Showing posts with label history. Show all posts
Showing posts with label history. Show all posts

Tuesday, August 15, 2023

Reading Corner: Swamp Edition

Welp, we are in the home stretch of the summer, and I'm ready for school to start (although our fall activity schedule is a little more chaotic than I would like because Birdie was really set on being in the fall play at school and the boys are running cross country.  Oy).  Honestly, the summer has been okay.  The nasty hot/humid weather really only started last week; there were quite a few days this summer where I had windows open a lot of the day--that never happens!  Although I will say it has been a doozy since last week.  I guess the weather was saving it all until now.  

My kids and husband went to overnight church camp the first week in August and I had seven glorious days all to myself.  I read, watched a bunch of independent films, wrote a bit, and generally kept my own schedule for the first time in years.  It was a bit of a hard reentry when they returned--why do they need feeding so often?--but we'll get there again, I guess.  One possibly fruitful bit of that week was that I think I'm working my way around a writing project, although I'm not sure it will be anything yet.  Considering I thought perhaps I only had two books in me, it is nice to have the sense that there might be more to explore.  But we'll see.  It might fizzle once I figure out what it is I'm working with.  I've had enough false starts since finishing All This Without You to be cautious.

I said in my last post I've been reading a lot this year, and decided it might be time to write about some of it.  So, on to the reading stack!  

From the top down: The Rise and Triumph of the Modern Self by Carl Trueman; The Master and His Emissary by Iain McGilcrist; Feminism Against Progress by Mary Harrington; The Normal Heart by Larry Kramer; Clanlands Almanac by Sam Heughan and Graham McTavish (not pictured: Way Points by Sam Heughan); Lost in Wonder by Esther DeWaal; The Soviet Century by Karl Schlögel; Dominion by Tom Holland; Winters in the World by Eleanor Parker; The WEIRDest People in the World: How the West Became Psychologically Peculiar and Particularly Prosperous by Joseph Henrich; (not pictured) Solovyov and Larionov by Eugene Vodolazkin

There was also a trio of Cold War spy histories by Ben Macintyre on my Kindle; each book read like a novel and was thoroughly enjoyable.  Agent Sonya reminded me a lot of the film Red Joan; both stories cover similar histories over a similar time period, so that shouldn't have surprised me.  I started a fourth one, In the Enemy's House by Howard Blum but haven't been as gripped by it, even through their narrative styles are similar.  I tried to read A Gentleman in Moscow by Amor Towles (my second attempt!) but gave it up as a bad job about half way through.  I was bored out of my skull and the author was only at 1936!  I just couldn't see reading another 200 pages.  

Unrelated, but we got a lot of raspberries from my garden this year!

The Trueman, McGilcrist, Henrich, and Harrington books all covered similar ground from different perspectives, although I would say the Henrich book really bogged down on specialist material in a lot of places. The book could have been trimmed considerably for a general audience. McGilcrist is a paradigm shifter, and he recently published the two-volume follow up that is twice the length of the first.  My husband is reading that one now but I'm not sure I'm going to tackle it.  The first one was very meaty and good, but I'm not sure how much more I'd get out of the other two volumes.  We'll see.  There are lots of interviews with McGilcrist on his work on YouTube, so if you don't have time for an 800 page book, you can get the Cliffs Notes version there.  


I gave a lecture on Soviet communism to the seniors at my kids' school during the last week of school in June and revisited Yuri Slezkine to prepare for it, so between that and the nearly 900 page Schlögel, it's felt like a whole lotta USSR here the last few months.  I need to set that aside for a while, even if there is a great new Gary Saul Morson book that my husband loved.  It will still be there when I'm ready to tackle it. Tom Holland's Persian Fire was a birthday gift last month so I'm looking forward to reading that one.  Dominion was a great read.  I highly recommend this interview with Paul Kingsnorth if you are interested in the topic.  I read the book on the strength of that chat.

Boo wanted me to read Why We Drive aloud for his night time story this month, so it has been fun to revisit that book.  Matthew B. Crawford is such an amazing thinker and writer and a keen observer of the times we live in.  (He has a Substack now, although I don't have time to read much of it!) I've realized in the past months that I could spend all my time reading excellent Substack authors, but it doesn't feel like a good use of brain space or time.  I think differently through physical books and don't retain information as well when I read on a screen, so it is better for me to be mostly analog.  What writing I've done this month has been long hand as I find that a better way to start the process.

There were a few forgettable novels along the way as well as some fiction re-reads, but it has been a good reading season.  I've got some books on hold at the library that should keep me for the next bit.

Monday, June 5, 2023

Pentecost and the Garden

Hurtling toward the end of the school year, and while summer is never my favorite, I think it will be good to have a break.  Pentecost yesterday, and a nice day overall.  


I gave a lecture on Marxism and the Soviets to the 10-12th graders this morning and had a blast throwing apocalyptic millenarianism at them. I just re-read that original post and wished I had referenced it while writing the lecture since it was harder to organize my thoughts several years after reading the original book.  Obviously, I incorporated a lot of other material in my lecture, including several books I read this year, but still.  Hopefully I can do it again (even better) next year!


Strawberries are producing--have gotten quite a few already. The one upside to the construction behind our house is that it seems to be keeping the birds away from the garden, at least for the moment. The raspberry canes are absolutely loaded with immature berries, so we should get quite a crop in a few weeks! Blueberry bush has many green berries too, a vast improvement on last year's four. The dwarf mulberry will probably fruit next year (fingers crossed!)

I'm mostly focused on the berries this year since I don't know how the construction will ultimately affect the light situation on the patio, so I put in only one cucumber plant and a bunch of flowers.  

My hydrangea looks good this year!  It was a little peaky all last summer, but it looks lush and vibrant this year.  

The kids were hoping for another prodigious watermelon vine, but I just don't have room this year with how big the two raspberry bushes are.  

A few weeks ago, I moved the fig tree into the middle of the garden since it wasn't leafing out properly and it seems happier now.  Nothing much else to report about; still knitting away on various things, reading a LOT (I should do a separate post on that soon), trying to think about the rhythms of summer.

Fig is in the big green pot in the center of the picture.

Wednesday, November 4, 2020

Yarn Along: Give Me All The Charts!

~knitting~

Another finished object!  I finished my Beamer last Friday and blocked it over the weekend.  I swore off lace charts after the Gemini, but after struggling through the lace charts on this pattern (I swear, I knit this entire thing at least twice, given how many rows I tinked back to redo), I really like charts now! 

 

Kate has a wonderfully intuitive way of writing a knitting pattern, and for the first time, I got the chart process.  Like something opened up in my brain to "get it," finally.  

 

The success of the Beamer, and general enjoyment of knitting it, led me to immediately cast on another lacy shawl, this time with some stashed Capra yarn and another Kate Davies lace pattern from the Bold Beginner Knits book called Footfall.  It took me a bit to get the pattern established.  I had to start over once or twice, and then somehow dropped a stitch on either side of the set up chart, so my first repeat ended wrongly on both sides, but I figured out where the problem was after tinking back a couple of times, and now am doing well with it.   The color is Magnolia Heather, but it is more pink-purple than it looks in the photo.  The color in real life is so pretty!

The process of following a chart is very enjoyable to me right now, so I'm all: Give Me All the Charts!  I decided to dip my toes into colorwork, as my primary block about stranded knitting is the charts, but after doing the lace, the colorwork charts made a lot more sense to me (that whole new space in my brain is doing quite well, thank you).  I bought the Mackworth Sweater pattern during sale in the spring, and even bought a mini pack of Stroll Tonal to try out the technique but the whole thing languished over the summer.  Just as well, as I think it would have frustrated me earlier.  


I spent an hour one morning working on different color combinations for the color charts, and then started swatching.  It took me a bit to get the hang of having two or three yarns in my hands, but I think I have it now!  I'm very dominantly right-handed, and knit English, so stranded knitting seemed hard from that aspect too.  I don't crochet very well because of needing to have the yarn in the left hand.  After reading a bit on different stranded techniques (including about yarn dominance), I experimented with different ways of holding the yarn, and it turns out that holding one in the left and one in the right actually works best for me.  Who'd have thought!  


I'm super pleased with my little swatch, and totally enjoyed making it.  I'm not happy with the yarn (too much halo and not enough stitch definition) or color combo for the pattern (not enough contrast in the tonal yarn), although I like the color family.  


After asking around for yarn recommendations, I ordered some Jamieson and Smith 2-ply in a similar color scheme to see if that looks better.  Since J&S is made in Shetland, where Fair Isle comes from, I imagine it will work swimmingly.  

~reading~

 

I'm currently obsessed with the BBC show Victoria (about which more below), and so bought a couple of books to read more about her, since most of my working knowledge is about the latter half of her reign, during her widowhood.  I started We Two last night and had a hard time putting it down to get a good night's sleep!  I plan to read the Victoria biography after that, and possibly another book that contains Victoria and Albert's correspondence.  

The Count of Monte Cristo is the first selection for the reading group I mentioned yesterday, and I'm re-reading the Court of Thorns and Roses series by Sarah J. Maas on my kindle because it is untaxing when my brain hurts.

 Kate Davies' new collaborative journal about Shetland craftwork also arrived last week, and I'm looking forward to reading it.

~general crafting~


 As long as I'm trying new things with knitting, I figured I might as well fall down a few other crafting rabbit holes.  Sometime this summer, I thrifted a little knit dress to wear as a base layer in a particularly unbecoming shade of beige, intending to dye it, but then chickened out when I started looking at Rit dyes and considering my washing machine.  My marigolds have been decent (but not plentiful), so I decided to buy additional dried flowers and alum and have a go at dying the dress naturally.  From my reading, it looks like marigolds+alum is the easiest entre into this sort of dyeing, and I'm eager to try it.

And while I know the handmade jewelry market is totally glutted, I wanted to experiment with making some of my own, as my favorite pieces have been purchased from etsy artisans.  I've made simple earrings in the past, but wanted to try something a little more artistic.  I found a few supplies and had some fun with beads!  Picasso jasper, amazonite, and jeweled agate are speaking to me at the moment.

 

 ~watching~

Victoria, obviously.  I wrote a little about it last week, and I'm on my second viewing of the the three seasons, and it is just as enjoyable the second time around.  Tom Hughes and Jenna Coleman knock it out of the park, and the costume designers obviously know their business.  (Says the historic costumer who gets annoyed when they get it wrong).  It is also the first time I've seen Paul Oakes play a genuinely nice guy and likeable character.  I really like the relationship between the two brothers, Ernest and Albert.

Tom Hughes is pretty interesting to me as an actor, so I'm trying to find other work he has done.  Some stuff I've seen before, like The Game, which is an excellent BBC series set during the 1970s Cold War of Britain, inside MI:5.  He was also in Red Joan, which I wrote about sometime this summer; that is also a great film, and he was very good in it.

In September, I forgot to mention that I rewatched all of the Shetland series (how I love Douglas Henshall!) and the moody landscape and wonderful soundtrack to that show just sucked me back in.  It had been long enough since I watched the first few seasons that I couldn't remember the details, so it was like watching for the first time!

I am trying to get into the second season of The Spanish Princess on Starz, which is the latest in the long line of Phillipa Gregory adaptations.  I enjoyed the White Queen and White Princess, but have found The Spanish Princess a bit slower to get into.  I find the story very compelling, and the production values are quite high, so I don't know why I'm not super into it.  It covers a period of time that most people don't know about Catharine of Aragon: the first 25 years of her marriage to Henry VIII, long before Anne Boleyn was even a shine in her father's eye.  There have been some surprises for me as well!  Did you know that she rode into battle against the Scots while heavily pregnant?  Henry was away fighting in France, and there was an uprising on the border, so she rode out with the army to put it down (and succeeded).  

There is a new adaptation of Rebecca on Netflix that I thought was good.  Not fantastic, but an enjoyable diversion.  I like both Lily James and Armie Hammer (and Kristin Scott Thomas tears up the scenery as the housekeeper), so it was a fun afternoon.

I suppose what I'm looking for in my watching is things that are comfortable--some old watches, some new watches, but nothing terribly taxing or upsetting.  

~garden~

My garden is still limping along. The kale is hanging on, and the tomatoes are still ripening, so we'll take it! 

I have a naughty squirrel who keeps digging in the pots, so I've put plastic forks and netting up to discourage him, since he was undeterred by cayenne pepper.
 
 

I brought in a few pots to winter inside the house, and will just play the rest by ear as to when I cover the bins for the season. 

This lemon balm plant has done exceedingly well.  I love cooking with it.

 


That's all for me!  Linking with Ginny for Yarn Along!

Tuesday, October 27, 2020

Winding the Clocks of Windsor

This morning I started to write a longish Talking Tuesday post about something else, but lost steam the longer I worked on it.  I sense we are all rather fatigued by the season we are in, and perhaps I don't need to add my voice to the fray.  (There are so many other people writing extremely articulate things I am a bit surplus to the requirements).  

Some of my ennui is my reading stack at the moment.  After reading three intellectually-stimulating-but-dense books in quick succession (but in tandem with some lighter reading), I need to read something else for a while.  I plodded through Anthony Esolen's latest book last week with ill humor, as it was rather like force-feeding turnips rather than a feast of delightful things.  Full of vitamins maybe, but lacking in taste.  

I confess I was disappointed, as I expected better from the brief tome.  Esolen strikes me as an erudite and learned man who could add a lot to a conversation about the pursuit of Truth, goodness, and beauty, but instead, he chooses to spend more than 2/3rds of the book sounding like a cranky old man.  I suppose I am tired of reading about the reasons why a deep understanding of the human condition is important and more interested in simply pursuing that knowledge for myself.

I have a long list of people to whom I owe letters, and it seems that there are never enough hours in the day to write them.  (If you are one of those people: I'm sorry!  I will get to it, I promise!)  My pre-quarantine stamina has not returned as I'd hoped, so I find I must carefully pace my days in order to get through them and remain present with my children and their ever-changing needs.

So, with that in mind, I present something charming and interesting, with the added bonus of a bit of history: the clocks of Windsor Castle, which will all be wound by a single conservator this week in preparation of the time change this weekend.  

photo by Antonio Olmos

Several of the clocks featured were given to Queen Victoria, which interests me because I am currently obsessed with the Masterpiece show about her.  

And thus was the white wedding dress born.

I couldn't get past the pilot when it first aired (I forget why exactly, as it is the sort of show that is right up my alley), but have loved all three seasons and am eager for the fourth.  I bought a book of Albert and Victoria's correspondence because I am so interested in their relationship, brilliantly brought to life by Jenna Coleman and Tom Hughes:

The show reminded me how much the world changed between the beginning of Victoria's life and the end.  She was born in the midst of the Napoleonic wars, and died at the turn of the 20th century.  Wars, revolutions, social and cultural change, the Industrial Revolution: the 19th century is so full!  

In any case, it is a highly diverting rabbit hole to fall into at the moment, and I am grateful for it.

Tuesday, September 22, 2020

Talking Tuesday: The House of Government

I finished Slezkine's House of Government over the weekend, hereafter called HoG.  Some of this post is taken from my original thoughts about it in July, but I've tried to add more context here.  I tape-flagged many passages, particularly in book one (his nearly thousand page tome is divided into several books, each with several chapters, organized by theme and chronology).  

As I wrote previously, Slezkine is at pains to tell the story of Bolshevism as a story of a sectarian religion that overcame the secular authority to establish its own theocracy.  By Slezkine's reckoning, the Bolsheviks were the first revolutionary force to succeed in taking over the State to do so.

Slezkine's epigraph

 Slezkine spends the entirety of chapter three on a long discussion of apocalyptic millenarianism both in the West and elsewhere, from the time of the earliest Christians right up to the present, across different religions and contexts, before tying it all off in a neat bow that places the Bolshevik/Marxist movement of the 19th century into that larger cultural impulse that emerges every so often in the face of major economic or societal change.  

 The urge is to find something better in the face of something terrible or unknown.  Since the Reformation, that urge has manifested itself in a search for a positive form of utopia, which until that point, had a nihilistic connotation.  After the Reformers (rightly called revolutionaries by Slezkine), the concept of utopia acquired the hopeful patina of achieving heaven on earth.  It is not a coincidence that the experience and understanding of time ceases to be a vertical spiral and turns into the hard horizontal line of progress as we understand it today. 

This dovetailed nicely with my re-reading of Laurus in May for a book group, and the subsequent articles by Vodolazkhin the group also read.  The (newly positive) idea of achieving utopia is part of the apocalyptic impulse, and the people who get caught up in these millenarian movements stand ready to use violence and coercion to achieve it.  The violence is a feature, not a bug, and every religious reformer and secular revolutionary have used it to try to achieve a purified state on earth.  

This point was driven home to me after I read an article by Gary Saul Morson on Leninthink, which examines the language Lenin utilized in service of the Bolshevik revolution, and the violence and terror that he openly pursued and engaged as part of the new order.  The thing that struck me about it, was that not only was violence and terror a feature, not a regrettable bug, but Lenin saw its continuance as necessary to the continuance of the Bolshevik state, not just as a means of establishment.  To wit, State-sponsored terror was actually written into the 1936 Soviet constitution because of Lenin's thought on the matter.  It helped me to understand Stalin as the fullness of Lenin's thought rather than someone who took it off the rails.   
 
Building socialism and marching into a rational future.

 Slezkine goes on to detail how the Bolsheviks transitioned from a small exiled sect of true believers in Marxist orthodoxy, to their evangelization campaign (otherwise known as the suppression of the kulaks and forced collectivization), settling into power and feeling the disillusionment that utopia (Slezkine calls this "the real day") had not yet appeared.  It is a reckoning that happens with all apocalyptic millenarian movements: the failure of the end days to arrive.  Each movement deals with this failure differently; for some it is the end of the movement, and mass suicide follows.  Many cults of the 19th and 20th centuries went this way.  Some decide that the end of days should be understood allegorically, and adjust their teaching accordingly, particularly as they become institutionalized (but separate from the ruling apparatus, notably).  Christianity goes this way after Augustine.
 
The original Bolsheviks, the "Old Bolsheviks," as they came to be called, found themselves plagued with ennui and psychological illness after the conclusion of the Civil War.  Revolution had not gone beyond Russia's borders, as confidently predicted, and indeed, was not succeeding in Russia in the way Marx and Lenin had written.  Famine was everywhere due to brutal collectivization in the grain-growing regions of Ukraine and Kazakhstan, plus grain requisitions by the State to fund the massive industrialization effort, and attempts to rationalize architecture of the medieval cities in legible ways (described well by James C. Scott in Seeing Like a State) were stalled or incomplete.  It was The Great Disappointment.


The House of Government.  It is difficult to convey the scale of the place, but it is massive.

 The House of Government itself was part of this re-imaginging of the urban space, and took a staggeringly long time to build.  It was a huge complex on the river across from the Kremlin, with multiple entryways and doors, plazas, and amenities.  It housed thousands of people, plus a laundry, cinemaplex, theatre, gym, hair salon, post office, day care, primary school, medical clinic, social club, grocery store, laundry, cafeteria (to release the women from the drudgery of cooking family meals) and a radio station.  There were 505 apartments housing more than 2600 people.  The House was to provide a launchpad into the future of socialism, where life would be a seamless movement of work and home, a gathering of comrads transcending the homely bounds of filial piety.


The imagined Palace of Soviets.  The scale is also difficult to render here, especially if you haven't been in Moscow and cannot conceive of the size of this.  The Cathedral of Christ the Savior is a massive, massive structure.  People are ants in comparison.  The Palace was meant to dwarf the Cathedral by some good bit.  This sketch won the design competition.  Slezkine has the other finalists' drawings in the book, but this one was designed by the architect of the House of Government and fit the vision best.
 
 
Rebuilt Cathedral of Christ the Savior (on the original plan and to original scale).  The people in the foreground give some sense of size, and there are two complete worship spaces inside the building, the grand upper and the slightly more modest lower church.

The House was to be part of the larger Palace of Soviets plaza, planned on the site of the Christ the Savior Cathedral, situated on the opposite side of the river behind the Kremlin.  The Palace would be a place of pilgrimage, a new symbol of the Soviet Union, a holy site suitable for thousands of worshipers to commune with Lenin's greatness, and contemplate their place in the universe.  Or more to the point: how they were participating in the building of socialism.  Shortly after the completion of the House, the cathedral was blown up to make way for the Palace, but a supreme act of irony, the ground proved too marshy to support the gargantuan structure, and so the foundation pit yawned open for more than two decades before being converted into a public swimming pool.  (The Cathedral was rebuilt on the site in the 1990s).   
 
The Palace of Soviets complex, as imagined with a rationally redesigned street plan.  Moscow is a medieval city with few straight streets (it looks rather like a wagon wheel that radiates out from the river and Kremlin).  The Bolshevik architects aimed to tame it, rationalize it.  They did not succeed.

 The Bolsheviks were in a great hurry, with the weight of history upon them, feeling the urgency of the Revolution, for many of them had not really imagined it in their lifetimes.  The Real Day was exceedingly slow in coming.  The world-wide revolution had not only failed to arrive, the Old Bolsheviks had somehow failed to carry out their own vision.  The New Economic Plan put forth by Lenin after the Civil War was a semi-capitalist concession to the famine and economic catastrophe of forced collectivization, but it was to become the foundation for all the Five-Year Plans that followed.  The Bolsheviks understood that their generation was flawed, having been raised under the monarchy--the original sin that could never be overcome--but they hoped they could build a socialist utopia for their pure Soviet children.  
 
Lenin's Mausoleum.  It is surprisingly a small and intimate space.  The man responsible for Lenin's preservation, Boris Zbarsky, survived the Purges of the 1930s, only to be arrested shortly before Stalin's death.  He died in 1954.  His son, Ilya, carried on his work until his retirement in the late 1980s.
 
Lenin's death in 1924 hit the core of them very hard, as there was no clear way forward.  Lenin himself was somewhat adrift after Sverdlov's premature death of Spanish flu sometime in 1919; Sverdlov had been the architect of the Soviet State, and oversaw most of the administrative details in the first years, serving as Lenin's right-hand man, confidante, and enforcer.  (It was he who ordered the execution of the royal family).  Sverdlov had been a leader of the inner circle of Bolsheviks from the earliest days of exile.
 
Stalin, by contrast, had lingered at the outer edges of the Bolshevik core from the beginning, being hard to get along with and less well-read than the others, but managed to elbow aside Trotsky and claw his way to the top upon Lenin's death.  The Old Bolsheviks were disillusioned enough by the failure of the Real Day to arrive that the (often contradictory) changes to the socialist dream that Stalin put forth (including the Five Year Plans) were barely challenged.  Those tasked with writing the first socialist works of literature were on constantly shifting ground, as Stalin consolidated his power and his vision became the only vision possible.

By the 1931, however, things seemed more settled.  Huge industrial projects like the Dnepr Hydroelectric Dam were nearly complete, and factories were being built in the thousands.  The House of Government was complete and inhabited by the most senior members of the government (except those who lived in the Kremlin, like Stalin and Bukharin, although Stalin's family had apartments in the House).  Situated across the river from the Kremlin, the House residents had easy access via the Stone Bridge.  
 
The planners of the House acknowledged that its design was not in keeping with the ideals of socialism, which sought to overcome individualism and family ties with State partisanship and comradely ties, but they also realized that some intermediate measures must be taken on the way to that ideal.  The concession of private apartments instead of universal communal barracks was to provide the first cracks in their theocratic foundation, as people formed families and brought their possessions into the House and generally took on the habits of the bourgeois they were meant to replace.
 
In the early 1930s, it seemed that most of the Soviet Union had made its conversion, rid itself of its internal enemies, and what was needful was evangelists of the Revolution to take the mission beyond its borders as well as the active building of a rational socialist society within the USSR.
 
The assassination of Kirov in December 1934 changed everything.  The sudden and violent loss of Kirov proved that socialism wasn't as stable as everyone believed, that there were still enemies hiding in plain sight.  
 
Slezkine points out that throughout history, when societies experience wide scale or rapid change or unrest, there comes the need for a scapegoat.  Someone must be to blame for the ills of society, and the pressures build up until a suitable target (or targets) can be found.  (Rene Girard has written at length about scapegoating as a sociological phenomenon).  The act of scapegoating, until recently done by interrogation and execution, usually apart from the formal legal apparatus, is a way of releasing tension and bringing things back to center.  Scapegoating is the driving force behind the witch trials of the late Elizabethan era and beyond, lynch mobs of the 19th century, and so forth.  In the USSR, following Kirov's death, a great questioning arose amongst those in power: how had this happened?  Were there really saboteurs everywhere?  There must be more enemies hidden from view, who must be exposed and thrown out or the Revolution will fail.

Thus began the Great Terror.  Stalin started with the inner circle first.  Anyone with even a loose association with Trotsky or the Socialist Revolutionaries was arrested, interrogated at length, and then imprisoned indefinitely or exiled to a gulag in the Far East, usually without a formal trial.  The circle expanded far beyond that, and quickly, to the mass arrests of 1937 and 1938, with mass executions.  
 
It is unclear to me why the scapegoating in this instance was so large in scale, but the method follows a well-worn track.  As with all instances of scapegoating in ages past, for no discernible reason, it died down after 1938.  There were still arrests, interrogations, exile and executions, but the mass scale of them was over. 
 
After Stalin's death, there were whispers about what had happened, but no one dared talk of it openly until Khrushchev's "Secret Speech" to the Politburo in 1957, in which he acknowledged the mass executions and exile and so-called excesses of the 1930s, but it was still up to the victims to pursue formal rehabilitation, a process that required an Old Bolshevik to vouch for you or your relative in writing.  By 1957, there were almost none left alive to do so.  Those who survived exile returned broken and old beyond their years.  Many were left in limbo, dependent on relatives with no access to pensions or any other State support, and their children cut off from education and opportunities to advance (for the sins of the father shall be visited upon his children and his children's children).  Only the rehabilitated (even after death, rehabilitation was possible) could consider entering the Soviet Kingdom of Heaven. 
 
The true believers were mostly ascetic hard workers--the Revolutionary monastics, the original disciples, tasked with the conversion of the country.  They kept long hours, leaving the care of their children to peasant-nannies and babushkas.  Even though they formed families (and reformed them frequently, changing partners and apartments with ease), they sought to form their children in the tenets of their faith, so their children could inherit the earth.  (Tellingly, the women of the Revolution had to choose between having a family or participating in the Revolution; they mostly chose Revolution). The Old Bolsheviks were the intelligentsia who had no place or role in Tsarist society and great readers of classical literature.  They undertook to educate their children similarly give their children a place in the new Soviet order. 
 
It was this reading education that ensured their children would never become true believers, their moral imaginations formed not by socialist texts, but rather by the literature that had excited their parents: Cervantes, Dostoevsky, Pushkin, Tolstoy, Swift, Dickens, Goethe, Heine, and many others.  The children of the true believers would go on to control the levers of power after Stalin as members of the nomenklatura, but they were never truly invested in building socialism in the way that their parents were.  Raised by grandaparents or in orphanages after their parents were swept away by the Terror,  the children carried out the motions of faith with little or no belief.  By the 1980s, the USSR's spiritual core was completely hollow.  The Old Bolsheviks' zealous faith passed away after a single generation.

Friday, September 11, 2020

What Lies Beneath: The Bare Necessities

Before I get into the nitty-gritty of sewing underwear, I thought it might be fun to have a quick digression into undergarment history, as what we wear now has little in common with what people historically wore.

The short story is that for most of history, women and men did not wear underwear in the modern sense of a stretchy fitted garment around the pelvis (although medieval men wore braies, which are a woven linen undergarment with some resemblance to modern undies).  The shift (or long shirt for men) formed the basis of most undergarments from the most ancient times, and the lack of indoor plumbing necessitated easy access.  Women had to handle their monthly cycles and other things without modern sanitary supplies, using some combination of rags and belts under the clothes (giving rise to the theory that men's fluids are culturally neutral and women's are somehow a Very Bad Thing).  For the purposes of our discussion, I'm going to stick to women's undergarments.

(Some historians have speculated that women just bled into their clothing, but I find that hard to believe, given the expense of clothing and the fact that it had to last a long time, sometimes for multiple people.  It is also true that women spent much more of their reproductive years pregnant or nursing, so not having regular cycles, then an earlier onset of menopause--some historians think around 40.  Today it is more like 50, although perimenopause usually starts in the 40s.  That said, cycles still had to be managed at least some of the time, and it seems against all logic that they wouldn't have had some kind of absorbent material under their clothing.


Knitted pads from 19th c. Norway
It's probably part and parcel with the misconception that everyone prior to the modern era smelled terrible and didn't clean themselves regularly.  It is true that body odor would have been more present in earlier societies, but any person who doesn't want to keep themselves clean by the standards of the day is illPeople didn't shower or bathe the way we do, with our modern indoor plumbing, but they kept themselves clean, and tried to keep smells away).

Image from the Rijksmuseum
 Linen was the first thread used for textile making, wool came later, after sheep were domesticated.  (There is a great history of the development of textiles and the domestic labor related to it in Elizabeth Wayland Barber's seminal book, Women's Work.  I highly recommend it).  Because textiles were expensive, relative to household income, garments were constructed to waste as little of the fabric as possible, which meant cutting things in more or less geometric shapes, and maximizing all the space.  (Like today, a wardrobe was still suited to the owner's budget; some people had more, some people had less, and most outer clothing was usually made by professional seamstresses.  It was the undergarments like shifts that were often made at home). Stockings and hose were cut on the bias from wool or broadcloth and seamed, then held in place with garters tied at the knees.


 In the case of hose, they were basically two tubes of fabric tied onto the waist with ties, the crutch* left open and the shirt tucked in, or some kind of braies underneath, although from the Tudor period onward, hose were joined much like modern tights.  Women's stockings remained separate and gartered until the mid-20th century, with the invention of nylon.

But getting back to the shift, that crucial foundation garment, the diagram below is for an 18th century shift, the main idea doesn't change that much from antiquity. 
From Marquis.de
Shifts were worn next to the skin because linen could be easily laundered and was tough enough to withstand regular beating on the rocks in a moving stream.  They were changed frequently, much as we change our underwear today.  The fabric provided a layer of protection for outer garments, which usually were made of fibers that were more difficult to launder, such as silk, wool, or leather.  


Starting in the Elizabethan period, women commonly wore a form of stays to create a specific silhouette and support the bust and back for the heavy labor required for daily living, and the shift always went under the stays, since jumps, stays, or later, corsets would wear out quickly if they were constantly against the skin and couldn't be laundered.  

Guilty!  My top costuming annoyance is putting a woman in stays (or a corset) with no shift underneath.  Wrong, wrong, wrong!  Stahp.  Props to Outlander for consistently getting this one right.  TURN: I'm giving you the side eye.  I think even Mary: Queen of Scots got this one wrong in a few places, and I loved that film. 
(Interestingly, jumps, stays, and later corsets, were commonly made by men as a professional occupation, as opposed to the women's work of spinning and sewing for the household.  The main reason is that support garments are boned and made from several layers of stiff material like heavy canvas, usually bound with thin leather, all stitched by hand.  The hand strength required to perform the work day in and day out was more suited to men.  Having made a pair of stays--see below--I can easily see why).


Shifts were often included as part of a dowry; a wealthy woman in the late 18th century went into her marriage with 60 shifts to her name, and she remarked (without irony) that she would probably never need another.


You can see my garters tied under the knee.  Garters tied above the knee are usually incorrect, as they would not hold a stocking there, having no natural place to rest, since it is the widest part of the leg.  Garters under the knee make more sense.

The earliest textile garment we have is the Tarkhan dress from Egypt; it is easily recognizable as an early ancestor of the shift.  (Hence forward, I'll use the term shift to refer to the white linen undergarment worn by women and men, with some variation on sleeve style and hem length). 

Tarkhan Dress (it would have originally reached the knees)
Starting in the 19th century, women's undergarments became a bit more, well, more.  Instead of a simple shift and gartered stockings under layers of petticoat skirts (which could be whipped out of the way easily), split drawers (sometimes called panteloons or bloomers) became fashionable, but still included a shift on top (by this point it is more commonly called a chemise).  Confusingly, in the late 18th and early 19th century, men wore an outer garment called panteloons, that were a particular type of knee breeches.  Corsets become longer and more restrictive (and less conducive to heavy labor, rather than being an awesome back support), as the female ideal shifted from a robust laboring woman to assist with all the tasks of the home and field, to a delicate, thin, fainting thing, barely able to stay upright.
Image via Ruby Lane

By the Edwardian period, women's underpinnings had become truly fiendish things called combinations, and I struggle to understand how bathroom use worked, as indoor plumbing was far from common, and even with indoor plumbing, you'd still be in for a job every time you had to go.  Between the long-line corset, garters, and drawers without a center split, I'm really at a loss--perhaps there was a buttoned crutch?

Image via
 For a fun read, The Dreamstress did a project called the 1916 Project, where she wore clothing she made based on extant clothing from the 1910s for a fortnight and did living history research at home. 
Image Via Costume Diaries
Things improved somewhat after WW1, when the looser silhouettes of the 1920s came into fashion.  Combinations and bloomers were still around, but were considerably looser and shorter (and came to be called cami-knickers), closed with a button or snap at the crutch, and no longer included a longline corset.  By the end of the 1920s, women wore loose woven shorts (see below) and an almost modern-looking bra, but corsets didn't disappear until  the 1940s, only to reappear as panty girdles and waist cinchers to achieve Dior's New Look.  Menses were handled with belts and reusable pads that were attached to the belt with pins or clips.

Different types of bust shapers followed in the 1930s and 1940s, in the quest for the fashionable silhouette, but the basic two-piece foundation garment was set.

Image via
 The bottoms became shorter over time, and sometimes included shapewear like the panty-girdles of the late 1940s and 1950s.  By the 1960s, underwear begins to be made of stretchy knitted fabrics closely fitted to the body like nylon or later, jersey, as fine-knit textiles became widely available and popular.

Which brings me to the present, and the underwear dilemma that faces women: how to manage all the bodily functions and not be annoyed by the garment?  In the West, a large percentage of us have easy access to indoor plumbing and modern sanitary products, although it is true that in the developing world, these are largely unavailable and menstruation still considered shameful and unclean.   But, most menstruation products commercially available contain some kind of plastic barrier, which is hard on the environment, and doesn't breathe.  It does no good to wear natural fibers if you need to put a piece of plastic in there too.  

Of course, there are also the crunchy granola options: reusable cloth pads, diva cups, and the newer trend of period underwear (which also contain a layer of plastic in the form of PUL).  Reusable cloth pads are nice, but are mostly a hefty investment if you don't want to make them yourself.  (Although, interestingly, amazon has gotten in on that game and now offers sets for under $20, most of which contain charcoal bamboo, about which more in a moment).  

There is also the not-insignificant factor that as the pelvic floor ages, the muscles that support the bladder don't do their job.  Having babies makes that particular issue worse.  There is the terror of the postpartum sneeze or running up a flight of stairs.  Or you have a completely dysfunctional pelvic floor that stays tense all the time and the muscles don't do their job because they rarely relax (ask me how I know). 

(Here comes the part where I overshare...brace yourself). 

I have a few requirements for underwear that have never been met by commercially-made versions.  These are: 1) actual high waist; 2) full bum coverage 3) elastic that doesn't pinch my legs or waist; 4) natural fibers throughout, 5) a gusset that comes up high enough in the front to actually provide full coverage.  Because I am a grown-ass woman, not a little girl.  For those unfamiliar with underwear construction, the gusset is the bit that is usually two layers of fabric and sits in the center of your crutch.  It is seamed at the back to attach it to the underwear.  (It looks like commercial underwear had higher gussets in the 1970s!! 

There is no surer way to feeling cross with your day than ill-fitting undergarments.  I include bras in that metric, but that is a whole other post.  The weather this summer stressed me beyond breaking, being both extremely humid and extremely hot, for much longer than we usually have high heat and humidity (it started in earnest Memorial Day weekend and hasn't let up since).

I'd bought Jennifer Lauren Handmade's Trixie briefs pattern when it came out, but was daunted by the idea of making underwear.  Me and foldover elastic have not historically gotten along.  But after realizing that about 10% of my daily irritation was coming from under my clothes, I decided to take the plunge.  I cut up a Laguna jersey dress that was in my fabric bin for the scraps anyway, and used the fabric to make a trial pair in a fit of rage-sewing; I don't recommend it.

I didn't have enough matching foldover elastic on hand, so I used what I had, figuring the whole experiment was going to be a bust anyway.  (See rage-sewing above).  I extended the gusset and tripled the fabric layer.  When I finished, I laughed and laughed and laughed, because they were GIGANTIC.  I mean, truly enormous looking.  There is no way these are going to fit, I thought.


But wait!  I wore them for a day, and was converted.  They seemed too good to be true.  Basically, not reminding me of its existence, ever.  My day went 5% better as a result.  (Only 5% because I was still working on the bra issue).  I thrifted some shirts with the right fiber content and bought two yards of Laguna to make additional pairs.  The thrifting was mostly done in the name of make do and mend, and use what is already available rather than buying new.  It sort of worked. (I mostly used the shirts to make the paneled version, which uses less fabric per piece, so some of my paneled pairs are...interesting, but they get the job done).  


The first few pairs had some errors--mostly in stitch length.  It really does make a difference what width your zig-zag is on the elastic edges.  The golden number for me was 4x4 on the elastics, and 1.5 x 1.5 on the seam allowances.  But the application of elastic is not as bad as I expected, so I'll take that.  You just have to remember to start on the inside of the fabric so you end up top stitching on the outside for the last run of stitching.  Makes for a nice neat edge.


I decided to fiddle with the gusset some more, as I thought there had to be something better than three layers of fabric, or worse, a layer of PUL, and discovered a magical textile called charcoal fleece.  It isn't sold in the U.S. but I found a Canadian supplier, and received my yard very quickly, under the circumstances.  From then on, I cut all my gussets from that.  It is awesome.


Because the fleece is significantly thicker than the main fabric, I had to puzzle through how to attach the gusset neatly, because following the pattern instructions resulted in a too-bulky seam at the back, or a double seam right at the back, but I think I've cracked it now.  

Making the most out of scraps--it sort of reminds me of a circus tent, but whatever.
I sew the initial seam to attach the front to the back at the gusset, according to the pattern directions, then turn the seam allowance toward the front, and lay the fleece gusset on top, right at the seam edge, but not overlapping if possible.  Then wide-zig-zag the edges down along the original seam line, and repeat at the front.  I tried a few pairs with the gusset seam turned to the back and overlapped with the fleece, but it doesn't look quite as neat.  It seems to hold up okay with wash and wear.


After that, I was on a mission to get a long laundry cycle's worth. And thus began the underwear odyssey, and a drawer full of well-fitting, non-crazy-making underwear.  Yippie!


Now that I've blistered your eyes, it is worth saying that I think it is important to discuss these things and find solutions, because there is no reason to be held captive to whatever commercial interests dictate our bodies *should* be like.  Friends don't let friends wear bad underwear.
There are a lot of competing messages about women's undergarments, from the way they are presented in the packaging, to the cut and fabrics used.  There seems to be very little thought given to what women might actually want in these garments, and the lock-step grading system means that a lot of us have ill-fitting undergarments.
*Crutch is the older variant on the term, not a typo; I prefer it in writing to the more modern one.