Shoreditch and the City — Killing the Hipster Goose?

The first part of my novel — and some of the later action — is set in Shoreditch. I first got to know the area when I was taking the City University Certificate in Novel Writing (now the Novel Studio). Although City University itself is about a mile or so west of Shoreditch (I know this as I walked the exact journey last week), it led me to start looking around adjacent areas of London.

I can’t remember whether I’d decided to write a novel with an artist as a main protagonist before I came across Village Underground (and its rooftop tube trains) in the Secret London guidebook. However, very shortly after reading about this artistic community space with an events venue underneath, I’d been up on the roof to visit for myself and had the start of a novel set in what was then, despite some creeping commercialism, a part of London that had a genuine alternative and bohemian feel.

Graffiti Art on Rooftop Tube Carriages
On the Roof at Village Underground

What’s most fascinated about Shoreditch, as opposed to further flung artistic enclaves like Hackney Wick, is its location right on the edge of the City of London — in the novel this geographical closeness enables the two characters from completely different world to meet.

Avant Garde Tower Bethnal Green Road 2015
Avant Garde Tower, Bethnal Green Road 2015

Apart from one residential block, the very unironically named Avant Garde tower at the corner of Brick Lane and Bethnal Green Road, there’s been surprisingly little encroachment by property developers exploiting Shoreditch’s position on the City’s northern fringes.

The Broadgate Tower Seen from Village Underground 2011
The Broadgate Tower Seen from Village Underground 2011

The Broadgate development (seen above) was completed in 2008 and, since then, the City seems to have grown upwards with the likes of the Walkie Talkie, Heron Tower, Cheesegrater and Shard (albeit on the other side of the river).

Holywell Street, Shoreditch
Holywell Street, Shoreditch, March 2011

While the character of Shoreditch has undoubtedly changed with the arrival of the Overground and Shoreditch High Street station plus associated developments like Boxpark, the physical environment has changed little from when I first got to know the area (and probably hasn’t changed that much since the area was first industrialised).

I put this hiatus in development down to the delayed effects of the 2008 credit crunch and its consequences.

Village Underground Viewed from the new London Overground
Village Underground Viewed from the Shoreditch Overground Viaduct, March 2011

This is all about to change and, sadly for the Shoreditch I’ve come to know, I feel that the last few years will come to be seen as a stay of execution for one of London’s most characterful areas. As an example, since the New Year, the car park on waste ground opposite Village Underground seen in the photo above has seen construction activity begin — and it’s deep piling work that’s being carried out — of the type required for the foundations of very tall buildings.

Those who have been on street art tours of Shoreditch will know this car park as one of the areas that featured the most frequently changing graffiti art. Now it’s fenced off and will soon be transformed into a ‘mixed use’ development called Shoreditch Village — the first part of which will be a ten storey Citizen M boutique hotel, due to open by this time next year. For an artist’s impression of the finished site, click on this story.

Breaking the Ground for Shoreditch Village, 20th February 2015
Breaking the Ground for Shoreditch Village, 20th February 2015

This development is relatively modest but it will still tower over all the buildings in the immediate area — and will change the character of Village Underground. It used to be a quirk that the tube trains were, ironically, the highest point in the local area and, counter-intuitively, looked down on everything below. Soon all the trendy guests in the hotel will spy on them from above.

Iranian Artist Mehdi Ghadyanloo Painting A Mural At Village Undergroun, 20th February 2015
Iranian Artist Mehdi Ghadyanloo Painting A Mural At Village Underground, 20th February 2015 (for finished picture see this Guardian article)

For a taste of what the area around Village Underground may look like in a year or two, then take a walk a mile or so to the area to the north and west of Old Street/’Silicon Roundabout’ (known also in the media as the risibly-named Tech City).

The area around the City Road Basin on the Regent’s Canal is undergoing a dramatic change with several huge, upmarket apartment blocks currently being constructed. This is  a huge change for an area that, even when I was doing the City University novel-writing course, in 2009-10, was still genuinely down-at-heel and post-industrial, unlike Shoreditch. There’s even a drive-through McDonald’s there — which would be unimaginable down the road in Shoreditch.

Skyscrapers on City Road, February 2015
Skyscrapers on City Road, February 2015

Construction on one or two of the tower blocks was started, and then paused, during the recession and, like Shoreditch, the areas of derelict land and waste ground were likely to have been earmarked for development that was put on hold. But no longer. The construction has restarted and the place will soon change forever.

There’s a scene in the novel based in the City Road area, near the canal, as at the start of the book Kim works in a pub that’s based on the Wenlock Arms, which has near-legendary status amongst serious beer drinkers for being one of the very few basic, spit-and-sawdust, unreconstructed back-street boozer that wasn’t too far from a central tube station. in a  location.

The Reopened Wenlock Arms, February 2015
The Reopened Wenlock Arms, February 2015

The Wenlock itself was victim to the gentrification of the area. It was closed a few years ago and was threatened with development into flats. After a landmark local campaign to get the pub protected by Hackney council (of which I was a supporter) it has now been included in a conservation area and has since been rescued and sympathetically refurbished. The holes in floorboards and barely functioning toilets have gone to be replaced by craft beers and trendy square hand-basins but it’s now thriving again.

Shoreditch Village is nothing compared with some new developments that are either in the pipeline or currently going through the planning process. Plans for the Bishopsgate Goods Yard site around Shoreditch High Street station are so dramatic that Hackney’s mayor (Shoreditch is on the fringes of both Hackney and Tower Hamlets) has started a petition on Change.org to protest to Boris Johnson about his decision in principle to approve them.

Prime Real Estate: Shoreditch Old Goods Yard Site, early 2015
Prime Real Estate: Shoreditch Old Goods Yard Site, early 2015

This is a massive development site, derelict for over fifty years after a fire destroyed the old railways goods yard that previously occupied the site. Shoreditch High Street station has been built on some of the area — and the reason why the railway is enclosed in a concrete box in the station is to allow building work to commence without disrupting the railway that runs through the site.

But the developers plans are equally huge — they include seven tower blocks, with two forty-six storeys high (much bigger than those pictured on City Road above). A little of this will be affordable housing but it’s inconceivable that the character of Shoreditch (and the Brick Lane area to the east) will remain unchanged with development of such scale encroaching almost into the heart of the area.

The likes of Pret a Manger and Pizza Express are one thing but, if the development is anything like One New Change, Cardinal Place in Victoria or the many in Canary Wharf, then there will be less galleries, oddball clothes shops and organic cafes in Shoreditch and many more familiar names from any high street.

It would be somewhere that my artist character Kim would never contemplate living or working in. And so my novel might, perhaps, have captured a particular moment in the development of Shoreditch — when it had established itself as quirky, creative and fascinating and when the hipsters could enjoy the place in almost suspended animation for a few years. Now it’s in danger of the City speculators moved in to kill the goose that laid their golden egg. Let’s hope not. Sign the petition.

Killing the Goose: Trendy Shoreditch AND 11 Storey Apartment Blocks?
Killing the Goose: Trendy Shoreditch AND 11 Storey Apartment Blocks?

The Tree That Once Belonged to Bob Hoskins (and Other Odd Connections)

The last post loosely took the E.M.Forster quotation ‘only connect’ and asked if this might be at the basis of some of the creative process — can originality be fostered by stuffing your subconscious full of stimulating ideas and experiences which could stew away unsupervised like a warming winter casserole or, alternatively, blast into each other like a psychological Hadron collider.

Bearing this out, I’ve realised there’s a loosely recurring theme of odd and unusual connections in many of the experiences I’ve enjoyed or places I’ve visited over the past few months — locations which are on the margins between conflicted forces or genres where conventionally opposing styles or materials have been placed in opposition.

Shoreditch is the classic example of an area that has been transformed by the influence of artists, with the Village Underground tube train carriages providing a landmark juxtaposition.

Village Underground from Shoreditch
Village Underground from Shoreditch

It’s arguable that Shoreditch has become so ironically commercialised that it’s developing into a caricature of itself. For several years, artists have been priced out of the area (as is Kim in my novel), not just by the geek-cool spillover from David Cameron’s beloved ‘Tech City’ in Old Street but by speculative apartment-buying business types (even more beloved of Cameron). 

The warehouse-squatting, loft-dwelling artists have been dispersed to Peckham (mentioned in Time Out virtually every week), Hackney Wick (whose artists ‘took over’ the V&A at the end of February) and rather bizarrely, as I discovered a few weeks ago, to suburbs like High Barnet.

I climbed four storeys up an external fire-escape with my friends from Love Art London way out in the hipster-there-be-dragons territory of zone 6 to visit the artist, David Shillinglaw. He was a thoroughly generous and entertaining host, welcoming us into his loft studio which was located in an old false-teeth making factory (if it was in a novel this detail would seem way too far-fetched!). The studio was an amazing jumble of finished artworks, pieces in progress, plants (the tree apparently belonged once to Bob Hoskins!), huge rubber balls, artists materials and cats plus everyday objects (I think he lived there too — David Shillinglaw, not Bob Hoskins).

Inside David Shillinglaw's High Barnet Loft Studio
Inside David Shillinglaw’s High Barnet Loft Studio

While the artists move to the likes of Stoke Newington, Deptford and, er, High Barnet, property developers haven’t been slow to make the connection between exploiting the lingering aura of edgy cool and the large plots of under-exploited land in Shoreditch. Schemes that have been approved are in the pipeline that will transform the area irreparably: a 40 storey tower is to be built almost opposite Village Underground with a new shopping centre on the other side.

I may have written a partially historical novel by accident as I have scenes in my novel set in Holywell Street, which will be completely transformed within the next couple of years. (The scene is set in the road between the Village Underground tube trains and the new high rise building in the centre left in the developer’s projected image below.) 

The Planned 'Shoreditch Village' on the Existing Surface Car Park Opposiite Village Underground (Below Left)
The Planned ‘Shoreditch Village’ Either Side of the Railway Viaduct on the Existing Surface Car Park Opposite Village Underground (Below Left) — from  www.ellis-miller.com

Speaking of developers trying to muscle-in (and, in so doing, destroy)  on ‘cool’, ‘gritty’ urban locations, I took the photograph below just before Christmas of one of the most bizarre connections in London — the South Bank’s Bavarian Christmas market set opposite the graffiti-plastered undercroft of the Queen Elizabeth Hall, adopted as London’s skateboarders’ spiritual home.

Drinking steaming glühwein while watching skateboard jumps in a reclaimed space of brutalist architecture is the type of accidentally cosmopolitan experience only London can offer. Unlike some of the most favoured spots for Shoreditch street artists, the undercroft has been reprieved from development into shops.

Bavarian Christmas Market Meets Graffiti Covered Skateboard Undercroft
Bavarian Christmas Market Meets Graffiti Covered Skateboard Undercroft

There are a quite a few posts on this blog that mention street art: in the novel Kim brings her graffiti artist skills to places that haven’t traditionally welcomed them. Perhaps its appeal is partly because of another unusual combination — the traditionally reverential and formal world of fine art and the constantly changing, chaotic, almost anarchic urban spaces that foster street art culture.

My friend Sabina Andron, who runs the I Know What I Like Meetup Group in London, is studying street art for a PhD at University College, London. Over a period of 100 days last year she conducted an intriguing initiative, photographing the same stretches of wall on Leake Street (a virtual tunnel underneath Waterloo station) every day over a month and recording the organic, rapid changes in the artwork.

One of Sabina Andron's Leake Street Photos -- Click on the links in the blog text for the full animation
One of Sabina Andron’s Leake Street Photos — Click on the links in the blog text for the full animation

Sabina won the UCL Graduate School research poster competition for a poster featuring 100 images of one wall. Her website has a page which has time-lapse animations of all the walls. Its well worth viewing and may change your view of street art if you’re sceptical of its artistic value.

Writing, art and geography are, of course, not the only areas in which ‘only connect’ produces exciting  and unusual innovations. Musicians often cross-fertilise, with many whole new genres created from the fusion of apparently unrelated styles. In my local pub the recent English graduate cellarman often exposes the village regulars to his eclectic musical tastes, gained from working at music festivals across Europe. It’s a bizarre experience to walk into a rural English pub and hear dub reggae by the likes of King Tubby flowing from the speakers.

I was having a drink in the pub recently and began to recognise a song I knew very well but was also simultaneously unfamiliar. I worked out it was a track from Dark Side of the Moon. The skanky,offbeat rhythms meant it definitely wasn’t Pink Floyd but it was surprisingly  good — like any good, radical cover version, making the song sound written as if it was specifically for the other genre.

The track was Time and the album was the brilliant Dub Side of the Moon (see above) by the Easy All Stars. I bought it straight away and now listen to it interchangeably with the Pink Floyd original.

And foodies can give musicians a run for their money in terms of matching up bizarre combinations. Food is a major feature of the novel (including the odd matches inspired by the likes of Heston Blumenthal — liquorice ice-cream, snail porridge, mango and douglas-fir puree and the rest). So, wanting to see something of the cutting edge for myself, at the end of last year I visited the Experimental Food Society Spectacular at the Truman Brewery in Brick Lane.

This was an event run by people who like to do weird things with food. Some exhibits were immersive experiences — exploring how story-telling could influence flavours or how different senses interacted with each other. Some were just a bit, well, bonkers. Let’s connect Italian food with an Italian evocation of place by building a model of Rialto Bridge in Venice purely out of dried pasta and crackers (it can be done — see below — although I’m not sure whether an arrabbiata or puttanesca sauce would go best with the balustrades or portico).

Experimental Food -- Top and bottom right: The Rialto Bridge made of pasta and crackers; Bottom left: Vapourised tea.
Experimental Food — Top and bottom right: The Rialto Bridge made of pasta and crackers; Bottom left: Vapourised tea.

The flasks in the photo above left are of different types of tea but you don’t drink it. You inhale it (with a straw) after the people from Camellia’s Tea House put the brew through some clever vaporisation process. The vapour actually condenses on the back of your tongue, which gives a different taste sensation but one I doubt will be replacing the English cuppa very soon. (The breathable tea was so odd the story even made it into the New York Post.)

I’m not sure my fictional pub will go as far as serving its drinks in gaseous form, however intriguing the idea. But with an artist on the premises it could offer something for breakfast similar to the work of another Experimental Food Spectacular exhibitor — Dermot Flynn — Toast Artist.

Dermot Flynn -- Toast Artist
Dermot Flynn — Toast Artist

A little like a street artist, Dermot Flynn, connects art with unusual surfaces — in his case toast (a look at his website shows that he works by no means exclusively in toast but it’s one of the more unusual way he earns a crust).  Love it or hate it, the genre of edible art means it’s unpalatable to use conventional paint, so he uses Marmite instead.

Apparently if the Marmite is applied to white bread (presumably the more manufactured and sterile the better) to create an image which is subsequently put into a toaster, the desiccation process means the picture (or toast) will last for an indefinite period. If you can resist eating your artwork, Dermot told me that it’s perfectly possible to frame it.

For £10, I couldn’t resist the offer of having my portrait created in this unusual medium but I’ve taken the precaution of photographing it in case of unexpected nibbling.

Me in Marmite on Toast
Love Me or Hate Me? 

Point of View

 

The Shadow of Shadows
A Shadow Amongst Shadows

The point from which this view can be seen is unique — with that tremendous triangular shadow — and it’s only been open a week. I must have been very lucky to have caught a moment where the sun was almost directly to the south of the Shard and low enough in the winter sky to have thrown that needle-like shadow long enough to cross the Thames and into the heart of the City itself. While I’ve reduced the resolution of the photos for quicker downloading, it can be seen that the tip of darkness points about a hundred yards directly east of The Monument — perhaps rather symbolic from the new structure in Southwark.

So — I couldn’t resist it. I splashed out my £25 and went up the Shard on Monday this week — only the fourth day the viewing platform, The View From the Shard, had been open.  Well, I had to really, after all, I’ve been following its progress while it’s been under construction and charted much of its development on this blog.

This post isn’t entirely unrelated to the novel. A significant part of The Angel’s plot happens in places photographed below, which I’ll mention, and I suspect there’s something quite writerly about enjoying a view like this from high above.

But principally, this post is an unashamed Shard-splurge and, rather appropriately, takes up a lot of vertical screen space — but, if you’re on the home page and looking for other posts, keep on scrolling as it’s all still there — just a long way down (like the River Thames above).

I’ve thumbnailed seven photographs below from in 2011 and 2012, most  of which have appeared on the blog. Taken from various viewpoints (anyone want to guess where?), the photos show the rapid pace of construction.

Here’s the Shard rising in 2011.

Shard's Construction in 2011
Shard’s Construction in 2011

The viewing platform is lower than might be imagined. It’s on the   highest of the steel floors that were slotted around the concrete core as it rose upwards. However, The pinnacle of the building (a considerable height as can be seen from one of the photos below) was prefabricated like a 3D jigsaw and assembled in Yorkshire before being disassembled and lifted into place on the top of the building.

Here are four shots from 2012. The crane has disappeared in the May photo but the lift along the outside remains attached. I was baffled at the time about how the crane at the top would be removed but the builders ingeniously erected a temporary crane on the side of the Shard close enough to the top to be able to reach up to remove the tall crane but accessible enough from within the building to be disassembled. Cranes fascinate me.

Sp the viewing gallery is around the point where the track for the exterior lift stops in the May 2012 photo. Even so, it’s very high, as can be seen by some of the pictures below, and it’s odd to think that slightly over a year ago the viewing platform was just empty sky.

Completion of the Shard in 2012
Completion of the Shard in 2012

The dreadful weather in London over the last couple of years is noticeable in the series of photos — there’s barely any blue sky in any of the photos — even those taken in the summer.

By contrast, I was lucky with the weather when I was actually on top of the Shard. Monday was a bright and breezy day. Imagine pre-booking several tickets at £25 to find that the top of the Shard was shrouded in low cloud — something that will happen. Looking at the website’s terms and conditions, it appears that the management has discretion to provide a voucher in lieu of future use in these circumstances.

Although the top floor of the observation area is open to the elements, there’s still a safe wall of glass extending well above head height. The combination of glass and light entering from all directions means the viewing area, particularly the higher level, is tricky for photography (at least when it’s bright — next time I won’t wear a light-coloured coat). Half the photos that I took aren’t publishable on this blog due to smeary reflections.

As its marketing suggests, the View From The Shard is a well-organised and a friendly experience, if the chatty lift attendants are anything to go by. Unlike the London Eye, where by definition your viewing time is limited, visitors can stay all day at the top of the Shard (although entry is by timed-slot). Much attention has been paid to the detail, with an interactive map of where the four viewing platform lifts are positioned and even specially woven London sight-themed carpets. There’s also a little gift shop seventy storeys up. But as I queued in front of a large video screen for the airport style security scanners, I didn’t expect to see the scene below:

Village Underground -- Let's Adore and Endure
Village Underground — Let’s Adore and Endure

Yes — Village Underground’s facade on Great Eastern Street was entertaining the waiting tourists. (This is where Kim has her studio at the start of the novel.) It was part of a montage including Brick Lane and other ‘edgy’ urban attractions that shows how the urban street-art scene is now an established part of the London tourist experience. I asked Village Underground via Facebook if they knew their wall was being used as part of the Shard’s tribute to the capital’s culture — they didn’t but thought it was quite cool.

So, how far can you see? As this picture shows, I was able to get a  hazy view as far out as Wembley, with a fuzzy glimpse of Harrow-on-the-Hill and the Chilterns beyond. The hills of Essex and the North Downs are also visible from other directions but I’d love to go up on an exceptionally clear day with a pair of binoculars and find out how far I can see.

Wembley Arch and the BT Tower
Wembley Arch and the BT Tower

One paradox of the view from the Shard is that it’s a high enough perspective to avoid all the buildings that normally clutter London’s sightlines. Take St. Paul’s Cathedral. Although it’s a little distant and the view is necessarily from above, in this picture it’s possible to imagine how St. Paul’s used to dominate the London skyline until the second half of the last century.

St. Paul's From the Shard
St. Paul’s From the Shard

The St. Paul’s photo shows something of a parallel with narrative point-of-view. The height of the Shard gives an almost omniscient, third-person perspective — with enough information to see the big picture — how the components of the view or narrative relate to each other. And (with a camera or change in what Emma Darwin calls psychic distance) you can zoom in closer to the subject. But the trade-off of omniscience is distance and remoteness. Only by standing close to St. Paul’s can you appreciate its scale or touch the fabric of the building and feel its solidity. And to stretch the metaphor further, go inside the building and explore within.

A significant part of the plot in the London section of my novel occurs around St. Paul’s and the Millennium Bridge also features.This photograph shows the elegance and economy of its design — leaving very little impact apart from a silvery filament connecting both banks of the river.

And it serves as a great metaphor — linking the commercial Square Mile with the two cultural icons of the Tate Modern and Shakespeare’s Globe on the South Bank. The top of the photo also shows part of the new, incredibly long, Blackfriars station which extends right across the river. Note the solar panels that provide half the electricity for the station.

Millennium Bridge from the Shard
Millennium Bridge from the Shard

Having a camera with a (modest) zoom lens is obviously useful when you’re 300m up. Also, going back to locations in the novel, the below is a telephoto view of the bridge that takes the new Overground line across the top of Shoreditch High Street. The bus is at the end of Kingsland Road near the Geffrye Museum by a line of shops that features in a section of the novel connected with street art, although this piece might be one of the casualties of revision. I tried to spot Village Underground, with its tube trains on the roof but it appears to be hidden from the top of the Shard by the Broadgate Tower — which is at the extreme right edge of the photo.

This is a telephoto view of what I'm fairly sure is the bridge that takes the new Overground line across the top of Shoreditch High Street. The buses are on the end of Kingsland Road near the Geffrye Museum. The line of shops features in a section of the novel connected with street art, although this piece might be one of the casualties of revision. I was trying to spot Village Underground, with its tube trains on the roof. It appears to be hidden from the top of the Shard by the Broadgate Tower -- see the extreme right edge of the photo.
London Overground Through Shoreditch

Here’s the London Eye with St.James’s Park behind. Buckingham Palace is around ten o’clock — it’s quite a difficult place to pick out — I had to describe the location it to a family who were particularly looking for it. This shows that the London Eye is in a far better location for sightseeing, being much closer to the main tourist sites. Unfortunately for tourists, most of the view from the east and south sides of the Shard is devoid of landmarks, although I’m quite interested in looking at ‘ordinary’ London from the Shard. Even though I like the Shard, I’m glad it’s not been constructed slap bang in the centre of London — imagine how out of scale it would look next to Nelson’s Column or Big Ben.

London Eye from the Shard with St. James's Park and Buckingham Palace
London Eye from the Shard with St. James’s Park and Buckingham Palace

It’s a shame the big beach volleyball stadium at Horse Guard’s Parade has gone. It would have been slap right in the middle of the photo.

The height allows you to get up close for unusually personal views of better known landmarks from a unique perspective.

The Gherkin from The Shard
The Gherkin from The Shard

Sadly the well-loved Gherkin seems to be in danger of being obscured, especially from the west, by its new neighbours under construction — the Walkie Talkie and the Cheesegrater. Both are seen in the photo below, although I’m not yet sure which is which.

Cheesegrater and Walkie Talkie
Cheesegrater and Walkie Talkie Under Construction

Slightly to the west (the other side of Bishopsgate) is the building that was the tallest in the country for many years — Tower 42 (previously the NatWest Tower). The perspective from the Shard shows how much the new record holder looms so much taller.

Tower 42
Tower 42

(Tower 42’s story partly explains why the opening of the Shard gallery is such an event. When it was the Nat West building, it was  severely damaged by a terrorist bomb. Terrorism was one of the reasons why other high buildings either closed to the public or never opened public observation areas at all — such as the BT Tower and Canary Wharf tower. Unlike many other cities, London had no public high level viewpoints, excepting restaurants and bars, until the Eye opened in 2000 — the Shard really is an innovation.)

The below picture also gives an idea of the Shard’s height — it looks down on the roof of Guy’s Hospital tower — which was one of the tallest buildings south of the river pre-Shard.

Guy's Hospital from the Shard
Guy’s Hospital from the Shard

A sense of height is also given by the way the railway lines from London Bridge stretch out into the distance.

London Bridge Railway Lines
London Bridge Railway Lines

This view towards the north west shows how the BT Tower also stands high over Fitzrovia and Marylebone. In the bottom right there’s a good view of the Royal Courts of Justice and to the upper left the colourful, new St. Giles’s development stands out. (Maybe I should get a job as a London tour guide?)

Covent Garden and West End from the Shard
Covent Garden and West End from the Shard

From this high up, the Olympic Park seems relatively close to the centre of London — much nearer than Wembley, although the Shard’s position itself is skewed to the south-east of central London.

East End and Olympic Park
East End and Olympic Park

One of London’s most distinguishing characteristics is the meandering Thames — and the twists and turns of the river can be appreciating from the Shard as from no other perspective.

Thames Looking East and  Tower Bridge
Thames Looking East and Tower Bridge

And yet the Shard’s summit is substantially higher than the public deck, although you’d have to have a hard hat and a remarkable head for heights to climb the pinnacle below to reach the very summit.

Shard -- Looking Up
Shard — Looking Up

So, is it worth it? If you’ve got a morning or afternoon to spend and you’re interested with London’s geography already then you’ll be fascinated — but also if you just want to indulge a child-like sense of wonder of being so high above the rest of the city then it’s a unique experience. There’s something inescapably human about wanting to stand and look at a city in this sort of panorama. And, to bring it back to novel writing, think of all the many stories that are playing out down below.

Panaroma from the Shard

Panorama from the Shard

The Accidental Street Art Photographer

This weekend is one of the biggest in the London art world with the huge Frieze exhibitions in Regent’s Park and many associated events. In 2010 Village Underground started to host the Moniker art fair, which is a showcase for leading urban, street and contemporary artists timed to coincide with the Frieze festivities.

The Moniker fair attracts a number of well-known artists from all over the world and one of the highlights of this year’s schedule is a new work by Ben Eine (see post about his other work in Shoreditch), who has a long association with Village Underground (he painted the ‘Let’s Adore and Endure Each Other’ message high up on the Great Eastern Street wall.

In The Angel Kim has her studio in one of the tube carriages on the roof of Village Underground in Shoreditch. I’ve been there quite a few times (up in the carriages and in the venue space below). I paid a flying visit to the fair (which unlike Frieze at £20+ is free to enter) yesterday evening and on my way up towards Old Street (where I also paid a flying visit to the National Academy of Writing fair) I noticed the lower part of the wall on Great Eastern Street was being painted.

The Gravity Garden -- Amanda Marie at Work
The Gravity Garden — Amanda Marie at Work

Unusually, it was a female artist at work and her style was distinctly different to much of the street art that normally covers the walls around Shoreditch — lots of yellow and pink —  not monochromatic blacks and greys or electrifying primary colours. She also used some intricate stencilling work to apply small coloured stars, crosses and lines to the mural.  And featuring figures of children in the work is fairly radical for street art.

I’d not seen a street artist at work and I was intrigued by the stencilling before so I asked if I could take a few pictures and we had a short chat. She told me that she was Amanda Marie from Colorado (website here), who’d come over from the US for the fair, and she had work on show inside the exhibition. The Moniker website describes it as ‘storybook imagery [that] can feel edgy cute, but it is washed with mischief, and can be a bit spooky.   Her work is Child-Like, but not Childish.  The paintings are allegorical and proverbial.’ The project on the Village Underground walls is called ‘Gravity Garden’ (sponsored by a gallery in Amsterdam) and it’s of ‘children gently falling through wonderfully endless skies painted directly on the walls.  It will be a spooky oasis.’

My Street Art Photos on Village Underground's Facebook Cover
My Street Art Photos on Village Underground’s Facebook Cover

When I got home I thought the photos looked quite interesting so I posted one on Village Underground’s Facebook page and said I had a few more if they were interested. They were and I e-mailed the photos over and they appear to have liked them so much that they’ve not only put all of them on their Facebook and Flickr pages (and giving me the credit) but one is currently Village Underground’s cover page (see photos) — as liked by over 10,000 people. The photos themselves have got nearly 100 ‘likes’ in a few hours. I’m feeling quite impressed that I’ve promoted the London street art scene, even if only in a small, accidental way.

Liked by Me and 96 Other People!
Liked by Me and 96 Other People!

As a quick aside, the most interesting thing that came out of the panel discussion I went on to see at the National Academy of Writing creative fair was the comment by Andrew Cowan (who runs the famous UEA MA programme) that most of their alumni who achieved distinctions did not go on to become published writers. It was those whose writing was less lauded by the academics who tended to make up their impressive list of students who went on to later success when the course ended. I was quite encouraged by that.

Update on the photo on Sunday 14th Oct: the artist herself has shared my photo on her Facebook page with my credit (see below).

My Photo on the Artist's Page (with credit)
My Photo on the Artist’s Page (with credit)

(If I get so excited about having a photo of mine shared around the web, I can’t imagine what I’d be like if the novel was to be published.)

When I Grow Rich…

…ring the bells of Shoreditch in Oranges and Lemons, Shoreditch being where mos of the start of my novel is set, although I very much doubt the bells of St. Leonard’s are going to help me get rich by writing it.  (The church is apparently features on current BBC series Rev, which is also set in Shoreditch.)

I’ve visited Shoreditch many times while I’ve been writing the novel, particularly recently, and I think I’ve noticed the most recent stages in its metamorphosis from run-down, working class area to the predominantly cool artists’ neighbourhood that it is today — although you don’t need to wander too far away from the Rivington Road/Shoreditch High Street area to find yourself in some very unartistic-looking, grim housing estates.

Bishopsgate
Bishopsgate from the Edge of the City

Perhaps the opening of Shoreditch High Street overground station about 18 months ago has been a catalyst as now the area is linked directly to south London and the North London Line at Dalston.

Shoreditch is surprisingly close to the City of London and its concentration of wealthy financial services workers. The photo below is taken from Shoreditch  — the marker post on the right side of the photo shows the City of London boundary marker.

It’s an extraordinary transition point with the Broadgate development on the right along Bishopsgate and the Gherkin in the distance. The street where I stood to take the photo is a very short length of road called Norton Folgate which connects Bishopsgate with Shoreditch High Street. It’s probably no more than one or two hundred yards in length but the contrast in urban landscape between its two ends is striking.

Great Eastern Street, Shoreditch
Great Eastern Street, Shoreditch
Slightly further up the road, looking away from the City is Great Eastern Street. This very ordinary looking street is actually London’s inner ring road — connecting the end of the dual carriageway at King’s Cross with Tower Bridge via Angel and Old Street. Village Underground with its tube trains on the roof can be spotted in the middle-distance.
After our first workshopping session of the autumn at Mike B’s in Old Street, I visited Village Underground’s large warehouse space (what the trains sit on top of) for the Moniker Art Exhibition in October , which was timed to co-incide with the big London Frieze event in Regent’s Park (at £27 a ticket that was a bit steep for me). But there was a lot of really good at the Moniker Event — and the space at Village Underground was a good venue for it.
It’s surprising that hundreds of years after the Roman and medieval walls of London fell into disrepair that it feels as if there’s still some psychological separation between inside and outside their boundaries.
Shakespeare Acted Here
Not the Globe Theatre but Noisy, Dirty, Anonymous Curtain Road, Shoreditch

All types of disreputable activities occurred in areas like Shoreditch, just outside the City walls and, in the late sixteenth century, this included actors and playwrights, along with all the other undesirables cast outside the City walls like thieves and prostitutes. Just around the corner from Village Underground is this plaque in Curtain Road, which is a very understated memorial to the Curtain Theatre – a predecessor of the Rose and Globe Theatres in much more historically celebrated Bankside.

London’s first theatre (called The Theatre) was located somewhere around the area between Curtain Road, Village Underground and Shoreditch High Street which has had the track for the new

Rivington Street, Shoreditch
Rivington Street, Shoreditch

overground station laid right through it. It’s incredible to think that this area of Victorian warehouses, 60s office blocks and surface car parks was a crucible of the English language — where Shakespeare started his writing career.

Very close to the Shakespeare plaque is the Old Blue Last — a live-music venue described by NME on its website as  ‘the world’s coolest pub’ and continuing Shoreditch’s history of alternative entertainment. A roll-call of the ‘coolest’ acts of the 2000s have appeared at the pub including Amy Winehouse, Florence and the Machine, (Gordon Brown’s favourites) the Arctic Monkeys, the Vaccines and many more.
Old Blue Last, Shoreditch
Old Blue Last, Shoreditch

Places like the Old Blue Last won’t have deterred the arrival of trendy artist types in the area and I thought the photo below shows an appropriate clash of old and new — über-cool American Apparel (apparently the shop where Ruta Gedmintas bought her outfits for Frankie in Lip Service) has opened up next to a pub improbably called the Barley Mow.

Old and New on Curtain Road
Old and New on Curtain Road

Actually the Barley Mow is only a traditional looking boozer from the outside, as I found when I organised a pub crawl starting at the pub, and found that the price of a pint of their Fuller’s ale was a far from working-class £3.70.

A group of us did 8 pubs in all in a route from Shoreditch to Islington via Old Street and the Regent’s Canal. Second on the list was the also archaically named

Bricklayer's Arms Shoreditch
Probably Not Many Bricklayers in Here Any More -- Bricklayer's Arms, Shoreditch

Bricklayer’s Arms (thought the punctuation of the name suggests there was only one tradesman).

On the crawl was the ultimate down-at-heel boozer that’s been the unlikely beneficiary of being turned into a nationally famous ale drinkers’ destination — the Wenlock Arms on the borders of Old Street and Hoxton.

It’s in a very mixed area with new apartments being developed around the Wenlock Basin on the Regent’s Canal but also being situated in the middle of the sprawl of forbidding-looking council estates that border the trendy centres of Shoreditch and Hoxton.

Wenlock Arms, Hoxton
Wenlock Arms, Hoxton

It’s an almost stereotypically ‘unspoiled’ pub — almost falling to pieces in places — but it’s got a thriving clientele of ale drinkers (some of whom I know seek this place out from the USA) but it has been under threat recently of being redeveloped into a five storey block of flats.

It’s the sort of authentic place deserves to be preserved and, as an example of one aspect of pub culture, a pub very like it might find its way into my novel. And any inquisitive barmaid who might work in this sort of pub would certainly know how to keep and serve great beer.

Shardenfreude

Google Analytics tells me that there must be a lot of disappointed people who happen to land on some of this blog’s pages. Aside from my ardent and dedicated regular followers people land on the blog by via search terms that generally relate to subject that I’ve tended to mention in passing.

But today I can satisfy a  group of people who are fans of an iconic sight that’s slowly emerging by London Bridge — the Shard (otherwise known as London Bridge Tower).

The previous blog entry of photos of the Shard has had more hits than virtually anything literary (bar the write-ups of talks by agents and editors during the City Novel Writing course).

The Shard From The North Side of London Bridge
The Shard From The North Side of London Bridge -- 5th July 2011

So here’s another fix for those fans of the soon-to-be tallest building in Europe. All are photos I’ve taken while running from Westminster up to the City along the Thames — out on the north bank and back on the South Bank.

 

Shard from the North Bank of the Thames 5th July 2011
Shard from the North Bank of the Thames 5th July 2011

They’re taken on occasions separated by 20 days — and on initial impressions it doesn’t seem that the Shard has risen much higher over that period — perhaps they’ve all been on holiday? Or maybe it’s because the building is so huge that it’s an effect of its scale.

The Shard from Guess Where -- 25th July 2011
The Shard from Guess Where -- 25th July 2011

Actually, I’ve learned from Wikipedia that the concrete core has reached its ultimate height of 72 storeys and that it’s now the floors for each storey that are being added — at a rate of one a week. Three weeks’ progress can just about be discerned between the photos. (btw It’s not a cropping mistake that there’s so much of the River Thames on the above photo — there’s a little hint of where it’s taken from in the bottom-right corner.)

But why am I putting lots of photos of construction work on a blog that’s (meant to be) about my long and discursive journey towards completing my novel(s) — and, with a bit of luck, beyond that?

But I’d argue that the Shard is just the most prominent example of a theme that runs through The Angel. It emphasises the dynamic, changing environment of London — and, being designed by an Italian and financed with money from the Middle East, it’s also an example of the internationalisation of the city.

I have a character who’s been drawn to London because, compared with anywhere else, she really thinks it’s the place to be. And unlike many weary Britons who believe themselves over-familiar with the city, she’s enthralled by discovering the place and the rapid change that’s happening around her makes it even more enjoyable — there’s lots of tradition but there’s also a lot of re-invention.

It’s difficult to overstate the amount of prominent new building that has taken place in London recently — and how distinctive the majority of the new architecture has been. I happened to come across Kenneth Powell’s book ’21st Century London — The New Architecture’ in Tate Britain last week. It’s a superb book for anyone interested in the development of contemporary London.

The list of structures put up in the last 11 years is almost awe-inspiring – and, being an artist, Kim is going to have an eye for good architecture.

Firstly, there are the obvious but hugely popular Millennium projects, such as the London Eye, the Millennium Bridge and the derided but distinctive dome that has now turned into the O2 arena.

With public transport being a bête noir of Londoners, it’s easy to forget the huge investments in transport infrastructure. I was pleased to see that Powerll agrees with my appreciation of the Jubilee Line extension’s transformation of Westminster tube station, which is like something out of a science fiction film.

Westminster Tube Station
A Whole Series of Blake's 7 Could Have Been Filmed in Westminster Tube Station

Canary Wharf underground station is mind-blowing: it reminds me of the interior of a cathedral more than anything else — such a huge space suffused with natural light. The restoration of the huge canopy of the Barlow train shed over the tracks at St.Pancras station for the high speed rail link has been immensely popular, as has the development of the rest of the station — and there are much improved Thameslink and underground stations (I often used Kings Cross-St. Pancras on the way back from City University).

And there’s more on the way — right next to the Millennium Bridge (on the run I took the photos on), Blackfriars station is being transformed into something that will span both sides of the river. The corner of Tottenham Court Road and Oxford Street is also one huge building site (as I saw from the top of a number 24 last week), as is the area round Farringdon (and a few other locations) while Crossrail is being tunnelled. With Thameslink also being improved, London will have a couple of cross-city railways of the type people have always complained are commonplace in, for example, French or German cities. (There’s also the massive Heathrow Terminal 5, which like a few of these projects was derided at first and then eventually appreciated for being a tremendous piece of infrastructure.)

Then there are the marvellous renovations of iconic buildings: the Great Court at the British Museum, the Royal Festival Hall and, of course, most pertinently to my novel, the conversion of Bankside Power Station into the Tate Modern.

The office buildings in the City are probably the tallest and most noticeable developments. As well as the Shard, there’s the iconic Gherkin (30 St.Mary Axe), the newly finished Heron Tower, the Pinnacle (under construction in the City, which will be almost as tall as the Shard) and the Broadgate Tower (which looms over Village Underground — although less than originally planned as its height was scaled down).

The City Encroaching On Shoreditch
City Encroaching On Shoreditch

Not all the big office developments are in The City. There’s the colourful Central St.Giles development (those yellow, red and green faced buildings), the Wellcome Trust building in Euston Road (a place I know some of my writerly friends use as a congenial venue to discuss their novels) and buildings I never knew had a great architectural pedigree, such as Palestra, near Southwark tube station, which reminds me a bit of a broken Rubik’s cube.

It’s not all work — there’s plenty of play. Two of the best stadiums in the world have been built in London in the last ten years. There’s the new Wembley Stadium, which is the second-biggest stadium in Europe and probably the best in the world for facilities (and I’ve just been extorted out of £92.50 for two tickets there to watch England vs Holland in a couple of weeks time). The Emirates Stadium shouldn’t be forgotten. I often used to fly over and think it reminded me of a giant Arse — quite appropriate for a club whose name oddly recurs in the names of its staff: a manager called Arsene and a striker named Arshevin.  (I’m a Man Utd fan).

There’s a huge amount of redevelopment in London since 2000  — but there’s even more to come. At the start of the novelKim lives around Homerton in a tall block of flats (on the number 30 route) so she’s also been able to look out on the progress of the biggest transformation of the lot — the 2012 London Olympic park. This is home to some apparently incredibly inventive buildings — but the public’s not allowed near them at the moment. We’ll only be allowed in on the first day of the event itself…

…which begins exactly a year today. London will then be even more the world’s most international city.

And I hope I’ll be able to put my feet up and watch it, which I’ll have to do almost entirely on TV — although I did get a meagre ticket allocation out of the farcical process. Some will not be surprised to know they’re for beach volleyball — my excuse is I was working my way through the alphabet — I was also going for athletics! And in a year’s time I also hope to have long since put the finishing touches to The Angel too.

Shoreditch By Overground

After the tutorial with Emily the weekend before last I decided to take a walk to see how things were around Village Underground as I’d not been there for a while. It was the first time that I’d had chance to visit the new Shoreditch station, which radically improves the transport links through the area. Only a week or two before I took a ride on the train, a new bit of line was opened between Dalston Junction (itself only re-opened for less than a year) and what used to be called the North London Line. This piece of newly re-instated line links to the old East London tube line at Shoreditch and that’s been connected to the rail network on the south of the river so that Shoreditch now has a remarkable train service  every 5 minutes with some trains running from Highbury and Islington to West Croydon.

The station is, as you would expect, very modern and, in a short time, seeing as it’s not far at all from the top end of Bishopsgate and the Broadgate development, could transform the character of the area in a short time. I’m not sure whether this would be good for my novel or not — I guess it could be a move behind property prices shooting up and pricing artists like Kim out into the country.

I looked out from the train as it left Shoreditch station and got an unusual rooftop level view of Village Underground (see below). I posted this photo on their Facebook page and they officially ‘like’ it.

Village Underground Viewed from the new London Overground

Village Underground Viewed from the new London Overground

The roof of Village Underground itself, where the tube carriages are placed, is actually part of a viaduct that carried trains into Broad Street station (which was next to Liverpool Street) until 1986. The railway bridges over Great Eastern Street and Holywell Street were only removed in the 1990s. A new viaduct was built crossing Shoreditch High Street and then joining the old track bed which runs directly north up to Dalston and this involved the demolition of an area opposite Village Underground to accommodate the curve of the track as it links the two together.

Holywell Street, which was a dead-end blocked off to traffic when I first visited Village Underground has now been re-opened as a red-route connecting the London Ring Road to Shoreditch High Street. So this area, despite looking like something of a neglected inner-city backwater, has seen a lot of change recently. Here’s the scene at ground level with the current toaster mural.

Holywell Street, Shoreditch
Holywell Street, Shoreditch

The City encroaches ever further towards Shoreditch and the Heron Tower, now the City’s tallest building, has been completed half a mile down the road. It’s the Broadgate Tower that looms most intimidatingly over Shoreditch High Street — here seen with the friendly shape of the Gherkin by its side. This photo was taken close to the church of St. Lenonard’s — famous for the line in the nursery rhyme Oranges and Lemons — ‘when I grow rich, say the bells of Shoreditch’. (I’m going to have to work in a few references to this.)

Shoreditch High Street and the City
Shoreditch High Street and the City

I took the train from Shoreditch to Dalston Kingsland, a place I visited 20 years ago at night when it had no semblance of the gentrification that is hinted at today. From there I took the North London Line to Hackney Wick. I’ve been to Hackney before, which I’ve found nowhere near as intimidating as its reputation — there’s a good pub there called the Pembury Tavern, but never Hackney Wick.

Hackney Wick station is a desolate place, cut off by railways and road schemes, and I wouldn’t feel comfortable at all walking around there late at night — there’s just a boarded-up pub next to the station and a load of corrugated-iron motor mechanic shops of the sort you see on Eastenders. The Olympic stadium rose up quite incongrously in the background. I was told by Tam at Village Underground that Hackney Wick has the most artists per square mile (or whatever) in London (or maybe even Europe) but perhaps they were all round the corner somewhere as I didn’t see much artistic, although I could see why the rent might be cheap.

I walked around to the bus terminus, which at least had some houses and shops nearby, and got the number 30 from the start of its route all the way into central London — via Hackney, Dalston, Islington, King’s Cross and so on. I saw plenty of places on the route around Homerton which comfortably fitted the description of the flat where Kim lives at the start of the novel — they’re something of a contrast to where she’ll live at The Angel.

Sneaker Pimps

More odd musical/novelistic connections: one song I belatedly discovered is by a little known band called The Sneaker Pimps. Even though I only heard it properly on a compilation last year it dates back to 1996. Given my recurring themes in The Angel it’s probably not a surprise (but one I only just realised) that it’s called ‘6 Underground’. It’s more than just the title that resonates — it’s also the general feel of the track (a sort of soporific shuffling beat) and the lyrics.

There’s a bit of a refrain alternating ‘underground/overground’, which is quite apt but I particularly like the sense of contempt hidden behind a veneer of patience. I especially like the couplet:

‘Don’t think because I understand that I care/Don’t think because we’re talking that we’re friends.’

And I like the nihilsm of:

‘Talk me down, safe and sound/Too strung up to sleep/Wear me out, scream and shout’

The intonation of the singer, who’s now called Kelli Ali, fits in my mind the sort of attitude that I’ve tried to depict in Kim in the extract that I’ve written to send out for my reading when we come back after our Easter holidays on Monday. She’s massively in debt, been betrayed by someone who she thought was her boyfriend, is hungover and has to entertain this City banker type who she thinks feels quite sorry for himself as he’s just been fired — but she needs his money. She’s only really prepared to be as civil to him to start with as is strictly necessary (‘don’t think because we’re talking that we’re friends’) but he disarms her by his childish enthusiasm and honest compliments to the point where he wins her round and actually manages to get her to drop a lot of her front too.

I’m not too sure what I think about what I’ve sent out to the rest of the class overall. It’s 2,600 words (a little over so Alison might shut me up again) and it’s just two people in a confined space in real time from one POV. It sows a lot of backstory and primes the rest of the narrative though, after the initially more dramatic scenes of the first two chapters. (Most of the class haven’t seen these but Alison has — and she’s given me feedback on them so I’m not going to get her to sit through me reading those again.) The reader will find that James is into cooking, that Kim is in a bad state (asthmatic. in debt), that she works in a pub part-time, that James doesn’t find her very attractive (bloodshot eyes, dirty clothes, spotty) — he’s surprised at one point that she has a female shape.

Yet the two of them both want something from the other. James wants some sort of validation and approbation of his appreciation of art and music. Kim wants to keep her head above water professionally and financially: she’s also in a situation from which she could be persuaded to escape.

I found the video for the song on You Tube so here it is. (Note the nose piercing.)

I came across an autobiography of Kelly Ali, the singer in the Sneaker Pimps (at the time of ‘6 Underground’ anyway). It’s quite fascinating and she has the same kind of voice and philosophy that I imagine Kim to have, with a few important differences. Seems the other pimps were posh kids from the north east — one of them and his father were accomplished fine wine tasters and could identify reds from tasting them (more echoes of my writing there, especially from ‘Burying Bad News’.).

The Grey Goose

We had a session with Emily about how themes and connections will start to emerge in our work. I realised that I had an interesting location with Village Underground and that there was something subconscious in why I liked it so much. During the class I realised that the trains were a metaphor for the whole city-rural tension in the novel — something that connects the two halves together and they were also an inversion of the natural order — underground trains being on the top of something rather than the bottom.

But other odder influences are at work in my mind. One CD I’ve been playing in the car is possibly the most untrendy album ever released by the untrendiest of the Beatles — it’s ‘London Town’ by Wings. I’ve always liked the album since I recorded it on cassette from someone over 30 years ago. It was released just after ‘Mull of Kintyre’ had become the biggest selling single ever (until Band Aid) — and this was just as punk was coming down from its heyday. There’s little classic rock/pop on the album in the mould of ‘Band on the Run’, which might have gained it fans. In fact some of the album is pretty rubbish — the Elvis style rockers for example. However, it has the fairly ground-breaking single, ‘With A Little Luck’ which is almost all synthesizers and was released a good three years before the Human League, Soft Cell, Depeche Mode and so on got started with Synth Britannia. Also, the title track ‘London Town’ that was McCartney’s first flop in years is a beautiful piece of music with Linda McCartney’s harmonies sounding beautiful, especially at the end — it’s a shame the lyrics are so ridiculous. When I’ve been walking round looking at London with an eye to finding usable locations I’ve had ‘silver rain was falling down upon the dirty ground of London Town’ going through my mind on many occasions. The main strength of the album, to me, are the four or five folk-rock tracks mainly co-written by McCartney and Denny Laine — ‘Deliver Your Children’ and ‘Don’t Let It Bring You Down’ are cracking songs. The last track, and this is the point of this diversion into ‘London Town’, is called ‘Morse Moose and the Grey Goose’ which is something of a concept song made of a few fragments but the ‘Grey Goose’ bit is a salty sea-shanty type song — complete with West Country sounding accents: ‘the Grey Goose was a steady boat, people said she’s never float, one night when the moon was high the Grey Goose flew away’.

So I’ve had this playing in my car recently.

I was writing about Kim getting herself hammered in the putative first chapter of ‘The Angel’ and I was wondering what she might drink. I thought gin maybe but opted for vodka as it’s in less need of mixers so I wondered about a suitable brand — being the proud owner of a botle of Smirnoff Blue that I bought in 1989 on my first BA staff travel flight and have never opened since. I don’t think I’ve ever actually drunk vodka at home. So I got on the Ocado website to check out some vodka brands — and there are plenty of variants with all kinds of provenance and flavours. I had to go through about 30 before I found one that I’d seen advertised in an expensive magazine like the Economist and that cost about three times the Waitrose own brand stuff. This seemed like something that might be served in the bars of Shoreditch too — it’s apparently distilled from wheat in Cognac and was sold to Bacardi as the most expensive spirit ever at $2bn apparently. The website is very Flash.

It’s called, of course, Grey Goose.

Bean Doing Some Research

I’m writing this from ‘The Bean’ a cafe on Rivington Street, Shoreditch. I had to come into London for a meeting with a colleague in the rather different surroundings of the Holiday Inn, Mayfair. He was offering me some careers advice along the way, which was both good and bad, because more or less everything he said convinced me that I’d be more suited to a novelist’s lifestyle although this is not something one can approach a recruitment agent for.

While on the tube to Green Park I had something of a flash of inspiration while reading a review in The Economist of some books about the credit crunch. It’s a little depressing as the recession and financial crisis are already appearing in fiction — which will possibly make my themes a little dated — although the Economist seemed to think it would take a year or two for anything particularly thoughtful or reflective to come out (my inference from the article anyway). That set me thinking of the many interesting parallels between my three themes — money (finance), art and sex. I had one particularly thought that I’m going to think about further but it could have ‘legs’.

I’ve had another look at Village Underground, from the top deck of a bus this time, which is useful as I’ve been furiously writing about Kim’s tenure there which may form the opening chapter of the novel. I have a few different ideas for openings and I’d like to use Alison’s tutorial on Saturday to see what works best. The problem is I have to write them. I was up until past 1am last night and up again writing by 8am.

On the way here I stopped by the Tate Modern. I was hoping to see the Rothko Seagram pictures, which I thought were there, as I watched the Simon Scharma programme on them on DVD a few days ago — more research. However, they appear not to be there and today’s strike by the PRS (or whatever union it is) meant most of the galleries were shut so hordes of foreign school parties were all crammed into Balka’s box instead, which I guess probably gave it the opposite ambiance to that which the artist intended.

Opening the Novel?

Unlike the majority of my fellow students on the City course I’ve not approached the writing of either of my novels-in-progress in any kind of sequence — either chronologically or in anticipation of the eventual order in the book. I’m not too concerned by this as I think my brain works in a non-linear way — my (by now fairly distant) past in computer programming means I’m quite familiar with defining the meaty, functional bits of a concept and then choreographing these together — in the same way as one might write a coherent argument or report. The exercise I did with the post-it-notes (see post below) was quite useful for taking stock of where I planned to get compared with where I am now but it’s evident that I still need an opening for ‘The Angel’ and that, while I’ve written an opening for ‘Burying Bad News’ that’s likely to be superseded by later developments.

Over the weekend I thought I had a plan. I would start off ‘The Angel’ in dramatic fashion with James being unjustly fired from his financial job — being made a scapegoat partly because he’d been slowly drifting away from being ‘one of the lads’ and engaging his interest in arts. I guess this subject could be the most autobiographical of any of my writing as I’ve now twice been on the wrong end of this experience myself — currently going through the consequences of this ‘process’ as HR people like to term it. Perhaps, because I’ve aired quite a few of my own grievances, I’ve managed to do 3,000 words of this opening.

It’s in three sections — starting in media res halfway through the meeting where James is ‘re-organised’ in clinical HR speak; then a scene which is quite useful in a number of ways where he packs up his mementos from his desk (lots of character clues through the artefacts) and befriends the Somali security guard; finally a more dramatic scene in the gents where the real reasons that he’s been fired are revealed — not going to the lap dancing club being one — and he hits his erstwhile boss.

It was a real slog to write all this and took me a whole day to revise it (I think I was still feeling the effects of my cold/flu). However, 3,000 words is quite a lot, especially when this section doesn’t impinge much on the rest of the plot. To break it up a bit and avoid the impression it’s a book wholly about City types, I’m planning to interleave James’ section with Kim’s own crisis which I think  I’ll have happening in parallel.

I have a nice vision of her having an almighty row and bust up with the St. John Rivers-type character I’m yet to define — I see her standing on the top of Village Underground in Shoreditch throwing his stuff down to the street from 40 feet above Great Eastern Street. The trouble is I’m finding it difficult  to think of what she could throw without her getting arrested. I’ve wondered about her pouring paint on him. Maybe she could do it on the other side of Village Underground near the entrance to the warehouse and the spiral staircase which is currently a dead end due to the construction of the new Shoreditch High Street station? I think this would work quite well if it’s quite physical and visual as it would contrast with the corporate stuff. The two would then turn to each other in the aftermath of their stressful mornings and head out on the aforementioned bender.

If I do two scenes with Kim at about 1,500 to 2,000 words and I guess the bender is going to take about 4,000 words (I’d like to write this for my tutorial with Alison on 27th March,  although I need to get it to her earlier than that) then I’m going to have about 9,000 words of an opening to the novel, which I think might be ok if I’m looking at around 80-100,000 words overall. I’ve already written an ending of about 3,000 words which could be expanded (I wrote it bearing in mind the tutorial word limit) and it needs some context preceding it. I’d then probably have my two pivotal plot points at about the 12-15,000  and 70-75,000 word points — where the action leaves London and then returns. Seems far too neat to actually work out properly!

Speaking of Village Underground, I was quite alarmed to hear on the radio this morning about the huge fire in an ‘office and bar complex’ in Shoreditch. Fortunately, for my own selfish purposes, it’s not Village Underground that’s gone up in flames, it’s a place about half a mile away from Shoreditch High Street — but it just shows how real life can intervene in these things.

Village Underground

For ‘The Angel’ I wanted Kim to be a struggling (financially if not critically) artist based in inner London. I’d thought of Hackney as a location for her studio mainly because I’d met a real artist on a German course at the Goethe Institute a few years ago who himself had a studio in Hackney — somewhere he freely described as a ‘shit hole’ that artists flocked to solely because it was cheap.

When he heard the synopsis read, Michael B from the City course suggested that I might also consider Shoreditch as the kind of weird and wacky place where artists like Kim might hang out — and recommended a few places I might want to go to soak up the ambiance.

In the meantime, I’d bought a fantastic ‘London for Londoners’ type guidebook called ‘Secret London — An Unusual Guide’ by Rachel Howard and Bill Nash (Jonglez Publishing). Among the many fascinating sights that 99% of Londoners probably aren’t aware of was somewhere that seemed exactly the right setting for Kim.

Village Underground from the Street
Village Underground from the Street

It’s Village Underground which is, bizarrely, a huge open space that’s used for performances, fashion shoots and exhibitions and is topped by four old Jubilee Line tube train carriages — about 40ft above Great Eastern Street in Shoreditch. The tube trains have creatively been turned into office space and are used by local artists, actors, writers and creative people in general — at a relatively low cost.

Graffiti Art on Rooftop Tube Carriages
Graffiti Art on Rooftop Tube Carriages

The book mentioned that someone might be willing to show visitors round if they asked nicely so I called Village Underground and said I was writing a novel and I’d like to see if would be a suitable setting for my character. They were extremely friendly and accommodating and even allowed me to turn up yesterday to take a look around at short notice while the performance space was being fitted out for a fashion show (lots of designer types hanging around outside). I was allowed to take plenty of photos, some of which are interspersed in this post.

Old Jubilee Line Carriage
Old Jubilee Line Carriage

Tam took me up the spiral staircase on the outside of the building on to the roof to get a close look at the tube carriages, most of which had been grafitti’d by the graffiti artists who based themselves there. It was a miserable day in February so the roof garden wasn’t at its best but apparently it’s a very social place for the artist types to hang out in the summer. I peered into some of the carriages, which had indeed been turned into creative workshops.

As well as showing me round Tam gave me a lot of useful advice on other places in London where artists congregate in numbers. As I’d originally thought, Hackney has a real concentration — particularly Hackney Wick — somewhere else I’ll need to investigate. She told me about a few places locally in Shoreditch to have a look around and after I left I went on a very long walk around the area which took me to Brick Lane. I then set off back into the City, going through Liverpool Street and Barbican and heading back to City University for the evening’s class.

It was an odd experience to stand above Shoreditch in the  artists’ community and look at the skyscrapers encroaching northwards from the City of London. (I took a cab up Bishopsgate to Village Underground and passed the construction site of the Heron Tower, which became the tallest building in the City a couple of months ago, as well as the big hole in the ground that will become the Pinnacle tower, which at 63 floors will overtake the Heron Tower.)

The City Encroaching On Shoreditch
City Encroaching On Shoreditch

It’s staggering how the wealth of the City suddenly changes in the space of a hundred yards or so into the ‘edgy’ area of Shoreditch. Tam said the City is encroaching further into the area and the artists are being priced out — I later saw a new Crowne Plaza hotel on Shoreditch High Street.

This is all fantastic stuff for the novel as I have a good reason for James, who’s working in a financial institution, to end up pretty close to Kim in geographical terms. He could easily pop out to Shoreditch after work or even in his lunchbreak if, like me, he occasionally tends to take rather long ones.

Many thanks go to Jack and Tam at Village Underground for being so hospitable and I’m hoping to return there to enjoy the roof garden when the weather’s more clement.