The Friends of Arthur Machen are inviting submissions to their journal Faunus.
This hard-bound journal has appeared twice yearly since the inauguration of the Friends in the 1990s. It is a platform for discussion of Machen’s life and work, as well as original archival research and/or articles and pieces not easily available in any other form. It is not peer reviewed and has a tradition of accessible though rigorous scholarship. Articles of between 2,500 and 5,000 words are encouraged, although those falling outside of these parameters will certainly be considered. Contributors will receive copies of the relevant issue, which is also distributed to members of the Friends. For membership information, please see: http://www.arthurmachen.org.uk
For a list of contents to date, please see: http://www.philsp.com/homeville/fmi/b75.htm#A1278
Please contact James Machin at firstname.lastname@example.org if you are interested in submitting or have any questions.
Calling a Heart a Spade: Wells and Voysey’s Kentish Utopia
The Wells House Nursing Home stands on a hilltop in Sandgate – a prosperous and attractive seaside village on the borders of Folkestone in Kent – with fine views over the village and the coastline. Wells House – previously Spade House – was built in 1899-1900 to the designs of two men: C.F.A. Voysey, the house’s architect, and Voysey’s client, H.G. Wells.
Wells came to be in Sandgate, and to commission Voysey, as a result of a combination of illness and literary friendship. In 1896 Wells had befriended the ailing novelist George Gissing, and, when Wells’s own chronic kidney condition led to his collapse during a cycling holiday along the south coast in 1898, it was Gissing’s childhood friend, Dr Henry Hick, who became Wells’s personal physician. Continue reading
‘Ida Sweet as Apple Cider’ by Eddie Munson, 1916 edition
[The following article was written by Patricia Hammond, a researcher and performer of Edwardian ragtime-parlour music.]
I have a band called Ragtime Parlour. We perform Edwardian music: songs to sing along to, songs to dance to, songs to listen to. As far as I know, we’re the only Edwardian band in London.
This is our biggest strength, and our biggest liability.
“Is it jazz?” the bookers ask.
“Not really. We can improvise,” I tell them, “And it’s a style that informed jazz, led to it.”
“But if it isn’t jazz, is it classical?”
“Classical music lovers always adore it,” I answer, truthfully.
“Yes but what can we call it?”
“But nobody knows what that is.” Continue reading