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 Design for
Life

Stuart Walker’s design work has been described as life-changing, inspiring,

disturbing and ferocious.
Drawing on an extraordinarily diverse range of sources and informed by
creative practice, Design for Life penetrates to the heart of modern culture
and the malaise that underlies today’s moral and environmental crises.
The author argues that this malaise is deep-seated and fundamental to
the modern outlook. He shows how our preoccupation with technological
progress, growth and the future has produced a constricted view of life –
one that is both destructive and self-reinforcing.
Based on over twenty-five years of scholarship and creative practice, he
demonstrates the vital importance of solitude, contemplation, inner growth
and the present moment in developing a different course – one that looks
squarely at our current, precarious situation while offering a positive, hopeful
way forward – a way that is compassionate, context-based, human scale,
ethically motivated and critically creative.
Design for Life is an intensely original contribution that will be essential
reading for design practitioners and students. Written in a clear, accessible
style, it will also appeal to a broader readership, especially anyone who is
concerned with contemporary society’s rising inequalities and environmental
failings and is looking for a more constructive, balanced and thoughtful
direction.

Stuart Walker is Professor of Design for Sustainability at Lancaster

University. His design work has been exhibited in Australia, Canada, Italy and
the UK, including the Design Museum, London. His numerous books include
Sustainable by Design, The Spirit of Design and Designing Sustainability, also
published by Routledge.
Praise for DESIGN FOR LIFE: creating meaning in a distracted world

This book adopts a wholly new approach to design, one that gets right to its heart.
Rooted in values, beliefs and creativity it adopts a rhetorical approach to its subject,
blurring the boundary between designing and thinking about design.
Penny Sparke, Professor of Design History, Kingston University

In this stunning book, Stuart Walker’s sensibility explores deep and complex
dimensions of design thinking and doing, shedding light on the role of intentions,
priorities and values.
Maria Cecilia Loschiavo dos Santos, Professor of Design,
University of São Paulo

Our society expects and needs a new wisdom for developing our lives in more
meaningful ways. In this book, Stuart Walker opens the door for dialogue on
wisdom in design. It is a wisdom permeated by creativity, the human imagination,
intuition and comprehension.
Takeshi Sunaga, Professor of Design, Tokyo University of the Arts

Praise for Stuart Walker’s previous books with Routledge

DESIGNING SUSTAINABILITY: making radical changes in a material world

Quite simply, this is the best book on the key issues that engage us – values,
culture, the environment, beliefs, making a better world – that I have ever read. It
is utterly original, deeply rooted, supremely pragmatic and splendidly visionary
Martin Palmer, Secretary General,
Alliance of Religions and Conservation (ARC)

A seminal contribution to the profession of design that begins with the heart and
mind of the designer and the values most important to human flourishing
David W. Orr, Oberlin College, Ohio

Joyfully and patiently Stuart Walker shows us how to design spiritual satisfaction
into the everyday so that we, and the Earth we inhabit, may be whole again
Sara Parkin, Founder Director and Trustee, Forum of the Future

There is no doubt that this book is a powerful and spiritual tool for a better way of
living. Education at its best!
Design Magazine, Portugal
THE SPIRIT OF DESIGN: objects, environment and meaning

I have read and referenced The Spirit of Design, and am much appreciating
Designing Sustainability. They are very welcome – I know of very little else that
makes such links between design, behaviour, mindsets and the future of the
planet!
Jules N. Pretty, University of Essex

I find your work deeply philosophical … what you have to share is special
because the objects you use serve as a symbolic language for a deeply relevant
human ethic that is so vital right now
A.Wyma, South Africa

Your two books Spirit of Design and Sustainable by Design have been very
influential for me and have corresponded to my desire for meaning
R. Brual, Kwantlen Polytechnic University, Canada

SUSTAINABLE BY DESIGN: explorations in theory and practice

Definitely to be on the booklist of any product design course

Jack Ingram, Birmingham Institute of Art and Design

A fascinating book that takes the reader on a journey that is both diverse and full
of surprise
Jonathan Chapman, University of Brighton

A sensitive, thought-provoking book that explores fresh possibilities

Alastair Fuad-Luke, Aalto University

With beautiful images to back up his words, Walker tutors, suggests and
inspires…this book is a must for students and designers, its thoughtful approach
also makes it an interesting read for anyone who’s excited by the current shift of
play
Sally White, Resource
 Design for Life

Creating Meaning in a Distracted World

Stuart Walker
First published 2017
by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN

and by Routledge
711 Third Avenue, New York, NY 10017

Routledge is an imprint of the Taylor & Francis Group, an informa business

© 2017 Stuart Walker

The right of Stuart Walker to be identified as author of this work has been
asserted by him in accordance with sections 77 and 78 of the Copyright,
Designs and Patents Act 1988.

All rights reserved. No part of this book may be reprinted or reproduced or

utilised in any form or by any electronic, mechanical, or other means, now
known or hereafter invented, including photocopying and recording, or in any
information storage or retrieval system, without permission in writing from the
publishers.

Trademark notice: Product or corporate names may be trademarks or

registered trademarks, and are used only for identification and explanation
without intent to infringe.

British Library Cataloguing-in-Publication Data

A catalogue record for this book is available from the British Library

Library of Congress Cataloging-in-Publication Data

Names: Walker, Stuart, 1955- author.
Title: Design for life : creating meaning in a distracted world / Stuart
Walker.
Description: New York : Routledge, 2017. | Includes bibliographical
references and index.
Identifiers: LCCN 2016040132| ISBN 9781138232464 (hb : alk. paper) | ISBN
9781138232471 (pb : alk. paper) | ISBN 9781315312538 (ebook)
Subjects: LCSH: Design--Philosophy. | Social ecology.
Classification: LCC NK1505 .W35 2017 | DDC 745.4--dc23
LC record available at https://lccn.loc.gov/2016040132

ISBN: 978-1-138-23246-4 (hbk)

ISBN: 978-1-138-23247-1 (pbk)
ISBN: 978-1-315-31253-8 (ebk)

Typeset in Univers
by Saxon Graphics Ltd, Derby
To the people of Ebbw Vale,
my hometown
We should not be pushing out figures
when the facts are in the opposite direction.
Aneurin Bevan, MP
Ebbw Vale, South Wales
 Contents

Figures and tables xi

Acknowledgements xiii
Abbreviations and acronyms xiv
Prologue xv

1 The Subject 1
personal involvement and positive change

2 A Narrowing 12
loss of narrative unity and the nature of design change

3 Counterpoints 31
restoring balance through design

4 The Shift 92
an inward path to holistic design

5 Creativity 114
and the imperative of solitude

6 The Mesh 128

freeing design from dominant dogmas
 Contents

7 Rhythms 154
movement, making and meaning

8 Seeds 184
designing for a new awareness

Appendices 217
1. CONFESIÓN – relic from a future past 218
2. Listening to the Muse – a personal reflection 221
3. The Inadequacies of Corporate Social Responsibility 223
4. Related Websites 225

Notes 226
Bibliography 253
Index 268

x
 Figures
and tables

All designs, photographs, diagrams and tables are by the author

Figures
3.1 Grassroots, Contemplative and Counterpoint Design
Left: Bamboo and Stone I – floor lamp;
mass-produced parts and unprocessed local
materials. Top Right: Oriel Triptych - a trans-religious
contemplative object. Bottom Right: Land - disposable
ink cartridges that end up in landfill 56
3.2 Last Supper – take this and divide it among you
northwest coast pebbles and sand, fir, autumn leaves 63
3.3 Mayday – an international distress signal
unread messages, old bottles, paper, string, wax,
new life 65
3.4 Beyond Words – an aid to silent reflection
1747 leather-bound edition of The Book of
Common Prayer of the Church of England tied and
sealed with hemp and bandaged in linen 67
3.5 Oedipus Eyeglasses – accessory for an existential crime
reading glasses, Cumbrian blackthorn 69
3.6 Water – a modern history
bottled water, bespoke labels 71
3.7 Shackles – connected 24/7
mountain boots, beach sandals, chain 73
3.8 Concept – complete protection from handheld
relationships
phone, condom 75
 Figures and Tables

3.9 With Hidden Silence – Relic

fragment in hidebound box 77
3.10 With Hidden Silence – Dominion
conformity in felt wrap 79
3.11 With Hidden Silence – Nature
petrified in fleece 81
3.12 Neophobias – commodified cures for the ailments of
consumerism
reused wood, reused jars, ‘cures’ 83
3.13 Neophobias – detail
reused wood, reused jars, ‘cures’ 85
3.14 Confesión – relic from a future past
mixed media on recovered metal sheet 87
3.15 Human Rites – shrouded by materialism
earth-coloured calico, handcarved bone bodkin,
hemp cord, dried plants 88
3.16 Finale – premedicated death
0.5 mm hypodermic needle, 5.0 ml syringe, pre-injection
swab, 10.0 ml sterilized vial, card packaging 91
4.1 Design Phases: incremental design to holistic design 109
4.2 Personal Journey: from outer to inner via design
practice 110
4.3 Design Shift: from incremental design to holistic
xii design 111
6.1 The Making Process and the Creative Process
a) Thinking to Doing
b) Thinking Informs Doing and Vice Versa 133
6.2 Vestiges of Grace – Ithaca 149
6.3 Vestiges of Grace – Golgotha 151
6.4 Vestiges of Grace – Xanadu 153
7.1 Crochet Hooks and Bodkins
whittled oak and birch 174
7.2 Sewing Needles
hawthorns and blackthorns 175
7.3 Drop Spindles
whittled cedar and pine, beach stones 176
7.4 Knitting Needles
whittled holly 177
7.5 Conductor’s Baton
whittled oak and white birch 178
8.1 Seeds of Change – Broom 211
8.2 Seeds of Change – Piñon Pine 213
8.3 Seeds of Change – Horse Chestnut 215

Tables
8.1 Grand Schemes and Their Consequences 186
Acknowledgements

First, I would like to thank my wife Helen. As for my previous books, she has
edited the text and given me wise insight, immeasurable support and her
love. I also thank my colleagues and students whose conversations and
questions have helped me shape and refine many of the ideas in this book.
Many thanks to the Arts and Humanities Research Council and the Arts
Council of England, who have provided me with new opportunities for
learning, and to the ImaginationLancaster Design Research Centre and
Lancaster University. I am grateful also to all those at Routledge who have
offered advice and assistance in bringing this book to publication.
 Abbreviations
and acronyms

CE Common or Current Era

CNC Computer Numerical Control
CSR Corporate Social Responsibility
HCD Human Centred Design
IMF International Monetary Fund
UCL University College London
UNEP United Nations Environment Programme
UNESCO United Nations Educational, Scientific and Cultural Organization
 Prologue

Conventional academic forms of writing are especially suited to intellectual

argument and reason, whereas images and evocative texts are expressive of
values and can stimulate emotional connections and responses. All these
modes are used here. Through investigation and critique on the one hand,
and synthesis and creative expression on the other, the reader is asked to
examine their assumptions and to contribute to a different course. Clearly,
this approach is values-based. This is unavoidable when dealing with creative
expression and design. It is also necessary if we are to make decisions
based on what we believe to be good and right. Values-based arguments are
essential if we are to create a material culture and ways of living that are
fairer, less damaging and more meaningful. Today’s grotesque and widening
inequalities in wealth and opportunity and the exploitation of people can,
perhaps, be addressed through international agreements and legislation.
However, many aspects of today’s consumption-based society cannot and
should not be dealt with by the law, but they still require our attention and
consideration. Traditionally, for example, most human societies have
frowned upon traits such as envy, greed and selfishness. In Western culture,
there is a long history of teaching that encourages humility and care for
community, and denounces leaders who allow social injustice and inequality
in favour of the privileged few. But in many ways, consumer society
 Design for Life

encourages all these social ills through the constant supply of novelty and
status-oriented goods combined with invidious marketing techniques that
incite socio-positional competitiveness. These are values-based issues, and if
we are to confront them, values have to be at the heart of the discussion and
central to design discourse and practice.
The approach I have taken employs rhetoric because through such means
the arguments can be much richer and far more comprehensive than if they
were based solely on reason and evidence. As a result, they are better able
to address the whole person. Rhetoric, or persuasive argument, has a
number of forms. Deliberative rhetoric draws on expert opinion and human
values, as well as evidence, to build the case for a particular course of action.
Forensic rhetoric draws on similar sources to argue for accountability and
justice. Display rhetoric is concerned with matters such as goodness, beauty,
honour and virtue, or indeed their opposites, and is particularly apt for the
field of design because, as the name suggests, it is the rhetoric of
demonstration and display. These three types of rhetoric, as originally
defined by Aristotle,1 allow us to address issues that cannot be captured
solely through intellectual argument or evidence-based methods. For
instance, virtue includes such things as self-control, magnanimity, justice,
xvi
technical skill and practical wisdom, the social virtues of amiability and
sincerity, and contemplation or speculative wisdom, which includes insight
and deeper questions about the meaning of life.2 These considerations allow
us to take into account not just the rational mind but also the intuitive mind,
and the ensuing propositions and contentions can embrace logic, ethics and
emotion.3
The discussions and arguments presented in the following pages draw on
work from a wide range of fields, including philosophy, technology,
environmentalism and religion. This breadth of inquiry is important because
design is, essentially, an integrative discipline that brings together a
multiplicity of issues and influences, makes connections and develops a
unified, creative outcome. This is combined with creative practice in the form
of objects, images and evocative texts. Blurring the boundaries between
design and art, these are not necessarily practical products. For me, object
creation is a way of informing, synthesizing and expressing ideas about the
nature of the modern condition. Collectively, they aim to demonstrate why
significant change is needed – by visualizing, for example, the kinds of things
we have lost and the sense of anxiety and meaninglessness that results
from our distracted consumer lifestyles. Through humour, satire, joy and
 Prologue

pathos the objects may elicit surprise, tranquillity or unease but in all cases
they invite reflection.
Unlike the sciences and the social sciences, the main purpose of design
is not to examine and analyze an existing condition or produce evidence that
verifies a theoretical proposition, although developing a basis for design
intervention may certainly make use of such approaches. Design is an
imaginative, creative discipline; it is concerned not with what already exists
but with what might exist. The main task is to consider the interrelationships,
accordances and conflicts among a large number of factors and, on this
foundation, engage in the deeply immersive process of visualizing
imaginative responses. Collection and analysis of empirical data may be
necessary but this is never more than a means to another end.
Unfortunately, in many contemporary design studies, this stage often seems
to take over. The focus then becomes diverted from creative development
and synthesis, and the resulting design outcomes are either cursory or
absent altogether – the end product being restricted to guidelines,
frameworks or toolkits. But this is not design and it does little to advance the
kinds of synthetical thinking, tacit knowledge and development of expertise
that are essential to design practice.
xvii
The crucial feature of this integrated process of thinking-and-doing is that
it connects motives and tangible actions; this constitutes a distinctive
contribution of design. When pursued through a combination of reasoned
arguments and creative expression, it can be summed up as reflective
design or design praxis, which is neither reflection alone, nor practice alone,
but the two together as an interrelated unit. Reflection on priorities,
intentions, values and meanings informs the imaginative act and the creative
outcome, be it a text or an object. Reflection on the outcome allows
consideration of how those priorities, intentions, values and meanings have
been synthesized and expressed, whether or not they are effective, or if
further development is needed. In addition, for an environmentally
responsible, socially just and personally meaningful approach to design our
motives have to centre on understandings of goodness, beauty and virtue.
This will only occur if we are prepared to consider and perhaps alter our
values and priorities. But change is not achieved by motives alone. Motives
have to be translated into actions and, in design, motives find expression
through the creative act. Similarly, we cannot achieve lasting change by
actions alone. If they are not rooted in appropriate motives, our actions will
be formulaic and hollow. And if our motives and actions are to be consistent
 Design for Life

with deeper considerations of meaning-seeking and human flourishing, we

must reject approaches and attitudes that foster selfishness, envy, avid
competitiveness, acquisitiveness and greed. If we hold on to these, our
patterns of behaviour and reactions to the world and each other will be
markedly different from those motivated by attitudes of selflessness,
cooperativeness, kindness, generosity and moderation.4 To strive to live by
these latter values is not naïve or idealistic, it is entirely pragmatic because it
not only cares for other people and the world as a whole, it also makes our
own lives more meaningful – it is to be rooted in the good and to have a
more balanced sense of our physical, social and spiritual selves.
Consequently, design that is motivated by such values will be expressive of
one’s identity, a sense of belonging, and truly living. In other words, it will be
design for life.

xviii
 1
The Subjectpersonal
involvement and
positive charge

Wisely improve the Present. It is thine.

Henry Wadsworth Longfellow

If design is to make a substantial contribution to contemporary culture, it has

to move beyond instrumental solutions for what are often rather trivial
problems. From furniture design to household goods, from electronics to
services, design’s conventional but slender aspiration of creating delight and
pleasure in the use of worldly things offers little more than interminable
novelty. This zeal for designing the future has created forever new, forever
changing and therefore forever unattainable material dreams. It is a fool’s
game that diminishes us as it lays waste the earth. Design has to reach
beyond such devices of desire that disable and disconnect us from each
other and the world itself.
Today, design needs to address quite different questions – not of what
and how but of why. When we ask why, further questions arise – about
priorities, values and meaning. To search for answers, we must look not to
the world of inanimate things and rationalized utility but to the world of real
encounters and lived experiences. It is here, in the life-world, that we
contend with fundamental issues of truth and goodness, which may have no
definitive resolution but nevertheless are at the core of what it is to be
human. This book represents an attempt to explore these deeper questions
 Design for Life

and their implications for material culture. In this journey, design plays a key
role, not least because it is both a creative process and a mode of
expression. Therefore, it can be fundamental in informing our
understandings, developing different perspectives and conveying concepts
and ideas.
For better and worse, we live in a technologically sophisticated world
and it has led to ways of life that are blessed with huge benefits. These
benefits, however, are accompanied by huge costs, but it is pointless to
yearn for some idealized past that never actually existed. The world is now
technological and we cannot un-invent it even if we wanted to. As Lanier
has said, “The earth is not a linear system, like a video clip, that can be
played in forward or reverse”; after we’ve learned to get through climate
change, the world will be different, more artificial.1 And yet, we are not
one-dimensional beings. There are many aspects of personhood and many
needs not furnished, or even addressed, by our current approaches to
design. While we may live with, profit from and enjoy the use of
technologies, we still need to engage with other people and directly
experience the real world – to touch the earth, taste the wind and feel the
rain. Such experiences are restorative and nourish our ability to empathize.
2
This implies a type of design that reminds us of who we are and where we
are, about what we are doing and how our actions can be in harmony or
conflict with others and the world. This kind of design is not part of
corporate capitalism or techno-science. It is about other things, other ways
of being ourselves, other priorities, and other aspects of our personhood,
and it helps us see more conventional, utilitarian approaches from a
different perspective. It is concerned with meaning, intuition, silence,
reflection, localization, harmony, nature and time. It is a kind of design that
reveals and critiques, reintegrates and replenishes. And it is a kind of design
that releases us, at least temporarily, from the intrusions, pressures, hype,
noise and busyness of our connected, preoccupied lives. Unchecked, this
can create a frazzled, frenetic forgetting, because such ways are entirely
incompatible with more contemplative modes. Through many small acts, in
which design can play a part, we change the world and as we do so we too
are changed. Slowly and imperceptibly our worldview is transformed – from
one that is increasingly diminishing of the human spirit and destructive of
the natural environment to one based in values and ideals and a belief in the
common good; one that is rooted, forthright and hopeful.
 The Subject

REFLECTION
The intention of much of my earlier design work was to create possibilities
that could be considered for adoption or adaption and so I referred to it as
propositional design. It is a term that places the focus on what is yet to
come. Like modernity itself, the underlying notion is one of progress and the
future. Similarly, speculative design, which tends to concentrate on emerging
technologies, also suggests a concern with the future. Critical design seeks
to challenge norms and conventions through such means as satire, but its
focus is again on emerging technologies and their future implications. None
of these adequately describe the kind of design work included in this book,
which is concerned with the present. While it is natural to think ahead, in
reality, the present is the only place where we can act and make a
difference. The here and now is ours, the future is for those we will become.
Today, we hear much talk of design futures, even though foresight is
notoriously myopic. We know less about the future than we do of the past
and even that, as L. P. Hartley told us, is a foreign country.2 This
preoccupation with the future is an evasion. It is not just a distraction from
the present and a means of avoiding responsibility for our actions, it also
prevents us from being fully in the present, looking at it squarely, recognizing 3
our presumptions and confronting our biases. By contrast, when the focus of
design becomes the present, it can reflect back to us who we are and what
we are doing. Disquieting as this may be, it can throw light on established
norms and allow us to see ourselves from a new angle. This we can call
reflective design, not only because it holds a mirror up to us but also because
it invites pause and thoughtful consideration of our suppositions. Using
design in this way allows us to fully engage in the now, to question and
perhaps change our priorities and to make different, hopefully better,
choices. Hence, this is not design for an alternative future, it is alternative
design for a complementary present – within and coexistent with
technological culture. It is a form of design that transcends material utility
and responds to another, inner facet of our humanness. It focuses our
attention on deeper things by questioning, disrupting and offering fresh
interpretations. The concern is with creating a material culture capable of
contributing to life in a meaningful way, which implies a material culture that
provides for our practical, social and spiritual needs in ways that are not just
considerate of others and the natural environment but are also virtuous. In
this endeavour it is important to recognize that, whereas practical and social
needs align with traditional understandings of inner values and ethics, today
 Design for Life

the natural world is also a critical concern because its degradation affects
both our physical and spiritual well-being.
If we are to extract ourselves from the narrow grip of modernity we must
develop new understandings and new ways of doing things – ways that are
better, fuller and more caring of each other and the natural world. We cannot
do this without first recognizing the inadequacies of our current outlook and in
this, design can make a creative contribution. Scholarship in design, if it is to
say anything interesting and useful, has to incorporate the creative process of
designing because this is the vital core of the discipline. It is a core that
involves much more than objectivity, empirical evidence and instrumental
rationality. To do creative work we must engage in ways of thinking that are
capable of integrating myriad, often conflicting, elements into an holistic
outcome. Conventional wisdom in academic research suggests that the
subject under investigation is best viewed from a position of objective
detachment; a neutral position free of subjectivity and bias. As will become
evident in Chapter 6, in recent times this notion has been shown to be
misguided. Indeed, as Bouteneff notes, “some of the best research and
insightful observations come from those who are deeply and personally
involved in their subject, precisely by virtue of that engagement”.3 The
4
creative activity of designing is a deeply immersive, all absorbing process that
includes subjective decision-making, intuition, emotion, sensitivity to
aesthetics and consideration of values. Design research that is not informed
by this will not be getting to its core or revealing its true potential.
Furthermore, whereas the natural sciences study material phenomena and
the world as it exists, the creative disciplines call upon the imagination to
wrestle with and express different concerns and visualize alternative ways of
knowing. In this way, design and the other creative arts complement the
more objective analyses of the sciences – they seek to synthesize rather than
analyze, and they involve human values, beliefs and ideals.
The practice of design requires and builds knowledge, know-how,
experience and understanding. By drawing on the human imagination and
struggling to find creative resolution, one encounters first-hand the
occurrence of insight and synthesis. It is a process that by necessity involves
the researcher. It is also unapologetically unsystematic. Systematic
approaches are deliberately and rationally constrained by the frame of
reference of the investigator or designer. By contrast, opening up one’s view
to many and varied experiences and encounters in galleries, museums,
libraries and, most importantly, in the world itself ‘allows in’ the unexpected
 The Subject

and the serendipitous, as well as outlooks and frames of reference different

from one’s own. This ‘allowing in’ is important for the creative process of
designing, a process that involves the comprehensive and integrative modes
of thinking associated with right-hemisphere brain functions. Designing
involves a type of thinking or state of being that sees the big picture and
makes connections, often challenging what we habitually take for granted. It
is a type of thinking that is open to spontaneity, invention, discovery,
unexpected juxtapositions and surprise.4 In the discussions that follow,
therefore, the concern is not with neutral conclusions but with
understandings and insights arising from engagement in the dynamic,
frustrating, creative and fascinating process of designing.
In earlier writings I introduced and developed an understanding of a
Quadruple Bottom Line for Sustainability to inform our creative design
endeavours. 5, 6 It comprises:

• Practical Meaning – providing for physical needs while ameliorating

environmental impacts;
• Social Meaning – ethics, compassion, equity and justice;
• Personal Meaning – conscience, spiritual well-being, questions of
ultimate concern; and
• Economic Means – financial viability, but not as an end in itself. 5

This differs from Elkington’s Triple Bottom Line7 in that the focus is on our
understandings of meaning and meaningful actions. There is also the
additional component of Personal Meaning, which recognizes the
importance of the individual in achieving sustainable ways of living. To
address this Personal Meaning element in a substantive manner we have
to use a different kind of language. Rather than relying primarily on facts,
analysis and information, or intellectual argument, rationalization and
objectivity, we need to draw equally on the language of emotion,
relationships, integration and composition. This involves intuition,
subjectivity and the lived experience – the life-world or Lebenswelt – the
world we share and live through in the present. This, too, is the language
of creativity and the imagination.
Self-evidently, personal meaning has to be meaningful at the personal
level; we have to engage, feel and experience a thing emotionally and
aesthetically in ourselves. It has to touch us at a deeper level. So the
question arises, how do we achieve this? Obviously not by restricting our
inquiries and considerations to information and facts. First, we have to use
more symbolic, evocative forms of expression that are capable of alluding to
 Design for Life

those aspects of being human that lie beyond evidential confirmation but are,
nonetheless, felt and known within oneself. Second, through the visual arts,
we can create alternatives and envision different understandings and reveal
different worlds. Through word and image we can engage with ideas in ways
that transcend intellectual understandings and touch the heart. We
appreciate creative works through the experiences they enable, which are
aesthetic, emotional and intuitively felt. As Siegel has written, “an
embellished event can be closer to the truth than factual precision if its
evocation is infused with intuitive wisdom”.8
When we design we have to engage, and through this engagement the
designer or practice-based researcher becomes involved, this is a necessary
condition of doing design. Involvement means calling upon not just facts but
also one’s values, beliefs and aesthetic sensibilities, all of which are critically
important. They are what make us human, they give our lives meaning and
significance, they allow us to dream and offer us hope. However, these
aspects of our humanity have been downplayed, sidelined and eroded in
modern, economically developed societies. Today, this is being challenged.
Grey, discussing Catholicism, suggests that today’s older generation,
emerging from more conservative, rigid times, have tended to espouse more
6
liberal directions, a position that is in keeping with Enlightenment notions of
progress and continual advancement. But, she says, “the future is not where
this older generation seems to think it is”,9 suggesting instead that many
young people are rejecting such ideas and wanting a religious or spiritual
identity that runs counter to evermore liberalization, novelty and transience,
and is “unashamedly traditional”; one that demands discipline and high
standards.10 And it is certainly the case that the very traditional Latin Mass is
today attracting younger congregations.11 In a different arena, social
anthropologist Scott Atran asks, “What dreams may come from most current
government policies that offer little beyond promises of comfort and
security?”.12 He argues that today’s violent extremism results from an
erosion of meaningful values and beliefs. In an address to the UN Security
Council he said his research indicates that, “Violent extremism represents
not the resurgence of traditional cultures, but their collapse, as young people
unmoored from millennial traditions flail about in search of a social identity
that gives personal significance and glory. This is the dark side of
globalization. They radicalize to find a firm identity in a flattened world”.13
These developments, which characterize our time, can be understood as the
after-effects of modernity with its focus on materialism, secularization,
 The Subject

liberalization, rampant consumption and a preoccupation with possessions.

Modernity may have been able to offer physical comfort, better health and,
perhaps, security, but it has failed to offer more substantive avenues to
human meaning. Taylor has said that “an essential condition of a life having
meaning” is that “the repeatable cycles of life connect over time, and make
a continuity” and that the rejection of these ideas during the modern period
has resulted in homogeneity and emptiness.14 Some see a return to tradition
as a route to deeper values and beliefs while others, as Atran’s research
indicates, take a very different route – searching for ‘significance and glory’
through fundamentalism and violence. While we might not be able to go
back to some traditional way of living or believing, it is also clear that
fundamentalism and violence offer no fruitful answers. But we can learn
from the failings and the attributes of modernity and recognize that a
rebalancing and enrichment are needed – in education, politics and
enterprise. It is necessary to pay far greater attention to values, beliefs and
deeper questions of human purpose; that is, the ‘why’ questions that have
been so assiduously avoided as we advance our scientific and technological
endeavours.
Here, the approach taken to design and design inquiry is concerned with
7
word and image; left- and right-brain functions; the temporality of script and
the immediacy of image. So let us consider for a moment the role of the
word in creative practice. As we will see in Chapter 2, in the modern period,
Western society saw a privileging of the word over the image, and an
increasing emphasis on rational argument and intellectualized understandings
of knowledge at the expense of more intuitive, experiential and tacit ways
of knowing. In using words in my creative practice, therefore, the language I
invoke is not restricted to the language of explanation and rationalization. It
is also the language of indication and signification, pointing towards a
direction of thought. This way of using words allows space for imagination
and personal experience. Words become expressive elements in the
creative act; through story and poetry they evoke ideas that transcend
information and facts.
Image and object can play a similar role; they too can allude to deeper
ideas. In many ways, creating designs, objects and images represents the
flip side of much of what we tend to do, and often feel forced to do, within
academia. By this I mean that designing involves important aspects –
creativity, intuition, subjectivity – that do not fit comfortably into the
evidence-based, measurable outcomes that have become bywords for our
 Design for Life

overly narrow notions of legitimate knowledge. Design is not a wholly

objective discipline. Designed things are visual expressions of values, their
forms and images are visual statements; implicitly or explicitly they convey a
position, as discussed in Chapter 3. Moreover, many of our responses to a
form or an image lie beyond analytical dissection and rationalization. The
focus is elsewhere, in the experience we have of the thing itself, which is
holistic and instantaneous. The concerns here are attention, gaze, seeing,
feeling, emotion, subjective experience and aesthetic experience.
The creative works included in the following chapters are not restricted to
the creation and presentation of objects, but also include words in the form
of descriptive accounts, stories, imagined futures and poetry, some by
others, some from my own pen.
In Chapter 2, A Narrowing, we trace the long entrenchment of
assumptions, conventions and outlooks that, over several centuries, resulted
in a shift in worldview from traditional to late modern. This shift is not only
associated with unprecedented environmental destruction but also with a
narrower, shallower perspective, a loss of narrative unity, and a loss of
meaning. The argument is made that, by focussing on rationalistic, techno-
scientific solutions (such as eco-products, energy efficiencies and increased
8
material intensities) design restricts its contribution to a variety of
incremental changes that actually support the continuance of a fundamentally
unsustainable system. Instead, design can widen its purview and be a
catalyst for more substantive change by restoring a more balanced approach
to the design of products in context and, in the process, contribute to a
recovery of narrative unity and of meaning.
Chapter 3, Counterpoints, begins with a consideration of the continued
effects of the modern worldview, which still dominates the economically
developed Western nations. It then offers a series of design responses that
contests this domination and points to deeper notions of human meaning,
community and environmental care. These creative works express more
intuitive, subjective ways of knowing. Together, the discussion and the
designed objects offer a balanced approach that reveals the limitations of the
late-modern worldview. It is argued that there is a need to develop a new
outlook based on different assumptions and more profound ideas. The
obstacles to such a development are discussed before considering
opportunities for design in the cultivation of new understandings – not least
by visualizing, through tangible symbolic artefacts, the inadequacies of
current modes as well as new directions for positive change. Several
 The Subject

examples of counterpoint explorations are presented, which indicate how

design can be employed to challenge norms and manifest ethical
considerations.
The discussion in Chapter 4, The Shift, looks at how design research can
be taken in a direction that addresses critical concerns about material culture
and waste in a more substantive manner. The process combines study,
practice and reflection, and results in the interrelated outcomes of reasoned
argument and reflective designs. Developing the arguments from the
preceding chapters, a critique is made of modernist design and its links to
mass production, globalization and consumerism. The inescapable
connections to environmental harm and social injustice provide a case for
context-based, distributed approaches suited to local needs and for a shift in
values and priorities based on inner development and the examined life of
the individual. Importantly, this takes the design agenda from one of gradual
improvement within the current manufacturing context to one of
fundamental, systemic change – from incremental design to holistic design.
In Chapter 5, Creativity, we consider the mindset and ways of working
that are needed for such a fundamental change in outlook and approach; in
particular, as the subtitle of this chapter indicates, the imperative of solitude.
9
While group-based and solitary ways of working can both lead to original
outputs, each will be quite different in terms of character and significance.
Group work encourages rationalistic thinking modes, which tend to lead to
pragmatic outputs and incremental improvements. Solitary ways of working
are more suited to creativity, holistic ideas and synthesis. Here, the
outcomes may be more visionary but will often be less practical. Hence, both
ways are needed, but in recent times a strong bias towards group work has
tended to undervalue these differences and obstruct forms of creative
thinking that can offer more radical visions. Today, we have urgent issues to
deal with so there is a need for just such radical visions, which can inspire
and help foster more fundamental, systemic change.
Chapter 6, The Mesh, begins with a critique of modernity’s unidirectional
‘detached observer’ view of reality, which is then contrasted with
contemporary, co-evolutionary understandings of human activities. The
chapter explores the positive contribution of these realizations, their
implications for design, and the relationship of imaginative, intuitive ways of
knowing to empathy, compassion and caring for others and the natural
world. The significance of these understandings for the future of material
goods is considered in terms of their design, their interpretation and their
 Design for Life

potential influence in contributing to positive change. Their relevance is

considered also in regard to developing a more comprehensive philosophical
outlook. Alongside these discussions, a series of artefacts has been created
that alludes to aspects of human knowing that have become severely eroded
during late modernity. Despite this erosion, and whatever form of expression
they may take, the importance and value of the core ideas these artefacts
represent will be critical to the development of more holistic understandings.
Chapter 7, Rhythms, looks more closely at ways of working and
particularly at the connections between movement, making and meaning.
There is much evidence to suggest that a strong relationship exists between
traditional ways of making and using objects and environmental
conservation, social cohesion and personal well-being. Traditional practices
that involve repetitive physical routines can be calming and contemplative
and can foster more holistic, integrated modes of thinking. These bring to
the fore intuition and ‘bigger than self’ perspectives that are closely tied to
values and questions of meaning; issues that are crucial to our
understandings of contemporary design. This chapter demonstrates that
engagement in traditional practices can play an important role in rebalancing
our attitudes, cultivating more comprehensive understandings of ourselves,
10
and providing a complement to the rationalized, instrumental approaches that
dominate modern society. Four areas of contribution are identified: practical,
symbolic, complementary and resilient.
Chapter 8, Seeds, draws together these various threads to show their
interrelationships and to create an overall picture of the challenges facing
design if it is to move in a direction that is more substantive, responsible and
life enhancing. Many current approaches – grand schemes, ideologies and
corporate agendas, including so-called Corporate Social Responsibility – are
critiqued and shown to be not only wrong-headed but also often severely
counterproductive. These obstacles to constructive change are often based
in substantial vested interests. It is argued that positive, lasting change
occurs through an emphasis on education, dialogue and people working
towards the common good in their community and immediate environment,
both of which they encounter on a daily basis and therefore know – not in
the abstract but in fully rounded, concrete terms. Such change is urgently
needed because current directions are jeopardizing the future prospects of
humanity and feeding a growing sense of existential angst. On the positive
side, it is clear that change is happening, new realizations are emerging and
new approaches are developing. Design’s contribution to this change is
Another random document with
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 “Oh, a tent will be good enough for the card-players!” was the
contemptuous reply.
“I never heard of such management! I shan’t come to this blessed
ball!”
“Oh yes you will,” returned Miss Valpy, serenely. She was already
at work, collecting and piling up newspapers. “Think of the prawns
and pomphret coming all the way from Bombay, and how
disappointed they would be not to see you!”
“Ah, and the Agra beauty who is also expected—Miss Glossop;
she will cut you all out! Ha, ha, ha!” retorted Colonel Sladen, with
angry exultation.
“That’s what people generally say of a girl they have never seen,”
rejoined Miss Valpy, coolly sweeping spills off the chimney-piece.
“Now, I have seen her. There are twenty prettier faces in Shirani.”
“Including the face of Miss Valpy!” with ferocious sarcasm.
“It is extremely kind of you to say so,” making him a mocking
curtsey, “and for once I am quite of your opinion.”
Colonel Sladen could not find any appropriate retort beyond some
inarticulate emotional noises.
“Fanny”—to her sister—“help Mrs. Glover and Mrs. Bell. Abdar”—
to a servant—“take out all the chairs into the verandah, and send in
the coolies to lift the table.”
Thus the smoking-room was stormed, and its lawful tenants
scattered abroad by bold, domineering, and unscrupulous women. It
was true that every department had been told off; the senior ladies
had undertaken the supper-room. There were to be little tables for
four—quite a novel departure; and on the day of the ball there was
scarcely a small table left in any private house in Shirani—the
bachelors had borrowed every one, as well as armchairs, rugs, and
draperies. Rookwood was almost swept and garnished, in answer to
the demands of Mrs. Brande’s “boy” Mark. Mrs. Langrishe, careful
soul, had declined to lend one single chair or candlestick. It would
have established a precedent. She, however, was good enough to
spare her niece, who demonstrated that she could work hard, and
decorate, and arrange flowers, when she pleased, and was full of
clever expedients. She and Toby Joy presided over the
arrangements of the long verandahs, and divided them with screens,
palms, and sofas, hung up lamps, flags, and draperies, and devised
numbers of sitting-out nooks with curiously sympathetic details and
elaborate care. Their merry bursts of laughter continually penetrated
to the ball-room, where a large party, by means of ladders,
hammers, and nails, were festooning the walls with miles of bazaar
muslin. Each department had its own special staff, and they
embellished according to their collective taste, and in friendly rivalry
with their neighbours.
One gang of workers visited another in order to offer their opinion
and encouragement, and most of the young people enjoyed the
decorations every whit as much as the grand result—the ball itself.
Honor, Mrs. Sladen, and half a dozen men and maidens were
posted to the reception rooms and card-tent, and, strange to say,
Honor and Mark Jervis shared the same hammer and bag of nails.
Personal history has its epochs: brief seasons, during which life is
fuller than usual. Never had the life of these two young people
seemed so fruitful of pleasant events as at the present time!
Miss Valpy, the valiant leader of the forlorn hope which stormed
the smoking-room, was resting from her labours. Lunch for the
workers was to be served in an al fresco fashion in the back
verandah. Meanwhile she reposed in a coign of vantage, an
interested and lynx-eyed spectator. She did not rest alone; her
companion, Mr. Skeggs—the youth who considered a young man a
reward in himself—lolled lazily beside her.
He was a little afraid of Miss Valpy, her sharp tongue occasionally
penetrated the rhinoceros hide of his conceit. But somehow the other
girls had not encouraged his assistance, which—to tell the truth—
had chiefly consisted in dropping packets of tacks about the floor
and lavishing uncomplimentary criticism.
“This ought to be a ripping ball,” remarked the youth complacently.
“Awfully well done. Some of them are working like niggers.” And he
grinned like a schoolboy.
“I am glad to see that you have a generous appreciation of other
people’s efforts,” rejoined the young lady sternly.
“Ah, well, yes”—stroking his exceedingly faint moustache. “I say, I
wonder who will be the belle to-night? Who do you think the prettiest
girl in Shirani? I bar the married ladies.”
“That is something very novel. Prettiest girl,” she repeated
speculatively. “Well, Miss Clover is the most strictly good-looking, her
features the most correctly in drawing.”
“Yes; only she always looks as if she was dressed up to sit or
stand and be stared at, like a wax figure with a label, ‘The public are
requested not to touch.’ You could not imagine her playing a hard set
of tennis, or riding to hounds, or braving wet weather.”
“No”—sarcastically—“I fancy she would ‘come off’ badly.”
“Miss Paske is the most lively of the lot. She has such a piquante,
wicked little face. On the whole I give her the preference. I like to talk
and dance with her, but I funk a tête-à-tête or a long walk, for she is
just the sort of girl who would propose for a fellow like a shot.”
“I am sure you need not be the least uneasy or afraid of putting
temptation in her way,” rejoined Miss Valpy. “You may enjoy her
company with impunity. You would not suit her at all, as you are
neither rich, good-looking, clever, or, indeed, distinguished for
anything but an enormous amount of conceit; and the amusement it
affords us is your only redeeming quality.”
Mr. Skeggs again stroked his little moustache, blinked his white
eyelashes fatuously, and giggled like a girl.
“Crushed—not to say squashed,” he groaned.
“You admire Miss Paske,” continued the young lady scornfully.
“Just what I would have expected of you! Now, in my opinion, she is
not to be named in the same hour with Honor Gordon. What lovely
eyes she has!”
 “Yes; Miss Gordon with her fiddle and her figure is hard to beat. As
to her eyes—I suppose they have never happened to scorch you?
She is too stand-off; she is a woman’s girl. To tell you the truth, she
frightens me.”
“Poor timid little soldier! No doubt you mean that she never flatters
you; and I admit that her honest frankness sometimes takes away
my breath. However, she does not terrify other men—for instance,”
and she paused expressively, “Mr. Jervis.”
“No;” pursing up his mouth and raising his eyebrows. “I should not
say he shrank from her. And who do you consider the best-looking
man in Shirani, Miss Valpy? Your taste is so cultivated.”
“Present company always excepted?” with a mocking glance out
of the corner of her eye.
He nodded with a solemn acquiescence.
“Mr. Jervis, of course,” was her promptly off-hand opinion.
“Oh, come—I say,” expostulated the youth.
“Yes, I will say that he is extremely handsome; not in the big
moustache, hooked-nose, bold brigand-style. He has a noble air; the
shape of his head, the cast of his features, the expression of his
eyes, embody my idea of a hero.”
“A hero!” ejaculated her listener. “Great Scot! A pity he has no way
of showing what stuff he is made of, beyond beating buffaloes away
from old ladies.”
“Yes, it is a pity. However, his opportunity may come yet. It is also
a still greater pity that one can never praise one man to another.”
“Well,” nursing his knee meditatively, “I will admit that Jervis is
passable, and looks clean bred——”
“Thank you, that is very kind of you. Does it not strike you that he
is afflicted with an old-fashioned infirmity, and is decidedly shy?”
“Shy!” he almost shouted. “Jervis shy? Ha, ha, ha!”
“Well, he is with ladies.”
 “Oh, you may call it by whatever name you please. I call it
fastidiousness. At any rate he is not shy with men. No fear! Only last
night at the club some cad made a caddish remark, and it was not
our hoary secretary who took it up and went for him, or any of the old
chaps, but Jervis. By George, he gave him pepper. Went slap down
his throat, spurs and all. A man’s man you know, and popular. He
can sing a good song, make a rattling good speech, and is as active
as a cat; you should see him take a run, and jump standing on the
billiard-room chimney-piece.”
“What, Jervis? My Jervis?” in a tone of affected horror.
“Ahem! Well, I am not so sure of his being your Jervis,” drawled
Mr. Skeggs.
“No; and I am positively certain that he is not, in the sense you
mean. I must confess that I should like to study him.”
“Would you?” sarcastically. “You will not find him easy to classify or
to fit into any of the usual pigeon-holes; he is a fellow who has a
singular gift of self-control—consumes his own smoke, you know.”
“Why you have been unbending your great mind and studying him
yourself! What do you make him out to be?”
“I make him out to be a curiosity—a mixture of an Arcadian
shepherd, a London swell, and the rich young man in the Bible.”
“You overwhelm me completely, especially by your last simile. Why
the rich young man in the Bible?”
“Because he kept all the commandments.”
“Oh!” drawing a long breath, “he must be as wonderful a rarity as
the great auk. As for an Arcadian shepherd, I see what you mean.
He has got what some one called an out-of-door mind. I have not. I
should loathe Arcadia, and green swards, and be-ribboned crooks,
and skipping lambs. To let you into a dead, dead secret, I can never
see a lamb without thinking of mint sauce!”
“Shame! Shame!” exclaimed Mr. Skeggs, in tragic tones. “Well,
Miss Gordon,” to Honor, who had approached their nook, “how are
you getting on with that grand scheme of mirrors and draperies?”
 “Very badly. It would have been finished long ago, only some
unprincipled people from the ball-room made raids on me, and
carried off both my hammers, all my pins, and two of my best
Phoolcarries. What do you call that?” appealing for sympathy to Miss
Valpy.
“I call it a beastly shame,” said Toby Joy, who had joined her,
speaking with much virtuous indignation—Toby, who himself had
been one of the most audacious robbers.
“I call it, Honor among thieves,” remarked Jervis, who happened to
be passing by.
Miss Valpy looked after him attentively. No, that young man was by
no means shy.
“I have made no end of beautiful kala-juggas,” continued Toby,
complacently; “there ought to be half a dozen engagements to-
night,” and he nodded his head and rubbed his hands ecstatically.
“I thought kala-juggas were not allowed,” retorted Miss Valpy,
severely.
“Fine man traps,” growled Colonel Sladen, who had just arrived to
offer criticism and obtain lunch. “But girls don’t go off as they used to
do in my bachelor days. Girls,” looking hard at Miss Valpy, “are a
drug in the market.”
“There is another view, that may not have occurred to you,” she
answered, snatching up the gauntlet thus flung in her face. “They are
undoubtedly more difficile than when you were a young man. They
may have heard the good old motto, ‘Look before you leap!’”
Toby Joy sniggered audibly, and Colonel Sladen, turning savagely
upon him, demanded, “what the devil he was laughing at?”
Toby, slightly cowed by the cantonment magistrate’s beetling
brows and fierce demeanour, blandly answered with an impudent
twinkle—
“I was only thinking of something I was told just now. Mrs.
Tompkins’ English-speaking Bearer announced to her to-day that the
goose had four pups!”
 There was a shout of laughter at this startling item of natural
history; but Colonel Sladen was still unappeased, and would have
pitilessly pressed home his question, but for Mr. Skeggs, who cried
with great presence of mind—
“There is Jervis coming back; what is he saying? Ah!”—with a
gesture of delight—“Lunch—lunch—lunch.’ Shows he is an alien, or
it would have been ‘Tiffin—tiffin—tiffin.’”
“Ladies and gentlemen,” said Jervis, making a profound bow,
“luncheon awaits you; and Mrs. Loyd requests me to announce that
as you are here to work and not to play, you are only allowed twenty
minutes for refreshments.”
“Mrs. Loyd is as bad as an East End sweater,” grumbled Mr.
Skeggs, handing Miss Valpy down from their mutual perch.
“You may tell Mrs. Loyd from me, that I won’t work a second over
the eight hours,” cried Toby; and, offering his arm to Miss Paske,
they waltzed across the ball-room, “just to try the floor.”
“Pray observe,” whispered Miss Valpy, as she and her escort
seated themselves before a recherché cold luncheon, “how your
man’s man, Mr. Jervis, takes care to secure a place beside a
woman’s girl. Can you explain that?”
“No,” seizing a pair of carvers as he spoke. “Just at present I
prefer to explore the contents of this most interesting-looking raised
pie.”
 CHAPTER XXIX.
MARK JERVIS IS UNMASKED.

At nine o’clock—Indian balls are punctual and early—many lights

were to be seen converging in all directions towards the club. The
oldest inhabitant scarcely recognized it, it was so completely
metamorphosed, and turned back to front and upside down. The
general effect was dazzling—Persian carpets, rich draperies,
Chinese lanterns, Japanese screens, great palms, abounded in the
verandahs, and the ball-room was a blaze of candles, mirrors, and
pink muslin. The reception rooms were blocked up by girls and men,
busy with programmes and pencils.
Among the girls, no one was so closely besieged as Honor
Gordon. She was looking quite lovely, in a new white ball-dress, with
a diamond star among her dark locks (Uncle Pelham’s birthday gift).
As for Mrs. Brande, in a black gown, no one had ever seen her
attired to such advantage. She was both handsome and dignified in
her velvet and diamonds, so different to her usual parti-coloured
“reach-me-down” costumes. Honor had composed the costume, and
it did her credit.
Dancing commenced with all the go and briskness of a hill ball.
There were no lazy, lounging men in doorways, and but few
wallflowers; moreover, there were a good many new faces, and not a
few pretty new frocks. It was going to be a brilliant success.
“I have come to Shirani for six seasons,” said Mrs. Brande to Mark
(they were sitting out a dance), “and I ought to know the club well.
But I give you my word I don’t know which room I am in!” (A higher
compliment was impossible.) “I have never seen anything like this!
Where did you get such grand ideas? and such extravagant notions,
eh? for I may say that you have managed this ball.”
Mark laughed rather constrainedly, and made no reply.
 “So I hear your cousin is engaged to Miss Potter?” continued the
lady.
“So I am told—but not by himself. I rather expected him here to-
night.”
“Money to money, of course,” pursued the matron, discontentedly;
“and poverty marries poverty. There is Honor—she is so afraid of
what people may think, that she is barely civil to any one who has a
penny beyond his pay. She is downright stand-off with Sir Gloster
and Captain Waring. She will marry a pauper, of course, if she ever
marries, and be poor and proud till she goes down to her grave!”
Mark’s eyes followed Mrs. Brande’s fond glance, and rested on a
radiant vision with laughing eyes, who was endeavouring to arrange
a dispute between two partners. She did not give one the impression
of being either poor or proud, at present.
Yes, the dance was going off splendidly. The new-comers had all
been provided with partners; the refreshments were perfect; there
was not too much salt in the ices, or sugar in the cup. The setting-out
arrangements were greatly appreciated, and the excellent band was
sober to a man.
One of the strangers had been waltzing with Honor Gordon; he
was a brisk young fellow, who was going to be something some day,
and was seeing the world as a preliminary step. He kept his eyes
open, and carried a note-book, and had run up to Shirani in order to
visit his brother, and gather statistics and local colour. As they came
to a halt, he panted out rather breathlessly—
“So you have got that fellow Jervis here?” nodding to where he
was standing, exactly opposite. “Jervis, the millionaire, as of course
you know?”
“Oh no; it is his cousin, Captain Waring, who goes by that name.”
“He certainly was giving that impression at Simla, and was about
to be engaged to an heiress on the strength of it; but I put a stop to
his game,” said the little man, complacently.
 “You did! And may I ask why?” regarding him with great
astonishment.
“Why? Why should I not expose an impostor?”
“I think we must be at cross purposes, and speaking of different
people,” said the young lady, rather stiffly.
“I think not; but we can go into that later. Do not let us lose this
capital waltz.”
When they had taken two more turns round the room, they came
to a halt, and he suddenly recommenced—
“Waring has not a penny to bless himself with. Nothing but debts.
He left the Rutlands a ruined man, ruined by his own folly.”
“And Mr. Jervis?”
“Is the rich young man,” he rejoined impressively.
His companion’s incredulity was so plainly depicted on her
countenance, that he added—
“Yes, I am not joking. That good-looking young fellow over there,
near the door, who is talking to the girl in pink. I came out with him
on board ship last October. He and Waring were going to do a tour—
Waring was a sort of companion, and genteel courier. I must say that
the young fellow was shamefully mobbed by a lot of snobs, who
believed him to be a second Count de Monte Christo. He is really the
adopted son of a rich City man, called Pollitt—Pollitt’s barley, you
know,” with an explanatory nod—“and he will probably have an
immense fortune. He is naturally fond of a quiet life, and seemed to
loathe all display or ostentation. Some of the women drove him to sit
all day in the smoking-room. They accompanied him fore and aft,
and even down to the engine-room. For, you see, he is a good-
looking, gentlemanly boy; none of the poultry grain about him, eh?”
Honor felt as if she was in a dream; her head was reeling. All her
ideas about the position of the two cousins were thus suddenly
reversed. The news was indeed a revelation, and extremely difficult
to realize.
 “I suppose you are quite in earnest,” she faltered at last. “But do
you know, that Captain Waring and Mr. Jervis were here together for
weeks, and neither of them ever gave us a hint of your version of the
story. It was Captain Waring who made plans, entertained, and
lavished money—”
“Yes, he was always a first-class hand at that! He spent Jervis’s
money, I do assure you. Jervis lay low for the sake of a quiet life; he
has no expensive tastes. But it was all a plant!”
“Then, if what you tell me is correct, I think I should call it a
shameful hoax,” said the young lady, inwardly writhing under the
sting of many memories. “It was abominably deceitful of Mr. Jervis.”
“Did he ever tell you or any one that he was a pauper?”
“No!” she admitted reluctantly. “I cannot say that he did; but he
acted the part, which was all the same.”
“Ah, my dear Miss Gordon, surely you have often heard that
appearances are deceitful. Positively you seem quite annoyed to find
that Jervis is a very rich man.”
“I am,” she rejoined with indescribable dignity.
“Your state of mind is deliciously unique! How would it have been,
had he pretended to be rich, and turned out to be a beggar?” And he
eyed her with irritating steadiness.
“He has taken us all in; it was too bad of him! And if he is so
wealthy, what can have detained him at Shirani? He has been here
more than two months, and seems to be a fixture. He came in April,
and has never left the station for a day. Every one thought it was
because he could not afford to move about. What does it mean?”
and she in her turn surveyed him with searching eyes.
“Ah!” with a laugh, “that riddle is quite beyond me; but I think, if
you were to apply to some young lady in Shirani, she might answer
the question. Let me suggest his present partner, the girl in pink?”

END OF VOL. II.

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