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Persephone Book No 30: Kitchen Essays by Agnes Jekyll

Kitchen Utensils' 1914-1918, by Leslie Hunter. Tate Gallery. London
Kitchen Utensils’ 1914-1918, by Leslie Hunter. Tate Gallery. London

‘Having removed the brains from half a cow’s head …’: Lady Jekyll’s recipes are not for the uninitiated, nor for the faint-hearted.

Under the heading ‘The Woman’s View’, Agnes Jekyll’s Kitchen Essays appeared, unsigned, as a regular Saturday feature in The Times between July 1921 and April 1922. Other, weekday, columns, all unsigned, in the same slot beside the Court Circular, and between Forthcoming Marriages and Obituaries and book reviews, covered interior decoration, fashion, gardening and family questions, and paint a vivid picture of the practicalities of everyday life among the upper and upper-middle classes in post-First World War Britain. They leave us in no doubt as to the target readership. Advertisements offer an inexpensive chiffon-velvet tea gown from Marshall and Snelgrove at 7½ guineas (£260) or a suit from Debenham and Freebody, ‘exceptional value’ at 10½ guineas (£372). An article on the same page tackles the problem of  ‘A Girl’s Allowance’: while the mothers economise at Marshall and Snelgrove, their daughters may struggle to get by on an allowance of £100 a year (roughly, £70 a week in today’s money). Their cook might be earning less than £50 a year.

It was surely the cook who would have been removing the brains from the cow’s head, but by 1922 Kitchen Essays with Recipes and their Occasions, as  the collected articles were called in their first edition, would have provided not only an entertaining read but a valuable resource. In all but the richest households, a modicum of kitchen knowledge on the part of the employer was becoming a necessity.

Mrs Raynes 1922 by Philip Wilson Steer 1860-1942
Mrs Raynes 1922 by Philip Wilson Steer 1860-1942. Employed as nurse to the children, Mrs Raynes became cook to Mrs Steer, and later the artist’s housekeeper. She gave the two-year-old Philip his first watercolour set.

Lady Jekyll writes in her Preface that ‘old-established standards and experiences’ had in many cases disappeared during ‘the recent years of upheaval’, years which had seen a large number of women leave domestic service for war work, only to return to it when the men came back from the Front. In 1921, a third of working women were in domestic service, but changes in life Upstairs had brought changes in life Downstairs and, as Ruth Adam points out in A Woman’s Place (Persephone Book No. 20), after WWI ‘the employer’s kitchen was no longer the cosy refuge from the empty streets which it used to be’. There were fewer servants and fewer still living in. The cook and her kitchen-maid might be the sole occupants, and cooks, once the main prop of the household, were easily enticed away (one is reminded of the cook in Saki’s Reginald, who ‘was a good cook, as cooks go; and as cooks go, she went’).

Nevertheless, even the bachelor is assumed to have a ‘couple’, or a ‘working housekeeper’, capable, after a little practice, of plain cooking, and the hostess, whose cook is temporarily absent, might reasonably hope that the kitchen-maid, with a few ‘stimulating words of hope and faith’ and clear instructions, cut from The Times, will manage well enough while her mistress goes up to dress for dinner.

Only one Essay addresses the problem of entertaining with neither cook nor kitchen maid, for those wh, having been brought down by ‘the vicissitudes of fortune’, are daily learning to solve startling problems of house and kitchen, of garden and farm, in wholly unwonted surroundings, and in thick housemaid’s gloves and strong brogues which have replaced the 16-button Peau de Suedes and the dainty court shoes of their luxurious past, are practising the making of drudgery divine. Unusually in this chapter the recipes are detailed and clear, so that the lately dispossessed hostess may have felt emboldened to turn out afternoon tea of home-made bread, and oatcakes, buttermilk scones and blackberry jelly for her city dwelling guests, lured to the country by the promise of lawn tennis, skating or golf, before putting out her ‘gay but cheap’ dinner ware and ‘bright and unexpected table ornaments’, while slaving to make a success of potage maigre, chicken pilaf, choux à la fermière and bread and butter pudding. For some readers the option, dismissed by the author, of ‘making the clean cut, definitely breaking with the old life of hall and hunting field’ must have seemed quite attractive.

'.. the true spiritual home of the tea-pot is surely a softly-lighted room, between a deep armchair and a sofa cushioned with Asiatic charm ....'. 'Tea with Sickert' by Ethel Sands (1873-1962)
‘.. the true spiritual home of the tea-pot is surely a softly-lighted room, between a deep armchair and a sofa cushioned with Asiatic charm ….’.
Tea with Sickert by Ethel Sands (1873-1962)

Most of the recipes assume knowledge and skill which even today’s cookless reader lacks. Lists of ingredients are often tantalisingly vague: what weight of vegetables would be deemed ‘abundant’? What is ‘the approved way’ of making jelly, or ‘the usual way’ of preparing stock? What is the temperature of a ‘slack’ oven, a ‘moderate’oven, or sometimes simply ‘the’ oven? But the Essays are a delight, not only because Agnes Jekyll writes with such charm, wit and erudition, but because they open windows onto so many aspects of contemporary life. We are shown into the nursery where children do not behave as well as they used to (plus ça change), into the sick room, enlivened by the cheerful breakfast tray, into the railway sleeper, where a well-packed hamper is preferable to a ‘dark and perilous pilgrimage’ to the crowded restaurant car. We glimpse the holiday cottage where food supplies are less than adequate, and need supplementing with a vast hamper from home containing everything from jam to ham; we meet the country friend up for Christmas Shopping, (‘year by year the propaganda of the shops grows increasingly active’), restored by Oysters au Gratin, followed by loin of veal, and waffles.

With just a little imagination we can see inside the larder. Who would have thought that camembert and gruyère and parmesan were so readily available in 1921, or that garlic would need no explanation, or excuse? Most ingredients were available from Stores (what does the capital ‘S’ imply?), but Italian ‘pastes’ required a journey to Soho, as, one assumes, did Lucca oil (a superior olive oil). Some, presumably, had novelty value, like oven toasted Puffed Wheat as a substitute for expensive salted almonds at the bachelor’s table. Picnics, and what picnics, were wrapped in ‘silver aeroplane waterproof’ (foil?), or American cloth (glazed, waterproof cotton) to keep cool, or placed in hay box to keep warm (remember The Children who Lived in a Barn Persephone Book No 27). Jelly was chilled in an ‘ice-cave’, a crème brulée finished in a ‘salamander’ (a small grill); purées pressed through a hair sieve, the food processor of the 1920s.

Cooking required time, effort and space. What twenty-first century kitchen would have space enough for two ox tongues to lie pickling in a bucket for three to four weeks? How unpleasant to work around it! And one must pity the poor cook staying up to prepare Soufflée of Lobster for the returning theatre goers to enjoy along with Chaudfroid de Volaille and Orange Jelly with caramelised biscuits. Sympathy too for their cold ‘motor men’, waiting outside, who must be grateful for hot Bovril and sandwiches.

Some of the recipes live on. Several, like Black Currant Leaf Ice and Bombe Caramel, can be found in cookery books of the fifties. Others deserve to be revived, so poetic is the language – who could resist Gelée Crême de Menthe made with ‘a handful of those large green peppermint geranium leaves, thick as a fairy’s blanket, soft as a vicuna robe’? While some are best forgotten – the addition of ‘pieces of meat cut in gelatinous squares from the head and indistinguishable from green fat’ to Mock Turtle Soup, on the facing page, is almost stomach turning. Cod’s Head Soup is unlikely to prove popular. Camembert in aspic could be delicious. Super Chocolate Cake made with seven eggs calls to mind the famous River Cafe ‘Death by Chocolate’, except that Agnes Jekyll’s requires  the addition of one teaspoonful of sal volatile. Perhaps there is a Persephone reader who knows what that would be for.

Like all the best cookery books before and since, and I think of Constance Spry, and Jane Grigson and Elizabeth David, and, yes, Nigel Slater, Kitchen Essays, is simply a pleasure to read and sits as comfortably on the bedside table as it does on the kitchen table.

 

 

1st-edition
Cover of the first edition published by Thomas Nelson in 1922. ‘It is hoped to publish, before long, in cheap book form, this series of cookery recipes and suggestions’. The Times. 15 April 1922

quotes … do share your favourites

 

‘A grand-father recalls being admonished in his youth against ever showing surprise, or making any comment, even were a roasted elephant to be placed upon the table – a council of perfection, surely, for an unlikely contingency …’

 

‘The courage and cheerful fortitude so universally shown by all classes and ages of our countrywomen became one of the platitudes of the closing years of the Great War; and although this spirit is no longer publicly acclaimed and beribboned as in the limelight days of National Service, many who have come down in the world are keeping it alive by gallant and uncomplaining toil, sweeping the rooms and cooking the dinner, mothering the family and cheering the breadwinner, within those narrow homes whither the vicissitudes of fortune have driven the dispossessed in yearly increasing numbers.’

 

‘But at Sunday supper it often matters less what is on the table than what is on the chairs; and if these are fortunately furnished, preceding suggestions could be disregarded, and “a loaf of bread, a jug of wine,” might be found entirely adequate provision.’

 

 

If you have enjoyed this book, you might also enjoy: 

 

Good Things in England  by Florence White (Persephone Book  No. 10)

Good Food on the Aga by Ambrose Heath (Persephone Book No. 45)

What other bloggers have said about this book:

It offers a nostalgic glimpse into an age of gracious living that has most certainly passed. It is beautifully written, with some quite wonderful turns of phrase. …… I have a mental image of the cook sitting in dread awaiting the mistress’s latest crazy idea taken from The Times, which requires production of something exotic and ‘new’ (“Italians are fond of sweets, but unimaginative in their preparation”) in the absence of what we would consider such an essential as refrigeration (I keep thinking of the Provincial Lady’s problems with cooks here!). bookforgetter

This is a book to savour slowly, like a little box of very expensive chocolates. redroom

It doesn’t matter that the situations she evokes seem so far removed from our current lives — or do they? booksasfood

Categories

Persephone Book No 29: The Making of a Marchioness by Frances Hodgson Burnett

 

 

 

400px-Mrs_Charles_Russell

 

It is easy to dismiss The Making of a Marchioness as a ‘fairy tale’, Cinderella  in Victorian dress, but Cinderella, as far as we know, did not teach her step-mother, or her sisters, or her Prince, any lasting lessons. Emily Fox-Seton, like her Persephone ‘sister’, Miss Pettigrew (Miss Pettigrew Lives for a Day by Winifred Watson, Persephone Book No 21), is childlike, in so far as she lacks the sophistication and ruthless social drive of many of those around her, but like Miss Pettigrew, she brings a degree of maturity, of unselfishness and energy to the party, that, eventually, leave their mark on those close to her.

Miss P’s fortuitous entry into the demi-monde of Thirties London was utterly unexpected and desperately needed. Emily Fox-Seton’s consolidation of her position in the Victorian upper class is not beyond all expectation; she is ‘of good blood’, has titled relations, and no need of lessons in dress or deportment, but money is short. ‘It is her fate to be a woman who is perfectly well born, and who is as penniless as a charwoman, and works like one.’ Not quite a charwoman, perhaps, but as we know from Ruth Adam’s  A Woman’s Place (Persephone Book No. 20) job opportunities for women of Emily’s class were limited: assistant teacher, nursery governess, companion, tirelessly and cheerfully fulfilling the needs of others, with no regard, or even awareness of her own. Some bloggers have found this Polyanna-ish goodness excessive, but Emily, in spite of what she and others think, is clever, clever enough to be aware that there are rewards to be gained from serving others well. An ‘unpleasant old woman in Northumberland’ to whom she acted as reading companion, had proved unexpectedly grateful, leaving her a small legacy and the address of a good landlady.

Lady Maria advises Emily to send Jane to French hairdresser to take a course of lessons before employing her.
‘She was trying to discover where seams were to be placed, and how gathers were to be hung …’

 

When we meet her she is working as a sort of roving PA to upper class acquaintances, securing for them everything from stockings to staff. Her main ‘employer’ is the wickedly selfish, and wickedly funny Lady Maria Bayne, who, intentionally or not (the reader is left in doubt), will prove to be her fairy godmother, and, though heartlessly exploitative, to feel genuine affection for her. When Emily is close to death she is quite devastated, ‘Her worldly air of elderly gaiety had disappeared. She looked a hundred. She was almost dilapidated. She had allowed to relax themselves the springs which held her together and ordinarily supplied her with sprightly movement’, such a brilliant description.

Frances Hodgson Burnett was no stranger to poverty, and it is clear that she knows whereof she speaks when she describes Emily’s careful remodelling of dresses and skirts from one season to the next, and her thrifty but effective decoration of her small bed-sitting room – the period detail a hundred years on is unusual and fascinating: two yards of Turkey-red cotton, one shilling and twopence; one pair of white muslin curtains, eight and eleven. Emily doesn’t complain, but Burnett complains for her, and for all the women like her, when she voices her anxieties to Lady Maria: ‘No-one knows what the Future is to poor women. One knows that one must get older – and one may not keep well, and if one could not be active and in good spirits – if one could not run about on errands – and things fell off – what could one do?’ Good Emily, unbelievably good Emily, comes to life when she reveals the dark side of her life. The anxiety and despair in her all too plausible premonition of things ‘falling off’ is poignant. She is thirty-four. Her dancing days are over.

 

 

'It's a little too picturesque,' Emily thought; 'but how lovely she looks in it!.... 'i'm sure it's a Virot.'
‘It’s a little too picturesque,’ Emily thought; ‘but how lovely she looks in it!…. ‘I’m sure it’s a Virot.’

 

Beneath the froth of this rags-to-riches page-turner, Burnett examines some profound social truths. The fate of the unmarried woman, rich or poor, of whatever class, was an unenviable one. In Consequences (Persephone Book No. 13) E.M. Delafield describes it at its tragic worst. Burnett has a lighter touch, using the acerbic voice of Lady Maria to sum up the situation of the poor but titled Lady Agatha Slade and her five sisters. Poor as they are the Slades ‘have had the indecency to present themselves with six daughters …. Most men can’t afford them, and they can’t afford most men.’ It all comes down to money. Young women are a commodity, with limited shelf life. ‘In these days a new beauty is advertised like a new soap … Alix [Agatha’s next sister] must come out next season, and they can’t afford frocks for two’. Without a husband, Agatha will not be forced, as Emily is, to earn a living, but she will have to be sent to her family’s ‘place in Ireland’ (poverty was always relative), which Lady Maria, a stranger to understatement, likens to the Bastille, from which ‘She’ll never get out alive’.

 

'The wedding [of Lady Agatha and Sir Bruce Norman] was the most radiant of the year. It was indeed a fairy pageant - of youth and beauty and happiness and hope.' The Walderhurst wedding was 'dignified and distinguished, but not radiant.'
‘The wedding [of Lady Agatha and Sir Bruce Norman] was the most radiant of the year. It was indeed a fairy pageant – of youth and beauty and happiness and hope.’ The Walderhurst wedding was ‘dignified and distinguished, but not radiant.’

Desirable as it was, marriage in 1900 was not expected to be a path to happiness. . ‘It was nice if a girl liked the man who married her, but if he was a well-behaved, agreeable person of good means it was natural that she would end by liking him sufficiently’. Burnett knew from experience that marriage could be not only loveless but abusive.

The Marquis’s young cousin, and one time heir, Alec Osborn, a drunken ne’er-do-well, and his Anglo-Indian wife, a sad and lonely figure, uprooted, and ill-treated, are in just such a wretched union. Like Emily, Alec is poor but his poverty is largely of his own making – gambling and unsuitable women have been his undoing – and, unlike Emily, he has not adapted to it. He is a cruel scoundrel who will stop at nothing to obtain the birthright snatched from him, as he sees it, by the new Marchioness (providing the nail-biting plot of the second part of the novel). Once again the Judgement of Society is pronounced by Lady Maria: ‘Nobody is either moral or immoral these days, but penniless persons must be decent’. Burnett’s message is clear: money and property are defining factors in men’s lives as much as in women’s. Osborn bitter comment that in marrying Emily ‘Walderhurst got a deal for his money’, speaks volumes about the three of them and the world in which they live.

Walderhurst, a man of his times, was a firm believer in phrenology. 'Any number of people would be criminals if circumstances did not interfere. It depends a good deal on the shape of one's skull.'
Walderhurst, a man of his times, was a firm believer in phrenology. ‘Any number of people would be criminals if circumstances did not interfere. It depends a good deal on the shape of one’s skull.’

 

If Emily is the Angel in the House and Alec certainly the Devil, literary stereotypes both, the Marquis, while being what from our vantage point appears to be ‘typically Victorian’, is a more fleshed out complex character. He has reached his mid-fifties, having conceived a child, two, if we count the embryonic Walderhust that Emily is bearing, without ever having felt love, let alone passion, for a woman. ‘I do not generally like women’, he tells Emily, after proposing to her. When he kisses her for the first time after their marriage he does so ‘almost as if it had been a man – not quite but almost’. Writing from India, in the closest he gets to a love letter, he praises her eyes, ‘They seemed to me then to resemble something between the eyes of a very nice boy and the eyes of a delightful sheep dog’, adding, ‘This may not appear so romantic a comparison as it really is’. No indeed! A man, a sheepdog, a nice boy: what are we intended to make of this?

Leaving his sexuality aside, Walderhust is surely a type with whom Burnett was unhappily familiar: selfish, insensitive, ‘stiff and shy’ in the face of emotion, not particularly clever, and definitely not as clever as he thinks, nor indeed as clever as his wife ( although that would never occur to him, any more than it would to her).  By the standards of the age, he is not a bad man: he ‘conducted himself well towards his tenantry, and was patron of several notable charities’, but he is ruthless, ‘He did not snub people, he cut the cord of mental communication with them and dropped them into space’. We know this man: self-absorbed, emotionally illiterate, and with a streak of cruelty. The closest her comes to a declaration of love is to tell Emily that she makes him ‘feel quite sentimental’, a feeling which he mistrusts; he enjoys the knowledge that she remains slightly nervous of him. ‘If she had a son he should congratulate himself greatly’: Burnett’s rage is palpable. But, like Lady Maria, he is humanised by grief, ‘His stiff dignity hung about him in rags and tatters’, and, unexpectedly, and most touchingly by fatherhood.

'He absolutely realised that had he been alone with it [his infant son, he should have laid aside his eye-glass and touched its cheek with his lips.'
‘He absolutely realised that had he been alone with it [his infant son, he should have laid aside his eye-glass and touched its cheek with his lips.’

The Making of a Marchioness is a fairy tale, and a melodrama, but it contains a rich seam of social realism, some fascinating glimpses into ‘Downstairs’, and wittily cutting criticism of the idle rich ‘Upstairs’.  One can almost catch the musty smell of the Cupps’ respectable but dingy lodging house, with its yellowish marbled wallpaper and indeterminate dun paint, its black little back yard, and clean doorsteps, where the milk was taken in twice a day, and people ‘had too many anxieties connected with butcher’s bills, rent and taxes to give much time to their neighbours.’ To become a lady’s maid offered not servitude but an escape from this, the possibility of travel, and the society of the servants’ hall, ‘almost like high life’. Feisty and loyal, Jane Cupp, doesn’t hesitate to accept the job with the new Marchioness, after a course of lessons from a French hairdresser: pay,  £35.00 a year, ‘and beer of course’. ‘Of course’? How little I knew of life in 1900. And ‘list’ slippers to creep about unheard, and straw thickly laid outside the houses of the sick … the detail is fascinating

Lady Maria advises Emily to send Jane to French hairdresser to take a course of lessons before employing her.
Lady Maria advises Emily to send Jane to French hairdresser to take a course of lessons before employing her.

 

And, yes, one of the details of the period from which Burnett does not attempt to conceal is racism, an issue which concerns some bloggers. The language of 1900 may offend now, but that was how it was and Mrs Cupp’s ill-judged present of a little brown Testament to Hester Osborn’s Indian maid, is firmly mocked. The Making of a Marchioness was written in 1901 by a sharp eyed observer of her times. As well throw the book across the room on the grounds that it presents such a vivid picture of male chauvinism and a rigid class structure. Burnett describes attitudes; she doesn’t endorse them.

quotes … do share your favourites

They had both had hard lives, and knew what lay before them. Agatha knew she must make a marriage or fade out of existence in prosaic and narrowed dullness. Emily knew that there was no prospect for her of desirable marriage at all. She was too poor, too entirely unsupported by social surroundings, and not sufficiently radiant to catch the roving eye. to be able to maintain herself decently, to be given an occasional treat by her more fortunate friends, and to be allowed by fortune to present to the face of the world the appearance of a woman who was not a pauper, was all she could expect. But she felt that Lady Agatha had the right to more. she did not reason the matter out and ask herself why she had the right to more, but she accepted the proposition as a fact.’

‘Never in her life had her ladyship allowed herself the indiscretion of appearing a person in whom confidences might be reposed. She had always had confidences enough of her own to take care of, without sharing those of other people.’

‘The contrast between herself and this woman was very often too great to be equably borne. Even her kindness could not palliate it. The simple perfection of her country clothes, the shining skin of her horses, the smooth roll of her carriage, the automatic servants who attended her, were suggestive of that ease and completeness in all things only to be compassed by long-possessed wealth.’

If you have enjoyed this book, you might also enjoy:

 

The Shuttle by Frances Hodgson Burnett (Persephone Book No 71)

Consequences by E.M. Delafield (Persephone Book No 13)

Miss Pettigrew Lives for a Day by Winifred Watson (Persephone Book No 21)

A Woman’s Place: 1910-75 by Ruth Adam (Persephone Book No 20)

 

 

What other bloggers have said about this book:

 

On her own at home, Emily is beset by the evil Alec Osborn, Walderhurst’s dissolute heir presumptive, who views Emily’ existence (and that of her potential offspring) as a direct threat to him. We move rapidly from a story so sweet that it hurts your teeth, to one so dark that it keeps you up at night. Is Osborn going to murder Emily? How involved in any potential plot is Osborn’s wife Hester, whom Emily befriends? And what exactly is going on with the Indian servant Ameerah?

Like most Persephone books, issues pertaining to feminism and class are just under the surface of these stories. Why must Emily be so accommodating all the time? Because it is her nature, or her only guarantee of survival? How does Hester’s Anglo-Indian heritage make her an ambiguous figure? Is Walderhurst’s remoteness a feature of his personality or his culture? Persephone titles like this one make me think a lot.abookaweek

As she scrapes and makes ends meet and remakes her gowns so she will be neat and presentable, she faces the world with humility, sweetness, and good humor, and does her wealthy relatives’errands with a sense of gratitude that she has work to do, and can make a living. Her relatives, of course, like the snarky-but-wonderful Aunt Maria, know that in Emily they possess a jewel, but it’s a diamond they’re quite willing to wear on the soles of their shoes.  shelflove