A WHITE FEATHER - THE SYMBOL OF COWARDICE - MARGARET TANNER

THE ORDER OF THE WHITE FEATHER BY MARGARET TANNER

 For several hundred years the white feather was handed out as a symbol of cowardice. 

Who could forget the powerful movie, The Four Feathers, taken from a novel by A.E.W. Mason? It starred Heath Ledger and Kate Hudson? Set in 1884, against the background of the Sudan War. A British Officer, who resigned his post just before going into battle, is handed four white feathers. One is from his fiancée and the other three from his army friends.

In England, in August 1914, The Order of the White Feather was founded by Admiral Charles Fitzgerald, to shame men who would not enlist for the 1^st World War. Women mainly handed out these feathers to young men who were not in uniform. Sometimes they would stick the white feather in the lapel of the man’s coat.  Of course, these women didn’t know or obviously care, that many men who may have volunteered for the army had been rejected because of health reasons, or perhaps they had a vital job to perform in munitions etc.

Many men were persecuted or shamed into joining the army, sometimes with deadly results, or if the army would not take them, they were driven to suicide. The stigma of having been handed a white feather stayed with some men for a lifetime.

 

I am ashamed to admit this, but I had a great aunt who used to stand at the railway station hand out white feathers to young men during the 2nd world war. Her justification was that her son was in the army, so she felt that all other young men should be in the military also.

This short extract from my novel, Daring Masquerade, shows how unfair and cruel the act of handing out a white feather could be.

"Harry stared into the shop windows as they sauntered along the street. Poor Gil had pushed his stump into his pocket so no one could see his missing hand. Her heart bled for him.

 A small rotunda set amidst lawns and colorful flowerbeds, stood at the end of the main street.

“We need to support our soldiers after their valiant battles. They’re crying out for reinforcements,” a portly gentleman said. “What type of man would skulk around here while his fellow Australians are dying in the trenches?” 

“Here, here,” a well-dressed young woman cried out. “Conscript all the cowards who won’t enlist.”

“What are you doing here, young man? Aren’t you ashamed to be so cowardly as to let other men fight for you?” A middle-aged matron shoved a white feather into Gil’s hand.

“You old bitch,” Harry yelled, knocking her hand away, while Gil stood pale and shaking. “How dare you accuse my brother of cowardice?”

“Why doesn’t the coward enlist?” someone else called out.

“You despicable creatures!” Harry screamed back. “You should be arrested.”

Back and forth, Harry and several of the women hurled insults as more people milled around listening to the argument. Harry became so inflamed she didn’t care what came out of her mouth. “You parasites, living comfortably here while forcing someone else to die.”

“Your brother is a coward, ” the portly gentleman said. “He should enlist and do his bit for the Empire.”

“Here, here, Mayor,” someone endorsed his views.

“He’s done his bit,” she shouted. “You pompous, overstuffed pig. Show them, Gil, show them your arm.”

 She dragged Gil’s arm from his pocket and raised it high. “He’s given one hand to the war, isn’t that enough?”

Silence reigned, followed by embarrassed muttering."

 

 

 

 

 

 

"Doctor, I'm Sick," or Medical Practice in Eighteenth Century America By Shirley Martin

 

     Believe me, you wouldn't want to be sick in eighteenth century America.

    In my time travel romance, "Dream Weaver," the hero--Christian--is a doctor in 1762. In preparation for writing this romance, I read as much as possible about medicine in the eighteenth century.

    Let's start with a few basics. The average life span was thirty-five years, the death rate appalling. Very few people lived to the advanced age where cancer or heart disease manifested themselves. Only a very high birth rate allowed America to grow. The average married woman had seven children.

    Infection was the most common cause of death. Most doctors at this time recognized the value of cleanliness. Although those little, squiggly "animals" under a microscope were fascinating to watch, no one connected the bacteria with infection. The germ theory lay far in the future.

    In the eighteenth century, a pregnant woman was considered sick and indisposed for nine months. She was to avoid dancing and exercise, not to mention sex, for the duration.(One wonders how often this last proscription was observed.) Post childbirth infection was a feared complication of giving birth. Here again, cleanliness, or lack of it,was an important factor. Very few people in rural areas could afford doctors' fees, and someone other than a doctor performed delivery, often not bothering to wash their hands first.

    Since so many people couldn't afford doctors' fees, quacks abounded "like the locusts of Egypt." In colonial America, anyone who wanted to practice medicine could do so. Most doctors were trained as apprentices. However, American medical students considered the medical school in Edinburgh, Scotland, to be the premier source of a medical education. The courses there included anatomy, surgery, chemistry, pharmacy, and theory. American students in Edinburgh were conscientious scholars and spent long hours every day in the study and discussion of medicine. In 1765, the College of Philadelphia became the first medical school in America. Students had to give their thesis for a medical degree in Latin. Thereafter, America required a more stringent background for the practice of medicine.

    Amputations had a high mortality rate, and fractures of the vertebrae were considered fatal. We've all heard the term "bite the bullet."  It means to endure what you have to endure. More crudely, it means put up and shut up. If you've ever visited a historical fort and seen the bullets with the teeth marks, you might be able to imagine the agony of a patient having his leg sawed off without benefit of an anesthetic.

    Apothecaries in Europe and America sought Indian herbal medicine for many diseases. Sassafras tea was prescribed for infection and rheumatism, besides moths and bedbugs.

    Back then, many people who lived near poorly-drained areas suffered from the ague, what we now know as malaria. They believed that a miasma from the swamps caused this disease. It would be a long time before people realized that mosquitoes caused this malady. Yet strangely, the remedy then is the same as what is used today--Peruvian bark, today's source of quinine.

    Warfare has always advanced surgery. Gunpowder forever changed the strategy and tactics of warfare and also the problem of wound treatment. With gunpowder, casualties greatly increased. Most likely, because of the high casualty rate, doctors were forced to ignore advice on cleanliness. Sickness, not battlefield wounds, caused over 90% of the deaths in America during the Revolution. The conditions in the medical hospitals and field hospitals were appalling--dirty straw to lie on, lice, filth, wounds left untended for days. No wonder so many men died.

    The one great contribution of eighteenth century medicine was the development and practice of smallpox inoculation. In the early stages of this practice, many doctors and clergymen strongly opposed this practice, considering it against the will of God. Over time, the practice became accepted, and by the end of the Revolution, the entire American army had been inoculated. Thanks must go to George Washington for this for he recognized the value of smallpox inoculation.

    Inoculation was the first step in a process that virtually eliminated smallpox worldwide. Later, Edward Jenner developed smallpox vaccine, using the crusts from cowpox to prevent smallpox.

    In the latter part of the eighteenth century, a Virginia gentleman spent hours riding over his plantation, inspecting his property, marking trees and making notes. It was a cold, rainy and blustery December day. Later, he ate his evening meal without changing out of his wet clothes. Within a day, he developed a fever and a sore throat. A firm believer in bloodletting (a common remedy at the time), he asked his overseer to draw some blood. His condition worsened, and eventually three doctors attended him. They drew even more blood, until half of his blood was drawn. Besides that, the doctors purged him and gave him an emetic to induce vomiting. Finally, he asked them to just leave him alone. And shortly after, George Washington died quietly and at peace. 

 

Find Shirley Martin here: 

http://shirleymartinauthor.com/

http://bookswelove.net/authors/shirley-martin/

and find Dream Weaver at Amazon, B&N, and most ebook and print retailers

http://www.amazon.com/dp/B006HA3APY/

The Power of Emotion by Connie Vines

In my opinion, all successful/popular novels, no matter what genre, have one key element: emotion.  Emotion lies at the core of every character’s decision, action, reaction, and motivation.  All of which drive the story. A character’s personal journey does not exist without emotion—it would be pointless. The plot would be made up meaningless events that a reader would not invest any time to read.  Why?  Because above all else, the readers choose a novel to have an emotional experience.  Be it a wild roller coaster ride of pure terror in a horror novel; reliving the sweet courting experience of an inspirational romance; discovering a new unexplored, heart-pounding world of a sci-fi; the pleasure of solving a who-done-it; or, pure laughter and fun in a read-it-at one setting comedy—readers want to connect with your characters.  With this connection to characters, who provide entertainment and whose trials and experiences may, in turn, add meaning to their own life journeys.

We are emotional beings.  Feelings propel us. Drive us.  Define us. Moreover, while it may seem that most of those exchanges happen during conversation, studies show that 93% of all communication is nonverbal.  Even in instances where we try not to show our feelings, we are still telegraphing messages through body language.  Because of the, each of us is adept at reading others without a word being uttered.

           

    Readers have high expectations.  Long done are the long intros: “There was no possibility of taking a walk that day.  We had been wander, indeed, in the leafless shrubbery an hour in the morning; but since dinner (Mrs. Reed, when there was no company, dined early) the cold winter wind had brought with it clouds so somber, and a rain so penetrating”.  . . I am certain you recognize the first sentences of my favorite classic novel, Jane Eyre by Charlotte Bronte.  A delightful read, rich in detail and thick with emotion—but not a read easily consumed during a pause in a workday, or after getting toddlers off to bed.  Readers no longer wish to be told how a character feels; they want to experience the emotion for themselves.

               This leaves the writer with the challenge of ensuring that our characters express their emotions in ways that are both recognizable and compelling to read.  Personally, I find that less is more.  I am always aware of the pacing of my story.  Too many clues to describe a character’s feelings can dilute the reader’s emotion experience.  Backstory is only pepper in to allude to a ‘trigger’ emotion.  Example:  Marty, in the BACK TO THE FUTURE series of movies.  A cliché, but calling Marty ‘chicken’ worked every time—the viewer knew and expected ‘something’ to happen. Not that I have ever, I hope, have resorted to a cliché, but my characters have a ‘fatal flaw’.  I cannot divulge any that I have used because it would ruin the storylines.  But we all have our ‘trigger’ emotion.  If you have siblings, undoubtly, you were tormented with it on numerous occasionally.  Our ‘characters’ may or may not recognize a personal tigger emotion.  This is writer’s preference in relationship to plot and character development.

               One emotion that I find fun to watch (in young children) and it easy to work into a YA story is amazement.  To a toddler everything is new and amazing.  The child’s eyes widen.  The child becomes suddenly still.  May suck in a quick breath/hand covering one’s mouth. Stiffening posture.  Rapid blinking followed by open staring.  Reaching out and touching or taking a step back. I am certain you could add to the list my recalling your personal experices or observations.

               Now how would that young child feel, internally?  A heart would seem to freeze, the pound. Tingling skin. Adrenaline spikes. The mental reaction in the amazed person could be disorientation, momentarily forgetting all else, or wishing to share the experience with others.  Now say your character is a shy or too cool to give anything away.  How could this emotion be suppressed? Self-hugging, jerky, self-contained strides, Eyes widening a bit before control is asserted, mouth snapping shut.  The clues are always apparent. 

               I like to get to know my characters, savor my scenes, and always dig deeper for the right word. The right motivation.

               I enjoy the journey to discover my characters, their hopes and wishes.  I feel blessed to tell each one of their stories.  And I hope that my novels, in turn, bring hours of enjoyment into each of my readers’ lives.

               In closing I’d like to share a bit of my past.

               When my first YA historical novel was published, I was honored at a Red Nations Powwow.  The tribal elder, Jacques Condor, told me I was being honored as a StoryTeller.  We both knew this was a great-honor among the tribes. He reminded me, always, to be humble, because it is the Story who chooses the StoryTeller to bring it Life. 

               My mandella hangs my living room wall, and my hand-tooled silver ring is worn to remind me of both my gift and my duty.

               Thank you for taking the time to read my entry to my publisher’s daily blog.

               Fondly,

               Connie