Book Review: Yorkshire Molly

There's not many books that could make a woman-about-town like myself blush, but there is always a first time for everything. The book that did the trick was Yorkshire Molly by Peter Mottley, inspired by William Hogarth's series, A Harlot's Progress. For those familiar with the series you know that it speaks for itself. Yet it has still inspired many to retell its heroine, Moll Hackabout's, story; be it in the form of a movie, or, in this case, a book. But don't begin to think my maidenly flush is due to a raunchy, Fabio-clad romance novel. Yorkshire Molly is true to its setting which is the mean, gritty streets of 18th century London. Those streets are even more graphic and horrible than Hogarth was willing to portray. Those with a weak stomach may want to skip this one, but they'd be missing out!

For the basic plot line, I am tempted to merely refer you to Hogarth's prints, for that is what Mottley used as the skeleton to his novel. His skill at describing the setting is apparent from the start, no doubt achieved from his playwright skills. I found myself amused as I was reading when I began to recognize that Mottley is describing actual details from the prints in the narrative. It is like reading about a city you have visited. I would recommend you peek at the prints before reading; and I promise, that it won't even ruin the story for you! Mottley adds so many extra details, weaving together different characters, that Moll's story is both reinvented and expanded upon in the most creative of ways. Like the prints, Moll arrives from York and is tricked into prostitution, becomes a kept mistress, and falls from grace. It is how Mottley connects these stages and fills in the gaps that is truly hooking.

I found that Mottley's gift lay in his knowledge of the time, his vivid and realistic details, and his story-telling ability. I loved Yorkshire Molly, once I began reading I couldn't stop. I felt like I was literally transformed to 18th century London, or at least watching a fantastic production of it on the silver screen. I enjoyed the main character's journey and how it changed her from a naive maid, to an impertinent mistress, to a resourceful street-walker. I appreciated the no-holds-barred narrative, which didn't skimp on the details, even in the more uncomfortable scenes. Overall, this is a novel not to be missed, especially by 18th century fans.

Yorkshire Molly is now available in the UK and I will let you know as soon as it hits US shelves. For a further preview check out the book's trailer here.

Movie Review: A Harlot's Progress

When reader, Cheryl W informed me that there was a movie based on Hogarth's series, A Harlot's Progress, I instantly updated my Netflix queue. The film was a 2006 made-for-TV movie which follows Hogarth, a struggling artist, as he becomes infatuated with a prostitute and the life she leads.

The movie had a very distracting start for me. First of all I instantly recognized the lead, Toby Jones, as the perverted little page from Ever After. He may have had only three lines in that movie but I still had a hard time getting past the fact that he was the short, odd-shaped little man Angelica Houston strung along to get info on a match for her spoiled daughter (Duchess of Gordon, anyone?). But that's beside the point. The other thing distracting me was the sound/audio. Given, that could have been the DVD I had but it gave me a new found appreciation for why there's an Oscar category for sound editing. In every scene you could hear the street sounds or brothel groans or people chatting which was a fabtastic idea for giving you the true feel of how incredibly loud 18th Century London was. However, this audio was sometimes so loud I couldn't hear the actual dialogue. So, major points off in sound editing.

Some of the things I did like is that the movie followed the same basic story as the famous series, except with Hogarth involved in the Harlot's life, and documenting it in his paintings. Scenes would be broken up by showing the paintings in the series and zooming in on those great Hogarthian details. They were also able to seamlessly incorporate captions with fun facts about 18th century London such as, "Twenty people died of starvation in London every week." The acting was also very well done; I especially like Sophie Johnson's portrayal of Jane Hogarth. Sadly though, this was a small production movie so the sets were lacking sometimes.

As for the actual story, I went back and forth on whether I liked it or not. I am still undecided...which makes for me to be an excellent reviewer, right? I thought that the part of the Harlot was portrayed very true to that of which Hogarth intended. I loved how they expanded on her story in the film and used it as a window to how the lower classes lived at the time. What bothered me was the character of Hogarth's personal involvement with the Harlot. I like him as an observer but not a part of her life because those parts appeared awkward and just didn't mesh well.

Like I said, I'm on the fence about this flick. It shouldn't be avoided, but it's nothing to shout about. I would recommend it for any Hogarth fans or anyone who enjoys the gritty portrayal of the past. Perhaps Ever After fans should just stay away!

A Harlot's Progress: Plate 6

I wish I could say that our journey with Moll ends happily, but unfortunately I can't. This is a Hogarth series after all! We now find Moll at her own wake which anyone would be proud to call their own. Look, there's a nice crowd, a parson, a decent casket...which is being used as a bar. At second glace, the parson's hand seems to have disappeared under the skirt of the prostitute next to him. This is an awful wake! It appears as if no one even cares about our heroine's passing. All the other mourners/prostitutes are distracted at their co-worker's wake. One bar-tends, two gossip, another is checking her hair in the mirror while one more steals the undertaker's handkerchief. One prostitute is oblivious to Moll's dead body in front of her as she shows another mourner her injured pinky.

Even Moll's little son seems to not care about his own mother's passing. Whether this is because of her mothering skills or childhood ignorance, we can only guess. He sits under Moll's coffin and plays in front of the rosemary that is traditionally brought to funerals.

There does seem to be one person generally sad about Moll's passing and that is her madam who weeps by a bottle of booze. Maybe it's the booze talking? Or maybe, just maybe, someone does feel the loss of this gentle soul. Considering that this is a procuress we are speaking of, she is likely just mourning one less income to go into her pocket. If so, that means no one actually misses poor Moll who died at the age of 23 in 1731.

This may seem like a harsh satire that Hogarth presents us with but there is some truth in his assertion. Although the path to prostitution may have been a quick fix to poverty, the profession contained many dangers and sadness. Successful and celebrated prostitutes such Kitty Fisher existed, but were still rare. Today still, many young women are faced with the same options as Moll Hackabout and choose the same lifestyle. Like the fictional Moll they fall victim to substance abuse, sexually-transmitted disease, imprisonment, and poverty; not to mention many other awful things. Therefore, Hogarth's humourous satire also contains a frightening warning that should still be heeded to this day, as poor young girls are still forced into this dangerous way of life.


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A Harlot's Progress: Plate 5

Can't you just hear the commotion through the thin tenement walls? In Hogarth's next print in the series we find out heroine, Moll is out of prison but in a setting that is not much improved. Moll barely has a breath left in her, she is deathly ill. She slumps in her chair, half unconscious, wrapped in white linen like a specter. While she breathes her last, two notable doctors fight over her cure, too distracted by their own egos to notice their patient. The rotund, German doctor, Richard Rock argues that they should bleed her while the skinny French doctor, Jean Misaubin shouts that cupping is the way to go. Amongst the French and German accents is Moll's maid's vulgar tongue, screaming for them to pay attention to her mistress who lays limp in her arms.

Among the dissaray are two figure who seem to not be bothered by the commotion. One is the nurse or landlady who scours through what is left of Moll's possessions, looking for something worth stealing. Judging by the hovel Moll now calls home, it is unlikely that she will find anything worthwhile. A little boy is roasting a piece of meat on a string while he itches the lice in his hair. This is Moll's son. The result of a night's work.

Once again we are reminded of the former splendor of Moll's life. The fine apartment once procured to her by her Jewish lover is now a distant memory. Instead, her former lover has now given her enough money for this one, as indicated by the passover bread. Many old flames took pity on their former mistresses, like Grace Elliot, when they reached the end of their rope. But obviously, Moll is not being taken care of enough; whether it is by past lovers or current doctors. Will she be able to survive this mishap as she has the others we have seen her survive?

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A Harlot's Progress: Plate 4

This does not look good.

Oh how the mighty have fallen. Just think, Moll once was comfortably situated in a rich home that she didn't even have to pay for and now she has found herself in Bridewell Prison. Bridewell was once a palace of Henry VIII but was converted into a prison. By the 18th century it was chiefly used to house women, mostly prostitutes, who spent their days being whipped and beating hemp in public-view. This just happens to be exactly what we have come find Moll doing, beating hemp to make nooses. She isn't the only one. Moll is at the head of a line of inmates which also is a heirarchy of wealth. Next to her is a gamester who couldn't leave home without his dog. Beside him is a girl who is so young that she may not even be a teenager-she'll grow up to be a worthy tart. At the very end of the line is a pregnant African or West Indies woman who likely pled her belly in lieu of a death penalty.

Moll, meanwhile, is getting yelled at by the jailer who menicingly holds a switch. Next to him stands his wife who winks as she steals the clothes of Moll's back. Who the heck is she even winking at? Why, it's Moll's servant who we saw in the last plate. Just as Moll's fellow inmate brought his cherished pet to prison with him, Moll brought her cherished servant, who winks back at the jailer's wife as she puts Moll's shoes on. Behind Moll is a man in hanging from gallows which state "Better to work than stand thus." I'm sure Moll would argue that she was working until the magistrate took her to this godawful place. Her answer to that would be on the post behind all the prisoners which reads, "The Wage of Idleness." Sure, Moll "worked" at night but but it was that line of work that got her to Bridewell. Will Moll ever get out Prison? Or is this the end of the line for her?

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A Harlot's Progress: Plate 3

It would appear that things have gone quite array for our naughty heroine, Moll since we last saw her. Her fabulous pad as been reduced to a barely-tolerable hovel. No longer do fine paintings grace the walls, now all Moll can afford is prints of Macheath and William Sacheverell that any average person could buy off the streets. Moll no longer has the security of being a kept woman, she is a common street prostitute; not the most glamourous of jobs but it puts gin on the table. She has a cat for company who does a very good impression of the compromising position Moll commonly finds herself in by nightfall. Look, she can still afford a maid...a maid with syphilis but a maid just the same! Actually, come to think of it, Moll doesn't look so good either. She has sores festering on her once-virginal face. Judging by the two medicine bottles on her sill; Moll shares the same venereal disease as her grumpy maid. But luckily, alcohol keeps one merry. Moll happily shows the maid the watch she nicked from last night. Oh but Moll, it appears your time has run out!

The magistrat Sir John Gonson has entered her chambers in order to arrest our Covent Garden beauty but is quickly distracted by the witches' hat and broom on the wall. Is our fair one tempering with the occault? Or even more disgusting for the magistrate to envision: perhaps she does a bit of role-playing with her clients? *Shudders* Either way, this doesn't look too good for Moll. Will her sharp wit be able to get her out of this scrap?


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A Harlot's Progress: Plate 2

Oh Moll! What are you up to now? It seems as though our docile seamstress from the last plate has done quite well for herself in the new career path that Mother Needham picked out for her. Moll is a high-class tart; a kept woman. This has secured her a comfortable living arrangement, a pet monkey, a fashionable West Indian servant boy, and considerable pocket money. She seems to be enjoying her hedonistic life as mistress to a Jewish merchant (Hogarth obviously came from a time predating political correctness).

After spending a rambunctious night at the masquerade (as indicated from the mask on the vanity) Moll seems to have brought home a man who isn't paying her rent. When the man who is paying it shows up unexpectantly for an early breakfast with his mistress Moll is put in a tight spot. In order to get her boytoy out undiscovered Moll picks a fight with her merchant which ends with her knocking down the tea table. Not the classiest move, but it gets her lover out undetectected.

Evidence of Moll's downfall to debauchery are all around. The broken china of the tea set symbolizes Moll's broken honor. Her pet monkey runs away with her headdress, showing the chaos and drama of her life. It should also be noted that traditionally, in northern art, monkeys have been used as a symbol of evil or Satan.

It would appear by Moll's casual expression (or drugged?) that she is way too comfortable in the deceit of her merchant. The expression on his face clearly mark's astonishment over her behaviour. I would be a little more careful if I were you Moll. You may have gotten out of this scrap, but I wouldn't be so optimistic with any others.


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A Harlot's Progress: Plate 1

Since Hogarth has already educated us on the dangers of a fashionable marriage, it is time for us to, once again, seek his insight on other issues of the age. I had a hard time deciding which series to do next: A Rake's Progress, or A Harlot's Progress. Then, my dear friend Carolyn told me, "Ladies first!" and I realized she was absolutely right! So take heed, my impressionable young lady-gossips, here is a story to think of when trouble may lead you astray.

Here we have the mild-mannered Moll Hackabout, who is beginning the first day of the rest of her life. She has moved out of her parents' home and is looking to make her start in the big city; in this case: Cheapside. She is dropped off by the wagon full of other young ladies trying to make an honest pound in London. First impressions tell us that Moll is young, pretty, neatly dressed, and looking for a job as a seamstress (as judged by the scissors and pincushion on her arm). But is this overdressed woman in this backstreet really a seamstress? And if she is a seamstress, why is she poking a proding young Moll as if she were a piece of meat? Indeed, this woman is actually a procuress, "Mother" Needham who was such a legandary "abbess" that when she was later sentenced to stand in a pillory, the crowds were so large that a boy was crushed to death. Rumour has it, Mother Needham was too. Another famous deviant stands behind the two women. This is the rake and rapist, Francis Charteris. Hogarth had no sympathy for characters like him. He comes out of, what we can assume to be, a brothel; either a satisfied customer or a partner in Mother Needham's dark business deal. Charteris also appears to be, ahem, excited about the prospective new employee.

While poor Moll's downfall seems to be unfolding before everyone's eyes in these dank streets, a priest passes on his horse. He is too interested in finding his way than saving the girl's innocence. To further insist on his blatant disregard for Moll, his horse is shown to knock down a teetering stack of pots. This is a reference that the French artist, Greuze would commonly use to show loss of innocence or virginity among young girls. There is no doubt that is Hogarth's intention too. Another important Hogarthian symbol (that we should always be keeping an eye out for) is the dead goose in the corner. This hints to Moll's gullibility. Poor Moll, she has no idea what she is about to get into.

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