ghosts – East of Elveden

November 23, 2023

The Ghost of a River – The Walbrook

Of all London’s lost rivers it is the Walbrook that is the most irrefutably lost: lost to time, lost to place… well, almost. An important source of water in Roman times, when its banks were lined with the workshops of Roman industry – tanneries, potteries and glass workshops – the river has not been visible on the surface since the 15th century when the last open sections were vaulted over. Ghosting the boundary of Roman London, its confluence with the Thames lay close to what is now Cannon Street Station Bridge. Where the Walbrook began is less certain, although what is clear is that its course flowed between the City of London’s two principle hills – Ludgate and Cornhill. Some say its source was a spring close to what is now Shoreditch High Street, while others point to higher ground at Islington.

Lost to time, perhaps, but there clues to place – in street names, in signs, in places of worship, in the Roman street plan. The walking route tracing the Walbrook’s course that I describe here is faithful to that given in Tom Bolton’s excellent London’s Lost Rivers: a Walker’s Guide Volume 1.

I begin on Curtain Road that runs south from Shoreditch. Holywell Road that abuts it to the east is an intimation of the location of the aforementioned spring. Curtain Street leads to Appold Street and through Broadgate Circle, an upmarket shopping and leisure hub that until 1984 served as a railway station and which was formerly a burial ground for the Bethlehem Royal Hospital, better known as Bedlam. It also served as a mass grave for victims of the various bubonic plague outbreaks in pre-Fire London – grim, no doubt, but dig down almost anywhere in central London and you will find human bones sooner or later. The River Walbrook would have passed through here before flowing along what is now Bloomfield Street to reach the Roman-built London Wall, which served as the boundary of the City until the 18th century. The Walbrook is believed to have flowed through a hole in the wall at an aqueduct close to where Bloomfield Street meets the Wall.

Channelling the disappeared river, I pass through elegant iron gates of the Wall into Throckmorton Avenue, then turn right and left into an alleyway opposite a barber’s shop that seems incongruous amidst all this high-rise estate of capital. But even financiers need to be shaved and shorn occasionally – sharp haircuts and a regular supply of barista coffee are the basic necessities of life in the City. The alleyway leads into to the narrow passageway of Tokenhouse Yard, at the end of which is the reflected light of the north wall of the Bank of England, the building’s Portland stone preternaturally aglow in the gloom of an overcast November day. The magnetic pull of capital here is almost spiritual: money buys, Jesus saves, sinners spend. Sir John Soane, the Bank of England architect, surveys the scene from his statue recessed high into the wall, while the ghost of the river traverses beneath the building, symbolically moistening – perhaps laundering – the horded lucre in the vaults beneath.

Riverwards, beyond the Bank, lies the Church of St Stephen’s Walbrook and a street of the same name. The elusive river is acknowledged at last. The church, originally situated on the bank of the Thames, was moved here in the 14th century. The Walbrook would have flowed just west of here. The street is dominated by the block-length, Norman Foster-designed Bloomberg building, which has an undulating profile that hints at the vanished river. On its ground floor, an etched glass door leads into the London Mithraeum, a museum dedicated to the Mithras temple that once stood on the banks of the Walbrook nearby. A place where Mithras and Bacchus were once worshipped by Roman soldiers, Mammon has since taken over as chief deity on this patch of expensive real estate.

Just south of here, within sight of Cannon Street Station, is the Church of St Michael Paternoster Royal. Alongside are Whittington Gardens, named after the famous cat-loving, four-time Lord Mayor of the city who is buried here. This was the original location of confluence of the Walbrook with the Thames – the mighty river has shifted south in the two millennia that has passed since Roman times. Upper Thames Street now flows with traffic where once the tidal river lapped. The modern confluence, theoretical as it may be, lies not far away along Cousin Lane, a narrow street that traces the long wall of Cannon Street Station down to the railway bridge over the Thames. Here there is a pub and steps leading down to the water. There is also a river path that leads west along Walbrook Wharf, where black barges lie tilted on the shore awaiting the incoming tide.

The tide is out and so I descend to the beach, which is covered with assorted pebbles, water-blunted bricks and a few rusted scraps of iron. Scattered among the pebbles, a small piece of pottery reveals itself at my feet – curved, brown; reassuringly rustic. Roman? Who knows, probably not, but somehow it feels right. A votive offering – it marks the place where London began.

September 21, 2023

Ghost Factory

Much of the fabric of Birmingham’s history is, like the city’s modest river, the oft-culverted Rea, half-hidden or tucked away from sight. Occulted beneath flyovers and underpasses, the city’s past flows sluggishly beneath redundant factories and car parks. Unconvincingly disguised, and with the vaguest hint of rusting metal, it escapes as vapour from drains and manholes. It goes with the territory: this is a city where there is a strong tendency for destroying evidence of the past, of knocking things down only to build them again in rearranged form. As the city’s coat of arms proclaims in its simple motto, it is the Birmingham tradition – ‘Forward!’ The subtext is ‘Don’t Look Back!’ The past is bulldozed. Even so, modern high-rise Birmingham, brash and shiny though it may be, is replete with ghosts of the past, of industry, of once busy factories and workshops. The whole city is a ghost factory.

These days there is a new-found reverence for some of Birmingham’s more iconic anti-heroes. Peaky Blinders with its skewed myth-making has afforded the city some retro-gangster glamour, while established city brands like Black Sabbath have become the stuff of legend. Now there is even a Black Sabbath Bridge on Broad Street spanning the canal, where the likenesses of Aston’s own heavy metallists – Geezer, Bill, Ozzy and Tony – are immortalised on a bench (iron, naturally). Who’d have thought that in the halcyon days of my Birmingham Town Hall gig-going youth it would be faux-demonic Black Sabbath who would be chosen as the musical emblem of the city? My money would probably have been on the Moody Blues or Roy Wood.

In Victoria Square, the neoclassical Town Hall is just as I remember it, all pale stone and Corinthian columns, but its immediate surroundings have changed dramatically in recent years. A tram line now passes in front of it that follows a route through the Black Country to Wolverhampton, somewhere that seems exotically distant from this city centre ground zero. Between the town hall and the tram tracks stands Antony Gormley’s Iron:Man, a six-metre-tall leaning metal figure that pays tribute to Birmingham’s erstwhile industry, its original heavy metal heritage.

Head downhill from Victoria Square, past the stainless steel, baking foil roof of New Street station, past the aluminium-disc-clad blobitecture of Selfridges, through the Southside district and the areas that are now marked on maps as Gay Village and Chinatown. Soon you’ll arrive at the former industrial district of Digbeth, which nowadays is probably the closest thing Birmingham has to a Bohemian quarter. This part of the city is actually the oldest quarter, the location of the original Saxon village at a ford on the River Rea, around which the satanic mills of Victorian Birmingham would later cluster.

Digbeth High Street is in a state of flux, one side of it enclosed in chain-link. Gentrification might be too strong a term, but Digbeth is undergoing change: empty factory sites are being cleared to await new development. Tram tracks are being laid down; pavements are being widened and made pedestrian-friendly, flower beds are being set out awaiting planting. The side streets that slope down beneath the railway arches are lined with one-time industrial buildings that have morphed into event spaces – ghost factories stand at every corner. The wall murals that abound have already been here long enough to develop a patina of age. As I wrote in an earlier post, the transformation has already been going on for several years.

Digbeth is the location for Supersonic, an annual festival of experimental music that celebrated its twentieth anniversary this year. Supersonic is by no means a heavy metal festival but the spirit of Black Sabbath permeates like a benign, if mischievous, presence. Performances take place in two neighbouring buildings, one of which served as a warehouse in a previous life. Dark clothing is almost de rigueur, as are Sunn O))) T-shirts. Light-hearted doom is perhaps the oxymoron that best fits an atmosphere that I can only describe as feel-good apocalyptic. The music is loud but the mood is calm; the ethic is kind, inclusive and super-friendly. Perhaps it helps that this is Birmingham. Would it be the same in Manchester or London?

The Sunday night headliners Lankum play a glorious set of drone-laden alt-folk to an ecstatic crowd. Alternating between heart-rending murder ballads, frantic Irish jigs and dark sea shanties, the music veers from gentle to violent, from elegiac to almost frightening. In one of the between-song chats with the audience, guitarist Daragh Lynch mentions that he was delighted to discover that both of Sabbath bassist Geezer Butler’s parent’s were Irish and concludes from this that heavy metal must therefore be an Irish invention. We all laugh. But Birmingham, and especially Digbeth, did once have a sizeable Irish presence. It’s all part of Birmingham’s proud black, white and brown cosmopolitanism. The city was built on metal and people. Iron Man (Black Sabbath); Iron:Man (Antony Gormley) are both worthy tributes. While Birmingham’s iron has rusted to be replaced by stainless steel and aluminium, its people shine on.

July 7, 2020July 15, 2020

The Shrieking Pits

Tucked away in the north Norfolk coastal hinterland, close to the villages of Overstrand and Northrepps, is a group of small ponds known as the Shrieking Pits. More of the same can also be found a few miles further west near Aylmerton close to Felbrigg Hall. Thought to be early medieval excavations for iron ore, the resultant pits have long been filled with water and softened by vegetation to allow them to blend in with the scenery as if they were natural features in this gentle post-glacial landscape.

Seeking them out, we made our way on foot from Overstrand, following the Paston Way inland through dark woodland and prairie-sized fields of barley and oilseed rape. The pits lie amidst arable land just beyond a farm at Hungry Hill, a name that points towards agricultural impoverishment at some time in the past. The pits stand beside a green lane, a byway of some antiquity that may have been here as long as the excavations themselves.

The first one we come across is small, surrounded by willows of a uniform height. In the ring of tree shade that encloses the shallow pond, a wooden palette left over from some undefined farming business lies next to the water liked an abandoned raft. The main ‘pit’ is nearby, an altogether larger and more impressive pond edged in by semi-recumbent oaks. The water is glassy and ink-black, suggesting great depth and perhaps a little menace. On the far bank the surface is coated with pond weed the colour of puréed peas. A small wooden notice board has been placed next to one of the oaks is but it is bare, its writing long gone to leave it devoid of information other than that which can be told by wood grain alone. Despite this unwitting redaction, a tangible sense of genius loci suggests that there is something to be told of this place other than a chance meeting of trees and water.

Naturally with a name like Shrieking Pit there is a strong likelihood of dark legend. The mundane answer is that the name alludes to the sound emitted by the exposed gravels. But does gravel really shriek? It scrapes and it crunches but does it make a noise quite so dreadful? Shriek is a loaded word, a term that evokes emotion – fear, dismay, even terror. It is these qualities that inform the folklore associated with the place.

The story goes that a grieving young woman haunts the locality. It tells of a heartbroken 17 year-old called Esmeralda who was seduced and then abandoned by a duplicitous local farmer. Inconsolable, the desperate young woman is said to have thrown herself into the water of the pit one dark night before immediately regretting her decision and crying for help that did not come. Her unheard cries are said to be heard at the spot each February 24th, the anniversary of her death.

Another story tells of a horse and cart vanishing without trace in the pool’s murky depths. Looking at the black unreflecting water it seems perfectly possible. Places such as this, although mere dust specks on the map, are the bread and butter of rural folklore. Such places inevitably become repositories of legend – features where the landscape can be painted with tales of intrigue, romance and horror. As the notice board is currently blank perhaps we should feel free to write our own story.

References:

http://www.heritage.norfolk.gov.uk/record-details?MNF6787-Shrieking-Pits

https://www.hiddenea.com/norfolkn.htm#northrepps

January 31, 2020

Winter Light

Even in winter, the northeast Norfolk coast has its attractions, especially over the Christmas and New Year period when many flock here to see the grey seals that come to the beaches of Winterton and Horsey to give birth. For many it is an annual outing, an opportunity to walk off seasonal excesses, to get close to nature, to delight in the spectacle of the seals and their pups. Some are tempted to get too close, of course, but these days a dedicated army of volunteers in hi-vis orange jackets ensure that visitors and their naturally curious dogs do not disturb the vulnerable animals on the beach.

We arrive to find grey seal mothers and their fluffy-coated pups scattered like driftwood along the shoreline. Some are on the sand close to the breaking waves, while others are further inshore along the tideline, or even in the hollows of the dunes that back this coastline. Here and then along the beach, a hefty bull seal waddles in awkwardly from the surf to try his luck with one of the nursing females – this is the season for both breeding and mating.

The seals are not the only creatures of interest here today: walking north along the beach, a small flock of snow buntings – perhaps 20 or 30 birds – rise like a flurry of sleet on our approach before setting down again a little further ahead. Winter visitors from much further north in Scandinavia and the Arctic, they resemble frosted sparrows as they peck busily at the seaweed, sticking close together for security.

The seals and birds are engaging but the real star this cold January afternoon is the quality of the light, which morphs from gloom to gleaming in the space of half an hour. At first it seems as if the sky is weighed down like stone beneath a dense slate-grey sheet of stratocumulus but cracks soon appear and, like a hagstone held to the eye, an opening forms in the clouds to reveal the blue that lies beyond. As the sun loses height beneath the cloud layer, shafts of pale golden light break through. The play of light on the dunes invokes a ghostly atmosphere. The wind-bent marram grass of the dunes, caught in the glow, seems almost fluid – an impressionist rendering of a wave-tossed ocean. In the distance, beyond the luminous marram, the Perpendicular tower of Winterton’s Holy Trinity and All Saints’ Church rises loftily above the crouched bungalow roofs of the village. This fleeting serendipity of light gives the scene a numinous quality, an eerie supernatural glimmer. It is a scene that might be co-opted for the cover of a book of ghost stories – a lost work by M.R. James perhaps.

November 25, 2012November 25, 2012

Winterton-on-Sea, Norfolk

I did a circular walk at Winterton-on-Sea a couple of weeks ago, striking out from the beach car park that looked a little forlorn out of season – largely devoid of vehicles, its wooden hut cafe bolted shut for the winter.

Winterton Dunes immediately north of here is a nature reserve known for its natterjack toads but, this being November, the toad population was in deep amphibian sleep, no doubt dreaming of munching insects in warmer times to come. But, even without the toads, it’s an affecting place – an undulating swathe of sand and gorse, birch trees and heather; a border zone where sea meets land meets sky. There are other animals to consider as well: over the dunes on the beach grey seals have arrived in number to pup, their sluggish forms slumped awkwardly on the sand – plump, blotchy grey and vulnerable.

At Winterton Ness, where I leave the dunes to venture inland, large concrete blocks flank the track, a reminder that invasion was a constant threat along this coast back in the dark days of World War II. I walk inland along a farm track, through an isolated cattle yard that has leaked several inches of malodorous slurry over the concrete, before heading across fields to walk south. Here, pheasants are so prolific that I soon become immune to the shock of their flying up unnanounced in my wake – an explosive flurry of undersized wings struggling to lift over-the-top plumage clumsily into the air. There are so many pheasants here. This year, they seem almost plague-like.Walking along a lonely concrete road in the general direction of Winterton I come across a man on a bicycle, who dismounts to walk and talk with me awhile. He is a font of local knowledge. According to him, the supersized pheasant population is the result of the local landlord releasing 15,000 chicks into the wild – an awful lot of shooting for even the most enthusiastic rifle-wielder. We talk of other wildlife: the cranes that breed around here, the red deer that rut nearby, the barn owls and hen harriers that quarter the winter marshes. Then, as we approach a corner ahead, he utters, “I won’t walk along here at night on my own. Even the beaters won’t come here at night – and they’re a pretty hard bunch on the whole.” Before I have time to ask why, he answers for me, “It’s haunted, and so is the house by the corner.”The man with the bike starts to relate a story about a local who lived around here a couple of centures ago. Like many along this eastern extremity of the Norfolk coast, he was given to smuggling and shipwrecking but this particularly unpleasant individual was also reknowned for his cruelty to women and his wraith – a cold, shadowy presence that is said to follow anyone foolish enough to wander around here at night – still haunts this stretch of the road.

We go on to discuss Winterton’s shipwrecking tradition and reputation for lawlessness that persists to this day (“The Yarmouth police don’t want to know about any trouble here, although they’ll come to Horsey just up the road”). Then, as soon as we turn the corner, he bids me goodbye and disappears into the garden of a roadside cottage – the same one he had said was haunted.

Back at the beach car park, a couple of dog-walkers catching the last hour of silvery daylight eye me (conspicuously dog-less) with suspicion. In north-east Norfolk if you don’t have a furry friend with you then you are probably up to no good. If it’s the liminal hour just before dark then you almost certainly are.