HOME FIRES Series 2 Episode 6 The True Cost of War

ITV STUDIOS PRESENTS HOME FIRES SERIES 2 Pictured: FRANCESCA ANNIS as Joyce, CLARE CALBRAITH as Steph,RUTH GEMMELL as Sarah,FENELLA WOOLGAR as Alison, CLAIRE PRICE as Miriam, LEANNE BEST as Teresa.SAMANTHA BOND as Frances,FRANCES GREY as Erica and CLAIRE RUSBROOK as Pat. This image is the copyright of ITV and must only be used in relation to HOME FIRES SERIES 2.
The magnificent Women of Great Paxford © ITV

As the second season of Home Fires draws to its dramatic close I thought I would concentrate on a question I have spent a great deal of time working on: the true cost of war. I do not mean in the sense of how much it cost the government to prosecute the Second World War – that figure is recorded as somewhere in the region of £10,000,000 a day. No, I’m interested in the cost of the war in human terms. Not numbers of killed or wounded but the impact it had on their families.

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A view of Etaples Military Cemetery from the Cross of Sacrifice. 10,816 men and women are buried here © Julie Summers

Last week I visited Etaples Military Cemetery and was reminded that 10,816 men and women are buried here, of which just 35 are unidentified. It was the cemetery for nearly 20 First World War hospitals. Each of those buried would have had parents and possibly siblings. Some would have been married with children, so the number of people mourning the dead buried at Etaples would be in the tens of thousands. Next year the Commonwealth War Graves Commission will be 100 years old. This remarkable organisation commemorates over 1.7 million men and women of the Commonwealth forces who died in the two world wars. It was set up in May 1917 in response to the outpouring of grief over the slaughter on the battlefields of France, Belgium and further afield on Gallipoli and in Palestine and Greece. Bodies could not be repatriated. That only started in the late 1960s, so men had to be buried where they fell and the Commission’s job over the next decades was oversee the construction of cemeteries and memorials for two world wars. It now has a presence in 154 countries worldwide. It is through their remarkable determination to remember the war dead and to commemorate them in perpetuity, that has shaped our remembrance services of today. But for the men and women whose sons, daughters, lovers, husbands, brothers, uncles were sucked up into the Forces in 1939 commemoration was the last thing anybody wanted to be thinking about. Every hope was for the safe return of a loved family member or friend.

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Clara Milburn, wartime diarist from Balsall Common © Harrap, London

One of the worst notifications a family could receive, short of killed, was Missing in Action. This was the fate of the Brindsley family in Home Fires. Miriam refused to believe that David was dead and held onto that hope against all the odds. In Jambusters I told the story of diarist Clara Milburn whose son, Alan, was posted as ‘missing’ after Dunkirk. Her diary entries over the summer of 1940 make haunting reading. In June she wrote: ‘How curious this life is. A sort of deep stillness comes over everything from time to time. There is not much traffic on the roads during the week and the village seems empty in the evenings. One misses the young life everywhere, particularly Alan coming in in the early evening.’ A month later there was still no news of her son: ‘Always one is thinking of him, wondering whether he still lives and if so, whether he is well, where he is, what he does all day, what discomforts he is suffering. If… if… And so the days go by.’ At the end of July she heard that he was a prisoner of war and hugged her husband ‘for sheer joy at the good news’. It was not until October that she received a letter from him, a full nine months after she had last spoken to him over the phone. Alan Milburn returned safely but a very changed man.

For Barbara Cartland the news from France was the same as for Clara Milburn. Both her brothers, Ronald and Tony, were fighting with the British Expeditionary Force. Ronald wrote to his mother just before he went into action: ‘This is just to send you my love and bless you always. Don’t be anxious if there is a long silence from me – the fog of war is pretty impenetrable. We shall win in the end, but there’s horror and tribulation ahead of all of us. We can’t avoid it. What a waste it all is, but after months of desolation we shall gain and retain what you and I have always understood the meaning of – freedom.’ Barbara’s mother, Polly, had lost her husband in 1918 and knew full well the horror of the telegram. It came twice over that hot, dry summer of 1940. Both her sons were ‘missing’. In January 1941 came the terrible news that Ronald had been killed in action on 30 May 1940, hit in the head by a German bullet.

Barbara wrote: ‘We had gradually been losing hope of hearing that he was alive – now we knew the truth. My mother was wonderful. “Missing” is the cruellest uncertainty of all, as she well knew, for my father had been missing in 1918; and that ghastly waiting, watching, hoping and praying was hers all over again – not twice, but three times, for Tony was still “missing”.’ Tony Cartland had been killed the day before his brother, hit by a shell. For Polly and Barbara Cartland there was no happy ending to their story.

HOME FIRES EPISODE 1 Pictured: CLAIRE PRICE as Miriam Brindsley, DANIEL RYAN as Bryn Brindsley and WILL ATTENBOROUGH as David Brindsley. Photographer: STUART WOOD This image is the copyright of ITV and must be credited. The images are for one use only and to be used in relation to Home Firs, any further charge could incur a fee.
The Brindsley family in Great Paxford © ITV

In Home Fires there are men caught up in the same drama as the Cartland brothers and Alan Milburn. Sarah Collingbourne’s husband, Adam, is missing in France while David Brindsley has miraculously returned from an horrific accident at sea and Bob Simms, wounded at Dunkirk, was sent back to Great Paxford in an ambulance. It is easy to understand why Miriam clung so desperately to her belief that David was still alive and remarkable that he was able to come home. Of the vicar’s fate we know little. Ronald Cartland described ‘the fog of war’ meaning there was confusion and chaos as indeed there was. And the pressure on families was immense.

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My grandmother, Alex Toosey, was the inspiration for JAMBUSTERS which in turn was the inspiration for Home Fires © Toosey family

My grandfather was taken prisoner on Singapore on 15 February 1942 and the first official notice my grandmother received that her husband was alive but a POW was on Christmas Eve of that year, almost 11 months after he had been captured. For her the fog of war was exceptionally thick. And for her there was the added problem that as he was ‘missing’ he was neither dead, in which case she would have received a war widow’s pension, or alive, in which case he would have received army pay. So for nearly a year she and tens of thousands of other wives received no money.How did they cope? Sometimes firms would make hardship payments to wives of men who had worked with them pre-war but more often than not they had to rely on family support or charities. The oldest military charity in Britain was SSAFA – the Soldiers, Sailors, Airmen and Families Association. It was founded in 1885 to provide lifelong support to serving men, women and veterans from the British Armed Forces and their families or dependents. In the Second World War SSAFA helped hundreds of thousands of families and their support was invaluable then, as it is still today.

So as this second season of Home Fires gives us a powerful finale, it is worth reflecting that there are very real parallels between the experiences of the fictional characters and their historic counterparts. We are going to be left with more questions than answers but then that reflects the true cost of war. Let’s just hope we get a third season to give us some answers.

Home Fires

HOME FIRES Series 2 Episode 5 Fur, Fashion and Friction

When I am asked what it is about the Second World War that fascinates me so much I reply that it is not war but people who excite my interest: how individuals cope in a time of emergency and how such events impact upon their later lives. One of the practical aspects that had to be considered was clothing and it is something I am regularly asked about in regard to Home Fires. Just to be clear, I am not involved in the production of the drama – my involvement stops with the scripts – but I did have the great good fortune to talk to the series costume designer, Lucinda Wright, in the lead up to filming series 1 and she took me round the fabulous collections of clothes at Angels Costumes. Their website claims they have over one million items and eight miles of hanging costume. Well, I didn’t see them all but Lucinda and I did discuss colour and fabrics in some detail.

I have been involved in researching the Second World War for the best part of fifteen years and fashion and clothing are a fascinating aspect of the social history of that era. It was a time of uniformity on the one hand and individual expression on the other. What people wore and how they felt about it – whether smart in battle dress or tatty in patched and darned clothes – said much about the spirit of the time. What people wore in the countryside was no less expressive than outfits seen in the towns and cities.

ITV STUDIOS PRESENTS HOME FIRES SERIES 2 Pictured: CLARE CALBRAITH as Steph Farrow This image is the copyright of ITV and must only be used in relation to HOME FIRES SERIES 2.
Steph Farrow, changed out of her farm clothes to meet Stanley from the bus © ITV

Everyone in Home Fires is dressed to their status. Steph Farrow wears dungarees in the fields but once she arrives at a WI meeting she is scrubbed clean and wearing a patterned dress, as would have been the case in the 1940s. Edith Jones, the wonderful diarist whose jottings form the golden thread through Jambusters, would always change into a frock in the evening for supper, even if it was just her and Jack eating supper together. She is similar to Steph in many ways. At the other end of the spectrum is Joyce Cameron. b7f9d1f0aaf0c9c9566f2ef041ace918Always meticulously turned out and often wearing fur. Until the 1970s when there was a huge animal rights’ movement against fur coats, women of a certain standing would have one, two or even three fur coats in their wardrobe: a mink for the evening, a pine-marten for day use and a fox stole to wear over a tweed coat. The Board of Trade slapped a 100% purchase tax on luxuries such as fur coats during the war but they were still popular and widely worn.  Hats were de rigeur for church, shopping and most social outings, though as the war progressed a certain degree of informality crept in and some women went bare-headed. Although they were never rationed, hats were not always easy to find in the shops after 1941 but for the summer of 1940 there would still have been plenty in evidence.

ITV STUDIOS PRESENTS HOME FIRES EPISODE 1 Pictured : FRANCESCA ANNIS as Joyce Cameron. Photographer: STUART WOOD This image is the copyright of ITV and must be credited. The images are for one use only and to be used in relation to Home Firs, any further charge could incur a fee.
Immaculately dressed Joyce Cameron © ITV
ITV STUDIOS PRESENT HOME FIRES EPISODE 5 Pictured: LEANNE BEST as Teresa. This image is the copyright of ITV and must only be used in relation the HOME FIRES on ITV.
Teresa Fenchurch in her city dress and coat © ITV

Teresa Fenchurch comes from Liverpool and stands out from the rest of the women in the village on account of her wonderful Liverpudlian accent and her city wardrobe. She wears wool, not tweed, and her clothes are often bright and single coloured rather than patterned. As a teacher she is an outsider in that she has a profession and a secret. It is apt that she lives with the other outsider in the village, Alison Scotlock, who also has a profession and a secret. Women teachers made up a large proportion of the profession in the war as many young men left their posts to fight. Pre-war when a teacher married she would have to give up work but this changed in the early years of the war as the government could not afford to lose qualified teachers, especially in villages where there was often only one teacher for the whole school.

One major change in Britain during 1940 was the proportion of people wearing uniform. You might not have noticed the change between series 1 and series 2 but it is striking and absolutely reflects what was happening in the country. About a third of the population of Britain were entitled to wear uniform during the Second World War. This would give a figure of somewhere in the region of 15 million people, a large number of whom were women. So we have in Great Paxford a mixture of RAF, Army and women’s service uniforms – that much is obvious. But then there are the women working in the Barden’s factory who all wear pinafores over their own clothes to protect them. Clare wears a uniform when she is working for Frances Barden as a maid, though not on her days off with Spencer. House coats, such as those worn by Pat, were popular and a sensible way to keep the wear and tear of ordinary clothes to a minimum.

ITV STUDIOS PRESENTS HOME FIRES EPISODE 1 Pictured : FRANCES GREY as Erica Campbell, CLAIRE RUSHBROOK as Pat Simms and SAMANTHA BOND as Frances Barden. Photographer: STUART WOOD This image is the copyright of ITV and must be credited. The images are for one use only and to be used in relation to Home Firs, any further charge could incur a fee.
Housecoats to the ready for blackberry picking! ©ITV

With so many people wearing them, it is unsurprising that the general public knew how to ‘read’ uniforms across a street or at the scene of an incident, and could identify at a glance a man or woman’s job, rank and status. And it was very important to know and trust the person who was issuing an instruction, especially during the Blitz, when people needed to know who to listen to or appeal to in a crisis. Aside from emergencies, uniforms had a hierarchy with implications on many levels, some of them more personal than official.

WW2 Christmas card, Escort! A Chelsea Pensioner looks in admiration at an RAF airman with an elegant woman on each arm. 1941
A Chelsea Pensioner looks in admiration at an RAF airman with an elegant woman on each arm. WW2 Christmas card © IWM

Some uniforms, such as the Royal Air Force blue, gave men real status in women’s eyes. This was partly because it comprised a smaller body of men than the army, and their jobs, especially the pilots, were considered heroic and extremely dangerous. They were known as ‘Our Glamour Boys’. The PBI (Poor Bloody Infantry) suffered in their khaki uniforms from being the least admired of the three services by the general public. Members of the women’s services (just over 100,000 in June 1941) were said to grade potential boyfriends in an order of eligibility in which ‘RAF officers rated tops, being classified in turn by rank and number of decorations; naval officers came second and brown jobs a long way behind’.

Unit stills photographyITV STUIDOS PRESENT HOME FIRES EPISODE 5 Pictured: LEANNE BEST as Teresa Fenchurch, MARK UMBERS as Nick Lucas and JODIE HAMBLET as Jenny. This image is the copyright of ITV and must only be used in relation the HOME FIRES on ITV.
Wing Commander Nick and Teresa meet Jenny on Great Paxford High Street © ITV

So as you are watching Episode 5 of Home Fires, it is worth looking out for the distinctions of dress and the way different people react to it. That is, if you have time to notice that level of detail when there is so much drama going on around you. This is another breathtaking hour where I lurched from near tears of enchantment to gasping with horror. Enjoy Sunday evening!

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In the autumn of 2014, while the first series of Home Fires was being filmed, I was writing a book for the Imperial War Museum about wartime clothing and fashion. It was a lovely project to work on and I greatly enjoyed delving into the Board of Trade’s archive. This department was responsible for the length of men’s socks and the width of the gusset in women’s knickers.

Fashion on the Ration was published by Profile Books in paperback in February 2016 and is the subject of a major exhibition at IWM North starting next month and running until spring 2017. Warning: this book contains Forces bloomers and corsets!

Home Fires Series Two

Home Fires series 2 begins on Sunday 3rd April at 9pm on ITV. It is so exciting to be going back to Great Paxford to see what will happen to the characters that we were introduced to in 2015. Many people have asked me over the last few months whether I have had to write another book for series 2. I have not: Jambusters is a non-fiction ‘biography’ of the Women’s Institute covering the entire Second World War. Simon Block, the creator and writer of Home Fires, used and continues to use the book and my research as the inspiration for his drama. Inspiration is the key word here. Home Fires is not based on Jambusters per se but rather set in a fictional version of the same era that I describe in my book. Some of the stories that you will come across in series 2 of Home Fires have evolved directly from Jambusters, others have been the result of research, conversations and other lines of inquiry. From my perspective this is fascinating and exciting. The link to history of the Second World War and life on the Home Front in Jambusters anchors the series in the 1940s but leaves Simon Block free to let his characters grow and develop in Great Paxford.

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I have to be a little careful not to give anything away about series 2 because I might spoil people’s enjoyment of the drama. However, what I can say is that it takes place against the extraordinary summer of 1940. Series 1 set the scene for what happened in rural Britain during the early months of the war in the period known as the Phoney War. The unnatural calm of the winter and spring of 1939-40 was about to be shattered by the Blitzkrieg when Hitler’s army marched into the Netherlands, Belgium and France. The British Expeditionary Force, who had spent the winter guarding the Maginot Line, was suddenly called into action against a furious, implacable, overwhelming foe. This began on 10 May and by the end of the month over 330,000 Allied troops had been evacuated from Dunkirk.

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Little Stan (Brian Fletcher), Steph (Clare Calbraith), Stan (Chris Coghill) practising the ‘Farrow Frown’, November 2015 © Julie Summers

A month later France fell to the Germans and Britain stood alone on the edge of Europe waiting with baited breath for an invasion. It was a summer of high drama and danger; a summer when thousands of families opted to send their children abroad to the USA, Canada and Australia. It was also a summer of bountiful harvests, glorious weather and prodigious activity by the WI on the food production front. Britain was never invaded, as we all know, but everyone, even Churchill himself, thought it the likeliest outcome at the time. Elaborate emergency plans were laid to and a secret guerilla army was built up throughout the country and trained to carry out acts of sabotage behind enemy lines. It was the moment in the war when Britons realised that it was up to them to fight; to resist whatever threat might be around the corner and it proved the making of many on the Home Front. Far from panicking, people resolved to be calm and brave and it is this extraordinary stoicism which became defined, later, as the Blitz spirit.

But Britons were not entirely alone. Canadian troops had been in the country since December 1939 and immediately after the fall of France Churchill welcomed a large number of battle-hardened troops from the continent. Nearly 5,000 Czechoslovak and 20,000 Polish Forces would turn out to offer immeasurably valuable support during the Battle of Britain when the German Luftwaffe tried, but failed, to gain air superiority over the Royal Air Force. This is the backdrop for series 2 of Home Fires.

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WI Members at a market c. 1940 © EPSON MFP

One of the aspects of Home Fires which I found most rewarding was the bonds of friendship that grew up between the actors when they were on set for filming. It mirrored closely the extraordinary bonds that developed during the Second World War when women were thrown together in a wholly unfamiliar situation, put upon by every department in government imaginable and expected to cope. They coped and with humour.

Nothing could have delighted me more when I read Samantha Bond’s reply to a question asking her what it was like to reunite the cast:

‘It was absolutely glorious. I’m afraid we are appallingly happy and we relish each other’s company on set and off. I can’t remember ever having been in a company so happy and so funny and so full of love. All immensely supportive of one another. I adore them. And our men. All brilliantly written by a man. Simon Block has done a fantastic job.’

ITV STUDIOS PRESENTS HOME FIRES EPISODE 1 Pictured : FRANCES GREY as Erica Campbell, CLAIRE RUSHBROOK as Pat Simms, and SAMANTHA BOND as Frances Barden. Photographer: STUART WOOD This image is the copyright of ITV and must be credited. The images are for one use only and to be used in relation to Home Firs, any further charge could incur a fee.
Erica Campbell (Frances Grey), Frances Barden (Samantha Bond), Pat Simms (Claire Rushbrook) Home Fires Series 1 © ITV

I made three visits to set in the autumn and each time I was aware of the great atmosphere on set and the mutual support and respect the actors had for each other’s performances. I watched a wonderful scene filmed in the church when Sarah Collingbourne (Ruth Gemmell), the vicar’s wife, makes an emotional speech about coping at this difficult time. Samantha Bond said of this outstanding performance: ‘It’s just stunning. I was sitting on the front pew trying to be the grown-up big sister, sending your little sister waves of support. And I just kept crying. We were all in pieces.’ So was I.

But a film set is a place of work and one of the striking aspect of set visits from the point of view of someone who spends their working life with her nose in a book or an archive, is that there are so many people involved. I have said this before: there are more people working in the Make-Up truck at the unit base for Home Fires than are involved in the production of one of my books. Well, on the editorial side at least. On set everyone is so professional, clear-headed and confident in what their role is. For me the fun is in the detail. I’m often described as a scratch and sniff historian because I like tiny snippets that tell me something about the minutiae.

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Stockings drying November 2015 © Julie Summers

So this photograph of stockings drying in a trailer is one of my favourites from series 2.The actors wear real stockings, not tights. The wardrobe is authentic to the last inch and I love that. The clothes are hired from Angel Costumes and all date from the 1930s and 1940s, shoes and underwear included according to Melissa Cook, who is in charge of the wardrobe. It is as important for me as making sure the lettering used on the war memorial is of the era (it is) and that the cows are the right breed (they are). The telephone exchange, the cars, the tractor are all minutely observed. Even the ration books look authentic.When details like this are correct but don’t get in the way you can trust the rest of the drama, which I do.

 

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The magnificent Austin – one of only a handful still on the road in this country © Julie Summers

The filming was done in Cheshire, where fictional Great Paxford is set, and it is a stunningly beautiful corner of the North West which is still relatively unknown. Although the phone signal is poor and one Cheshire lane looks very like another – imagine what it was like for incoming drivers when all the signposts were removed – everyone in the cast speaks very fondly of the area around Bunbury. Claire Rushbrook, who plays Pat Simms, said recently: ‘You do have to pinch yourself that you’re working. Because it’s just stunning around there. . . I hope the viewers enjoy it as much as we enjoyed making it.’

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The non-fiction book that inspired Home Fires

 

Weekly blogs will appear here to introduce each episode. No spoilers, just a little background historical information for anyone interested in knowing a bit more about the war. And of course there’s history, sticky jam and plenty of laughter in Jambusters. You won’t meet Frances Barden or Pat Simms but you will meet their true historical counterparts: Edith Jones, Clara Milburn and Ruth Toosey, whose stories are equally fascinating, although their hair and make-up might not have been quite so beautiful…

Setting the Scene for HOME FIRES Episode 1

Front Cover JB croppedThe drama series, Home Fires, written and created by Simon Block, was inspired by my non-fiction book Jambusters (Home Fires in the USA) which looked at the activity of the Women’s Institutes on the British Home Front in the Second World War. Born in Canada in 1897, the Women’s Institute movement gave a voice to country women living in often isolated communities. By the middle of the twentieth century it had matured in both Britain and Canada into an important women’s organisation which had the power and authority to lobby government and strive for better conditions for country women, while maintaining a strictly non-sectarian, non-political stance.

The idea of a group of independently-minded women working within a rural village in Britain appealed to the creative mind of the script writer and executive producers of the show. Their belief in the project has given birth to a powerful women-led drama that draws on history for its backdrop, but with a light touch, and on the imagination of Simon Block for the characters and the development of the drama.

 

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Members of Muskham WI preparing vegetables for a produce market. Just one WI initiative to help keep the countryside fed during the war © WI Markets

We open the first episode of the first series in August 1939 when Britain waited breathlessly, as other allied countries, to see what Hitler’s next move would be. It was vital from the outset of the drama to emphasise the mood in the country at that time. We all now know how the Second World War ended but in August 1939 there was no certainty that there would actually be a war – just a very great fear that there might be. And it was the fear of the unknown that was so pervasive. The late summer weather was particularly beautiful that year and people could hardly match the dark rumblings from the continent with the glorious warm sunshine and rich harvest of fruits and vegetables that followed the announcement on 3rd September that Britain had declared war on Germany.

1930s rural Britain was characterised by tradition, much of it hide-bound and generations old. The village centred around the church, the various shops, the doctor’s surgery, the village pub (for the men) and, if there was one, the women’s institute. Most larger villages, such as the fictional Great Paxford, had a school and a regular bus service but contact with the world beyond the ‘big city’, in this case Chester, was limited for the majority of villagers. Yet they would have been aware of the wider world of yesteryear as a result of the devastating slaughter of the First World War. Many of the characters you meet in the first episode would have had fathers, brothers, cousins, sisters who had been involved in that dreadful conflict either in the Forces or working as nurses, in munitions or indeed on the land to keep the country fed.

Sybil's wonderful stories from her childhood in rural Cheshire brought colour and humour to Jambusters
Sybil was a farmer’s daughter and lifelong WI member. She joined Dunham Massey WI in Cheshire aged 14 © Norcott Family

Not every woman in the village would have joined the Women’s Institute. Some would have been simply too busy, others would have felt it was ‘not for them’ and in some villages little factions arose in the early years that meant not all were as welcome as the movement would have liked. Britain’s countryside was still uncomfortably traditional: those who went to church did not mix with the others who went to chapel. Political leanings also affected how people mixed and the social hierarchy was in some cases hopelessly entrenched. The Second World War shook rural Britain to its roots. The influx of over two million evacuees from the towns to the countryside at the outbreak of war brought the glaring differences between town and country living to the fore. Over the course of the so-called Phoney War, which ended with the Blitzkrieg in May 1940, some fourteen million changes of address were recorded by the Post Office. People were on the move and life began to change.

This is the backdrop to the first series of HOME FIRES. The historical events you see were very much part of life in the early months of the war. Although Simon Block’s characters are entirely fictitious, they share many characteristics with the real women of 1940s Britain and as such mirror rural life as it was then.

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The farmyard scene with cows and vegetables © Julie Summers

I would just like to add one little personal story to this introduction to HOME FIRES. When the drama was being filmed I made a visit to the set in Cheshire. Nothing could have prepared me for the thrill of seeing the black and white world that I have known for the last fifteen years through pictures, words, diaries and books come alive. The scene the team were filming was the opening sequence to the series. So no spoiler alert. Steph Farrow and her son, Little Stan, were driving a herd of shorthorn cattle into a Cheshire farmyard. Simple as that. But for me it was an emotional explosion. There were smells, so familiar from my childhood but now linked with Simon’s drama. There was noise, colour, movement, heat and energy. It was overwhelming and I admit I had tears in my eyes when I saw Steph, played by Claire Calbraith, encouraging the cows into the yard. ‘Slow as you like, Stan’, she says to her son. Slow as you like indeed. I didn’t want it to stop. And because this is television, it did not stop. There were several takes so I was happy. Everything about the set was perfect as far as I was concerned. The vegetables planted in the middle of the farmyard, the hen coop, the old car in front of the stables and lovely brown and white cows munching grass along the hedgerows and mooing as if indignant at having to do the same thing more than once.

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UK Edition published by Simon & Schuster
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US edition published by Penguin USA

 

Home Fires Episode 3: Love, War and Housecoats

By the end of the Second World War the British government had such minute control over every aspect of people’s lives that it governed the length of men’s socks and the amount of metal and rubber in women’s corsets. Even trouser turn-ups were banned and only six designs of underwear for women were permitted. Food was equally carefully monitored and rationed. Everything had been streamlined and controlled to help towards the war effort. The novelist Barbara Cartland was heard to lament that love was about the only thing left unrationed by 1945.

Dame Barbara Cartland in ATS uniform, c. 1942
Dame Barbara Cartland in ATS uniform, c. 1942 She spent six months of the war in Canada, evacuated with her young family, but after the death of her two brothers at Dunkirk in 1940 she returned to Britain. © Cartland family

In November 1939, however, most things were still available and all rationing, apart from petrol which had been introduced in September, was in the future. With nearly one third of the population entitled to wear uniform of one type or another, manufacturing had to turn its considerable energies to mass-producing tunics, battle-dress, bib-and-braces or nurses’ uniforms. The government recognised that controls would be necessary and not just for food but also civil industry and trade. Some planning had taken place in the Board of Trade, but this was mainly to control the import/export market. The immediate impact on civilian trade was major price rises. Unsurprisingly, the demand for goods such as sandbags, black-out material and torches or flashlights rose suddenly and the prices followed. Profiteering became a major issue and was addressed in November through the Prices of Goods Act 1939, which ‘limited the profit earned per unit of a commodity to the amount received at the end of August 1939’. The Act had only limited success, which meant that profiteering continued and inflation, much feared by the government, was an ever present concern. Clothes were particularly susceptible to substantial price rises. A woman told a journalist early in the war that she had gone into a shop to buy gloves and said to the assistant that she wanted to get them now because she feared the new stock would be dearer. To which the assistant replied: ‘Bless you!  You’re too late. We’ve put up the prices of the old stock already.’

The editors of women’s magazines tried to encourage practical solutions such as the wearing of housecoats to protect skirts and blouses. Pat Simms (Claire Rushbrook), for example, and Erica Campbell (Frances Grey), wear housecoats or aprons over their dresses. We might look at these garments today and smile at the memory of own grandmothers or aunts wearing them, but even the high-end fashion magazine Vogue considered them important enough to include designs for housecoats in the winter pattern book of 1939.

ITV STUDIOS PRESENTS HOME FIRES EPISODE 1 Pictured : FRANCES GREY as Erica Campbell, CLAIRE RUSHBROOK as Pat Simms, and SAMANTHA BOND as Frances Barden. Photographer: STUART WOOD This image is the copyright of ITV and must be credited. The images are for one use only and to be used in relation to Home Firs, any further charge could incur a fee.
Eria, Frances and Pat collecting blackberries copyright ITV

Controls of all sorts were introduced in the early months of the war. Market stalls were carefully monitored and once sugar rationing was introduced in January 1940 the Women’s Institute was no longer able to sell cakes and biscuits at their country markets. The WI found the bureaucracy of the Second World War a severe trial and one of the reasons my book was titled Jambusters in the UK was because the WI expended a great deal of energy busting bureaucratic log-jams in order to keep the countryside going. One irritated member wrote in her diary: ‘We went to Coventry this morning and I spent 20 minutes in the Food Controller’s Office getting a permit for butter and sugar for the Women’s Institute teas.’

The WI was nothing if not resourceful and positive. The government recognised the value of a huge voluntary body of women who could be marshalled with just one telephone call to their General Secretary, Miss Farrer, and it made sure that the WI was involved in the outset on food production. WI members were invited to sit on county agricultural committees and to encourage their villages to put aside as much land as possible to grow fruit and vegetables. In episode 2 of Home Fires some of the drama hinges on the determination of Mrs Barden (Samantha Bond), the WI president, to plough up the cricket pitch for vegetables. As seen, this was not popular with the men. This is something that happened throughout Britain. My own grandfather returned from the war to see that his beloved tennis court had been dug up for growing potatoes.

The autumn of 1939 brought great change and a strange sense of a new normality. As you watch episode three you will sense the heightened state of tension and emotion that the war rendered within the families in Great Paxford. It affected everyone in different ways: fear, anger, love, danger, separation but the Great Paxford WI offers its members a solid backbone as the country finds its way during the so-called Phoney War of 1939-40. One of the most successful schemes run by the WI during the war was the ‘Letter Friendship’ scheme. It was conceived in June 1939 at the meeting in London of the ACWW, Associated Country Women Worldwide, at which representatives from women’s movements from all over the world were present. Over 200 Canadian friendships were established and resulted in an exchange of letters so each could understand the other’s situation better. One correspondent wrote: ‘I listen a great deal to the radio but radio doesn’t tell me what the women do at home.’

Women needed each other as never before. The travel writer Rosita Forbes wrote in the magazine Women’s Own: ‘In these hard times, when the utmost is required of everyone, the most important virtues are courage and kindliness. Women’s courage is the valour of endurance, of standing up to endless small difficulties, of putting up with things and making things do. When you are sick and tired and frightened of the future as well, and you go on working without making a fuss, then you are quite as brave as the first person who flew across the Atlantic.’

Cover Croppedfashion on a ration_Cover

Home Fires by Julie Summers, published by Penguin USA, tells the true story of the wartime WI which inspired the drama series HOME FIRES: Fashion on the Ration by Julie Summers was published in March 2015.

A Blithe Spirit – Peggy Sumner

When an old person dies it is traditional to look back over their whole life, starting at the beginning and ending at the end. However, in the course of my work researching the social history of the Second World War I inevitably enter the latter part of people’s lives. The risk of talking to someone about what happened seventy years ago is that their memory becomes coloured by the tint of history or by the influence of collective memory. Peggy Sumner was different. There was a freshness about her wartime memories that was captivating and believable. When describing her first WI meeting in Dunham Massey in 1938 she brought a lost-world to life:

‘Everyone was wearing heavy coats, hats, gloves, good solid thick stockings and well-soled shoes or boots. The predominant colour was black or navy blue and these were top coats that had been bought to last a lifetime. People were still in mourning from the Great War which had ended twenty years earlier and some of the coats dated from that era. The room itself was always cold. You had to push the emergency bar on the inside of the school room door to get into our room, which brought with it an icy blast of cold air in the winter. There were heating pipes around the room but they could not compete with the draughts, so we all kept our coats, gloves and hats on throughout the meetings.’

Peggy Sumner, 1940

I remember from my own school days those huge black heating pipes that burned your legs if you got too close to them but were useless against draughty doors and windows. In fact, our classrooms were a series of micro-climates which could almost certainly have sustained a variety of different forms of life, from polar bears to scorpions.

The president, Mrs Hughes, ran a tight ship and kept her committee in order. In the end she ran Dunham Massey WI for over a quarter of a century and in all that time Peggy and her sister Marjorie were members. There was little time for chit-chat. Peggy likened the meetings to church but she had a twinkle in her eye when she remembered the cakes. Even during the war the membership eschewed biscuits in favour of cakes. Biscuits were just not acceptable, she said simply:

‘The only time we talked was when the tea came round and the cakes were handed out. If you were at the end of the row you had to hope that a nice-looking cake you had spotted would not have been taken by the time it got to you.’

Last time I saw Peggy was in her house in Hale, near Altrincham. She had lived in the house with her sister since before the Second World War and although there were some modern details, it was essentially a 1940s house with a few 21st century trimmings, such as books and cards. Yet Peggy’s presence was anything but old or dusty. She was full of ideas about what WI outings she would like to take part in, even if her horizons were somewhat narrowed by her ninety-plus years. But she was also enthusiastic about what opportunities the WI was able to offer some of the newer, younger members who were just starting out on what she clearly thought was a great adventure.

‘The great thing about the WI is that you are one of a few who are all trying things out. I have seen members scared to open their mouths when they first joined who have ended up as President or on the county committee.’

Peggy at IWM North for the launch of Jambusters in 2013. She was so proud to be involved in the book and I was honoured to have been able to tell her story.

Peggy had that rare ability to telescope the years so that she was as at home talking about the 1940s as she was the 1990s or even the 2010s, if that is what they are now called. When I was reflecting last night on her long life it came to me that what Peggy Sumner was able to express was the spirit that never aged in her. She might have become frail and elderly but inside her mind was a seventeen year old girl who turned up at her first WI meeting and joined a family that lasted for over 77 years. Peggy did not have a career as such, nor did she push herself forward to take the lead in things but she lived a full and happy life and made other people’s lives better simply for being there. What a remarkable lady. She will be much missed. I am proud that her memories are perpetuated in Jambusters.

Is Cooking an Art or a Science?

The other day my youngest son said to me: ‘cooking is easy if you can read. Just follow the recipe.’ That got me thinking. Is cooking really as easy as that? Is it something we learn, we inherit from watching our parents in the kitchen, or what? Does one not need a bit of an instinct, a feel, for when something is right? A roux or a gravy, for example.

Recently I was asked to supply a recipe for wartime jam-making for The Times. I checked the records from the WI in 1944 and sent the following message: 3/4lb sugar to 1lb jam. ‘Yes, but what is the recipe?’ came back the reply. I was briefly baffled. There was no recipe per se. In those days women who ran country households made jam as a matter of routine. They didn’t use recipe books for preserving, pickling or bottling. They just did what their mothers and grandmothers had done. It was hard-wired into their cooking repertoire. Preserving fruit and vegetables was a way of life in an era when 70% of rural properties did not have electricity. Larders with north facing windows and long stone or slate shelves were the places to store fresh and cooked food and the closest thing most women had to a fridge.

ITV STUDIOS PRESENTS HOME FIRES EPISODE 1 Pictured: CLAIRE RUSHBROOK as Pat Simms, CLARE CALBRAITH as Steph Farrow, RUTH GEMMELL as Sarah King and CLAIRE PIRICE as Miriam Brindsley. Photographer: STUART WOOD This image is the copyright of ITV and must be credited. The images are for one use only and to be used in relation to Home Firs, any further charge could incur a fee.
ITV STUDIOS PRESENTS
HOME FIRES
EPISODE 1
Pictured: CLAIRE RUSHBROOK as Pat Simms, CLARE CALBRAITH as Steph Farrow, RUTH GEMMELL as Sarah King and CLAIRE PIRICE as Miriam Brindsley.
Photographer: STUART WOOD
This image is the copyright of ITV and must be credited.

Of course there were recipe books and during the war a number of them were published by the Ministry of Food with suggestions for cooking with rations, while other, more adventurous, authors published recipes using herbs and wild fruits from the fields and hedgerows. But cookery basics were well-understood.
Currently the WI is running a campaign to encourage the teaching of Domestic Science in schools. This was the cornerstone of the early WI when it was set up in Canada in the end of the nineteenth century. But the burden of the education was not on cooking but hygiene in the kitchen. I would say that nowadays we understand hygiene but have perhaps lost our instinct for basic cookery. So yes, being able to read a recipe book should mean you can make a dish but the great art of cooking is to know instinctively what works and what does not.

In Home Fires there is an energetic jam making episode which exactly mirrors the ad hoc jam making by the Women’s Institute in 1939 when they saved 1,740 tons of fruit from going to waste by buying sugar from the Ministry of Supply. Waste not want not.

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