Keats’ Hair

 

From the deceased’s author’s skull, we turn today to the deceased’s author’s hair. In 1855, in Godey’s Lady’s Book and Magazine, English essayist and poet Leigh Hunt is recorded describing hair as ‘the most delicate and lasting of all our materials’. He continues

‘It is so light, so gentle, so escaping from the idea of death that with a lock of hair belonging to a child or a friend, we may almost look up to heaven, and compare notes with the angelic native; may almost say, ‘I have a piece of thee here, not unworthy of thy being now’. Continue reading

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Series 4: Burns’ Skull

Today I am in leafy Alloway, Scotland, the birth place of Robert Burns. Despite the prettiness of this quaint and picturesque village, I have come to feast my eyes upon something entirely morbid. I am here to visit the Burns Birthplace Museum, and to view one of the Museum’s most startling exhibits. In the Museum’s entrance exhibition is an opaque mirrored cabinet. If you pass straight by, you see only your reflection. But if you press the inviting button which illuminates the interior, you come face-to-face and eyeball to eyeball with a life-size, full-colour, 3D forensic reconstruction of Robert Burns’ head. A short distance away, there is another cabinet which contains a cast of the poet’s skull, which, in 2013, served as the basis for the reconstruction. Continue reading

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Speaking Stones

 

My very last post in this series! It’s about how whole houses have been made to speak in the author’s voice, so making the long-past and long-dead into a perpetual, first person presence. I think the reason for doing this is because the author springs into renewed life with each act of reading, existing for readers in a perpetual present. More, the author sets up an intimate relationship with the reader, which readers have wished both to honour and somehow bring more plausibly into their own physical world. Place responds by embodying the author and speaking in the author’s voice. Continue reading

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Deaths

 

To what extent or in what sense does an author die? If an author does not (quite) die, then what to do with the body? The history of the fates that have befallen individual authors’ corpses is long, varied, and often grotesque, but here are four examples of tombs and funerary monuments that try to convey the peculiar quality of authorship as at once dead but somehow perpetually alive. Continue reading

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Effigies

 

Writers’ animals, explored in an earlier post (https://www.open.ac.uk/blogs/literarytourist/?p=226) meditate upon the nature of authorship and writing in relation to the body. This is true also of efforts to represent the author at more or less life-like and life-size, as dummy, effigy or statue. Here are four representative examples of how effigies think about what an author is. Continue reading

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Views

 

So many objects associated with authors have become iconic because they seem to symbolise authorial imagination. But this is true of views, too, which allow the literary tourist to look with the author’s eye, and to send a postcard suggesting the experiment to a friend. Continue reading

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Animals

 

In contrast to the anti-houses featured in my last post, the habit of thinking of the author in relation to domesticated animals pins the author to domesticity and embodiment. But though you might think that this also pinned the author to dumb mortality, these animals talk, and have achieved a parasitic immortality of their own. Continue reading

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Escapes

 

My next set of images returns to the problem of what sort of ‘work’ writing is and whether it is actually anti-social. Continue reading

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Keys and Portals

 

For some writers, and as a result for their admirers, entry to the kingdom of the imagination has been effected or symbolised by different talismanic objects. As a result, they have become iconic as keys or portals to the writer’s imagination. Continue reading

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Garments

 

Like Joyce’s spectacles, (see https://www.open.ac.uk/blogs/literarytourist/?p=209), authorial garments are often called upon to imagine the specifics of the author’s body and the specialness of their imaginative lives. Sometimes this works, sometimes not.   Continue reading

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