The action takes place at Freshwater Bay, Isle of Wight, in the last week of July 1864

Part One
Hats On

Chapter 1

A blazing dusty July afternoon at Freshwater Bay; and up at Dimbola Lodge, with a glorious loud to-do, the household of Mrs Julia Margaret Cameron is mostly out of doors, applying paint to the roses. They run around the garden in the sunshine, holding up skirts and aprons, and jostle on the paths. For reasons they dare not inquire, the red roses must be painted white. If anyone asked them to guess, they would probably say, ‘Because it’s Wednesday?’

‘You’re splashing me!’

‘Look out!’

‘We’ll never get it done in time!’

‘What if she comes and we’re not finished?’

‘It will be off with our heads!’

The smell of paint could probably stop an engine on the Great Western; so it is no surprise that it stops the inquisitive Reverend Dodgson, who happens to be sidling by the house at this moment, on his way up the lane from the sparkling afternoon sea. In fact the smell wafts so strongly through the tall briar hedge that it almost knocks his hat off. He pauses, tilts his head, and listens to the commotion with a faraway, satisfied smile. If you knew him better, you would recognize this unattractive expression. It is the smirk of a clever dysfunctional thirty-two-year-old, middle-aged before his time, whose own singular insights and private jokes are his constant reliable source of intellectual delight.

‘O-O—Off with our heads?’ he muses, and opens a small notebook produced with a parlour magician’s flourish from an inside pocket.

‘Off with our h—heads?’ He makes a neat note with a tiny pencil.

‘H-H-H—Extraordinary.’

It is a very warm day, but Dodgson’s only thoughtful concession to holiday garb is a pale boater added to his clerical black. Perspiration gathers at his collar and in his armpits, but since this is just the sort of discomfort a real mid-Victorian gentleman is obliged to put up with, he refuses to take notice. Dodgson is a sober dresser always, and today he is on a mission of importance. The only thing that worries him is the straw hat—a larky addition which seemed a good idea at the time. He takes off the hat and studies it. He doesn’t know what to do.

The trouble with the Poet Laureate—on whom Dodgson plans shortly to call—is judging the etiquette. Will the fashionable summer hat be a help or hindrance? Tennyson is well known for his testiness; he is a great sore-headed bear of a man who expects his full due as Top Poet. Yet at the same time he has extreme short sight and filthy clothes covered in dog hair and smelling of stale pipe tobacco. Does it matter, therefore, what a supplicant wears? Dodgson tucks the hat carefully under his arm, touches his neat hair with one hand, and then the other, and replaces the hat. A small curl on his large temple lies exactly as it should. There never was such a fastidious fellow as Dodgson when it comes to attire. It has often been remarked. When he touches his hair like that, he does it with such concentration that he seems to be checking he still has his head fixed on.

‘The Poet Laureate? Oh, very good, Dodo. Why not drop in on Her Majesty, too?’ his Christ Church colleagues sniggered supportively, before he left Oxford for the Isle of Wight. Was this sarcasm? Did they think, perhaps, that he was making it up?

But yes, he is proud of it. The object of this smooth-faced stammering non-entity is indeed Alfred Tennyson, the greatest wordsmith in the land, the man who claims—with justice—to know the rhythmic value of every word in English except ‘scissors’. The man who had the extraordinary literary luck to write In Memoriam before Queen Victoria got bereaved and needed it. And if Dodgson is vain of the acquaintance (and inflates it), it is understandable. He forged this relation single-handed, Tennyson offering him no encouragement of any kind. A lesser man would have given up long since, and pushed off back to his Euclid.

But when Dodgson sets his heart on befriending a fellow of celebrity or talent, he forgives all bad-tempered rebuffs, however pointed those rebuffs might be.

‘Be off with you! What are you doing in my drawing room?’ Christina Rossetti once demanded in Chelsea. (He soon overlooked this outburst of hot-blooded Latin temperament.)

‘What was your name again?’ asked John Ruskin at Coniston, a clever remark worthy of the foremost critic of the age, at which Dodgson smiled indulgently.

‘I’ll set the dog on you,’ quipped Elizabeth Barrett Browning.

Yes, between unequals in the social arena, the proverbial ‘nothing ventured’ is quite correct, and Dodgson proves it tire-lessly. ‘Nothing will come of nothing, speak again,’ Dodgson is pleased to repeat to himself sometimes. It shows he knows Shakespeare as well as maths.

And now, this undaunted fellow carries under his arm a manuscript of a new book for children, about a girl called Alice. And he is bearing it like a great magical gift up the lane to Farringford, Tennyson’s house, two hundred yards further from the sea. He feels like a knight returning with the Holy Grail; positive that his king will be terrifically impressed.

‘You’re not going to show Tennyson your silly book?’ they said, those Oxford know-nothings. (Dodgson just can’t stop remembering their jibes somehow.)

‘N—Not exactly,’ he replied.

No, the idea was to reacquaint himself breezily with Tennyson (‘Dodgson? Is it you? Well met, my dear young fellow!’). And then, after some pleasant bread and butter on the lawn, a chat about the latest American poetry, and a kind offer of dinner and bed from Tennyson’s saintly wife Emily, Dodgson would humbly ask permission (ahem) to dedicate his little book of nonsense to the laureate’s sons. ‘To my very dear and very close friends Hallam and Lionel T,’ was the modest idea, although of course every reader would guess at once the full name of these famous children, and be tremendously envious of the author’s sky-high literary connections.

‘It’s not much to ask,’ Dodgson told his amazed collegiate cronies.

‘Want to bet?’

‘It’s no more than asking a person to p—-pose for a ph—ph’

‘Photograph?’

‘Yes.’

‘You mean it doesn’t cost them anything, yet it profits you?’

‘W-W—Well, I w—wouldn’t—.’

‘Best of luck,’ they had laughed, interrupting.

‘I’ll have you know, I am a gr—great friend of L—Lionel T-T—,’ he began. But nobody was listening. They all knew Dodgson’s Lionel Tennyson story, and thought it a lot less flattering than Dodgson did. Evidently the poet’s glamorous ten-year-old younger son once agreed to correspond with Dodgson, but imposed an interesting condition: that he could first strike Dodgson’s head with a croquet mallet.

‘More paint here!’

‘Slap it on, jump to it!’

Back in Freshwater, outside Mrs Cameron’s house, Dodgson wonders what on earth is going on. After weeks of drought, the hedgerow is singed brown; it crackles as he presses his body close to hear. Perhaps Mrs Cameron has ordered her grass to be painted green, so that it will look fresh and emerald from an upstairs window. Knowing of his fellow photographer’s boundless and misguided devotion to aesthetics, such lunatic set-dressing is certainly possible. Mrs Cameron is forever making extravagant gestures in the cause of Art and Friendship, both with capital letters. She is a bohemian (at the very word Dodgson shudders), with sisters of exceptional beauty and rich husbands. She hails from Calcutta, and burns incense. While Dodgson takes pictures only of gentlemen (and gentlemen’s children), Mrs Cameron poses shop-boys and servants for her dreamy Pre-Raphaelite conceits. In short, in terms of exotic personality, she is quite off Dodgson’s map. He has heard that she will sometimes run out of the house, Indian shawls trailing, stirring a cup of tea on its saucer! Out of doors! If in London, she will do this in the street! And sometimes, she gives away the photographs she takes, the act of a madwoman!

‘You will be visiting Mrs Cameron, sir?’ the carter at Yarmouth asked Dodgson that morning, recognizing photographic gear as he loaded it aboard, straight from the mainland ferry.

‘Oh no,’ replied Dodgson. He glanced around nervously, to check that this terrifying woman was not in sight; was not actually bearing down on him with a cup of tea and a spoon.

‘Not for w-w-w—’

The word refused to come.

‘Watering cans?’ suggested the carter.

Dodgson shook his head, and made circular gestures with his hands.

‘Weather-vanes?’

A strangling noise came from Dodgson’s throat. This was always happening.

‘Windmills?’

‘Worlds,’ Dodgson managed, at last.

‘Very wise, sir,’ said the carter, and said no more.

* * *

At Farringford, Emily Tennyson sorted her husband’s post. Thin and beady-eyed in her shiny black dress, she had the look of a blackbird picking through worms. She spotted immediately the handwriting of Tennyson’s most insistent anonymous detractor (known to the poet as ‘Yours in aversion’) and swiftly tucked it into her pocket. Alfred was absurdly sensitive to criticism, and she had discovered that the secret of the quiet life was to let him believe what he wanted to believe—viz, that the world adored him without the faintest reservation or quibble. To this comfortable illusion of her husband’s, in fact, she was steadily sacrificing her life.

Take ‘Yours in aversion’. Since this correspondent first wrote to him, he had become one of Tennyson’s favourite self-referential stories (‘The skulking fellow actually signed himself Yours in aversion!’), but Alfred didn’t know the half of it; he had no idea the skulker had continued to write. Emily had a large drawer of unopened ‘Yours in aversion’ letters in her bureau upstairs. She would never let Alfred know of their existence—not while there was breath in her body, anyway. Afterwards, very well, he could find out then. It was only fitting that after her death he would discover the lengths to which she had gone in the wifely defence of his equanimity.

In general, however, the illusion that everybody loved Alfred Tennyson and found no fault in his poetry was quite easy to sustain day by day. It just meant narrowing one’s circle of friends to a small, scarcely visible dot, cancelling the literary reviews, and living in a neo-Gothic bunker in the farthest corner of the Isle of Wight. If people still insisted on visiting (and they did; it was astonishing), Emily’s terrible hospitality soon put a stop to that. One of her favourite ruses was to make a note of all who fidgeted during the two-and-a-half-hour readings of Alfred’s beloved Maud, and then deliberately tell them the wrong time for breakfast. When that gallant hero of the Risorgimento, Garibaldi, had visited Farringford in the spring, he obligingly planted a tree in the garden while the household sheltered indoors; but was he asked to stay for tea or dinner afterwards? He was not. Ironically in the circumstances, he was not offered so much as a biscuit.

Thus was Alfred, the greatest, touchiest and dirtiest living poet, protected from the unnecessary hurt of point-raisers, and family life sealed off from interruption. Luckily, Alfred’s eyesight was so execrable that he missed all sorts of nuances in everyday intercourse, including the yawning and snoozing of his Farringford guests. In fact, he could read Maud to a library full of empty sofas. It made little difference to him, actually.

Emily tore up some review magazines helpfully forwarded by Tennyson’s old Cambridge chums, and made a neat pile of the pieces. A maid would dispose of them later. But talking of maids, what had become of Sophia? Emily frowned. Sophia had been sent to Dimbola Lodge three hours ago. Had she never returned? Emily was just reaching to ring the bell when she saw the maid run through the garden, worriedly plucking flowers from her hair and followed by a small boy carrying a dark wooden box, clearly of Indian origin. Emily signalled to her through the window, and the maid—still pinning her hair into place—raced indoors.

‘Oh, Sophia, Sophia, I am disappointed.’

‘I do apologize, madam.’

‘Did Mrs Cameron make you pose again? What was it this time? Flora? Ophelia?’

‘Titania, madam.’

‘Titania!’

‘We tried to do the ass head with some dusters and wire, but we gave up in the end, although the butcher’s lad seemed happy enough to wear them.’

‘The butcher’s lad!’

‘He came by with some chops, and Mrs Cameron said—’

‘Don’t tell me.’

Emily sighed. Sophia looked wretched. The boy rubbed his ear.

‘Are you the butcher’s lad?’ Emily asked the question quite kindly.

‘I am.’ The boy looked hopeful, suspecting a tip.

‘Well, what am I supposed to do with you?’ she snapped. ‘Isn’t life complicated enough?’

Emily needed some good news, but she had a feeling she wasn’t going to get any. She sat down in preparation.

‘Did Mrs Cameron accept my gift of the writing paper?’

‘No, madam,’ said Sophia. ‘She said it was far too good, and that you must keep it.’

‘And this box, Sophia? Dare I ask?’

‘It is for you, madam—’

Emily groaned.

‘—She had it only yesterday, shipped all the way from Mr Cameron’s estates in Ceylon. She said it would look perfection on the new sideboard.’

‘What new sideboard?’

Sophia bit her lip.

‘The one which will follow shortly,’ she admitted.

Emily slumped back in her chair, and dismissed the maid. She was not a well woman, and the bombardment of presents from Mrs Cameron made her weaker than ever. Last week Julia had sent—admittedly on different days—a leg of Welsh mutton, an embroidered jacket, a child’s violet poncho, and six rolls of bright blue wallpaper decorated with a frieze of the Elgin Marbles. This level of generosity was intolerable, more than her frame could stand. Emily reached for the box and sniffed it. Just a day it had spent at Dimbola, and already it smelled so strongly of photographic chemicals that it might have been blown up the road by an explosion.

Inside the box was a long and unnecessary missive from Julia, written in her usual breathless style—full of praise for poetry and beauty and exclamation marks—and ending with her regular plea that Alfred should sit for a photograph. Emily sighed at this. Alfred would refuse, of course; it was a point of principle never to give anything of himself away.

Every day brought requests of some sort, and Emily shook her head at the stupidity of them all, especially the ones requesting money. Did these people know nothing of the world? And what was this? The Reverend C. L. Dodgson had written from Oxford, in his usual tiresomely pompous prose, mentioning a ‘small favour’ he wished to ask. Emily laughed rather nastily at his letter, and put it in her pocket with ‘Yours in aversion’. She would deal with it later. But a ‘small favour’? Dodgson was not a man to trust with a favour of any dimensions; experience had taught her that.

She must keep him away from Alfred, she resolved. Alfred’s new volume Enoch Arden had just been published, and it would make or break his reputation. And sadly, it was not one of Alfred’s best. Parodies were bound to ensue. Mr Dodgson was a gifted parodist, albeit an anonymous one, like the rest of the vile cowardly breed. Just two weeks ago, Punch had shockingly included a parody of Alfred’s In Memoriam, and Emily was so surprised by its appearance that she tore out the page at the breakfast table, panicked what to do next, then stuffed it into her mouth, chewed it, and swallowed it.

Alfred had seemed perplexed, as well he might.

‘Why did you do that, my dear?’ he asked. ‘Why are you masticating a page from Punch?’

‘I don’t know,’ she said lamely. She thought quickly. ‘Perhaps my anaemia craves the minerals in the ink!’

So to sum up, Emily was jumpy. The last thing she needed was this treacherous Oxford stammerer hanging about. The only favour the Tennysons had ever asked of Dodgson—that he keep to himself a photograph of Alfred taken in the Lake District—he had ignored. The photograph subsequently appeared as a popular carte de visite, published by a studio in Regent Street. Alfred was outraged. ‘Whose picture was it?’ he barked at everybody. And when they didn’t know what to say, ‘It was mine,’ he answered. ‘Quite obviously, it was mine.’

Today was Wednesday. Alfred would return this afternoon from London, and Emily was glad. She was very proud of Alfred, despite his touchiness, insensitivity and meanness, and despite even his tragic standards of personal hygiene, which were remarked by almost everyone they met. Truly Alfred Tennyson was the dirtiest laureate that ever lived. But there was more to a man than a washed neck or clean fingernails. That her lord was unacquainted with the soap and flannel did not make him a lesser poet or a lesser husband. As he once cleverly blurted to a fellow who had impudently criticized a dirty collar, ‘I dare say yours would not be as clean as mine if you had worn it a fortnight!’

Emily folded her hands and smiled. ‘There’s glory for you,’ she thought. She was pleased to reflect that she was well prepared for Alfred. As a matter of routine, he would ask three questions as he whirled dramatically through the door in his black cloak and sombrero, to which his wife’s dutiful answers must always be the same.

‘Did you check the boys for signs of madness, Emily?’

'Yes, dear. I did.'

'Is there an apple pie baked for my dinner?'

'Yes. Cook has seen to it.'

'Is anyone after my head?'

'No, dear, nobody. As I have told you before, Alfred, that's all in your imagination.'

* * *

Back at Dimbola, a clattering of pans and a smell of lobster curry issued from the kitchen, and from Mrs Cameron's glass house an occasional steam-whistle shriek marked the success or failure of the latest coating of a photographic plate.

'You nudged my elbow!'

'No I didn't!'

Dodgson's curiosity could resist the commotion no longer. Removing the boater, he pushed his head into the briar to see what on earth was happening. And there he saw a beautiful garden, in which maids and boys were slopping white paint onto red roses as fast as they possibly could. To someone who had only recently completed Alice's Adventures in Wonderland, this scene came as a bit of a shock, obviously.

Nobody noticed him, with his head poking through the hedge. Of course they didn't. They were absorbed in their strange work. Even when the door of Mrs Cameron's studio opened suddenly and a glass plate came skimming out, breaking against the trunk of a tree, the unflappable rose-painters paid no heed.

'Oh, dear,' piped a small voice near to Dodgson--too near to the hedge for him to see the body it came from. What was this? A little girl? At an educated guess, somewhere between eight years old, and eight and two months? With a dear little fluting voice? Dodgson pushed himself closer, despite tell-tale cracking and snapping.

'Oh dear,' repeated the little girl, disconsolate, 'I do believe I've quite forgotten.' Seeing more clearly into the sun-filled garden of Dimbola Lodge, Dodgson discovered a sight so pleasant to his eager spying eye that for a giddy moment he wished he might push his head right through the flowery bank (though of course without his shoulders, his head wouldn't be much use). A leggy barefoot girl of eight, her thick hair flowing, her skirt pinned up, and heavy angel wings of swan feather attached to her tiny shoulders, stood just two yards before him, staring uncertainly at a rose bush dripping white paint to the earth. And there she pouted, confused--an irresistible image of innocence and poultry cunningly blent.

'Mary Ann!' she cried, at last. Her wings flapped a bit, which was so nice to see that Dodgson whimpered in the hedge.

No answer.

'Can you remember? Are we painting red roses white, or white roses red? Mary Ann!' she shouted. 'I want Mary Ann!'

'Now what's all this?' snapped an older girl, an Irish servant of about sixteen in a dull dress and white apron. She looked quite severe, with her dark hair pinned tight against her head, as if it had deserved punishment by restraint.

'As you well know, Miss Daisy, Mary Ann will be in the mistress's glass house at this minute--why, isn't she there all day every day? And like as not she's pretending to be Mary Madonna, or a Hangel, or anybody else from the blessed Bible who never got their hands dirty doing her fair share of chores around the house.' Mary Ann's modelling duties were clearly rather unpopular with the Irish girl.

'But I say good luck to her,' she continued. 'Oh yes I do. Her with her moony long white face, not that I'd take that face off her if it was offered, even with the neck and the hair and the arms thrown in--'

'But what about the roses, Mary Ryan?' interrupted the little girl.

Mary Ryan smiled.

'Well, you're a goose, so you are. Is it really so difficult? What colour do you have there in your little pot?'

'Oh,' said the girl in a small voice, suddenly downcast. (Like all children, she hated to be told off.) 'White.'

The girl pouted again and changed the subject. 'Does Mrs Cameron ask you to be Mary Madonna sometimes, Mary Ryan?'

Clearly this was not the right thing to ask. Mary Ryan pursed her lips and emptied her paint pot over the honeysuckle. She probably wasn't supposed to do that, but at least she didn't dump it over Dodgson.

'Does she?' urged the child. 'She took my picture! Can I see pictures of you, Mary Ryan--'

'No you can not!' spat out Mary Ryan. 'And you just be careful with those wings, Miss Daisy Bradley, that's all. The mistress ordered them all the way from Mortlake, and if you'll not be crushing them feathers all this time, I don't know what you are doing.'

At which the little girl, sensing that the fun was over, ran indoors.

Mary Ryan, left alone, wiped her eyes with her apron and let out a little scream. 'Mary Ann this! Mary Ann that! How I love thee, Mary Ann!'

And picking up her pinafore, she turned on her heel. Unabashed at his eavesdropping, Dodgson stepped back from the scene, brushed his clothes for dust and twigs, and reassured himself there was nobody about. He was never embarrassed when people betrayed private emotions in front of him; having no emotions himself (or none to speak of ), he was just very, very intrigued. Sometimes he made notes for use later on. He had no idea why one maid should begrudge another maid her chance to star in Mrs Cameron's photographs--especially when, in his own opinion, the photographs were dreadful, too big, and shockingly out of focus. Glancing up at the windows of Dimbola, he caught the eye of a white-bearded old man smiling from ear to ear--Mr Cameron, presumably. The old man waved in a jolly sort of way, as though deranged. Dodgson studiously ignored him; you never knew where that sort of thing might lead.

'But I must contrive to meet this Daisy,' he decided, and produced his small notebook again. He wrote down her name. He also wrote it in letters down the page--D-A-I-S-Y-B-R-A-D-L-E-Y--ready for an instant acrostic poem, which he could sometimes complete in five minutes or less. Twelve letters! Excellent! Three stanzas of four! Two stanzas of six! What a charming child, to have such a convenient name, numerologically speaking! With several days planned at Freshwater Bay, there was plenty of time to make friends with the little girls, and get their addresses, and campaign for their photographs, and send them love poems. But he had discovered it was a great advantage to know names in advance, without asking.

'I love my love with a D because she is D-D--Daring,' he mused. 'I hate her because she is Demanding. I took her to the sign of the Dr--Dromedary, and treated her with Dumplings, Dis-sss--temper and D-D--Desire. Her name is Daisy and she lives--'

Indeed, he was just envisaging the scene on the gusty beach--the little girl paddling with a shrimp net; himself nearby pretending not to notice her, but doing fascinating bunny-rabbit tricks with a pocket handkerchief to ensnare her attention (it never failed)--when he heard the approaching trundle of the Yarmouth cart, and looked up to see Tennyson, the great literary lion of the age, dressed as usual in copious cloak and broad hat, holding a book of his own poems directly in front of his face for better reading, but evidently catching a vague myopic passing blur of Dodgson nevertheless.

There was no time to hide, no time to frame a polite greeting before--'Allingham!' boomed the laureate, as the cart passed Dodgson (pretty closely). Dodgson jumped.

Allingham? He glanced behind him, but could see nobody.

'Allingham, we dine tomorrow at six! Come afterwards--not before, there's a good fellow--and I shall read my Enoch Arden, and explain it to you, line by line! We shall confound the critics!'

And before Dodgson could voice a word of protest, the poet had passed by. The rush of air pulled Dodgson's boater from his head and left it dusty in the road.

This was not the welcome Dodgson had anticipated. He didn't know whether to laugh or cry. How could he make a visit now? He picked up his hat again, and touched his head carefully with each hand in turn. Still there, still there; still Dodgson, not Allingham. He looked up at the old man, who now appeared (no, surely not) to be dancing with glee.

On the breeze, Dodgson smelled the ozone from the sea, the scent of roses, fresh lead paint, hot buttered toast and potassium cyanide, all mixed together with the lobster curry. He looked up the lane towards Tennyson's home, and then back to the blue sizzling bay, where children would soon be packing their shrimp nets. Salty and sandy, and with their hair in pretty rat-tails, they would head home for tea at the nearby hotels.

Absently, he flicked through his manuscript.

Dear oh dear, how late it's getting . . .

Mary Ann, Mary Ann, fetch me a pair of gloves . . .

I shall sit here, on and off, for days . . .

You? Who are you?

As he pondered Mrs Cameron's interesting corner of the Isle of Wight, another glass plate whizzed across her garden and broke with a shattering sound like someone falling into a cucumber frame. At Freshwater Bay, he reflected, whichever direction you went in, the people were mad.

'Which way?' he said quietly to himself. 'Wh-Wh--Which way?'

—Reprinted from The Lynne Truss Treasury by Lynne Truss by permission of Gotham Books, a division of Penguin Group (USA). Copyright © 2005 by Lynne Truss. All rights reserved. Originally published by Penguin UK in 1996, reprinted by Profile in June 2004. This excerpt, or any parts thereof, may not be reproduced without permission.