Sunset seen from Crystal Palace. © David Secombe.
I wish to die on
A Summer Solstice night with a fish and chip sky,
death kissing me slow and taking me quick
under salty stars speckling the seaside malty dome.
Fuck winter when nothing more can be said
to make saccharine of what’s gone before,
I’ll quit while I’m ahead,
not washed out, wasted,
wistful for lost wishes, words and cadaverous dreams.
Let the tolling bells be
drop dead gorgeous midsummer night dead-ringer brunettes
or doppelganger blondes, light-headed in rosy oblivion.
May my life be lost in space, and earth’s other worlds,
let all meaning be beeps and dots and dashes and x and o’s.
I’ll check cheques and balances on the tightrope
of unequal parallels like comet tails in midnight flight
flashing listless lights bright across the beauty of barren skies.
Shooting words like fish in a barrel
sending messages of blood shaped craft
in drunken elevation of life and quantum delight,
as heady giddy twirling unborn space-age masses might
shift the warm succulent truculent air
in the shifting drifting shape of yourself,
as you are, as you were, as you will be,
in a world without end or beginning.
You who are not alone, are all alone.
You who know well that
those who are dead are gone, and not gone.
All that is, was.
The ghosts are the breeze that push you,
through the darkness they guide you,
their warm voices cannot forget you,
shouting loud while the lost world sleeps.
Tonight the cosmos ponders large
on everything in nothing
‘til the yawning chasm claims life,
in sweet embrace, leaving death alone,
soft surrendering as day to night in the
licentious vicissitudes of inexorable desire.
© Peadar O’Donaghue 2017.
Tate Modern, Bankside, 2002. © David Secombe.
A Londoner writes, 4 June, 2017:
Obligatory Post-Terrorism Status
Last night I felt some level of fear for the first time with these attacks, simply because I knew a lot of people within the direct vicinity of where an attack was apparently occurring at the time. It was a weird feeling, and I resent that I was made to feel it, but I think while it’s normal for people to feel fear in these situations (well-founded or not), the important thing is the interpretation of, and reaction to, said fear.
There are a myriad of threats far greater than terrorism, including mundane things like the fact that around 40 people die every year from TVs falling on them. However, the nature of these events and the subsequent media frenzy sends people into a state of panic. I’ve already seen enough people online calling for all muslims to be deported, or sent to Guantanamo Bay, or to close our borders. These people are terrified – they fear for their lives, and they are letting that fear drive them to these statements about urgent action and retaliation. This is the manifestation of the “terror” caused by terrorism. It means it was a success, when by all measures it really shouldn’t be. These people are fragile little flowers, quivering in the hot winds of the tabloid.
Banksy stencil, Park St., SE1, 2003. © David Secombe.
The way to deal with this shit is to carry on with your life as normal. Disregard the absurd actions of a handful of fucking nutters as exactly that. Don’t be a fucking pussy. Go buy a grilled cheese sandwich in Borough Market. Take a walk along London Bridge, hold your head high and realise there’s nothing to be afraid of, since the simple act of walking down the street is literally more dangerous than terrorists. You’re a fucking daredevil.
London Bridge Station, 2003. © David Secombe.
Text © Emil Smith. Special thanks to Katy Evans Bush.
London from Gipsy Hill. © David Secombe.
From The Long Goodbye, Raymond Chandler, 1953: I like bars just after they open for the evening. When the air inside is still cool and clean and everything is shiny and the barkeep is giving himself that last look in the mirror to see if his tie is straight and his hair is smooth. I like the neat bottles on the bar back and the lovely shining glasses and the anticipation. I like to watch the man mix the first one of the evening and put it down on a crisp mat and put the little folded napkin beside it. I like to taste it slowly. The first quiet drink of the evening in a quiet bar—that’s wonderful.
D.S.: The other evening I was discussing Raymond Chandler’s The Long Goodbye with my friend (and sometime contributor to this site) Andrew Martin. Andrew is a thriller writer so his opinions on Chandler’s novels are acute and unsparing; I mostly agree with him, although I am more prepared to forgive the incomprehensible plots for the sake of the terrific dialogue. The question of Chandler’s adolescence in London came up. It’s hard to imagine Philip Marlowe sipping a dry martini (let alone a gimlet) in a south London pub, but I found myself arguing that Marlowe is a product of Chandler’s formative years in the city’s leafy southern suburbs. Chandler may have been born in Nebraska but by the age of 12 he was living with his mother in Upper Norwood, and was a fledgling day boy at Dulwich College, the venerable boys’ school that floats alongside the South Circular like a Pre-Raphaelite idyll.
At the bottom of the above photo you can just see the College’s Italianate campanile vainly asserting itself against The Shard; here’s a better view of it …
Chandler entered Dulwich in 1900, his first year at the school coinciding with P.G. Wodehouse’s last. It’s fitting that these two writers should have coincided at Dulwich as they are both examples of a rare breed, the true trans-Atlantic writer. Robert McCrum on Wodehouse: “No English writer of the twentieth century, with the possible exception of Raymond Chandler, was so successful at relating the two cultures to each other”. The school and the surrounding suburbs informed their work in differing ways. For Wodehouse the school and the tidy streets and parks that surrounded it remained a kind of Elysium that he transmuted into the Never-Never land of his fiction.
Dulwich College’s cricket pavilion and the Crystal Palace transmitter.
Wodehouse achieved colossal success on both sides of the Atlantic (apart from the novels, he was also a Hollywood screenwriter and played a considerable part in the creation of the Broadway musical as we know it) and enjoyed an opulent existence in Le Touquet; yet for all that, he remained devoted to his old school, and was weirdly fanatical in following the fortunes of its sports teams. In his biography of Wodehouse Robert McCrum includes a poignant description of the great writer’s last visit to Dulwich, in July 1939, an image of ‘Plum’ sitting disconsolately in the pavilion watching a dull cricket match. No-one could know it then, but Wodehouse’s real exile was about to begin; he was trapped in occupied France the following year, and subsequently taken to Berlin where he was finagled into making broadcasts on German radio. For all the extenuating circumstances, his reputation never recovered in his lifetime.
Church Rd., Norwood.
A recent blue plaque marks the site of Chandler’s childhood home in Norwood: it’s a house typical of the district, a large, slightly Gothic, mid-Victorian number. It isn’t the fabulously ornate pile in the above photo; but if you’re looking for fuel for the young Chandler’s imagination you need only take a turn around the neighbourhood. The area was built up in the latter half of the 19th century, mainly after the arrival of Joseph Paxton’s Crystal Palace, transplanted from Hyde Park to Sydenham after the close of the Great Exhibition. The district is full of shadowy villas, houses suggestive of secrets, insecure money and dubious respectability. Victorian Gothic architecture often feels like a projection of repression and even now some streets are suffused with a sort of whispered dread (seems fitting that Gipsy Hill should boast a Cawnpore Street, the name memorializing a notorious massacre of the Indian Mutiny). No wonder Marlowe was unfazed by the Sternwood mansion in The Big Sleep; his creator had seen such houses before. Chandler was more reticent than Wodehouse on the subject of Dulwich College, but he was always proud of his classical education; moreover, his detective embodies some of the idealised values prized by the public school ethos. Chandler called Marlowe a ‘shop-soiled Galahad’, and in some ways he is like a G.F. Watts hero in a powder-blue suit. The wisecracks camouflage a moral purpose. ‘Down these mean streets a man must go who is not himself mean …’ Philip Marlowe has a code of honour that separates him from contemporary fictional detectives like Dashiell Hammet’s Sam Spade or Continental Op, one ultimately derived from schoolboy romanticism in the twilight of the Victorian world.
I don’t want to stretch the point too much; it’s self-evident that it was Chandler’s return to America at nineteen that sealed his personality. He may have been writing bad poetry before he left England but he only started writing detective fiction in his forties, his first novel appearing when he was fifty. Moreover, Chandler’s California is not transferable to any other place (you only have to see Michael Winner’s British-set version of The Big Sleep to appreciate that). Frank MacShane asserts that if Chandler had stayed in Britain he would have stuck to sentimental poetry. Maybe. But I still like to imagine the mature Chandler looking for material in south London, using the city’s vernacular in the same way that, in our own universe, he used American speech.
So where does all this lead? Well, I live in Upper Norwood, which is in full suburban bloom just now. Over the bank holiday I visited several local hostelries in search of photos and Chandleresque moments. In one bar, an unavoidably hipster establishment, there was an exhibition of stick-figure cartoon art entitled It’s Going to be Okay (a title I could take issue with). I overheard one good line when I was in there: ‘So what does a full-time Anarchist do? Do you celebrate Christmas?’ After that I retreated to an Irish pub, taking refuge in my old paperback edition of Farewell My Lovely as the other patrons watched big screen football. D.S.
All photos © David Secombe.
Sad news: Bill Pearson, a sometime contributor to The London Column, died suddenly at the beginning of March. By way of a tribute, we present here some of his atmospheric photos of the vanished hinterland of riverside London (Bow Creek, Surrey Docks, Erith, etc.) from the ‘8os and ’90s. RIP. DS.
All photos © The Estate of Bill Pearson. (Thanks to Felicity Roberts for passing on the sad news.).