
James Madison looked across these fields when writing The Federal Papers
Welcome
Here you will find a miscellany of my thoughts and writings, descriptions of my novels and bits of autobiography.
Hugh Sockett
The sequel to Great Expectations by Charles Dickens
This novel, the finest of his novels, has an ambiguous ending. What happened to Pip and Estella? What is the future for the 3-year old Pip, the son of Joe and Biddy Gargery, the rural couple in whose home 'old' Pip grew up? I began with the plan for a short novel but it mushroomed into six books with over three quarters of a million words:
The Estella Trilogy
I Pip and Estella. II Better Expectations & III The Star That Would Not Dim
The Estella Trilogy is epic in scope, cinematic in look and, most importantly, relevant in its themes. Desire, action, conflict and change are its leitmotifs. Estella’s life is the primary arc of the series, her transformation from her meeting her natural mother after twenty years and her marriage to Pip.
A secondary arc is the range of difference in personal relationships from the corrupt vagaries of prostitution through to the loving formality of an upper-class lawyer, his wife and children – and everything in between - from betrayal to devotion; from disinterest to passion: From profound sorrow to untrammeled delight. All of the main characters are entangled in the web of human emotion.
The third arc is the historical. Critical to the public at the time were such events as The Crimean War, the Charge of the Light Brigade; the Paris Commune of 1870 and the Franco Prussian War; the crucial development of resistance to infection in surgery and the limits of medicine; pattern of child adoptions, let alone religious controversy, the Law, homosexuality and divorce. Central is the problematic status of women, and peripheral is the development of Impressionist painting in France.
The Gargery Trilogy
I Marriage and the Gargerys. II Conscience and the Gargerys. III Politics and the Gargerys
Victorian England was turbulent in almost every corner of the human predicament: marriage, conscience, and politics are the themes of the Gargery Trilogy.
Marriages bring blessings and trials, not least with burdens of pregnancy, and memories of a child’s death. Physical distress influences marriage, especially with Tom and Malcolm’s war wounds, yet intense love and desire can triumph. For Victorians, marital breakdown rarely means divorce, especially when responsibility for an aging parent, like Nellie, is an unbreakable obligation.
Tragedies leave the conscience of a parent with a sense of broken responsibility, as when children are killed by a falling elm tree, and efforts at religious consolation can falter. The public conscience is aroused by the concentration camp policy of the Boer War, and the Jaggers Trust is constantly troubled by its Irish endeavors.
For the aspiring politician like Malcolm or Tom, the bric-a-brac of campaigning has to be learnt, from a brawl with fisticuffs to working with distinguished men like Lloyd George or Churchill. Rising through political debate in ‘votes of women,’ the core of the civic status of women, divided as they are by the use of militant or peaceful means to these ends.
Not everything is a lark, but the descendants of Joe Gargery, Dickens wonderful creation, do their best.
THE ESTELLA TRILOGY

In Pip and Estella, Hugh Sockett reopens the door Charles Dickens left ajar at the end of Great Expectations, delivering a richly atmospheric continuation that honors the original while charting bold new emotional territory. It is June 1846, and Pip—older, seasoned by travel, and newly engaged—returns to the Kent marshes only to find Estella widowed, isolated, and haunted by Satis House’s ruin. Their reunion rekindles a complicated bond of longing, regret, and unfinished promises, even as Pip attempts to build a steadier life. In London, a shocking revelation shatters the mythology of Estella’s upbringing: in Jaggers’s chambers she confronts Molly, the scarred servant whose presence awakens buried childhood memories—and the truth that Molly is her mother. Mother and daughter are thrust together, forcing Estella to reconcile gentility with origins, and to rebuild identity after a life shaped by Miss Havisham’s cold design. As Pip’s impending marriage offers respectability, his enduring love for Estella threatens to become a secret fault line, pulling at conscience, loyalty, and desire. Set against the grit and grandeur of Victorian England—marshland paths, coaching inns, London law offices, and country estates—the novel blends literary homage with page-turning drama, exploring class, fate, and the cost of reinvention. For readers who loved Dickens’s characters but craved closure, Pip and Estella provides an elegant, emotionally charged answer—one that transforms “what happened next” into an absorbing new story of love reclaimed, families revealed, and second chances won at a price.
In 1870, newly widowed and determined not to be defined by grief, Estella retreats from London’s mourning rooms to Nunquam House in Kent—an estate shadowed by past violence and reshaped by hard-won freedom. At sixty-one, she is financially secure, fiercely self-possessed, and unaccustomed to loneliness; the death of her beloved Pip leaves her with a private ache and a public reputation to protect. Yet privilege brings choice. As she weighs what a “better expectation” might look like for a woman no longer governed by anyone’s rules, Estella is drawn into the work of the Jaggers Trust, a philanthropic venture funded by a formidable lawyer’s legacy and now steered by Pip’s younger namesake and his brilliant, uncompromising wife, Susanna. Their ambition is daring for its time: to confront poverty and sexual exploitation head-on—offering refuge, education, and medical help to those society labels “fallen,” including both women and men. Across Soho parlors, Chelsea dinner tables, and the streets of London and Chatham, ideals collide with hypocrisy, desire, and the law. A new circle of artists, reformers, and lawyers forms around the Trust, while Estella’s own life becomes entangled with Nellie Fletcher, a former prostitute whose resilience and warmth challenge every class boundary Estella has ever known. As Estella navigates friendship, scandal, and the uneasy politics of reform, she must decide whether love—late in life, unconventional, and dangerous—can be claimed without surrendering autonomy. Rich with Dickensian echoes and Victorian social detail, this second book in the Estella Trilogy blends intimate emotional stakes with a bold examination of morality, power, and reinvention.


Set in Victorian England, “A Star That Would Not Dim” follows the intertwined lives of Estella Pirrip and her extended circle, exploring themes of resilience, social change, and personal loss. Estella, orphaned and raised by the eccentric Miss Havisham, becomes the guardian of the Jaggers Trust, a philanthropic organization dedicated to the relief and education of the poor. The narrative traces Estella’s journey from her troubled childhood—marked by the search for a suitable ward and the renaming of Ruth Magwitch to Estella—through her adulthood as she navigates complex relationships, manages charitable projects, and confronts the legacies of class and trauma. [Document | Word]
The story unfolds through a series of letters, board meetings, and intimate conversations, revealing the ambitions and struggles of Estella’s friends and family. Pip and Susanna Gargery, grieving the loss of their son, decide to become missionaries in Africa, prompting debates about sacrifice, colonialism, and the future of their children. The narrative also explores the lives of Honora Brandram and her twins, whose origins are shaped by violence and whose coming-of-age is marked by tragedy. Throughout, Estella’s compassion and moral clarity shine as she supports friends through crises, challenges social prejudices, and fosters the League of Free Women—a group advocating for women’s rights, education, and birth control. The novel culminates in moments of joy and sorrow: marriages, deaths, and the enduring impact of the Jaggers Trust.
The epilogue reflects on Estella’s legacy, her generosity, and the lasting influence of her portrait by Sargent, symbolizing a life that, despite adversity, remained a “star that would not dim.”
THE GARGERY TRILOGY

Set in 1894—when empire, industry, and new ideas collide—Marriage and the Gargerys opens the Gargery Trilogy with a homecoming that should heal a family, but instead ignites everything that has been left unsaid. Pip Gargery returns from missionary work in Barotseland, widowed by yellow fever and newly remarried to Harriet Middleham, the independent woman he loved before his first marriage. With them is Harriet’s son, Joseph—bright, watchful, and caught between worlds. Waiting in London are Pip’s grown children, Malcolm and Hannah, raised largely apart from their father and fiercely protective of their late mother’s memory. As the Gargerys step back into Chelsea society, old friendships and old judgments reawaken. A welcome-home gathering turns into a test of loyalty; the furniture and rooms that once belonged to Susanna become silent battlefields; and Hannah’s grief hardens into open hostility. Malcolm—restless and shaped by South Africa—returns with his own moral unease about the price of prosperity, and his choices ripple through the family’s fragile peace. Then a shocking public bombing shatters the city’s veneer, leaving fear, injury, and rumor in its wake—and forcing the Gargerys to confront not only outside danger but the private fault lines that can destroy a household from within.
Against the backdrop of late-Victorian London—its politics, its manners, its hypocrisies—Pip and Harriet must defend their marriage, protect Joseph, and find a way to become a family before grief and resentment make that impossible. Rich with Dickensian echoes and entirely its own, this is a sweeping, character-driven historical novel of love after loss, the cost of conscience, and the perilous work of belonging.
In late‑Victorian Britain, the Empire’s reach is vast—and so are the private costs of power. Conscience and the Gargerys, Volume II of the Gargery Trilogy, follows the descendants and orbit of Dickens’ Pip Gargery as they collide with the great moral questions of the age: loyalty and betrayal, duty and desire, faith and hypocrisy. When violence erupts on a troubled Irish estate controlled by the philanthropic Jaggers Trust, Pip is drawn into a project meant to relieve poverty but threatened by sectarian hatred and political sabotage. Across London drawing rooms and smoky committee meetings, the Trust’s members—soldiers, lawyers, merchants, and determined women seeking independence—argue over what “doing good” truly means when every choice has consequences.
Meanwhile, a seemingly respectable Foreign Office death sends shockwaves through high society and exposes the shadow world beneath Britain’s polished surface—where diplomacy can be lethal, reputations are weapons, and secrets are sealed for generations. From the salons of Paris to the heat and promise of South Africa’s expanding ports,

the Gargery circle navigates love, ambition, and the perilous line between principle and pragmatism. Rich with historical texture and propelled by intrigue, this sweeping novel asks a timeless question: when the world demands compromise, what does a person of conscience owe—to family, to country, and to themselves?

In Politics and the Gargerys, the concluding volume of The Gargery Trilogy, Hugh Sockett delivers a richly imagined Edwardian panorama where private lives and public duty collide. As Britain turns the page from Victoria to Edward VII, the Gargery family—scarred by war, shaped by faith, and driven by conscience—steps into the arena where ambition, reform, and empire contend for the nation’s future.Beginning with the spectacle of a delayed coronation and unfolding across drawing rooms, court chambers, village greens, and campaign platforms, the novel follows a cast of men and women seeking to translate hard-earned experience into meaningful change. Former officers confront the moral residue of conflict and the temptations of power, discovering that politics is not confined to Parliament but extends into philanthropy, law, medicine, and the relentless work of persuasion. Women, excluded from formal office, assert influence through intellect, organization, and courage—challenging the boundaries of class, gender, and convention. Along the way, the story illuminates early-twentieth-century debates that still resonate: the ethics of empire, the cost of poverty, the demands
of education, the dignity of labor, and the long struggle for women’s political voice.
Blending historical texture with intimate storytelling, Sockett captures an age poised between confidence and catastrophe, when progress felt inevitable and the shadows of the new century gathered just beyond the lamplight. Sweeping yet precise, humane yet unsparing, Politics and the Gargerys will appeal to readers of historical sagas, political fiction, and character-driven narratives that ask an enduring question: when history accelerates, who dares to shape it—and at what personal cost?
A Bit About Me since retirement
At different times, I have thought that inside me was a novel, but I have had a long career as a philosopher and as a teacher, so my books and numerous articles have primarily been analytic non-fiction, though I have also written a spoof on the academy in the 1980s. More recently, I have ventured into new areas of interest.
First, I am constantly suprised, baffled and astounded by racism. With my particular upbringing with a priest as a father, I do not recall any comment on race, though it was very apparent in my schooling. I claim no virtue, it is a constant struggle to other human beings as valuable persons in their own right. Hence my novel The Lawyer and The Slave about racism in Victorian England.
As I grow older, I reflect on friends and people I have known, some of whom lost their lives on the two year draft (called national service in England. I was drawn to thinking about the Suiex Crissis of 1956 which many regard as the end of the British Empire. So a love story seems natural. The characters are drawn from my undergraduate experience at Oxford and my work as a high school teacher in South London. That emerged as Canal Fever: A Love Story.
Finally, a factional biography of my father CALLED; The Life of Benjamin Sockett, Priest. Like many of us, one never quite gets over the death of one's parents. My father's life is worth recalling as he felt called at the age of 8 during the Welsh Religious Revival of the early twentieth century. He tried to prepare himself to be a Baptist pastor but he was obliged to leave school at 14 and begin work in a wire factory, but his life was drastially changed. He fought in the trenches, was commissioned, got a degree in Divinity as London University with prizes. Ten years after leaving school he was a Baptist Minister at Wiollaston in Northamptonshire.
I sent a copy to my older brother who said he had read it twice before his sudden death in December 2025. Not a writer himself, he declared it wonderful.
RECENT PUBLICATIONS
THE LAWYER AND THE SLAVE
CANAL FEVER: A LOVE STORY
CALLED: THE LIFE OF BENJAMIN SOCKETT, PRIEST

Set in Victorian London, The Lawyer and the Slave follows Nathaniel Bennett, a formidable Queen’s Counsel nearing sixty, and his loyal clerk John Marchman, a man whose streetwise contacts take him into the city’s darkest corners. Bennett has been toying with philanthropy—an effort to relieve women’s suffering in the docklands—but an unexpected report interrupts his plans: an American clipper, the Narcissus, has entered St. Katherine’s Dock carrying a Black man named Jonah, described as the captain’s “valet.” To Bennett, the implication is explosive. Under British law, a person held as a slave cannot be forced to leave England against his will, and Bennett senses a rare chance to test principle against power. Working quickly—and not always cleanly—Bennett and Marchman secure legal authority, enlist the wary cooperation of the Dock Master,and use
their informers to lure the ship’s captain and crew ashore. The plan becomes a tense race against time: the Narcissus can sail at any moment, and the men aboard are violent. When the ship is searched, Marchman discovers Jonah drugged and hidden in a cramped compartment within the captain’s cabin. Jonah’s rescue should end the ordeal, but he reveals an even worse crime: two “cabin boys” are in fact young French women abducted abroad and smuggled toward a life of sexual slavery. The aftermath forces every character to confront what “freedom” truly requires. Jonah’s liberation exposes the casual cruelty of racism—both in London’s streets and in respectable drawing rooms—while placing uncomfortable responsibility on Bennett, whose moral certainty is tested by the practical demands of sheltering, naming, and protecting a man newly free. Through legal intrigue, social hypocrisy, and hard-won compassion, the novel explores how prejudice survives in ordinary lives—and how conscience is forged when action is unavoidable.

Set against the simmering politics of Europe and the Middle East in 1956, Canal Fever follows Nailah Mansour, a wealthy, cosmopolitan Egyptian heiress in Paris, and Alan Barker-Knowles, a young British diplomat whose charm and intellect are tempered by the habits and loyalties of a fading empire. Their friendship—sparkling with wit, cultural misunderstandings, and the careful etiquette of the era—deepens just as Colonel Nasser’s nationalization of the Suez Canal begins to convulse London, Paris, and Cairo. Nailah, restless with privilege and eager to serve Egypt’s new nationalism, is drawn into intelligence work that promises purpose and excitement, but also demands deception and dangerous proximity to the very world Alan represents. As she shuttles between Paris and London under an assumed identity, she tries to build networks, gather names, and understand how power
actually moves—discovering along the way the everyday prejudice, class tension, and moral compromise that sit beneath Britain’s public confidence. Alan, meanwhile, navigates embassy intrigue and hardening attitudes toward Nasser, alarmed by colleagues who toy with extreme solutions and by the dawning realization that policy debates can translate into civilian deaths. Into this volatile mix steps Tim Hearnden, Alan’s former sergeant from the Malayan Emergency—earthy, charismatic, and newly pulled back toward the military—whose presence complicates loyalties and exposes the gulf between worlds of privilege and working-class London. With the Suez Crisis tightening like a noose, Nailah and Alan must decide whether love can survive politics, whether marriage can coexist with espionage, and what fidelity means when history itself is demanding a choice of sides.

This book is a fictionalized tribute to Benjamin Sockett (1896–1963), tracing his improbable journey from a poor working-class childhood in Rogerstone, South Wales, to a lifetime in Christian ministry that culminates with his becoming rector of Northenden in suburban Manchester. As a boy with severe, undiagnosed short-sightedness, Ben endures mishaps and hardship while helping to support a large family, yet he finds a defining purpose in the Welsh Religious Revival of 1903–1905. Inspired by chapel life and guided by a charismatic pastor, he feels “called” to serve God and, unusually for his circumstances, sets himself the daunting task of educating himself in Latin and Greek so he can understand scripture at its roots. The narrative follows Ben through the crowded tensions of family life, early work in the steel and nail works, and the slow formation of character marked by discipline, empathy, and a persistent sense of responsibility for siblings and
neighbours. Along the way, politics, social change, and the moral claims of faith enter his world: reform movements, labour ideals, and questions about what Christian belief requires in public life. When the First World War breaks over Europe, Ben’s convictions are tested most severely. A committed pacifist who believes Christians cannot kill other Christians, he confronts propaganda, community anger, and the pull of patriotism—while bearing personal loss and the wounding of those he loves. His eventual decision to join up forces him into the trench world of fear, randomness, comradeship, and moral ambiguity, setting him on a path that will reshape his identity, his vocation, and his future relationships. Blending documented detail with imagined scenes, the book explores faith under pressure, social mobility, family loyalty, and the cost of war.
Bio in Brief
Writing has always been my trade as a university professor. I have tried to inject into talk about education the importance and centrality of thinking about it through a moral not a technical language. For example, if I am teaching children truths, whether in science, math or history, I am helping them to become truthful people. and cathartic experience for me. Truth is not some abstract destination but an ideal which should regulate how we think and what we believe. Yet I am the last person to think this is easy. Far from it. So I have written my several books and numerous articles with teachers in mind, but I am sure they are accessible to a general audience.
So I began my career as a history teacher in a large comprehensive high school in London. I then moved into teaching student teachers in London and practicing teachers in Cambridge, where I completed my PhD as a part-time student in London. I went to a small University in Northern Ireland as a full Professor of Education where I spent four years directing an Institute of Continuing Education based in Derry (or Londonderry, as the British called it). This was at the height of the Troubles and civil terrorism was a permanent feature of life. My last position in the United Kingdom was as Dean of Education at the University of East Anglia, Since 1986 I have been at George Mason University in Virginia, first teaching teachers but in recent years teaching political science to undergraduates. There I have the privilege of teaching people from many countries, with many different backgrounds, from the youngster right out of a Mid-West High School to veterans of recent conflicts. Of my teaching I am very proud and, at the risk of being arrogant, I have included a section of comments my students have written about me. Now retired, my writing is rather different, not just the book referred to, but a memoir of my father who fought in World War I, tracing his life from being a five year old child working as a lather boy in a barber's shop to a New Testament scholar reading Latin, Greek, Hebrew, Aramaic and Syriac, while a parish priest. So there is much to do!
I am constantly educating myself with new ideas and challenging myself with different writing techniques. I love learning more about my readers, and would love to hear more about yourself, your tastes.
Significant Academic Books
My most recent comprehensive analysis of my argument
2018

My developed argument for morality as the basis of teacher professionalism.
1993

Tracking a Friendship
In the summer of 1924, a young man graduated with a Bachelor’s degree in Divinity at the University of London and later arrived at the small market town of Wollaston in Northamptonshire, England to take up his first ministry at the Baptist Church in early 1925. His college career had been exemplary, winning prizes in Hebrew and Divinity, and he was becoming an accomplished scholar in Greek. He was 29 years old, having endured life for three years in a front-line regiment during the carnage of the European battlefields, Ypres, the Somme, Passchendale. He was respected as a young preacher before the War and was a pacifist at its outbreak, a cause he abandoned in the early summer of 1915 to volunteer, following his older brother. He was commissioned in September 1918. Breaking that class barrier, however, won him no plaudits from the College Principal, a man of immense Old Testament scholarship, unfortunately endowed with the prejudices of his class.
Benjamin Sockett was tall, short-sighted, slim, broad-shouldered and elegant with an officer’s bearing, and equipped with a fine mind and appropriate ambition. In Wollaston, he was soon to meet two sisters, Margaret and Alice Keep, daughters of a prosperous farmer, Adam Corrie Keep, whose family heritage over many generations lay in rural Northamptonshire, although Wollaston boasted a shoe factory. In 1833 Adam had bought a portion of the Manor of Wollaston with a substantial house near the town center where the Misses Keep in the 1870s established a private school, Alice teaching arts and Margaret the classics. Outbuildings were also converted for a Sunday School. The beginning of Benjamin’s friendship with Margaret was celebrated by her gift to him of William Morris’ The Story of Sigrund the Volsun in July 1925, inscribed “to my friend,” followed in October with Arthur Rackham’s illustrated version of The Rheingold and the Valkyrie with an inscription in Greek from Theocritus’ Idyll XXVIII – The greatest pleasure comes with a little gift – “in remembrance of October 28, 1925.” Clearly, as Alice Keep gave him a copy of Morris’ The Earthly Paradise that year, the relationship between the three of them began with common intellectual and artistic interests. Alice’s influence on that relationship, as the artist, is apparent in gifts being works by Morris and Rackham.
Margaret Keep was born in 1853, and her sister Alice the following year. Neither married, nor did one of their younger brothers Henry who emigrated to Australia and had a political career there. So when Benjamin arrived in Wollaston, age 29, the sisters were 72 and 71 respectively. For Christmas 1925 the two sisters gave Benjamin three of 10 volumes of Robert Browning’s Poetical Works, one of which was inscribed “To the Reverend B. Sockett from his grateful friends, Margaret and Alice Keep.” Robert Browning’s poetry was indeed to become a major source of mutual love and interest for Margaret Keep and Benjamin Sockett. Margaret surely kept a flame going for Browning. For, almost 40 years before, in March 1887, Margaret had developed a mutually deep affection and love with the poet that ended with his sudden death in Venice in 1889. In recent years, the relationship between Robert Browning and Margaret Keep has received attention from scholars. Browning certainly wrote poetry to her (e.g. A Pearl, A Girl). His letters to her and hers to him indicate a profound love and affection: some scholars suggest that she reminded him of his only wife, Elizabeth Barrett who had died in 1861. But, inscriptions in the books Margaret gave to Benjamin support the conclusions of scholarship. These gifts included several signed copies of Browning’s works signed by him: March 1887, the inscription of Parleyings with Certain People is from “hers affectionately, Robert Browning,” and in May 1888 “written in remembrance of a pleasant week filled with enjoyment by the presence and companionship of Margaret Keep”. In April 1889, Browning gave her a Handbook to the National Gallery with the note on the flyleaf: “I wish my dear Margaret Keep as much joy in the study of painting that I, for many a year, have had fortunately, Robert Browning.”
Browning’s work, then, was obviously a focus for Margaret and Benjamin. In April 1926, she gave him a copy of Browning’s Asolando inscribed “in remembrance of one who was as kind and good as he was great.” But their friendship reaches new depths by 1928, as the inscriptions from Margaret in her gifts to Benjamin reveal: “from his affectionate and ever grateful friend,” (April 13), “in remembrance of many happy hours and much kindness”,(April 20) and, in July a rather startling quote from Tennyson’s Idylls of the King which, though a description of Arthur, is clearly intended for Benjamin “with the love of his friend,”
“And indeed He seems to me
Scarce other than my own ideal knight,
Who reverenced his conscience as his king;
Whose glory was, redressing human wrong;
Who spake no slander, no, nor listen'd to it;………………..
Several lines omitted”
Wearing the white flower of a blameless life”
The line immediately following the first five reads “Who loved only one and clave to her” which perhaps Margaret thinks is going a bit far in her affectionate expressions, but it is ambiguous. Perhaps she thought Benjamin would interpret this as referring to Browning, but maybe it referred to him. Yet in September, in perhaps the highpoint of her devotion, come four words from Philippians 4:1 written in Greek in her gift of The Confessions of Saint Augustine, the words meaning “dearly beloved and longed for”. The phrase ‘dearly beloved” in the Greek is αγαπητω, agape being the Greek for a non-erotic love, which might be called Platonic. Indeed this seems to have been the character of the relationship for her, though for Benjamin it was one of great gratitude and devotion for her support and company in the loneliness of his first ministry and over six and a half years, feeding his intellectual interests with nearly 40 books as gifts – poetry, Loeb editions of 7 of Plato’s dialogues, and her bequest to him after her death in 1935 included money, furniture, two signed photographs of Browning, a daguerrotype of her as a young girl, and much else. These gifts are among the many treasures Benjamin’s children later inherited.
Yet there is one fascinating aspect to the Margaret-Benjamin relationship that suggests an intellectual, even radical openness, though some of this account has to be speculative. In a recent scholarly edition of Browning’s poems, it is accurately stated that Margaret Keep gave Benjamin a copy of Michael Field’s poems Long Ago. It was a gift, not a bequest. Michael Field was, however, the pseudonym of Katherine Bradley and Edith Cooper who were not only aunt and niece but lesbian lovers for 40 years. The eventual public revelation of ‘Michael Field’s’ identity was ascribed to Browning. They were close friends of his and members of what was called the Aesthetic Movement. The poems are Sapphic, unsurprisingly, dedicated to homosexual love. What does this suggest about the conversations on poetry between Margaret and Benjamin? As the book was a gift, presumably they had at least discussed the poetry and its sexuality. Margaret must have talked about it with Browning and therefore she saw no difficulty in discussing it with Benjamin. However, in 1955, Benjamin sold various Browning papers at Sotheby’s among which was this volume, and it now in the Library at Eton College.
For, after six and half years in Wollaston, in March 1931, he took up the office of Minister at Winchmore Hill Baptist Church in north London, a very different assignment: a shift from a rural environment with a small congregation to a bustling middle-class suburb of the capital city. There, almost immediately, he met Dorothy Talbot and fell in love. She was the daughter of one of the church’s deacons, Edward Talbot and his wife, Susan, and was part of the church as the leader of the Brownie pack. Benjamin and Dorothy were engaged in January 1932 on which occasion her brother Frank wrote to her: “There are some things so obviously right that need no support from reasons.” They were to be married in January 1934. It was a very dramatic courtship on three counts: first he finally decided to quit the Baptist Ministry in March 1933 for the Church of England which meant a separation from Dorothy from June 1933 till their wedding in January 1934, he in Manchester and she in London, though, of course, they met from time to time. However, on the very night he announced his intention to leave the Baptist Ministry to the Deacons, he was taken severely ill, necessitating three or four weeks in hospital, and a long convalescence. Finally, there was a romance between his sister and her father that was a severe trial for both of them.
His convalescence occupied the Spring of 1933. His base had been with Dorothy’s parents in London after his illness, but it included two five-day visits to Margaret Keep in Wollaston in May and June, and one or two visits to his mother and sisters in Newport, South Wales and a vacation with Dorothy in Paignton. (On his first visit to Margaret Keep he forgot to take his bottom denture.) He then went to Manchester in July to begin induction as an Anglican deacon, then priest, and at that time Dorothy, too, had changed her religious allegiance. However, he had “burned his boats” and was attached without pay to Saint Nicholas Church, Burnage. He had to wait to formally become curate until he had passed the Anglican Deacon’s exams in the autumn which “involved me eating humble pie”, as he was no novice in the Christian ministry. As he was not accustomed to Anglican rituals and dress, he was gradually introduced to the various activities of a new parish and he had to learn how to get up from prayer and not “pitch forward”, wearing the full cassock and surplice of the Anglican priest, unfamiliar to a Baptist.
In 1932 at their engagement, Benjamin was 36 and Dorothy was 27 years old. His life had been immensely turbulent, whereas hers had been placid. But in the six months that he was starting off life as an Anglican, they wrote to each other almost every day: sadly her letters have been lost, but his letters reply so thoroughly to her that we get a good glimpse of her, and of who he was. From his own descriptions in the letters he sees himself as ‘a public man’, with a ‘restless passionate nature’, a ‘highly strung temperament’, little confidence in himself, not good at self-control and ‘a very lonely soul’, but ‘full of hope, yet fearful’ in his new position in the Anglican church. This nervousness and lack of confidence extend to his reluctance to drive a car. He has ‘no man friend he can talk to’. His ruminations about leaving the Winchmore Hill ministry include worries about his sermons, full as they are with literary allusions. The war is still with him: he records several nights of leaping out of bed with what he calls nervous fits. He mixes ecstatic optimism with dire pessimism. He is constantly aware of money problems, being unpaid. However, his meeting with Dorothy clearly was the major change in his life. Previously, he ‘had always feared being roused to a pitch by any woman’, and ‘those feelings and instincts he always despised and fought against, were completely sublimated by her’, indeed his instincts, he says, ‘were bottled up until she came to him’. No doubt, with that sensibility, he could be a close friend to someone as unthreatening as Margaret Keep, 44 years his senior. So, he rhapsodizes, as he calls it, about Dorothy whom he loved ‘with the power of his nature.’ She is ‘abundantly worthy of the best a man can offer’, having ‘beauty, wholesomeness and goodness’, ‘sweet, gentle and refined’. She fills and completes his nature such he ‘could do aught else but need and hunger for her all the time.’ “If only we can get started,” he writes in the August before their January marriage, “that will be my nearest approach to Heaven above.” He spoke regularly not merely of his love for her, but of his ‘reverence and honor’ for her. He is in raptures when he hears that the Bishop has approved of their marriage, apparently not usually allowed for deacons, but he is “a man of experience” said the Bishop. Above all, the letters show his struggle with the idea of a close partnership, for he had been this lonely soul for almost three decades, but dogged in his pursuit of intellect and spirituality. He tells her she should do things, but then immediately qualifies that with such phrases as ‘but I rely on your judgment’.
Paramount within the pages of his passionate and loving letters to her, there is continuing concern for her health. She had severe menstrual problems, as well as being susceptible to colds: he wanted her greenstick fracture attended to more carefully , so he is delighted when she gets boots that adjust her gait. She was a good tennis player, however, and he urges her continue that to build her strength. He is thrilled at seeing her ‘trim light little figure cleaving the waves’ and at one point wants her to swim and train as an athlete. But all this passion and advice is regularly tempered with whether he has upset her in writing, whether he has been selfish, or not in his words, too bossy. He constantly refers to her height, so she is his ‘little lady’ but when he addresses her as a lady, he says, he is using the word not merely as a term of endearment but “in the best sense meant by the best people.” So, finally after an avalanche of letters in the days immediately before their wedding, they are married on January 16, 1934 in an Anglican church in Tottenham, London.
Yet their courtship was bedeviled during their engagement by the fourth romance, following Browning and Margaret Keep, Margaret Keep and Benjamin, Benjamin and Dorothy. It was that between Dorothy’s father Edward John aged 65 and Ann, one of Benjamin’s four sisters, then 28 years old. Nothing is known of the detail of their relationship except from the reactions of members of the two families as reported in Benjamin’s letters. He had referred early in their correspondence to a growing estrangement between her parents, and he complained that his own parents whose estrangement was ‘never made up’, and he was aware of ‘troublesome relatives”. He clearly felt a major responsibility for his three younger sisters, then in their late 20s and for his mother with whom they lived. His two elder brothers were married, and his concern was both loving and, to some extent pastoral.
Benjamin was particularly keen in the early days of their courtship to create warm relationships between his family and hers. He arranged for two of the sisters to come to London, as they had obviously visited Wollaston during his time there. So anxious was he to forge a relationship between the two families that he was active in arranging meetings. The liaison of Edward John, my grandfather, and Ann, my aunt, was fortuitous, but perhaps unsurprising. Here was a vivacious 65 year-old with a twinkle in his eye, married to Susan, a formidable woman, older than he, with strict fundamentalist religious beliefs. He certainly found more fun and enjoyment with his daughter than his wife. Ann, however, was one of that generation of women whose putative husbands were lost in the war. So mutual attraction was not merely possible but an opportunity for affection. But later, as Benjamin described it, ‘this trouble has arisen out of caring too much for relations and their feelings.’ The trouble, of course, was not merely the fact of the liaison, but the trouble it created between Benjamin and Dorothy.
The September 1933 letters reveal the problems; ‘If there should be any sign of serious friction over my sisters between Father and Mother,’ he writes to Dorothy, ‘you would tell me, I know, and I could and would see to it that they keep away and it would be done without any fuss or bother.’ His restlessness increases the following week: “What mystifies me is this sudden travelling passion which has beset Father, as well as its area. I hope that Mother is not too annoyed at what is happening. I am glad they like each other so, but if Father must go to South Wales and to Newport (where Ann, her mother and sisters lived together), then Mother will go also.” He wonders whether Dorothy’s brother, Frank, might ‘intervene’. However, the story reaches something of an impasse because, for all Dorothy’s treasuring Benjamin’s letters, there are none of hers to read between this September letter and that of November 21, a seven-week gap when, over six months, letters were being exchanged on an almost daily basis. One speculative conclusion to draw from this is that the missing letters were full of argument between them about this ‘trouble’ that profoundly tested their family loyalties, as well as their own relationship, so Dorothy destroyed them. For, indeed, Benjamin constantly urges her to keep his letters private so that they can be completely open and truthful with each other.
Yet this ‘trouble’ continued to rankle, but in a new form, that of the failure to heal the breach. By November, Ann was ‘penitent and eager to make amends.’ Benjamin asked Dorothy “to heal the breach between yourself and Ann’ for which he ‘would be glad and grateful,’ so she visited Newport that month also to make amends: but it was an ‘unhappy visit’ as Benjamin’s family complained to him that Dorothy and Anne were not as they had been, a reflection on Dorothy. His family reaction annoyed and surprised Benjamin, but ‘Whatever unhappiness may have been caused, this at least is clear, that there will be no more excessive friendliness between Father and Ann.” But, obviously in advance of a new meeting between Edward John and Ann, Benjamin becomes more forthright on the behavior of his father-in-law.
“I shall not mention it to Father, if you can assure me that he intends to act differently in the future. But I must be sure of that because it may be worse for all in the future if the thing is left as it is. He must refrain from greeting them with a kiss and he ought, if he must write to Newport, write an open letter to all. Tell him of the trouble that has occurred and of the great trouble that will occur if he continues this loose relationship with Ann. She must be made to behave too. I shall refrain from speaking to Father only if I can be sure that he understands and is going to play the game in the future.” “This business about Father and Anne hurts us and them but we must go through with it. It must be settled once and for all.”
Ann diplomatically had a surgical operation so as not to attend the wedding which, to Benjamin and no doubt Dorothy, was a great relief.
The fallout from the romance between Edward John and Anne was drastic. We do not know how they saw it – as an innocent fling, a flirtatious dalliance, or a serious possibility – and whether they resented the pressure to give it up. However, it had seriously tested Benjamin and Dorothy’s engagement. Anne’s family blamed both Benjamin and Dorothy for not supporting Anne. Dorothy was anxious throughout to defend her father and was also sympathetic to him. Susan, Edward John’s wife, appears to have had dismissed her husband’s infatuation, though she was obviously hurt. Benjamin was ‘so filled with conflicting emotions, I hardly know what to do,’ and ‘ really could not believe that my people were such a poor lot.’ Relations between Benjamin and Dorothy’s family moved along, ignoring the past. Not so with Benjamin’s family, for the upshot of the trouble was a sad estrangement from his family. He never saw Ann again. The sisters kept news of his mother’s illness from him until after she died.
But he kept in contact with his friend, Margaret Keep. He had other friends in Wollaston: he stayed there the night before his wedding, and it would not be surprising if he called on her. Indeed, after his marriage, he continued to visit his friend Margaret Keep, too, notably when she was dying in early 1935. In her will, she not only made a substantial bequest to Benjamin, but also she left 50 pounds to Ann. Perhaps she saw herself in Ann, an affectionate relationship between a younger woman and an older man bordering on the erotic but not realized, one which outsiders, to protect themselves perhaps, would call Platonic..

Beyond The Fog:
True or False?
November 24,2020
Human beings understand their present, past and future world through language.
Such understanding takes the form of beliefs about the world that are formulated in thought.
The content of such beliefs will differ in different social contexts, such as a nation or a culture
The truth of shared beliefs makes social life possible.
To hold a belief is to commit to its truth.
Commitment may be more or less strong, dependent on the difficulty in ascertaining evidence for the truth or facing such obstacles as prejudice.
The value of truth for social life implies that individuals regulate their lives through attention to the truth of what they believe, notwithstanding disagreement.
To be regulated by truth is to seek to be truthful.
To hold beliefs which are true implies open-mindedness including the ability to change held beliefs.
To examine evidence implies the ability to judge evidence impartially.
Such evidence may be illusory and open to different interpretations, given the complexity of social life and human behavior.
The introduction of children to their lives through education demands that they be taught to be truthful, open-minded and impartial if those lives are to be regulated by the truth.
These intellectual virtues override in importance the transmission of beliefs about the world, presented to children as knowledge that they must acquire through memory.
Intellectual virtues become stable dispositions of mind and character.
Such dispositions are necessary intellectual and moral properties for those who would teach the young.