WARNING – CUTE SMALL MAMMAL ALERT!!!!!
Wow, we’re three months into this regular post now and I’m feeling really positive about that, thankyou for all the enthusiasm and support you’ve all shown 🙂
Heading into the insanity of the festive season I thought I’d use our December #MythpunkMonday posts to bring you little lesser known snips of winter-themed myths and legends as mythpunk writing hooks to feed the imagination through this manic time of tinsel and terrible music 😉
And moving into January, I’d like to offer some Mythpunk Mondays as guest post slots so if you have an idea for a post with a mythpunk theme, or if you are a writer or artist who would like to promote your own mythpunk works, drop me an email at email@example.com subject #MythpunkMonday Guest Posts and I will slot you in.
But before all that, here’s my last #MythpunkMonday for November and I thought I’d give you an extract from the mythpunk / steampunk short story which I was lucky enough to have included in the Dreamtime Damsels And Fatal Femmes Anthology here…
It’s called Mulo, which is the Rromani word for the spirits of our own dead but it actually translates as ‘the wind people’. Here are a few brief facts about the story before I share the snippet…
The story is set in a post-apocalyptic era where workable land and water are scarce and focuses on an exclusively Roma community which has the same class/ caste system as other settled communities. I thought it would be interesting to explore the interplay of power and prejudice without bringing the issue of race into it.
All the names in the story have a certain significance for example, Ndrita means to shine like a small, bright glittering light, to twinkle like a far off star. Ndrita embodies this – a small light that brings hope and then is gone again.
Sihana means like the moon. The moon reflects light, it isn’t a true light itself, it reflects the power of the sun but it doesn’t have it’s own source of power. It can also seem like a cold light, illuminating without aiding life or growth. All this seemed to embody the character of Sihana.
The marsh lights are a real phenomenon here in Britain – and perhaps elsewhere. They are really caused by marsh gas igniting or sometimes by the glowing fungus known as fox fire. Marsh lights have also been called Death Lights, Jack of the Lantern and Peggy of the Lantern and were thought to be malevolent spirits who had drowned trying to lead travellers astray off the path and into the marshes. I first encountered marsh lights in Bleaklow, Derbyshire and have been obsessed with their lore ever since.
I wanted the story to be gritty and realistic but also carry a thread of hope – to explore power imbalances that are inherent in all social constructs regardless of race or culture but also to highlight the notion of choice as a facilitating vehicle for change. Nothing actually changes in the story on a societal level, but the two main characters, Ndrita and Anika, both changed a little for a moment – they put aside their prejudices to save the life of someone they would normally abhor, and who would normally detest them. They took back the power of choice.
Writing is never a clean process and I had some initial problems with keeping the tense and perspective consistent between the characters’ different scenes – something I wouldn’t have picked up on if not for the fantastic editing team so I owe a lot to them for helping me get that straight!
My own favourite character in the story is Anika’s Ma. She is so like a lot of our own older relatives – stuck in their ways and clinging to superstitions so ancient they barely understand their meaning themselves, wise in so very many ways but powerless against the problems of modern times for which all their handed down wisdom couldn’t possibly have prepared them.
I don’t tend to write stories with a message or a moral, instead I hope my writing opens doors and then leaves them open in case others want to come in and explore what I’m exploring.
In the city, where the fog curls just above the cobble stones, there are many lights; the flickering gas lamps breathing milky pools against the evening’s cool, dark breast; the tinder sparks from flaring pipes; the window-stars like cold diamonds or bright catalysts of life.
Move out beyond the streets, out into the woods, follow that lonely ribbon of road away through the marsh, and the lights out there do not cast the same impression on our minds.
Lights, we understand, mean there is someone and who, we ask ourselves, who could be out there in the dark and the mist? Who on a night like this?
The word for the carriers of the marsh lanterns is Mulo and Baba always told me that this word means demon. After Mammy and Daddy and little Dragan were gone, and all that was left was Baba and me, she taught me to light the tallows in their little glass bottles and set them all around the farm each night, to keep the demons away.
She knew a lot of things my Baba, how to keep us safe through the long dark nights in Indigo. But she didn’t know how to make the water safe, and in the end it was only me, and I didn’t know either.
Thankyou for joining me for another #MythpunkMonday, I hope you’ve enjoyed it and if you’d like to jump in and share your own / others marvellous mythpunkish-ness then feel free to do so using the hashtag or in the comments below!
And before I scoot, I promised ferrets, and here they are… All the proceeds from the above mentioned anthology go to Abington Ferret Refuge, you can check them out here…
Greetings! Today has happily brought yet another request for sources of information / research for writing authentic Rromani characters particularly in the sci fi / fantasy genre – this is great! I’m so happy that people are starting to get on board with this issue!
So I thought it would be a good idea to create a stripped down post that’s easy to point people at and quick to get info from on this topic. Here, then, are some quick tips for writing authentic Rromani characters in your fiction…
- Read Rromani Autobiography and Fiction.
We have a mantra “Nothing about us without us” and it’s a healthy one to keep in mind. The best way to learn about Rromani people is to read what our people have written about ourselves – not someone else’s interpretation of us, which (however well meant) is never going to be as authentic and accurate.
So, here’s a list of fabulous Rromani writers across many genres to get you started:
Nan Joyce and Anna Farmer
Hedina Tahirović Sijerčić
Luminiţa Mihai Cioabă
Katarina Taikon Langhammer
Writers who’ve done an especially cringey / bad / offensive job of writing Rromani characters include…
It’s worth reading them to learn what not to do! lol.
2. Ask why you want your character to be Rromani – if it’s just for exotic flavour or as a plot device then forget it, sorry but no one wants to be a tool! If the character is an authentic character in their own right with a personality, back story, potential for growth, development and future who just happens to Rromani, that’s the sort of representation we’re looking for 🙂
3. Avoid ‘research’ or ‘biography’ written by non-Rroma. Even if they have traveled or lived with Rromani people. Ask ‘why would someone want to study another group of people and why would they particularly choose Rromani people?’ Often the reason is that they find Rromani people exotic and so have paid a clan to let them ‘see the magic from the inside.’ You are an intelligent person, you can see the problems inherent in a mutually-exploitative situation like that! Other times a person who has adopted a new-age traveling lifestyle and spent time with Rromani travelling folk … the problem with authenticity here is that the writer may see the picture without the background – they tend to write about the current situation of the small, poverty stricken, desperate group of displaced Roma they encountered, without any understanding of how this situation came to be, how it affects the people they are writing about, how it compares to other groups of Roma around the world and, importantly, how compares to other groups of different cultures in the same conditions – because only then can we begin to separate socio-economic issues from cultural ones!
Some writers to avoid in this area include…
So, there you go – hopefully those are all quick, useful points to take away 🙂 Got any questions or other topics you’d like me write about on this issue? Leave me a note in the comments or drop me an email 🙂
Big blessings, Penny
If you’ve been following this blog for a while now you’ll know that the word Gypsy (especially with a lower case g ) is a highly offensive word to most Rromani people. What you might not know is why it is so upsetting. You might also want to know the correct term to use instead and a google search might well leave you even more baffled on that score! So, hopefully this post will be a good resource for this subject and of course if you have any questions (or if you’re fed up with me banging on about all this) feel free to leave your comments in the … er… comments section 🙂
In order to understand this subject clearly, you first need to understand a bit about our language and history…
The Rromani People are a displaced diaspora of India. Back around the time of the crusades, Rajput military units were formed to protect different regions of India from invading Muslim armies. As these soldiers and their families and attendants all spoke different dialects / languages, a military language had to be formed which all could understand. This language formed the basis of what is now the spoken and written language of Rromani people worldwide.
When we refer to the way we speak might say ‘Romanes.’ But that is not the name of our language. The word Rom (s) / Roma (pl) means ‘a person / us / the people / (one of) the group / the family / ‘ so to speak Romanes means to speak ‘in the way of the group / the family / the people / us / to speak in our way … it is not the name of a language and, strictly speaking therefore, ‘Rom / Roma’ is not the name of our people.. it just means ‘(one of) the people.’ (It can also mean husband but not in this context – like the word ‘man’ can mean ‘a man’ or ‘people in general.’)
So, if you refer to Rromani people as The Roma or a Rromani person as ‘A Rom’ (which a lot of people do) you are saying ‘The People’ / ‘The Group’ / ‘The Family’ or ‘One of the people / the group / the family’. That is absolutely fine, many Rromani people speak in that way, most don’t mind it even if they don’t use it themselves. It’s certainly a polite, respectful way to speak to or about Rromani people.
Getting back to the Rajputs again, two groups were defeated by the Muslim armies and forced to leave their lands. Some were captured by Turkish armies and forced to join as slaves, those who escaped into Eastern Europe were immediately captured and enslaved for hundreds of years, those who fled west were unable to find a place to settle but continued travelling through Greece and eventually into the rest of Europe, using their military skills, skills in metal work and horse trading (as well as trades they learnt along the way such as entertaining, dancing and fortune telling – more about that in another post I think? ) to make money.
Obviously during this time The Group was forced to split many times. As each new splinter group moved through different countries, new words were added to the military language they all spoke – thus each clan now speaks a slightly different version of that first ‘Language of The Group.’ They also began to refer to themselves by different names, names that for the most part described their skills and trades much in the same way as surnames do the world over.
I belong to the Petulengros (Smiths) who are of the English clan known as Romanichals (which literally means ‘Rromani Chaps’ ) and the Kalderash (The cauldron makers / copper-smiths who turned their pots on fat posts hammered into the ground). Often a Rromani family have kept their clan name (or a version of it). Sometimes though they have had to change it in order to hide the fact they are a Rromani person and so allow them to avoid persecution and live an integrated, peaceful life with the rest of society.
So, some Rromani people don’t like to be called Rom or The Roma – you can understand that now right? They don’t want to be called ‘One of the group’ or ‘The People’ … they want to be called by their clan / family name (Like you might say ‘I’m a Jones’ or ‘I’m a McGill’) they prefer to identify as something related to who their family is and what they do / did.
If you think at this point that Rromani people seem incredibly fussy and it is all terribly difficult to know what to call them please look at it this way…
You might call yourself ‘English’ or ‘American’ defining yourself by your location.
If you do so / have ever done so, please take a moment to consider that it is a privilege to be able to claim a geographical location as an aspect of your identity. It implies that you are an accepted member of that place, you belong there, it is a part of you, it’s your home.
Rromani people do not have that privilege, have not been permitted to join another nation and call it home, they have been refugees for hundreds of years and so they must find different ways of defining themselves. (And, I feel, this is food for thought for all of us when we consider the long term impact of our treatment of refugees and immigrants today.)
(It has been suggested that Rromani people reclaim their Indian connection and that is ‘all well and good’ but as many of us now have fair skin and hair and look anything but Indian, that idea seems a little laughable really! So we continue to be ‘The Family’ / ‘That Group that left India together’ because no other nation has welcomed us and we cannot now go back.)
There are so many Rromani clans in the world today (Wikipedia has a quite dreadful map showing a very few in simple blocks which can only act as a rough guide) many, as I say, call themselves Rom / Roma and some prefer their specific clan name.
So, there you have it – When referring to a Rromani person or people you can say…
Rom – One of the people
Roma – The People
Romany (/ Romani / Rromani / Rhomani ) person – A person who is of the group (spelling is dependant on dialect)
Romany (/Romani / Rromani/ Rhomani) people – The people who belong to the group
Or you can use the specific name of the clan the person / people belong to eg: Sinti, Kalderash, Kale, Romanichal etc…
My advice is to just be clear about what word / spelling you are using, what it means and why you are using it.
“But why not gypsy?” I hear you say … well, again we need to look at history and language…
The word is a shortening of ‘Egyptian’. When Rromani people first fled into Europe their dark skin and hair caused people to mistake them for Turkish invaders and later either for Egyptians or people from Little Egypt (sources are unclear as to which). They were nick named ‘gyptians’ which soon became ‘gypsies.’ Obviously a homeless refugee population are powerless to dictate what they ‘should be called’.
The word gypsy became so far removed from the word Egyptian that, rather than describing the mistaken place of origin of a group of people, it instead took on its own bizarre set of definitions. Various leaders including Vlad The Impaler, Henry The Eighth and Hitler, all used the word gypsy to justify the de-humanisation and murder of thousands of Rromani people. Rromani people were burnt with the ‘gypsy brand’ on their skin which marked them as belonging to animal rather than to human kind and having no right to existence. They were then tortured, sterilised or simply murdered.
At least 250,000 Rromani people were murdered during the Holocaust alone, at least 85% of Germany’s Rromani population were branded ‘gypsies’ and exterminated because they were seen as sub-human.
During the industrial revolution, the notion of ‘being a gypsy’ was seen as a desirable alternative to the horrors of factory and inner city life. The dehumanisation of ‘gypsies’ at this time took a different turn as they were seen as wild, free, close to nature or at one with it, romantic, mysterious, magical, desirable, roguish, care free… writers, poets and artists failed to see the poverty and persecution suffered by a people who were not nomadic or ‘free’ , but shackled to a seasonal circuit of a few safe ‘atching tan’ (‘stopping places’) where seasonal farm work could be found, not allowed to own property, speak their own language or step foot inside shops. The Gypsy Law Society epitomised the attitude when they declared membership of their elite ‘research group’ required that the gentleman must first ‘bed a gypsy.’
You can, I hope, see why nobody would want this label. Why it is distasteful, sickening and upsetting for a Rromani person to be called a gypsy. Is it any different with a capital G? I don’t think so.
So, as writers and readers and steampunk enthusiasts who write and read and cosplay in an era where Rromani people were very visible and were habitually branded ‘gypsies’ how can we include the experiences of Rromani people of that time period without perpetuating the ongoing prejudice?
It might seem like a challenge but it’s really a no-brainer – look at other oppressed groups of the colonial period. How should they be referred to / treated / spoken about in historical or punk fiction? You might for example have a racist or ignorant English character refer to an African character using the N word, but you wouldn’t use the N word in the main text of the narrative to refer to that African person would you? You also wouldn’t call them ‘The N….’ , you would use their name. Just consider the G word, exactly the same as the N word. Because, to Rromani people , it is the same.
( Some Rromani people do use the word Gypsy – either because they are trying to re-claim and re-shape it as a form of empowerment or because the word Rromani is so often met with confusion from non-Rromani people. Many cultures take words that have historically been used against them and turn them into a form of personal power – that, surely, is their prerogative. )
If we couple the respectful use of language to talk about Rromani people, with an accurate portrayal of their history and culture, hopefully we can move the image of Rromani people away from the fantastical / de-humanised ‘gypsy’ and back into reality.
I really hope this info has been helpful – I’m by no means a linguistic scholar or historian though so if you think that I’ve made a mistake anywhere do please forgive me and feel free to discuss it, we are all learning together afterall 🙂 And of course if you have any questions or want me to cover any more topics on this subject let me know,
Big blessings, Penny 🙂
Greetings! Here, as promised, is another careful look at how to respectfully draw on aspects of Rromani culture and history in order to construct a Steampunk character. Again, I’ve used the word Gypsy in the title here because many people mistake the word Rromani for Romanian but most Rromani people find the term Gypsy offensive so it really is better not to use it. As several people have asked me for more details about this I will do another post soon explaining in detail where the various spellings of Rromani come from, which to use, the history of the word ‘Gypsy’ and why it is offensive.
But for now, let’s look at our next character…
Papusza means ‘dolly’ in the Rromani way of speaking and was the nick name given to real life Rromani poet Bronislawa Wajs by her mother. She was called ‘dolly’ because of her beauty but the word is a double edged sword – a ‘dolly’ is a pretty, powerless play thing, manipulated as suits the one who plays with it and then dropped when that player becomes distracted or bored.
Bronislawa’s poems about the difficulties faced by Rromani people on the road were used against the Rromani community by various government regimes as an excuse for the execution, sterilisation or forced settlement of Rromani people (not into decent housing and mainstream society, which most would have desired) but onto filthy containment camp sites where their strict religious codes of cleanliness and ritual (Rromanipen) could not be observed. The problems of illness, poverty, persecution and social segregation which Papusza wrote about were obviously not solved by this move and the Rromani community blamed her for the trouble she had caused them by trusting her words to the hands of non-Rromani people.
A lot of lies can be found about her on the internet – for example, that she was cast out by her people for being a poet, that women are not allowed to be poets in Rromani society, she was not allowed to read and write because Rromani people believe these things are evil, that she agreed with the forced settlement regime and that the Rromani family she travelled with were lawless nomads.
A film has been made about her life but I haven’t seen it personally and so I’m not sure how authentic and accurate it may be…
The sad truth is that most of her work is now out of print, recordings are like gold dust and versions that do exist have sometimes been altered slightly / interpreted differently “Dikchaw daj, dikchaw doj…” I look here, I look there, I cannot find my Papusza…
So I found myself wanting to pay tribute to her in my own small way, by basing a steampunk character around her real life self. But I know I’m on very dangerous ground here – what I absolutely don’t want to do is add to the false mythology that has grown up around her and now prevents people with a genuine interest from discovering the whole truth. I must remain respectful to the truth and evidence of who she was, as well as to her family and clan, her friends and everyone who may be affected by my actions in characterising her.
So, instead of trying to take Bronislawa (as little as I can ever know of her) and plonk her clumsily into my steampunk world, I’m going to build an entirely new character who suffers the same problem of being exploited because she happens to have a particular talent.
And I’m going to call her Dolly Cauldari…
Dorothy Cauldari (Dolly) is a Sho’vani character. The Sho’vani are a technologically advanced, displaced diaspora of the Jentacular Landmass. Their rebellion against Wiz and his evil army of Wizards went horribly wrong when the automaton army they had created rebelled against them and the twelve tribes, led by twelve princesses, fled across the sea to the scattered Isles Of Ire where they have been outrageously persecuted ever since.
(Colonialism is an important and troubling part of our world history but so is the historical and current treatment of refugees and immigrants and I wanted to reflect this part of Rromani history in the history of the Sho’vani.)
As the Jentacular Isle is believed by most to be purely mythical (Collin and Max can personally vouch for the fact that it is not!) the government has decreed that the Sho’vani must have come from Bohemia. They first arrived in Ire during the reign of Henry The Eighth and the mechanical wonders they brought with them caused them to be instantly branded as witches (an offence in Ire that is still punishable by death.)
It wasn’t until Elizabeth The First came to the throne that this persecution eased up a little and a deal was struck – if the Sho’vani would abandon their nomadic lifestyle (ie – hiding in woods and running from the witch hunters) and share their technological knowledge with the queen’s wizards they would be allowed to live peacefully in squalid little hovels just like any other peasant. Many agreed and became known as Tinkers, others did not.
When Ann became queen she tried to strike another deal with the travelling clans – if they would agree to transport the queen’s tea safely from her plantations to the elite county of Devon in their mechanised vans and prevent it falling into the hands of land pirates, all accusations of witchcraft would be dropped.
Dorothy Cauldari’s family were among the many Sho’vani clans who ‘agreed’ to this arrangement and so by the time Dolly was born, they had been transporting the queen’s tea from the plantations of Crumbria to the elite closed county of Devon for many generations. They moved from one government designated or safe known stopping place to the next, using their skills in technology to make life on the road that bit easier and their skills with spoon-playing and spoon-duelling to entertain themselves and break the monotony of the constant circular journeying. It was not the idyllic, nomadic lifestyle that poets like Christina Biscotti like to fantasise about, but neither was it as bad as the lives of the plantation workers, treacle miners or inner city factory workers.
Unfortunately, when Dorothy was about ten years old, the ideological militant sect know as The Pre-Cognitive Sisterhood (A group of women who violently enforce their beliefs that the world would be better off if The Cog had never been invented) attacked their convoy one night, destroyed the vans, burned the tea and murdered almost the entire clan.
Dorothy managed to escape and eventually made her way on foot to Lancaster where she soon made a home for herself, along with hundreds of other street urchins, high up amongst the new Skyway Rail system that criss-crosses the entire city, carrying the wealthy elite in safety away from the stench and commotion of the over-crowded and poverty-stricken streets below.
Here she quickly earned respect and notoriety in the illegal spoon-duelling rings that are run out of the basements of the many Tiffin Dens and Flop Houses that pepper the overcrowded docklands on the banks of the river Lune.
The urchins who live amongst the Skyway Rails are vulnerable to many predators. After her first few nights of clinging to the enormous metal girders, trying to wrap her skirts and shawl in such a way that would reduce the risk of falling should the wind blow too hard or her fingers become too frozen to grip on, Dorothy received a visitor. A kind and sympathetic woman who brought with her bottles of sweet, fizzy, sugar laden Lemonade.
Night after night the woman came, bring these little bottles of sweet, sweet hope, until Dorothy and the other orphans found their days melting into grey insignificance as they waited for their next sugar-fix.
Then one day when the woman came she was very sad, her money had run out and she couldn’t bring this free Lemonade any more. But she had a good idea! If the orphans could each sell two bottles of this illegal beverage and bring her the money, she could then buy them one bottle each. It seemed fair enough at the start. But the amount of bottles she expected them to sell in return for one bottle for themselves kept rising and when Dorothy decided that she had had enough of this game, the woman turned very nasty indeed and made it clear that opting out was not an option.
Dorothy was trapped and so she turned to the only resource she had left for comfort – her spoons. Dorothy had played the spoons since before she could walk and she often drummed out little rhythms on the Skyway Rails to pass the time. But now she threw herself into the art with a violent passion – drumming out her anger and frustration at the injustice and futility of the plight of all these children being secretly enslaved to the Lemonade Dealers. There were words too, but she never let those slip out.
People stopped to listen, although they couldn’t see the percussionist high above them, and then one day a curious theatre owner braved the climb and discovered twelve year old Dorothy. He persuaded her to come down, though she was careful to pay for her own coffee and oatcakes, and it wasn’t long before his ‘Little Dolly’ was making headlines at The Garish Theatre with her incredible displays of cutlery-based- percussion-craft.
As Dolly’s fame began to increase, she saw the opportunity to introduce lyrics to these displays and finally expose the true and dreadful story of the exploitation of Lancaster’s homeless children. Hearts broke, tears flowed, rallies were held and the government of Ire was backed into a corner – what was going to be done about this?
There’s always a man with a plan isn’t there? Some bright Whitehall spark quickly saw that what these children needed was shelter, food, clothing, soap and the prospect of a life long career. Fortuitously, Her Majesty’s treacle mines and tea plantations were struggling due to the fact that the adults ’employed’ there were often too large to perform all the terrible tasks that needed to be done.
Dolly Cauldari’s name has now become a curse on the lips of every street orphan who lives in fear that tonight may be the night when Her Majesty’s ‘Good Folk’ will arrive in their wagons and spirit them away to a ‘better life’ in the treacle mines or tea plantations. Many Sho’vani people have also loudly expressed their condemnation of her actions – claiming that she should have known better than to trust the secrets of her fellow poor people into the hands of the hated rich, who will always see something that they can get out of the exploitation and powerlessness of the poor.
Ignoring her critics, however, Dolly has continued to attempt to use her fame, wealth and influence to improve the lives of the street children of Ire. She channels all her earnings into campaigning against the ill treatment of children in the mines and plantations and exposing the corrupt empires of the Lemonade Barons, many of which she claims are members of the aristocracy.
Costume For Dolly Cauldari
Despite her fame, Dolly spends very little of her earnings on herself. Her clothing is largely home made and she places great importance on certain religious and sentimental items. She always dresses in red – the feminine, protective colour of her people. Her shawl once belonged to her grandmother and, along with her handkerchief-bag, in which she keeps her heirloom amber bracelet and silver snake hair-charm and spoons, it is the only thing she has left of her original family life. She is a traditionalist and always wears a red dikhlo (head scarf) and still braids her hair in a crown braid. The locket and mulengi dori (ribbon of the wind people) she always wears in memory of her parents.
So, there you are! As with the character of Amelia Manylentils , I have tried to draw respectfully on aspects of Rromani culture and history to create a character that is more realistic, respectful and removed from the Fantasy Creature we know from fiction and art as ‘The Gypsy.’ Again, I really hope this is helpful to anyone interested in writing Rromani characters into their Steampunk worlds or cos-playing a Steampunk Rromani character and if you have any questions feel free to leave them in the comments section.
Big Blessings, Penny 🙂
Hello! Mrs Albert Baker here, otherwise known as The Last Witch Of Pendle. Obviously there is no Pendle any more, since The Chronic Agronauts utterly destroyed it with treacle and sprats, but I’ve set myself up quite nicely here in Lancaster, running this little soup kitchen for the street urchins. There certainly are a lot of them and I’m always looking for helping hands to cook up and serve something delicious!
Now then, my dears, you may have heard of our new government health scheme here in Ire, whereby the Wizards are dumping barrels full of ‘perfectly imperfect’ fruit on the street corners of areas of social and economic deprivation, such as ours, and indicating that consuming these rat-and-fly-magnets would be beneficial to the poor street urchins’ health.
Subsiding on purple seaweed and government-issued tinned tomato soup is the best our poor Lancastrian urchins can hope for in life, so I thought I would pep up these maggot-ridden and sadly rather rancid ‘gifts’ by turning them into the traditional Rromani autumnal treat ‘Loli Phabay’ – or as most of you may know it ‘Toffee Apples.’
“Loli Phabay” translates to English as ‘Red Apple’ and during the early 1900s, (and perhaps even before) Rromani street sellers could be found throughout the autumn and winter with baskets and barrows full of these sticky toffee covered apples on sticks. The cry of “Loli Phabay!” (which is pronounced ‘Lol – ee – pab – eye’ ) soon turned to ‘Loli Pub’ and is where we get the term ‘Lolly Pop’ for the round red candy treats on sticks which look so similar.
Back in those days cinnamon was used to colour the candy mixture red. History doesn’t tell us for certain who invented the toffee apple, or precisely when – I suspect it was some ‘historically insignificant’ mother or baker in her kitchen, or by her cooking fire and we will never know her name – but William W. Kolb, a New York candy maker, was certainly selling red candy apples in 1908.
I am going to use red food colouring to colour my apple candy and, if you’d like to join me, here is Penny’s family recipe which I will be using…
- Pour half a large bag of sugar into a medium saucepan with enough water to cover it.
- Stir over a gentle heat until the sugar is dissolved.
- Add a little bottle of glycerine and bring to a rapid boil. Put a glass of water in the fridge or freezer.
- Continue to boil rapidly until a tsp of the mixture dropped into the cold water forms brittle strands that crack easily. (This will take a very long while and you must be extremely careful as burns from the boiling sugar can be extremely serious.)
- When the toffee has reached this ‘hard crack’ stage, turn off the heat and allow it to cool for a moment before stirring in 1-4 tsp of liquid red food colour.
- Insert wooden skewers (or inverted dessert spoons if you have no skewers to hand) into each apple and dip them into the toffee, being very careful not to burn yourself on the hot toffee. Transfer the apples to a cold plate or tray and pour more toffee over the top to coat them.
- Allow the Loli Phabay to cool completely and harden before you serve them!
- Be sure to instruct your little urchins NOT to use the apples as missiles to terrorise innocent Octopi and their Very Quiet Gentlemen Friends once they have nibbled all the candy off.
And if you’d like to add a more modern twist to your apples you can try dipping them in chopped nuts or sugar strands before they harden, using green or black food colouring or even edible glitter, or coating them in melted chocolate instead… (yes, that is a spoon, they are much safer than skewers if your urchins are very little!)
Enjoy your autumnal celebrations,whatever shape or form they take,
Blessings on your brew my dears!
Andro verdan drukos nane
Man pirani shukar nane
Loli phabay precinava
Hop, hop, hop
Jekvash tuke, jekvash mange
Hop, hop, hop.
A small but unpleasant thing happened at a con recently which brought to my attention several issues that, in my naivety, reclusiveness and small-scale social paddling pool of carefully vetted beautiful-hearted human beings I had not been aware of.
But before I talk about the little incident and the road forward from there, I need to make it clear that I am speaking and writing and feeling from a situation of immense privilege. For anyone who doesn’t already know, I am half Rromani. Over the generations the parents and grandparents of my family have done all they could to merge with mainstream British culture to the point that all the children of my generation (and now my children’s generation) can live without the stigma associated with being labelled with the racist term ‘gypsy.’
That means they totally (publicly) abandoned their names, culture, religion, traditions, language, dress, beliefs… so that we could have full access to jobs, education, a social life and all the other aspects of life which they had been denied because of their ethnicity. Being Rromani was dangerous, it still is for many, and so my family hid – becoming invisible in plain sight.
Because of their sacrifice, I am able to choose to stand shoulder to shoulder with any other middle class British person, blissfully unaffected by racial issues of disadvantage or prejudice. So when I choose to reclaim, explore or celebrate aspects of my cultural heritage I am exercising that right from a position of safety and privilege ; I am able to choose to opt in or out, to reveal or to hide.
Often I choose to opt in because I feel that, if I don’t, all the beautiful and terrible things that are becoming lost will be lost forever. All the stories will pass away. I feel that the efforts of my elders will have been wasted if I don’t stand in the place their sacrifice has put me and wave their flag for them. Opre Roma? Well, here we are! And although I have endured the odd idiotic remark, that is by no means comparable to the atrocious suffering undergone by many Rromani people, both historically and today.
So when my husband and I Steampunk we always draw inspiration from Rromani history and culture (real Rromani history and culture, not this, frankly insulting, ‘steampunk gypsy’ aesthetic that can be seen wafting around the internet) and, probably because we always Steampunk small-scale with friends and family, this has never been an issue.
But this year we went to something big and I’m sad to say that we received some rather idiotic remarks from a few other Steampunks about our overtly Rromani costumes not being ‘Proper Steampunk.’ Thankfully our children didn’t hear and obviously we didn’t run off to blub in the toilets but just got on with the day and had a marvellous time. But it has lead my husband to say that perhaps we shouldn’t dress like that anymore (in case it happens again and the children do hear and get upset), that we should just wear top hats, goggles and lots of high tech gadgetry to try and fit in more rather than stand out as something outside the norm, perhaps we’re ruining it for the mainstream and they don’t want people to stray from the approved aesthetic? Or perhaps they just don’t understand and it’s not worth trying to educate them.
Well I thought about it long and hard – at first I have to say I was shell shocked because I’d always assumed that my small but very diverse circle of educated, enlightened, all-accepting and utterly beautiful friends was reflective of the entire Steampunk Community. I did some snooping, hoping to discover that my first impressions had been correct and that what we experienced was a one off… sadly I found lots of folks had had similar experiences … but happily I also found that lots of folks like us were trying to put their own cultural stamp on Steampunk and THAT I felt was something to dwell on, to pay attention to, to celebrate and to encourage.
I need to respond to what happened, because it left such a nasty taste in my mouth, and fortunately I am in a position that enables me to choose to respond by ignoring those trolls and instead drawing attention to as many fabulous folks as I can find who are doing good things and helping to make our community diverse, interesting, welcoming, representative, inclusive and fun for everyone who wants to be a part of it – because I think that for the most part it is!
So I stand very awkwardly, very humbly, and very nervously before you all today, in the shadow of those far better and wiser than me, on the shoulders of those far stronger and more deserving, hoping to spend some time celebrating the diversity that already exists within our wonderful Steampunk world by bringing together some fantastic writers, artists, musicians and creators who are actively shaping the genre into a really splendid scene to be a part of. (rather than an exclusive, fusty old gentleman’s club stuck up it’s own rear end).
So that is what will be happening here over the next few months ( I mean, hopefully it sort of inadvertently happens already!)
Nimue Brown spoke recently about creating types of sacred space, the more we all work together to try and create sacred spaces where we can celebrate and explore our own histories and cultures side by side through the medium of punk fiction, the more the trolls will be pushed to the sidelines where they belong.
(Thankyou for humouring me. Apologies for the interruption to the usual schedule of frivolity and mayhem, normal tea service will resume as soon as octopoidly possible…)
😉 – Penny
Good Morning ladies and gentlemen! I realise you are all probably feeling a little eleven o clockish at this hour but I must beg your forgiveness and delay the cake for a moment because we have a very special guest in the parlour this morning!
Our lovely Shonchavani friend Mrs Belle Sykes has kindly left her Tea Smuggling Tramper-Van in the capable hands of her husband Gord and their 20 children (whose names I seem to remember are, Yan, Tan, Arthur, Martha, Pip, Seth, Heather, Hogarth, Dorothy, Richard, Yan-Richard, Tan-Richard, Arthur-Richard, Martha-Richard, Barmcake, Yan-Barmcake, Tan-Barmcake, Arthur-Barmcake, Martha-Barmcake and Diggory.) and braved the long trek down here to the docks in order to show us some ways of productively using the fruits of our deflowering labours.
The Shonchavani are a diaspora of the Jentacular Isle but, as the Jentacular Isle is believed by most to be purely mythical (I can personally vouch for the fact that it is not!) the queen has decreed that they must have come from Bohemia. They first arrived in Ire during the reign of Henry The Eighth and the mechanical wonders they brought with them caused them to be instantly branded as witches. It wasn’t until Elizabeth came to the throne that this persecution eased up a little and a deal was struck – if the Shonchavani would abandon their nomadic lifestyle (ie – hiding and running from the witch hunters) and share their technological knowledge with the queen’s wizards they would be allowed to live peacefully in squalid little hovels just like any other peasant. Some agreed and became known as Tinkers, others did not. When Ann became queen she struck another deal, this time with the travelling clans – if they would agree to transport the queen’s tea safely from her plantations to the elite county of Devon in their mechanised Tramper-Vans and prevent it falling into the hands of land pirates, all accusations of witchcraft would be dropped. The Shonchavani are an enterprising folk and some of their very best friends and relatives are pirates… needless to say they immediately agreed to this potentially lucrative arrangement.
Sadly the recent introduction of skyway travel has meant less and less work for the ‘Tea Trampers’ and they have had to find other ingenious ways of making ends meet and so Belle has kindly agreed to pimp her heritage to us and show us how quick silver can be made by making and selling the ancient magical herbal thingies that her people have used for centuries to survive on the road… hm? …. sorry did you say something about ethics or did you cough? Oh you were just clearing your throat, sorry, do have some tea…
1. Ye Most Olde And Ancient And Bone Fide Magikal Cure For Coughs and Colds
Take as many flowers of violet, white horehound and mullein as you can fit into a large saucepan, cover with boiling water and simmer gently until the mix has reduced by about half. Strain off the flowers and add 500g of sugar. Bring back to the boil and simmer for a further 20 mins or until the mixture coats the back of a cold spoon (you want a syrup, not jam but if you accidentally boil too long you can still use the jam it will have the same medicinal properties!) Pour the syrup (which is a soothing expectorant) into dark glass bottles, seal and keep in a cool place. Take one tsp as needed for a dry or chesty cough up to four times a day.
2. Most Magikkal And Traditional Healing Balm For Skin Irritations
Take 1kg of lard (or coconut oil or petroleum jelly if you prefer) and add to a very large saucepan with as many buttercup flowers (not the green steams or leaves) as you can manage. Melt gently over a low heat for 10 – 20 mins until the mix is liquid and bright yellow (do not boil). Strain off the flowers and add 20 – 40 drops of rose or lavender oil if desired, this will add scent and boost the soothing properties of the balm but may be too much for the most sensitive skins so use with caution. Pour into dark glass jars quickly before it sets, seal and keep in a cool dark place. Use as a healing cream for dry skin, eczema, bruises, minor cuts and grazes.
3. A Certain Tonic For The Quarrelsome Wife, Promotes Marital Bliss Guaranteed
Take as many flowers of the Pink that you can gather and simmer in a large pan for one hour. Strain off the flowers, return the water to the pan with 500g sugar. Simmer gently for about 20 mins to form a syrup. Pour into glass bottles and seal. Drink one tablespoon of this syrup dissolved in a glass of wine as required. Double the dose during the most trying time of the month. Satisfaction guaranteed or your money back.
Now then, while Max rolls up his shirt sleeves, fastens his goggles and sets about t help with the brewing of flowers and and boiling of fat, I really feel we ought to step out of the way… s let’s sit down over here and enjoy some calming primrose tea and open a good book shall we?
The Brides Of Saint Michael are not your average group of Holy Sisters, when an ancient enemy leaves his calling card Agnes Broadshield and her militia of Women In Waistcoats take to the streets to prevent the evil creature and his minions from exacting their revenge but even as we close the final pages of the book, it seems this is not so much an ending as a beginning…
This is a splendidly crafted short story, a well balanced mixture of steampunk / gaslamp and mythology which we found engaging from the outset. If you are looking for a quick steampunk fix with a strong plot, well developed characters and a good mixture of familiarity and uniqueness then this little gem is the book for you.
Hm? Sorry? No music today? Oh well there isn’t really much room here to set up the radio so… oh well alright then I suppose if you could hold the areal out of the window … yes that’s it …
Thankyou very much… is your arm still alright there? Oh dear, well could you stay there for just a little bit longer I’m hoping to catch the news….