Imagine, if you will, that everything about the Somerton Man is somehow embedded in the name written on the back of the off-white tie found in the suitcase left in Adelaide Station. Can we decrypt the life hidden in this writing?
Well… we can certainly try to, right? As normal, let’s examine it reaaaaally closely…
A Name of Two Halves
The first thing to notice is that the initial (followed by the dot) and the K are not only much bigger than the rest of the letters, they are also stylistically very different. Moreover, whereas the “EANE” part was written in legible compressed block capitals, there’s no easy way of telling what the initial letter at the start is – is it a ‘T’ (as SAPOL thought in 1949), or a ‘J’, or perhaps even an ‘I’ or an ‘L’? And finally, the letter K has an unusual construction (which we’ll come to later).
From all that, we start with a visual paradox: that even though the stylised (and largely indeterminate) initial letter is typical of a signature (i.e. writing made for personality), the EANE ending would seem to be more typical of clothes block marking (i.e. writing made for clarity). How can these two very different writing styles be reconciled?
My suggestion (perhaps it has been made before, I honestly don’t know) is that the writer wrote the first two letters as a signature, but then changed his mind, perhaps from the difficulty of writing on fabric. And so I suspect his writing strategy changed after writing the ‘K’, leaving us with a hybrid that was part-signature and part-clothes marking.
Because the second (block capital) half doesn’t really offer us any obvious help, we only really have a single letter to work with here – the K. However, this is a letter with a very unusual construction…
Anatomy of a ‘K’
To me, an individual’s handwriting expresses a set of compromises between an idealised set of letterforms (design) and the individual’s desire for speed (impatience), clarity (beauty), ornament (fanciness), reproducibility (consistency), or whatever. Note that I’m talking not about graphology here, but about the practicalities of real-world writing.
From that point of view, capital K is actually quite a difficult letter to write. Once you’ve formed its main vertical bar (normally downwards), you then have to lift your pen off the paper and decide where to begin your next stroke. And then, in the context of cursive writing, you have to consider how you are going to join the end of your final K stroke with the start of the following stroke. All these practical micro-decisions yield a wide range of possibilities.
Looking closer at the K, I suspect we can see three separate stroke parts (probably made by a right hander): an initial downward ‘spine’ stroke (annotated red below), a second downward diagonal stroke (blue), and a third stroke upwards and slightly curved around (green). It’s not 100% clear to me what direction the green stroke was made in (i.e away from the second stroke or towards it):
It could well be that the green stroke started at top right, looped down to the midpoint of the first stroke, and then became the start of the blue stroke. Here, the stroke sequence would be 1-3-2:
Either way, this seems a somewhat unusual and awkward way of constructing a K: but with an historian’s hat on, where might we find a corpus of signatures to compare this particular K construction against?
WWI Irish Soldier Wills
Given that Keane is a predominantly Irish surname (“Kean” appears much more in Scotland), I made a speculative leap here that a good place to look for a set of signatures would be in the Irish archives. (If there’s a far more global handwriting archive I could have used, please tell me!)
However, almost all the Irish genealogical archive holdings online (e.g. via Ancestry.com) were of official registers (Petty Sessions, even the Dog Licence Register!), which were normally filled in by a small number of official hands. Rather, what I wanted wasn’t names written by a professional hand, but a set of signatures left by ordinary people.
Usefully (but nonetheless tragically), this is where I found that the Irish archives contain a long series of Last Wills and Testaments (many on scraps of paper, and with a fair few reconstructed by witnesses from conversations) from Irish soldiers who died in WWI. Reading these, you can’t help but be affected by the senseless waste of young life: so many were just boys, bequeathing their possessions and pay to their mothers or sisters in shaky pencil in their Army Book 64.
Perhaps unsurprisingly, the archival query engine wasn’t quite designed for what I was trying to do: so I first searched for all soldiers called John, drew up a list of the surnames beginning with K, and then searched all of those surnames.
This yielded about 500 individual documents; about fifty of which were missing; of the rest, roughly fifty had no signature (e.g. when the will was relayed by witnesses), so I think the final corpus size was not far off 400 signatures.
Normal Ks and Special Ks
In this sample, it seemed to me that the majority of the capital Ks were formed of a big vertical downstroke (often embellished), followed by a single second stroke (sometimes embellished) which ran from top right diagonally down left to the centre of the first stroke (often pausing to loop there) before continuing diagonally down linearly right to end up at the bottom right of the letter, ready to be cursively joined with the following letter.
Another common construction began with a big vertical downstroke, but where the pen then restarted at the centre of the vertical to form a second curved downstroke, finishing off with a third more linear stroke upwards from the centre of the vertical.
There were also some some unusual two-stroke Ks where the gap between the two strokes was so wide that it was almost unrecognisable as a K. For example, here is how Denis Kelly wrote his wife’s name, which I must admit had me completely stumped for a couple of minutes:
What we see in the Somerton Man’s K is different to all three of these, in that it has a curve at top right and a straight line at bottom right.
Matching Ks
A couple of signatures do vaguely match the Somerton Man’s K, insofar as they have a main vertical stroke, a straight diagonally right downwards stroke, and a curved diagonally right upwards stroke.
- No. 14908 Rifleman J. Keelan, 2nd Battalion, Royal Irish Rifles, died 30-1-1915. Here he writes his father’s name:
- No. 16241 Private Patrick Kinsella, 6th Battalion, Yorkshire Regiment, died 3-2-1917.
Private Patrick Kinsella’s K was clearly the closer match of the two. (According to fold3, Kinsella was born 23-5-1884; his widow (separated) was Susan Lennon of 11 Railway St, Dublin; and his three children were Denis, Patrick & Mary Jane.)
Learning And Growing?
In my experience, people tend to attack cipher mysteries in a ‘vertical’ manner, i.e. by looking for causality, direct association, immediate linkage, relevance, etc. But sometimes historical research is better done horizontally, i.e. by building up a wider corpus and trying to situate your mystery item within that larger corpus.
What I tried to do here was a faltering first attempt at a horizontal search for the source of the marks on the tie, but I think it’s fair to say I didn’t really find anything in Ireland. Next time round, I plan to look at (mainland) British and/or American and/or Australian K shapes from this period (if I can find good signature corpora for them, all suggestions gratefully received!), to see if anything K-related happens to jump out at me.
It’s just a crying shame that we don’t have images of the other two KEAN[E] marks, or even any description of what they looked like. Unless you know better?