10am this morning. A liberal littering of bright blue bin-liners. Cast iron bin tossed on its side yards from its base. Smashed glass of white, brown and green everywhere, but particularly on the path and around the swings. This is a usual scene in Barnard Park on a Sunday morning when I take my son to the playground. He loves picking up the broken glass and putting it in the bin. Last Sunday there was a large pink plastic elephant on a metal platform, probably lifted from outside a shop somewhere, smashed and partially burnt, offered up as a ritual sacrifice. Toddlers sat and played on it nonetheless. The sandpit has been emptied, not by the slack-jawed teens but by the council, they got tired of extracting the shards of broken glass. What they’ve left is a 3- foot deep empty concrete pit with metal barriers around the perimeter chained together at intervals of a metre or so, perfect for the mangling of a toddler. Even the malicious yobs sucking down alcopops here at night couldn’t devise a more lethal kiddie trap.
The scene this morning was relatively peaceful though. No motor-scooters hurtling by the playground gates at full-throttle. The building site next to the Lark in the Park pub resting from the job of building a block of ‘luxury apartments’. All the kids are excited by the presence of a real-life ‘Cranky Crane’ dominating the skyline and they can compare their own plastic ‘Scoop’ against the real thing chucking up mud six days a week. Be interesting to see how the new residents of Barnard Park will take to the weekly sacking of the space beneath their luxury windows. Will the estate agents include it in their advertising pitch, “the authentic inner city experience, prime views of feral youths burning out stolen vehicles.” One violent rape and one attempted murder (a random stabbing at four in the afternoon) within the last year. A bouncer at The Elbow Room across the way in Chapel Market shot after refusing someone entry last week. A teenager beaten unconscious on Barnsbury Estate opposite the park. Tony Blair lived about fifty yards away from the swings.
The kids love it though, and so do we. The view from Barnsbury Road down over Kings Cross should have its own blue plaque. There’s talk of reclaiming the concrete football pitches – in two and a half years I haven’t seen a single match played there, only dog training. The chain-link fencing is routinely pulled down and left contorted with sharp rusting spikes jutting out at all angles. Grassed over there would be a long sweep of green down to the One O’Clock Club (a prime piece of the park fenced off to be used for two hours a day and not at all weekends and autumn-winter). In summer with the water plaything on it’s packed with screeching kids and sunbathing parents. In the London borough with the least amount of greenspace, we have to appreciate what we’ve got.
Somebody sent me a link to a new site which is like an online Robert Elms phone-in, YourHistoryHere. You know the kind of “What’s that strange hexhagonal building on Amwell Street?” sort of thing. Then people post their comments. The Islington section is looking a bit bare at the moment. I’ve stuck on something on Penton Mound:
What I like about this kind of ‘local history’ is that it places as much importance of local mythology as empirical fact.
I stumbled across an article on the web the other day. Think I was looking for something on Old Merlin’s Cave Tavern and found this piece on the Architectural Association site that makes reference to a chain of Civil War defences that cut across the old borough of Finsbury:
“Waterfield Fort was at the top of St John’s Street, exactly where Spa Green Estate stands today, linked eastwards by trenches running along Sebastian Street to a huge fort at Mount Mills off the Goswell Road. Westwards, the lines cut to New River Head’s circular reservoir and on to Mount Pleasant, east of Black Mary’s Hole and another city dump. In between, a covered walkway was cut up the hill that is now Amwell Street, to Islington Pond, which would soon became the extant reservoir in Claremont Square.”
The author, Guy Mannes Abbott, makes the link between this system of fortifications that stretched eastwards through Shoreditch and Whitechapel to Wapping built to protect the fledgling English Revolution and the Utopian aspirations of the municipal architecture of Berthold Lubetkin built in the old London borough of Finsbury:
“The forts mark an area known for its spas and radical reformers and which, in the seventeenth century, Wenceslaus Hollar represented in a series of etchings showing extensive earthworks. They protected an area that would become the site of the largest and most ambitious plan ever for the social regeneration of London and which remains a paragon of what could be achieved with social housing. Spa Green, Bevin Court and Priory Green just north of Finsbury are all positive manifestations of a politically committed and revolutionarily ambitious approach to collective works, but – conscious of what there was to fight for – Tecton also produced a plan for an elaborate system of defences and network of communications with uncanny echoes of the Civil War forts.”
So after work in the fading light I headed off to see what traces remained. I approached the forts from the south, across the wobbly bridge and round St Pauls. The towers of the Barbican Estate stand like sentinels challenging the medieval monastic complex of the Charterhouse across Goswell Road. If we’re looking for the spirit of rebellion and utopianism it’s written here on the names of the blocks that make up the Barbican: Thomas More House, Milton Court, Defoe House, Cromwell Tower, Bunyan Court, Mountjoy House after a Huguenot refugee, Willoughby House after Catherine an upholder of the new Protestantism.
Progressing northwards through the concrete I feel a tangible sense of anticipation. Leading off either side Gee Street, Bastwick Street, Pear Tree Court, straight rows of unforgiving slab-like structures. This landscape gives little away. Draws you in then repels you.
The Old Ivy House marks the corner of Seward Street, the sort of pub you’d only go into if you were desperate for a pint. The estate over the road is a red-brick construction of towers and walkways. The gloomy entrance to Seward Street stinks of stale piss and grime. A street sign on the back of the pub heralds the site of Mount Mills, a significant point on the “Utopian enclosure”. The view is far from utopian, grubby backs of houses, iron fire escapes, air-con vents, a hexagonal building juts out unnaturally and the road curves around it. Opposite a new gleaming block of flats with glass-brick lift-shaft/ stairwell. Mount Mills is now a new-laid tarmac carpark. I look back to the pub and the trendy coffee bar (coffee@goswell road) from higher ground. The mound. What was also a plague pit, windmill, public laystall has given way to Mini Cooper, Audi, tall TV aerials, private parking.
Looking east along Lever Street there is a noticeable rise in the road roughly adjacent with Mount Mills, it drops the other side towards Central Street. On the other side of Goswell Lever Street becomes Percival Street which leads into Skinner Street where the old Merlin’s Cave Tavern stood. Mannes Abbott sees the story of the construction of these defences being fundamental to the English identity and the narrative of the island. What more potent national mythology than the Arthurian legends, commemorated in the same streets.
Sebastian Street is immediately darker, tree-lined. Modernist buildings of the City University becoming a row of Georgian townhouses. A contemporary source described a trench dyke running along here to St. John’s Fort. I pass through Northampton Square with its bandstand. Crows squawk, they would have feasted on the carrion tossed into the ditch.
I exit on Wyclif Street. Another reference to radicalism.
Kids in hoodies riding BMXs whiz across St John St. Spa Green Estate that occupied the site of Waterfield Fort commands the high ground that marks the final approach to the Angel tollgate. This was bandit country in those days, the Angel Tavern did a brisk trade with travellers wanting to avoid progressing through the open fields in the dark.
I can smell a wet muddy fragrance. Kids play noisily on the football/ basketball court. The block facing St John Street is Tunbridge House, probably a reference to New Tunbridge Wells which was another name for the Islington Spa pleasure grounds that were here in the C18th. Do the kids see this as the Utopia Lubetkin designed, or a ghetto? One 18 year old threw himself to his death from a ninth floor window of a council block down here last week.
It’s dark and I’m put off walking through the estate. Its defences still in operation. From Rosebery Avenue you can see how Spa Green rests in a hollow. The wave of the outside wall recalling a fortified line. The Thames Water HQ opposite seems to continue the wave motif on the other side of the road, two grand municipal buildings complementing each other except that one has been converted to house the well-healed rather than the socially excluded.
Punters from the Sadlers Wells spill out onto the pavement. Up Amwell Street and I try to imagine it as a covered walkway as described in the article. It’s echoes Elizabeth Gordon’s speculation that a tunnel ran from the base of Amwell Street into the heart of Penton Mound where Merlin lived in a cave.
I pass on a pint in Filthy McNasty’s as it’s too packed and noisy. Three rosy cheeked pleasure seekers announce “Here it is”, and for a second I think that they too are looking for St. John’s Fort. “Filthy McNasty’s, s’posed to be really good.” I get a bottle of Polish Lager from the cornershop instead.
You can read “rebel city” here: http://www.g-m-a.net/docs/c_forting.html
At almost the same place on Clerkenwell Road this morning and again at 9.30pm I got a definite trembling in my hip. Like a mobile phone vibrating in my pocket, except my phone was turned off in my bag.
I have been getting strong impulses to go a particular way on walks to and from work. Impulses I can’t refuse. Last night I was virtually pushed away from my usual route along Fetter and Leather Lane, my legs just wouldn’t permit me to go that way. I ended up being drawn beneath the Blade Runner office blocks of Shoe Lane and into Farringdon Road. I took photos on my phone and sent them to my sister with cryptic clues as to the location. She was allowed to use The London Compendium and the A-Z.
Tonight though I had no problems taking a minor deviation down Hatton Garden, one of London’s most alluring streets. In daytime there’s a mixture of builders, jewellers counting the diamonds rings in their shop windows, young couples looking for engagement rings and great hunks of men in dark suits providing protection. The transactions that take place in this non-descript looking Lane must run into the millions. But twenty yards away in Leather Lane street traders knock out bargain priced designer copies and cheap bags of dried fruit. At night Hatton Garden is full of mystery.
Walking down there my head was still spinning from all the conspiracy sites I’d been reading about the London bombings. They’re rubbish of course but they’ve tuned me into the malevolence I sensed abroad in the city after 7th July. It’s still there. It’s not just the nutcases with bombs in their backpacks but the shooting of that poor lad at Stockwell Station by the Police and the sanctimonious droning of Tony Blair.
Of course the conspiracy theorists and the establishment always forget about the power of the street, the unpredictable force of the mob, the echoes from the past pulsing up through the pavement.
I eventually caught St. Etienne’s psychogeographical film about London ‘Finisterre’ at the ICA the other week. The band and directors Paul Kelly and Kieran Evans openly acknowledge that their project was a response to Patrick Keiller’s classic, ‘London’. In the year that Patrick Keiller was shooting his seminal film ‘London’, Saint Etienne recorded their second album ‘So Strong’. Both film and album captured a raw slice of the capital in 1992. Keiller’s film set against the backdrop of John Major’s election triumph, IRA bombs and Black Wednesday, just as St Etienne’s album was an audio tour of Greasy Spoon cafes and cold Kentish Town pavements.
Keiller’s influence is immediately apparent in the opening sequences of Finisterre. We see static establishing shots that are ‘London’s’ signature and hear the voice of an unseen, un-named narrator as with Paul Schofield’s perfect dry delivery of his account of excursions taken with his former lover Robinson. In Finisterre it is never obvious who the ‘flaneurs’ of the piece are, we merely see a train arriving from Croydon at 06:01. Suburban boys out to explore the capital. It is implicit that this is the story of the band’s journey through London.
The other key inspiration is the James Mason fronted film of Geoffrey Fletcher’s book ‘The London Nobody Knows’ with it’s celebration of the forgotten and neglected city of the sixties; Chapel Market, Percy Circus, Gin Palaces, public loos. We see Bob Stanley in a café flicking through its pages.
As the film unfolds these influences recede as other characters are introduced delivering their meditations on London. Artist Julian Opie, who designed one of St Etienne’s album covers, the guy at the record pressing plant where their first single was committed to vinyl, Vic Godard punk hero and postman.
The London we see is invariably the one inhabited by the band their collaborators, Hackney, Islington, Highgate, Soho. In this sense it represents more of personal topography than a ‘state of the city’ film essay that Keiller achieved. The references here are more towards the films of John Smith, particularly ‘Girl Chewing Gum’ and ‘Black Tower’.
The personal element to the film becomes its most compelling aspect rather than its stylistic homage to Keiller. The voice-over delivering lists of observations and associations reminiscent of the hypnotic prose of Hackney writer Iain Sinclair’s dérive reports from the unseen city. Fused with the visuals it constructs a palimpsest of the capital in 2003 much as Keiller’s film captured ’92.
Islington gets good coverage in the film: Percy Circus, the old dairy on Amwell Street, the world’s most uninviting dentist’s on Copenhagen Street (with a hand-painted sign in shaky letters), Packington Estate, Barbican, the Water Rats on Grays Inn Road, and Lubetkin’s Bevin Court with its famous stairwell.
The new St. Etienne album is named after a block of flats on the City Road, Turnpike House, and their follow-up film to ‘Finisterre’, ‘Caff’ featured the Golden Fish Bar on Farringdon Road, the recently deceased Alfredo’s on Essex Road (now S&M), and the Rheidol Rooms in Rheidhol Street.
I showed Bob, Pete, and Paul (another Wycombe boy and onetime member of Heavenly Records band East Village) my battered copy of Maxwell’s ‘The Fringe of London’ which they hadn’t seen and earned me a copy of the DVD (which is on sale now) – well worth its place next to my copies of ‘London’, ‘Galivant’, and ‘London Orbital’.