Last month I was lucky enough to visit the Tove Jansson exhibition at Dulwich Picture Gallery. Even on a cold Thursday afternoon in January, the Gallery was crowded, which gives some idea of the extraordinary popularity of this artist and writer. Anyone who loved the Moomins in childhood would probably be drawn to an exhibition of her work; the current British fashion and fascination for all things Scandinavian is probably expanding her audience. Ethnically and linguistically Swedish, but born and raised in Finland, Jansson is positioned interestingly on the borders of Scandanavia – but her work and writing definitely speaks to us of her origins in the far north.
Tove Jansson was an extraordinarily wide-ranging artist, producing works in oils, illustrations, the vast world of Moomin in both book and comic-strip form, novels and short stories. The exhibition started with her early works in oils, including a number of self-portraits and the famous, uneasy portrait of her whole family together, Tove poised in black at the centre of the group. A room of paintings from her later career followed, including some beautiful interiors which have affinities with the work of Vanessa Bell, also shown at Dulwich in 2017. My favourite piece in this room was a semi-abstract seascape called “Westering”, haunting and beautiful. Her paintings strongly evoke dynamic motion and have a great deal of texture. In a still life of vegetables (fennel and onions) the tension between straight lines and curves gives these everyday objects a considerable dramatic quality. These paintings are quite large in scale, and the contrast with the next room was marked.
This room was devoted to Jansson’s illustrations for the work of other authors, particularly Alice in Wonderland and Tolkein’s The Hobbit. Her drawings for Alice, for those of us brought up on Tenniel’s upright black-and-white drawings, are revelatory, composed mainly of sinuous curves. The Mad Hatter is a relaxed, possibly slightly drunk figure, leaning companionably on the Dormouse; Alice swirls in spirals in the Pool of Tears. These works are quite tiny and precise in their execution, the opposite of abstraction.
Finally, the Moomins made their appearance. A room of sketches, showing how Jansson reworked little scenes again and again to get them right, made me think of the effort involved in this work. Jansson has incredible economy in her drawings, with just a few lines deployed to set a scene, show character, or tell a story. It was fascinating to see the notebook stage of the familiar drawings, and delightful to see the original set of Moomin figurines, developed in the sixties to satisfy the demands of Moomin-fans worldwide. The final room was dedicated to the comic strip Moomins – again, requiring massive work (which was taken over by Tove’s brother, interestingly, when she could no longer keep up with demand) and their excursions into other cultural forms. There were posters for Moomin plays, operas and exhibitions.
As well as her visual art, Tove Jansson wrote many books for an adult readership. These have been issued in English translations by Sort Of Books over the last few years in beautiful editions, and are hugely enjoyable to read. Her writing is spare, leaving space for the reader’s imagination; I always feel that she’s conveying, subtly and insinuatingly, a profound wisdom about what is worthwhile in life. The Summer Book is probably her best-known work, but my favourite is Fair Play. This draws on her own life with her partner, graphic artist Tuulikki Pietilä; the couple in the novel mimic the real-life arrangement where they had flats next door to each other, connected by a neutral attic space, both together and apart. Fair Play shows how two women can combine separate creative careers with a supportive and loving relationship. Jansson’s marvellous portrait of Tuulikki working at her desk appeared in the exhibition but I can’t find it online in usable form. Instead, here’s a photograph of them together.
The Dulwich exhibition is now over; there are some lovely reviews of it (with more pictures) at The Londonist and Plain. If you are interested in finding out more about Jansson, there is an authorised biography by Boel Westin which I enjoyed, although it is not written as a traditional biographical narrative, and jumps about a lot between the phases of Jansson’s life. There’s a good review of Westin’s book by Kate Macdonald if you want to find out more before starting. This illustrated biography looks fascinating and has gone on my wish list. There are lots of pictures to enjoy at tovejansson.com and moomin.com – the latter has an online shop for all your Moomin needs. Dulwich Picture Gallery is a delightful place and well worth a visit – they have excellent exhibitions and the main collection is also marvellous.
About this book
In 2018, it will be 250 years since James Cook set out for the South Pacific on the Endeavour. To celebrate this anniversary, there will be an exhibition at the British Library from April to August next year, drawing on the Library’s remarkable collection of maps, diaries, paintings and drawings to tell the story of Cook’s voyages. As well as maps and diaries prepared by the British sailors, scientists and artists, the exhibition will show works by the Tahitian navigiator Tupaia, who travelled with Cook to New Zealand and Australia. A fascinating exhibition catalogue has been prepared, which foregrounds the work of Tupaia and considers the colonising impact of Cook’s voyages; ostensibly, the first voyage had a scientific purpose (to observe the transit of Venus), but private instructions from the Admiralty gave Cook the additional mission of acquiring new territories for the British Empire. The catalogue discusses the colonising motives underpinning the voyages, and the impact of the British visitors on Tahiti, New Zealand, Australia and Hawai’i. The catalogue has around 200 illustrated pages and is roughly 50,000 words long. I was asked to provide a name index that included the illustrations and was 600-650 lines long. The authors and publishers were keen that the careful research done on the names of the indigenous people of the countries Cook visited was reflected in the text.
Approaching the index
I didn’t ask for a printout of this book, and read the PDF on my laptop. In retrospect, that was a mistake, as this is a larger format book and it wasn’t all that easy to read. I marked up the PDF using a larger monitor, which was easier. Again, I made a mind map of the categories of people, places and things with names, to help me select my terms. I also did some thinking about how to deal with indigenous names, English transliterations, and places that had or still have two names commonly used. After some email discussion with the publisher, I decided on the following approaches:
- for indigenous names of people, I would use the correct spelling as specified in the text as the preferred term. If incorrect English versions or transcriptions appeared frequently in the book, I would include a ‘see’ reference to the correct version, rather than double entry. This avoided effacing the correct spelling or transliteration with the English colonial versions. I also added misspellings that occurred frequently in the text as qualifiers.
- for placenames, where both English and indigenous names were used in the text and are currently in use, I would use double entry under both forms, with the other name included as a qualifier at each entry
- for placenames where the English name is no longer used, I would use a see reference
I also did some preparatory reading on Maori names, which was helpful – the Indexer Centrepieces on names were invaluable here.
Placenames probably gave me the most trouble in this index. I ended up doing a lot of research to see if both local and English names were still in use, in order to make a decision about whether to use both names in the index. I also spent a lot of time with an atlas open at the Pacific page, trying to get my head around the shape of Cook’s voyages.
The double entry approach gave me most difficulty in the entry on New Zealand. There were Maori and English names for most of the places mentioned. The general entry on New Zealand had a lot of locators, and needed subheadings. Should I, for example, include both North Island and Te Ika a Maui, its Maori name, as subheadings, duplicating the locators each time? In the end, this is what I did, to ensure the index user would find the information whichever name they used.
All names needed careful transcription and checking. I cut and pasted the most challenging names, and checked them all thoroughly. There were some diacritical marks that Sky didn’t seem to want to handle, so I also needed to put those in manually at the end, once I had the index in .rtf form.
Some people – Cook himself, but also Joseph Banks and several of the artists who travelled on the voyages – had a lot of meaningful entries. This led to long strings; in a name index, I wasn’t quite sure how to break them up. In the end, for the majority of these, I used placenames as a subheading, reasoning that the entry for the artist Sydney Parkinson, for example, would be easier to use if locators about his travels and his work was linked to particular places. For Cook himself, I cheated a bit and put in some biographical subject subheadings; there were lots of locators referring to his death, for example, so I included a subheading for that.
Clarifying what all these names were gave me pause for thought, too. For ship names, Michael Forder’s Indexer Centerpiece on military indexing was very helpful. I started off with placeholder text to distinguish people, places, and gods. I swithered about keeping these in as qualifiers, but eventually removed them because they made the index look very cluttered. Also, if you are looking for Purea in this index, you probably know she is a Tahitian chief and not a mountain or a lake.
The structure of the book made it very easy to point the user at significant mentions, which I highlighted with bold locators. Key people and places had short chapters devoted to them which included useful summary information. There was very little repetition despite the complex narrative of journeys and so many characters moving in and out of the story.
I also enjoyed getting to grips with some of Sky’s useful features. I’d used labels before, but for this book I used them to flag illustrations – very helpful for a final check on illustration locators at the end – and to label the different nationalities of each name. I also discovered the marvellous Propagate Edits tool, which helped me get rid of lots of placeholder notes while editing.
Mainly, though, the pleasures of indexing this book were in its beauty – the illustrations really are wonderful – and its insightful examination of Cook’s journeys. I learned a great deal.
It was worth putting in the efforts to work out a strategy for dealing with the indexing of names at the start; this supported my decision-making later on, although I did have to think about whether and how to break my self-imposed rules. I did slightly better at anticipating the long strings of locators for this book, but there was still a lot of reworking of this at the editing stage. I also made too many entries, and had to cut down significantly to fit in with the line limit. I need to think more about how to avoid this – I had a rough target per page, but pages with several illustrations invariably pushed me over that.
About this book
For Better, For Worse: Marriage in Victorian Novels by Women (edited by Carolyn Lambert and Marion Shaw) is a multi-authored edited collection of chapters on the theme of marriage in fiction by 19th century women writers. The range of authors covered is quite broad, from the well-known such as George Eliot, through sensation writers like Ellen Wood and Florence Marryat to writers entirely new to me, such as Mary Eliza Haweis. There is also quite a lot of breadth in terms of historical context (the 19th century is long) and literary form. The book has just over 200 indexable pages and I was asked to provide an index that would fit, in two columns, on eight pages.
Approaching the index
After my first read of the text, and drawing on Margie Towery’s article “Metatopic and structure” in The Indexer 35: 2 June 2017, pp72-4, I made a mind map of the themes of the book. This helped me sort out the metatopic – representations of marriage in key concepts and types of information held within the book, and the links between them. I then made a list of the main keywords for the book to keep in mind as I worked through the text. I also found Kate Mertes’ discussion of the Ur-topic helpful, mainly to remind me that in a library, this book would be shelved with critical work on English literature of the 19th century. There’s a lot of useful and interesting sociohistorical content in the book, but the index needed to reflect its literary meaning too. I did a chapter edit and check of locators at the end of each chapter.
Given the large number of authors, I anticipated some difficulties with terminology, but actually key terms in the text – marriages, wives, husbands, infidelity – were fairly consistently applied. I had some difficulty with indexing terms relating to violence and abuse. There was much less consistency here, partly I think due to stylistic choices: an author who had used the dryer legal term “marital violence” might change to “wife-beating” in order to heighten the impact of a sentence. To manage this, I made extensive use of double entry and some see cross-references.
I also came across a few topics where we don’t have a good and likely sought term. For example, a number of chapters discussed the options for women who chose not to marry. Some of these references could be included under the heading “spinsters”, but not all were appropriate. There isn’t really an antonym for marriage in English that works as a search term: I used “alternatives to marriage” as a heading, and also included “alternatives” as a subheading to the main heading on “marriage”.
Names, as ever, needed work. A lot of nineteenth-century women published under pseudonyms, or are now known, at least in critical works, but a name they did not publish under. George Eliot is well-known and was easily dealt with. The writer now usually called Ellen Wood published under the name Mrs Henry Wood. Margaret Oliphant normally published as Mrs Oliphant, and her full name was actually Margaret Oliphant Oliphant. All of this needed thinking about so index users (who might not be familiar with modernised forms of names) could find the writers they wanted to read about.
Names of parliamentary Acts were also a challenge. For example, there were various Acts of Parliament relating to infant custody during the 19th century, with various names, but none was actually called the Infant Custody Act. However, that was the shorthand form used by various authors in this collection. Again, this was dealt with by double entry and cross references. I did consider having a main heading for legislation relating to marriage, but decided not to in the end, as I wasn’t sure a reader would look for it.
Avoiding long strings was tricky in some areas. There were a lot of references to infidelity, for example, that didn’t have obvious conceptual subheadings. I broke these up in the end by introducing subheadings relating to the book and author discussed at the locator, where relevant.
Well-structured chapters were easier to index. One particular chapter had, as its epigraph, the definitions of two key concepts dealt with in the chapter. It was very clear what the main topics were in that chapter, aside from the name of the author and books discussed. Discursive, less focused chapters were just as interesting to read, but harder to index as the structure didn’t present the topics and subtopics so clearly. I also found it fascinating to watch a concept that wasn’t really foregrounded in the text – the commodification of women – emerge from a collection of essays all composed separately by different authors in various countries.
The mind-map was immensely helpful as a tool to help keep the structure of the index in my mind while I was working. Some topics seemed too thin at the editing stage, and I had to go back over the text to check for additional references. One or two were simply unexpected absences (only one author referred explicitly to engagements, for example, although there was a lot of discussion of courtship; engagements went into the index, with a see also reference to courtship) but for others I had been too stingy during the term selection phase. I would hope to anticipate likely long strings better on future texts, and break these down as I go.