NaPoWriMo 2021 – Day 6

For today’s prompt, I was instructed to ‘Go to a book you love. Find a short line that strikes you. Make that line the title of your poem. Write a poem inspired by the line. Then, after you’ve finished, change the title completely.

I’ve taken ‘Tess of the D’Urbervilles’ by Thomas Hardy and the line “It is too late.”

Regret

Too late the realisation of what you had:

‘One who loved not wisely but too well.’

The woman pays, and that has been your song,

for as my own confession tumbled from my lips,

mirroring your own sordid secret, your eight-

and-forty hours of dissipation with a stranger,

I knew then what I still know now:

you judged me for not living up to your ideal.

In your mind, I was the perfect woman: pure

and virginal; and when

you found your idol had but feet of clay,

all hell broke loose.

‘You are not she! You are

another woman in her shape.’

It is too late.

Our paradise has been besmirched;

the Eden of innocence cannot contend

with knowledge once tasted. Pandora’s

evils have escaped; and it is too late

to put them back inside the box.

NaPoWriMo 2021 – Day 5

Today’s prompt challenged me to find a poem and then write a new poem that has the shape of the original and in which every line starts with the first letter of the corresponding line in the original poem.

I chose Carol Ann Duffy’s poem ‘Valentine’ which you can find here: Valentine by Carol Ann Duffy | Scottish Poetry Library

My poem is below:

Never forget where you have come from.

It might be from riches.
It might be from endless poverty.
It does not define
life or yourself, who you truly are.

Hope.
I can make a new life,
live how I want.
I can make my own story
as happy as I want it.

I can choose a better story.

Never forget who you truly are.

If you have known sadness,
If you have known unhappiness,
perhaps things can change now
and be right.
Forget all your sorrow.

This life
Is waiting expectantly for you to start it;

It’s hoping.
Life waits
In eager expectation to
caress your soul.

NaPoWriMo 2021 Day 4

Today’s prompt asked me to choose an image from @SpaceLiminalBot. I was struck by the colour in one particular image https://twitter.com/SpaceLiminalBot/status/1377776105701117952?s=20 and wrote the following poem:

Wet Room

Lime green tiles

from floor to

ceiling; shiny

squares of

virulent colour.

She lies upon the

lime green tiles,

her body still

and lifeless.

A splash of red

snakes across the

lime green tiles;

her life force

leaking out.

Wet room:

wet with her

blood.

NaPoWriMo 2021 Day 3

Today, I was challenged to make a “Personal Universal Deck” and then to write a poem using it. I hadn’t heard of a Personal Universe Deck before, but it’s a way of describing your life in 100 words, the good and bad, taking 80 of those words to describe the five senses and another 10 for words of movement. You can find out more here: Personal Universe Deck | Paul E Nelson

I’ve recently written a Greek myth about Selene, the goddess of the moon, so I think my poem was partly inspired by her.

Stars weave their way

across a midnight sky,

chasing the moon, a

silver disc set in an

indigo sea.

Dawn slowly rises,

shading the heavens in

palest lilac until

the world is

awake.

NaPoWriMo 2021 Day 2

The prompt for today was to take Robert Frost’s poem ‘The Road Not Taken’ and use that as the inspiration for ‘a poem about your own road not taken – about a choice of yours that has “made all the difference,” and what might have happened had you made a different choice.’ This is a poem I’ve taught in school to Y9 students (13 and 14 year olds), so I’m familiar with it, but I’m afraid I’ve been rather flippant with today’s entry, parodying Frost’s poem to reflect the indecision felt when choosing between two cakes. I apologise unreservedly to former-President Barack Obama who said on several occasions that this was one of his favourite poems.

The Cake Not Taken

Two cakes stood still on a yellow plate,

And sorry I could not eat them both –

Too many calories – long I stood

And looked at both as much as I could

And thought of the weight that would pile on hips;

Then took the smaller, as just as nice,

And having perhaps the better icing,

Because it was pink and might taste the sweeter;

Though as for the other, it was much neater;

And both were really about the same,

And both that morning equally lay

On a plate just asking to be eaten.

Oh, I kept the first for another day!

Yet knowing how much I now would weigh,

I doubted if I should ever come back.

I shall be telling this with a sigh

Somewhere ages and ages hence:

Two cakes sat there on a plate, and I —

I took the one that was slightly smaller,

And that was the only difference.

NaPoWriMo 2021 – Day 1

Last year, I tried NaPoWriMo for the first time, thinking it would be good for me to step outside my comfort zone of writing fiction to try poetry instead. I managed to produce a poem every day in April.

This year, I’ve decided to challenge myself again, although I didn’t get the chance to update my blog with the poems written on April 1st and 2nd, so I’m adding those entries now.

April 1st is a short poem inspired by an animated version of “Seductive Fantasy” by Sun Ra and his Arkestra

Colours swirl into

sounds and shapes, alive

with the tempo of

summer.

Music weaves its way

around circles of

light, bubbles of

existence

under a sky the

colour of

jazz.

Like The Prose Day 30

I’ve done a quick word count, and my total number of words for the thirty stories I’ve written for Like The Prose this June is 58, 451 – that’s not including any other stories I’ve written as entries for competitions or in response to other people’s prompts.

Today, for the first time, I feel exhausted – which could be one reason why today’s piece is the shortest in the competition at only 384 words. It’s not the greatest piece of writing – the title and the last line are the only bits I’m truly happy with; but the germ of an idea is there and maybe, one day, I’ll go back to it and wrestle it into something I like better.

What’s really important is that I stuck with it, writing something every day, whether or not it was my preferred genre or something I knew. It’s taken me out of my comfort zone and it’s also taught me to look at different styles of writing and dare to experiment. For that, I am grateful.

Meet Me In The Gap Between The Words

You said you would take the blank, white canvas of my heart – and create. A song spilled from your pen, weaving words into a tapestry of vibrant colour, creating a world in which we were the only two. Margins of reality ran down the page of your imagination, ruled by the constrictions of everyday life, but you and I were doodles of defiance and we spattered our joy across the universe we had found together.

For a long time, your words danced across our lives in a whirling bacchanalia. We were caught up in the heady feeling of togetherness, the giddy laughter, the drunken sensation of being inebriated with love. You twirled me in and out of fairy tales and sent me hurtling into space. Every love song ever written was one you had penned for me and the rhyming couplet of us lengthened into a sonnet as you covered us both with a cloak of clichés, hiding us from the outside world. That was then. That was the beginning.

Do all lovers love like this so that every day is Christmas and New Year’s Eve, every exchange a Rachmaninoff Concerto, passion rising to a crescendo of stormy emotion?

 The pristine pages of our history yellow with age. Edges furl as our lives become well thumbed, sometimes ripped through carelessness. A tear stains my face; suspicion stains your heart. Words become distorted as they slide off the page and into reality. We hurl them like plates; twist them like knives. Who would have thought that love could be moulded and shaped into something sharp and destructive? Is your heart full of tears (to rhyme with fears), or tears (to rhyme with cares)?

I set fire to my angry words, the incandescence of my rejection flaming into a blaze of hurt. Its smoke spirals upwards. Now, only bitter ashes remain. All my words are dust.

In the aftermath of grieving, in mourning all the lost phrases and paragraphs and the gut-wrenching feeling of finding that – sometimes – words are meaningless after all, hope rises like a phoenix from the ashes of us.

And I will meet you in the gap between the words where the only thing that matters is the sound of my heartbeat next to yours.

Like The Prose Day 29

Some of you may remember that on Day 9, I wrote a piece in which fictional critics discussed a medieval poem known as ‘The Song of Pardal and Enara’, some of them quoting the poem in its original old English and some in modern translation. We were able to glean some of the story from the comments they made, but today’s piece returns to the two young lovers and retells the story from Pardal’s perspective as he languishes in a cell and reflects on his love for Enara and the unlikelihood of the two of them surviving.

Lovebirds – Pardal and Enara’s Story

            Her beautiful voice – as golden as the hair that ripples down her back – is the last thing he hears.

*

He comes to in a cramped, dingy cell, not much bigger than himself. If he stretches out, his arms hit the wall on both sides before fully extended. He’ll have to sleep curled round, like a dog or cat. His jaw aches. He touches it tenderly, realising that the guards must have hit him time and time again before they dragged him in here. Casting his mind back to the last minutes he remembers, he tries to focus on what has brought him here. How has his life been turned upside down in such a short space of time?

They had both grown up in the same village, sweethearts from the time they could toddle. He can still see her now, only five or six summers old, sitting in the meadow surrounded by daisies. She’d shown him how to thread the yellow and white flowers into a delicate chain and he’d placed it on her head, declaring her his queen. Back then, they hadn’t envisaged anything would ever separate them, but that was when the old king was still alive – before Petyr Ironfist came to the throne.

As his eyes gradually adjust to the gloom, he becomes aware of a small, barred window in one side of the cell. He shuffles towards it, hoping for fresh air. Pressing himself against the cold, metal bars, he takes deep breaths, trying to replace the mustiness of this confined space with something that reminds him of the outside world. And that’s when he hears her.

Her voice floats gently on the breeze, every note as pure and true as a lark. She’s a prisoner too, then: he doesn’t know whether to feel relief or sorrow.

Minutes pass before he’s able to conjure up the strength to communicate with her. “My love? Are you there?”

But his words are as cracked as his ribs and he can only croak his love for her.

“Pardal? Is that you?”

She uses the old nickname, calling him her sparrow, and he responds in kind.

“Enara – my swallow. Have they hurt you?”

He closes his eyes, attempting to see the last minutes in her presence: the two of them standing before the king: he, accused of treason; her only crime to refuse to marry a man she does not love. Her golden voice as she breathes the word ‘No’ is the last thing he hears before an iron fist slams into his face and he crumples to the floor.

Back in the present, he waits anxiously for her response. “His guards have not touched me.” Her voice trembles as she continues. “But he told me that every day I refuse him, he will torture you a little more.”

They could execute him a thousand times over and burn him alive, but that would not be as painful as the thought of living without her.

“Stay strong, my little one,” he tells her.

The king may have caged them both, but he cannot eradicate their love for each other.

*

As hours drag into days and days blur into one another, he finds his mind returning again and again to the happiness they’d known in their village. She was thirteen summers when he’d kissed her for the first time and her lips had been as sweet as cherries. Harvest time came and went, but still he did not have the courage to ask her father if he might court her properly. Instead, they stole away as often as they could, spending innocent hours together, his head in her lap whilst she threaded daisies into a crown for him. He was still a boy; but if he could become apprenticed to the village bard, he would have a trade to offer her father, a way of showing he could provide for a family. From time to time, he longed to kiss her again; but he was too mindful of her virtue to despoil her innocence before they were handfasted.

Now he wonders if he will ever kiss her again.

*

He finds it hard to sleep, his body contorted into uncomfortable shapes by the smallness of the cell, and wonders if she too faces the same difficulty. Her body is smaller than his: lighter, more delicate. When sleep eludes him totally, he imagines that she is lying next to him and that he can hear her breathing. He does not know how many days they have been without one another, only that he feels her loss as keenly as if he had lost a hand or a foot.

Time crawls on. Every day, he is beaten by at least one of the guards and he knows the king hopes his tortured cries will sway Enara to reconsider her refusal. Despite the ache in his gut, the burning pain in his side, he does not cry out: he must stay strong for her sake. But lack of food and sleep is taking its toll: he can feel his body wasting away from lack of sustenance: it will not be long now before the king has no rival for the songbird’s love. He sifts the memories of their last few days together – the precious hours spent walking hand in hand through fields of cornflowers and poppies; and then, sweetest of all, their wedding day when she’d pledged her love for him in front of the village only minutes before the king’s men arrived to carry her away. She is his bride, yet he has still not known her: if the guards had not arrived, he would have carried her to his bed and made her his forever; but it was not to be.

They still communicate – sometimes in speech; sometimes in song. At first, he sings the ballads he sang whilst courting her, and she joins in the refrain – “He lost the girl with the golden hair, with the eyes of blue and the skin so fair. He lost the girl with the golden hair to the king, to the king of the fairies.” – but the emotions are too raw and the words too close for comfort.

As his body debilitates, he begins to urge her to reconsider her vows to him. “Marry the king and save yourself,” he says; but she remains true to him, even though he hears the tears in her whispered refusal.

In his weakened state, his body loses all track of time: past and present merge into each other so that one minute he is a child again, running through meadows with his playmate, and he is then a man, running behind the soldiers as they gallop off with his bride. He is an apprentice bard, learning the notes of the lute as he accompanies his master and they sing of battles and honour; and he is a desperate husband, sneaking into the castle, trying to find his love before it is too late. His own wedding blurs into the one he prevented, the smiles on his friends’ faces replaced with the fury of the king as Pardal steps forward before the crowd of people and declares that Enara has already pledged herself to him.

He wonders from time to time why Petyr did not simply kill him there and then – a sword thrust from any one of the guards present would have dispatched him instantly; and then he thinks of Enara’s tear-stained face and knows that the king is punishing her by keeping her lover alive yet out of reach. They are merely flies to him: he is plucking their wings off slowly to prolong the agony.

*

By now, he is a shadow of his former self: his limbs are withered and his ribs bruised from constant kicking; his chest rattles with the effort of breathing. Nevertheless, he still calls to her from his barred window. “My swallow …”

“Were I truly a swallow, I would take flight and soar through these bars, to you, my sparrow.”

But her voice is so faint that it catches on the wind and disappears.

He begs her again to reconsider her refusal.

“Without seeing you, I know you are wasting away, my swallow.”

Her reply breaks his heart: “Were I a swallow, I’d have no cause to die.”

Her only sin was being too beautiful; his only crime was falling in love with her.

“My swallow; my wife.”

But this time, she does not answer.

Faint from hunger and exhaustion, he slumps to the floor, never taking his eyes off the bars at the window. Moments later, there is a flurry of wings as a swallow and a sparrow soar upwards, rejoicing in their freedom.

Like The Prose Day 27

It’s sometimes easy to forget how much we take for granted in terms of gender equality these days. Until the 1860s, women were not admitted to universities – and even then, they were initially not allowed to take examinations. Elizabeth Garrett Anderson (1836 – 1917) is widely known as the first female doctor in Britain, beginning her medical career as a surgery nurse in 1860 and then employing a private tutor to help her with the Latin, Greek, anatomy and physiognomy needed to sit in on medical lectures at the hospital where she worked. After much opposition from male medical students who objected to a woman trying to become a doctor, she achieved her license to practise medicine in 1865 – however, this was almost fifty years after James Miranda Barry, born as a woman in 1789, qualified as a doctor by presenting as male and living his whole life as a man.

My story takes some of the facts about Barry and weaves them together with a lot of invention to show how a girl from Cork renounced her gender to take on a male role in what was still very much a patriarchal society.

Doctoring The Truth

Snip! Snip! Snip! The girl’s long, dark tresses fall to the floor. Her mother continues until Margaret’s hair is shorn as short as any boy’s. “Put your brother’s old clothes on now,” she says, handing over a shirt and breeches.

Margaret looks at her mother. They both know this is the only way for a woman to train as a doctor in 1809, but she’s twenty years old and not flat-chested enough to pass scrutiny as a man. “I’ll bandage your breasts,” her mother says hurriedly. By the time the two of them have finished, Margaret Ann Bulkley has been transformed into James Miranda Barry, an identity that will be kept for the rest of Barry’s life.

*

It is November 30th when James and his ‘aunt’ board the fishing vessel that will carry them from their native Cork across the sea to Scotland. James is aware of his good fortune: some of his late father’s liberally minded friends have written letters and persuaded acquaintances that this fifteen-year old boy deserves to study medicine at the University of Edinburgh. All Barry has ever wanted is to be a doctor, and his uncle’s reputation as an Irish Romantic painter carries enough weight for him to be accepted into the Medical School as a literary and medical student. His short stature and slight figure produce speculation, despite the bandages – but it is not his gender that is in question but his age: the rumour is whispered that he must be a pre-pubescent boy, a child genius, and that he shouldn’t be allowed to sit his final examinations due to his youth. The Earl of Buchan fortuitously intervenes, enabling Barry to qualify as an MD in 1812, and after a year in London, as a pupil at the United Hospitals of St Thomas and St Guy, he successfully qualifies as a surgeon.

The army seems the next logical step. Barry is commissioned as a Hospital Assistant and is soon promoted to Assistant Surgeon to the Forces. His slender, womanish fingers are defter than most of his colleagues’ at making incisions and sewing up again afterwards; and he seems to have a stronger stomach than the other Assistants, taking guts and gore in his stride, never once blenching or feeling faint. At all times, he works with masculine detachment, refusing to let his emotions cloud his judgement.

So successful is he in his career path that he is soon posted to Cape Town with a letter of introduction from his former patron, Lord Buchan, to the Governor, Lieutenant-General Lord Charles Henry Somerset. Fortunately for Barry – but maybe not so much for the Governor’s family – Lord Charles’ daughter becomes ill with cholera soon after the young doctor’s arrival and Barry is sent for at once. He looks at Lord Charles and hesitates, not wanting to promise a cure he isn’t certain can be delivered; but it’s the sight of the girl’s mother, Lady Francesca, that finally sways him: she’s sufficiently like his mother to tug at his heartstrings and make him swear to bring her daughter back to full health.

The daughter’s miraculous recovery is, in fact, a result of common sense rather than divine intervention. James is intelligent enough to realise that poor sanitation and contaminated water supplies are responsible for much of the disease prevalent in the South African capital and immediately sets about advising the family to boil all their drinking water whilst he administers calomel and opium to the ten year old girl. Once she is declared out of danger, Barry is welcomed into the family, becoming a close friend of Lord Charles and a favourite of Lady Francesca. When Charles asks him to become his personal physician, he cannot refuse for he is already more than a little in love with this handsome man who is less than ten years older than Barry himself. Although he likes Lady Francesca, he cannot help the intense attraction he feels towards her husband; and the evenings the two men spend together, sequestered in Lord Charles’ study with a bottle of port (for Charles; Barry is teetotal) and some good cigars only add to his confusion.

One night, as the lamps are burning low, Charles asks Barry if he’s ever had a woman. “I’m not that way inclined, Sir,” Barry replies. Lord Charles’ eyebrows shoot up, but he says nothing. Such unnaturalness is reviled or at best ignored in 1817. Taking the biggest gamble of his life, Barry begins unbuttoning his shirt, determined to show his friend his true self. Once he has divested himself of his breeches, Lord Charles understands fully. They agree afterwards that Lady Francesca would only be upset were she to learn of the new relationship between her husband and his physician.

It is two years later when Lady Francesca comments that Barry is putting on weight, little dreaming that her husband has fathered an illegitimate child. Lord Charles, afraid of scandal, suggests that the pregnancy be terminated: the African women, he says have herbs that can induce a miscarriage. But James has sworn the Hippocratic oath, promising “not [to] give to a woman a pessary to cause abortion” and to “abstain from all intentional wrong-doing and harm”. His career and reputation are on the line, but he must adhere to the promises he has made.

Eventually, a compromise is reached. James will absent himself from the governor’s family for a while, ostensibly to visit a distant cousin who is recently widowed and in her sixth month with child. Lady Francesca is immediately sympathetic, offering to let the poor creature stay with them for her confinement; but James refuses, claiming that the lady is too ill to travel. He returns five months later, bringing with him a two months old baby: his cousin died, he says, and he is the only surviving relative the child now has. Lord Charles’ wife, charitable to a fault, immediately insists that the little girl become one of the family. “For you are my adopted brother,” she says, smiling fondly at James, “and so this little one shall be my adopted niece.” James and Charles swiftly resume their former intimacy, although this time, they are more careful – which as just as well since James has no other female kin who can be used to explain a baby’s appearance.

Little Margaret – named for Barry’s sister who, he says, died when he was twenty – is three when her adopted Uncle Charles appoints Barry as Colonial Medical Inspector. At first, James is angry with his lover, seeing the position as a bribe to ensure that their affair remain secret; but Charles assures him that the post is well deserved and, indeed, Barry’s accomplishments in the ten years he spends working in the Cape are staggering: in addition to his work improving sanitation and water systems, he improves conditions for enslaved people, prisoners and the mentally ill, and sets up a leper sanctuary, causing Lady Francesca to exclaim in admiration, “It is no wonder that we women are known as the weaker sex for anyone seems like a lazy and ineffectual individual when compared with the tireless devotion to duty of our dear Doctor Barry!”

In 1827, the thirty-eight-year old Barry is promoted to Surgeon of the Forces. He is still unable to believe that he has advanced this far in his army career without ever undergoing a medical examination, but officers are exempt from such administrative nonsense and this has certainly been an advantage for someone who entered the ranks as a Hospital Assistant, never expecting to advance so rapidly in such a short space of time.

He bids a fond farewell in 1828 to the Somersets, knowing that he is unlikely to find another adopted family in his new post in Mauritius. There is no question about Margaret accompanying him – how can a single man take care of a small child? – but he knows he is leaving her in good hands with her natural father and foster-aunt. Once in Mauritius, he quickly carves himself a niche as a favourite with the officers’ wives who all flirt with him shamelessly, allured by his gentle hands and soothing bedside manner.

For someone who is often cold and abrupt when issuing orders, Barry is surprisingly sensitive when it comes to coaxing hypochondriacal women back into health. “Come now, Mrs Fanshawe,” he tells one lady who claims to be suffering from extreme melancholia, “no one with eyes as pretty as yours can stay sad for long. Put on a pretty gown and receive some of your friends and you will be feeling back to normal in no time- particularly,” and here he lowers his voice roguishly, “when not one of them will look half as ravishing as you do in your lavender tea dress!”

“Doctor Barry!” the woman replies, simpering into her handkerchief, “you would make a very good woman!”

Barry’s heart pauses momentarily.

“But I would much rather see you become a very wicked man!” she continues coquettishly.

Barry relaxes once more. His secret has not been discovered after all.

“Madam,” he says gravely, “I am truly flattered – alas! I prefer the company of men.” He holds her gaze for an instant, allowing her to take in the meaning of his words.

If anything, this confession makes him even more popular with the army wives, for each one determines to succeed where all others have failed. Undeterred, Barry continues to charm them all whilst preserving his identity as a somewhat effeminate but excellent doctor.

He has been in Mauritius for a year when a letter arrives from Lady Francesca telling him that Lord Charles is very ill. Risking his career, Barry departs immediately for England where the Somersets have their family residence. He tells himself it is time he saw his daughter, but Charles occupies his mind fully, first on the journey back to Cape Town and then on the long voyage from Africa to Portsmouth. While the boat cuts through the water, he muses on his lover’s symptoms. He treated Lord Charles for syphilis years ago when the man developed blotchy red rashes on his soles and palms and started losing his hair. He’d thought at the time that the mercury injections he’d given had eradicated the pox, but what if Sir Charles has merely been experiencing a latent stage until now?  Has the syphilis returned; and, more worrying still, does that mean that he, Barry, is also at risk?

He is shocked to see how visibly Charles has aged when he finally reaches the family seat in Worcester. The once handsome face is now disfigured by weeping sores and skin and bones seem irreparably damaged. He examines Charles methodically while Francesca waits outside the room. It is as he thought: the advanced stages of Cupid’s disease are affecting Somerset’s internal organs and cardiovascular system, and even mercury injections will be of little use now.

It takes two years for Charles to die. Barry is aware that he could be court-martialled for leaving his post without permission, but he cannot abandon his grand passion. He and Francesca take it in turns to nurse the man they both love, she remaining as oblivious to Barry’s true feelings as she is to his gender. He has never explicitly said what ails her husband, but he thinks she has guessed; and he is amazed at her fortitude in continuing to care for a man who has been so constantly inconstant.

The funeral takes place one wintry morning, the weather aptly reflecting Barry’s frozen heart. He is a valued family friend, a so-called ‘adopted’ brother, but there is no suitable outlet for his grief and he feels like Hamlet, forced to watch in frustration as Laertes flings himself into Ophelia’s grave. He cannot mourn Charles as a lover so his tears must go unshed.

Leaving England soon after this, Barry finds himself posted first to Jamaica and then to Saint Helena. It seems he is fated to spend all of his career abroad when he is sent next to the Leeward Islands and Westward Islands of the West Indies. As he did so effectively in Cape Town, Barry focuses on improving what he can, tacking both medicine and management as well as the conditions of the troops. No one is surprised when he is promoted again – this time to Principal Medical Officer: when it comes to administration, he is a whirlwind, seeing immediately what needs to be done and organising everyone and everything effortlessly.

In 1845, more than thirty years after becoming an army medical officer, Barry contracts yellow fever and takes temporary sick leave, returning to England for the first time since Charles’s death. By now, his daughter is twenty-six and married to a country curate. It is a good match for a girl who is technically illegitimate and Barry feels grateful to Francesca for treating his so-called niece so well.

Once recovered and cleared for duty, Barry is sent to Malta. Now in his fifties, he shows no signs of slowing down, dealing with a cholera epidemic in 1850 and earning the grudging respect of most of the officials he has so far offended. Feeling he has nothing to lose since Somerset’s death, he now cultivates rudeness to the point of making it an art form, yet this does not prevent him from being promoted to the rank of Deputy Inspector-General of Hospitals in Corfu. The post is a prestigious one, but Barry has set his heart on the Crimea and is disgruntled to have his wishes thwarted. He compensates by spending his leave there instead.

As the years pass, his interest in the Crimea grows as England becomes part of an alliance of several countries involved in a war there with Russia. Reports have filtered through to England about the horrific conditions for the wounded soldiers and Barry is desperate to help in some way but is refused. His frustration grows when he hears of a woman some thirty years his junior who has been sent there, under the authorisation of the Secretary at War, Sidney Herbert, with a staff of 38 women volunteer nurses that she has trained herself; and he wonders bitterly whether he too might have had the same opportunities as a woman in the field of medicine had he, like Florence Nightingale, been born to wealthier parents. When he finally meets the woman during a visit to Scutari Hospital in 1854, he cannot avoid becoming embroiled in an argument with her.

“Do you think,” he asks somewhat aggressively, “that you would have accomplished more had you been a man?”

Nightingale, who has taken exception to his heavy-handed approach and tactless manner, replies spiritedly that she has for some time believed that women can be equals to men.

“It must be easy to follow a career when your father gives you an income of £500 per annum,” Barry says acidly.

“No amount of money can compensate for the struggles women have to face in defying the social codes expected of them!” she exclaims in a passion. “Were you not a man, you would soon realise that!”

And, indeed, Barry is aware that he would not have been able to study for a medical degree as a woman – let alone qualify as a surgeon or join the army. Nevertheless, he cannot help feeling irritated that she has carved out a name for herself without having to put on a pair of breeches.

In later years, Nightingale will remember their meeting, calling Barry a blackguard and claiming that he “behaved like a brute”, and it will be Nightingale’s name in the history books and not Barry’s.

A last official posting to Canada sees Barry continuing to improve sanitary conditions. A strict vegetarian, he takes a keen interest in the common soldier’s diet as well as that of their families and does what he can to educate them about nutrition. As before in The Cape, he fights for better medical care for prisoners and lepers, inciting the wrath of officials and military officers when he campaigns on behalf of the poor and other underprivileged groups. Florence Nightingale may be improving nursing standards in a few hospitals in the Crimea, but he, Barry, will affect thousands more lives in the British Empire.

Pushing himself so hard begins to take its toll and the army forces him to retire in 1859 due to ill health and old age. Barry is seventy by this time, although his records claim he is sixty-five.  He lives quietly in London for another six years before finally succumbing to dysentery and dying on 25th July 1865.

It is only now that Barry’s secret is discovered. He has spent 56 years as a man, insisting on always undressing in a room on his own, but the charwoman who lays him out goes to the press with her scandalous story, condemning contemporary doctors for not knowing that the man she has been cleaning for was really a woman. All of a sudden, many people claim to have “known all along”; whereas the British Army, embarrassed by the woman’s story, seal all records of their former employee for the next one hundred years. So successful are they in suppressing the truth that over a hundred and fifty years after Barry’s death, his name and true identity remain virtually unknown.