Featured Historian: Sarah Jones

Sarah Jones is Lecturer in Modern British History. She is a social and cultural historian, and most of her work looks at themes around gender, sexuality, and the history of science and medicine in the 19th and 20th centuries. Her current research looks really closely at print culture, thinking about how the public engaged with scientific ideas about sex through magazines, advice texts, and the news.

Portrait picture of Dr. Sarah Jones, smiling

What’s the title of your new article, and what’s it about?

My latest article is ‘Science, Sexual Difference, and the Making of Modern Marriages, 1920-1940.’

In it, I look at how advice texts in the early twentieth century discussed sexual difference, and specifically the idea that men and women had specific, and very different, roles to play in the marital bedroom. I essentially show that during a period of great upheaval and anxiety, advice authors argued that notions of sexually passive women and sexually active men were biologically mandated – even if they didn’t provide much proof for those claims, or make use of much scientific evidence at all.

In doing so, they cobbled together material to try and show that heterosexual marriage was right, natural, somewhat inevitable, and that anyone who strayed away from this was abnormal or even pathological.

Long story short, it is about how apparently ‘scientific’ ideas were marshalled to uphold a particular, quite conservative sexual status quo during a moment of real social change. This all speaks to my broader interest in ‘popular’ sexual science – I’m slowly putting a book together called The Science of Sex Advice: Popular Sexology in Print.

How did you become interested in histories of sexual science?

I’ve been interested in the relationship between sex, science, and print culture for a long time.

My PhD looked at how print culture facilitated sex radical networks in Britain and America, and particularly how ‘free lovers’ on both sides of the Atlantic used scientific ideas and rhetoric to challenge the idea that orthodox marriage was a good idea. After that I was a research fellow on a project called Rethinking Sexology at the University of Exeter, where I started working on popular sex advice and magazines. As part of that I spent a lot of time reading some of the brilliant new scholarship on sexual science, and also camping out in archives in both the US and UK to work through some amazing primary materials – stuff like sex advice pamphlets sold in vending machines and train station platforms for a couple of cents a go, slightly racy texts sold through mail order in the back of newspapers, and expensive manuals written by scientists and sexologists that were apparently only for the eyes of ‘professionals and academics.’ There’s such fantastic work being done on histories of sexual science, including some exciting new bits of scholarship on how the public engaged with science when making sense of their own sex lives. I hope my work can be part of those conversations

Magazine feature titled 'The Mysteries of Sex Frankly Revealed!' includes text reading 'Banish Fear Prevent Disease End Self Denial and Stop Worrying Conquer Ignorance and Overcome Shame, as well as images of puzzled men and women, and a doctor figure showing a couple a book entitled 'Sex Harmony and Eugenics'

What is the importance of the history of sexuality today?

I think, for me, there’s so much to be said about how an engagement with science has shaped the way we think about sex. It might seem like a bit of a niche topic, but actually the way we talk and think about sex – even today –  is absolutely replete with scientific ideas.

Why, for example, do we often use terms like ‘homosexual’ and ‘heterosexual’ (which emerged from nineteenth-century sexology) to categorize ourselves? Why are some people so obsessed with looking for a ‘gay gene’?

Why are we told that certain sexual behaviours and identities are good or bad for our health, or are perhaps ‘natural’ or ‘unnatural’? Part of my work speaks to these kinds of questions, thinking through how and why science has come to have so big a role in how we understand, discuss, and experience sexuality.

More broadly, I think that in a fraught social and political moment histories of gender and sexuality are more important than ever. I’ve been lucky enough to work with scholars trying to use history to find more helpful and inclusive ways to do sex education in schools, and to help young trans and non-binary people navigate the modern medical system. Historians in the field have been called on to shape policies around things like access to abortion, gay marriage, and how to tackle sexual violence. Doing histories of gender and sexuality helps us develop our understanding and appreciation of the past but, beyond that, engaging with that history also allows us to gain new insights into urgent and timely issues in the present. 

What advice would you give to a student interested in the history of sexuality?

Be careful when opening some kinds of primary sources in public areas.

I was working on a train once and the person in the seat next to me threatened to have me arrested. It wasn’t even anything that bad, but that’s public transport for you.

What’s the best advice you ever got about history?

Someone once told me that it’s a gift to be able to indulge your curiosity, especially for a living. Not always a particularly accurate depiction of my job, to be fair, but I try and remember it when I’ve got a huge pile of reading to do.

What’s the most interesting thing you’ve read in the last twelve months?

That’s a tough one. History-wise, I really enjoyed Martha Robinson Rhodes’ article on Bisexuality, Multiple-Gender-Attraction, and Gay Liberation Politics in the 1970s, so probably that.

I’ve finally gotten around to starting Kate Lister’s A Curious History of Sex, too, which is really fun so far.  I also read some good books this summer that were very much for pleasure, not work. Susanna Clarke’s Piranesi was mind-boggling (in a good way, I think) and I quite enjoyed Emily Danforth’s Plain Bad Heroines. 

If you had a time machine, where and when would you most want to go?

My official answer to this is that I’d go back to have a raucous dinner party with some of the Victorian sex radicals I studied as part of my PhD. However, the truth is that I’d go back to 1997 and watch the Spice Girls at Wembley again.

What’s your must-do Bristol experience?

I’m pretty new to Bristol so don’t have many suggestions, but so far I’d recommend Pinkmans for donuts and Bakesmiths for cinnamon rolls. All the major food groups covered, what more do you need?

What are you working on next?

Loads of stuff!

I’m slowly making progress on the book, and I’m also working a new article on the concept of happiness and how this has been connected to ideas about good sex. I’m starting a new project which looks to encourage people to engage with queer history though playing games, and am also doing research into how we can help students transition from school to university.

Should keep me out of trouble for a little while, at least…


Featured Historian: Layla Madanat

Layla Madanat graduated with a BA in History in 2018. You can watch her documentary ‘Mosaic’ here. 

Hi Layla, thanks for joining us today. So, what have you been up to since graduating?

It’s been a bit of a whirlwind!

I was very lucky to receive a scholarship to go straight onto study an MSc in Gender, Development and Globalisation at LSE in September 2018, which was an incredible interdisciplinary academic experience. I got to do some really amazing research, including writing a dissertation titled: “Negotiating Masculinities, Differences and Critiques Abroad: A postcolonial feminist analysis of young men’s experiences of international volunteering.”

Whilst I was studying I carried on setting up as an artist, directing productions across London.

Since finishing my MSc, I’ve had a crazy time continuing to freelance across arts fundraising, political lobbying, classical music and now in anti-sexual exploitation and social justice, whilst continuing to work as an artist myself!

Most recently, I was lucky enough to graduate as one of 12 young leaders on the year-long “Making Lemonade” programme run by Sour Lemons, working to dismantle power systems across arts and culture in the UK.

Portrait of Layla Madanat

What was your favourite thing about studying at Bristol? 

Studying at Bristol was absolutely informative in where my life has gone since graduating.

Asides from being part of such a supportive department and being really active in society life, the standout thing in my experience was the fact that being in a city university meant I had real, meaningful interaction with the Bristol community outside of the University bubble.

In my very first year at Bristol University, I was part of a group that established ‘Process Theatre’. Four years later, we continue to work with the incredible Bristol charity One25, increasing public engagement and awareness of the work they do by presenting some of the real stories of women in Bristol who turn to street sex work to survive. I then volunteered with the charity, cooking and in drop-in.

Working so closely with a local charity, as well as nannying and working in children’s parties made me feel like a real part of the city, and has strengthened my connection to the city.


How has your degree influenced what you have done since? 

It’s always interesting to see what people who study History go on to do, as I think it’s one of the few degrees that can take you wherever you want to go.

Having the chance to study such a wide range of topics at Bristol helped me find the bits of History that interest me the most, and led me to choose a Master’s degree focused on gender and race studies. Bristol was the first time I had the chance to curate my own curriculum, and made me able to focus on the histories behind the inequalities I was driven to change in society.

But it’s also affected the work I lean towards as an artist, as I tend to work with under-represented writers and creators, looking to radically decolonise the arts and culture sector. It’s also shaped how I practice, with the analytical and research skills I learnt helping me create my own unique approach to work.


What advice would you give students doing History now? 

Choose a unit completely outside your comfort zone.

University is one of the only times you can do things like that without the pressure of contract and commitment. At worst, you learn about something new but decide that it’s not for you after a term. At best, you can find a whole new field that interests you. That’s what I did, and it’s transformed the way I approach research. I don’t think I can go back to not working in an interdisciplinary way again!


What’s the best thing you’ve read lately?

This is hard. I think I’ll go with The Luminaries by Eleanor Catton. In 2013, it became the longest book and Catton the youngest author to have ever won the Booker Prize. It’s an adventure mystery set in the goldfields in New Zealand in 1866, that leaves you guessing till the very end when it culminates in one of the most satisfying endings I’ve ever read.

If you want something a bit more beautifully frustrating and abstract, go for The Unconsoled by Kazuo Ishiguro. Written entirely in a dreamlike state with essentially no logic at all, it’s hilarious how wild the journey it takes you on is.


What is your must-do Bristol activity?

Abbots Pool! In winter, the woods make for an amazing walk, but in summer you can lounge in the sun across the woods and by the pool. It’s idyllic. (I’d say go swimming, but I don’t think that’s allowed anymore…)

Honestly, just walk without a map and without a purpose. Some of my favourite Bristol spots were found just wondering down through Stokes Croft and beyond, and seeing what I came across.


What’s next for you? 

My current approach to my work is “What can I try next?” I hope to continue along my non-linear career path across arts, culture, social justice and academia. I wish I’d known that a few years ago, when it seemed everyone around me was heading into a grad scheme in the city. I’m so glad it works for some people, but if it doesn’t sit right with you, it doesn’t have to be the only future you imagine for yourself.

I have a few artistic projects like my documentary “mosaic” that I’m going to be developing in 2021, going to take an Arabic course in either Jordan or Lebanon, and, at some point, take the leap and apply for a PhD. Just keep trying things and seeing where life takes me.

As long as you know the why behind your journey, the how and what of it becomes completely flexible and, ultimately, more exciting.

Featured Historian: Alexander Casse

Alexander Casse is a video producer and historian from Luzerne, Switzerland, and is in his final year as a history student the University of Bristol. He enjoys producing documentaries, video essays and thought pieces on topics historical and political, and has been honing my video production, graphic design, 3D animation and general animation skills since 2016.

Picture of Alexander Casse

Hi Alexander, thanks for joining us! What’s the title of your new documentary, and what is it about?

My new documentary is called Understanding Orban: Rhetoric and History. [You can watch it here.]

It’s a political investigation of the manner in which Orban uses history to legitimize and rationalize his policies and rhetoric. It also looks at the ways in which history plays a role in defining Hungarian self-perception and how that has affected their approaches to the past.

A still from the documentary.

How did you become interested in this?

It’s a fairly peculiar and somewhat spontaneous story.

I was reading an Economist article about Viktor Orban’s populist policies and I wondered to what extent Hungary’s history of subjugation and misfortune affected them. I had a theory that the indignation brought upon Hungary as a result of centuries of mistreatment may have had some bearing on why the Hungarian people are so willing to chase what they perceive as greatness in any form.

What is the importance of this topic right now?

A number of European nations have elected populists and far-right governments, including Hungary, Turkey and Poland. Many more are now drifting towards populism: Italy, Austria, Germany, and even my place of birth Switzerland.

What advice would you give to a student interested in this topic?

It’s fairly difficult to decide on a topic in my experience!

Usually, I just have to start working on it to be able to actually commit to it. It may sound clichéd, but you really just have to engage with something until you find yourself regularly working on it.

In terms of video production, if you’re not all too versed in editing then you might want to pursue something like amateur journalism.

What’s the best advice you ever got about history when you were a student?

Again, this might sound obvious, but structure your research and don’t write your essays as you go.

It can leave a lot of holes, inconsistencies and discrepancies. Your argument won’t be as cogent.

What’s the most interesting thing you’ve read in the last twelve months?

Probably Nietzsche’s All Too Human – It’s a very interesting, if sometimes impenetrable and arcane book.

What’s your must-do Bristol experience/activity?

Grab a bite to eat at the Burger Joint: it’s a great place for burgers and it has some good vegan options.

What’s next for you?

I’m not quite sure currently.

I’ve played with the idea of completing a master’s in political science or foreign relations, or perhaps even philosophy. However, I’m not quite sure what my results will be so I can’t commit to any one institution currently.

Featured Historian: Charli Veale

Charli Veale is a recent graduate from the University, having completed her BA in History earlier this year (2020).

Picture of Charli Veale

Hi Charli. First of all, thanks for making the time to talk to us. Could you start by telling us a little bit about what you are up to now?

During my time at Bristol I mostly worked – as well as doing my degree I worked for Bristol Futures, running academic drop-in sessions and workshops for students, as well as for M&S, part-time. It was hard but rewarding.

Graduating in a pandemic was harder, going from 100 miles an hour to nothing, but by that time I’d realised I wanted to work in the arts/culture sector, hopefully still working with history to a degree. I spent the summer volunteering at an art gallery and at the Imperial War Museum to gain skills and I have just accepted a job offer to do marketing & events at a heritage house in North London.


Congratulations! It’s especially interesting to see you are going into an area – heritage work – that is related to your undergraduate dissertation research, which was on ‘Shaping Memory: London’s new national Holocaust memorial’.

That’s right. Since 2015 the government have been debating and developing a memorial project, for a new monument to the Holocaust to be built in central London.

My dissertation looked into this project, treating the memorial as if it was already built, to analyse how memory is organised and influenced by the present day. I argued that the government are using Holocaust memory, and in part pushing for this memorial, as a way to advance other domestic aims. An example of this is their promotion of ‘British values’, as a way to encourage integration. I argue that, in doing so, they’re at risk of promoting a false, self-serving narrative to the British public and threatening actual historical understanding of what we know to be a terrible and complex event.

A picture of the Holocaust memorial garden in Hyde Park

The existing Holocaust Memorial erected in Hyde Park in 1983 was the first monument to the Holocaust in Britain. Photo: Charli Veale.


How did you become interested in this topic?

I’d always been interested in Holocaust history. Then, at Bristol, my second-year module ‘Public History’ made me realise I’d always been interested in, and relatively good at, history in the public sphere, and it opened my eyes to the relationship between history and memory. I knew I wanted to combine these topics in some way for my thesis, and so with the advice to keep it British-centric (to make it easy for myself to find sources!) I came across the memorial project, and it was perfect.

Here was a topic in which history and memory were being debated and moulded in the present day – even throughout my time of writing.


What is the importance of the topic today?

The topic is hugely important because of the ongoing debate over where to put the memorial.

The project is led and controlled by the UK Holocaust Memorial Foundation, who are an ‘independent’ body,  but appointed by the Prime Minister. The decision over where to put the memorial has created quite the argument…

The site – Victoria Tower Gardens (VTG), outside of Parliament – was announced in January 2016, with no publicly available information on how this was decided. Resistance against using this space, for many reasons, has sprung up in resulting years. A Planning Application was submitted to Westminster City Council, but was ‘called in’ by the Secretary of State for Housing, Communities, and Local Government, and in the last six weeks an independent Planning Inquiry has been taking place, as both sides argue over whether the memorial should be located in VTG or not.

I spoke on behalf of the opposition at the Inquiry on 11th November, summarising my dissertation argument and contending that I believe the UKHMF are insisting on the site as a means to promote these ‘British values’, and not because it’s a genuine endeavour into Holocaust memorialisation.


What advice would you give to a student interested in doing a similar project?

Choose something that genuinely interests you.

I dithered for ages over what might be good, fearing what I really wanted to do was too hard, but you’ll be so much more motivated if you love the topic you’re contributing to!


What’s the most interesting thing you’ve read in the last twelve months?

My favourite book that I read for my dissertation was James Young’s The Texture of Memory. Since graduating, maybe it’s Daring Greatly by Brené Brown – I would recommend her work to anyone!


What’s your must-do Bristol activity?

Picnicking on the downs in the summer is a must, as is Harbourside Festival if it’s going to run anytime soon! For everyone in lockdown I’d definitely recommend a takeaway pint from the Green Man, Kingsdown – Bristol’s finest.


What’s next for you?

Starting my new job!

I’m also hoping to maybe travel a bit and develop my language skills sometime soon, and I’m applying for a few master’s programs for next year – so we’ll have to wait and see.

Featured Historian: Andy Flack

Andy Flack is Lecturer in Modern and Environmental History. He is an environmental historian who specializes in histories of human relationships with animals and their wider environments in Britain and the US across the nineteenth and twentieth centuries. He teaches environmental history across undergraduate and postgraduate programmes, as well as contributing to team-taught units on a wide array of subjects relating to the period since 1800.

Hi Andy, thanks for joining us! So what’s the title of your new project, and what’s it about?

My new project is entitled ‘Dark dwellers as more-than-human misfits: a new synthesis of disability studies, environmental history and human-animal relations’. It is a cutting-edge eighteen-month project funded by the Arts and Humanities Research Council (Leadership Fellows scheme), and it initially examines the ways in which the senses and ways of life of nocturnal animals – from bats to blind cave fish – have been historically understood across scientific communities in Britain and North America over the past couple of centuries. Secondly, it considers the emergence of threats faced by these species as a consequence of human action, from light pollution impacting on sensory systems to transport infrastructures fragmenting nocturnal habitats. In so doing, it not only provides new insight into the ways in which people have imagined ‘deficiency’, ‘ability’, ‘vulnerability’ and ‘resilience’, but also asks whether it is possible to consider animals as having been ‘disabled’ from participation in their world as a result of human interference. Through a focus on animals who live in the darkness, I will develop a new agenda for research at the intersection of disability studies, environmental history and histories of human relationships with animals.

In addition, I will work with the Bristol Zoological Society, Bristol Eye Hospital, educational consultants and artist practitioners to develop new ways of teaching Key Stage 2 children about diversity, vulnerability and resilience, and new ways of coaching sight-impaired people through their sight-loss journeys.

It’s a really exciting, challenging, and important project. I can’t wait to get started!

So how did you become interested in this?

There are three main reasons underpinning my interest in this research. I’ve always been interested in the darkness. I was fascinated by caves, by the night sky, and by the character and atmosphere of cities in the dead of night. All three are other-worldly in ways that are peculiar to themselves but which each tap into what I think is a very human sensory and emotional response to a world normally obscured (from us) by the absence of light. This interest joined with my specialism working in the fluid borderlands between humans and other animals. Historically, people’s relationships with other animals have been complicated by the fact that, culturally, we recognize similarity but insist upon fundamental difference. I wondered how this relationship manifested in the context of environments from which we are usually excluded as a result of our own sensory capacity. Finally, my own sight-impairment motivated my pursuit of this kind research. I wanted to find a way of thinking with and through the concept of ‘disability, of using my expertise to intervene in the field of disability studies in a way that made sense.

What is the importance of this research today?

There are a few reasons why this research is important.

It’s the first time that disability studies, environmental history and histories of human animal relations have been brought into conversation with each other. I hope that in the process, historians will learn to think about ‘normalcy’, ‘ability’, ‘vulnerability’ and ‘resilience’ in new ways, as historical terms which transcend and cross-fertilize ideas about human and non-human realms. Secondly, this is vital research that brings dark environments into view. Historians -including and perhaps especially environmental historians- have tended to focus their enquires on events in the light of day. In so doing, they miss half of what happens and has happened in the world. Indeed, recent scientific studies have suggested that night-time ecosystems are perhaps more vulnerable to climate change than those of the daytime. If humanities scholars are to contribute to understanding of the past, present and possible futures of planetary change, then, they must engage with the world after dark. Finally, there is a personal importance attached to this project. Its my first real foray into the realm of disability studies. As a sight-impaired historian whose impairment has been – and remains – hidden (sometimes consciously), my work on this project, in full view of colleagues, friends, collaborators, and students, represents a step in a perpetual process of ‘coming out’, of becoming more authentic.

What advice would you give to a student interested in environmental history?

For students interested in working in the field of environmental history, I’d encourage them to think historically. This might sound like a fairly obvious suggestion. It is, however, particularly important for those of us working in this field of research, because thinking ahistorically is a peril that is particularly acute for us. Today’s environmental crises – from climate change to mass extinction, and from plastic pollution to pandemics – evoke strong emotions that are of our time. People in the past rarely shared such emotional responses and so we need to be particularly careful not to let our sense of grief and outrage for the loss of much of the natural world’s beauty and biodiversity to infect and distort the way we read past and tell stories about it. Look for complexity, change, and continuity. Look for context and explanation that are rooted in time and space. Look for the roots of where we are today and keep your feelings in check – channel them elsewhere.

What’s the best advice you ever got about history?

Be adventurous.

Seek out material at the margins, at the peripheries. Don’t confine your study of history to the mundanely familiar. Read widely, and explore stories about the past that feel strange, unfamiliar, perhaps even uncomfortably weird. If you are to really understand past people, places, and events, you need to have a feel for the past as a tapestry comprised of complex entanglements, of loose threads, of knotted aberrations. This is the advice I was given, but it has infinitely enriched by understanding of what the past was and of that the study of history can be.

What’s the most interesting thing you’ve read in the last twelve months?

My mind keeps being drawn back to a book I read during the first uncertain days of lockdown. Mudlarking, by Lara Maiklem really caught my imagination.

Lara spends early mornings and late evenings – actually, any point at which the tidal Thames has receded enough to expose sections of the shoreline – searching for treasure, for items that form the residue of everyday lives long passed. The book is structured as a journey down the Thames towards the river’s mouth. On the way, Lara uses the objects she has found across her mudlarking career – from children’s shoes to items of jewelry and fragments of pottery – as a means of telling stories about past lives. I love the serendipitous nature of her explorations and discoveries: during my undergraduate degree I undertook a range of archaeology units, mainly because I fancied myself as an Indiana Jones type figure. I adore that fact that the past remains with us – admittedly in fragments but also often in the midst of our everyday. If we go looking, we can travel in time.

If you had a time machine, where and when would you most want to go?

Deciding which one place I’d like to go if I were lucky enough to acquire a time machine is really quite tricky. There are so many times and places that I’d like to visit, though when I think of them, most potential visits to past times become quite unappealing in the context of the absence of antibiotics and similar medical interventions (I’m worried about getting trapped in the past like in Back to the Future). But, on balance, I’d probably head to a small shop, at 221 St George’s Street in London’s East End, sometime around the turn of the twentieth century. There I’d find a gentleman called J. D Hamlyn, who ran a wild animal emporium. Employing agents to scout ships as they came up the Thames, he would meet mariners once they’d docked in order to buy from them wild beasts they’d acquired over the course of their travels. His emporium would have been stocked with an astonishing array of creatures, and the sensory impact would have been incredible. I’ve read so much about these places and I’d love to see what they were really like. Most of all, though, I’d like to verify a tantalizing comment in the sources: that Hamlyn ‘employed’ chimpanzees to run the front-of-house- operation of his shop.

Unlikely, surely, but worth a look.

What’s your must-do Bristol experience/activity?

I’m biased on this one.

I think everyone who comes to live in Bristol ought to visit the Zoo in Clifton. I wrote my PhD and my first book on the subject, so I’m perhaps unhealthily obsessed with the place. Whatever your view on zoos as places of entertainment, conservation and/or suffering, there is no denying that Bristol Zoo is intimately woven into the fabric of our city. Established in July 1836, it’s the oldest surviving provincial zoo anywhere in the world. The site itself, embedded in the affluent neighborhood of Clifton, remains largely the same size and shape as that when it opened. The history of the place is inscribed on the landscape itself, from the original bear pit to the otter grotto of the original zoo, and from the remnants of the polar bear enclosure made nationally famous by the pacing behaviour of a psychotic creature to the death mask of Alfred, the city’s wartime mascot. Young people, in particular, have been visiting the zoo for decades. According to past students, the zoo is the place to go for a Bristol first date….

What are you working on next?

My AHRC project is part of a larger book project that examines nineteenth and twentieth centuries of what I like to call the ‘wild night’.

Entitled ‘Nights on Earth’, the book examines a range of dark environments – from the midnights of the underground and the deep sea, to the seasonally long nights of the poles, the artificial nights of the nocturnal house, and the more familiar nights of our every day: the night outside the front door. The book asks how people have learned to access these diverse nights, how they’ve understood what they’ve found there, and how nights on earth have changed in the face of human ‘colonization’.

Its super exciting!

Featured Historian: Robert Bickers

Robert Bickers is Professor of History and also the University’s Associate Pro Vice-Chancellor for Postgraduate Research. As well as supervising nine PhD students with colleagues in the Department, he coordinates the University’s work with all its research postgraduates. He works on the history of modern China, and within that specifically how this intersects with the wider history of colonialism and imperial power.

Early visit to a Chinese archive: Shanghai 1994.

Hi Robert! Thanks for joining us. Could you tell us the title of the new book?

China Bound: John Swire & Sons and its World, 1816-1980 has just been published.

What’s the book about?

John Swire & Sons is a British-based conglomerate that has a substantial presence in East Asia, and especially in Hong Kong. It’s 150 years since it opened a branch in what was then a British colony, having established itself in Shanghai in 1866. It’s probably best known today as the owner of the airline Cathay Pacific. I use the story of the firm’s development from its roots as a one-man import-export business based in Liverpool as a different focus for a history of the globalization, modern China, and the rise and decline of British empire and British power.

I’m primarily interested in the people involved, whether they were from Liverpool or Guangzhou, Bristol or Shanghai, and whether they were its owners, Cantonese crewmen on its ships, dockyard staff at Hong Kong, or the passengers on its ships or aircraft.

How did you become interested in this topic?

I was commissioned to write this by the firm, and given a free hand in how I did so.

John Swire & Sons is a family-owned enterprise, and this has encouraged a strong interest at the top of the company in its own long history. The original John Swire first appears in any records in Liverpool in 1816. One challenge in writing the book is that I had five John Swires to deal with across the period.

You can imagine my relief when I got to its  Chairman in the 1930s, Warren.

What is the importance of Swire today?

Really? Have you read the news recently? But put it another way: whenever I ask an audience what they learned about China at school the answer is almost always nothing. And that’s not just ‘nothing about Chinese history’, that’s nothing about China.

But the British presence in China was the most visible and most disruptive the country suffered over most of the century before the Japanese invasion began in 1931. All schoolchildren in China know the outline of this story, and they know much of the detail too.

What advice would you give to a student interested in doing this kind of work?

Challenge yourself; dive in!

I can’t say I knew much about maritime history, the history of commercial aviation, or sugar refining, before I began working on the book.

What’s the best advice you ever got about history?

Well, I learned from marginal comments on my undergraduate essays by my UCL tutors Conrad Russell and John Hale not to mistake rhetorical flourish for argument.

The advice I give, though: read, read, read, read, read, read, read.

And read anything and everything.

What’s the most interesting thing you’ve read in the last twelve months?

My reading highlights in the last year have included reading through all six volumes of Virginia Woolf’s letters, and most of John Le Carré. Much to learn from both about writing, structure, their times.

If you had a time machine, where and when would you most want to go?

I’d like to travel out 1st class to Hong Kong on a P&O steamer, say in about 1851.

In June that year I might have caught the Ganges, stopping at Gibraltar, Malta, and Alexandria, changing to travel overland then along the Nile to Cairo and on to Suez by carriage (the canal would not open until 1869), there taking another steamer stopping at Aden, Galle, Penang, and Singapore before arriving in Hong Kong seven weeks later.

Who wouldn’t want to do that?

What’s your must-do Bristol activity?

Eat a Pitta, Chilli Daddy, Swoon;

Bosco Pizza;


…which actually makes a really unimpressive haiku. This is why I am a historian and not a poet.

What are you working on next?

Returning to an incident that took place in south China in 1932, digging into which led me back and forward in time, and across the globe. It all began when I spotted the words ‘abduction’ and ‘lighthouse’ in a file title in a catalogue back in, er, 2004. These things sometimes take time.

Featured Historian: Simon Potter

Simon Potter is Professor of Modern History and Head of History. His research focuses on the global history of the mass media, and the impact of the press, radio and television on politics, society, and culture. His work on radio and internationalism, and on the BBC and empire, grows out of his wider interest in the history of imperialism and decolonization.

Headshot of Simon Potter

Hi Simon, thanks for joining us. So what’s the title of your new book and what’s it about?

Wireless Internationalism and Distant Listening looks at radio when it was a ‘new medium’ – the equivalent in some ways of today’s social media. In the 1920s and 1930s radio broadcasting (most people called it ‘wireless’ at the time) looked like it was going to transform the way people, and nations, interacted with each other.

I was really struck when I was researching and writing the book by how people thought radio broadcasting was going to change the world, ushering in a new era of international peace and understanding. That seems very utopian, but for people who had just lived through the First World War, it was a pretty attractive prospect. It was part of the wider internationalism of the period, part of the same climate as the League of Nations.

However, in the 1930s, people quickly became aware that they were in fact dealing with a very powerful weapon of mass deception. First the Communist USSR, then the Fascist states, turned radio into a means of international propaganda, and democratic countries soon followed. In writing the book I’ve also become really interested in cultural histories of listening and ‘soundscapes’ – trying to think about the history of sound as part of the lived experience of the past. So the book also looks at how international broadcasting was heard and experienced in the noisy context of the ‘Roaring Twenties’, and beyond.


How did you become interested in these ideas about radio, internationalism and sound?

My last book was about the history of the BBC and empire and ranged from the 1920s to the 1970s. I was very aware as I finished writing it that empire was a really important part of the BBC’s wider international engagement, but had to be put in a wider context – and that the existing historiography didn’t really do that.

I also got really interested in the early years of international radio, which is again a topic that has been a bit neglected – the Second World War and the Cold War have attracted a lot more attention. The whole topic of interwar internationalism has really taken off, so reading about that formed a lot of the backdrop for my research – I wanted to connect with all the great new work on the Wilsonian moment, the League of Nations, and so on. I managed to get a big grant from the Leverhulme Trust to put together a network of historians working on international radio, and while writing this book, I met regularly with them. We are co-writing another book at the moment on the global history of international broadcasting across the whole twentieth century. Together we spent a lot of time talking about the history of sound and soundscapes, so working with other historians (something that historians are doing more and more, particularly because it is one of the only ways to do global history well, bringing out its diversity and complexity) has really enriched my understanding of this area.


What is the importance of the history of international radio today?

People have been saying that radio was dead for a long time – since at least the 1940s, with the advent of television. But radio has in fact remained one of the most pervasive and adaptable media throughout its hundred-year history – 15 June is the centenary of the first organized entertainment programme broadcast in Britain (Dame Nellie Melba singing Home Sweet Home from the Marconi station at Chelmsford) and 2022 is going to see the centenary of the BBC.

Radio now reaches people via the internet, and also gets to people who don’t have reliable internet access, all around the world. It allows all sorts of people to have a voice, and also continues to be a very powerful tool of soft power and cultural diplomacy – or if we don’t want to use euphemisms, propaganda. The British government stopped funding the BBC World Service in 2014, but quickly reversed that decision, because it realized what a powerful tool of persuasion international broadcasting is. In an age of fake news, a lot of the themes of my book really resonate. The League of Nations itself tried to run a campaign against what it called ‘false news’, and established its own radio station to try and present a source of ‘pure’ news that would counter the lies of other broadcasters.

I’ve explored some of the themes relating to the book in my third-year Lecture Response Unit ‘The Development of the Modern Mass Media’, which looked at the role the mass media is meant to play in a democratic society. I taught that course for the last time this year, but I’m hoping to teach some more media history as part of our new curriculum.


What advice would you give to a student interested in media history?

This is a great field to get involved in – it is still relatively unexplored, and there is a huge amount of original research to be done.

It is a fantastic subject for original student research projects, with lots of great digital primary source material that you can easily access and use. The Library has lots of subscriptions to various digital newspaper archives, for example, and you can find links to these on the subject resource page.

You also need to think a lot about what you are actually trying to achieve when you are doing a media history project. It is easy to get overwhelmed by the content, just report on what you read, listen to, or see, and not be critical. You need to think for yourself about how far the media are shaping as well as reflecting the societies and cultures of which they are a part.

There is also lots of scope to integrate media history with ‘mainstream’ history, showing how media history can shed new light on some well-established topics in social, cultural and political history. Work by critical media scholars like James Curran and Laurel Brake provide some great background reading.


What’s the best advice you ever got about history?

It was advice about life as much as history – from my personal tutor, Brian Harrison. He told me to cultivate a healthy disregard for what others around me were doing – don’t feel the need to conform, or to accept that you should be doing what everyone else is doing. That advice has always stayed with me.


What’s the most interesting thing you’ve read in the last twelve months?

It is not History – I’m a huge Sci Fi fan, and I just finished Ann Leckie’s Ancillary Justice. A very thought-provoking exploration of imperialism, oppression, resistance and (the Sci Fi bit) a world in which an individual can be a part of a wider consciousness (and not in a good way).


If you had a time machine, where and when would you most want to go?

During the lockdown I watched a lot of Dr Who with my kids, so this is quite topical for me. I think it would either be to see prehistoric England before massive deforestation – what our countryside covered with trees looked like (that would have to be from an airborne TARDIS). Experiencing Mayan civilization would be nice, too.


What’s your must-do Bristol experience?

I live in North Somerset and am a big fan of walking in the beautiful countryside that surrounds Bristol. In the city I love going to venues like St George’s and the Fleece – there is a huge amount of great live music going on, which I’m really missing at the moment. The Orchard Inn is pretty good for cider.


You can also hear Simon talking about his new book on the New Books in History podcast here.

Featured Historian: Janek Gryta

Dr. Janek Gryta  is a Lecturer in Modern European History. His research focuses on the Holocaust and its impact on postwar Communist Poland, but also Europe more broadly. He writes about the history and memory of death camps, and about heritage sites, museums and memorials, and has more recently starting exploring the histories of health spas in Communist Europe. His book Jews and Poles in the Holocaust Exhibitions of Kraków, 1980-2013: Between Urban Past and National Memory has just been published by Palgrave Macmillan.

Hi Jan! Can you tell us what Jews and Poles in the Holocaust Exhibitions of Kraków is about?

This book analyses how the Holocaust has been remembered in Kraków, the cultural capital of Poland, from the 1980s onwards. There are many assumptions about the memory of the Holocaust in my home country. My colleagues often insist that it is an artificial memory imposed on Poles by Western Europeans after 1989. They claim that no one in the relatively anti-Semitic country wanted to remember the Holocaust and that Poles trying to join the European Union were asked (forced?) to ‘become more European’ by remembering the Jewish Genocide.

Tracing the history of the museum exhibitions in Kraków I tell a different story. I show how local activists have been working hard to recover the memory of the Holocaust from at least the early 1980s onwards. They wanted to use the memory of the suffering of Poles of Jewish origin to remind their compatriots that Poland was not always a monoethnic state and the openness and tolerance are important aspects of being Polish.

portrait of Dr. Janek Gryta

Happier times: a library!

How did you become interested in memory of the Holocaust?

I was always very interested in memory and its relationship with history.

From my early undergraduate years, I wondered how the research of professional historians is translated into what people know and remember about the past. I think I was always a bit frustrated with the fact the people don’t actually that know much…

When I approached my MA supervisor, Professor Jan Rydel from the Jagiellonian University in Kraków, with that idea, he suggested looking into the memory of the Holocaust, as it is a socially very sensitive and important topic in Poland. It snowballed from there.

First, I looked into the history and memory of the Nazi death camps that were located in Poland. Then, I moved to a far more ambitious project. When I started my PhD, I had a vision of writing a complete history of postwar memory in three different Polish cities. Fortunately, my supervisor, doctor Ewa Ochman from Manchester, quickly popped that bubble and helped me shape my idea into something more manageable.

I ended up focusing on Kraków only, writing about the heritage sites, monuments and museums in the city. In the past couple of years, I worked only on the museums to finally publish the book.

What is the importance of the memory of the Holocaust today?

Remembering the Holocaust in Poland, but also across Europe, is important not only because it enshrines a tragic fragment of European past in stone. It is also used to redefine what does it mean to be Polish or, for that matter, European. The heroes of my story grapple with big questions: who were the people killed during the Holocaust? What do we owe them? Were the victims part of the Polish nation, were they Polish Jews? Or were they some different, separate group that only happened to live in Poland?

If we admit that some of those Jews were indeed Poles, we can ask what exactly is the definition of Polishenss? Does one have to be ethnically Polish to be part of the nation?

Moreover, if we say that Jews living in Poland were Polish, then we have to ask ourselves, have we done enough to help our co-nationals at the time of need? Thinking about the plight of minorities of the past, we can take a leap from the past to the present. Are we doing enough now to support members of our nation who are somehow not like us? Are we supporting, in fact, do we owe any support to present-day minorities?

Some of those questions are specific to Poland but people ask similar questions globally. Looking into how we failed Jews during the Holocaust can help us redefine obligations we have towards ostracized or suffering minorities in the present.

What advice would you give to a student interested in memory studies?

Be prepared to get disappointed.

Looking into how our societies fail to tackle problems from our pasts is hardly the most cheerful topic. You’ll have to be ready to get disenchanted with humanity on a daily basis.

On a more practical note, chose the strand that interests you the most. In memory studies, we can analyse space and memorials. We can tour museums. We can study films. It’s an interdisciplinary field which is in equal measures fascinating and daunting so be ready for a great (and challenging!) adventure.

What’s the best advice you ever got about history?

A good dissertation is a submitted dissertation. A very good dissertation is a defended dissertation. Can I say that? Or is it giving a bad example and setting the bar low?

(Editor: You can say that, Jan.)

Ok. Well. It is true, though. As historians, we always push ourselves and always try to become better. There is always another book we can read, a different archival collection we can consult. Being able to stop in the right place is very important. We have to deliver something (an essay, a dissertation, a book) that is good. The best it can be at that particular moment in time. But we have to reconcile ourselves with the fact that our writing is never going to be perfect because ‘perefect’ doesn’t exist. And this is fine. Maybe master Yoda was wrong after all. Maybe trying is enough.

What’s the most interesting thing you’ve read in the last twelve months?

I’m half-minded to say the Witcher saga which I’ve revised last Autumn. I’m Polish so I feel I should promote Polish fantasy. But I also suspect this question is not about my procrastination strategies but about my scholarship. So, I think I’ll go with Leisure Cultures and The Making of the Modern Ski Resorts a fascinating edited volume about … the history of skiing. It has a chapter on skiing and James Bond which is the most amazing topic ever. But it is also an inspiring read about modernity, tourism and environment; a set of problems that are topical and important to a lot of us.

If you had a time machine, where and when would you most want to go?

This is an easy one. I always wanted to experience life in a medieval castle. I’d have to choose the right moment very carefully though. More plagues, religious prosecution, sieges, famines are not something I want to face. If there was a moment in time when life was peaceful, stable and safe then I’d be in!

So maybe, this question wasn’t easy after all… 

Falafel King or Eat a Pitta?

Can I admit, I’ve never tried any of those? I know. Eat a Pitta is basically a Bristol institution. In fact, there is one just around the corner from my place so I should have visited. But there is also another place which is even closer to my flat and that is where I normally end up going: Pinkmans. Pinkmans is the place to try.

I’m Polish so I’m very picky when it comes down to bread. Pinkmans sourdough is amongst the best breads I’ve ever tried.

But what is truly addictive is their chocolate and salted caramel sandwich cookie…

What are you working on next?

Right now, I’m writing one last article stemming from my PhD project.

At the same time, I’m deciding on the next big project. I’m torn between three ideas as different as the memory of the Second World War, history of Carpathian spas, and history of persecution of Jews by ethnic Poles during the Holocaust in Kraków. So, to answer your question I can only say… watch this space!

Featured Historian: Victoria Bates

Dr. Victoria Bates is Senior Lecturer in Modern History, with research interests in the modern social history of medicine and the medical humanities.

A picture of Dr. Victoria BatesHi Victoria, could you start by telling us about  your new research project?

I have just started a UKRI Future Leaders Fellowship called ‘Sensing Spaces of Healthcare: Rethinking the NHS Hospital’. The project rethinks healthcare environments through the body and the senses, focusing on how places have felt rather than how they have looked. The historical part of the project will consider how NHS hospital sensory environments (or ‘sensescapes’) and the perception thereof changed as a result of new design trends, architecture, materials, technologies, nature and human behaviours. This history is just one part of the research, though, which is a complex 4-7 year project with many components. As well as the historical and archival research, there is a strand of the project (led by the project RA – Rebecka Fleetwood-Smith) working on site in hospitals (Great Ormond Street Hospital in London and Southmead Hospital in Bristol). This part of the project will use participatory arts to understand and improve people’s sensory experience of hospital spaces.

How did you become interested in this area of research?

I actually get this question quite a lot because my PhD was on a quite different area of medical history (sexual forensics in Victorian Britain). The project has long roots, so I will try to keep the answer short but with apologies it is difficult to do so!

During my PhD I was co-lead on two projects together broadly called ‘Medicine, Health and the Arts in Post-War Britain’ that included a conference, exhibition, workshop series and edited collection. My interest in this area of research at first related to the roots of the ‘medical humanities’, as a named field of academic enquiry, and its relationship to the history of arts and health. I also became interested in the development of different professional areas (art therapy, hospital arts and the arts in medical education) and their use of similar language (the idea of ‘rehumanising’ medicine through the arts).

I was inspired to conduct further research: why was there a perceived need to ‘rehumanise’ medicine in the post-war period, and why was there a turn to the arts, as a tool to do so? In 2013 I received a small grant from the Wellcome Trust to conduct a small study of late twentieth-century multidisciplinary medical education in the UK. In 2014 I was awarded scoping funding from the Elizabeth Blackwell Institute to look at archives in the UK and USA relating to all three areas (art therapy; arts in medical education; art in hospitals). Of these topics, I found myself most drawn to the history of hospital arts; this subject opened up interesting questions about the relationship between arts, design, space and architecture.

I soon became immersed in spatial theory, new materialism, and sensory studies as well as in histories of art, architecture, and design. I found myself moving away from a human-centred approach to design and perception, and thinking more about space as dynamic and as co-produced between the different objects and people in it. Art is just one of these objects, so I moved my focus to the sensory as a better way to think about space and the ways in which it is made through interactions between people and environments. I was fortunate to receive University of Bristol Strategic Research Funding to develop this work (2017) and to spend a month as a visiting scholar at the Centre for Sensory Studies at Concordia University in Montreal (2019).

Alongside this research I engaged in a couple of projects working with artists, designers, smell technicians and others. One of the projects involved designing a sensory prototype called InTouch and the other was about the non-visual aspects of nature and wellbeing, for which we created an ‘immersive experience’. These projects also got me thinking a lot more about the impact of my work and collaboration with non-academic partners, and is why my new project has a large design and prototyping element. Overall, I am always trying to push myself out of my comfort zone!

What is the importance of this research today?

Design is a pressing issue in healthcare. Poor hospital design impacts staff, patients and visitors, and critiques of hospitals are increasingly widespread. The project’s findings will feed into a rethinking of current and future hospital design, including the development of design interventions for healthcare environments.

The historical research can help us to rethink the root causes of perceived sensory problems. For example, my work so far on the history of hospital ‘noise’ has shown that it has long been defined in social terms rather than in terms of volume. Perceptions of noise have changed over time in line with societal change, ranging from attitudes to race or gender to ideas about privacy. Understanding the societal aspects of such change can help us to think more creatively about solutions to noise as more than an engineering problem.

The part of the project working with GOSH Arts and Fresh Arts at Southmead will pinpoint sensory challenges for specific types of hospital user/worker or hospital spaces, which might range from sensory under-stimulation to sensory overload. In turn, these challenges will form the basis for sensory design solutions through a prototyping and development process in collaboration with artists, designers, charities and NHS Trusts. These outputs will be produced with and of value to all those who use hospitals, from patients to professionals. We are also working with Architects for Health to develop a hospital building note around sensory design. Overall, the project offers a novel approach to the history of healthcare spaces that helps us to rethink hospital histories and their relevance to current-day design.

What advice would you give to a student interested in this area of research?

Talk to me! I would love to work with more PhD students or postdoctoral researchers interested in this area of research. I would be particularly keen to see some comparative or international work in this area.

What’s the most interesting thing you’ve read in the last twelve months?

I took Sinéad Gleeson’s Constellations away for a weekend to read for leisure, but it turned out to be extremely relevant to my research. It has a section that captures her sensory experience of hospitals, and which addresses this subject explicitly in a way that I have never seen before. For example, she describes noticing the sound of air conditioning after weeks in hospital; the sound becomes extremely aggravating to her, but nobody else can hear it. I found it not only a really engaging book, but also a useful reminder that we need to think about the sensory environment of hospital as dynamic, and as different for every person in them (or even for the same person, on a different day).

If you had a time machine, where and when would you most want to go?

I have never come up with a good answer to this question – how could you possibly choose from all of time and place? My possible answers have ranged from an iconic music concert to solving some great historical mystery or crime or visiting an extinct species. I know that I should pick something related to my research, but I do not think it would be a historic hospital if I wanted to return with my health intact… 

What’s your must-do Bristol restaurant?

I love Korean food, so Sky Kong Kong is my classic Bristol ‘go to’ when people come to visit – it is small and serves really interesting food, with a personal touch, as well as being very good value.

What are you working on next?

This UKRI project is going to take up most of my time for the next few years, so first job is to organise a launch event for it. I’m also co-leading a couple of really interesting, interdisciplinary networks funded by the Wellcome Trust: one on the senses and health/care environments and one on the intersections between medical and environmental humanities. We have lots of workshops, writing retreats and conferences coming up for those over the next two years and I will be really excited to see what comes out of our collaborations. Watch this space on both!

Featured Historian: Grace Huxford

Dr Grace Huxford is Senior Lecturer in Modern History. She is a social historian of modern Britain, specializing in the Cold War period and with particular interest in the aftermath of the Second World War and the Korean War. She is an oral historian and currently conducting an oral history of British military communities in Germany (1945-2000). She was recently interviewed on BBC Radio 3 about the project as part of a special programme on post-war Germany, coinciding with the 30th anniversary of the fall of the Berlin Wall – you can listen to the interview here.

Grace Huxford

Hi Grace, can you start by telling us what you are working on at the moment? What’s the British Bases in Germany project about?

Between 1945 and 2019, Germany was home to many thousands of British service personnel and their families. Initially sent there as a post-war occupation force, the British military quickly became part of the frontline against a possible Soviet invasion. These bases form an important element of Britain’s post-1945 military history, but they were also unique and complex social communities. My project explores the experiences of those who lived and worked on the bases – not just service personnel, but their partners and families, as well as the wide range of support workers, professionals and volunteers who ended up there. My postdoctoral research assistant, Dr Joel Morley, and I interview people as part of this research – we’ve spoken to over 60 people so far with a range of experiences and memories. These interviews will form the foundation of our research and future publications.

How did you become interested in this area?

I’ve long had an interest in social history of the Cold War and my PhD and postdoctoral research examined the varying responses to the Korean War (1950-3) in Britain, which resulted in my book The Korean War in Britain: Citizenship, Selfhood and Forgetting (2018). The Cold War is such a long conflict, much of it about watching and waiting – no more so than in west Germany, where British and NATO forces trained for an invasion that never came. I was interested in how that situation affected people, from service personnel to their families and civilians on the bases.  I also came across many references to Germany in the material I looked at for my book on Korea: though no units were directly posted from Germany to Korea, I got the sense of how important Germany was for the British military. It was at the centre of a constellation of bases across world that had developed as part of imperial strategy and during the Second World War. Another aim of my research is to examine what living in Germany meant for people other than service personnel too. This is an important area of what is sometimes called Critical Military Studies – acknowledging that the military’s influence stretches far further than the lives of fighting troops alone.

What is the importance of the British bases project today?

Apart from a few remaining units and offices, British Forces in Germany closed its last bases in 2019. It’s therefore a really important moment to analyze their historical significance, as well as the impact Germany had on the British military and understandings of military life. One of the most fascinating aspects (and challenges) of using oral history as a method is that the present context shapes the interview too – so our project explores how people viewed British communities in Germany after the end of the Cold War and closing of the bases as well.

What advice would you give to a student interested in oral history?

Oral history has both practical and theoretical elements – you need to think about both when planning and analyzing interviews. There’s a great deal of helpful advice out there already on oral history: the Oral History Society (UK) has some great advice pages about getting started with oral history interviewing and important ethical and legal issues, like obtaining full consent and thinking about how you will store your eventual interviews. I also really like the Oral History Review’s blog, which has some great articles from oral historians reflected on all sorts of topics like recording equipment and personal dynamics, to suggestions of reading.

I’d also encourage students to think about the time available to them (and to their narrators) and to remember that quantity does not necessarily mean quality. Taking the time to interview one person, to really listen to what they have to say and to analyze their testimony with care can be just as rewarding (both personally and intellectually) as doing a huge number of interviews. Alistair Thomson, for instance, has reflected extensively on his interviews with one First World War veteran, Fred Farrall – to great effect.

What’s the most interesting thing you’ve read in the last twelve months?

On the recommendation of a colleague, I read Elif Batuman’s 2017 novel The Idiot. It’s a semi-autobiographical story of a woman’s first year at university – some very funny and moving parts, but also some interesting reflections on what language means and its limitations. Plus, I fully empathized with the line: ‘what was Cinderella, if not an allegory for the fundamental unhappiness of shoe shopping?’ I hate shoe shopping.

What’s the best advice you ever got about history?

It will still be there in the morning.

 Which historical figures would you invite to a fantasy dinner party?

Tough question. I’d probably invite some of the people I came across in my book on the Korean War, particularly some of the British anti-war activists. The Chair of the Stevenage New Town Development Corporation, Dr Monica Felton, was sacked for visiting North Korea during the war, but she always claimed she ‘did it for Stevenage’. I suppose I’d like to ask more about that. I’d also invite some of her critics too though, for balance, including someone called Christine Knowles who worked with the families of British prisoners of war. It would certainly be an interesting evening!

What’s your must-do Bristol experience/activity?

I love the walk along the Avon Gorge to Pill. It’s about 7 miles from the university, across the Suspension Bridge and takes just over two hours. Pack your sandwiches and enjoy the views. Then pop into a pub at the end and get the X4 bus home. And if you’re feeling adventurous you can do the full 23 miles of the Avon path! http://www.riveravontrail.org.uk/

Cycle path - Pill to Bristol © Linda Bailey cc-by-sa/2.0 ...

What are you working on next?

I’m going to be writing up my findings from the British Bases in Germany project – a few articles and a book. I’m also writing/thinking more about the history of military childhood. I’d also like to research more about where I live in Bristol, so need to plan a trip down to Bristol Archives!