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6 Secret Treasures in the World's Most Famous Museums

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HarperCollins

Molly Oldfield studied at Oxford before becoming a writer and researcher on the BBC television show QI. She has worked on a string of bestselling QI books, writes the weekly QI column for the Daily Telegraph and is a researcher on a BBC4 radio show, The Museum of Curiosity. She met curators and delved into museum basements for her first book, The Secret Museum, which was published in February 2013. For more information, go here.

1. A Flag from the Battle of Trafalgar - The National Maritime Museum, Greenwich, London

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This enormous flag was flying from the back of a Spanish warship, San Ildefonso, as it fought against the British fleet led by Nelson at the Battle of Trafalgar. Its second big moment came when it was hung from the roof of Saint Paul’s Cathedral during Nelson’s funeral service on January 9, 1806, alongside a French flag also captured at Trafalgar, to symbolize the great victory Nelson had won with his bravery, his superior strategy and, finally, his life.

I went to see it inside its cardboard box in storage at the National Maritime Museum in Greenwich. It is red and yellow striped, with the arms of Castile and Leon in the middle. The name of the ship is written on the hoist in ink: SAN ILDEFONSO. It has holes in it from where it was shot at during the Battle of Trafalgar, and is frayed on the edges from when it flapped in the winds on the stormy seas.

The museum keeps the flag in storage because it’s very fragile and they simply don’t have the space to hang it. It is 10 metres (32.8 feet) long and 14.5 metres (47.5 feet) high and is the biggest flag in their collection. “It’s a whopper,” said Barbara Tomlinson, curator of antiquities since 1979. "We haven’t ever displayed it officially, but in the 1960s the museum was very naughty and hung it for one day from the front of the Queen’s House," one of main museum buildings. But "it trailed on the floor as it was too big—we wouldn’t get away with that now."

2. Harrison Schmitt’s Spacesuit - The Smithsonian Institution’s National Air and Space Museum Archive, Washington D.C.

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In Nepal, people think the dead live on the moon. Visiting Apollo astronauts have been asked, "When you were on the moon, did you happen to see my auntie?" Since my trip to the storage facility of the National Air and Space Museum, when I look at the moon, I see hundreds of spacesuits, lying quietly in the cold, and two knees, thickly coated in moon dust.

The space suit storage facility Is located, rather appropriately, in Suitland, Maryland—a metro ride from central Washington D.C. A conservator and a curator opened a spacey, silver door, walked us into a middle room like an airlock, and then into a room filled with spacesuits in stasis. The room is narrow, and lined with hundreds of headless bodies on metal bunk beds. In total, there are 287 suits in the collection, but only a little more than half of these are in storage at any time. Each one is referred to by the name of the astronaut who wore it, and each is displayed on a mannequin and laid out flat on its back on the metal bunk beds, five to six bunks high. We pulled back a sheet and uncovered a body.

It was the spacesuit of Harrison H. "Jack" Schmitt of Apollo 17, the only scientist to walk on the moon (and the man who took one of the most famous photographs of all time, a photograph of our planet called "The Blue Marble," of the whole Earth lit up by the sun). His spacesuit is covered in grey dust, especially the knees because he spent his time on the moon crawling around collecting rocks. It looks like ash, but it is moon dust.

The moon dust is the reason why this suit is not on display. Most of the suits from the Apollo missions were dry cleaned, but Schmitt's wasn't—his was the last mission to the moon, and NASA decided to keep the suits just as they were when the astronauts returned to our planet. There isn’t currently a way to display the suit safely without destroying it and its otherworldly dust.

I also got to see Neil Armstrong’s suit, and the boots he wore to take his "one giant leap for mankind."

3. A Piece of Newton’s Apple Tree - The Royal Society, London

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I headed downstairs into the basement of the Royal Society (one of the oldest scientific academies in the world), which is stuffed with a quarter of a million manuscripts made up of the musings, publications, and letters of the greatest scientific minds that have ever lived. Mixed in among the books and writings is a piece of Isaac Newton’s apple tree—the one he was sitting beneath when he first considered the idea of gravity.

Pretty much everyone has heard the story about how Newton first described gravity. He was sitting underneath an apple tree when an apple fell from it and bounced off his head. Newton wondered why. His answer? A thing he called gravity. Anyone who has looked deeper into the tale comes up against people saying it wasn’t true. But Newton knew the value of a good anecdote and told it himself. In the Royal Society library, there is a first-hand account of him describing the event to William Stukeley, author of Memoirs of Sir Isaac Newton’s Life (1752). You can read it here if you like. So the apple tree really did inspire Newton, even if the apple didn’t fall on his head.

Just as Newton had never before considered why it was that apples fall to the ground, I’d never thought about which actual apple tree had inspired him—until I saw several pieces of it behind the scenes at the Royal Society. There are two fragments, as well as two rulers and a prism made from the wood of the tree from his childhood home (it is now dead, but has been re-grafted).

One of the fragments is in a little pink plastic bag, because it had just been on an adventure, up into orbit aboard the Space Shuttle Atlantis in 2010 so that it could experience zero gravity. The plan was also to drop a real apple on the space station and film whether it was subject to gravity or not. They weren’t able to do the test because an astronaut who didn’t know what they were up to—she will remain nameless—saw the apple lying around and ate it. They could hardly pop out to the shops, so they used a pear instead.

4. The Diamond Sutra - the British Library

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I first heard the words of The Diamond Sutra on Radio 4’s Desert Island Discs. Frances Wood, curator of Chinese works at the British Library, was the guest. She chose, as her first disc, a recording of Buddhist monks and nuns singing The Diamond Sutra.

I had the radio on in the background, but when I heard the enchanting sound of clanging bells and soulful song, I stopped to listen carefully. Before long, the show’s presenter, Kirsty Young, piped up: "That was a recording of Buddhist Monks and nuns of the Fo Guang Shan temple in Taiwan singing The Diamond Sutra … You said, Frances Wood, that we accrued merit just by playing this?" Frances confirmed, "We did indeed."

Frances went on to talk about the British Library’s copy of The Diamond Sutra. It has the date it was printed marked on the last page—868. This date makes it a world treasure, because it is the earliest dated printed book in the world.

The Diamond Sutra is a teaching given by the Buddha to his disciple, Subhuti. Sutra is the Sanskrit word for "teaching" and the Buddha asked Subhuti to name the lesson "The Diamond of Transcendent Wisdom." He said the words of the sutra will cut like a diamond blade through worldly illusion to teach those who read or chant it what is real and everlasting.

In the teaching, the Buddha explains that chanting it creates merit, or good fortune. Buddhists all over the world chant The Diamond Sutra today, in the same way as it has been chanted for over a millennium. They do this to create merit.

Usually this precious work is kept in a vault in the British Library. It might go on display occasionally, but it’s not likely to stay out for long. Paper is a delicate material and doesn’t react well to light, so it is best if it’s kept inside its wooden box in a special vault—where gas rather than water is sprayed in the event of a fire—with the other most precious books in the British Library.

5. Alicia (1965–67), a mural by Joan Miró and Josep Lloréns Artigas - The Solomon R. Guggenheim Museum, New York City

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Inside the Solomon R. Guggenheim Museum in New York, there is a piece of art that every visitor has passed. But very few people know it is there, and even fewer have ever seen it. It’s a mural, called Alicia, created by the Spanish surrealist artist Joan Miró with the help of his lifelong friend, the ceramicist Josep Lloréns Artigas, and his son. They made it out of 190 ceramic tiles, which they hand painted. It is fairly large—taller than you, and far wider: over 8 feet high and 19 feet wide. It lives behind a white wall, where the curators of the museum keep an eye on it through a secret window to make sure that it's okay.

Harry F. Guggenheim, who was in charge of the museum at the time, commissioned it in 1963 in honour of his wife Alicia Patterson Guggenheim who died that year. In 1967, a party was thrown to celebrate its unveiling on the wall, just inside the entrance to the famous museum, at the foot of the spiral ramp. For many years, the mural was the first thing visitors to the museum would see.

Anyone who knew that Alicia was a tribute to Alicia Patterson Guggenheim may have wondered why Miró poetically wove the name Alice into his abstract creation of shapes and colours, rather than Alicia. Well, Miró was quite mysterious about this; he knew he had been asked to make a tribute to Alicia, but didn’t give any reason for writing Alice instead.

In 1969, it was covered over temporarily during an exhibition, as the curator of the show felt that it disturbed the aesthetics of the space. Because the red, black, blue and grey mural with spirited motifs is such an impressive, timeless piece, it is difficult to exhibit it without it taking over. This is especially true because it hangs on the first wall any visitor to the museum will see. That curator was obviously onto something because, since then, the mural has rarely been on display. Most curators want a blank canvas of white wall for their exhibitions, and usually hang the first artwork of each exhibition on the temporary wall that covers the precious mural.

If you go to an exhibition at the fabulous museum, imagine it there, twinkling behind the wall as you ascend the Guggenheim spiral.

6. Original Draft of "Auld Lang Syne," Robert Burns (1759–96) - The Mitchell Library, Glasgow


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All over the world, on New Year’s Eve, we sing "Auld Lang Syne"—which is a bit strange, considering how few of us know what auld lang syne means ("old times’ sake"), or why we cross our arms and hold hands with our neighbour while singing. Still, it is a fun thing to do, and makes everyone glow with bittersweet hope and nostalgia.

The tradition all came about thanks to a piece of paper that is two centuries old and now lives in a black, combination lock briefcase in a secret location within the Mitchell Library in Glasgow. Scotland’s national poet, Robert Burns, took this piece of paper, laid it out on his writing desk and wrote the words to "Auld Lang Syne" upon it in brown ink, using a sharpened feather. It’s best that the paper is kept out of the light, because it is already yellowed, and so fragile it looks as if it might turn into a puff of smoke if you were to blow on it. I couldn’t look at it without singing the words silently in my head.

The song spread across the world as the Scottish people did; they took their traditional song with them, and it caught on. The curators of the library told me that, in Scotland, the song is sung at the end of all kinds of events and celebrations, not just at New Year.

"Auld Lang Syne" really only became the global New Year’s anthem in 1929 because of Canadian singer Guy Lombardo. From 1929 to 1959, Lombardo performed a live radio broadcast from the Roosevelt Hotel in New York City on New Year’s Eve. Each year, his orchestra, the Royal Canadians, would play "Auld Lang Syne" as part of the celebration. It was thanks to radio that the song became a real tradition. Next New Year’s Eve, when you begin singing, "Should auld acquaintance be forgot…" perhaps you will remember the piece of paper that lives quietly, inside a briefcase, in the library in Glasgow. I know I will.

The Secret Museum by Molly Oldfield (HarperCollins) is available now for ipad, £12.99. You can buy it here.

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How a Shoemaker Became America’s Most Controversial Mystic—and Inspired Edgar Allan Poe
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Internet Archive, Flickr // Public Domain

Andrew Jackson Davis may not be a prominent figure now, but in the 19th century, he amassed a dedicated following that helped give rise to Spiritualism, a once-popular religion that believed in communicating with the dead. Davis used the teachings of a German doctor named Anton Mesmer to enter trance states that he claimed allowed him to see into space, the afterlife, other worlds, and even the human body. His metaphysical exploits earned him the nickname the “Poughkeepsie Seer,” and while frequently derided by his contemporaries, he inspired at least one well-known American writer: Edgar Allan Poe.

A HUMBLE SHOEMAKER

By all accounts, Davis had a fairly unremarkable childhood. He was born in Blooming Grove, New York, in 1826. His father, a shoemaker, was prone to drink, so Davis and his sister picked up odd jobs to support the family. Most of his schooling came from a then-popular program where teachers taught advanced students, who then taught one another. Ira Armstrong, a shoemaker/merchant he apprenticed under, later recalled that Davis's education “barely amounted to a knowledge of reading, writing and the rudiments of arithmetic.”

In the 1830s, Anton Mesmer’s teachings became popular in America thanks to several impassioned lecturers in New York and New England. Mesmer, who had found fame in Europe in the late 18th century, believed he could use magnets and his own touch to move “magnetic fluids” through the body, healing his patients of everything from the common cold to blindness. Though his theory of animal magnetism, as he called the existence of such fluids, was discredited by the French Academy of Sciences in 1784, medical professionals later became curious about Mesmer’s ability to manipulate his patients into altered mental states. Doctors—conventional or otherwise—studied the phenomenon of mesmerism, traveling across the country to demonstrate their findings.

It’s this mesmerist renaissance that first brought Davis into the public eye. In 1843, a Dr. James Stanley Grimes traveled to Poughkeepsie, New York, advertising his ability to induce trance states. Many Poughkeepsie residents attended the production—including Davis, although he wasn't entranced as advertised. The visit excited the community, especially a tailor and acquaintance of Davis's named William Levingston, who began dabbling in mesmerism himself. One day in early December, Levingston asked if he could mesmerize Davis, and he succeeded where Grimes had failed: Davis, while blindfolded, was able to read a newspaper placed on his forehead, and listed the various diseases of a group of witnesses.

Rumors soon swirled about Davis’s abilities. After that first session, Levingston mesmerized him nearly every day, and hundreds crowded into Levingston’s home to gawk at the spectacle. The sessions followed a pattern: Davis would enter a trance state and diagnose visitors with maladies, and then Levingston would sell remedies. The pair eventually began to travel, taking their show to Connecticut.

Some of Davis’s advice was unorthodox. For deafness, as Davis wrote in his autobiography, The Magic Staff, he once recommended a patient “catch thirty-two weasels ... take off their hind legs at the middle joint, and boil that oil which Nature has deposited in the feet and the parts adjacent thereto.” This preparation, he went on, “must be dropped (one drop at a time) in each ear, twice a day, till the whole is gone—when you will be nearly cured!”

Sketch of Andrew Jackson Davis on a yellow background
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However, Davis swore off parlor tricks in 1844 after he claimed to have teleported 40 miles in his sleep. During the episode, he purportedly spoke with the ghosts of the Greek physician Galen and the Swedish scientist and philosopher Emmanuel Swedenborg, who hinted that Davis had a higher purpose. Galen gifted him with a magic staff, although he was not allowed to keep it. The tale mirrored that of Joseph Smith, who around 1827 had claimed a holy messenger guided him to golden plates on which the Book of Mormon was written. The year after the teleportation episode, Davis decided to part ways with Levingston, and moved to New York City in the company of Silas Smith Lyon, a doctor, and two Universalist ministers, William Fishbough and Samuel Byron Britton.

There, Lyon placed Davis into trance states several times a day, during which time he would lecture on science and philosophy while also diagnosing patients. Fishbough, meanwhile, would transcribe Davis’s transmissions, which were published as his first book, The Principles of Nature, Her Divine Revelation, and a Voice to Mankind in 1847. Davis combined Spiritualism with utopianism, describing a heaven-like space where all would be welcomed by a Mother and a Father God. Academics of the time soon noticed Davis’s insights were nearly identical to writings that Swedenborg had published years before: Both Davis and Swedenborg claimed to see a spiritual world beyond our own, where all humans could be welcomed into heaven, regardless of religion.

Christian leaders called Davis’s text heretical, while newspapers referred to the book as “ridiculous” and “incomprehensible.” One professor of Greek and Latin at the University of New York said the book was “a work of the devil,” and displayed an “absurd and ridiculous attempt at reasoning.” Joseph McCabe, in his 1920 book Spiritualism: A Popular History from 1847, declared that there was “no need to examine the book seriously” since it contained so many scientific errors. Notably, The Church of New Jerusalem, founded on Swedenborgian ideas, never publicly endorsed Davis’s theories.

Despite this criticism, Davis attracted passionate defenders. George Bush, a Swedenborgian scholar and distant relative of George W. Bush, was among his champions. He insisted that a simple youth like Davis had no access to Swedenborg’s texts and must have been communing with spirits. In 1846, when the French mathematician Urbain-Jean-Joseph Le Verrier postulated the existence of the planet Neptune, supporters were quick to write the New York Tribune claiming Davis had already discovered the eighth planet. “As to the asserted fact that this announcement by Mr. Davis was made in March last,” Bush declared, “I can testify that I heard it read at the time; and numerous gentlemen in this city are ready to bear witness that I informed them of the circumstance several months before the intelligence reached us of Le Verrier’s discovery.”

Detractors were just as vocal. When Fishbough admitted to extensively editing Davis's words, a reviewer at the London Athenaeum couldn’t contain his derision: “That a seer ‘commercing’ with the Mysteries of Nature should have needed an editor in this technical sense is remarkable enough," he wrote. "It might have been supposed that the Revelations which brought to an uneducated man the secrets of Science might have brought him grammar, too, to express them in.” Fishbough countered that it would have simply been too much work for Davis to pay attention to such tiny details.

"MARTIN VAN BUREN MAVIS"

Edgar Allan Poe
Edgar Allan Poe
Hulton Archive/Getty Images

One of the more prominent people occasionally making fun of Davis was Edgar Allan Poe. In the satirical “Mellonta Tauta,” Poe wrote in a preface that “Martin Van Buren Mavis (sometimes called the ‘Toughkeepsie Seer’)” had translated the story—thus poking fun at Davis and his acolytes. Poe also included Davis in his “50 Suggestions,” brief witticisms published in 1849 that took aim at popular beliefs and theorists of the time: “There surely cannot be ‘more things in Heaven and Earth than are dreamt of’ (oh, Andrew Jackson Davis!) ‘in your philosophy,’” Poe wrote.

Yet Davis’s The Principles of Nature may also have inspired the prose poem “Eureka,” in which Poe proposed his theory of the universe. The work has puzzled critics since its inception: Poe’s use of humorous nicknames in the text (he refers to Aristotle as “Aries Tottle”) point to “Eureka” being a satire, but historians have pointed out that several of Poe’s intuitive concepts actually anticipated the study of scientific phenomenon like black holes and the expanding universe.

Several historians have also remarked on the way Davis’s demonstrations in New York influenced Poe’s short story “The Facts in the Case of M. Valdemar,” which follows a mesmerist who puts an old man into a trance on his deathbed and watches his body float between life and death. Davis had claimed his trances put him in a state near death, freeing his mind to travel to spiritual realms. In his book Occult America, writer Mitch Horowitz notes that Poe completed the story in New York the year he met Davis. Dawn B. Sova also mentions in Edgar Allan Poe A to Z: The Essential Reference to His Life and Work that Poe used his observations of Davis’s trance sessions to complete the story.

For his part, Davis himself seemed somewhat taken with Poe. Of meeting him in 1846, he wrote in Memoranda of Persons, Places and Events, “My sympathies are strangely excited. There are conflicting breathings of commanding power in his mind. But … I saw a perfect shadow of himself in the air in front of him, as though the sun was constantly shining behind and casting shadows before him, causing the singular appearance of one walking into a dark fog produced by himself.”

Charlatan or not, it was an eerie observation to make of a writer who would meet his end three years later.

Davis himself would live a long and rich life. He continued to lecture and write books until the 1880s, doing away with his scribe for later publications. He then earned a traditional medical license and moved to Boston, serving as a physician until his death in 1910. Though he sought to distance himself from the spectacle of spiritualism later on in life, Davis’s humble background and curious rise to fame made the “Poughkeepsie Seer” one of the movement’s most notable figures—and one who still maintains a strange resonance today.

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15 Facts About Sue Monk Kidd's The Secret Life of Bees
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A tale of love and loss, sisterhood and trauma, Sue Monk Kidd's 2002 novel The Secret Life of Bees has won the hearts of millions of readers around the world. But few know the full truth behind this inspirational novel.

1. THE SECRET LIFE OF BEES IS A BILDUNGSROMAN.

A bildungsroman is a novel that charts the moral or psychological growth of its protagonist. It's also known as a coming-of-age story. In this case, Kidd's novel follows the journey of its narrator, a 14-year-old girl named Lily Melissa Owens. After escaping her abusive father T. Ray, Lily finds solace with the beekeeping Boatwright sisters, and confronts the terrible truth about her mother's death.

2. THE NOVEL TACKLES RACE RELATIONS IN THE 1960S.

Set in South Carolina during the civil rights movement, The Secret Life of Bees presents examples of overt racism. In one scene, a trio of white men harasses Lily's mother-figure Rosaleen Daise, who is black. At the same time, the novel challenges pernicious racial stereotypes. Before meeting the Boatwrights, Lily, who is white, assumes all black women are uneducated laborers or maids like Rosaleen. Through her time with the sisters, who are accomplished business owners, the novel's heroine recognizes her own prejudices, and grows to realize her ignorance.

3. ASPECTS OF LILY'S CHILDHOOD MIRRORED KIDD'S OWN.

Upon the novel's 10th anniversary, Kidd offered a long list of autobiographical elements that can be found within The Secret Life of Bees. "Both Lily and I were adolescents during the summer of 1964, and like Lily, I was powerfully affected by the passage of the Civil Rights Act and the racial unrest that fomented during those hot, volatile months," she wrote on her website. "I, too, had an African-American caretaker. I, too, wanted to be a writer ... Lily and I created fallout shelter models for our 7th-grade science projects and wrote papers called 'My Philosophy of Life' before either of us were old enough to have a philosophy." Kidd clarifies, however, that she did not lose her mother when she was a child and her father was "nothing like T. Ray."

4. KIDD VISITED HONEYHOUSES AND BEEHIVES WHEN SHE WAS WRITING THE NOVEL.

"Some of those scenes where Lily is experiencing that rush of feeling and emotion when the bees come swirling out of their hives, I could never have gotten that from a book," the author told BookPage. "The fear and delight of all that and the sounds of it … the way your feet stick to the floor in a honeyhouse … the senses are alive in all of that experience."

5. BEES WERE A BIG PART OF KIDD'S CHILDHOOD.

In one way, Kidd lived in a honeyhouse of her own. "When I was growing up, bees lived inside a wall of our house, an entire hive-full of them—that is to say, 50,000 or so. They lived with us, not for a summer or two, but for 18 years," Kidd wrote on her website. "The room vibrated with bee hum. At times, the whole house seemed to hum. I remember my mother cleaning up the honey that leaked from the cracks and made tiny puddles on the floor. Being a good Southern family, we normalized the situation and went on with our lives."

6. THE SECRET LIFE OF BEES WAS KIDD'S FIRST NOVEL, BUT NOT HER FIRST BOOK.

Ahead of The Secret Life of Bees, the Georgia-born author wrote three books about aspects of Christianity: God's Joyful Surprise (1988), When The Heart Waits (1990), and The Dance of the Dissident Daughter (1996). It wasn’t until she was in her forties that Kidd shifted her focus to fiction, beginning with short stories. The Secret Life of Bees came out in 2002, when Kidd was 53 years old.

7. THE SECRET LIFE OF BEES HAS A SPIRITUAL CONNECTION TO KIDD'S EARLIER BOOKS.

The novel includes Christian iconography, notably the Black Madonna that adorns the Boatwrights' honey jars. Its coming-of-age plot also touches on spiritual awakening. As Kidd said in the 2002 interview with BookPage, "I think of it as something deeper and more profound happening to [Lily] at the level of soul, and I wanted her to have a real transformation and a real awakening … to this other realm."

8. THE SECRET LIFE OF BEES'S MEMORABLE MARY FIGUREHEAD WAS BASED ON A REAL ONE IN A MUSEUM.

In the novel, a religious service is held before a statue called Black Mary or Our Lady of Chains, which is the figurehead of a ship that carries a great significance to the Daughters of Mary, a group of women who follow a religion invented by August Boatwright. Kidd had seen a similar figurehead while visiting a Trappist monastery in South Carolina. "The day that I discovered her," Kidd said, "I was totally captivated by … the powerful imagery of this [figurehead] Mary that was surfacing from the deep, washing up from the deep, onto the shores of consciousness, so to speak."

9. THE BOATWRIGHT SISTERS REPRESENT A CELEBRATION OF FEMALE FRIENDSHIP AND SORORITY.

On her website, Kidd tells the story of how she came up with the Boatwright sisters' characters and setting. She had woken up in the middle of the night thinking about where Rosaleen and Lily were going to end up after escaping T. Ray. She picked up a selection of photos that she had hoped would spark creativity. "My eyes wandered back and forth between pictures of three African-American women, an uproariously pink house, a cloud of bees, and a black Mary, and suddenly, it fell in one unbroken piece into my head," she wrote. "My two runaways would escape to the home of three black sisters, who live in a pink house, keep bees, and revere a black Mary. This sudden revelation may have happened in part because down deep I wanted a way to write about the strength, wisdom, and bonds of women."

10. KIDD WAS INSPIRED BY TWO CLASSICS OF AMERICAN LITERATURE.

The Secret Life of Bees won applause for its insightful look into the inner lives of its female characters. It may be no surprise that its author says reading the groundbreaking feminist novel The Awakening by Kate Chopin, published in 1899, made a big impact on her. Kidd also cites Henry David Thoreau's Walden, the 1854 transcendentalist treatise on simplicity and self-reliance. When she read each book, Kidd told Scholastic, "I would say they were turning points in my life, but also I can look back and say they affected me deeply as a writer."

11. THE SECRET LIFE OF BEES WAS A RUNAWAY HIT.

The novel spent more than two-and-a-half years on The New York Times bestseller list and more than 8 million copies of the book have been sold worldwide. It has also been translated into 36 languages.

12. THE SECRET LIFE OF BEES ALSO EARNED CRITICAL ACCLAIM.

Many reviewers praised Kidd's beautifully rendered characters and setting. "Lily is a wonderfully petulant and self-absorbed adolescent, and Kidd deftly portrays her sense of injustice as it expands to accommodate broader social evils," The New York Times Book Review wrote. "August and her sisters, June and May, are no mere vehicles for Lily's salvation; they are individuals as fully imagined as the sweltering, kudzu-carpeted landscape that surrounds them."

In deeming the novel "buzz-worthy," People wrote, "populated with rich, believable characters and propelled by a swiftly paced plot, this debut novel is a cut above most coming-of-age tales."

The Secret Life of Bees was longlisted for the Orange Prize for Fiction (now the Women's Prize for Fiction) in 2002, and won the American Booksellers Association's Book Sense Paperback of the Year award in 2004.

13. THE NOVEL WAS MADE INTO A STAR-STUDDED MOVIE.

Gina Prince-Bythewood, who wrote and directed Love & Basketball and other features, adapted The Secret Life Of Bees into a period drama. The cast included Oscar winner Jennifer Hudson, Oscar nominees Queen Latifah and Sophie Okonedo, multiple Grammy winner Alicia Keys, and Dakota Fanning as Lily.

Kidd visited the film set in a tiny North Carolina town and marveled at how every detail of the production was just as she had imagined it. But months later, when she sat down in the movie theater to watch the film for the first time, she felt nervous. "I had no idea what I would see. I’d glibly said that handing over my novel to Hollywood had seemed like leaping out of an airplane, but sitting there waiting for the film to begin, it really did seem that way," Kidd wrote on her website. "The parachute opened, thankfully, and the whole thing floated rather nicely to earth."

The movie earned a People's Choice Award for Favorite Dramatic Movie and an NAACP Image Award for Outstanding Motion Picture.

14. THE SECRET LIFE OF BEES HAS BEEN ADAPTED INTO A STAGE MUSICAL.

As part of Vassar College's Powerhouse Theater's summer season in 2017, the college and New York Stage and Film presented a workshop production of The Secret Life of Bees as a musical, which starred Orange is the New Black standout Uzo Aduba in the role of Rosaleen. The show featured music from Tony winner Duncan Sheik and a book by Pulitzer Prize winner Lynn Nottage.

15. KIDD REALIZED THE SECRET LIFE OF BEES WAS BIG WHEN IT WAS FEATURED ON JEOPARDY!.

Under the category "Women Writers," the long-running quiz show offered this answer: “Sue Monk Kidd’s debut novel is about these insects.” Kidd recalled that moment on her website: "I blinked at the television. Finally, I came to life and shouted, 'What are bees?' Fortunately, the contestant did not need my help."

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