The Museum of Second Chances

Jo Leevers

The Museum of Second Chances

Jo Leevers
62 pages2-hour read
Fiction
Novel
Adult
Published in 2026

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Background

Content Warning: This section of the guide includes discussion of gender discrimination, emotional abuse, physical abuse, child abuse, and mental illness.

Historical Context: The Rosemundy Mother and Baby Home

In mid-20th-century Britain and Ireland, hundreds of thousands of unmarried pregnant women were sent to mother and baby homes, institutions often run by religious orders such as the Catholic Church, the Church of England, and the Salvation Army, and tacitly supported by the state through local authority referrals and adoption pipelines. Ostensibly established to shelter “fallen women” and safeguard the welfare of their infants, these homes in practice functioned as instruments of social control, designed to hide illegitimate pregnancies from view and to funnel babies toward adoption by married couples deemed more respectable. Women were typically admitted in the final months of pregnancy, stripped of personal possessions, sometimes assigned false names, and expected to earn their keep through arduous domestic labor—scrubbing floors, laundering nappies, and cleaning wards—often up until the moment of labor itself. Pain relief in childbirth was frequently withheld as a form of moral correction, and mothers were routinely separated from their babies within days or weeks, coerced into signing adoption papers under duress. It is estimated that between 1949 and 1976 alone, around 185,000 babies in England were placed for adoption, often without their mothers’ full consent.


The novel explicitly references this history through the Rosemundy Mother and Baby Home in St Agnes, Cornwall, which operated from 1919 to 1964. As depicted in Dr. Phil Frampton’s influential BBC documentary The Crying Shame, which the author cites as an inspiration, conditions in these homes could be cruel; some survivors recall being forced to perform heavy labor and being ostracized by the local community. The shame and secrecy surrounding these births inflicted lifelong trauma—depression, complicated grief, disrupted attachment in subsequent children, and, for the adopted children themselves, decades-long searches for biological kin. This reality reflected in the novel’s plot and in modern advocacy campaigns by groups like the Movement for an Adoption Apology, which have lobbied for and recently received a formal government apology for these historic practices.

Cultural Context: The St Ives School and Cornish Modernism

The novel’s art forgery and discovery subplots are rooted in the legacy of the St Ives School, a major center of British modern art from the 1940s to the 1960s, and more broadly of Cornish Modernism. This distinctive regional strand of modernist practice flourished in Cornwall from the interwar years onward, blending European abstraction with a deep responsiveness to the peninsula’s landscape, folk traditions, and maritime heritage. Located on the Atlantic edge of Cornwall, the town of St Ives attracted artists with its unique quality of light and dramatic coastal landscape, becoming a hub for abstract and modernist art, particularly after Ben Nicholson, Barbara Hepworth, and the refugee Constructivist Naum Gabo relocated there at the outbreak of the Second World War.


The novel features two key real-world figures from this movement: Alfred Wallis and Peter Lanyon. Alfred Wallis, a retired mariner who began painting at age 70, was a self-taught artist known for his “naïve” style and use of found materials like cardboard and plywood for his seascapes. In contrast, Peter Lanyon was a leading figure of the second generation of St Ives artists, renowned for his dynamic abstract landscapes. Lanyon was also a glider pilot, and his experiences of soaring over the Cornish landscape directly informed his work, lending it a unique aerial perspective. Though the movement’s heyday waned after Lanyon’s death in 1964 and the gradual dispersal of its central figures, its legacy endures through Tate St Ives, opened in 1993, and the Barbara Hepworth Museum, which continue to draw pilgrims to the town and secure Cornish Modernism’s place in the canon of 20th-century British art.

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