Like Dido, in her book Dido & Pa, Joan Aiken was separated from her father as a small child, but recognised him at once when she met him again. The American poet, Conrad Aiken spent half of his life on the other side of the Atlantic, but for many years still kept and came back to the house they both loved, and where she had been born, Jeake’s House in Rye. Aged two, when her mother and father divorced, she went to live with her mother and new stepfather, on the other side of Sussex but after a few years Joan went back with her older sister on a visit to the house that she could just remember, and, as with Dido, what really sparked her memories was the music:
Conrad had also lost his father in childhood, but Joan was able to revisit hers, and had a chance to rebuild the relationship with him; it is probably significant that especially in the early days this was mostly conducted by letter, and both of them saved their correspondence all their lives. He encouraged both her reading and writing habits, often sending her books, and she was keen to impress him by sending back early poems and stories. Joan & sister Jane on a visit at Jeake’s House – Conrad in the USA in his garden on Cape Cod
After a few Summer visits, and a gradual re-acquaintance on both sides, the father and daughter were separated again, this time by the second world war; as an Alien he had to return to the USA and the house near the coast was requisitioned for the services. It wasn’t until the early 1960’s that they were able to meet regularly again – Joan was by now a working but fairly impoverished writer, and fares across the Atlantic were not cheap. Finally with the publication of The Wolves of Willoughby Chase she was able to visit Conrad in his house on Cape Cod, and impressed by her obvious talents and her growing success he arranged for her to meet agents and publishers in New York.
As a father and serious writer himself, Conrad could be sharp and critical, but he took his daughter’s work very much to heart. Joan Aiken’s Dido & Pa, which concludes the dangerous and dubious career of Dido’s father, wasn’t written until ten years after the death of her own, and perhaps this freedom allowed her to express a very dark side of that father daughter relationship – did his needs as an artist always come first?
There are very few pictures of Conrad and Joan together, but this one captures both well:Joan who for most of her life had very long hair, had just had a fashionable sixties’ hair cut, and they are surrounded by the tools of their mutual trade – books, manuscripts and of course a typewriter…
The only thing missing is a piano – they both played, and enjoyed singing, and you may have recognised the title of one of Conrad’s tunes mentioned above, as one that Joan gave to a song by Dido’s Pa – Raining, raining all the day – this is the title of one of his popular and catchy songs which come to play a significant part in Dido & Pa, and also in her very last book The Witch of Clatteringshaws. Joan Aiken’s final book ends with a joyful scene, paying tribute, and celebrating the musical and poetic skills of both fathers, real and fictional, despite the difficulties and distance there may have been in their relationships with their daughters – as the marching armies sing, it is the music that conquers all:
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