Joshua Levine (15:35)
Yes, I think it was often very, very difficult. I mean, it could be good and bad. I mean, it was, it was good sometimes in the sense that you suddenly had people who brought money with them. Effectively, the one village shop might suddenly have had lots and lots more people using it and frequenting it. And local communities learned things and maybe benefited from these outsiders. But in terms of schools, you know, schools were almost overrun. You had sometimes schools offering, you know, morning and afternoon sessions for different children. You had classrooms that were set up in country barns and you had city teachers and country teachers working together, which created maybe friction or maybe again better understanding. So you had that in terms of the schools themselves, you had the countries often, you know, they were rationed too, but they often had better supplies, better access to fresh produce. So city people, like I say the girl who found milk came out of cows. You had a lot of them, had a healthier diet than they would have had before, but you had these local places just suddenly overwhelmed. I mean, I found a story of there was a chart in Chinatown in those days in London wasn't Sohos, it was Limehouse. And there was a surprisingly large Chinese community. The Chinese were evacuated to a village in Oxfordshire called Wolvercote. They basically went as en masse. And so this village suddenly became Little China. And this woman who went, she said, you know, the children went and a lot of the mothers went. And she said, suddenly this country village, maybe nearer town, was full of Chinese people everywhere. And she said, but there was no trouble, there was no discrimination. She said, we were accepted. And she remembers the time very, very fondly. Now, that's not to say that's, you know, like with all these things, that's not the whole story. There's a famous photo in the Imperial War Museum of a small black boy being evacuated. You can see he's holding his little suitcase this was a picture that inspired Steve McQueen to make his film Blitz. You know, when he saw that, it suddenly occurred to him, wow. The black people had their own story, but there were a lot of people evacuated, different communities that you don't necessarily associate with the war. And some had good experiences, some had bad experiences, and plenty of people, by the way, do report bad experiences. I found a magistrates court report of the time absolutely heartbreaking. Four year old boy took some biscuits from the larder and the two women looking after him, mother and daughter, hit him, caned him something like 64 times. And it's a 4 year old. And it came to court and they were convicted of assault and his mother came and took him away. And the magistrate, you know, very touching, says to the mother, you know, he's been treated monstrously and it's your job now to. I'm almost welling up talking about it. It's your job to treat him with great love and care so that he can forget this. And I've spoken to a lot of evacuees and it's totally mixed, the story. I mean, you know, I didn't speak to this woman, but I found her story that she was sexually abused as a child by the man of the house and ended up thinking it was her fault and very sad when she left. And it was only when she was older that she was able to make sense of what had happened to her, that it wasn't her fault and it did affect her for the rest of her life. So these things absolutely happened. And then there were lots of people who had really good experiences and didn't want to come home. I spoke to a man called James Porter, from very poor family in Bristol, you know, gone around without shoes when he was a kid and he was part of the overseas scheme. So in the early part of 1940, there was a scheme to send children abroad, to basically ship them abroad. So they went. A lot of them went to Canada, some went to America actually, but they were mostly private. At first it was mainly rich children, but the government was very keen to stamp that out. So a lot of ordinary children went as well. And he went to New Zealand and he went first of all to this. Well, to this wonderful sort of rich family. I say wonderful. I mean, they were nice to him. That's what I mean by that. Not that they were rich, but they were rich. They had a summer house by the coast, they had a house in Auckland, I think it was. And he just suddenly had this new life. You know, he went sailing, he. He Played cricket. He. He was unimaginable to him. And he became a different person. Went to school where he was actually, they paid attention to his education, he said. The mother was very, very kind, the father was quite strict, but would make sure he ate with a knife and fork properly. Just taught him stuff that he didn't know. And he started to love art. And towards the end of his time, you know, he grew up there from 1940-45. He was there at this formative age. And before he left, he was given a place, he learned, a place at New Zealand's top art college. And he was so excited and all set up to go there when the war ended. He's one of those people who's really unhappy the war ended because he was sent back to his house in Bristol, where his parents were complete strangers to him. Brought all of his art stuff back with him, his paints and his brushes and his pastels, whatever else. And after a few days, he looked in his room and they were gone. And he asked his mother what had happened. She said, oh, I threw them away. You don't need that rubbish. And he realized that he had to go, couldn't stay, you know, these were not his parents anymore. And as soon as he could, he joined the Marines, Royal Marines, and couldn't wait to get away. And spent so much of his life traveling back to New Zealand. His sister actually, who went with him, actually move there, went to live there. So lives were changed for better and for worse, which is hardly surprising. And the country changed.