This is the story of two women who met and became lovers and partners despite vastly different backgrounds and life experiences. It wasn’t always the easiest of relationships, as time passed Jack’s flirtations and affairs with other women – including Scottish painter Dorothy Johnstone aka Dodo – became almost routine but it lasted until Eve's premature death. Evelina Haverfield aka Eve was born in Scotland in the 1870s, she had an aristocratic background but was brought up in relatively spartan surroundings. At first, she followed a conventional path, she married an older army officer and had two children. But after she was unexpectedly widowed, adventurous Eve took time out to travel in Mexico and the US. She later remarried but it never really took. Vera Holme aka Jack was born towards the end of the nineteenth century to a middle-class family in Lancashire. Her father died when she was a child, her mother remarried and Vera was sent away to school. When she returned, she struck out on her own to make a living on the stage, inspired by popular music-hall artists like Vesta Tilley one of the many women making a living through so-called ‘male impersonation’ acts. Eve and Vera, now known as Jack, might never have met if it hadn’t been for the rise of the suffragette movement, a chance encounter at a ‘votes for women’ meeting brought them together. They were soon inseparable and quickly moved in together.
Moore’s account of Jack and Eve's lives combines history with biography. Together they took on volunteer roles during WW1, eventually arriving in Serbia where Jack drove ambulances and Eve worked as a field hospital administrator. It was a gruelling experience, they worked to treat a flood of wounded, dealt with a devastating typhus outbreak and later spent time as prisoners of war. Jack and Eve formed a long-term attachment to Serbia and to Serbian society, raised funds for the relief of Serbian prisoners and returned after the war to provide support for the many orphans of war – two of the many British women who, appropriately or not, dedicated their lives to ‘good’ causes during that era. Moore’s primary focus is on constructing an accessible portrait of the couple and their relationship. But during the episodes featuring their war years, Moore’s emphasis is more on the general situation of women travelling to war zones to tend the wounded – there are times when Jack and Eve are very much in the background.
Jack and Eve’s experiences were often fascinating and Moore’s research is impressive. But the detail here could be a little overwhelming and/or dry – although likely to appeal to anyone with a general interest in women’s activities during wartime. I was really interested to find out about Jack and Eve but there were times when this felt a little too distanced, particularly when it came to queer and lesbian identity and culture. There are brief mentions of the codes that women used to recognise each other, as well as Jack and Eve’s links to broader lesbian circles. But I would have loved a more considered discussion of issues around gender, for example, particularly when it came to choices around naming and self-presentation – some of the women mentioned here would now most likely identify as trans or non-binary, others specifically adopted stereotypically male titles or clothing to signal their identity as lesbians. Yet others like the so-called “masqueraders” - who aren’t really considered here - were working-class women who adopted ‘male’ personas so they could find work as carpenters or builders, be or do things otherwise effectively barred to them as women. Jack and Eve's wartime work took place in field hospitals run exclusively by women an offshoot of an unusual Scottish-led organisation, these were a fertile space for lesbians providing a kind of freedom that clearly allowed many women to flourish in ways not possible in the civilian world. But again I’d have liked more about how this culture worked in practice, less about what happened and more about why it was possible and what it meant for the women involved.
Thanks to Netgalley and to publisher Atlantic for an ARC
Rating: 3.5