It wasn’t all that easy to get to Harrow School from
my London hotel. I had to make some Tube connections to the Harrow-on-the-Hill
station—a misnomer, I noted in my
journal, [because] I had to climb the hill, to the school. It was, I
wrote, a lovely place with preppies
running around in blue blazers, etc., and the faculty in gowns (modified). I
learned in the oldest-looking building that it was, indeed, the oldest—and the
only one remaining from Lord Byron’s (and Percy Florence Shelley’s) day.
Fortunately, I did not have to contend with any
security measures. Not that there were
all that many in 1999, pre-9/11. The schools where I taught most of my
career—Aurora City Schools, Western Reserve Academy—both have far stricter
access protocols now than they did before 9/11, before the spate of school
shootings, one of which—February 2012—was in Chardon, Ohio, only about
twenty-three miles north of Aurora.
I stopped a young Harrow faculty member and asked him
where I could find Allegra Byron’s
marker. He had no idea what I was talking
about—and directed me to the library, which at the time was undergoing some
major renovation. There, I quickly found a kind librarian, who told me the
remains were at the Harrow Church—another hike up another nearby hill. But I quickly
found the marker, took some pictures. Here’s what it says:
In
memory of
ALLEGRA,
daughter
of LORD BYRON
and
CLAIRE CLAIRMONT
born
in Bath 13•1•1817
died
Bagnacavallo 19•4•1822
buried
nearby.
Erected
by the Byron Society
19•4•1980
Afterwards, I
returned to thank the librarian. I told her about my Jack London work, and she
immediately brightened, telling me she loved The Call of the Wild.
I walked down
the hill, I wrote that day, feeling
like quite-a-guy.
It’s a feeling I’ve had many times in my literary
explorations. There is something so—what?—animating
about finding a literary site you’ve read about so many times. About standing there. And it’s a feeling I had
in so many places—in so many ways—from Dyea, Alaska (head of the Chilkoot
Trail, a trail that figures prominently in The
Call of the Wild), to Red Cloud, Nebraska (home of Willa Cather), to
Montgomery, Alabama (where Scott Fitzgerald met Zelda Sayre), to Ketchum, Idaho
(Hemingway’s final home), to Grand Isle, Louisiana (setting for The Awakening), to Florida, Missouri
(birthplace of Mark Twain), to Pittsfield, Massachusetts (Arrowhead—the house
where Melville was living when he wrote Moby-Dick),
and on and on and on and on.
Late in 2014, writer Richard Holmes (whose Shelley
biography I’ve mentioned many times and whose Coleridge biography I admire, as
well) wrote in The New York Review of Books about his two conclusions about writing biography.
This paragraph hit me with the power that only truth can summon:
The first was
the footsteps principle. I had come to believe that the serious biographer must
physically pursue his subject through
the past. Mere archives were not enough. He must go to all the places where the
subject had ever lived or worked, or traveled or dreamed. Not just the
birthplace, or the blue-plaque place, but the temporary places, the passing
places, the lost places, the dream places.[1]
Well, I wasn’t going to be able to do this for Mary
Shelley—not completely. But I was trying—and you always get an Effort grade,
right?
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