Tuesday, July 13, 2021

a treasure box of inspiration


It's madness to even be thinking about the next book when we're a bit lost and stuck in the first one, but I came across this amazing lot that was sold in May 2021 at Sotheby's. It's a little drawered-box containing an amazing array of occult and witchcraft objects. If only it could talk!!  

Sunday, April 26, 2020

Finding Lumka


I'm thinking about contemporary Lumka today. Who is she, how does she behave, how does she think? What does she do? I made her the owner of a vintage shop on Ravnsborggade in Copenhagen, perhaps because that's what I would love to do. It also gives a means for how she finds Captain von Dijk's journal that he kept at sea. The journal is filled with facts and thoughts and small sketches and careful measurements and observations. He has a budding scientist in his belly and he is affected by those scientist/observers of his generation to carefully observe and record - nature, the sea, but as a Captain, he is also a born storyteller, honing his craft over many voyages and he notes down many stories of life at sea. Lumka is fascinated by this and knows instinctively that the journal is a treasure. Tucked into the back of it is a letter. A letter from Lumka to Abraham after she is sent back to Europe. But, does she really go back to Europe?

Why do they both disappear from the record? Did they leave together? Where is the record of Abraham's death? Of his will? Did they flee to the Eastern Cape? Or the Western? Did they remain together and raise their daughter? How much longer would Abraham have lived? He was already very old when he married Lumke and positively ancient for those days - how much longer could he have lasted? Is the Jan Theuniz that Judith found in Stellebosch Lumke again, making her life as a man to keep her and her daughter safe? Was the society too small a place for that to have been possible? Would she be recognized?

But back to contemporary Lumka. When I tried previously to do character bible answers for her, I felt she went in a direction I didn't like and of which I didn't really have control. How to make her a character worthy of revisiting, in case this becomes a series of novels. We need her to be as lovable and brave and gutsy and unexpected as Mrs. Pollifax. How to infuse her with the qualities that make Mrs. Pollifax all those things.

I see her as pretty, mid 30s, unattached, very focused on her shop. She has to be trained somehow as a conservator perhaps? Though that makes her a little too People of Book, perhaps. It's hard to keep all influences out. And having her find the Captain's journal lends it a bit of a Dan Brown quality with the DaVinci Code. I think she's a different sort of historical detective and maybe there's no bad guys chasing her, but she's more of an uncoverer of lost stories. Now, that feels like it's getting somewhere.

Where does Lumka find the Captain's journal? On a weekend trip to Amsterdam? In a dusty antique shop there - of the kind like that amazing store front I used to drive past in Christianshavn - long forgotten and left behind, possibly ignored by heirs who never cleared it out, but finally are compelled to do so. It's inside of a metal box, like the one Lynne sent a photo of. It once had the name of the ship painted on it and it's partially visible, but very faded. No one had opened it in years and thus the journal remained safe inside. Lumka buys it, loving the weathered look of the old metal box, not even realizing the treasure it contains until she gets it back to her shop in Copenhagen.

I have to find the threads of this story and weave them together as my own...all those impressions I've gathered over a lifetime, of places that struck my fancy - like the storefront in Christianshavn, Ravnsborggade, journals and sketches seen in museums. I feel so stuck in autobiography, perhaps Lumka is a version of me and who I was in Macedonia back in the late 90s. Maybe that's how I find my way to her, to make her concrete and living, rather than just seen in glimpses at a distance in my mind. The only way she's going to come out and be who she needs to be is if I sit down and write her down every day. She will remain elusive until I commit to that. I think the time to commit is now.

Monday, April 6, 2020

What is it about Mrs. Pollifax?

I'm binge reading the Mrs. Pollifax novels again, as I find myself in need of comfort. And it's got me thinking. What is it that's so comforting about them? Something in their construction? Can I dig into it for my own writing on the novel. I think first of all, you fall a little in love with Mrs. Pollifax. She's non-judgmental, self-reflected, strong-minded, no nonsense, a bit quirky with her wild hats, and ultimately utterly likable. She's very open and curious to everyone she meets. She doesn't waste time, she gets straight to business, even when it seems like she's off on a tangent - speaking to some budding it-girl model on a plane - it's actually all about business. She's RELATABLE. I definitely want to be her, down to pondering whether I should sign up for karate lessons.

As far as the progression of the novels themselves, I find them different than Agatha Christie, whose work they are compared to. Agatha Christie is so self-consciously holier than thou - you could never figure out who did it because you're clearly too stupid. Sherlock Holmes is like this too. Here, she's often the one who is underestimated by her peers, not the one with a slightly thick sidekick.

Everything that happens in these novels moves the plot forward and while you might not see it coming, how she's going to get through it - breaking in to the main prison in Sofia, Bulgaria was just pure guts - you are along for the ride, rather than having vital clues hidden from you to be revealed by a pompous little Belgian in the final chapter.

I love how Bishop becomes more and more of a Q figure as the novels progress - providing her with the clandestine kit she may need to affect the mission. Though her kit is more along the lines of special hats that hold passports and cameras built into an elaborate brooch, than guns and fancy cars. Again, she's just so RELATABLE.

The books are also easy-reads. I'm reading basically one a day and I'm not spending all day doing it, I'm just reading for a couple of hours at bedtime and then maybe a little late afternoon to unwind. But what is it that makes them easy? That forward motion of the plot? It's not like it's super simplistic language and there's clearly a lot of research about locations and their history woven into the plots, so they're not just throw-away broad brush strokes.

As I was reading the first one, which ends up in Albania, I found myself thinking that there was no way Dorothy Gilman could have written it without having been to Albania. It has a legit Balkan feel, as does the one set in Turkey and the one in Bulgaria. She had to have visited the Balkans and in the 60s and 70s, when she was writing these, that wouldn't necessarily have been an easy feat. If she didn't, I'd love to know how she did it.

One of the mechanisms she uses is that Emily Pollifax has to figure out who someone is. Sometimes it's someone who is working with her and sometimes it's someone who is working against her. But that said, I don't find them necessarily formulaic, other than maybe that they feel a bit cinematic. I'm surprised that only a couple of them were made into films or made-for-tv movies. Angela Lansbury played Emily Pollifax, which I'm not sure is the best casting, but perhaps it was for that era. Hmm, who do I think should play her? I don't know how Geena Davis looks these days, but maybe someone like her? If Meg Ryan hadn't ruined her face with too much plastic surgery, I might think she would be good, but I'm afraid she has. There has to be a quirky streak and I don't think Angela Lansbury really had that. Though I haven't seen the film. I should see if it's on YouTube.

Ok, today's musings aren't really on the topic of Finding Lumke, but yet, they kind of are. Because thinking about what makes a good, compelling story that you really want to read is important work. So, to sum up what I think it is, it's a likable, relatable main character, it's a plot that moves forward all the time, and it's letting the reader in on things and not making them feel stupid, while also keeping that fine balance of keeping them guessing and moving along with you. Of course, our novel isn't a mystery or a spy story, but surely the same elements matter.

Tuesday, March 3, 2020

a visit to the Maritime Museum in Barcelona


We visited the Maritime Museum today in Barcelona. They have a great deal of emphasis on the Catalan contributions to seafaring (even downplaying Columbus and the whole “sailed the ocean blue in 1492) and it largely started in the 1500s, which seems kind of late. They have an amazing replica of a galley (do they mean galleon?), which was quite a flat ship, with countless oarmen (read: slaves), sails that encompassed 700 square meters of fabric and a fancy housing on the stern, where the illegitimate son of the King hung out during the battles, with fine herringbone floors and elaborate paintings on the sides. It had a weird Oriental feel (I realize we shouldn’t use Oriental anymore as a word, but honestly, it was that).


I quite liked some of the decoration on it – like cranes painted on the side and in relief, to signify a metaphor for the Captain, who must be alert night and day. There was also a painting of Diana, which also symbolized the Captain, who is full of understanding and reason and the dog accompanying her, that symbolizes the senses and obedience, of the crew, naturally. These are definitely elements I can use in the story.


On the back of the galley there was a golden Medusa head, which was believed to have magical powers and strike terror into anyone who saw it. On the front, was the most amazing Neptune figurehead, symbolizing dominion over the sea. These are definitely ideas I can use.


Other ideas from the museum, were various maps and books kept by captains and aspiring sailors, featuring sketches of landscapes, maps, and bits of gear on board, including some that remind me of some of the things I’ve done for the Inspired by Place eCourse. I wished there was more of that sort of thing and that they had some posters or at least postcards of the maps for sale, but alas, they did not.


The museum itself was a lovely building that was almost Danish in its skillful combination of new and old. In the last bit, which was aimed at children, there were some cool animated illustrations of various legends of the sea – mermaids, Leviathan, the Kraken, and sea monsters. Much inspiration there and I even stood and took some videos to remind me. I’ll have to do research into the those – everything always leads to more reading. And some of it was Biblical, which keeps popping up as well.

 I had hoped for more inspiration in the ships themselves, but alas, they were very focused on Barcelona-built ships, which were very different from the Dutch ships in our story. They played up their conquest of the Americas and there was nothing about the routes around the Cape to India and Java. This undoubtedly makes sense, as the museum is in Barcelona, but it wasn’t really what I was looking for.


Other things I learned, which are useful: the sextant was used to calculate latitude and the chronometer to calculate longitude. The items they had on board to trade – cotton, tobacco, sugar, slaves, “undeclared goods” or contraband. There were some very cool chests that had been used to carry goods, which I can use in the story. No talk of spices or even coffee, though the cocoa beans were mentioned, in this museum, and those were undoubtedly major items for the VOC.


I’ve been thinking about the figurehead on "our" ship. Weirdly, when I got home to the apt., I tried to Google what the Berbices ship looked like and I got no results for that ship. I asked Lynne and Judith if they had seen it and Lynne immediately came back with results, searching on the same terms I did! I wonder if Spain didn’t want me to access VOC ships when they are trying to sell me on their maritime heritage. That would be kind of funny and what else explains it? Just the vagaries of the algorithm.

There’s always more research to do and more to read to improve my writing and the story. It’s all part of the process and I’m very much finally truly enjoying it as I go along.

Monday, March 2, 2020

there's a knocking in my brain...

I've spent the day today working on everything except the novel, but I'm finding that Abraham and Darius - one of the slaves who worked for him in the pottery - are taking up headspace. Rattling around and knocking and demanding to be heard.
Right now I am struggling to hear their words, but I can see them very clearly.

It is early morning. The mountain is covered in mist, reaching about halfway down, with just occasional glimpses of the top peeking through.

The weather has been warm for the past few days, but today the mist has brought a crisp coldness and a promise that winter is not far away.

Abraham's house is uphill from the pottery, with a view of the Company's garden below and Table Mountain and Lion's Head to the right and behind him.




silver tree. It is the only tree that grows naturally in the City Bowl. It is a member of the protea family
the house is not as grand as this, but this is what the garden looks like
The house is on the outskirts of the town. There are silver trees  in the garden, and Abraham has planted some oaks for shade.

The silver trees look their best in this weather - leaves shimmering in the soft light.

The spring, with its clean, sweet water, emerges just below the house into a natural pool

Abraham and his men have built a leiwater channel which feeds water to the pottery when the sluice is lifted. The rest of the water is channelled down through the Company's Garden and into the Heerengracht.


I think that the houses where the slaves lived and where the pottery is made look more like these. This is the Genadendal mission station that was established in 1738.


Captain van Dijk's diary

Captain Wouter van Dijk has a small shelf in his cabin. On it is a small selection of books. The most important book on the shelf is is a kind of diary he's kept for all his years of sailing, when he was on board the XXX in 17XX. This is his first voyage on the Berbices, but he has sailed the long trip around the Cape to Java before. In the diary, he notes down things that happen along the journey, as well as doing small drawings.* He harbors a secret artist/scientist inside himself and he sketches the plants and animals he sees along the way, carefully noting where and when he sees them and their size and appearance. But he also notes the everyday things from the voyage, when they passed another ship, storms they encounter. These he notes in the ship's logbook as well, but here, in his diary, they are more personal. He writes about those at home – his wife, daughters and yes, his mistress - who he misses and he does the odd sketch of them to comfort himself on the long journey. Also on the shelf, there are two other books (MUST DO SOME RESEARCH TO FIGURE OUT WHAT THESE BOOKS ARE) that.....

*NOTE: This book will later find its way into Lumka's treasure box, back in Copenhagen.

There are many legends at sea - the meeting with Neptune upon passing the equator, the ravages of the doldrums if they drift too far west at the wrong time of year. The albatross is another legend - the giant bird brings with it the omen of favorable winds, but if you kill the albatross, calamity will befall your ship and all your men. Captain van Dijk would severely punish anyone who shot an albatross. And of course, the Flying Dutchman, the legendary ghost ship captained by Barend Fokke, which was lost in a storm at the Cape, a century before him. Fokke was known as the Flying Dutchman for the speed with which he could make the trip to Java and back. They say he sailed with full sails, oblivious of the wind and weather and he could sail between Batavia and Holland in just 90 days, doing a round trip in only eight months! Many said he was in league with the devil for this feat and he was known for his devilish looks and stature. It’s said that the devil finally came calling to collect his soul, and Fokke and his ship were lost at the Cape, trying to enter Table Bay. To this day, she drifts on her own on the seas, sails in tatters, her crew of ghosts, bewitching the crews of other ships who see her glowing on the horizon.

These were busy days in Amsterdam, as the ship was made ready for her next voyage to Java. Stores were being taken on board and lashed in place in all the nooks and crannies of the ship and on deck. He was selecting his crew and signing them on. There were many soldiers, as well as experienced mates, cooks, a boatswain, a quartermaster, everyone he would need for the long voyage. He took on men he could trust, whom he had sailed with before. But he also took on new, young sailors who had never been on such a voyage. They would find their sea legs soon enough. He would lose some of them along the way, it was just the way it was, not everyone made it, the voyage was not for the faint of heart. They were setting sail in August, high summer in the Netherlands and it would be summer in the southern hemisphere when they reached the Cape, their halfway point, in November. They should be in Batavia by April. There, they would load the ship with spices and coffee and tea, which were the gold of this age, making him and the Dutch East India Company rich, and sail back for Amsterdam.

 **RESEARCH NEEDED – Need to look into what books would have been published and in fashion in 1723. When did the Enlightenment start? Would he have taken Voltaire with him? What about scientific books? I want him to be learned, thoughtful, a man of science, as well as an adventurer. But were the captains of ships of this class? Would it be highly unusual if he was interested in science and cataloging plants and animals ala Lewis & Clark, who came later? 

Reading the chapter on the Flying Dutchman in Myths, Stories, and Organizations (ed. Yiannis Gabriel) who suggests the legend is a symbol of two eras meeting in transition. He’s talking more about when the legend was written down, at the beginning of the nineteenth century (by Heine in 1831), but it could also have been so when it came about…the era of exploration, the first big multinational, the VOC, the trade routes between Europe and India/Java. The damned captain of the ship “is above all the sign and symbol of an emerging era, situated between utopian romantic social dreams, the restoration, the dawn of national states, and enlightened demystification.” (Peter Pelzer, p. 141)

When was the start of modernity?

Sunday, March 1, 2020

Some thoughts on Captain Wouter van Dijk

This month, on 750 words, I am devoting at least some of my 750 words to our novel. I've proven I can write on a daily basis about all the nonsense in my head, so let's see if I can write something useful. Well, useful to our novel. I hate to say that writing what's in my head isn't useful, as it's very useful to me and my well-being.

Yesterday, I did a bit of research on the NL Archives VOC site, to get real names of people who sailed with Lumke. It's this cast of characters that I'd like to write about this month:

  • Pieter Maillij, Antwerp, assistant to the constable on board the Berbices
  • Arij Jansz Lint, Christiaansand, experienced sailor/cannon firer on board the Berbices - also listed as a woodsman
  • Cornelis Michielsz, Abenrade, experienced sailor/cannon operator on board the Berbices - also listed as a woodsman
  • Jan Peter Werner - soldier on board the Berbices
  • Booij Said, second mate on board the Berbices
  • Henrick van Alderwaerelt, Amsterdam - sergeant, in charge of the soldiers on board the Berbices -taken on board in November 1723
  • Johan Balthazart Alt - soldier - on board the Berbices
  • Arent van Wijk - “hoop loper” - helper to the mate, on board the Berbices
  • Leendert Havelier, Amsterdam, First officer, resp. For medical care on board the Berbices, taken on board November 1723
  • Claes Bartelsz - soldier on board the Berbices
  • Frederik Voogt, Slesingen - soldier on board the Berbices
  • Jan Jurgen Propst, Frankfurt - soldier on board the Berbices
  • Joannes Spillenaar, Bommel, - bottlier “bottler” - on board the Berbices, responsible for all food and drink
  • Jan de Groot, helper of the Constable, on board the Berbices, disembarks in the Cape Colony.
  • Bonaventura Verkruissen, Den oudenburgh, experienced mate, fires the cannon - also listed as a woodsman
  • Frans de Graeff, Nimwegen, Quartermaster on board the Berbices “direct control of groups of men, distribution of hot food and law enforcement during the planning”
  • Captain Wouter van Dijk - Berbices (1723-25) Sailed the return voyage too


I learned that there are an awful lot of soldiers on board such ships. I don't know why I didn't realize that. I also managed to find the name of the Captain who Lumke sailed with - Wouter van Dijk. I had stumbled across the name of another captain on another site, but he was captain on an earlier voyage, not on Lumke's voyage. I'm excited to see what these guys get up to, as they come out my fingers. I just did a selection of the real crew members, trying to choose names that sounded interesting or people who were from certain places - like a guy from Frankfurt, to maybe establish some kind of imagined connection to Abraham. I am looking forward to letting this cast of characters speak through me. Curiously, all of those experienced mates who have a secondary job of firing the cannons, are listed as "woodsmen" or in Dutch: Bosschieter which Google translate tells me is a woodsman. Why would they be good at firing cannons, I wonder?

I have a picture of Wouter van Dijk in my head. It's currently unspoiled by research into what such captains wore or looked like, but probably spoiled by too many Pirates of the Caribbean films. I see him in a fancy uniform, plenty of gold buttons on his chest and a wide, trekroner (hmm, that's Danish, I never thought about that) hat with a feather. His hair is longish and he has a beard. He's neither young nor old, has a commanding presence, shouting orders, commanding respect. I see him in tall leather boots, a kind of jodpur pant tucked into them. I don't know if he wore the full uniform at sea, but I imagine that he wore it in port and when things got a bit hairy or they encountered another ship at sea. But maybe his fancy jacket mostly was slung over a chair in his cabin.

His cabin was, of course, the largest on board, but that didn't mean it was all that large. It contained his bunk, with proper mattress, sheets and pillows, plus a table and a couple of chairs and a cupboard for his clothes and things. It is dark, but one of the few that had a small round porthole window, so during the day, it was lighter. There are brass lamp fittings on the wall, and another affixed to the table, but that one is more of a candle stick, where as the ones on the wall are oil lamps with a wick and chimney. He can spread maps and charts out on his table and he has the instruments of a sailor - sextant and a spyglass to look through, both in brass. He is experienced, this isn't his first voyage. He can look at the stars in the night sky and know where they are.

a treasure box of inspiration

It's madness to even be thinking about the next book when we're a bit lost and stuck in the first one, but I came across this amazin...