domain Day this year is a little different: Relatively few artists of interest (to me, at least) have been released from copyright in Britain (probably the most culturally significant is the poet Dylan Thomas), but there have been major happenings overseas.

J. R. R. Tolkien died on 2 September 1973, so The Hobbit and The Lord of the Rings are set free today in countries with copyright terms of fifty years – most notably New Zealand, where Sir Peter Jackson adapted them for film. This might also have been the case in Canada, but the law was changed with effect from the end of 2022 to extend Canada’s posthumous copyright duration from fifty to seventy years. Tolkien’s works were thus among the first cohort to be delayed in their release. Of course, this only applies to works published in J. R. R.’s own lifetime – the great many posthumous works which were “edited” by his son Christopher (such as The Silmarillion and The Children of Húrin) will likely remain copyrighted until 2091 and those after Christopher’s death edited by Brian Sibley (e.g. The Fall of Númenor) could stay well into the twenty-second century (that’s before we even consider any other significant involved persons who may wish to claim co-authorship credit). The absurdity of this situation is compounded when one remembers that John Tolkien originally wrote some of these story ideas as early as the First World War.

The other big IP-related news story this year is the very long-awaited expiration of the copyright on Steamboat Willie, the 1928 cartoon film in which Mickey and Minnie Mouse made their first proper appearances. This film is now arguably less famous as an artistic work than as a symbol of copyright disputes, with the copyright term having been extended multiple times by acts of the United States Congress. From 2007 onwards Disney has been using an excerpt of the film as part of its production logo, which many perceived as a shift in strategy to have the image protected as a trademark once their luck with copyright extensions ran out. The Wikipedia page for the film has undergone a vast series of edits in the past twenty-four hours as multiple screenshots and stills are newly available on Wikimedia Commons.

Arms, Flags, Paint Pots & Queens

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Having written a few times now about heraldry as featured in The Railway Series, as well as significant events in that franchise, I felt that now would be a good time to do a spotlight on the most particularly heraldry-heavy story.

Today is the seventieth anniversary of the UK publication of Gordon the Big Engine, the eighth book in the series, came just fifteen days after Elizabeth II’s coronation. I will, of course be focusing on the fourth chapter in the book (and its 1995 television adaptation), in which the monarch herself visits the big station.

The written story has seven illustrations by Clarence Reginald Dalby, of which only the last three are relevant here. The television episode obviously has a large number of potential screenshots. The images used below are linked from the bountiful gallery on ttte.fandom.com and are labelled by their timestamp within the episode (not counting opening credits) in case of future link rot.

5th illustration

6th illustration

7th illustration

The text of the story says:

Edward steamed in, looking smart with flags and bright paint.
…the Queen’s train glided into the station. Gordon was spotless, and his brass shone. Like Edward, he was decorated with flags, but on his buffer beam he proudly carried the Royal Arms.

In the illustrations themselves we can see Union Flags galore, as well as a string of pennons in the national colours.There is also a tricolor drape across the frame of the station which runs the risk of inadvertently looking French or Dutch. Gordon’s carving of the royal arms is obviously the centrepiece here: It looks to have a lion Or as the supporter on both sides with the quarterings being first and fourth Or, second Azure third Gules. The actual charges on them cannot be deciphered but the crown looks like a reasonable approximation of either the Tudor crown or St Edward’s (the former likely still being in wide usage at this early stage of Elizabeth’s reign).

The television adaptation depicts things a little differently – Britt Allcroft at this stage was keen to present Sodor as a mystical fantasy land and dissociate it from the United Kingdom (although clearly not from the monarch), so the Union Flags are entirely absent and the bunting is generically technicoloured. We do, however, see multiple carvings of the royal arms – one leaning on either side of Gordon’s smokebox and at least four more attached to the station itself – originally on the glass of the canopy but later moving to the pillars and a nearby lamppost.

2m02s

2m43s

3m24s

4m20s

Also flying from the canopy are three flags of more definite designs, the first Argent a cross Gules, the second Azure a saltire Or and the third Murrey a saltire Argent. The first is obviously the flag of England but I don’t know the origin of the other two. We don’t get a close-up shot of the royal arms, but they are clearly supported by a golden lion and a white unicorn in the right arrangement. The shield itself looks to be blue in both the lower quarters but the upper quarters for England and Scotland are potentially correct. A red banner with indecipherable golden embroidering also flies outside the station as Gordon approaches.

This, incidentally, was not the first adaptation of the source material, for the story was republished as part of a series of Changing Picture Books called Busy Engines in 1994. The illustrations here (by Arkadia Illustration Ltd.) show many Union Flags as in the original book but no royal arms. Gordon’s footplate instead carries a large facsimile of St Edward’s Crown (perhaps foreshadowing the Duchess of Loughborough).

The Queen’s own appearance also changes – in the 1953 book she is shown only as an arm emerging from her carriage, in the 1994 book wearing a golden circlet trimmed with ermine and a thick blue sash from her right shoulder (very formal for a day trip on a steam train) and in the 1995 episode in a light blue dress with matching hat. It has been suggested but never confirmed that the man in the brown jacket is meant to be her husband and the short woman in the green dress her mother, which might be the clue as to why the story title implies that more than one queen visited.

With Heart and Voice to Sing

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The coronation, in addition to its visual majesty, is an opportunity for musical expression. In addition to the long list of traditional pieces, there were twelve brand new compositions commissioned for the day. The whole has been turned into an album, which was uploaded to YouTube and various streaming services on the same day. It is also due to go on sale in CD format on 15th May.

Naturally I took it upon myself to arrange it all into a convenient table for the coronation’s Wikipedia page, which another editor shortly afterwards redesigned almost entirely.

THE OLD

  • Johann Sebastian Bach: Magnificat in D Major; Sunday After New Year; Singet dem Herrn ein neues Lied; Alla breve in D Major.
  • William Boyce: The King Shall Rejoice: Opening Chorus
  • Anton Bruckner: Ecce sacerdos magnus.
  • William Byrd: Prevent Us, O Lord; Gloria; Earl of Oxford’s March.
  • Walford Davies: Confortare.
  • Edward Elgar: Nimrod; March No. 4.
  • Orlando Gibbons: Threefold Amen
  • John Goss:
  • George Friderich Handel: The Arrival of the Queen of Sheba; Oh, had I Jubal’s lyre; Care selve; Zadok the Priest.
  • William Henry Harris: Flourish for an Occasion.
  • Gustav Holst: Jupiter, the Bringer of Jollity.
  • Hubert Parry: I was glad; March from the Birds; Chorale Fantasia on “The Old Hundredth”.
  • Henry Purcell: Trumpet Tune; Christ Is Made The Sure Foundation.
  • Richard Georg Strauss: Wiener Philharmoniker Fanfare;
  • William Walton: Crown Imperial; Coronation Te Deum.
  • Thomas Weelkes: O Lord, Grant the King a Long Life.
  • Ralph Vaughan Williams: Fantasia on Greensleeves; Prelude on Rhosymedre.

THE NEW

  • Karl Jenkins: Crossing the Stone.
  • Sarah Class: Sacred Fire.
  • Patrick Doyle: King Charles III Coronation March.
  • Iain Farrington: Voices of the World.
  • Nigel Hess, Roderick Williams & Shirley Thompson: Be Thou My Vision.
  • Paul Mealor: Kyrie Eleison.
  • Roxanna Panufnik: Coronation Sanctus.
  • Tarik O’Regan: Coronation Agnus Dei.
  • Christopher Robinson: The Recognition; Homage Fanfare.
  • Andrew Lloyd-Webber: Make A Joyful Noise.
  • Judith Weir: Brighter Visions Shine Afar.
  • Debbie Wiseman: Alleluia.

Personally, I’m a little disappointed at the lack of Howard Shore.

Public Domain Day 2023

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Compared to previous years, the delivery of books and other media into the public domain this year – from authors who died in 1952 – is a little disappointing.

The last of the Sherlock Holmes canon entered the public domain in the United States, having already long lost its copyright in Britain, but the infamous test case Steamboat Willie is still one more year off.

The one book that stuck out to me was The Daughter of Time (1951) by Josephine Tey. It is a murder mystery novel, but instead of contemporary crimes her policeman investigates the murder of the Princes in the Tower in 1483 and comes to the conclusion that Richard III was innocent. Although a work of fiction and not a textbook, Fey’s valediction provides an insightful analysis of the interaction between fact, legend and propaganda, as well as a satire on many other types of historical literature.

All that is from the Wikipedia page, for I have not yet read the book itself. That said, I have read Philippa Langley’s The King’s Grave and attended many virtual lectures by the Richard III Society. Although the society and the wider Ricardian movement predate Fey’s book, they were of negligible size or influence by the time of its publication and many in the movement today are quite explicit about the role it played to revive academic research into the maligned monarch as well as shift public opinion.

Now that copyright has expired, I hope that LibriVox and similar organisations will not tarry in bringing out an audiobook, failing which I will search for a physical copy in my local libraries.