Friday, 4 July 2025

Welcoming author Ali Bacon!

Hello!

I'm afraid it's been a lot longer than ' In the Blink of an Eye' since my last post here but today I'm totally delighted to welcome author Ali Bacon who has used exactly that phrase in one of her book titles. However, she's here to tell us the scenario which has also led to her latest publication 'The Absent Heart' which is exactly my kind of novel! 

Ali has been immersed in similar research to me in that our studies have included various important Scottish people of the Victorian Era like David Octavius Hill and his second wife Amelia (You'll find posts about her on this blog.) 

Every author comes to writing with their own story so here's Ali to tell us...

















What the Victorians did for me
 

Ali Bacon explains how she used family history to find her way into historical fiction

Until a few years ago I hadn’t thought much about the Victorian era except that my grandparents, born in the 1890s, lived on the very edge of it. I certainly didn’t consider writing historical fiction which, as a non-historian, I thought of as simply too much work!  

However all that changed about 10 years when I was writing a contemporary novel (A Kettle of Fish, 2012) and somehow the story of a Victorian artist and photographer got into the narrative.  I was googling art events in Edinburgh and at the time there was a major exhibition of the work of David Octavius Hill and Robert Adamson. I decided to investigate and became quite obsessed by this body of very early photography. I got hold of a large scale study of Hill where I uncovered not just his artistic skill but also his entire life story which I found engaging, intriguing and extremely poignant.

As a result I ended up writing In the Blink of an Eye which was an imaginary account of Hill’s life seen through the women who surrounded him. At the beginning of the novel he had recently lost his wife and was caring for a 4 year old daughter.  She remained a crucial focus but I also wanted to explore the romantic implications. He was a widower; charismatic engaging and at the centre of Edinburgh society.  How come he didn’t immediately remarry as many widowers did in the Victorian era? And who in the end would become his second wife? So there is a romantic thread in the novel but it’s not a romance and many themes of love, loss and friendship are explored against the backdrop of the discovery of photography.  

I was still a very reluctant historical novelist! Researching my characters was one thing,  but then there was all the background research too and even the idea of it was overwhelming. However,  I had some family history to fall back on and the period didn’t seem too remote to be imagined. It also helped that I was writing about places I knew from my own upbringing,  Robert Adamson being a native of St Andrews where I went to university, and the Paton family with whom David Octavius Hill had a very strong friendship,  were from Dunfermline, the town where I was born. Although I haven’t lived in Scotland for quite some time it was fun to feel I was rediscovering my own Victorian roots. Another consideration was the ‘voice’ I would use to conjure up that era. I didn’t want to attempt fully authentic diction (whatever that may have been) so I kept to neutral (to me) language in terms of period but falling back on voices from my youth for a more Scottish flavour.













In the end I was pleased with In the Blink of an Eye and had found it to be a rewarding experience, so I considered where I might go next with historical fiction and again family came into it in the shape of writer Robert Louis Stevenson, a more famous figure than David Octavius Hill and one about whom a great deal more has been written.  I shied away from him at first as a topic but there was a small family connection, in that one of my ancestors had actually gone to university with him so there was that feeling of familiarity and a sense in which we thought of him as one of the family. Eventually, I focused not on R.L.S. himself but on one of the women in his life, a lady called Francis Sitwell,  around whom I uncovered a web of emotional intrigue.  I brought her to life in The Absent Heart published earlier this year. Frances was trapped in a bad marriage but was also in a relationship with a well-connected scholar and critic when they both met the young  R.L.S. The novel unravels this triangle and explores the landscape of friendship, love and desire in late Victorian England. It has quite a different feel to In the Blink of an Eye as it’s set mostly in London and in a later period, but I still felt  in touch with my characters through those generational links.  It has a more conventional novel structure than Blink and readers all seem to consider it a page- turner.

I’m delighted that following publication of The Absent Heart my publishers Linen Press have decided to reissue In the Blink of an Eye with a new cover and I hope this will attract more readers to both books. I’ve just unearthed some old linen napkins, recalling how Dunfermline in the 19th century was a linen town par excellence, which makes a neat tie-in to my publisher!














More about Ali

Ali Bacon is a native Scot living in South Gloucestershire. Her writing ranges from flash fiction to full-length novels and she has recently dived into historical fiction, with her second historical novel The Absent Heart, inspired by the letters of R.L. Stevenson  published in March 2025. This follows an encounter with a Scottish artist and photographer which became In the Blink of an Eye, (Linen Press 2018), while her short story about a medieval nun, Within these Walls, was winner of the Bristol Short Story Prize, Local Writer Award in 2019. 














Find her on Facebook (AliBaconAuthor), Instagram @alibwriter and Bluesky alibacon.bsky.social
Her website is https://alibacon.com where you can also or sign up to her occasional newsletter Beyond the Book.

Buy Ali’s books:

From Linen Press
From Amazon


My thanks to Ali for visiting today with such a fascinating post.

Slainte! 

 

 

Monday, 31 March 2025

#Women's History Month is almost over! - But here's Amelia Robertson Hill

Hello again,

This is the last opportunity for me to highlight the spectacularly innovative women who have rarely gained much attention during their own time.

Amelia R. Hill CC Wikimedia Commons











I'm not writing a completely new post but I am going to mention the two women that is chose to send to my lovely friend Anna Belfrage's blog for her month-long feature for #Women's History Month 2025.

I was the first author contributor for Anna's feature which began in the 1st Century CE. I chose Queen Cartimandua, one of only two Iron Age tribal women mentioned by Cornelius Tacitus in his work about the Roman Empire invasions of Britannia. I'm not posting anything further here since I've already blogged about Cartimandua, but you can find my Cartimandua post for Anna HERE.

Ground Floor Corridor at Haddo House. 
Amelia is featured right at the end. 
Photo: Nancy Jardine with permission from the
National Trust of Scotland, Haddo House














My second appearance on the blog feature was near the end when I contributed a post for the 19th Century CE. For this I chose a Scottish sculptor named Amelia Robertson Hill. It was coincidentally during my research for Amelia Hill that I found her connection to Ishbel, Lady Aberdeen. Ishbel featured Amelia Hill in her corridor of notables in Haddo House. (see previous posts for Ishbel, Lady Aberdeen) 

The post below is a condensed version of what I posted to Anna Belfrage's feature which you can find HERE in full.

Sir David Livingstone missionary explorer
Wikimedia Commons CC 













Who was Amelia Robertson Hill and why did I choose her for a blog post? 

Since my current writing in progress is set in Victorian Scotland, I wanted to feature a noteworthy Victorian Scottish female.  My choices were plentiful, campaigners like Ishbel Aberdeen and Isabella Elder, but I noticed a tiny reference on one site which indicated that there was a female sculptor from Scotland whose work was walked past by some fifteen million people every year in Edinburgh. How could I not find out about who she was?

Emmilia McDermaid Paton (Amelia) was born in Dunfermline, Fife, Scotland, on 15th January 1821, her parents being artists who designed for the damask production in local Fife textile mills. Surviving siblings of Amelia were also artists. Her brother, Joseph Noel, born soon after Amelia in December 1821 gained a knighthood for his artistic work in painting and sculpting (Sir Joseph Paton). Waller Hugh Paton was a landscape artist. Therefore, you could say that artistic expression was in her blood. 

Amelia's younger life isn't easily accessed. She appears to have remained at home in Fife till after her mother's death and her father’s subsequent remarriage. It's not noted what she accomplished during this time, but it's assumed that she at least drew and painted, even if she didn't exhibit them anywhere. It certainly wasn't easy for a female to exhibit in any reputable site e.g. like the Royal Academy of Arts during the 1840s,  but she may have exhibited after she moved to Edinburgh to live with her younger brothers. It's also possible she had formal training with the Edinburgh sculptor William Brodie during this time. (Brodie sculpted the famed statue of the dog Greyfriars Bobby 1872). 

In 1862,  at the age of forty-one, she married David Octavius Hill, an artist friend of her brother who was some twenty years older than her. 

David Hill was a painter and pioneer photographer. He was secretary of The Royal Scottish Academy of Art and Architecture, an institution which denied Amelia access to it -  no females allowed. However, she wasn't denied access to the company of the many upcoming, and some already famous, artists who were friends of David Hill. Amelia’s work became sufficiently recognised for her to be awarded a number of important public commissions, an incredible achievement for a woman in Scotland during the era. 

It’s important to note that an alternative arts society which Amelia helped create in 1877 – The Albert Institute – opened its arms to artists regardless of gender. 

The Disruption by David O Hill








During the early 1860s, Amelia helped David Hill with ‘The Disruption’. This immense painting is unique for the time in that the faces of those included are apparently very lifelike since David Hill used calotype prints (early photographs) and pencil drawings to paint accurate faces,  Amelia likely using similar techniques when making her additions. 

In 1870, Amelia sculpted a stunning bronze bust of David Hill after his death, which was set over his grave in Dean Cemetery in Edinburgh (She was buried in the same lair). By then, she was a well-established sculptor and her work was to be found in many Scottish locations e.g. niche figures on the Sir Walter Scott Monument in Edinburgh; the David Livingstone statue you can find right next to the Scott Monument; and a statue of Scottish poet Robert Burns in Dumfries is her design though it was carved in Italy by Cararra sculptors. She sculpted many of the busts of notable worthies around Scotland that are in museums and in private collections.  

Sir Walter Scott Monument
Princes Street
Edinburgh CC













If visiting Edinburgh, wave hello to Amelia Robertson Hill's work as you wander along Princes Street, under the shadow of Edinburgh Castle.

Slainte! 


Sunday, 30 March 2025

#Women’s History Month – Isabella Elder

Hello! I'm cutting it fine before the end of March but here's another post about a worthy Victorian woman. 

Who was Isabella Elder and why do I want to write about her?

Isabella Elder
by John Everett-Millais 
CC












As a young child I spent many weekends in Govan, Glasgow, staying with my grampa and nana ( my maiden Aunt Nan) who lived a little bit along the road and around the corner from the Elder Park and the local library. However, at that time I didn’t know of Isabella Elder’s association to the library.

Isabella was a philanthropist, interested in improving the education of local people, women in particular. During Isabella’s life, Govan was not part of the city of Glasgow but a separate township with its own local administration. (It wasn’t till 1912 that Govan became an official area of Glasgow.)

Born in the Gorbals in 1828, which at that time had some prestigious housing, Isabella’s father was a solicitor (Alexander Ure). Though her education is unknown, she must have mingled in the circles of the more elite, wealthy people of the area since she married John Elder in 1857, a partner in the marine engineering firm Randolf Elder & Co. By 1860, the firm acquired a shipyard in Govan which thrived. By 1868, it became John Elder & Co. and was one of the most successful shipyards in the world though, unfortunately, Isabella’s husband John died in 1869 (he was only 43 years old). For the best part of a year, Isabella managed the shipyard herself, a most unusual situation for a woman in 1869. However, she relinquished sole management by 1870 and went into a partnership with her brother, John Ure.

With fewer day-to-day shipyard responsibilities, Isabella was rich and free to choose what she wanted to do (within the limits society set upon her). She had no children to look after and was free to explore the continent. Though closer to home she became a major benefactress in the Glasgow area. She donated a sizeable sum to Glasgow University to the Chair of Engineering and funded an endowment for the John Elder Chair of Naval Architecture.  There were other scholarships set up in John Elder’s name.

Particularly interested in the education of women Isabella went on to buy a large property in the prestigious west end of Glasgow, North Park House, which she then used to set up as a college for women. Queen Margaret College was the first college in Scotland to offer higher education to women. By 1890, Isabella began to fund medical courses for women at Queen  Margaret College though awarding women a degree wasn’t possible till a few years later when the college was amalgamated with Glasgow University, no doubt due to the influence and persistence of Isabella Elder (whose financial contributions weren’t not to be sneezed at).  The medical courses for women were taught by lecturers at Glasgow University, so the women were gaining a similar course of study as was given to male students and the first women graduated as medical practitioners in 1892. By 1898, women were also graduating in the Arts from Queen Margaret College/ Glasgow University. Not content to just organize the setting up of the facilities for women, Isabella ensured that standards continued to be met as per her original agreements with the university – in her book women weren’t to be given any sort of inferior programme of education. It was always to match the academic standards of courses for men and she was prepared to withhold any finances she donated to ensure it happened!

Isabella was awarded an honorary degree (LLD) from Glasgow University in 1901 for her contributions to women’s education in the area.

In the early 1880s, Isabella purchased land near the Elder’s Fairfield shipyard and had a public park built in honour of her husband and his father David.  Wanting to do more for the poorer women of the area, the School for Domestic Economy was established where young women learned how to cook and perform other household tasks on a limited budget. The Elder Free Library, at one end of the park, was funded and stocked by Isabella. During the early 1900s, she funded the building of the Elder Cottage Hospital and a nearby villa which was the Cottage Nurses training home. Those buildings were still in situ when my grampa and Nana took me walking around Govan in the late 1950s.

By 1905, Isabella’s health was failing. She suffered from gout and bronchitis and died of heart failure on the 18th November 1905. It’s worthy of noting that her official death certificate was signed by Dr. Marion Gilchrist, the first woman to graduate as a doctor from Glasgow University.

Memorial window at Glasgow University CC









There are many tributes to Isabella’s generosity one of which is a memorial window in Bute House, Glasgow University, titled “The Pursuit of Ideal Education”. (She is depicted alongside Janet Anne Galloway and Jessie Campbell other women who should be given some limelight?)

Isabella Elder- Elder Park  CC
by sculptor Archibald Macfarlane Shannon,
a Glasgow University Graduate












In 1906, the current Provost of Govan, unveiled a very fine bronze statue of Isabella Elder in the Elder Park. Much of the £2000 need to fund the statue came from a public collection, many of the local people wanting to give something back to Isabella Elder.

I have childhood memories of seeing the statues in the Elder Park where I paddled in the pond on hot summer days in the late 1950s. My grandfather, I’m sure, knew all about Isabella Elder and probably told me about her though my memories are hazy. Born in 1884, my grampa was a sheet iron worker in that very same Fairfield Shipyard where he spent all his working life. He probably even remembered Isabella’s death since her was born and lived just a couple of short streets away from the park. My grampa, Edward Callan Auld was a feisty union member, a high-ranking shop steward, and continued in his own way to ensure that men working at the Fairfield shipyard in Govan got a good deal.

It's at a time like this that I wish I could remember many more of my grampa’s Govan stories.

Slainte! 

https://commons.wikimedia.org/wiki/File:Isabella_Elder_biz_Sir_John_Everett_Millais.jpg

https://commons.wikimedia.org/wiki/File:Janet_Galloway_Memorial_Window,_Bute_Hall,_University_of_Glasgow.jpg

https://commons.wikimedia.org/wiki/File:Statue_of_Isabella_Elder,_Elder_Park,_Govan,_Glasgow.jpg