Went into the brilliant Resonance 104.4fm on Monday to have a chat with Henry Scott-Irvine about psychogeography, my upcoming series of walks for Waltham Forest Borough of Culture, and Albert Maysles and making documentaries.
“I use my own ways of digressing and picking up on other stories that you don’t expect to find by walking and wandering over the ground that’s been described by other people.” – Iain Sinclair
July 2018 and I found myself back out walking with Iain Sinclair, this time retracing one of the walks in his latest book, Living with Buildings and walking with ghosts. We met by Canada Water Station and Iain explained how the book was associated with the Wellcome Collection exhibition of the same name, but was its own beast driven by Iain’s narrative.
We proceeded past the old Evening Standard printing works, now slated for development, through Greenland Dock bound for the Pepys Estate – once the home of film-maker Andrew Kötting and featured in the book. After paying homage we moved on to the next key location in this particular chapter of Living with Buildings – John Evelyn’s Mulberry tree at Sayes Court Park.
Walking with Iain is always a magical experience, layers of London history and lore kicked up and chewed over with every step along the way. The book, in some ways, is Iain Sinclair’s most traditionally psychogeographical work, exploring the very tangible relationship between the built environment and human health and psyche.
I was very fortunate to have the opportunity to further discuss the book and Iain’s work in general at the brilliant Wanstead Tap when Living with Buildings was published in October – as you can see in the video below.
London Overground retraces legendary London writer Iain Sinclair’s journey with film-maker Andrew Kötting around the Overground railway for the book of the same name. Directed Shot and edited by John Rogers.
The film follows Sinclair reprising the walk over the course of a year rather than the day’s walk of the book. Iain is once again joined by Kötting in parts, along with Chris Petit (director of Radio On) and Bill Parry-Davies on the 35-mile circular yomp.
London Overground charts Sinclair walking through this changing landscape from his home in Hackney, through Shoreditch down to Wapping where he revisits his earlier book Downriver. In the company of Andrew Kötting once more they ramble in both senses from the Thames foreshore at Rotherhithe through Canada Water, Surrey Quays to Queens Road Peckham. At Willesden Junction he is joined by film-maker and author Chris Petit as they survey the developments around Old Oak Common. Sinclair and Kötting walk through the night to reprise their original yomp in reverse. Dalston is surveyed with local campaigner Bill Parry-Davies logging what has been lost in the rampant redevelopment and checking in on cherished corners of the area. We meet noir novelist Cathi Unsworth at Shepherds Bush/Westfield and artist Marcia Farquhar in Kentish Town.
What emerges from the film is a snapshot of the city in transition and also a unique insight into the most important chronicler of contemporary Londoner. ‘The city’ Sinclair says at one point, ‘is a series of psychic mappings that reinforce our own identity’.
Featuring original music by Standard Planets, Bill and Adam Parry-Davis, and Free Seed Music.
London Overground premiered at the East End Film Festival with a screening at the Rio Cinema, Dalston – 2nd July 2016
I felt an undue amount of pressure when trying to choose where to go for the 100th Episode of my Walking Vlog series. When out walking from Theydon Bois to Chigwell Row for the 98th Episode I’d asked the YouTube viewers for suggestions and they’d really come up with the goods. But one particularly resonated, from talented author Scarlett Parker:
“The hundred dilemma got me thinking about ‘hundreds’, the geo-administrative divisions of yore. Not sure how you could rein in this concept for a manageable walk. There are the famous Chiltern Hundreds, which is your, erm, jurisdiction.”
This was perfect – the Chiltern Hundreds > The Desborough Hundred Psychogeographical Society that I formed with my sister Cathy for our Remapping High Wycombe project > the significant sites walk we devised to bring the project to its conclusion. There was added significance in that I started my YouTube channel for this project to host some of the video documentation.
Walking into town from Wycombe Station I ticked off the first of the significant sites/’nodules of energy’ – the Dial House, home to Charles I’s physician Dr Martin Lluelyn; the ancient lane of Crendon Street; the supposed ‘mark stone’ by the Guildhall, and Robert Adam’s market house which we used as the HQ of the DHPS and installation site for the event on 18th June 2005.
The temperature that day 13 years ago was hitting the high twenties and again the mercury was pushing upwards at 27 degrees. It’d be hard going in the hills. I’d mustered some walking partners back then to make it more of an event – an old friend Jerry White, who’d brought along a mate, my Dad, and Nick Papadimitriou who’d I’d recently met for the first time. Today I’d be reprising the experience alone.
I gathered my thoughts in the churchyard before pushing on up Castle Hill Mount, said by some of the old Wycombe antiquarians to be partly formed of the burial mound of a Saxon warrior. The route onwards into the Hughenden Valley takes me through the grounds of Wycombe Museum, past the house where poet & composer Ivor Gurney stayed, and along the path above Wycombe Cemetery.
Looking back down into the valley there’s a stretch of newbuilds that highlights one of the major changes in the town. Gone is the great engineering factory of Broom & Wade and also Harrison’s Stamp Factory, and a student accommodation colony has taken the place of the industrial heart of Wycombe. When I’d led Nick, Jerry and Mike through this section in 2005, this was what made them see Wycombe as a town with its own distinctive industrial heritage, not just another satellite commuter town. Now that it’s gone – what does this say about Wycombe today?
The heat is taking its toll as I climb up the Hughenden Valley to admire the view from the terrace of Benjamin Disraeli’s grand mansion. I daren’t rest yet as I have to drop back down into the valley then climb again to the (Isaac) Disraeli monument on the edge of Tinker’s Wood. Beneath this monument is where I’d rested on previous variations of this walk and it’s where I take a moment to pause once again and consider the passing of the previous 13 years since I was here last.
The zig-zag streets of Downley offer yet more great views across the valley to the Iron Age Earthwork at Desborough Castle – my next point of interest. The outer banks are high and imposing, but thankfully the dense tree canopy offers respite from the sun. I imagine the Desborough Hundred Moot taking place within the sunken enclosure in the deep past, as envisioned by Annan Dickson in his 1935 book, Chiltern Footpaths.
Back down in town it feels as if another kind of grand gathering is taking place upon the Rye. The grass is dotted with puddles of pink flesh soon to turn lobster red. Boaters splosh their oars in the Dyke. The open air pool where I learnt to swim is sadly closed for the rest of the day.
From the Rye I follow the patron stream of the area – the Wye, or the Wyke – trundling quietly behind the Marsh and the Mead to Loudwater where my Mum grew up. By now I’m tired and just want to sit in a nice pub garden with a cold pint. I could drop down Watery Lane to the Falcon at Wooburn, near the field where I played as a kid. But that would be the end of the walk. No, I stick to my plan to climb one last hill (so I thought) up Whitehouse Lane and along Grassy Bank looking over to Cut Throat Wood – a place that so dominated childhood days walking with my Dad and many a wistful recollection of those happy days. It’s the perfect ending to this revisiting of memory grounds, that further pushes me on under the railway line and up into the quiet roads leading into Beaconsfield Old Town and the train back to Marylebone.
Just under a year after the premiere of our film, London Overground, Iain Sinclair mentioned joining him out on the road again with my camera. This time he was walking a section of Watling Street, the Roman road said to have much older origins, in the company of the great film-maker Andrew Kötting, from Canterbury to London. I joined them one morning along Shooters Hill Road in South London where they were accompanied by artist Anne Caron-Delion. This first walk followed the road to Westminster (another branch goes across London Bridge to the City) – passing over Blackheath, through Deptford (the ‘deep ford’), New Cross, Peckham, Elephant and Castle, along the way.
Enroute Iain had mentioned a second passage that related to Watling Street but branching off from Shooters Hill to take in the Shrewsbury burial mound and follow cult author Steve Moore’s ‘psychic circuit’ down to Woolwich. This brings Alan Moore into the story and led to a second walk. Steve Moore had been Alan Moore’s mentor, teaching him both the arts of magick and comic book writing. Alan had celebrated Steve’s territory of Shooters Hill in an essay published in London, City of Disappearances, entitled Unearthing. This seemed like the perfect title to appropriate as the title for the film.
The film that I made from the two walks ‘on and off’ Watling Street with Iain Sinclair was premiered at an event at Kino-Teatr in St Leonards-on-Sea last October, where Andrew Kötting also premiered his film of the whole walk, A WALK BACK TO THE LAST LONDON BY WAY OF WATLING STREET.
The event was called, Lights Out for the Last London: Down Watling Street with Iain Sinclair, Andrew Kotting and John Rogers.
“To pull away from its gravity, he sets off on a Watling Street pilgrimage with long term collaborators (and filmmakers) Andrew Kötting and John Rogers.
Their adventures, told through differing and contradictory memories, become a live performance, a conversation, a film of record.
The collision at Kino-Teatr in St Leonards is a unique coming together for the three walkers. Anything could happen.”
The video above captures the discussion with Iain Sinclair and Andrew Kötting after the screenings.
It was an odd walk in a way, but one that has stayed with me over the Christmas period since. There was just the desire to walk – to be out. I knew where I didn’t fancy and with only around 3 hours of daylight I wanted options for walking in the dark. The pivotal moment was at the ticket barriers – east or west.
I alighted at St.Pauls and let old instincts guide me. A look at the Roman London Wall in Noble Street, the on to Golden Lane Estate where there was a recent protest against the redevelopment of former Police accommodation into a block of luxury flats.
Up Goswell Road and across Northampton Square, one variation on my daily walk home from work at the South Bank when I lived up at the Angel, and also our route to Ironmonger Row Baths. Andrew Kötting’s expression ‘the noise of memory’ came to mind, when there is so much memory attached to an area that it almost becomes overwhelming. This territory on the slopes of Islington and Finsbury is like that for me, the sound intensifying as I made my way up Chapel Market, the Christmas tree seller having a furious argument down the phone kicking empty boxes. There’s a For Let sign above the iconic Manze’s pie and mash shop, the one featured in The London Nobody Knows, let’s hope I don’t add to the ‘Dead Pie Shop Trail’*.
On through Barnsbury to Holloway Road as the sun starts hitting the glorious Holloway Odeon. I sorely tempted to give up the ghost and while away an hour or two in the Coronet – a beautiful old cinema converted into a Wetherspoons. Something keeps me plodding on towards the Northern Heights, an image I’d conjured in my head at the beginning of the walk of ending up in Highgate.
Faced with the Archway Tavern I think of Nick Hornby’s novel High Fidelity that I first read some 20 years ago when music played a far bigger part in my life than it does today and I would routinely pass a happy hour thumbing through racks of vinyl on dusty old record shops. At the time I felt the Archway Tavern must have been the pub/venue in the book where the record shop staff watch bands. The shop, Championship Vinyl, is located in on Seven Sisters Road (so is the Harry Lauder actually the World’s End instead?). There’s a secondhand book stall in front of the old Archway Tavern and sure enough they have a slightly battered copy of High Fidelity that I pick up for £2.50 and have been reading over Christmas. It’s funny how the book has aged in that time.
Highgate Village was every bit as festive as hoped with chains of Christmas lights looped across the High Street. I make for the Gatehouse, an old coaching inn with a resident ghost. I tell the young barman about the spectral guest that haunts the pub and he fixes me with a look of disbelief. ‘It’s true’, I say, ‘look out for it when you’re locking up later.’
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* this was an essay I wrote for Jake Green’s photobook documenting the surviving Pie and Mash shops in London. My essay was a walk linking sites of several former Pie and Mash shops. There are copies of the book in each of the remaining Pie and Mash Shops in London. Get yourself a double pie and mash and settle down with a copy.
Looking forward to presenting the film of the excursions I made with Iain Sinclair, Andrew Kötting, and Anne Caron-Deline along Watling Street with a fascinating detour following the trail of Alan Moore from Shooter’s Hill. The event will also include a new film and performance by Andrew Kötting, plus readings and conversation with Iain Sinclair and whatever else occurs on the night.
Here’s the information for the event at Kino-Teatr, Saint Leonards 29th October 6pm:
“Lights Out for the Last London: Down Watling Street with Iain Sinclair, Andrew Kotting and John Rogers.
The Last London, described by Alan Moore as ‘the masterpiece in a career of masterpieces’, is Iain Sinclair’s final reckoning with a city stretched beyond its limits.
To pull away from its gravity, he sets off on a Watling Street pilgrimage with longterm collaborators (and filmmakers) Andrew Kötting and John Rogers.
Their adventures, told through differing and contradictory memories, become a live performance, a conversation, a film of record.
The collision at Kino-Teatr in St Leonards is a unique coming together for the three walkers. Anything could happen.
The collaborators will be happy to sign copies of books (including Last London) at the event.”
Tickets are £12 available from Kino-Teatr box office and online from Ticketsource