At Home - Bill Bryson [59]
• CHAPTER VI •
THE FUSE BOX
In the autumn of 1939, during the slightly hysterical confusion that comes with the outbreak of war, Great Britain introduced stringent blackout regulations to thwart any murderous ambitions by the Luftwaffe. For three months it was essentially illegal to show any light at night, however faint. Rule breakers could be arrested for lighting a cigarette in a doorway or holding a match up to read a road sign. One man was fined for not covering the glow of the heater light from his tropical fish tank. Hotels and offices spent hours every day putting up and taking down special blackout covers. Drivers had to drive around in almost perfect invisibility—even dashboard lights were not allowed—so they had to guess not only where the road was but at what speed they were moving.
Not since the Middle Ages had Britain been so dark, and the consequences were noisy and profound. To avoid striking the curb or anything parked along it, cars took to straddling the middle white lines, which was fine until they encountered another vehicle doing likewise from the opposite direction. Pedestrians found themselves in constant peril as every sidewalk became an obstacle course of unseen lampposts, trees, and street furniture. Trams, known with respect as “the silent peril,” were especially unnerving. “During the first four months of the war,” Juliet Gardiner relates in Wartime, “a total of 4,133 people were killed on Britain’s roads”—a 100 percent increase over the year before. Nearly three-quarters of the victims were pedestrians. Without dropping a single bomb, the Luftwaffe was already killing six hundred people a month, as the British Medical Journal drily observed.
Fortunately, matters soon calmed down and a little illumination was allowed into people’s lives—just enough to stop most of the carnage—but it was a salutary reminder of how used to abundant illumination the world had grown.
We forget just how painfully dim the world was before electricity. A candle—a good candle—provides barely a hundredth of the illumination of a single 100-watt lightbulb.* Open your refrigerator door and you summon forth more light than the total amount enjoyed by most households in the eighteenth century. The world at night for much of history was a very dark place indeed.
Occasionally we can see into the dimness, as it were, when we find descriptions of what was considered sumptuous, as when a guest at a Virginia plantation, Nomini Hall, marveled in his diary how “luminous and splendid” the dining room was during a banquet because seven candles were burning—four on the table and three elsewhere in the room. To him this was a blaze of light. At about the same time, across the ocean in England, a gifted amateur artist named John Harden left a charming set of drawings showing family life at his home, Brathay Hall in Westmorland. What is striking is how little illumination the family expected or required. A typical drawing shows four members sitting companionably at a table sewing or reading by the light of a single candle, and there is no sense of hardship or deprivation, and certainly no sign of the desperate postures of people trying to get a tiny bit of light to fall more productively on a page or piece of embroidery. A Rembrandt drawing, Student at a Table by Candlelight, is actually much closer to the reality. It shows a youth sitting at a table, all but lost in a depth of shadow and gloom that a single candle on the wall beside him cannot begin to penetrate. Yet he has a newspaper. The fact is that people put up with dim evenings because they knew no other kind.
Reading by candlelight, by John Harden (photo credit 6.1)
The widespread belief that people in the pre-electric world went to bed at nightfall seems