Toronto Star

Rememberin­g a father she barely knew

Album handed down to Marylyn Peringer gives a glimpse of humanity against horrors of WWI

- DANIEL OTIS STAFF REPORTER

It’s nearly all that remains of her father’s life: a crumbling suede album of fading pastel pages filled with drawings, signatures and messages scrawled by prisoners of war.

“He was the captor and they were the captives,” Marylyn Peringer says of her father as she cradles the 100-year-old book.

“But he liked them. I think he found them interestin­g . . . And the album shows how much they respected him.”

Born in 1878, Peringer’s father, George Salter, was a British Army schoolmast­er before the outbreak of the First World War. In 1914, he was transferre­d from his posting in India to the picturesqu­e Mediterran­ean island of Malta, then a British colony, to work in a PoW camp. Salter’s job was to record and distribute money sent to prisoners by their friends and families — a task that put him in direct contact with an eclectic mix of military personnel and civilian detainees from the Central Powers and their colonies in Africa and the Middle East.

“They were mostly sailors,” Peringer says. “But there were also civilian enemy nationals that the British feared would be drafted.”

At 79, Peringer is a veteran storytelle­r who has travelled across Canada for nearly 40 years to recount folk tales at schools. She deftly spins her father’s yarn: a story of a middle-aged man who forms friendship­s with his nations’ enemies; a man who felt increasing­ly estranged from his wife, who remained in India; a man who meets a Maltese teenager named Mary working alongside him at the camp; a burgeoning yet unconsumma­ted love with a woman 21years his junior; a man who leaves Malta in 1920 after the last of the prisoners have been repatriate­d; a secret shorthand correspond­ence; a decade of separation; the lovers finally recon- necting in the 1930s after the death of both of their spouses.

“They had no Skype in those days,” Peringer laughs. “He proposed marriage in a letter and she said ‘yes.’ ”

Two days after Mary arrived in England in1933, the couple was married. Peringer, their only child, was born not long after. But as German bombs began to rain on England during the next Great War, Peringer and her mother fled for the safety of North America. The year was 1940. Peringer was 4 years old. Her father, who stayed behind to help with the war effort, died of tuberculos­is in an air raid shelter in 1942.

His album became Peringer’s in 1984, after the death of her mother. Most of what she knows of her father comes from its weathered pages. But those pages, Peringer says, show that Remembranc­e Day can be a celebratio­n.

“Given who my father was and what he was doing, I like to think that while we remember the suffering and the tragedies and the deaths, we should always remember that during wartime, people did unexpected­ly wonderful things for one another,” Peringer says.

 ?? LUCAS OLENIUK PHOTOS/TORONTO STAR ?? Marylyn Peringer’s father collected autographs from PoWs he oversaw in Malta.
LUCAS OLENIUK PHOTOS/TORONTO STAR Marylyn Peringer’s father collected autographs from PoWs he oversaw in Malta.
 ??  ?? Notes on this page include one from Greek PoW Demetrios Theodosiou: “Paradox: to be held prisoner and love the ones who hold you captive.”
Notes on this page include one from Greek PoW Demetrios Theodosiou: “Paradox: to be held prisoner and love the ones who hold you captive.”
 ??  ?? This 1915 watercolou­r shows guards shooting at a cat, believing it to be a prisoner attempting escape.
This 1915 watercolou­r shows guards shooting at a cat, believing it to be a prisoner attempting escape.
 ??  ?? Prisoner Heinz von Fachbach drew a pencil portrait of Peringer’s father, George Salter.
Prisoner Heinz von Fachbach drew a pencil portrait of Peringer’s father, George Salter.
 ??  ?? Marylyn Peringer says her father’s album shows Remembranc­e Day can be a celebratio­n.
Marylyn Peringer says her father’s album shows Remembranc­e Day can be a celebratio­n.
 ??  ?? Peringer’s favourite page in the century-old album is this 1915 self-portrait of a PoW.
Peringer’s favourite page in the century-old album is this 1915 self-portrait of a PoW.
 ??  ?? This 1915 watercolou­r painted by A. Stein portrays a fantasy fortificat­ion.
This 1915 watercolou­r painted by A. Stein portrays a fantasy fortificat­ion.
 ??  ?? The stamps depict the camp and were used to control and monitor external correspond­ences.
The stamps depict the camp and were used to control and monitor external correspond­ences.

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