I, Lorina

The story of Lorina Bulwer

Using Lorina’s own words from her embroidery and with extensive research, L M West has woven a story around the life of this little-known yet remarkable woman.

I, Lorina
The story of Lorina Bulwer
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Great Yarmouth, 1905

‘I, Lorina Bulwer.
That is how I will start it.
It was my sister who called me mad.
It was my brother who has tried to silence me by putting me in this place.
But I will not be silenced.’

Lorina Bulwer once dreamed of being a milliner, but her life has been spent caring for her parents. Now that she is on her own, she sees an opportunity for freedom. All she wants, after a lifetime of caring, is to be left alone. But Lorina is different, troublesome, and her mind is in turmoil.
She may wish for peace.
Her brother and sister have other ideas.

Using Lorina’s own words from her embroidery and with extensive research, L M West has woven a story around the life of this little-known yet remarkable woman.

This is a work of fiction, but all the names of the people (apart from the French master!), and most of the events in this novel, are real. They either feature in Lorina’s embroideries or were discovered through my research.

The Admission records for Great Yarmouth workhouse are incomplete, and it is not known exactly when Lorina Bulwer was admitted to the lunatic ward. What we do know is that she was baptised in Beccles, Suffolk, on 13 May 1838, the child of William and Ann Bulwer, and that she died in the workhouse on 5 March 1912 of influenza and broncho-pneumonia. Her death was registered by the workhouse master, William Blyth, a day later.

Lorina appears on Census returns for 1841 right through to 1891, living first with her parents and siblings, and later with her parents, then just her mother. Interestingly, she was listed in the street directories for 1890, 1892 and 1896 and appears in the electoral rolls for 1896 and 1897, suggesting she was sane enough to manage a house. However, in the 1901 and 1910 census returns, she is recorded as an inmate of Great Yarmouth Workhouse and listed as ‘lunatic’, so, for the purposes of this novel, I have assumed she entered the workhouse in 1898.

Her embroideries are a sight to behold. They are rarely on public display, but there is a lovely exhibition about her work at the Gressenhall Workhouse Museum (www.gressenhall.norfolk.gov.uk), where full-size images of three of the pieces cover floor to ceiling on one wall. The original embroideries are held by Norfolk Museums Service in Norwich, and it is possible to view them by appointment (www.museums.norfolk.gov.uk). There is a separate embroidery held at the Thackray Museum of Medicine in Leeds (https://thackraymuseum.co.uk/).

There are a number of transcriptions of her embroideries available online, as well as images of her work, and it has been very hard trying to find the nuggets of truth in amongst her rants and imaginings. If you’d like to read more, I recommend a Google search of her name. What has amazed me, in my year of intensive research into Lorina’s life, is just how accurate her embroideries were and her remarkable memory for names. All the ones I checked (a lot!) were correct. One of the few things she seems to have imagined, apart from her relationship to royalty, which apparently was a common feature of insanity in Victorian times, was that Doctor Frederick Palmer left her his house. I obtained a copy of his Will, and she is not mentioned anywhere.

I wanted, with this book, to tell the story of her life and try to work out what led to her being incarcerated, rather than focus on her embroideries, as events formed her and enabled her to produce such remarkable work. This is the Lorina I have tried to find.

© L M West 2026

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About The Author

L M West

I am Laina West, writing as L M West, and I live in Suffolk with my husband. It is a watery place, full of mystery, and tales of strangeness and magic.

The cliffs are crumbling, over the centuries whole towns have been consumed by the sea and the coastline is constantly changing and eroding. There is a real sense of history, of time, in this place, a sense of ‘other worldliness’, and this is what I try to evoke in my writing.

Although they were nearly four hundred years ago, the East Anglian witchcraft persecutions still feel alive and vivid today, in a world where women, in particular, are still sometimes mocked for their appearance and where the old become invisible. Those accused were not all old, nasty and malicious, as portrayed by the (mainly male) commentators, but often healers and herbalists, and the majority of them were women.

Since I was a child I have always wanted to write a book but I never thought I could do it! I left school with three O-levels and had never written anything before. Admittedly, 65 is a bit late to start, but I thought that if I was going to do it I’d better get on with it. So I took the opportunity of lockdown 2020 to do two online writing courses with Curtis Brown Creative (recommended!) and sat down to see what happened. ‘This Fearful Thing‘ was the result!

During my research, so much information came up about other witch trials in the area during that black summer of 1645 that I was compelled to carry on.  ‘The Unnamed’ tells the story of the Aldeburgh witch trial and ‘We Three’ is based on accusations in Dunwich.

My most recent novels follow more recent stories.  The Red Barn is inspired by a notorious murder in 1820s Suffolk, and I, Lorina explores the life of a woman consigned to an asylum in Great Yarmouth in the early 20th century, who famously embroidered text onto lengths of cloth in order to tell her story.

Stories of abused women, told by the victims, written by a woman. Enjoy!

When I’m not reading and writing I paint, garden, walk, and natter.

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