Monday, August 8, 2016

Drawing in progress

When I was young I drew and painted all the time. My father was a commercial artist for some years, and he provided me with good paper, pencils and paints. Later he bought me expensive American how-to-draw books. 
          His pictures hung on our walls. Most of them were copies of other artists' work, including well-known Old Masters such as The Blue Boy. He greatly admired Norman Rockwell too, and his copy of Rockwell's indignant small boy fishing up a boot was hung to form a hinged cover for the hatch that allowed us to use the telephone belonging to the grocer's shop on the other side of our living room wall. My sister has it on her wall now (I have Dad's English cottage).

In 1958 I went to Auckland Girls' Grammar, rather than Epsom, because I wanted to take art as a full subject. My ambition was to be a commercial artist like my father, and my dream job was to draw the illustrations for the romantic short stories in my mother's English magazines. This is the closest I can find to the ones I remember (no colour then, just black and white).

We had an excellent art teacher, but she quickly wrote me off as completely ignorant and untalented. Thanks to my parents buying me a steady supply of books, many of them "too old" for me but read avidly all the same, as well as being able to use the outstanding library at Normal Intermediate School, I had read very widely by the time I started secondary school; but until I encountered the prints of Old Masters and impressionists that lined the school walls, I had never seen a single piece of art that our teacher would have considered good (I don't think the beautiful, tissue-paper covered Edmund Dulac illustrations in my old book of fairy tales would have counted).
            So at the end of my third form year I agreed to drop art and pick up Latin instead. I didn't draw or paint again for ten years. When I plucked up the courage to go to an evening class, the teacher held up a painting I had done at home as an example of what to avoid.  I didn't try again till the 1990s, when I took some enormously enjoyable painting classes at Wellington's Inverlochy House.
             This year I've been going to drawing classes (about ten sessions so far), run by Rosemary Stokell in Karori. The winter Arts and Crafts Centre exhibition went up in July, and we were all urged to put at least one drawing in, I managed two, and much to my surprise and pleasure, one of them was highly commended and then sold.
             My drawings, like almost all my writing, are strictly non-fictional. Because I spend so much time dealing with words, it's immensely satisfying and refreshing to work on something wordless. This time, I want to keep going. 

My hat between Harvey's hats

(I foolishly didn't photograph these other two before I framed them)

Tuesday, May 24, 2016

Diana Bridge: A fine poet honours Harvey

Last week I went to the Unity Books launch of two poetry books elegantly published by Cold Hub Press: Michael Jackson's Walking to Pencarrow, and a collection of new and selected poems by Diana Bridge.
        Harvey and Diana had a strong bond. She lives close by, and visited him here in his last years. When she phoned to invite me to the launch, she told me that the new book included her poem for Harvey. So I went, and wore my Chinese jacket in her honour.
        But I hadn't quite realised how significant an evening it would be. In her speech, Diana said how pleased she was that, as Harvey's widow, I was there. Then she read the book's title poem, "In the Supplementary Garden". It was the poem in memory of Harvey.
        I should have remembered it from six years ago. In May 2010, Mark Pirie had put together an issue of Broadsheet: new New Zealand poetry (No.5), which featured an interview with Harvey (by email, because of his declining health) and six poems by him, along with poems by Mark himself and another five friends of Harvey's: Fiona Kidman, Ian Wedde, Paul Hill, Michael O'Leary - and Diana Bridge, who contributed "In the Supplementary Garden". 
         I was deeply moved that she chose it as the title poem for this collection, adding his name on the page, and as her reading for the launch. It's so strikingly appropriate for him, as poet, gardener, and friend, "nearing the end of his journey". He died seven months after it was first published.

i.m. Harvey McQueen


In the Supplementary Garden, light spills down
on an excess of contrast, leaves are every shape in the pack,
their greens spiked here and there with ox-blood, amethyst
and a radiant shade of lime. Barks are crazy-paved
or smooth as parquet. There are no rules –  

except for spontaneity. With each twist of the path, we fall
as though into a new movement, and yet throughout
a garden that has charmed the eye of generations,
one mode prevails. Distant gazebo and pavilion
roofs are transformed into fans. Above our heads

a prow of shadowed wood is breasting the pale wave of the sky –  
see that and, like the Immortals, you could soar anywhere.
Each tree and upright stone set at the water's edge
has grown a shimmering twin. We watch each pair
break into halves  –  and instantly re-form into

a glimmering whole in a wondrous conversion of things.


Slabs of rock, their faces ground and grooved as any sage
nearing the end of his journey, have made an amphitheatre
of the pool. Plants coat its rocky lip; they trail over it
like children's hands that reach for water, stopping
just short of the surface. A mat of lotuses that lies

as langorous as a woman on her side its starting its slow
slide into openwork. As smoothly as a corps de ballet
flowers glide apart – they'd have us think forever.
We want it to go on, this sunlit comedy, knowing it can't,
that the curtain must come down on all performance.

The afternoon has deepened, burnished as though by elegy.
A last butterfly of light plays on the pavilion floor, coaxing
its worn diagonals into harmony with the pleated lines
of the roof. It is that numinous, if unattested, time when patterns
of earth and sky combine, when black and white draw close

and then entwine, enacting the same spiral of conjunction
figured on a symbol from who knows how old a past.
It would take words as hand-picked and artless as the trees
in this old garden to convey the presence of that fullness
in this fading. Nearer still to evening, you find a way to tell me:

It's acceptable – it may be better, even – that it doesn't last.

(Author's Note from Broadsheet: In 1979, before it had been restored, I visited the Humble Administrator's Garden in Suzhou, of which the Supplementary Garden forms part. Coming across photographs of it 30 years later in Maggie Keswick's influential introduction in English, The Chinese Garden, became the catalyst to writing. I offer the poem that resulted to Harvey, a maker of both actual and literary gardens.)

Diana has published five books of poetry with Auckland University Press. In 2010 she received the Lauris Edmond Memorial Award for her distinguished contribution to New Zealand poetry. Her essay “An attachment to China” won the Landfall Essay Competition for 2014. She has a PhD in Chinese classical poetry from the Australian National University, has studied and researched Chinese language, literature and art history and early Indian art history, and is the first foreigner to have taught in the Chinese department at Hong Kong University. In 2015 she was invited to take up a residency at the Writers' and Artists' Colony at Yaddo in upstate New York, the first New Zealander since Janet Frame to go there. She also won the 2015 Sara Broome Poetry Prize.

IN THE SUPPLEMENTARY GARDEN has selected poems from Diana's five previous books, along with 23 new poems, the last of which is the title poem. Poems chosen by Robert McLean, with a superb introduction by Janet Hughes.
Cold Hub Press, $39.95.

Tuesday, April 26, 2016

Anzac Day 2016, Tinui

This morning I went to Tinui for the Anzac Day service, 100 years after the first service was held there in 1916.

Tinui is now a small farming community 30 minutes east of Masterton, with fewer than 25 permanent residents. In 1914 the community had 2000 people, and 36 of them – 35 men and one woman – would be killed in World War I.

The Anzac forces landed in Gallipoli on 25 April 1915. In 1916, this date was officially named as Anzac Day. To commemorate the seven Tinui men who died on Gallipoli, on 25 April 1916 the Reverend Basil Ashcroft held a morning service in the tiny Church of the Good Shepherd.

The Wairarapa Archive office holds a service sheet showing that this took place at 7.30 am, making it the earliest known recorded Anzac Day commemoration in the world. A second service was held that afternoon in the Tinui hall, which had room for the much larger numbers who came to it. This morning it was held outside the hall built much later.

That first Anzac Day fell on the Tuesday after Easter, so it was already a school holiday. Anzac Day became a New Zealand public holiday in 1920, several years before Australia, and the dawn ceremony was officially introduced nationwide only in 1939.

After the early service, Rev. Ashford led a group of 10 men, 7 women and 24 children, including the local Scout troop, up Tinui Taipo, more than 1097 metres above sea level, to set up a large wooden memorial cross.  Also known as Mount Maunsell, it was part of what was then Tinui Station, owned by the Maunsell family. Their son had served at Gallipoli, and they were strongly involved in the memorial project. It’s said that the barren landscape setting for the cross resembled Chunuk Bair. Today's memorial service sheet told us that once the cross was in place, those who had made the climb wrote their names on a piece of paper which was buried in a bottle at the foot of the cross.

This is the only known cross dedicated to Anzac losses during World War One. Because it was put up on the morning of that first Anzac Day in 1916, it has a good claim to be the first such memorial in the world. Heritage New Zealand says that the unveiling of the cross so soon after Gallipoli was:
"...the result of the impact that the Anzac campaign had on the small community at Tinui. The memorial was conceived as both a tangible demonstration of the Tinui area’s respect for those involved in the campaign, and more specifically, to [commemorate] those who died.”
In 1965 a locally made aluminium cross was set up to replace the wooden one, which had rotted. The original cross was put under the stage at the Tinui hall, but it later disappeared. In 2011, the Tinui Cross received a Heritage New Zealand Category 1 registration.

Since Tinui’s historical significance became better known, the numbers attending its Anzac Day service have grown. On the 100th anniversary of that first commemoration, 3000 people were there, including 94 descendants of the Ashcroft family. Basil Ashcroft's great-grandson, Lieutenant Colonel Aaron Mikkelsen, gave the main address at the service. Twelve-year-old Linda Morgan, whose relative is named on the Tinui war memorial as killed in World War 2, was the bugler who played the Last Post.

                                                                        (Douglas Maclachlan)

And here's the hymn by Shirley Murray that we sang this year, to the tune of Abide with Me:
Honour the dead, our country’s fighting brave,
honour our children left in foreign grave,
where poppies blow and sorrow seeds her flowers,
honour the crosses marked forever ours. 
Weep for the places ravaged with our blood,
weep for the young bones buried in the mud,
weep for the powers of violence and greed,
weep for the deals done in the name of need. 
Honour the brave whose conscience was their call,
answered no bugle, went against the wall,
suffered in prisons of contempt and shame,
branded as cowards, in our country’s name. 
Weep for the waste of all that might have been,
weep for the cost that war has made obscene,
weep for the homes that ache with human pain,
weep that we ever sanction war again. 
Honour the dream for which our nation bled,
held now in trust to justify the dead,
honour their vision on this solemn day:
peace known in freedom, peace the only way.
                                                                                         (Douglas Maclachlan)

Wednesday, April 13, 2016

Changing lives; A History of New Zealand Women

 I've recently finished reading A History of New Zealand Women, by Barbara Brookes (Bridget Williams Books). Rumour has it that the first print-run has already sold out.
          I'm reviewing it for the Women's Studies Newsletter, so I'll post that review later.  For now, I want to write about what Barbara says in her introduction about her own life; but first I want to say a little about some aspects of mine.
I was born in 1945 and brought up in Auckland. I was lucky - I was in the zone for Auckland Girls' Grammar, and wanted to go there because it offered full art as a subject. My father had previously been a commercial artist, and I wanted to be one too - I dreamed of becoming an illustrator for the English women's magazines my mother read.
           The only problem was that I didn't know the difference between commercial art and art. Until I went to Auckland Girls', where the walls were covered with good reproductions, I'd never been to an art gallery or even seen a really good picture. So art was the only subject where I did badly, and at the end of the third form I was persuaded to drop it and pick up Latin instead. I went on to make the most of the academic stream I was in, and ended up dux.
            Both my parents had had to leave school at twelve, but they were happy to take the school's advice and let me go on to university. With both a national scholarship and a Lissie Rathbone (for English and history), my fees were paid, I had my own pocket money, and I could live at home.
            Though I never thought about marriage and motherhood, I had only the vaguest idea about my future, involving copying my beloved French teacher and somehow getting a scholarship overseas, preferably to England or Paris. In due course I graduated with first class honours in English in 1968 (the only member of my all-female year to do so), and was given a junior lectureship.
             But by then, as well as being female, I had married (at 19) and had a baby (at 20). No one on the "proper" staff took the slightest interest in me, or ever talked to me about my academic future. I think they simply assumed I didn't have one. In 1971, as Barbara points out, only 1 percent of women had degrees or other higher qualifications.
             I was eager to have another child, and took what I thought was a year off to do that, then found I couldn't come back - all the junior lectureships had gone to the lauded clutch of first-class men who graduated the year after me. So of course I did the only thing I could think of, and went off to teachers' college, as my teachers at school had all along wanted me to do. But it seemed so circular and pointless - bright girls became teachers and taught other bright girls, who became teachers in their turn...  I finally received my PhD in 2006, on my 61st birthday.

Barbara Brookes is ten years younger than me. She too was initially destined for teaching, but her trajectory as an adult was completely different from mine. At Otago University she found supportive mentors and could embark on feminist research. A recent article in the University of Otago magazine explains how, with Professor Erik Olssen’s encouragement, she won a scholarship to Bryn Mawr in Philadelphia, where she completed an MA.
        To research her ground-breaking doctorate on abortion in England during the inter-war period, in 1980 she went to London, where she found a very active feminist history group. Receiving her PhD on her 27th birthday in 1982, she took up a postdoctoral fellowship at the University of Otago. In 1983 she was offered a full-time job in the history department. As she explains in her introduction to A History of New Zealand Women, she is in fact a living example of the dramatic changes that her book outlines:
Born in 1955, I benefited from educational opportunities that eventually [when she was 17] took me to university on a teaching studentship. Long-term factors - such as state initiatives in education and the erosion of the breadwinner wage - underpinned a raft of new ideas generated by feminism in the 1970s that encouraged me to be independent and academically ambitious. Effective contraception, in the form of the contraceptive pill, meant that I believed I could plan to have children at a time that suited me. That time came after I had completed my PhD and secured a academic job. I married at the age of thirty in 1986 and had my first child [of three] at thirty-three. (pp.1-2)
And the rest, as they say, is history - only in this case, an invaluable trove of papers, articles and books centering on women-focused history, culminating in this satisfyingly massive new book.
          Her career has, however, been far from typical. She was an early example of the contemporary women she describes who, having 'opted for traditionally male professions are currently transforming them' (p. 481). Yet it's vitally important not to lose sight of the fact that the majority of women continue to be found in jobs remarkably similar to the ones Barbara describes them doing back in the 1980s: sales, teaching, nursing, lowly office work, plus the lowest paid and least secure of all - cleaning and caregiving. And, of course, all that unpaid cleaning and caring work at home as well, perhaps now more invisible and subservient to what policy-makers persist in calling "work" than it has ever been.
          So when Barbara ends by saying, 'We now rely on them [younger women] to imagine a future where the challenges of both respect for diversity and a commitment to equality can be met' (p.483), she has to be read as referring not only to a once unimaginably diverse array of cultures, ethnicities, genders, sexualities and family forms, but also to the kind of equality among women themselves that is now so glaringly lacking.

Monday, January 18, 2016

Goodbye Kirk's

One of the worst things about getting older is seeing pieces of your personal history disappear. I don't mean that I'm forgetting my own past, or at any rate the bits of it that make up my memories - so far, that hasn't happened. I mean the way that places, people, even objects that figure in that past vanish over time.
       Most of the cafes and restaurants and pubs where Harvey and I courted and celebrated our anniversaries have long gone. The Pate Shop. The Buttery. Pierre's. The Romney Arms. The Mexican Cantina. The Roxburgh. Ma Maison. But some of the shops we went to (Harvey was one of those rare men who genuinely liked shopping) were still here, especially Kirkcaldie and Stains. We acquired the only new sofa we ever owned from its furniture department on the second floor.
        Harvey particularly liked their menswear section, and bought most of his clothes there. They made him merino suits and summer trousers. They supplied his beautiful Thornpruf tweed jacket, his Summit pyjamas and his deerskin slippers. They stocked the warm Viyella shirts I found for him when he first became ill, and when he was too frail to shop for himself, they let me take home several pairs of corduroy trousers for him to try on.
         And it was there that he found the classic double-breasted navy blazer he bought to wear to Amy and Tom's wedding. It became his favourite jacket - he wore it to the launches of his last two books, and we dressed him in it after he died.
          So I felt very sad when Kirk's closed on Saturday. Another piece of the remembered jigsaw of our Wellington life together has been lost.

At our wedding in 1985 - Harvey had got his suit earlier from Vance Vivian (it was of course  a very elegant beige, not pink, the photo colour has faded) but his wedding shirt and tie came from Kirk's.


Wednesday, November 25, 2015

Eating alone in a foreign city

I haven't posted here for a long time, and my life is not currently conducive to writing anything new. So instead I thought I would post the story I wrote (based on four blog posts on Something Else to Eat) about eating alone in a foreign city.  I read this as a short piece for the Food History Symposium last weekend. No pictures - just words.

Eating alone in a foreign city

When I travel abroad now, I inevitably spend some time on my own – a few days, a week - in unfamiliar cities. I really don’t mind during the day, and mostly I really enjoy myself. In many ways it’s easier being able to do exactly what I choose, without having to negotiate with anyone else. But in the evening there is always the problem of dinner.
For me, going out to eat every night in a strange city is a tricky business. As a woman alone, with poor night vision and a dim sense of direction, I don’t like to stray too far from my hotel after dark, and I need well-lit streets with plenty of people around.
I could of course use taxis, but that would require a special destination worth the effort. On my own, that’s not what I’m after. I’m not chasing Michelin stars or tracking down the nasty bits. I want a modest menu featuring local dishes that are appealing and interesting without being utterly unfamiliar. At least two courses, not too expensive, and preferably eaten alongside at least some local people, rather than solely other foreign tourists.
But other things matter too.  One problem with the kind of travel where I’m not staying in houses of any kind, with kitchens, is that it’s always necessary to go out for dinner.  After a while, that can seem like a chore rather than a pleasure. The right place to go will be somewhere I can  return to over several nights. I want a small sense of comfort, of being accepted, so that I can feel at least a little known and at home.
In Barcelona the nearby streets were a little too smart. I ate well enough, more than once at the bright theatre restaurant with the marvellous name of El Glop. It served simple, filling Catalan dishes such as sausage and beans, the waiters dealt efficiently and for the most part kindly with me, and I enjoyed my toasted bread, main course and glass of wine each night. But it was simply food.
In Madrid everything changed. By then I had got my bearings a little better with Spanish food in general; and I was very pleased to find that unlike Barcelona, many of the local restaurants served a well-priced menu of the day at night, not just at lunchtime. So the first afternoon, I tried searching on the net for well-reviewed restaurants near my hotel.
One stood out straight away: La Sanabresa. It seemed to be only a few minutes’ walk away, straight up the main street and down a side lane with the memorable name of Calle Amor de Dios - Love of God Street. But just to be sure, I set off to find it in daylight.  It was plain and unpretentious, and the menu in the window looked promising – it seemed to be the nearest thing I’d found to Spanish home cooking.
I went back at exactly 8.30, when it opened for dinner. In my experience, no waiter or maitre d’ looks pleased to see a lone diner, but in a still fairly empty restaurant they usually seat you without any fuss.  And I know better than to commandeer one of the romantic little window tables clearly designed for couples.
In Lyon once, the proprietor of an almost empty restaurant told me bluntly that he had no tables for one.  Of course not, I said, in my perfectly presentable French, but there are plenty of tables for two, and I am a widow. But if I give you one of those, he said, a couple might arrive and want it.  I was so taken aback at this rare burst of rudeness and rejection that I turned and walked out. Too late, I realised what I should have said:  “J’espère, Monsieur, que lorsque votre femme sera veuve, elle ne tombera jamais sur un restaurateur comme vous.” I hope, monsieur, that when your wife becomes a widow, she never comes across a restaurant owner like you.
No such shocks at La Sanabresa.  With a wave of his hand, the magnificently moustached waiter invited me to sit where I liked. The table I chose was wedged neatly between two larger tables, and I could sit with my back to the wall looking out into the room and observing everyone else.
To my great pleasure, all the entrees were vegetables. I chose the garlic mushrooms, the meatballs, and the flan.  Then I turned to the wine list and asked for a glass of rioja.  The waiter (who had very little English) held up his hand, and pointed to the words I had missed:  the 11 euro menu included not only three courses and bread, but also half a bottle of wine.  Tinto, blanco? Tinto, definitely.  He looked approving, and dashed away to see to it.
Just as well I had arrived on time. By now the restaurant was rapidly filling up with locals – mostly groups of friends, with a sprinkling of couples and a few other solitary diners.  The mushrooms were excellent, the meatballs a little bland but still interesting, and the flan – which turned out to be my favourite crème caramel – was perfect: rich, smooth and darkly sauced.  And the wine was perfectly drinkable. Everyone, including me, seemed to enjoy their dinners immensely.  By the time I left, I’d worked out what I was going to have next time, partly on the basis of what I’d seen arrive at the neighbouring tables.
Again I made sure to arrive promptly, and the waiter ushered me straight to the same table. He seemed pleased to see me.  I knew very well that as a passing tourist, even a returning one, I was just a tiny blip on the steady radar of his regulars. And yet I wanted him to like me, to approve of my choices, to appreciate me.  
One thing I think he really did appreciate was my decisiveness – no confused tourist dithering.  Grilled asparagus, grilled dorado with salad, bianco. Dessert was more of a dilemma. Should it be the flan again, since it was so good? Or (in the interests of research) should I try the torta de queso, cheesecake, which I envisaged as some rustic Spanish version? 
The cheesecake turned out to be a mistake - a small slice of some spongy, creamy confection topped with raspberry glaze, obviously bought in. I should have asked if it was casero (the equivalent of French maison). To offset this disappointment, I had to buy two little shortbreads from the still-open bakery on the way home, to munch in my room with Lady Grey tea. 
Because that's what happens on holiday by yourself - every small success or good decision is magnified, and so is every small mistake.  Wrong: Bypassing the hake with green sauce for what turned out to be a rather boring cod and orange salad in Cordoba. Right: Finding a sublime custard tart, served with a beautiful big glass mug of excellent black tea, to pass the time while entirely avoiding the ugly concrete complex for the cult of Our Lady of Fatima.
On the third night I was feeling slightly off-colour, so something fairly plain was called for: thin crisp eggplant fritters with lemon, and roast pork with mashed potato - always my favourite comfort food, and Harvey's too.  For dessert, no mucking around – the flan.
At the next table, two young Japanese (yes, there were some – they read Tripadvisor too) were having trouble with the menu. So I offered to help, and the waiter thanked me. At the end I splashed out on a small decaf espresso, and asked him if I could take his photo. He took the camera from me, handed it to the Japanese couple and bent down beside me so they could take us both. In my fragmentary Spanish I managed to tell him (I think) that I would come for one more night, and then I had to leave.
On my last night I had roasted red peppers with garlic and flakes of tuna, excellent cod in tomato sauce, and house made tiramisu. But the main courses I had been ordering from the 11 euro menu had migrated to the 13 euro one - still a great deal. Perhaps this was because it was Friday, which seemed to be family date night: there were more tables for two or four, filled with middle aged couples and small family groups.
My waiter dealt with them all with his usual speed and aplomb. And I learnt his name – Joaquín. He proudly brought over a laminated copy of a 2003 piece by the restaurant critic for the New York Times. It praised the restaurant handsomely, and paid special tribute to him and his moustache.
I told him my name too, and when I stood up to go we shook hands. He came with me to the door, I managed to say "Adios, mi amigo”, and he embraced me. I turned for home (well, the hotel) feeling pleasurably sad.

Then he came rushing out after me, saying "Sorry!"  I had forgotten my scarf. Real life endings are never quite like the movies. 

Saturday, September 19, 2015

For Suffrage Day

It's Suffrage Day in NZ but here in Barcelona it's still the day before. I want to mark it with a post related to what I saw in Vienna. Gustav Klimt had a long relationship (no one knows if it was sexual or not, but it seems likely it wasn't) with a remarkable woman, Emilie Louise Flöge.

Emilie and her sister Pauline ran Vienna's leading haute couture salon. They included loose, flowing dresses in the Secession style worn by many women in Klimt's paintings. The one below is of Emilie, and the second photo of her shows her in feminist reform dress.  (Sorry the pictures here are too small, Blogger on iPad won't let me enlarge them - I'll fix it when I get home.). The shop had to close after the Nazis removed most of the sisters' wealthy customers.  The other sister, Helene, was married to Klimt's brother.

The Leopold Museum has a touching display of Klimt's postcards to Emilie over many years. "The Kiss" is said to show her and Klimt - which would explain the woman's apparent reluctance to be kissed at all. 

You can buy Kiss umbrellas, bags, mugs and cushion covers. When the Vienna Museum held a Klimt kitsch contest in 2012, they awarded the prize to a plastic egg that opened to show miniature “Kiss” figures which rotated to the tune of Elvis’s “I Can’t Help Falling in Love With You.” 

Monday, September 14, 2015

That's history

If Harvey had still been alive, he would have turned 81 today. Here in Vienna I keep thinking of him as I enjoy yet another new experience that he would have loved, from the delightfully enthusiastic concert of Vienna's Greatest Hits last night (think The Merry Widow, etc), complete with excellent singers and ballet dancers, to the free Amaretto my friend Ulrike and I were given just now to end our Italian dinner round the corner.

I think he would have liked seeing Sigmund Freud's house, too. Freud lived at Berggasse19 for 47 years, from 1891 to 1938. This photo of him in his study was taken there jin 1937.

Sometimes history seizes you by the throat.  I put up a post on Facebook recently showing my first coffee and cake in Vienna. I had it at an attractive old place I found near our hotel, Cafe Eiles. Later, wanting a photo of the interior with its faded tapestry banquettes and round marble-topped tables, I looked it up on the Internet. 
           There's been a cafe on this site ever since the building went up in 1840. Cafe Eiles itself dates back to 1901. Eiles means rope. On 23 July 1934, the illegal Nazi party held its last meeting in the cafe before launching the failed putsch against the Austrian government. 
            Less than four years later, on 4 June 1938, Sigmund Freud left his house after he managed to raise (with the help of friends such as Marie Bonaparte) the very large sum of money demanded by the Nazis for letting him, his wife and his daughter Anna leave for refuge in London. His apartment was turned into a crowded holding pen for other prominent Jews. He died less than 16 months later on 23 September 1939, aged 83. Four of his five sisters later died in the concentration camps in 1942.