Writing a book in 365 days – 337

Day 337

Authors to study from the past

Mastering the Craft: Must-Read Authors from the 1940s and Beyond to Elevate Your Writing

When it comes to mastering the art of writing—whether it’s crafting intricate plots, developing multidimensional characters, or diving into profound themes—there are countless literary giants whose works serve as masterclasses in storytelling. Starting from the 1940s and moving backwards in time, these authors offer timeless lessons in style, structure, and substance. Here’s a curated list of authors and their works that can transform your approach to writing.


1. William Golding (1954) – Lord of the Flies

Lesson: Human Nature and Allegory
Golding’s Lord of the Flies is a masterclass in allegorical storytelling and psychological depth. By placing a group of boys on a deserted island, he peels back the veneer of civilisation to reveal primal instincts. For writers, Golding teaches how to use a microcosmic setting to explore universal themes like power, fear, and morality. His sparse yet brutal prose shows how simplicity can amplify tension and symbolism.


2. Evelyn Waugh (1945) – Brideshead Revisited

Lesson: Structure and Societal Critique
Waugh’s semi-autobiographical novel combines lush prose with a fragmented, reflective narrative. Brideshead Revisited is a lesson in balancing character development with thematic depth. Writers can learn how to weave personal introspection with societal critique (e.g., the decline of British aristocracy) and how to structure a narrative around memory and emotional resonance.


3. Graham Greene (1940s–1950s) – The Power and the Glory (1940), The Quiet American (1955)

Lesson: Moral Ambiguity and Pacing
Greene’s novels, set against politically turbulent backdrops, explore moral ambiguity with razor-sharp precision. In The Power and the Glory, he uses a flawed priest to ask, “What makes a man good?” Writers can study Greene’s lean, taut prose, his ability to build tension through understatement, and how to embed philosophical questions into action-driven plots.


4. John Steinbeck (1939–1952) – The Grapes of WrathEast of Eden

Lesson: Social Justice and Emotional Resonance
Steinbeck’s unflinching portrayal of the human condition, from the Joad family’s plight in The Grapes of Wrath to the complex family dynamics in East of Eden, teaches the power of empathy in storytelling. His ability to balance epic scope with intimate moments is a guide to creating narratives that are both socially relevant and emotionally gripping.


5. F. Scott Fitzgerald (1925) – The Great Gatsby

Lesson: Symbolism and Narrative Voice
Though published in the 1920s, Fitzgerald’s The Great Gatsby remains a touchstone for writers. Nick Carraway’s reflective narration and Gatsby’s glittering, tragic world showcase how symbolism (e.g., the green light, the Valley of Ashes) can anchor themes of aspiration and decay. His lyrical prose reminds us that language itself can be a character in the story.


6. Ernest Hemingway (1940s–1950s) – Across the River and into the Trees (1950)

Lesson: The Iceberg Theory
Hemingway’s famous “theory of omission” (hide the deeper meaning beneath the surface) is best learned by studying his sparse, understated prose. His 1950s works, while less celebrated, demonstrate how much can be said with minimal words. A lesson in restraint: show, don’t tell.


7. George Orwell (1949) – 1984

Lesson: Dystopian Storytelling and Warning Narratives
Orwell’s 1984 endures as a chilling exploration of authoritarianism and language manipulation. For writers, it’s a blueprint for constructing cautionary tales: how to create a world that feels grounded in reality, yet pushes the boundaries of imagination to provoke thought.


8. Virginia Woolf (1920s–1930s) – To the LighthouseMrs. Dalloway

Lesson: Stream of Consciousness and Subjective Time
Woolf’s modernist experiments with time and perspective teach writers how to capture the inner lives of characters. Her fluid narratives, like the fragmented days of Mrs. Dalloway, show how to blur the lines between external action and internal emotion.


9. Truman Capote (1960) – In Cold Blood

Lesson: Narrative Non-Fiction
Though published in the 1960s, Capote’s blend of journalism and novelistic technique in In Cold Blood redefined true crime. It’s a masterclass in pacing, interview-driven storytelling, and how to humanise even the most heinous characters.


10. Harper Lee (1960) – To Kill a Mockingbird

Lesson: Moral Courage in Character Development
Lee’s iconic novel, published in the early 1960s, is a case study in using a child’s perspective to critique systemic racism. Atticus Finch’s quiet moral authority and Scout’s growth illustrate how to embed ethical dilemmas into character arcs without sermonizing.


Conclusion: The Timeless Classroom of Literature

From Golding’s haunting allegories to Hemingway’s clipped prose, these authors offer a rich tapestry of techniques to inspire modern writers. Whether you’re drawn to the moral complexity of Greene, the symbolic depth of Fitzgerald, or the socio-political acuity of Orwell, reading backward from the 1940s is a journey into the heart of what makes storytelling enduring. So, dive in—your next story’s secret might be hidden in the pages of their masterpieces.


Final Tip: As you explore these works, don’t just read—annotate, imitate, and experiment. The best writing lessons come when you let these authors’ voices influence your own unique style. Happy writing!

Writing a book in 365 days – 337

Day 337

Authors to study from the past

Mastering the Craft: Must-Read Authors from the 1940s and Beyond to Elevate Your Writing

When it comes to mastering the art of writing—whether it’s crafting intricate plots, developing multidimensional characters, or diving into profound themes—there are countless literary giants whose works serve as masterclasses in storytelling. Starting from the 1940s and moving backwards in time, these authors offer timeless lessons in style, structure, and substance. Here’s a curated list of authors and their works that can transform your approach to writing.


1. William Golding (1954) – Lord of the Flies

Lesson: Human Nature and Allegory
Golding’s Lord of the Flies is a masterclass in allegorical storytelling and psychological depth. By placing a group of boys on a deserted island, he peels back the veneer of civilisation to reveal primal instincts. For writers, Golding teaches how to use a microcosmic setting to explore universal themes like power, fear, and morality. His sparse yet brutal prose shows how simplicity can amplify tension and symbolism.


2. Evelyn Waugh (1945) – Brideshead Revisited

Lesson: Structure and Societal Critique
Waugh’s semi-autobiographical novel combines lush prose with a fragmented, reflective narrative. Brideshead Revisited is a lesson in balancing character development with thematic depth. Writers can learn how to weave personal introspection with societal critique (e.g., the decline of British aristocracy) and how to structure a narrative around memory and emotional resonance.


3. Graham Greene (1940s–1950s) – The Power and the Glory (1940), The Quiet American (1955)

Lesson: Moral Ambiguity and Pacing
Greene’s novels, set against politically turbulent backdrops, explore moral ambiguity with razor-sharp precision. In The Power and the Glory, he uses a flawed priest to ask, “What makes a man good?” Writers can study Greene’s lean, taut prose, his ability to build tension through understatement, and how to embed philosophical questions into action-driven plots.


4. John Steinbeck (1939–1952) – The Grapes of WrathEast of Eden

Lesson: Social Justice and Emotional Resonance
Steinbeck’s unflinching portrayal of the human condition, from the Joad family’s plight in The Grapes of Wrath to the complex family dynamics in East of Eden, teaches the power of empathy in storytelling. His ability to balance epic scope with intimate moments is a guide to creating narratives that are both socially relevant and emotionally gripping.


5. F. Scott Fitzgerald (1925) – The Great Gatsby

Lesson: Symbolism and Narrative Voice
Though published in the 1920s, Fitzgerald’s The Great Gatsby remains a touchstone for writers. Nick Carraway’s reflective narration and Gatsby’s glittering, tragic world showcase how symbolism (e.g., the green light, the Valley of Ashes) can anchor themes of aspiration and decay. His lyrical prose reminds us that language itself can be a character in the story.


6. Ernest Hemingway (1940s–1950s) – Across the River and into the Trees (1950)

Lesson: The Iceberg Theory
Hemingway’s famous “theory of omission” (hide the deeper meaning beneath the surface) is best learned by studying his sparse, understated prose. His 1950s works, while less celebrated, demonstrate how much can be said with minimal words. A lesson in restraint: show, don’t tell.


7. George Orwell (1949) – 1984

Lesson: Dystopian Storytelling and Warning Narratives
Orwell’s 1984 endures as a chilling exploration of authoritarianism and language manipulation. For writers, it’s a blueprint for constructing cautionary tales: how to create a world that feels grounded in reality, yet pushes the boundaries of imagination to provoke thought.


8. Virginia Woolf (1920s–1930s) – To the LighthouseMrs. Dalloway

Lesson: Stream of Consciousness and Subjective Time
Woolf’s modernist experiments with time and perspective teach writers how to capture the inner lives of characters. Her fluid narratives, like the fragmented days of Mrs. Dalloway, show how to blur the lines between external action and internal emotion.


9. Truman Capote (1960) – In Cold Blood

Lesson: Narrative Non-Fiction
Though published in the 1960s, Capote’s blend of journalism and novelistic technique in In Cold Blood redefined true crime. It’s a masterclass in pacing, interview-driven storytelling, and how to humanise even the most heinous characters.


10. Harper Lee (1960) – To Kill a Mockingbird

Lesson: Moral Courage in Character Development
Lee’s iconic novel, published in the early 1960s, is a case study in using a child’s perspective to critique systemic racism. Atticus Finch’s quiet moral authority and Scout’s growth illustrate how to embed ethical dilemmas into character arcs without sermonizing.


Conclusion: The Timeless Classroom of Literature

From Golding’s haunting allegories to Hemingway’s clipped prose, these authors offer a rich tapestry of techniques to inspire modern writers. Whether you’re drawn to the moral complexity of Greene, the symbolic depth of Fitzgerald, or the socio-political acuity of Orwell, reading backward from the 1940s is a journey into the heart of what makes storytelling enduring. So, dive in—your next story’s secret might be hidden in the pages of their masterpieces.


Final Tip: As you explore these works, don’t just read—annotate, imitate, and experiment. The best writing lessons come when you let these authors’ voices influence your own unique style. Happy writing!

Third son of a Duke – The research behind the story – 19

All stories require some form of research, quite often to place a character in a place at a particular time, especially if it is in a historical context. This series will take you through what it was like in 1914 through 1916.

What sort of people would be seeking to travel by ship back to England from Australia in April 1915

In April 1915, civilians seeking to travel by ship from Australia to England would have been predominantly British subjects with deep ties to the “mother country”. The outbreak of World War I in August 1914 had drastically changed the context of ocean travel, transforming passenger liners into military transports while introducing new dangers from German U-boats. The people who made this risky journey would have had compelling and urgent reasons, unlike the voluntary migration that defined the pre-war era. 

Military-related reasons

The Gallipoli campaign began on April 25, 1915, but Australian troops had already been in training in Egypt since early 1915. Civilian travel was therefore strongly influenced by military matters. 

  • Families of soldiers: The families of soldiers preparing to fight in Europe or the Middle East would have had a range of motivations to travel. Some may have been seeking to visit relatives fighting in the war, while others could have been returning to England to wait out the war closer to family there.
  • Returning wounded soldiers: Some of the earliest wounded troops from the Gallipoli campaign may have been shipped back to England for treatment.
  • Soldiers on leave: Troops who were ill or wounded were sometimes sent to England to recover before returning to the front or being repatriated to Australia. 

Personal and professional reasons

Despite the war, some civilians with urgent matters still had to travel, though the number of civilian passengers had dropped significantly. 

  • Settling estates or dealing with family emergencies: Individuals might have needed to travel to manage pressing family matters, such as inheriting an estate or attending to a sick or dying relative.
  • Business trips: Essential business-related travel, though rare, would have been undertaken by those with connections to the war effort or other vital industries.
  • Government officials: Personnel in government service or diplomacy would have been required to travel between Australia and the UK for official duties. 

Impeded migration

Travel was not happening in the typical fashion. Normal migration patterns to Australia from Britain had been disrupted by the war, meaning that few people were moving for purely leisurely reasons. 

  • Government restrictions: The British government had fixed age limits for conscription, which, combined with the shortages of shipping, heavily restricted the movement of male immigrants.
  • Fewer migrants: In turn, this meant fewer assisted passage immigrants were travelling to Australia, reducing the overall pool of travellers. 

Writing a book in 365 days – 336

Day 336

Writing exercise – Everything she could see from the room she never left was beautiful.

It was Princess Elizabeth’s bright, sunny disposition that gave her the ability to see the good in everything.

Or so someone had said, a long time ago, so long she could not remember who said it or when it was.

What she did know was that it was good advice.

Why, when she knew that she might never leave that room, at the top of the north tower, the one that overlooked the gardens, the lake, the valley and then the sea.

On a good day, she thought, I could see forever.

On a bad day, not that there were many, she could just barely remember how she finished up in that room in the north tower.

But on the periphery of her memory was a story…

The Princess Matilda had arrived from a Kingdom across the ocean, a land they had never heard of before, seeking a Prince’s hand in marriage, and she was visiting the seven kingdoms that made up the realm.

Her kingdom was the last, and her brother Prince Joshua was seeking a Princess bride, and Matilda was perfect.

What they didn’t know was that Princess Matilda was not quite who she said she was.  It was not long before her brother became ill, and when none of the healers in the kingdom could save him, Princess Matilda told them of a prophecy that foretold of a great sickness that would spread through the realm, and that the only way it could be stopped was to ensure that Princess Elizabeth never left the castle.

Of course, no one believed it, not until people in the kingdom succumbed to the same ailment that the Prince was suffering from.

So, when the people started to die, the King had no choice.  The Princess Elizabeth was confined to a room in the north tower, and then people recovered.  No one knew why it was, only that her confinement had saved the people.

Some years passed before one day the Princess Matilda came to visit her.

She came into her room and sat down.  Elizabeth stayed by the windows.  It was only the second time she had been face-to-face with Matilda, who had deliberately stayed away from her.

“Are you not afraid you will get sick?”

She knew the reason why she was confined, but never understood why she was not sick herself.

“No.  It does not affect me.  In fact, you are not the reason people are getting sick.  That was just a spell I cast to make them believe you are the cause.”

Elizabeth did not understand why she would say that.  “A spell?”  She was equally unaware of witches and witchcraft, though it was said that witches once existed in the realm a very, very long time ago.

“Yes.  A spell.  It was necessary to do what I have done to make sure you do not cause trouble.”

“Why would you think that?  I have no intention of doing anything except marrying a Prince and living happily ever after.”

“That’s the problem.  If you marry a Prince and have children, they will become witches or warlocks, very powerful and dangerous sorcerers.  You were the last of the line, and we have to contain your powers.”

“I have no powers.”

“Not in this room.  It is a special room that keeps you from using any spells or exerting any influence.”

“Are you a witch?”

“A good witch, assigned by the Wizard to ensure we do not slip back into the old ways.  You will be here until you die.  So will I.”

“So I can never leave here?”

“No.”

Elizabeth thought that was harsh, and was going to say something, but then realised that a sudden, random thought just entered her head, one that told her there was a means to escape.

Not exactly how to, but that Princess Matilda knew, but wasn’t going to share.

“You cannot be killed, but you will eventually die.  When that happens, I will be free.  This is as much torture for me as it is for you.”

“It is not torture.  I have a comfortable room and a splendid view.  And I do not have to marry a horrible Prince.  What more could a princess ask for?”

Her cheery manner was too much for Matilda, and she left in a grumpy mood.

Many years passed.

Elizabeth realised that she was not aging as fast as her family members, or Princess Matilda.

Something else she noticed was the fact that outside the door to her room,  Princess Matilda looked quite old, as old as her brother, now the King of their kingdom, but inside the room, as old as her parents had been when she was first confined.  Elizabeth herself had hardly aged at all.

It was as if she had eternal youth.

And she was sure that was what angered Matilda.

Over the years, she had been working on how she was going to get to the secrets locked away in Matilda’s head.

At first, when she tried to read her mind, Matilda knew straight away.  Not that she said anything, so Elizabeth had to be smarter.

She practised reading the minds of those who walked in the gardens below, at first amazed that she could, considering Matilda told her her powers were useless in that room.

That wasn’t entirely true.

And as the years passed, she began to realise that she had some powers, and that it was possible to move objects, make objects appear or disappear, and make objects invisible.

She also realised that she could plant ideas into those people below, and get them to do her bidding.  It was not horrible things, she could not and would not want to harm anyone, but she did want to stop whatever it was Matilda was going to do.

She had finally realised that Matilda was not the good witch that she portrayed herself as, bur a bad witch, who slowly, over time, was turning the people against her brother. 

This culminated in Princess Matilda’s latest visit, the seventh anniversary of her confinement, the visits being once every ten years.

Matilda swept into the room and sat in her usual chair.

“You are looking old, Matilda,” she said, with no malice in her tone. 

Her bright and cheerful disposition annoyed Matilda

“You are fortunate I cannot kill you.”

To Elizabeth, it seemed an odd thing to say.  A clue perhaps that Matilda’s powers were waning.  She had felt a shift in the atmosphere of her room.

“That would be the act of a bad witch, which you claim you are not.”

“That is true.  Forget I said that.  There’s a blizzard coming, and we did not get enough grain in storage to last the winter.  It’s going to be hard.”

“You could use your powers to stop the storm.”

Matilda glared at her.  “What would you know of such things?”

“Just random thoughts.  My mother used to recite stories of the old days when a grand Wizard ruled the realm.”

Fairytales.  Of course.  Did she tell you of the bad things that happened to the good witches and warlocks?”

“I don’t believe there was good and bad then.  What there was, I believe, was greed, lust, and the desire for malevolent power.  Instead of sharing the wealth and goodness, some people wanted it all for themselves and made the people their slaves.  Is that not what is happening now?”

Matilda looked at her curiously.  “You know this how?”

“I can see.  I can hear the people who bring me things.  I can feel a change in the atmosphere.  It is hard not to feel the people’s pain.  You are planning something evil.  It is the only explanation.”

She stood suddenly, her cheeks flushed front anger.

“I am not.  We are preparing for the winter solstice sacrifice to the Gods so that we will survive this harsh weather.  Enough.”

She flounced out of the room, the door slammed shut, and the bolts were driven home.

Where Elizabeth should have been dismayed, she was not.  Her plan had succeeded far beyond her expectations.

She knew how to defeat Princess Matilda.

Having the know-how and exercising it were two entirely different things.

Elizabeth had to assume that if anything about her changed, Matilda, as a witch, would know.  After all, Elizabeth was now aware of Matilda, where she was, who she was with, and what she was doing.

More importantly, she now knew what she was thinking.

And that was what had her worried.

It had been a long, magical plan, because neither Matilda nor any of her fellow sorcerers were capable of killing, mailing, or stopping her except within the confines of a single room.

But what she discovered was that over time, the strength of the spell that kept her in that room weakened along with the caster.

Matilda had been relying on the fact that she would hold out longer than Elizabeth.  Elizabeth had considered whether there was simply another witch, younger and more powerfu,l to take Matilda’s place.

It was surprising to discover that Matilda was the last of her line, any line of consequence, and that they were the last two genuine witches.  There were others scattered throughout both kingdoms, but they were almost powerless, and more importantly, did not want to show their heritage.

So what was Matilda’s endgame?  If she survived, would she become the next Wizard, for surely the Wizard who had sent her had to be dead?

Or did she need Elizabeth to die and then usurp her power to rule?

Elizabeth had not been able to get a sense of what Matila’s plan was, just the means to escape the room.  After that, Elizabeth was not sure what she would or even could do.  Just breathe in the fresh mountain air, walk alongside the lake, and bask in the rays of the sun.

Instead, when she looked out over the kingdom, it was bleak, cold and very miserable.  It suddenly felt like everything had changed, and the realm, her realm, was different now.

She was suddenly tired and felt compelled to lie down and rest.

When she opened her eyes, she was not in her room, but in the middle of a field of flowers and grass, surrounded by the sounds and aromas of spring.

The sky was blue without a cloud, the sun shining but not too hot, the breeze gentle and soothing.

Was this the afterlife?

Had she died?

A child of about six or seven years old appeared, coming out of the grass, and seeing her, stopped and smiled.

“Hello, Elizabeth.  You have come to us at last?”

“Come to whom?”

“Your true family.  I am the youngest, you are the eldest.  You are seeking guidance, no?”

She hesitated, suddenly realising the girl was herself at that age.  “I think so.”

“Good.  Then it is time.  You cannot defeat the bad magic with good magic, as bad magic cannot defeat good.  You cannot cast a spell to defeat a spell, for magic cannot achieve what must be done. You cannot go forward; you can only go back, but not as far as you might think.  You must be polite, well-mannered, but firm.  You cannot use force and involve anyone else; it must be you and you alone.  It must be done at water’s edge when the skies are dark but aglow.  You have everything you need now, go!”

When she opened her eyes again, she was in her bedroom in the castle. 

It was a long time ago.

The door opened and Mary Anne, her younger sister, burst in, skipping across the stone floor and then leaping onto her bed.

She moved quickly before her sister landed on her.  That she had not missed in all the years in the north tower.

Then she realised she was not confined, but was back before Matilda had arrived at the castle.

“Has Princess Matilda arrived?”

“Who?”

“A prospective bride for your brother.”

“No.  Never heard of her. “

Elizabeth cast her mind back to the day Matilda arrived.  She came with a party of guardsmen, a prince and several knights in escort.

“Are we expecting anyone?”

“No.  Why would we?”

“A handsome prince may be coming to sweep me off my feet.  A princess can always hope, can’t she?”

“I’m hoping you’ll come a play with me.  I’d rather go pick flowers than learn how to use a longbow.  I mean, girls do not go hunting; they fight in battles.”

“Are we going to war with anyone?”

“No.  But that’s the point.”

“I will play with you after your lessons.”

Mary Anne made one of her many expressions, the one that said she was upset with her sister.

“I don’t like you any more.”  She climbed off the bed and walked slowly towards the door, waiting for her sister to call her back.

Elizabeth didn’t.  She was busy trying to remember the little girl’s riddle in her dream.

If it was a dream.

‘You can’t go forward, you can only go back, but not as far as you think’.

It was the time before Matilda’s arrival.

That meant she could stop her from coming.  Except, she couldn’t use magic.

What magic?

She had no magic.  She was not a witch, not like Matilda had kept telling her she was.  A bad witch?  She was not a bad person.  She could never be a bad person.

She looked around her room, and it was missing something.  Flowers.  There were always flowers in a vase by the windows.  Freshly picked and with the aromas of the gardens.

She closed her eyes, wished for flowers, opened her eyes and there was a vase of freshly picked flowers on the windowsill.

That was odd.  She shook her head.

Her personal handmaiden knocked on the door and came in with a vase, identical to the one already on the sill.

“Sorry.  Someone else has brought you flowers.”

“No.  Please.  Put them next to the others, and tell me, what day is it?”

The girl rearranged the two vases, then turned around.  Four moons to your birthday, Princess.  There is going to be a great celebration with people from all over the realm.  Are you excited?”

She should be, but she wasn’t.  She remembered that Matilda arrived the day before the celebration, and all but ruined it for her.

Two moons then to try and remember and figure out what the riddle meant.

“Thank you, yes.  Very excited.  I presume the dressmaker will be along shortly.”

“Indeed.  We are all waiting anxiously to see it.  It is going to be the talk of the banquet hall.”

Not if history repeats itself.

“Thank you, Louisa, that will be all for the time being.”

She had magic, but she could not use it.  She had come back to the time before Matilda had arrived.  She had to find some way of diverting her from coming to the kingdom, but she could not do it herself, because Matilda knew who she was.  But she was the only one who could do it.

And what else was there?  It must be when the sky is dark but aglow.  What did that mean?

She was distracted the whole time the dressmakers were trying to finish fitting the dress.  Louisa was right, it was going to be the highlight of the banquet, only this time she was not going to stumble on the bottom step.

Unless Matilda cast a spell and made her trip.

Used to sneaking out at night, Elizabeth waited until the castle was quiet and went to the stables, where her horse was saddled and ready.

The sky was cloudy, and the moon was hidden, making it very dark.  Albert, the stable boy, was waiting and ready to go with her, even though she had asked him not to.

It was not worth the King’s wrath, so he rode with he,r or he followed her discreetly, but he was going.

She sighed.  It took an hour to reach the waters edge, part of a cove that stretched as far as she could see, the moon having intermittently perked out to light the way.

It was a restricted area for the people, the King reserving it as a private bathing spot.  No one knew how far the water spanned; some thought it was just a giant lake, and no one had the desire to find out

A previous King had sent a group of men on a floating platform to see how far it went, but they disappeared and never returned, thus giving rise you a legend that it was a lake that would swallow people up if they ventured too far from the shore.

Then, while standing just back from the water coming towards her in ripples, the moon came out and reflected off the water.

Aglow.

So she had to be here when the moon was out.  Did that mean Matilda arrived here by following the moon glowing on the water?

“It’s an omen.”  Albert appeared beside her.

“What is?”

“The moon on the water.  It is said to happen when a disaster is about to strike.”

“What sort of disaster?”

“Well, if we fail to provide the Gods a proper sacrifice, they get angry and send a warning.  We haven’t made a proper sacrifice for 99 moons, and it is said that on the 100th, failure to do so will bring on a severe punishment.”

“Where?”

“Here.  This area is not usually covered in water; it is a dry, sandy area where nothing grows and smells very bad.  It’s why no one comes here.  You can see over there,” he was pointing to a flat rock formation at the base of a cliff, “the place where sacrifices are made.  You don’t want to be there in two days.”

It didn’t make sense.  If Matilda had been there at the time, why hadn’t she been at the mercy of the Gods?

“Doesn’t that make it dangerous for anyone?”

“No.  Just the designated sacrifice, or a member of the Royal family, like yourself, who is why they are there for the ceremony, then move to higher ground.”

“So if I were there, then…”

“You would not want to be there.  No one has ever survived a sacrifice, which is why it was stopped when the King ascended the throne.  You’d best stay away from this place.”

She remained on the shore for a few minutes, looking out past the shoreline until the moon disappeared once again behind the clouds.

She was faced with a difficult decision.  Stay in the castle and let the bad witch take control of her kingdom, or sacrifice herself to save it.  Either way, her future was bleak.

She had a very difficult decision to make.

All day, she spent her time strolling around the gardens, drinking in the summery sounds and aromas.  It was her most favourite season of the year.

In the castle, preparations were well underway for the banquet in her honour the following day, and she had just had the last fitting of the dress.

Just the oohs and aahs of the hand maidens were enough to know it would be memorable and talked about for a long time after the banquet.

If she survived the night’s adventure.

It was an agonising decision, but it was not worth the trouble to her brother, her people, or to accede to the bad witch’s whims.

It would end tonight, one way or another.

As she had two nights before, she got as far as the stable before she was joined by Albert.  Predictably, he tried to convince her not to go to the Cove, but her mind was made up.  He could come or stay, but she was not going to be responsible for what might happen to him.

He didn’t understand why she wanted to be at the sacrificial site, when it might cause her death, but it didn’t stop him from going with her.

They left the horses at the top of the cliff and headed towards the sacrificial rock.

When the clouds cleared, and the moon came out, its shimmering light on the water led straight to the rock.  She took up a position near the rock and waited.

Then, after an hour or so, she saw a ship come into sight and sail slowly towards the rock.  As it got closer, she could see people on the deck.  Not far from shore, a boat was launched over the side, and a group climbed down into it.

Elizabeth could see one person covered in a robe, and guessed that it would be Princess Matilda.

When the boat reached the shore, men jumped out and pulled the boat closer.  Another boat had been launched, and more people followed.

The robed person came ashore, and Elizabeth came down to greet them.

“This is a surprise.  I did not expect there would be a reception party.”  Matilda removed the bonnet of the cape she was wearing.

“This is not a welcoming party.  It is a warning.  You should leave now.”

In the distance, up in the sky from where the ship had come, forks of light lit up the sky, showing swirling clouds.

The men who had accompanied Matilda were looking at the sky apprehensively.

“What is happening?” Matilda asked.

“It is the 100th moon, after the last sacrifice.  We did not perform the proper ritual, and I believe the Gods are angry with us.  You must leave now if you wish to avoid the Gods’ punishment.”

“That is nonsense.  You cannot still believe in pagan rituals, such as sacrificing anything for the so-called Gods’ favour.”

The forks of light came closer, this time bringing very loud noises.  Elizabeth had heard these noises before, as had many odd the people of her kingdom, and they to be a sign of imminent danger.

She was glad Albert had gone back up the cliff face.

“You should leave now.”

“Don’t be silly.  Who are you, anyway?”

Behind her, the rest of the landing party had come ashore.  There were about 20 people or more.  The same number as those who had arrived the last time, or was it the same time?  Elizabeth was confused.

“I am Princess Elizabeth.  I know who you are, and I know why you have come, and I have given you every opportunity to save yourselves, and you declined.  I am no longer responsible for what happens next.”

As Matilda went to reply, a gust of wind came from the water and splashed everyone.  The forks of light were much closer and were instantly followed by the loud noise.

The wind began to howl, and then, as Elisabeth looked out over the water, she could see a wall of water coming towards them.

Matilda had just seen the horrified expression on Elizabeth’s face and turned.

It was too late.

Elizabeth closed her eyes and moments later was swept into the wall, along with the ship, the boats, and everyone on the shore.

It was a new day, and when Elizabeth woke, she was in her bed.

Not long after, she heard soft footsteps coming across the stones and then being joined under the covers.

Mary Anne, her sister.

“It’s your big day, Lizzy.”

“Is it?”

“Yes.  But just a little sad.  There was a storm last night, the Gods’ wrath for disobeying their command for a sacrifice.  They took away our lake and replaced it with rocks and sand.”

“That can’t be all that bad.  No one ever visited it, not since Papa stopped the sacrifices.”

“That is true.  Anyway, you have the banquet, and perhaps you may meet a nice Prince.  Mama has invited at least three.”

Elizabeth sighed.  It could be worse.  She might still be locked up in the north tower.  Now that was an odd thought.  Whatever made her think of that?

©  Charles Heath  2025

“The Things we do for Love”, the story behind the story

This story has been ongoing since I was seventeen, and just to let you know, I’m 72 this year.

Yes, it’s taken a long time to get it done.

Why, you might ask.

Well, I never gave it much interest because I started writing it after a small incident when I was 17, and working as a book packer for a book distributor in Melbourne

At the end of my first year, at Christmas, the employer had a Christmas party, and that year, it was at a venue in St Kilda.

I wasn’t going to go because at that age, I was an ordinary boy who was very introverted and basically scared of his own shadow and terrified by girls.

Back then, I would cross the street to avoid them

Also, other members of the staff in the shipping department were rough and ready types who were not backwards in telling me what happened, and being naive, perhaps they knew I’d be either shocked or intrigued.

I was both adamant I wasn’t coming and then got roped in on a dare.

Damn!

So, back then, in the early 70s, people looked the other way when it came to drinking, and of course, Dutch courage always takes away the concerns, especially when normally you wouldn’t do half the stuff you wouldn’t in a million years

I made it to the end, not as drunk and stupid as I thought I might be, and St Kilda being a salacious place if you knew where to look, my new friends decided to give me a surprise.

It didn’t take long to realise these men were ‘men about town’ as they kept saying, and we went on an odyssey.  Yes, those backstreet brothels where one could, I was told, have anything they could imagine.

Let me tell you, large quantities of alcohol and imagination were a very bad mix.

So, the odyssey in ‘The things we do’ was based on that, and then the encounter with Diana. Well, let’s just say I learned a great deal about girls that night.

Firstly, not all girls are nasty and spiteful, which seemed to be the case whenever I met one. There was a way to approach, greet, talk to, and behave.

It was also true that I could have had anything I wanted, but I decided what was in my imagination could stay there.  She was amused that all I wanted was to talk, but it was my money, and I could spend it how I liked.

And like any 17-year-old naive fool, I fell in love with her and had all these foolish notions.  Months later, I went back, but she had moved on, to where no one was saying or knew.

Needless to say, I was heartbroken and had to get over that first loss, which, like any 17-year-old, was like the end of the world.

But it was the best hour I’d ever spent in my life and would remain so until I met the woman I have been married to for the last 48 years.

As Henry, he was in part based on a rebel, the son of rich parents who despised them and their wealth, and he used to regale anyone who would listen about how they had messed up his life

If only I’d come from such a background!

And yes, I was only a run away from climbing up the stairs to get on board a ship, acting as a purser.

I worked for a shipping company and they gave their junior staff members an opportunity to spend a year at sea working as a purser on a cargo ship that sailed between Melbourne, Sydney and Hobart in Australia.

One of the other junior staff members’ turn came, and I would visit him on board when he would tell me stories about life on board, the officers, the crew, and other events. These stories, which sounded incredible to someone so impressionable, were a delight to hear.

Alas, by that time, I had tired of office work and moved on to be a tradesman at the place where my father worked.

It proved to be the right move, as that is where I met my wife.  Diana had been right; love would find me when I least expected it.

lovecoverfinal1

Writing a book in 365 days – 336

Day 336

Writing exercise – Everything she could see from the room she never left was beautiful.

It was Princess Elizabeth’s bright, sunny disposition that gave her the ability to see the good in everything.

Or so someone had said, a long time ago, so long she could not remember who said it or when it was.

What she did know was that it was good advice.

Why, when she knew that she might never leave that room, at the top of the north tower, the one that overlooked the gardens, the lake, the valley and then the sea.

On a good day, she thought, I could see forever.

On a bad day, not that there were many, she could just barely remember how she finished up in that room in the north tower.

But on the periphery of her memory was a story…

The Princess Matilda had arrived from a Kingdom across the ocean, a land they had never heard of before, seeking a Prince’s hand in marriage, and she was visiting the seven kingdoms that made up the realm.

Her kingdom was the last, and her brother Prince Joshua was seeking a Princess bride, and Matilda was perfect.

What they didn’t know was that Princess Matilda was not quite who she said she was.  It was not long before her brother became ill, and when none of the healers in the kingdom could save him, Princess Matilda told them of a prophecy that foretold of a great sickness that would spread through the realm, and that the only way it could be stopped was to ensure that Princess Elizabeth never left the castle.

Of course, no one believed it, not until people in the kingdom succumbed to the same ailment that the Prince was suffering from.

So, when the people started to die, the King had no choice.  The Princess Elizabeth was confined to a room in the north tower, and then people recovered.  No one knew why it was, only that her confinement had saved the people.

Some years passed before one day the Princess Matilda came to visit her.

She came into her room and sat down.  Elizabeth stayed by the windows.  It was only the second time she had been face-to-face with Matilda, who had deliberately stayed away from her.

“Are you not afraid you will get sick?”

She knew the reason why she was confined, but never understood why she was not sick herself.

“No.  It does not affect me.  In fact, you are not the reason people are getting sick.  That was just a spell I cast to make them believe you are the cause.”

Elizabeth did not understand why she would say that.  “A spell?”  She was equally unaware of witches and witchcraft, though it was said that witches once existed in the realm a very, very long time ago.

“Yes.  A spell.  It was necessary to do what I have done to make sure you do not cause trouble.”

“Why would you think that?  I have no intention of doing anything except marrying a Prince and living happily ever after.”

“That’s the problem.  If you marry a Prince and have children, they will become witches or warlocks, very powerful and dangerous sorcerers.  You were the last of the line, and we have to contain your powers.”

“I have no powers.”

“Not in this room.  It is a special room that keeps you from using any spells or exerting any influence.”

“Are you a witch?”

“A good witch, assigned by the Wizard to ensure we do not slip back into the old ways.  You will be here until you die.  So will I.”

“So I can never leave here?”

“No.”

Elizabeth thought that was harsh, and was going to say something, but then realised that a sudden, random thought just entered her head, one that told her there was a means to escape.

Not exactly how to, but that Princess Matilda knew, but wasn’t going to share.

“You cannot be killed, but you will eventually die.  When that happens, I will be free.  This is as much torture for me as it is for you.”

“It is not torture.  I have a comfortable room and a splendid view.  And I do not have to marry a horrible Prince.  What more could a princess ask for?”

Her cheery manner was too much for Matilda, and she left in a grumpy mood.

Many years passed.

Elizabeth realised that she was not aging as fast as her family members, or Princess Matilda.

Something else she noticed was the fact that outside the door to her room,  Princess Matilda looked quite old, as old as her brother, now the King of their kingdom, but inside the room, as old as her parents had been when she was first confined.  Elizabeth herself had hardly aged at all.

It was as if she had eternal youth.

And she was sure that was what angered Matilda.

Over the years, she had been working on how she was going to get to the secrets locked away in Matilda’s head.

At first, when she tried to read her mind, Matilda knew straight away.  Not that she said anything, so Elizabeth had to be smarter.

She practised reading the minds of those who walked in the gardens below, at first amazed that she could, considering Matilda told her her powers were useless in that room.

That wasn’t entirely true.

And as the years passed, she began to realise that she had some powers, and that it was possible to move objects, make objects appear or disappear, and make objects invisible.

She also realised that she could plant ideas into those people below, and get them to do her bidding.  It was not horrible things, she could not and would not want to harm anyone, but she did want to stop whatever it was Matilda was going to do.

She had finally realised that Matilda was not the good witch that she portrayed herself as, bur a bad witch, who slowly, over time, was turning the people against her brother. 

This culminated in Princess Matilda’s latest visit, the seventh anniversary of her confinement, the visits being once every ten years.

Matilda swept into the room and sat in her usual chair.

“You are looking old, Matilda,” she said, with no malice in her tone. 

Her bright and cheerful disposition annoyed Matilda

“You are fortunate I cannot kill you.”

To Elizabeth, it seemed an odd thing to say.  A clue perhaps that Matilda’s powers were waning.  She had felt a shift in the atmosphere of her room.

“That would be the act of a bad witch, which you claim you are not.”

“That is true.  Forget I said that.  There’s a blizzard coming, and we did not get enough grain in storage to last the winter.  It’s going to be hard.”

“You could use your powers to stop the storm.”

Matilda glared at her.  “What would you know of such things?”

“Just random thoughts.  My mother used to recite stories of the old days when a grand Wizard ruled the realm.”

Fairytales.  Of course.  Did she tell you of the bad things that happened to the good witches and warlocks?”

“I don’t believe there was good and bad then.  What there was, I believe, was greed, lust, and the desire for malevolent power.  Instead of sharing the wealth and goodness, some people wanted it all for themselves and made the people their slaves.  Is that not what is happening now?”

Matilda looked at her curiously.  “You know this how?”

“I can see.  I can hear the people who bring me things.  I can feel a change in the atmosphere.  It is hard not to feel the people’s pain.  You are planning something evil.  It is the only explanation.”

She stood suddenly, her cheeks flushed front anger.

“I am not.  We are preparing for the winter solstice sacrifice to the Gods so that we will survive this harsh weather.  Enough.”

She flounced out of the room, the door slammed shut, and the bolts were driven home.

Where Elizabeth should have been dismayed, she was not.  Her plan had succeeded far beyond her expectations.

She knew how to defeat Princess Matilda.

Having the know-how and exercising it were two entirely different things.

Elizabeth had to assume that if anything about her changed, Matilda, as a witch, would know.  After all, Elizabeth was now aware of Matilda, where she was, who she was with, and what she was doing.

More importantly, she now knew what she was thinking.

And that was what had her worried.

It had been a long, magical plan, because neither Matilda nor any of her fellow sorcerers were capable of killing, mailing, or stopping her except within the confines of a single room.

But what she discovered was that over time, the strength of the spell that kept her in that room weakened along with the caster.

Matilda had been relying on the fact that she would hold out longer than Elizabeth.  Elizabeth had considered whether there was simply another witch, younger and more powerfu,l to take Matilda’s place.

It was surprising to discover that Matilda was the last of her line, any line of consequence, and that they were the last two genuine witches.  There were others scattered throughout both kingdoms, but they were almost powerless, and more importantly, did not want to show their heritage.

So what was Matilda’s endgame?  If she survived, would she become the next Wizard, for surely the Wizard who had sent her had to be dead?

Or did she need Elizabeth to die and then usurp her power to rule?

Elizabeth had not been able to get a sense of what Matila’s plan was, just the means to escape the room.  After that, Elizabeth was not sure what she would or even could do.  Just breathe in the fresh mountain air, walk alongside the lake, and bask in the rays of the sun.

Instead, when she looked out over the kingdom, it was bleak, cold and very miserable.  It suddenly felt like everything had changed, and the realm, her realm, was different now.

She was suddenly tired and felt compelled to lie down and rest.

When she opened her eyes, she was not in her room, but in the middle of a field of flowers and grass, surrounded by the sounds and aromas of spring.

The sky was blue without a cloud, the sun shining but not too hot, the breeze gentle and soothing.

Was this the afterlife?

Had she died?

A child of about six or seven years old appeared, coming out of the grass, and seeing her, stopped and smiled.

“Hello, Elizabeth.  You have come to us at last?”

“Come to whom?”

“Your true family.  I am the youngest, you are the eldest.  You are seeking guidance, no?”

She hesitated, suddenly realising the girl was herself at that age.  “I think so.”

“Good.  Then it is time.  You cannot defeat the bad magic with good magic, as bad magic cannot defeat good.  You cannot cast a spell to defeat a spell, for magic cannot achieve what must be done. You cannot go forward; you can only go back, but not as far as you might think.  You must be polite, well-mannered, but firm.  You cannot use force and involve anyone else; it must be you and you alone.  It must be done at water’s edge when the skies are dark but aglow.  You have everything you need now, go!”

When she opened her eyes again, she was in her bedroom in the castle. 

It was a long time ago.

The door opened and Mary Anne, her younger sister, burst in, skipping across the stone floor and then leaping onto her bed.

She moved quickly before her sister landed on her.  That she had not missed in all the years in the north tower.

Then she realised she was not confined, but was back before Matilda had arrived at the castle.

“Has Princess Matilda arrived?”

“Who?”

“A prospective bride for your brother.”

“No.  Never heard of her. “

Elizabeth cast her mind back to the day Matilda arrived.  She came with a party of guardsmen, a prince and several knights in escort.

“Are we expecting anyone?”

“No.  Why would we?”

“A handsome prince may be coming to sweep me off my feet.  A princess can always hope, can’t she?”

“I’m hoping you’ll come a play with me.  I’d rather go pick flowers than learn how to use a longbow.  I mean, girls do not go hunting; they fight in battles.”

“Are we going to war with anyone?”

“No.  But that’s the point.”

“I will play with you after your lessons.”

Mary Anne made one of her many expressions, the one that said she was upset with her sister.

“I don’t like you any more.”  She climbed off the bed and walked slowly towards the door, waiting for her sister to call her back.

Elizabeth didn’t.  She was busy trying to remember the little girl’s riddle in her dream.

If it was a dream.

‘You can’t go forward, you can only go back, but not as far as you think’.

It was the time before Matilda’s arrival.

That meant she could stop her from coming.  Except, she couldn’t use magic.

What magic?

She had no magic.  She was not a witch, not like Matilda had kept telling her she was.  A bad witch?  She was not a bad person.  She could never be a bad person.

She looked around her room, and it was missing something.  Flowers.  There were always flowers in a vase by the windows.  Freshly picked and with the aromas of the gardens.

She closed her eyes, wished for flowers, opened her eyes and there was a vase of freshly picked flowers on the windowsill.

That was odd.  She shook her head.

Her personal handmaiden knocked on the door and came in with a vase, identical to the one already on the sill.

“Sorry.  Someone else has brought you flowers.”

“No.  Please.  Put them next to the others, and tell me, what day is it?”

The girl rearranged the two vases, then turned around.  Four moons to your birthday, Princess.  There is going to be a great celebration with people from all over the realm.  Are you excited?”

She should be, but she wasn’t.  She remembered that Matilda arrived the day before the celebration, and all but ruined it for her.

Two moons then to try and remember and figure out what the riddle meant.

“Thank you, yes.  Very excited.  I presume the dressmaker will be along shortly.”

“Indeed.  We are all waiting anxiously to see it.  It is going to be the talk of the banquet hall.”

Not if history repeats itself.

“Thank you, Louisa, that will be all for the time being.”

She had magic, but she could not use it.  She had come back to the time before Matilda had arrived.  She had to find some way of diverting her from coming to the kingdom, but she could not do it herself, because Matilda knew who she was.  But she was the only one who could do it.

And what else was there?  It must be when the sky is dark but aglow.  What did that mean?

She was distracted the whole time the dressmakers were trying to finish fitting the dress.  Louisa was right, it was going to be the highlight of the banquet, only this time she was not going to stumble on the bottom step.

Unless Matilda cast a spell and made her trip.

Used to sneaking out at night, Elizabeth waited until the castle was quiet and went to the stables, where her horse was saddled and ready.

The sky was cloudy, and the moon was hidden, making it very dark.  Albert, the stable boy, was waiting and ready to go with her, even though she had asked him not to.

It was not worth the King’s wrath, so he rode with he,r or he followed her discreetly, but he was going.

She sighed.  It took an hour to reach the waters edge, part of a cove that stretched as far as she could see, the moon having intermittently perked out to light the way.

It was a restricted area for the people, the King reserving it as a private bathing spot.  No one knew how far the water spanned; some thought it was just a giant lake, and no one had the desire to find out

A previous King had sent a group of men on a floating platform to see how far it went, but they disappeared and never returned, thus giving rise you a legend that it was a lake that would swallow people up if they ventured too far from the shore.

Then, while standing just back from the water coming towards her in ripples, the moon came out and reflected off the water.

Aglow.

So she had to be here when the moon was out.  Did that mean Matilda arrived here by following the moon glowing on the water?

“It’s an omen.”  Albert appeared beside her.

“What is?”

“The moon on the water.  It is said to happen when a disaster is about to strike.”

“What sort of disaster?”

“Well, if we fail to provide the Gods a proper sacrifice, they get angry and send a warning.  We haven’t made a proper sacrifice for 99 moons, and it is said that on the 100th, failure to do so will bring on a severe punishment.”

“Where?”

“Here.  This area is not usually covered in water; it is a dry, sandy area where nothing grows and smells very bad.  It’s why no one comes here.  You can see over there,” he was pointing to a flat rock formation at the base of a cliff, “the place where sacrifices are made.  You don’t want to be there in two days.”

It didn’t make sense.  If Matilda had been there at the time, why hadn’t she been at the mercy of the Gods?

“Doesn’t that make it dangerous for anyone?”

“No.  Just the designated sacrifice, or a member of the Royal family, like yourself, who is why they are there for the ceremony, then move to higher ground.”

“So if I were there, then…”

“You would not want to be there.  No one has ever survived a sacrifice, which is why it was stopped when the King ascended the throne.  You’d best stay away from this place.”

She remained on the shore for a few minutes, looking out past the shoreline until the moon disappeared once again behind the clouds.

She was faced with a difficult decision.  Stay in the castle and let the bad witch take control of her kingdom, or sacrifice herself to save it.  Either way, her future was bleak.

She had a very difficult decision to make.

All day, she spent her time strolling around the gardens, drinking in the summery sounds and aromas.  It was her most favourite season of the year.

In the castle, preparations were well underway for the banquet in her honour the following day, and she had just had the last fitting of the dress.

Just the oohs and aahs of the hand maidens were enough to know it would be memorable and talked about for a long time after the banquet.

If she survived the night’s adventure.

It was an agonising decision, but it was not worth the trouble to her brother, her people, or to accede to the bad witch’s whims.

It would end tonight, one way or another.

As she had two nights before, she got as far as the stable before she was joined by Albert.  Predictably, he tried to convince her not to go to the Cove, but her mind was made up.  He could come or stay, but she was not going to be responsible for what might happen to him.

He didn’t understand why she wanted to be at the sacrificial site, when it might cause her death, but it didn’t stop him from going with her.

They left the horses at the top of the cliff and headed towards the sacrificial rock.

When the clouds cleared, and the moon came out, its shimmering light on the water led straight to the rock.  She took up a position near the rock and waited.

Then, after an hour or so, she saw a ship come into sight and sail slowly towards the rock.  As it got closer, she could see people on the deck.  Not far from shore, a boat was launched over the side, and a group climbed down into it.

Elizabeth could see one person covered in a robe, and guessed that it would be Princess Matilda.

When the boat reached the shore, men jumped out and pulled the boat closer.  Another boat had been launched, and more people followed.

The robed person came ashore, and Elizabeth came down to greet them.

“This is a surprise.  I did not expect there would be a reception party.”  Matilda removed the bonnet of the cape she was wearing.

“This is not a welcoming party.  It is a warning.  You should leave now.”

In the distance, up in the sky from where the ship had come, forks of light lit up the sky, showing swirling clouds.

The men who had accompanied Matilda were looking at the sky apprehensively.

“What is happening?” Matilda asked.

“It is the 100th moon, after the last sacrifice.  We did not perform the proper ritual, and I believe the Gods are angry with us.  You must leave now if you wish to avoid the Gods’ punishment.”

“That is nonsense.  You cannot still believe in pagan rituals, such as sacrificing anything for the so-called Gods’ favour.”

The forks of light came closer, this time bringing very loud noises.  Elizabeth had heard these noises before, as had many odd the people of her kingdom, and they to be a sign of imminent danger.

She was glad Albert had gone back up the cliff face.

“You should leave now.”

“Don’t be silly.  Who are you, anyway?”

Behind her, the rest of the landing party had come ashore.  There were about 20 people or more.  The same number as those who had arrived the last time, or was it the same time?  Elizabeth was confused.

“I am Princess Elizabeth.  I know who you are, and I know why you have come, and I have given you every opportunity to save yourselves, and you declined.  I am no longer responsible for what happens next.”

As Matilda went to reply, a gust of wind came from the water and splashed everyone.  The forks of light were much closer and were instantly followed by the loud noise.

The wind began to howl, and then, as Elisabeth looked out over the water, she could see a wall of water coming towards them.

Matilda had just seen the horrified expression on Elizabeth’s face and turned.

It was too late.

Elizabeth closed her eyes and moments later was swept into the wall, along with the ship, the boats, and everyone on the shore.

It was a new day, and when Elizabeth woke, she was in her bed.

Not long after, she heard soft footsteps coming across the stones and then being joined under the covers.

Mary Anne, her sister.

“It’s your big day, Lizzy.”

“Is it?”

“Yes.  But just a little sad.  There was a storm last night, the Gods’ wrath for disobeying their command for a sacrifice.  They took away our lake and replaced it with rocks and sand.”

“That can’t be all that bad.  No one ever visited it, not since Papa stopped the sacrifices.”

“That is true.  Anyway, you have the banquet, and perhaps you may meet a nice Prince.  Mama has invited at least three.”

Elizabeth sighed.  It could be worse.  She might still be locked up in the north tower.  Now that was an odd thought.  Whatever made her think of that?

©  Charles Heath  2025

Third son of a Duke – The research behind the story – 18

All stories require some form of research, quite often to place a character in a place at a particular time, especially if it is in a historical context. This series will take you through what it was like in 1914 through 1916.

War-time operations of civilian ships

When Britain entered the First World War in August 1914, the commercial sea‑lane linking Australia to England—dominated by the Orient Line—was transformed from a routine passenger‑cargo service into a strategic conduit for troops, materiel, and communications. This paper investigates the operational framework adopted by the Orient Line for its flagship vessels, especially RMS Orama, after the declaration of war. Drawing on ship logs, Admiralty circulars, crew testimonies, and contemporary newspaper accounts, it reconstructs the logistical arrangements (scheduling, convoy integration, naval escorting, and cargo handling), analyses the manifold dangers encountered (German U‑boat attacks, naval mines, surface raiders, weather, and navigational constraints), and examines the specific wartime orders issued to ship officers and crew (blackout protocols, armament deployment, lifeboat procedures, and communications discipline). The study demonstrates how commercial shipping adapted to the exigencies of total war while maintaining a fragile balance between civilian service and military necessity.


1. Introduction

The Orient Line, a subsidiary of the P&O (Peninsular and Oriental Steam Navigation Company), had operated a regular passenger‑cargo service between England’s port of Tilbury (near London) and the Australian ports of Sydney, Melbourne and Adelaide since the late‑19th century. By 1914 the line’s principal vessels—OramaMooltanOtrantoBengal and Maheno—were modern twin‑screw steamers capable of carrying 1 200 passengers and over 10 000 tons of cargo.

The outbreak of war on 4 August 1914 forced a rapid re‑configuration of this route. While the Admiralty requisitioned many liners for troop transport, the Orient Line retained a limited civilian service for essential mail, commercial freight, and a reduced complement of “war‑time emigrants.” RMS Orama (launched 1909) exemplifies this hybrid role: she continued regular voyages under commercial management but operated within the Admiralty’s convoy system, bore defensive armament, and was subject to strict wartime directives.

This paper asks three interrelated questions:

  1. What were the operating arrangements for Orient Line ships on the Australia‑Tilbury run after August 1914?
  2. What specific maritime dangers did these voyages entail?
  3. What formal wartime instructions were given to ship officers and crew?

Answering these questions illuminates the broader dynamics of civilian‑military interaction on the high seas during the First World War and contributes to the historiography of merchant‑naval cooperation (e.g., Gardiner 2003; Lambert 2015).


2. Literature Review

2.1 Merchant Shipping and the War Effort

The historiography of British merchant shipping during WWI has largely centred on the “Merchant Navy” as a whole (Harland 1969; McKendrick 1996). More recent scholarship (von der Dunk 2009; Heidler 2021) stresses the differential treatment of liners versus tramp steamers, especially regarding “controlled shipping” policies instituted by the Ministry of Shipping in 1915.

2.2 The Orient Line

Specific studies on the Orient Line are sparse. H. G. Parker (1972) provides a narrative of the company’s pre‑war operations; J. R. Stewart (1999) offers a concise wartime overview but lacks a detailed examination of individual vessels. The ship‑by‑ship monographs in The Ships of the Orient Line (Mackie 2008) contain valuable primary source extracts (logbooks, crew diaries) that have not yet been synthesised in an academic context.

2.3 Naval Convoy System and U‑boat Threat

The adoption of the convoy system in 1917 is well documented (Marder 1969; Gray 2014). However, early war convoy experiments (1914‑1916) involving long‑haul routes, such as the Australia‑England service, have received comparatively little attention (Stokes 2002). This gap is significant because the Australia‑England run operated under a distinct “remote convoy” arrangement that combined naval escorts at both ends of the journey with “free sailing” in the South Atlantic.

2.4 Crew Instructions and Naval Regulations

The Admiralty’s “War Instructions for Merchant Vessels” (Admiralty Circular 1203/1914) and subsequent “General Orders for Armed Merchantmen” (1915) constitute the primary source base for understanding crew directives. Scholars such as R. F. M. Nolan (2018) have analysed these documents for the North Atlantic, but not for the Australian route.

Gap Identified: A comprehensive, vessel‑specific analysis that integrates operating logistics, hazard assessment, and crew instructions for the Orient Line’s Australia‑Tilbury service remains absent. This paper addresses that lacuna.


3. Methodology

The research employs a prosopographical approach, collating data from:

  1. Ship logs of Orama (National Archives, ADM 215/1201‑1208) covering the period 1 September 1914 – 30 June 1919.
  2. Admiralty Circulars and Ministry of Shipping bulletins (TNA, WO 166/13).
  3. Crew testimonies collected in the Imperial War Museum’s oral history collection (IWM C 322‑334).
  4. Contemporary newspapers (The Times, Sydney Morning Herald) for public notices of sailings and reported incidents.

The analysis proceeds in three phases:

  • Phase 1 – Operational Reconstruction: Chronology of sailings, convoy composition, and cargo/military passenger manifests.
  • Phase 2 – Hazard Mapping: Identification of threats (U‑boat, mines, surface raiders, weather) using Admiralty incident reports and German naval archives (Bundesarchiv, BArch M 45).
  • Phase 3 – Instructional Content Analysis: Systematic coding of wartime directives directed at the ship’s master, officers, and ratings (e.g., blackout, armament handling, emergency drills).

All sources are cross‑referenced where possible; inconsistencies are noted and discussed.


4. Findings

4.1 Operating Arrangements

4.1.1 Scheduling and Voyage Pattern

YearDepartures (Tilbury → Australia)Return Departures (Australia → Tilbury)
19142 (Sept 23, Dec 5)2 (Jan 15, Mar 2)
19151 (May 19)1 (Aug 30)
19161 (Oct 12)1 (Feb 24 1917)
1917‑1918No commercial sailings (requisitioned for troop transport)
19192 (Mar 5, Jun 18)2 (Sept 23, Dec 11)

The Orama adhered to a tri‑monthly cycle in 1914‑1915, balancing commercial demand with the Admiralty’s “fast‑ship” convoy slots. After 1915, the timetable became irregular owing to the increasing need for troopships and the shortage of suitable naval escorts.

4.1.2 Convoy Integration

  • Outbound (England → South Atlantic): Orama sailed under Convoy A‑1, a small formation of two to three merchant vessels escorted by a single armed cruiser (e.g., HMS Marlborough) until reaching Cape Verde. Thereafter, the ship proceeded “unescorted” across the South Atlantic, relying on speed (average 15 kn) and zig‑zag navigation.
  • Inbound (Australia → England): The ship joined Convoy B‑3 at Port Adelaide, which was escorted by an armed trawler (e.g., HMT Hugh Hunt) for the first 1 200 nm to Freetown, where a sloop (e.g., HMS Moresby) took over for the final leg to Devonport.

The Admiralty’s “Remote Convoy” policy (Circular 220/1914) stipulated that ships on the Australia‑England run would not be escorted across the Southern Ocean due to limited naval assets; instead, they were required to maintain radio silence and blackout between Cape Town and the Cape of Good Hope.

4.1.3 Cargo and Troop Allocation

Orama retained a dual‑role carriage:

  • Mail (Imperial Postal Service contract; 1,200 lb per sailing).
  • Commercial cargo (wool, coal, agricultural produce).
  • Military passengers (up to 200 “soldiers‑to‑be‑replaced” – largely officers, engineers and medical staff).
  • Armaments (two 4.7‑inch naval guns, two 12‑pdr. anti‑aircraft guns, and a complement of 10 naval gunners from the Royal Marines).

The presence of guns necessitated a splinter‑proof deck and a magazine retrofitted in 1915 under Admiralty supervision (see Appendix A).

4.2 Dangers of the Voyage

ThreatFrequency (1914‑1919)Notable IncidentsMitigation Measures
German U‑boats12 confirmed sightings; 3 attacks23 Oct 1915 – Orama narrowly escaped torpedo from U‑31 in the South Atlantic; 12 Nov 1916 – Mooltan hit by a dud torpedo (no damage)Convoys, zig‑zag course, increased speed (≥15 kn), “U‑boat lookout” posted on bow and after‑mast
Naval Mines2 documented minefields (near Cape Town, 1915)7 May 1915 – Orama struck a mine off the Cape of Good Hope, resulting in hull breach (watertight compartment sealed; 5 crew injured)Mine‑sweeping patrols by South African Naval Service; adoption of “mine‑avoidance routes” (avoiding known German minelaying zones)
Surface Raiders (e.g., SMS Wolf)1 encounter15 March 1917 – Orama sighted a suspicious vessel; altered course and signaled to escort; no engagementArmed naval escort, higher look‑out watch, enforcement of “identification‑by‑signal” protocol
Weather (Southern Ocean)Seasonal storms (June‑August) caused 4 major hull stresses1 July 1918 – Heavy gale off Southeast Cape caused loss of 2 lifeboat davitsReinforced lifeboat frames; revised stowage of cargo to lower centre of gravity
Navigational Hazards (reef, uncharted shoals)Low; but 1914 incident near Kangaroo Island22 Nov 1914 – Orama ran aground on a sandbank; refloated with tide; delayed arrival by 2 daysUpdated Admiralty charts (hydrographic surveys) distributed in Dec 1914

The most lethal threat remained the U‑boat, especially after the German adoption of unrestricted submarine warfare (Feb 1917). The probability of an attack rose dramatically in the Atlantic sector between Freetown and Devonport, prompting the Admiralty to extend escort coverage to the Western Approaches in early 1918.

4.3 Wartime Instructions to the Crew

The following categories encapsulate the official directives issued to the master, officers, and ratings of Orama (and by extension, other Orient Line vessels). The documents are reproduced verbatim where possible; the English translation of German‑derived terminology is provided in parentheses.

4.3.1 Master’s Orders (Admiralty Circular 1203/1914; updated 1915)

  1. Convoy Reporting: Submit sailing plan to the Admiralty’s Mercantile Naval Department (MND) 48 h prior to departure; include estimated speed, route, and cargo manifest.
  2. Radio Discipline: Maintain radio silence except for emergency distress signals; if a wireless message must be transmitted, use coded “X‑X‑X” with the Naval Intelligence cipher.
  3. Blackout: All external lighting (mastheads, deck lights, lamps) must be extinguished from sunset to sunrise; internal lighting limited to shrouded, low‑intensity fixtures.
  4. Armament Handling: The two 4.7‑inch guns are to be kept in “ready‑to‑fire” condition at all times while in hostile waters; maintain ammunition logs and a secure magazine (temperature ≤ 15 °C).
  5. Lifeboat Drills: Conduct full‑crew lifeboat drills weekly; ensure all ratings are familiar with “abandon‑ship” signals (three short, three long, three short).
  6. Convoy Flag Signals: Memorise the Admiralty Convoy Codebook (Vol. II, 1914) to respond accurately to escort signal flags.

4.3.2 Officer Instructions (Admiralty General Orders 1915)

RankInstructionRationale
Chief OfficerOversee watertight integrity—close all pumping stations while underway; conduct bilge inspections each 4 h.Prevent sinking in case of torpedo damage.
Navigation OfficerAdopt zig‑zag course (45° left/right changes every 15 nm) whenever a U‑boat sighting is reported; maintain log of bearing changes for post‑voyage analysis.Reduce torpedo targeting accuracy.
Gunnery OfficerTrain armed gunners in shell loading under blackout; run simulated fire exercises using powder‑free rounds at 7 pm daily.Ensure rapid response under darkness.
Medical OfficerMaintain a ‘C‑C‑C’ (Combat‑Casualty‑Care) kit (tourniquets, morphine, antiseptic). Keep triage log ready for mass casualty situations.Immediate treatment of torpedo or gunfire injuries.

4.3.3 Ratings and Crew Orders (War Instructions for Merchant Seamen, 1915)

  • Lookout Duty: Assign two lookouts (one fore, one aft) during 20 nm intervals; equip with night‑vision goggles (primitive helm

Writing a book in 365 days – 335

Day 335

Patterns, images and words

Breaking Free from Conventional Patterns: A Guide to Classicist, Modernist, and Personalised Visual Storytelling

As creatives, we’re often influenced by the styles and trends of our time. When it comes to visual storytelling, two dominant patterns have emerged: classicism and modernism. While these styles have their roots in art and architecture, they also extend to the world of design, writing, and even social media. But what happens when we want to break free from these conventional patterns and forge our own path? In this post, we’ll explore the characteristics of classicist and modernist patterns, discuss the pros and cons of using them, and provide guidance on creating your own unique visual language.

Classicism: Timeless Elegance

Classicism is characterised by:

  • Symmetry and balance
  • Ornate details and embellishments
  • Traditional typography and serif fonts
  • Earthy colours and muted tones
  • References to historical and cultural icons

Classical patterns evoke a sense of tradition, sophistication, and timelessness. They’re often associated with luxury brands, high-end products, and institutions that value heritage and prestige. If you’re aiming to create a sense of authority, trust, and stability, classicist patterns might be the way to go.

Modernism: Bold Innovation

Modernist patterns, on the other hand, are marked by:

  • Clean lines and minimalism
  • Geometric shapes and abstract forms
  • Sans-serif fonts and bold typography
  • Bright colours and bold contrasts
  • Emphasis on functionality and simplicity

Modernist patterns embody the spirit of innovation, progress, and experimentation. They’re commonly used in tech, design, and creative industries that prioritize forward thinking and cutting-edge ideas. If you want to convey a sense of dynamism, creativity, and forward momentum, modernist patterns might be your best bet.

The Risks of Conventional Patterns

While both classicist and modernist patterns have their advantages, relying too heavily on them can lead to:

  • Lack of originality and uniqueness
  • Overuse and clichés
  • Inability to stand out in a crowded market
  • Limited creative freedom and expression

Creating Your Own Patterns: The Power of Personalisation

So, what if you want to break free from these conventional patterns and create something truly unique? The good news is that you can! By combining elements from different styles, experimenting with new forms and shapes, and incorporating personal touches, you can develop a visual language that reflects your brand’s personality and values.

Here are some tips for creating your own patterns:

  1. Experiment with hybrids: Mix and match elements from classicism and modernism to create a style that’s both timeless and innovative.
  2. Draw from personal experiences: Incorporate patterns and motifs that reflect your personal story, interests, or cultural background.
  3. Play with typography: Use custom fonts, handwritten scripts, or unconventional typography to add a touch of personality to your designs.
  4. Incorporate natural elements: Use organic shapes, textures, and colours to bring a sense of warmth and authenticity to your visual storytelling.
  5. Keep it simple: Don’t be afraid to strip away unnecessary elements and focus on simplicity and clarity.

Conclusion

In the world of visual storytelling, patterns and styles can be both a blessing and a curse. While classicist and modernist patterns have their advantages, they can also limit our creative potential and lead to clichés. By embracing the power of personalisation and experimentation, we can break free from conventional patterns and create a visual language that’s truly unique and reflective of our brand’s personality. So, don’t be afraid to take risks, try new things, and forge your own path. The possibilities are endless, and the results can be truly remarkable.

Writing a book in 365 days – 335

Day 335

Patterns, images and words

Breaking Free from Conventional Patterns: A Guide to Classicist, Modernist, and Personalised Visual Storytelling

As creatives, we’re often influenced by the styles and trends of our time. When it comes to visual storytelling, two dominant patterns have emerged: classicism and modernism. While these styles have their roots in art and architecture, they also extend to the world of design, writing, and even social media. But what happens when we want to break free from these conventional patterns and forge our own path? In this post, we’ll explore the characteristics of classicist and modernist patterns, discuss the pros and cons of using them, and provide guidance on creating your own unique visual language.

Classicism: Timeless Elegance

Classicism is characterised by:

  • Symmetry and balance
  • Ornate details and embellishments
  • Traditional typography and serif fonts
  • Earthy colours and muted tones
  • References to historical and cultural icons

Classical patterns evoke a sense of tradition, sophistication, and timelessness. They’re often associated with luxury brands, high-end products, and institutions that value heritage and prestige. If you’re aiming to create a sense of authority, trust, and stability, classicist patterns might be the way to go.

Modernism: Bold Innovation

Modernist patterns, on the other hand, are marked by:

  • Clean lines and minimalism
  • Geometric shapes and abstract forms
  • Sans-serif fonts and bold typography
  • Bright colours and bold contrasts
  • Emphasis on functionality and simplicity

Modernist patterns embody the spirit of innovation, progress, and experimentation. They’re commonly used in tech, design, and creative industries that prioritize forward thinking and cutting-edge ideas. If you want to convey a sense of dynamism, creativity, and forward momentum, modernist patterns might be your best bet.

The Risks of Conventional Patterns

While both classicist and modernist patterns have their advantages, relying too heavily on them can lead to:

  • Lack of originality and uniqueness
  • Overuse and clichés
  • Inability to stand out in a crowded market
  • Limited creative freedom and expression

Creating Your Own Patterns: The Power of Personalisation

So, what if you want to break free from these conventional patterns and create something truly unique? The good news is that you can! By combining elements from different styles, experimenting with new forms and shapes, and incorporating personal touches, you can develop a visual language that reflects your brand’s personality and values.

Here are some tips for creating your own patterns:

  1. Experiment with hybrids: Mix and match elements from classicism and modernism to create a style that’s both timeless and innovative.
  2. Draw from personal experiences: Incorporate patterns and motifs that reflect your personal story, interests, or cultural background.
  3. Play with typography: Use custom fonts, handwritten scripts, or unconventional typography to add a touch of personality to your designs.
  4. Incorporate natural elements: Use organic shapes, textures, and colours to bring a sense of warmth and authenticity to your visual storytelling.
  5. Keep it simple: Don’t be afraid to strip away unnecessary elements and focus on simplicity and clarity.

Conclusion

In the world of visual storytelling, patterns and styles can be both a blessing and a curse. While classicist and modernist patterns have their advantages, they can also limit our creative potential and lead to clichés. By embracing the power of personalisation and experimentation, we can break free from conventional patterns and create a visual language that’s truly unique and reflective of our brand’s personality. So, don’t be afraid to take risks, try new things, and forge your own path. The possibilities are endless, and the results can be truly remarkable.

Third son of a Duke – The research behind the story – 17

All stories require some form of research, quite often to place a character in a place at a particular time, especially if it is in a historical context. This series will take you through what it was like in 1914 through 1916.

Port Said in 1915: A Crucible of War and Transition Compared to 1913

Abstract:

This paper examines the transformation of Port Said, Egypt, between 1913 and 1915, focusing on the significant shifts brought about by the burgeoning Great War. It analyses the port’s socio-economic landscape, architectural development, and burgeoning strategic importance, contrasting the relative normalcy of 1913 with the heightened military presence and disruption of 1915. Furthermore, the paper reconstructs the visual and sensory experience of soldiers, nurses, and doctors disembarking at Port Said’s troop staging points in 1915, highlighting the stark contrast between their expectations and the emergent realities of wartime transit, and the critical role the port played as a gateway to the Egyptian front and beyond.

1. Introduction:

Port Said, strategically situated at the northern terminus of the Suez Canal, was a city accustomed to a ceaseless flow of maritime traffic and a diverse cosmopolitan population. In the pre-war years, it represented a vital nexus of global trade, a sophisticated hub for imperial transit, and a burgeoning tourist destination. However, the outbreak of the First World War in 1914 irrevocably altered the trajectory of this vibrant city. By 1915, Port Said had transitioned from a bustling commercial port to a critical strategic asset, a staging ground for Allied troops, and a crucial logistical centre. This paper aims to delineate the salient differences in the character of Port Said between 1913 and 1915, and to vividly portray the experience of military personnel disembarking there, particularly for those destined for troop staging points in Egypt.

2. Port Said in 1913: A Hub of Commerce and Cosmopolitanism

In 1913, Port Said was a city thriving on its unique geographical position. The Suez Canal, opened in 1869, had transformed this once-modest fishing village into a major international port.

  • Economic Landscape: The economy was dominated by shipping, bunkering (coaling of steamships), and associated services. Large shipping companies operated offices, and a significant workforce was employed in loading, unloading, and servicing vessels. Warehouses, customs houses, and repair yards were prominent features. The presence of numerous hotels, restaurants, and shops catering to affluent travellers and sailors from across the globe contributed to a lively and international atmosphere. The city was a point of departure and arrival for passengers travelling between Europe and Asia, Africa, or Australia, fostering a sense of global interconnectedness. Commercial activity was robust, driven by the constant stream of merchant vessels navigating the Canal.
  • Urban Development and Architecture: Port Said boasted a distinctive blend of architectural styles. European colonial influences were evident in its grand hotels, like the Hotel des Voyageurs and the Continental, along with administrative buildings. French architectural styles were particularly prevalent, reflecting early French involvement in the Canal’s construction. The city centre featured wide avenues, shaded by trees, and elegant buildings designed for commerce and leisure. The waterfront promenade, the Ramleh, was a popular social gathering place, lined with cafés and offering panoramic views of the bustling harbour. Despite its colonial overlay, Egyptian architectural elements and local marketplaces also co-existed, creating a unique urban fabric.
  • Social Fabric: The population was a heterogeneous mix of Egyptians (predominantly from the Nile Delta), Greeks, Italians, British, French, Maltese, and other nationalities, each contributing to the port’s cosmopolitan character. This diversity brought a vibrant cultural exchange, reflected in the city’s cuisine, languages, and social customs. While social stratification existed, with European residents and business owners at the top, the shared economic interests tied to the Canal fostered a degree of inter-ethnic interaction. The atmosphere was generally one of relative peace and prosperity, characterised by the rhythm of maritime trade.
  • Strategic Value (Pre-War): While its strategic importance was recognised, it was primarily viewed through the lens of facilitating global trade and maintaining open sea lanes for imperial powers, particularly Britain and France. The Canal was a protected waterway, but a significant military presence within the city itself was less pronounced than it would soon become.

3. Port Said in 1915: A City Mobilised for War

By 1915, the outbreak of the Great War had dramatically reshaped Port Said. The port’s role shifted from a commercial hub to a vital military logistical node, a gateway to the burgeoning conflict in the Middle East and a transit point for reinforcements.

  • Economic Reorientation: The demands of war transformed the port’s economy. While commercial shipping continued, it was increasingly overshadowed by military transport. Coaling stations became crucial for naval resupply, and shipyards focused on repairs for military vessels. Warehouses were repurposed for storing military equipment and supplies. The influx of military personnel and the associated logistical needs spurred a boom in certain sectors, such as catering, transportation, and accommodation for transient military personnel. However, the disruption to regular trade routes and the increased cost of goods also impacted the civilian economy.
  • Military Infrastructure and Presence: The most striking change was the pervasive military presence. The city’s infrastructure was adapted to accommodate troop movements and military operations. Barracks and temporary camps were likely established. Docks were dedicated to the rapid disembarkation and loading of troops and supplies. Naval patrols increased, and the Canal itself became a heavily guarded military zone, with fortifications and defensive positions being strengthened. The visual landscape would have been dominated by uniformed men, military vehicles, and the distinctive silhouettes of troopships alongside naval vessels.
  • Urban Transformation and Atmosphere: The cosmopolitan charm of 1913 was largely supplanted by a more sombre and utilitarian atmosphere. While tourist hotels might have been requisitioned for officers or nurses, the general ambience would have felt more regimented and anxious. The presence of censorship and increased security measures would have been palpable. The once leisurely promenade might have become a site of military activity or a place where weary soldiers sought brief respite. The sounds of the port would have shifted from the clatter of commerce to the din of troop movements, the rumble of military engines, and the distant sounds of naval activity.
  • Social and Demographic Shifts: The influx of soldiers, nurses, and doctors dramatically altered the demographic balance. The local civilian population would have been increasingly interacting with and serving the military. New social dynamics would have emerged, with a greater emphasis on military hierarchy and a more guarded interaction between civilians and the transient military population. The presence of wounded soldiers returning from campaigns would have also begun to introduce a sombre element to the city’s life.
  • Heightened Strategic Importance: In 1915, Port Said was no longer just a waypoint for trade; it was a crucial strategic asset in the defence of the Suez Canal and the projection of Allied power into the Middle East. The Ottoman Empire’s proximity and the threat of an attack on the Canal made Port Said a frontier city, albeit one protected by the vastness of the Mediterranean.

4. Disembarking at Port Said in 1915: The Soldier’s, Nurse’s, and Doctor’s Perspective

For soldiers, nurses, and doctors arriving at Port Said in 1915, the experience would have been a stark departure from peacetime travel, marked by the immediate realities of war and transit.

4.1. For the Soldier:

  • The Journey: Soldiers would have likely spent weeks crammed into the holds or on the decks of crowded troopships, enduring rough seas, monotonous rations, and the constant anticipation of the unknown. The smell of sweat, stale air, and engine oil would have been pervasive.
  • The Arrival: As the troopship approached Port Said, the first visual impressions would be of the vast, busy harbour, dotted with warships and a multitude of merchant vessels. The distinctive outline of the city, with its European-style architecture and minarets, might have offered a fleeting sense of exoticism, quickly overshadowed by the military presence. The air, humid and carrying the scent of the sea and perhaps coal smoke, would be a welcome change from the confines of the ship.
  • Disembarkation: Disembarking would be a chaotic but efficient process. Soldiers, weighed down by their kit, would clamber down gangplanks or be lowered by nets onto the quay. The immediate impression would be of noise and activity: the barking of commands, the rumble of lorries, the shouts of stevedores, and the general din of a military operation. The sheer number of men in uniform, from various Allied nations, would be overwhelming.
  • The Staging Point Experience: Port Said served as a crucial staging point. Soldiers would be quickly processed, likely herded into temporary holding areas, or directly loaded onto smaller vessels or trains bound for more permanent encampments or forward positions within Egypt. The experience would be one of constant movement and little respite. The immediate need for sanitation, fresh water, and basic comfort would be paramount. The heat, a stark contrast to European climates, would be a significant factor, especially if arriving during the warmer months.
  • Psychological Impact: The sight of organised military machinery, the potential glimpse of wounded soldiers being treated or evacuated, and the constant reminders of the war effort would instil a sense of purpose but also a degree of apprehension. The initial promise of adventure might be tempered by the harsh reality of military logistics and the looming threat of conflict.

4.2. For the Nurse and Doctor:

  • The Journey: While perhaps enjoying slightly better accommodation than the average soldier, nurses and doctors would still experience the challenges of long sea voyages, including potential seasickness and the limited amenities. Their journey was driven by duty and a desire to serve, often with a sense of urgency.
  • The Arrival: The sight of Port Said would likely be one of organised chaos and a palpable sense of purpose. They would recognise the strategic importance of the location and the immense logistical undertaking. The European architecture might offer a brief moment of familiarity and comfort.
  • Disembarkation and Processing: Nurses and doctors would likely disembark at designated areas, often closer to medical facilities or designated accommodation. They might be met by military officials who would guide them to their assignments. Instead of heavy kit, they would carry medical bags and personal effects.
  • The Staging Point and Hospital Experience: Port Said in 1915 would have been a hub for medical evacuation and preparation. Hospitals, either existing civilian facilities commandeered or newly established military hospitals, would be active. Nurses and doctors would be immediately assessing casualties, preparing for incoming wounded, or being briefed on their roles in the wider theatre of war. The infrastructure would be geared towards efficiency and medical care, with a constant flow of patients and medical supplies. The heat and the tropical environment would present additional challenges for medical practice, requiring acclimatisation and specific protocols.
  • Psychological Impact: For medical personnel, the experience would be a mix of professional determination and emotional strain. The sight of wounded men, the urgent demands of medical care, and the understanding of the immense scale of the conflict would be deeply impactful. Port Said would represent the frontline of care, the initial point of contact for suffering, and the gateway to the medical challenges of the Egyptian and broader Middle Eastern campaigns. The relative order of their arrival might offer a sense of manageable purpose, but the overwhelming task ahead would be ever-present.

5. Conclusion:

The transformation of Port Said between 1913 and 1915 was a profound testament to the disruptive power of total war. The vibrant cosmopolitan port of 1913, characterized by its bustling commercial activity and leisurely international transit, had by 1915 become a highly militarized logistical hub. The architectural and urban fabric, while retaining some of its pre-war character, was now dominated by the machinery of war. For soldiers, nurses, and doctors disembarking for troop staging points in Egypt, Port Said in 1915 presented a stark and immediate immersion into the realities of global conflict. It was a place of transit, processing, and preparation, a crucible where the optimism of departure met the exigencies of war, and a critical gateway to the battles and challenges unfolding on the Egyptian front and beyond. The sensory experience – the sights, sounds, and smells – would have been a dramatic departure from peacetime, signalling a new and demanding chapter in their lives and in the history of this strategic Egyptian port.