very very emotional and draining
and taken back to that point in time
yeah
Ria: Yeah
Can you tell me a bit about how you felt when you left the museum?
Martin: Um (p)
You feel,
I felt very,
and the whole group did very serious,
you know your in this black mood anyway (laughs)
and I think you think thank god it wasn’t me you know,
thank god I wasn’t in this,
or live through it or be part of it,
or be you know alive during the second world war,
I think you have this hope that you know it’s over
and it will never happen again and you know we’ve learnt from it,
you do carry,
I mean you’ve got to feel like that
because I mean the other side of it is just black depression (laughs),
you know you have to feel that there’s got to be a reason for all this
terror
and it is,
you know it won’t happen again,
I still you know,
you constantly think,
how could that happen in Europe,
how could that happen in Europe during the life of my parents?
And um I just find it so amazing
that that that sort of horror could happen on the continent of Europe,
um but um I mean I think hope,
you know there is hope,
as Churchill said that you know
‘the light of the world will move forward into broad sunlit uplands’
or whatever his quote was
um
that the future is going to be better because of what happened,
um so yeah I guess hope
and that we’ll never forget
and um (p) some good will come from,
you know that dreadful horror,
but it is very,
I mean it isn’t,
I mean it is quite serious and it is very serious (nervous laughter)
and it is depressing
and it isn’t a fun holiday you know (laughter),
the foods good and the beers cheap
but you ain’t there for a laugh,
but still (sharp)
Ria: Ok um (p)
Ok I’ve asked you that
I’ve asked you that can you tell me a bit about the mood you experienced
throughout the visit and afterwards,
you said it was dark didn’t you?
Martin: Yeah,
I actually, when I got back home,
I felt really quite depressed (laughs) for a week really,
um and I don’t know whether it was the holiday or the experiences of what
but it actually was quite depressing
the whole experience,
you know I wanted to do it
and I would go back
but you know it is quite black mood provoking,
R: Um
M: I mean there are other situations on the planet which are equally bad
You know I mean you know the slave castles in Ghana and so on
Uh are equally horrific but maybe not quite up to this um (p) scale,
R: Yeah
M: but you know, you come through it and you know hope and the future,
it’s just a very sobering history lesson
at the end of the day now,
and the timescale it’s lengthening isn’t it now,
it’s uh (p) sixty years now yeah (P).
Ria: Oh just lastly then with regards to the picture that you took,
Um what significance did they have for you,
like with taking pictures of certain things
why did you take those pictures?
Martin: Well I guess to create a sort of visual memory um
an archive, a personal archive to look back on,
R: Um
M: I mean some of the shots are almost iconic you know
I mean the words over the gate,
the watchtowers,
the barbed wire fencing,
the rail line into the camp I mean,
these are images which are laid down by film and the media
over over decades,
that you want to confirm and reinforce and see,
you know it’s a bit like
you know forever one has seen pictures of the Sydney harbour bridge
in the summer I’m going to climb it um and take a picture of it
and touch it,
it’s this sort of game of confirming reality I think,
uh which happens in so many bits of our life,
who knows what really brings about a deep interest in a place or an event or
such that you know some people are unaffected or not interested
and others are deeply interested in in a in a,
you know a part of history or geography or whatever
um most definitely with me you know it’s family background
you know I mean my family were,
you know my uncles and aunts,
we’re almost all involved in the war as participants
and that shaped the rest of their lives and passed it on to their children,
me
uh
you know everyday my father talked about the war
and my mother still does (laughs)
(End of tape)
there’s an interesting programme on one night this week on the bombing of Cardiff in 1941.
Ria: Oh really, ah I will be watching that…
Martin: Yeah, January 1941
a hundred bombers attacked Cardiff,
I meant to write it down,
I think it might have been Tuesday evening
and it’s Tuesday evening today,
ah it might be tonight better check the um
the TV times and things
I can’t remember which one it’s on,
might be on the sort of BBC Three or something or BBC Two late at night
but it’s tonight and um that should be good,
and we can visit,
I can take you, if you fancy it to Llandaff Cathedral
and show you the huge stone in memoriam
to the night in January ’41 when the cathedral was blown apart
Ria: that would be cool
M: Um and I can take you to sights around the city
R: I’m really interested in all of that,
you know how all of this happened on our doorstep
and we don’t know anything about it
M: um and I can take you to sites around the city,
you’d never know now I guess
I mean there is a huge gap in Neville Street in Riverside Cardiff,
which my family brought three homes when they moved to Cardiff in about 1916
and uh moved out about 1938 to another property nearby
and the houses that they originally brought were flattened in about 1941
by this landmine that fell on them
and my father who,
my uncle who was in the home guard helped dig out the survivors from the house that he was born in,
R: My god
M: yeah and I’ll show you were the gap is,
the old Victorian houses and then you’ve suddenly got about ten which are built in 1945 brick
because they replaced them
like a tooth missing you know
and all around the city if you know where to look
you can actually see gaps in Victorian terraces
where in 1945, 46, 47 they replaced the bomb damage
with a new house
and bombs fell in Roath park lake
and blew apart houses around the lake
and fell in the dock,
and um there’s an awful lot of evidence,
that was the main night,
one night in 1941
and for a whole week they came every night
and the house that I was born in had an air raid shelter in the garden
and I was around that house until I was about nineteen
um and it was used as a tool shed and somewhere to go,
and that was the air raid shelter that my mother and her family used to go in
in the night and stuff when there was an air raid,
um around the city if you know where to look you can still see Anderson shelters
all over the place
R: Really
M: yeah, but you wouldn’t know what they looked like unless you were aware of them,
which people went into if there was an air raid and
they’re partly buried in gardens and stuff like that and if you didn’t have an Anderson shelter,
which was a round thing with a door in made of steel,
you had a steel table which you put in your living room and you crawled under when the alarm went,
so if the house was bombed you wouldn’t be crushed,
you’d be under the table and they could dig you out.
Uh
Ria: Frightening…
Martin: Yeah, I mean it its,
I mean I don’t want to talk too much because I maybe not,
it’s not relevant to what you’re doing but I mean compare it to cities like Plymouth, and Coventry and even Swansea
Cardiff got of very light I mean Plymouth was blown to pieces you know,
20,000 people killed because of its naval significance,
you know Devonport and the Royal Navy it was a prime target for the Luftwaffe, Cardiff less so
I mean it was the Docks really
that they wanted to destroy,
yeah so and London of course,
you know it was Blitzed to high heaven.
Ria: I went to Portsmouth over the Easter to visit the D-day museum
and there they got smashed to pieces too in Portsmouth.
Martin: Oh right,
yeah I mean it’s a naval, the sort of navel significance of portsmouth,
I mean it’s immeasurable
and the London Dock Development
that I was browsing through a few weeks ago,
which I think is amazing,
I mean it’s really all come about because
the East end of London was blown apart in the Blitz,
thousands of dwellings were destroyed around the Dockland area,
you know it’s um its not that long ago and the world was at war.
Ria: No. It’s mad, it just seems like we’ve come on in leaps and bounds.
Martin: Well even in my short life time,
I’m about three years older than you, um
the world is unrecognisable from when I was a kid,
you know the sort of wealth levels
and the um
and what we have is awesome compared with what we had two generations ago,
I mean my parents actually got married in 1948
and um they went to live with my granny and granddad,
mothers mother
who had electricity installed a week before the wedding
so that the newly married couple could have an electric light and a plug,
they had one plug in the whole house,
pre that it was gas light and cooking on a cooking range on a fire
and a fire to heat the house an open fire to heat the house,
central heating is really only about thirty years old.
Ria: I remember my granny’s old house
they lived in an old chapel house in mid-Wales and
they didn’t have heating until they moved when I was about twelve years old
and no heating no nothing.
Martin: It’s amazing,
well even my parents,
I didn’t have central heating until I brought my own house,
I mean I left home to go to university and we had coal fires in each living room
I mean that’s pretty primitive,
but everything,
I mean cars and transportation in the last 30 years,
Um educational opportunities
the whole thing is just so different
in one generation let alone in 2
I mean I think if you go back to the thirties
and I’ve got a really great pal of about 70 who’s a historian linguist
um and he’s got tunnel vision back,
he was born in the 1930’s in the South Wales Valleys,
Um (p) it’s the middle ages you know (laughs),
yeah I mean the change is very very profound
and the increase in wealth in people is very profound too and
I mean I’m flying to all over the world really
and who am I?
Some ordinary guy, Australia and the United States,
I mean when I was a kid no one when anywhere (laughter).
I mean Australia you never dreamed you’d go anywhere near there,
or if you did it would be on a boat and you’d never come back.
I went to Trinidad when I was 21 for three months
and it took six months wages for the ticket,
R: My gosh just for the ticket?
M: I mean I know its it was about 600 quid
I earned 1200 quid in that year of work,
I mean compare that to now,
I mean it’s a couple of hundred quid and you can fly anywhere.
R: Um yeah
M: Yeah so I think the 20th Century is,
I really don’t want to bore you
with all this rambling but one thing
my Grandmother died a few years ago,
after my father unfortunately,
my fathers mother,
she was well into her 90’s, very elderly 98 I think
and she was born in 1899
and she was born before the Wright brothers took their first powered flight in 1903 and her transportation as a kid
and right into adult life was a horse and cart
and this is granny that I can see there in my minds eye,
not long ago she died, as old as the queen mother you know
and um in her life time by the time she was 71/70
men had stood upon the moon,
in one lifetime we have gone from a balloon, no flight and a horse and cart
to standing on the moon in 1969
and I think that is incredibly significant in one lifetime,
her lifetime
and before she died she went on concord
and I think wow you know wow,
in one life time
and you know London to New York in three or four hours or what ever it is
and like when she was a kid how many weeks did it take by sea or whatever?
And New Zealand and Australia
you know you can fly in 24 hours,
the son of Concorde if they ever make it will do Heathrow-Sydney in four hours, twice the speed of sound.
Ria: Well is there anything else that you’d like to mention
that you think you might have missed or?
Martin: I don’t think so, I don’t think so,
I mean I guess if it does I can email you or come and see you yeah,
I don’t know if you’ve got what you need from me.
Ria: Oh yes definitely, because you are like my pilot,
Sheena wants me to concentrate now on my literature review
so I can get that sorted out,
but I think this is the way I’d like to do it now because I think it works well
to be able to talk to people and get a feel of the different places that they’ve been
I think would be a good way of doing it,
So um I’m looking to recruit people now,
so if you know anyone who’s going anywhere,
or if you go anywhere again you’ll have to let me know.
Martin: Well I’m going to go to the convict settlement in Botany Bay
in August yeah.
Ria: Really, oh gosh.
Martin: I’ve booked my flight to Japan and Australia
Ria: oh this is what you were saying about the other day.
Martin: Yeah I’ve done it now, we’re going to be within walking distance of Botany bay
in Sydney so that’s coming up
and knowing me it’s the sort of thing that we want to go and see but,
actually I’ve talked about the Brecon Beacons,
I do a lot of walking in the Brecon Beacons and have done for many years
And there’s one site,
I don’t know if you know the Beacons but on the West side of the Beacons,
the Black mountains,
there’s an area called the Carmarthen Vans
which are you know interesting rugged countryside
and there’s a site in there and I can’t remember the actual spot
but there is a reservoir up in the hills
and it’s a beautiful place to be and it can do a circular walk in about two hours,
three hours and the reservoir and the road up through you know this isolated countryside
was all built by conscientious objectors in the first world war
and these people who wouldn’t join the army were put in prison
and they were given white feathers
and they were humiliated and beaten and (p)
you know imprisoned for not fighting,
it didn’t happen in the second world war and chain gangs of these conscientious objectors built this,
about a mile of road way
and ducting and whatever
up to this reservoir wall which dams the little valley
created this in the most beautiful beautiful setting
and I think god you know all this was done by forced labour
all this was done by people who were probably desperate and imprisoned
and I don’t know what I’m trying to tell you
but I find that very significant and very interesting
that a site of extreme beauty was created by people who were desperate.
Ria: I mean it’s like the Great Wall of China,
they say it’s like a big graveyard don’t they?
Martin: Yes I guess,
I haven’t seen that (reflective voice)
and the Burma Railway that’s another one isn’t it?
I mean off the record what is it that draws you to this study
I mean is it because its there and it was suggested or do you have a more profound…?
Ria: I think it’s more like um,
I just want to understand why people go and because within
basically I started researching it was when I was in the first year
and Ken Tresidder mentioned that there was a thing called dark tourism
and I thought ah I’ll do that because no one else has done it,
so I did it because of that.
But now with this no-ones really looked at motivation,
everybody within the media assumes that its morbid curiosity
and that’s just an assumption that everybody makes
and then the academics say well its remembrance, its entertainment and education
but I’m not convinced at all
and so I really feel like I just want to find out
what it is and all the reasons in peoples past and why they go and what interests people and things like that
and that’s just something that I want to do to add to the knowledge of why people do things,
what effect things have on people
and stuff like that,
and I just think as well because I’m quite a conscientious person about things,
I want to do good in that way
that I want to realise why people do things
and that these sites do have an importance
and I just want to make that point.
Martin: I mean there are some psychologist at Llandaff
and others that I’ve spoken to over the years,
who proffer this replication theory
that we copy the behaviour and belief of very significant people in our lives like mum and dad,
to a degree that blows your mind, almost exactly we don’t think we do but we do,
um we become like mum and dad,
after many years of being with them in our formative years
we end up with a set of things in our head which come from them,
so I think we take on their significant issues
maybe in a different way and maybe turned round a bit but
you know for me my parents significant issues were the war
and you know their mentioning words like Auschwitz
when I was a little boy and you know horror you know,
recoiling in horror when such words were mentioned
that does something to you
and sensitises you forever to this sort of thing.
I’m going to Hay-on-Wye on Saturday
to try and buy my set of Churchill’s history of the second world war
because I’ve mislaid my collection,
Uh I’m constantly reinforcing this issue in history
in military
in um that era I wish one had been,
had become a social historian,
I really like social history
and I guess you must too, big-time,
ordinary people and what shapes them
and where they’re going.
Ria: I just the feeling that I’m getting from this thing that people are doing is like all tourism activity says so much about your life,
you know that you can find a lot more out about things,
it just seems to tie in a lot with what Im researching,
tie in a lot with things that I experience everyday like politics and things like this,
its really really interesting and
I’ve been thinking of going to
Of trying to get in contact with the psychology department in Llandaff,
but then there is um,
because my issues are kind of psychology and sociology
there are two perspectives that you can take and,
it’s which one you go down I suppose,
but I think I don’t know it might be beneficial to do that.
Martin: I think it would yeah
I mean from a sort of sociological and or psychological aspect,
I think there are pretty powerful forces in the human mind going on with this,
I mean um (p)
my parents my mother still you know
talk to a German I don’t think so
and me dare bring a German into her house,
I mean I’ve actually got some very nice German friends
she don’t know about em,
I actually met a German girl at university who was delightful
and wanted to come home with me,
she was here for one Easter and she was so pretty
and I daren’t
I couldn’t take here home and I sort of brushed her of you know
and I really wish I hadn’t
well my kids go to German and have German pen-friends you know
so that’s fractured and things have moved on,
so I don’t think we take on all their prejudices and beliefs and their issues but um
I think mum and dad you know,
Bloody hell you know their influence on us is mega
whatever we say you know?
Ria: I think with things like morals definitely
the underpinning things,
maybe rationally we don’t your more effected by the world and your education,
but with your morals and what you really believe.
Martin: Yeah sure oh absolutely
you know and as parents you know
we’ve got tremendous influence
and I hope to god it’s good influence over your offspring (laughs)
(p) but yeah I think all too often badness negativity
is passed on down through the generations replicate wily nilly
you know the bad things that we inherit you know
the small minded ignorant
sad bigoted bullshit that goes with it,
I hope to god I haven’t been like that with mine (laughter)
Um
Ria: That’s why people have therapy isn’t it
to move away from all the things that they’ve got, all the negativity.
Martin: Yeah, I mean again I’m not sure understanding why you’re negative
or knowing the reasons why does any good
R: Um
M: uh maybe it does.
Ria: Um so it’s all really interesting
every day I find something and it’s like oh gosh that could be,
I don’t know, I have a feeling im going to unearth some real truths,
I really do.
Martin: Yeah,
I guess and um
I mean just using tourism as a vehicle for
investigating human behaviour I guess,
you’re actually looking at human beings and why they do things,
using tourism as a mechanism and it could be other things couldn’t it?
Tourism’s pretty significant because you know it’s a really big deal for people,
they spend large amounts of money on travel and stuff.
Ria: Especially now isn’t it
in the world that we live,
it’s all about tourism and taking pictures.
Martin: Oh sure and accessibility
and being able to get to venues and places
and (p) um almost anywhere that we dream of you know.
Ria: I think it’s just like if someone watches a film about a place
and then they have the opportunity to go and visit that place
why wouldn’t they,
if they had the interest to watch the film
then they’ll have the interest to go and see the place.
Martin: Yeah, yeah.
Ria: But it’s going to be tough,
because it’s going to be so hard to get people to speak to me and things like that especially in the case of
because I wanted to do a study of the Imperial War Museum
and I still have that in my mind when I’ve done al this opportunistic stuff
I’ll go and do some kind of study there,
but they are so anti the term dark tourism.
Martin: Are they?
Ria: Yeah because everybody just thinks because its dark tourism,
its morbid and it’s like a terrible thing
so I kind of like to redefine it so that it didn’t have such negative connotations
and that people wouldn’t reject it outright
and just because its dark in nature
doesn’t mean that the motivations have to dark,
the places have to be dark, be
they can do a lot of good,
so like the Imperial War Museum will just say,
‘this is not dark tourism’
and its like do you know what people mean
when they talk about it?
It’s going to be difficult.
Martin: Yeah I mean
I, there are some terribly exciting places around though which,
You know military type,
I mean there is a real odd one in London called the London dungeon.
Ria: Yes, I’ve been there years ago.
Martin: We used to take students there, (laughs)
hospitality really as a spot of light relief,
but really because I was organising it and I was always fascinated by the place,
um I think it was better when I first saw it
it’s gone a bit um caricature, (p)
its gone a bit um (p) cartoony you know it’s gone a bit…
Ria: they make it like an unreality don’t this,
they make it so unrealistic
yet the things that they portray did actually happen
like things like Jack the Ripper
but they do it in such a way that it becomes entertainment
and that’s really bizarre as well
because underneath the category of dark tourism
that’s the same as Auschwitz,
it’s like one of the things that im looking to do is to fragment the area
and divide it into things like London dungeon as fright tourism
and then have genocide tourism as an opposite kind of thing,
because I don’t think you can put tourists in the same category
and say that the motivations for one are the same as for the other
because they’re not at all are they?
That’s something I’m looking at as well.
Martin: I mean there are several of venues,
where if you were not switched on you could walk though
and not see anything,
and I think the London dungeon is one of those you could just blinkered
you could just think what is this rubbish you know,
tou underlying it is again you know a dreadful amount of shock horror,
vicious unkind
but the dummies and models they use all look a bit silly now you know I think
they all look a bit not real,
it’s lost something and you know I’ve brought the tea towel every time I’ve been and I’ve brought the tea towel and the odd souvenir but it’s all a bit um fairground.
Ria: Yeah like a ghost train,
it’s the same with the Chamber of Horrors at Madame Tussaud’s.
Martin: Oh I’ve never been.
Ria: one of my friends used to work for Madame Tussaud’s
and he’s got this ticket where you can get 80 free passes to any of the Tussaud’s group,
so every time I go to London he gives me the ticket so I get to go to the places,
I’ve been there about three times so that’s the same sort of thing
but its all the historical figure but it’s the same as the London dungeons really.
Martin: Most significant sobering horror experience of all my life
was when I was a little boy
Uh my granny gave me a set of cigarette cards that had been collected in the 1920’s
by someone in the family and stuck in a book
and there were a hundred cards in this collection
perfect and they were called crime and punishment throughout the centuries
and I must have been ten or eleven
and I was old enough to know,
bright little boy, old enough to know what he was reading,
cricky and this was a catalogue of the most barbaric punishments
you could dream up
and that layered something into my head into my psyche
and I lost it
and within a year or so of being given these cards
I never saw them again, either I left them somewhere or
but they went
and from all over the world there were punishments like,
I can see the pictures now,
in Turkey I think people were put in the sack (p) naked
tied at the top and there were rats in the sack that hadn’t eaten for a week
and if the rats weren’t going berserk they’d poke them with pins to make them go crazy,
um and the whole book was full of these dreadful crim, dreadful punishments
and maybe that wasn’t the sort of thing you should give a ten year old you know.
Ria: But it’s like when you are young
like I remember when I was little my dad had a book about ghosts and ghouls
and I remember picking this book up
and knowing that I would have nightmares by looking at the pictures but…
Ria/Martin: you still do it…
Ria: and maybe that’s got something to do with it,
that you know it’s horrible and repulsive but you still look.
Martin: Yeap absolutely
Ria: like child like curiosity.
Martin: I mean I think as well
we like to push back our vision and our back,
we like to see how far human depravity goes
simple as that, basic human curiosity,
do you know I had to go to a police station in Dubai
when I took the students there
because we lost a watch
and I think I told you this
and um I had to get an insurance report
and I had to go in and see someone and I never did get what I wanted
and I left in the end I couldn’t cope
but it was dreadful
and there was noise and screams
and you could imagine cells with blood-soaked rags
and oh, very upset looking people being dragged around
and I thought Christ this is something out of the middle ages
and this was a police station in the town
throughout the whole culture I felt was middle ages and barbaric,
public executions you know.
Ria: Really?
Martin: well actually not in Dubai but when we went to Abodabi there were
in the town square
and I thought um
there are still some necks of the woods where medieval horror still exists,
(p) yeah I mean in the London dungeon there is an issue about hanging drawing and quartering,
and it’s done in a very flippant way I mean
I mean oh flipping heck you know, dreadful, um
I cant listen to serious documentary programmes on Guy Falk’s
which comes up every November the fifth and they have something on channel four it’s very serious
I can’t bear to hear what was done to him
and I have to leave the room really and I think oh god,
is part of it being grateful that we’re alive now
and not likely to be brutalised in that way?
Ria: It’s just bizarre because with things like that where you wouldn’t,
well I never felt oh gosh that was awful or these horrific things
but I don’t know why that is,
they just make it like a cartoon, like you say like a caricature, so unreal.
Martin: Yeah it sort of belittles the reality of it I think,
I haven’t been to the Imperial War Museum for years um
but it was brilliant when I went,
uh quite some time ago in the aftermath of the Falklands war
they had a big navel exhibition there and I went to have a look at that
and it was an awesome day
and I remember Monty’s caravan and all sorts of other things.
Ria: They’ve got kind of um I don’t know if you saw it when you were there but recreations of the blitz
and recreations of a trench and things like that
and then they’ve got a holocaust exhibit
and a crimes against humanity exhibit as well,
another thing that I went to over Easter was Bovington tank museum,
have you been there
M: did you, no no,
R: that’s cool
its like one of these things where I don’t know its quite exciting
because you go through and you have to enlist
and there’s a guy and all these effects
and you walk though a trench and it’s all really recreated like that
and then after that you’ve got the tanks
and there’s just row upon row of all these tanks its amazing its really cool.
Martin: Yeah I mean im certainly amazed at the First World War tanks aswell
and how primitive they must have been
but there was an account of the tank battles of D-day
and after between the tiger tanks of the Germans and the Sherman tanks
and the Cromwell tanks of the British and the Americans
and how the German tanks were far superior
and how horrible these things were to be in and how easily you could die
you know be suffocated and couldn’t get out if there was a problem.
Ria: Well that’s like one of the tanks that you went in had
sound thing where your listening to a guy on the radio talking
and he’s telling about how
did you know that we would probably die from the gas in the tank than from the enemy,
it was that bad…
Martin: Absolutely, oh god yeah,
I used to have access to my Granddad’s diaries that he kept when he was in the army in the First World War
and my father’s surviving brother’s got them now um,
because I was the eldest son of an eldest son which is interesting,
because I got his medals and other bits and pieces
but my father was
died before any of his other siblings
so I sort of got pushed out you know.
But reading the sort of weekly journal of granddad who was in the Herefordshire regiment
who was at Gallipoli,
it’s horrific you know like from
your own family member,
because he was injured he was wounded and sent back to England,
thank god, you know it probably saved his life
and another, I’ll shut up in a minute,
another very significant thing for me
was that my father was in the far east in the RAF aircrew
and I guess about 1943,
they either got shot down
or they had engine trouble and they had to ditch in the Persian Gulf
and basically they got out with their gear in a life boat,
floated around for a couple of days,
landed on a little island
and waited to be rescued
everyone knew where they were
but it took like a week to send a rescue boat,
quite a few hundred miles across the ocean to pick them up
and my father got actually dreadfully sunburnt during the days
and I think actually got liver damage to add to the rest of his problems
and he was responsible for keeping a log
and wrote up daily what was happening and so on
and um anyway the rescue boat came
and one of the crew men on the boat,
unbeknown to my father was a friend from school,
they we’re friends in school but they went to the same school
and he was on the crew that picked up these airmen,
well after that they became friends for the rest of their lives,
you know they were really buddies,
they shared a real common bond
anyway bout 1970 something,
thirty years after the incident, 40.50. 60.70 yeah,
I went to the public record office,
30 year and 50 year intervals got records that they can release to the public
and I for all sorts of reasons,
I thought that I’d investigate his squadron and my uncles squadron
anyway at the public record office,
they produced documents for me from 292 squadron,
which was my father’s squadron and his logbook was there at kew you know
and I opened I opened his logbook
and sand from the beach where they were waiting to be rescued fell on the table
and seawater had stained the pages and made the ink run
and I thought christ this is amazing,
and um I was reading in the museum
you know the account of the rescue and I thought this is amazing
it went back into the rescue office and it’s still there today.
But imagine that I mean he told me as a little boy that you know,
What happened and he was on a beach,
and sand from that beach falls on that table.
Ria: That’s absolutely amazing.
Martin: Yeah, I though bloody hell,
and I couldn’t move for an hour
I just sat there thinking bloody hell.
Ria: It’s really quite magical isn’t it?
Martin: Yeah, yeah there are sometimes in life,
there are sort of moving moments that um (p) happen,
well I guess I’ve said enough.
Ria: Ok, I think I’ve kept you for long enough,
M: No
R: time flies
well thanks for your help and I might be back in the summer if that’s ok,
after your visit.
END OF INTERVIEW
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