Having spent a few days away from London I would normally have returned to my desk with a slew of reviews to do from the place that I’ve been. But on this occasion that isn’t the case as I was away for a conference of the Society for the Study of French History. So this piece is more of a reflection on that conference, a sidestep into my own little obsession of going to galleries and then a thought upon a moment of touching serendipity in a church.
It was my first time at the conf, presenting a paper that I’d previously given in Middlesborough but this time to a group far more likely to be more interested in the French than sporting aspect of my research. As usual it taught me the value of presenting to an audience whose specialism lies beyond one’s own. My co-pannelists (Will Pooley and Russell Stephens, both of whose papers were very good (and you can’t say that about everything you go to at a conference)) were talking about witchcraft and nineteenth century political cartoons so could hardly have been farther from my own field of early twentieth century sports culture. Yet in a sparsely attended session (it was the last of the conference after all) the discussion ranged freely enough to spark a few ideas that wouldn’t have occurred to me with that outside input. And I now know a shitload about witch trials and phallic imagery in the reign of Napoleon III. Result!SSFH
The other good thing about conferences (apart from the socialising, or maybe as part of it) is that it can clear the mind of applying for jobs and getting rejected, writing but ever feeling that you’re not writing enough and teaching but worrying that you haven’t given your students all that you could or should. Because by talking to other early career researchers, and I mean talking to them not reading their angsty tweets and blogs, you feel more normal about your own angst and setbacks.
But of course much as I love conferences I do also like to get out of them and wander around. By contrast to Middlesbrough Chichester seems to be suffering from no economic dislocation, even in the early days of B****t. And this shows in the gallery attendance at Pallant House. It was solidly busy on a warm Sunday afternoon with families, young couples retirees and wannabe flaneurs like me.
Deservedly so. The twentieth century art collection is outstanding, with my own favourite being a Patrick Caulfield room kitschly mysterious and entirely covetable. The temporary exhibition of work by Christopher Wood deserved more of my attention than I had the energy to give. So well worth 10 quid for entry.
But talking to a local who was back for the conference she said that she wouldn’t be going because she didn’t think she had enough time free to justify spending that kind of money. Which again reinforced my opinion that such galleries should mitigate the entry charge by extending the ticket for a year, as they do in Queen’s Gallery and the London Transport Museum. This would maintain revenue while also encouraging multiple visits by Chichester residents, thus resolving that conundrum about how to find a balance between earning the tourist bucks without fleecing the locals. But if you’re in the area go there – it’s worth ten quid.
And also go to the Cathedral, which is free. Preparing for my paper I sat in the nave while the organist went through a quite challenging repertoire of what sounded like Messaien to my untrained ear. And then on the way out I saw this:-
It inspired the final poem of Larkin’s Whitsun Weddings (go here for a reading of the poem by Larkin himself) one of the few collections poetry that I know well. And very apposite in the week of my own wedding anniversary. A good omen.
Blue Badge guide to London and academic specialising in early twentieth century history. Blogging on history, academia, and food and culture in the capital (and occasionally elsewhere).