Cheltenham, Gloucestershire, UK. The History Press, 2024, 320p.
Reviewed by Frank M. Schuster
When museum director Neil MacGregor decided in 2010 to tell nothing less than the history of the world on radio, no longer chronologically based on events, but rather on 100 objects from his museum, it was like a big bang, especially as a richly illustrated book was also published shortly thereafter for listeners to have the objects in front of their eyes. Telling history through objects is what museums are for and what they have been doing for centuries. But once you’ve left the museum, you forget what you’ve seen relatively easily. It is mostly local or regional, at best national, (hi)stories that museums present. Telling world history is usually left to history books, in which objects are merely an illustration and visualisation, since few have the collections needed to tell a broader story. One exception, though, would be the British Museum in London, which rightly sees itself as a world history museum – and indeed, MacGregor was its director.
Just as the universe continues to expand and matter to spread since the big bang, so too has the number of well-made illustrated books that tell history using 50 or 100 objects. Apart from the history of love, culture or the future, most authors no longer devote themselves to the really big issues and things. There are books on almost every country, on many phenomena and even on some objects themselves, such as the RMS Titanic. Hardly any region of the globe has been forgotten, not even Antarctica. The only thing missing is its counterpart: the Arctic as such. Up until now, there has been only one -- a 500-page work on expeditions to High Arctic Greenland between 1850 and 1925 based on as many as 102 (!) objects.
Anne Strathie, to whom we owe three well-researched, very readable biographical works on the so-called “Heroic Age of Antarctic Discovery”, takes a similar approach in her book, which includes many additional illustrations, historical maps, and a bibliography. However, her book is more comprehensive in terms of both time and space – running from the late 1760s to the early 1930s.
Since Strathie covers both polar regions in just over 300 pages, using ‘only’ 50 objects from a period of 175 years, her stories are naturally not as detailed as those about the Greenland expeditions. Whether one is satisfied with the book depends, on the one hand, on how well one knows polar history and, on the other, on what one expects from a history in objects. In the last 15 years, since the publication of MacGregor’s book, two ways of telling history in objects have emerged, depending on the background of the authors. While historians and journalists tend to use the object as a starting point to tell the story associated with it, archaeologists and museum people focus more closely on the object itself in order to build the story around it. Both approaches are perfectly legitimate and have their supporters among readers, who tend to have different expectations.
All that aside, anyone who wants an interesting, beautifully illustrated overview of the history of the discovery of the polar regions will certainly be well served by Strathie's book. Those who are well acquainted with one historical period will discover interesting facts from another. Someone who was previously interested in the Arctic can learn something new about the Antarctic, or vice versa.
Even experts will discover the odd unfamiliar object, as Strathie’s selection of objects is very wide-ranging. ‘The sizes of objects range from that of a tiny box to a massive ice-shelf.’ (p. 9) No wonder that the RRS Discovery, the expedition ship of the ‘British National Antarctic Expedition’ (1901-1904), better known as ‘Scott’s Discovery Expedition’, is one of the objects. ARA Uruguay, which also still exists, is less known, as is its role in the Argentinian rescue operation of Otto Nordenskjold’s Swedish expedition (1901-1903). That the chapter on aviation focuses on aeroplanes or illustrations of them is also not surprising at all. But it’s the little things, such as Elizabeth Cook’s Ditty Box, are more of a surprise.
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© Dixson Library, State Library of New South Wales |
Nevertheless, her objects are well chosen, and provide a good introduction to a concise, sometimes known, sometimes unknown, vivid and often exciting tale, which is illustrated not only with period photographs, but often also with comparative photographs taken by the author during her own travels to the polar regions.
You can tell that Strathie comes from Antarctic history and from the United Kingdom. Her book more or less covers all the expeditions of the so-called heroic age, even if sometimes, as with Filchner’s German expedition, only in passing. You can find out what a Japanese explorer’s samurai sword has to do with Antarctica and Australia, but some major Antarctic expeditions of the early 19th century are featured only in the context of the voyages of James Weddell and James Clark Ross. The Weddell seal and Francis R. M. Crozier’s almost forgotten penguin are honoured here, yet, names such as Fabian von Bellingshausen (who led the only Russian Antarctic expedition), Americans Nathaniel B. Palmer and Charles Wilkes and Frenchman Jules Dumont d’Urville, do not figure large. This is surprising given the author’s expertise, but forgivable, as they appear in Antarctica: A History in 100 Objects, where, by contrast, James Weddell hardly ever appears.
As far as the Arctic is concerned, Strathie focuses even more on the British expeditions. People you would expect, such as William Edward Parry, John and James Clark Ross, John Franklin, Clements Markham or Frederick G. Jackson and their (hi)stories, appear; of course also the Norwegians Fridtjof Nansen and Roald Amundsen, or the Americans Robert E. Peary and Frederick Cook. Strathie often uses world-famous objects, such as the photograph of the ‘Three Polar Stars’ Amundsen, Peary and Ernest Sheckleton from 1913, to tell a well-known story, but not always. For example, a fur suit made by an Inuk is the starting point for the story about the American North Pole expedition (1908-1909), but not Peary’s, but Matthew Henson’s, which also sheds light on people who are otherwise not so much in the limelight. She also does not approach John Franklin’s 1845 expedition via its leader, but via a daguerreotype of the assistant surgeon and naturalist of HMS Erebus, Harry Goodsir, presenting not only the well-known daguerreotype, but all three pictures of him.
As with Antarctica, some non-British Arctic expeditions are not mentioned, among them the Russian ones, which in the early 19th century were involved in the exploration of the North Pacific and Alaska, which was ultimately Russian at the time. But in this case the author can hardly be blamed for this, as it is a general blind spot in both popular and academic historical research on the discovery of the Arctic, ignoring the research on the North Pacific, even if it is available in English. It is therefore not surprising that although there even is a history of the discovery of the North Pacific in 44 objects, written by a German ethnologist, it was not translated into English.
Anne Strathie thus provides an insight into well-known expeditions, but by often choosing unfamiliar objects, she does it from an unusual perspective.
Additionally anyone who uses the book not just as a reference work to find out about this or that polar expedition – for which it is also excellent – but actually reads it from cover to cover, will realise something that is not obvious even if you have read many works on discovery expeditions in the polar regions: Firstly, that the discovery and exploration of the Arctic and Antarctic cannot really be separated from each other; and secondly that the expeditions are interconnected in one way or another and built on each another over time.
Therefore, it's surely no coincidence that the third object, following the two introductory ones connected to James Cook’s polar expeditions, is the Barrel Crow’s Nest invented by the whaler William Scoresby, Sr. in 1812, and the 50th and final object is the crow’s nest from Shackleton’s the Quest, the ship of his 1922 final expedition.
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