Polari Speech – Part Two

The Arts

This is the concluding part of my speech at the Southbank Centre last week. It has been shortened, but the most salient points are here.

‘In the opera ‘Hansel and Gretel’ there’s an orchestral scene that’s traditionally awkward to stage, when the children are lost in the woods and protected by angels. In a production I once saw, Hansel and Gretel’s wood was a London park, and the children were protected by classic authority figures, milkmen and lollipop ladies and constables who guarded them through the night. This is the London that Mayor Boris Johnson attempted to invoke by bringing back bus conductors. But it’s a surface nostalgia; scratch it and all you find underneath is private property, not public good.

However there is an idea of London ripe for reclaiming; the city as an adventure playground full of stories. As you read, you need to feel you might discover something wonderful around the next corner, as sometimes – just once in a while – you do, and it makes you feel special. London has places which are unique to each of us. To start with, there’s the inverted city beneath our feet. Our relationship to the underground is complex; you would think that after numerous fires, acts of terrorism and bombs we’d be wary of stepping below the pavements. Instead, I find the reverse to be true; it makes me feel safe and warm because it’s full of people. Watch the 1928 film ‘Underground’ and you’ll see how many stories it can contain.

Until the 1970s, basements and attics were central to London life. I remember visiting an oyster bar underneath Piccadilly Circus, a genuine Tudor garret in Soho, and rooms made available to impoverished writers. London always loved its clubs. In the Troy Club, Manzi’s and Eileen’s you’d be given drinks by the owners just to stay and be bohemian. They were the opposite of guilds and masonic lodges. They sought to encourage disorder, anarchy, drinking, gambling and promiscuity.

Soho

London thrived on being furtive. The mistresses of Henry VIII tripped through secret passages, and the strip club girls of Soho ushered punters downstairs into ‘near beer’ traps they had to pay to get out of. The bars were gaudy little dumps with red velvet curtains and tiny dance floors. They had names like the Rockingham, the Sombrero and Chaguaramas, and were entered by venturing down subsiding staircases. These atmospheric worlds vanished, but London rooms still host esoteric events. Upstairs in the Princess Louise in Holborn, the Dracula Society fell out with the Vampire Club; one lot were Darwinians, the others were Goths. The Handlebar Moustache Society still meets in the Windsor Castle just off the Edgware Road, which is worth a visit just to see its insane décor. There are still clubs for any London tribe you can name. London’s new wealth means it’s all changing again, so Madame Jo-Jo’s closes, and The Yard is next, and the last few West end spots where you can actually meet are being snapped up by developers.

But for writers, none of this matters; we can build anything we want. We’re not quite so obliged to document social issues as we were in the eighties. And if we do, we’re perhaps not as honest and naïve as we once were. Four years ago there was an excellent London film called ‘Weekend’, a naturalistic love story about a couple of 20-something guys. Its star, Chris New, was praised for his spontaneous energy and off-the-cuff improvised dialogue. He was my next-door neighbour, and I saw him having a violent altercation, naked on his balcony, with my other neighbours. One year later I saw him perform the exact same scene in the film. So don’t make the mistake of thinking that social issue stories are any less manipulative than whimsical ones. If they’re honest, they’ll work.

Crime fiction accounts for over a third of all fiction published in English. They’re whimsical constructs, devices for torquing tension, withholding information and springing surprises. Every month dozens of crime novels appear that promise us new levels of realism, when they actually supply the reverse. We’ll happily believe that the murder rate in Morse’s Oxford equals that of Mexico City if the author keeps a straight face. Tony Hancock once said; ‘People take you more seriously when you don’t get laughs.’ And people like categories. They put ‘funny’ in one box and ‘serious’ in another. They don’t like change. But London changes and changes.

How much it has changed is almost impossible to comprehend. Once the Thames was an open sewer, and mere proximity to it was enough to kill you. In 1849 Charles Kingsley described the environment of Bermondsey residents; ‘the water stagnates, and is full of dead fish, cats and dogs, right under their windows.’ Once, children worked in factories on the riverbanks, dying of mercuric poisoning so toxic that their skeletons turned bright green. Now the canals are home to swans and herons, and you can run their length in lycra to your art college in King’s Cross, if you can afford it. We’ll never again name our streets Gropecunt Lane or Shit-born Alley; we’ll call our new housing developments Number One Midtown and put in poor-doors and homeless spikes. In search of the real London we avoid the tourist fakery of Camden and head for Dalston, Spittalfields, Whitechapel. Like Morrissey, we all secretly like a bit of rough. And, like midnight foxes we adapt, sliding between worlds without losing our own identities.

Magpie_lane

How much have we adapted? At the time of Oscar Wilde’s trial, one newspaper suggested that decent men were being driven into the arms of boys because their wives were too busy being feminists and everything would go back to normal if they returned to making jam. Three months ago, when Oscar’s, the last gay porn cinema in King’s Cross closed down, its frontage wasn’t hurriedly buried in an attempt to prove it never existed. It was lovingly installed on the wall of the straight pub opposite. It’s this new warmth, this knowingness, what you could call ‘The Paddington effect’, where we’re comfortable enough to let everyone in on the joke, that interests me, because it opens up inclusive ways of portraying Londoners and telling fresh stories. These seeds were sewn in the sixties but withered in the eighties, and now it seems they’ve finally blossomed.

We’ve had sixty years of novels, plays and films dealing with gay issues from blackmail and youth rebellion to plague and sex addiction. Our films went from kitchen sink dramas to fantasies. We’ve gone from ‘Queer As Folk’ shocking the nation to ‘Cucumber’ barely raising an eyebrow, because ‘Queer As Folk’ was about an exclusive subset of British life, and ‘Cucumber’ is about having the same doubts and fears as everyone else. Even the giant ‘Cucumber’ poster went unremarked upon. In London, different is now normal.

Cucumber-Banana-Tofu

Was it better before? Was it better to stand out than to become invisible? Possibly from the point of view of creativity. When you’re an outlaw, your observations are often more original. One of my favourite London novels is ‘King Dido’ by Alexander Baron. It’s the story of a man and the East End. The life of one explains the other, and I cried at the end. Some London writers work you hard, making you climb higher to get a better view, until you’re no longer content with what you see on the ground.

Once here in London sexuality was criminalised, books were banned and films were censored. Now it’s hard to be outrageous when your audience is unshockable. A friend of mine staged an extremely explicit one-man show at the ICA in front of his parents. Afterwards, his mother said; ‘Which part of that did you think was daring, dear?’

So we don’t shock, we entertain and inform. You may choose to write about the city of your childhood or the city of tomorrow. You can choose whatever you want, because your books, your plays, your paintings, your music, your films will be about you, and how you see the city is how it really is. You won’t change London. But you can excite readers with your stories because it’s all about your perspective. And as for London’s history, remember that teenager; It begins with you. It ends with you.’

 

4 comments on “Polari Speech – Part Two”

  1. Jo W says:

    Admin, I loved that comment from the mother- which part of that did you think was daring,dear?. Young people never seem to learn that their parents have heard,seen or even done all that,as probably their parents etc.etc.before them. My Grandmother said once that not many people are descended from monks and nuns😊😊

  2. RobertR says:

    Brilliant essay thank you so much. I arrived in London in ’87 after Uni and ended up in publishing – and I have a huge collection of gay themed/subject/character central novels from UK (& US) from that time; think it was reactions to the spread of HIV/AIDs, a new confidence to showing other coming out stories (although they became so commonplace) & a political awareness which had grown from the period of the ‘Pride’ movie to Stop the Clause marches. Outrage, the Sisters of Perpetual Indulgence events – plus a social life of fundraisers to make legal challenges, for THT or other health charities, for the phone lines etc. So there were a lot of things going on to use in fiction, new situations where gay men and women might meet, interact, and lead to stories being written. I read Hollinghurst, Patrick Gale, Neil Bartlett, and discovered you because ‘Spanky’ was in the gay/lesbian section of one of then multitude of bookstores on Charing Cross Rd – plus Serpents Tale and other small publishers could afford to take a chance on quirky gay themed titles which gave the big publishers the impetus to create their own gay list (most often just buying the American rights of US authors; but also trying to find a new English perspective). All of that got me exploring the gay past novels (& encouraged publishers to re-print) so McInnes, Denton Welch, I even read Radcliffe Hall etc. From my perception it that the granting of the equal age of consent which seemed to close that era off and the range of reforms introduced by New Labour – that sense of we’re now like everyone else, so have nothing special to say. I think TV writing picked some of the slack up from the gay-issue chrs like Colin in ‘Eastenders’ where the gay was the plot driver to by the late 90’s/00’s where crime dramas/hospital dramas/soaps/comedies often had gay/lesbian chrs who were just there without it being the point it was just another bit of chr background/variety mentioned in passing, or only necessary in the plot if there was something new to tell. My feeling on how it explained London to itself – we had such a long period of illegality and crackdowns that London created bars/clubs/places for meeting which either had the blacked out windows, the furtive entrances, the staff who checked if you knew what kind of place you were in before serving you a drink; or places which hid in plain sight, but almost had a TARDIS like perception filter, or Diagon Alley charm cast over them – those places which were gay when it turned dark, but you’d walk past in the day and they had vanished, or you had to look for clues the Act-Up sticker stuck still to a wall, the walked on club flyer, the gay papers bundled up outside on a Thursday afternoon for distribution inside over the weekend. All of that venue finding (or following HIH Regina Fong from my local Black Cap to odd established bars and clubs around London – just to see if the act changed, or if the audience made it different!) led to a personal exploration/discovery of London by tube and night bus of areas I didn’t know, but would sometimes go back to explore in daylight and find quirky churches, odd architecture, hidden parks and bits which still felt 16th, 17th, 18th or 19th C the modern world vanished in a view down a alley, or when trees in full leaf hid the modern skyline, or streets which were deserted on a weekend in the City, round the Inns of Court, along bits of the Thames. Finally in the days before Google maps & smart phones – those mornings after the night before where you’d leave a stranger’s flat and your challenge was how to get back home to your home bit of London on public transport – I learn’t so much about how the City fitted together, my mental geography of the City grew on the back of casual post bar/club liaisons – plus the discovery of how other people lived! From a Georgian style appartment opposite the Masonic Hall, to a flat in Goldfinger’s tower, to basements in Eaton Sq, or a squat in Hoxton pre-gentrification in a former clock makers still with bits of cogs and wheels trapped between the floorboards.
    So thank you Chris for making me remember – my past, another time and place, and the impact it all had on who I am now.

  3. Alan Morgan says:

    How wonderful, what an engaging article these two pieces have been. Thank you for a splendid tea break.

  4. Helen Martin says:

    Yet another item to go to my computerless friend, although this time I’m posting the comment _after_ printing the item. He admires you very much, Admin, even though he hasn’t read any of your books, just a sampling of these blog posts.

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