Having been lucky enough to catch the last day of the Swanscombe Project exhibition at the Blake Gallery in Gravesend earlier this year, I was inspired to then spend a rather dreary Sunday afternoon traipsing the marshes and former landfill site of Swanscombe, Kent. The Swanscombe Project, headed by photographer Peter Luck, is ‘an encounter between a heterogeneous group of photographers and the processes of redevelopment at the urban periphery’. The group aims to provide an alternative rhetoric of this diverse edgeland, to that being pushed by the developers of the site who are working on creating East London’s first theme park: London Paramount.
(Image courtesy of Google)
Swanscombe itself is a north facing peninsula that creeps out into the Thames from the Kentish bankside. The landscape is marginal; the peninsula is bordered by industry to the south, a river to the North and flanked by marshes and landfill on either side. Access to the site is restricted and seems to depend on the mood of the security guard monitoring the traffic barrier. Weathered signage warning of dog patrols and industrial traffic mark the entrance to the site, obviously aimed at deterring visitors. The periphery is cordoned off with mesh fencing, funnelling all entrants in past the security hut. Beyond the barrier lies a long, unmade road that leads toward the buried landfill and into the site proper. As the road begins to skirt former chalk pits it makes a sudden turn north, opening up a route that takes you past derelict brick structures, chimney stacks and landfill hills.
On walking through the landscape here, the eye is drawn to a gigantic steel-latticed obelisk rising from the marshland, half of the 400kV Thames Crossing. The pylon is one of two that make up the Thames Crossing, the other being well within viewing distance on the Dartford banks of the river. The pair are the tallest pylons in Britain, reaching some 190 meters into the clouds, dominating the landscape with a monstrous beauty. And this is perhaps the most accurate way to describe these structures; cold and utilitarian, stark against the soft grasses and grey skies of the surrounding environment, and yet, the intricacy of the gossamer-like weave of the steel is nothing short of awe-inspiring. And the scale. And the power. The vehement buzz of electricity permeates the air, hairs seem to start standing on end within thirty meters of the pylon.
The surrounding land surface is strewn with fissures, ruptures where the ground can no longer contain the discarded shit buried within it. Historic waste seeps through from the landfill below; 1980s coke cans, Marathon bar wrappers and garish Crisps packets spew from beneath the wild grasses in a metastatic creeping of anachronistic refuse. Everything here feels contaminated. And yet nature prevails. The site is bordered by three marshes; Black Duck, Broadness and Botany, each of which is teaming with shrubs, grasses, wildflowers, bird and insect life. This is the type of space situated within what Richard Mabey would describe as the ‘unofficial countryside’; a place that has its own distinct type of peri-urban (re)wilding. Perhaps not a picnicking destination but no means devoid of its own, idiosyncratic beauty.
As a place, Swanscombe is palimpsestic, its surface is inscribed with the scarring of industry, both contemporary and historical, commercial and residential waste, power lines, human occupation (Broadness moorings harbour a number of ramshackle houseboats and huts), prehistoric habitation (Homo erectus and large mammals) and myriad wildlife. Layer upon layer of history is written into the landscape here, previous variations in both the matter and form of the land offering a unique insight into the biography of this place; brickworks, cement factories, marshland, edgeland. Old Father Thames laps at the banks at the pylon’s feet, abandoning a wealth of drift wood, reeds, plastic bottles, children’s toys, food wrappers, carrier bags, dead birds, trolleys, tyres, footballs, and old clothes. Each item playing but a small part in the oscillating narratives of abandonment and memory that envelope this space.
After visiting the area it becomes all too obvious why those individuals involved with the Swanscombe Project care so deeply for this unique piece of land. The looming construction of the UK’s largest ‘entertainment resort’ will, no doubt, eradicate the existing narratives surrounding Swanscombe; the moorings will be displaced, the wildlife irreparably damaged and the character of the landscape changed forever, though perhaps this is the natural state of the edgeland? Margins have a tendency to blur, to become less defined, and in doing so create new borders, new sites for new experiences. It will be interesting to see what new margins are drawn here, and what new spaces are created from the destruction of Swanscombe.
I drafted this mid-2014 and for some reason never got around to posting it. A recent train journey back to East Anglia led my partner to enquire as to why we should travel ‘so slowly when Norfolk is so flat’, reminding me of the opening passages to Aickman’s ‘Ringing the Changes’. This in turn led me back to this post. I’ve made a few updates so as to keep the writing relevant. There is, without question, a great deal more I could say about Aickman, about his particular type of horror and moreover of the rich sense of geography he evokes in his writings, but I’ve neither the desire nor the urge to create spoilers (for those unfamiliar with the tales) to do so here. Instead I hope that the few words and suggestions that I have put to the page might pique interest and introduce Aickman to a few new readers….
Robert Aickman is a master of British horror. His writings are every bit as disturbing as those of other writers in the genre, in many cases I would say they are more so. What makes Aickman’s work particularly unsettling is that he rarely provides a definite ending; the tales themselves are short but often without a terminal narrative. Rather the reader is left in a continual state of suspense and this itself, I believe, proves far more frightening than the horrors described within the text – this sense that they have been created to endure, even after the tale has been read.
Describing his work as ‘strange stories’, Aickman wrote 48 supernatural tales before his death in 1981, most of which were published within a series of 7 collected works released between 1951 and 1980. Despite the number of works he produced, Aickman has remained relatively unknown, gaining far less notoriety for his writings than the likes of M.R. James, Algernon Blackwood, Walter de la Mare, Dennis Wheatley and so on. There has been something of a resurgence in Aickman’s writings over the past few years, with notable horror enthusiasts such as Jeremy Dyson and Mark Gatiss bringing attention to Aickman in their own work. Gatiss provides a particularly haunting (and haunted) performance in Dyson’s eerie short film adaption of Aickman’s ‘The Cicerones‘ (2002). Two years prior to ‘The Cicersones’, Dyson and Gatiss had worked together on a radio adaption of Aickman’s ‘Ringing the Changes’ for BBC Radio Four. The adaption isn’t all that easy to track down but I’m aware that there are a few digital versions floating around online and it is definitely worth a listen if you can track one down.
The collected works themselves have been fairly difficult and expensive to get hold of in recent years, cheaper alternatives being available in the form of Fortana’s Book of Great Ghost Stories, which Aickman compiled a good number of. Now however, one need not search so hard to find Aickman’s writings as Faber & Faber began republishing the key titles in June 2014. The first to be printed was Dark Entries, which contains two of my favourite tales; ‘Ringing the Changes’ and ‘The Waiting Room’. The second collection, Cold Hand in Mine, was published in July and boasts ‘The Hospice’ and ‘The Real Road to the Church’ – all the tales are worth reading but these two in particular are most unnerving. Two further collections The Wine-Dark Sea and The Unsettled Dust, published in August and September respectively, complete the Faber Finds series of Aickman’s works. Each of the books is beautifully adorned with updated cover art by Tim McDonagh and echoes the style of Ed Gorey who illustrated some of the original cover’s of Aickman’s works.
As a geographer, what strikes me about Aickman’s work and particularly his construction of the uncanny is his attentiveness to the description of place as well as an emphasising of movement in and between places and times.
Like all forms of storytelling, ghostlore is constructed from a series of key components; characters, dialogue, repetition, setting and so forth. There are of course narratival similarities between many of the ghost stories belonging to the British Isles, however the settings (or rather, the places) that spectral entities frequent are intrinsically linked to spaces of habitus as much as they are to the types of narrative that describe them. Ghosts appear to prefer specific places in which to haunt, notoriously sharing a penchant for stately homes, cross roads, old pubs. ruins, churchyards and various other historical sites.
Davies (2007) describes this ‘geography of haunting’ as being complicit with spaces of liminality, of sites that ‘are on the border or threshold of two defined states of existence’ (p.45). Liminal spaces are those that are imbued with a sense of duality, of binaries, they are spaces that allow for a transgression or moving in and between two states of being. Churchyards are an obvious example of such a site; existing at the thresholds of life and death; decidedly awkward, churchyards act simultaneously as spaces of materiality and immateriality, of fixedness and transcendence, they are out of sorts with landscape and time, both heterotopic and heterochronic (Foucault, 1974).
Indeed, Western ghostlore tends to develop phantoms that are attached to certain places. Though there are some exceptions to the theory of the fixed ghost (some spirits are indeed far more mobile than others, such as that of East Anglia’s Black Shuck), most tales tell of ghosts whom are static, frequenting staircases, bedrooms, hallways and the like. The anchoring of the ghost proves to stricken its sense of spatial autonomy and thus allowing for the haunted to leave the situation, usually at the their own (hastened) speed. Aickman’s spectral entities however are decidedly more mobile. Like the conjurings of James (see A Warning to the Curious, The Treasure of Abbot Thomas, Oh Whistle and I’ll Come to You), Aickman’s terrifying concoction of the spectral and the mobile creates a ‘geography of haunting’ that works towards an emancipation of the ghost, an unchaining of spirit from place.
As roaming entities, Aickman’s phantasms are capable of moving through landscapes, of following and terrifying the protagonist within a multitude of environs. Such is the case in the ‘The School Friend’ which, like so many of Aickman’s works, is not so much a traditional ghost story but better described by that category of the ‘strange’ which Aickman himself used to talk about his works. ‘The School Friend’ makes use of multiple locations and situations of supernatural terror through which to draw the reader in; moving between homes and hospitals, and indeed room to room within the school friend’s home allows Aickman to develop a sense of mobility that not only creates a ‘geography of haunting’ but allows for multiple locative points through which the hauntings might occur.
‘Ringing the Changes’ is another tale indebted to landscape, specifically that of the East Anglian coast and moreover an emphasis on a movement within it. Making use of traditional rural/urban dichotomies (like those seen in Pinner’s Ritual), Aickman weaves a tale of ritualised horror that depicts a sheltered coastal community committed to an annual ringing of the church bells in order to wake the dead. In just a few pages the plot moves from train line, to platform, to hotel, to beach and back again. Street names, along with descriptions of lighting and sound are all used to give a sense of distance and time in and between places rather than to elaborate on the implied character of the locations themselves.
Both space and time important for Aickman, they allow his particular rendering of the uncanny to function; illustrative of a return of the repressed, an unexpected calling forth of place and time. As such we might view Aickman’s writings as hauntological, necessitating a return and making an all to often ‘other’ present in their absence. Further still, the role of mobility here not only sets up the distance required to dichotomise cosmopolitan/ coastal existence, but further constructs a space through which Aickman’s monstrosities move through, a space of wildness and savage tradition. The dead stalk the landscape, moving from beach through to town; their singing, calling and dancing echoing throughout the streets as they go. Even as day breaks and the tale concludes the reader is left ill-informed as to why the events of the previous evening have even occurred, only in the knowledge that they will again. Aickman’s works are topographically rich, allowing for an almost unrivalled spectral dynamy, where the strange is not so much preternatural but rather part of the landscape itself.
Robert Aickman was born in London, 1914. As well as being a prolific writer of supernatural tales, much of his life was dedicated to the conservation of England’s (then mostly derelict) canal system and he was co-founder of the Inland Waterways Association. Aickman died of poor health in 1981. Further information on Aickman can be found online at Aickman Data as well as in the recently developed journal Aickman Studies
17 FEB 2015 — Bartlett, UCL — Bedford Way G03 | 17:30-19:30
Workshop question: Why embody cities?
Speakers: Dr. Alan Latham (UCL), Prof. Philip De Boeck (K.U. Leuven), Prof. Steve Pile (Open University)
Chair: Prof. Jane Rendell (UCL)
Cities are of course concrete and real and, yet, at the same time they are intangible: they are places of inspiration and myth. For instance, while the city is felt as an embodied experience – we feel its heat, its noise, the resistance of its tarmac – our experience of it is also informed by imaginary elements, by the indefinable and uncanny. This session aims to examine how both embodied experiences and the intangible elements of fantasy, myth, emotion etc. together construct the lived experience of the city dweller and the urban explorer.
On Sunday 18th January, I had the pleasure of attending the private viewing of Frank Watson’s Soundings from the Estuary at the M2 Gallery in Peckham. A fairly low-key event, there were a small number of images taken from Watson’s new publication of the same name and a spoken word performance from Germander Speedwell, a previous collaborator of the project. Soundings from the Estuary depicts the somewhat marginal landscapes of the Thames estuary, particularly from sites of abandonment around the Hoo peninsular. The eerie scenes of dereliction and decay amongst the waterscapes of the Thames immediately made me think of similar spaces that I had encountered along the East Anglian coast, especially that of the coastline running between Shingle Street and Bawdsey in Suffolk.I visited this area last October along with a fellow lover of marginal spaces , Rupert Griffith, where we walked and explored the heavily fortified beaches and cliff tops that ran between these two villages.
The coastline running from Suffolk down to Sussex was perceived as being the most vulnerable to invasion during the Napoleonic wars and so saw the construction of 103 Martello towers within this period. These huge, concrete cylinders have a certain proto-brutalist aesthetic about them. Standing some 12 meters high, the walls are around 2.5 meters thick and bear features. The towers generally consisted of three floors with a mounted gun positioned on the roof. Less than 50 Martellos remain standing in England, with many of the existing towers being converted into residential properties (shown below).
It is not only the remnants of 19th Century fortification that exists along this stretch of coast, however, the area is littered with pillboxes, observation towers, batteries and anti-tank defences. Many of the pillboxes have made their way from the eroded cliffs into the sea and are now only accessible at low tide. Still, seeing fragments of these defences jutting out from the corrosive slate grey surf is an experience in itself. We were lucky enough to see the structures as both partially visible and in their entirety later on during low tide.
Further along the coast is the former site of RAF Bawdsey, which functioned as a radar station up until the early 1990s. Again, this space demonstrates the importance of the Suffolk coastline in maintaining Britain’s defence, further highlighting the perceived vulnerability of this particular section of the Anglian Coastline.
The triptych of defensive architectural styles that can be seen here allows one to reflect not only on the historical threat to these shores but on a more general continuity in the imagining of the coastscape as a marginal edgeland. As Watson’s photographic work demonstrates, much of the spaces around the southern coasts have, over time, become littered with the detritus of military, industrial and residential waste, serving as expansive dumping grounds for everything that is undesired; sea forts, trolleys, burntout cars, concrete barges, condoms, nappies, chemicals, plastic bags. The huge blocks of concrete, crumbling steel and cement towers that have been allowed to remain in situ along this stretch of coastline are but further reminders of the scarring that many of our coastal spaces have endured as a result of their being peripheral.
“He rises from the blackness And races through the lanes To reach the lonely estuary track And sneaks along the sea-walls The saltings and the flats With no-one but the wind to call him back” – Martin Newell, Black Shuck As a child I was terrified by the tale of ‘Old Shuck’, the ominous phantom hound reported to roam the coastal paths and backroads of Norfolk and Suffolk. I remember my grandparents telling me stories of the many sightings that had taken place and the grim demise of many of those who had claimed to of seen him. I first heard about the Shuck from a collection of Norfolk ghost stories I had been given one christmas in the late eighties and of all the eerie tales this was the one that had scared me the most. The legend of Black Shuck was (and remains) terrifying for two reasons; firstly, Shuck is a gigantic ghostly black dog with glowing red eyes the size of saucers. Secondly, seeing the hound is often said to be ominous of one’s own death or that of a near relative. Leaving to return home from the beaches of the North Norfolk coast in the waning light of autumnal evenings, I would sit in the back of the car with my eyes firmly closed for fear of seeing the Shuck. Recently my grandmother told me of her own encounter with the phantom black dog; she spoke of having met a gigantic shadowy hound in the middle of the road one night when returning from a craft evening in a nearby village. Breaking hard, the dog failed to move until the last second when suddenly it leapt before the bonnet and darted into the darkness of the surrounding woodland. ‘Certainly’, she said, ‘it was Old Shuck’. It would appear then, that not all meetings with Shuck are followed by misfortune. In fact the fisherman of Sheringham and Cromer are said to believe that the presence of the dog indicates a great storm and so refuse to sail after a sighting has been reported so as to ensure the safety of the crew (Kingshill and Westwood, 2014). Sightings of ghostly black dogs are common throughout Britain and are a staple of its folklore; Yorkshire is menaced by the Barghest or Padfoot, Hertfordshire by the Leandog, Lancashire has The Grim, Linconshire is haunted by ‘Hairy Jack’ and Devon the Yeth Hound. Other black dogs are said to roam the counties of Bedfordshire, Surrey and Wiltshire. Wales and Scotland also have their own wealth of spectral hounds. But of all the tales of all the dogs, it is Shuck who is the most infamous and indeed the most terrifying. The tale of the Shuck is often attributed to the villages of Blythburgh and Bungay in Suffolk. According to local legend, Shuck first appeared in 1577 when he attacked the parishioners of Bungay, breaking into the church during worship and killing two men before fleeing to the village of Blythburgh where the beast left scorched claw marks on the inside of the church’s door. It is said that the markings can still be seen today. Numerous other sightings have been reported all over East Anglia; in 1970 Shuck made the headlines when people claimed to have seen an unnaturally large black dog bounding across the beaches of Great Yarmouth. A decade later and there was another reported encounter with the dog, this time from a mother who was out walking her son near the fenland town of Wisbeach.
Norfolk’s own Shuck tales tend to be geographically focused on the coastline and particularly around the land and coastscape between the villages of Overstrand and Sheringham. Alleged sightings of Shuck were said to be so frequent in Overstrand that the ghost was included in the old village sign and as legend tells, an old section of the coastal path called Tower Hill Lane is affectionately referred to by locals as ‘Shuck’s Lane’. One story states that after hearing the sounds of panting, howling and claws scrapping at the floor, a petrified witness fled only to turn back and see the glowing paw prints of a hound scorched into the tarmac. The paths that lead along the cliff tops from Overstrand to Sheringham are treacherous even without the Shuck to roam them, the heavily eroded cliffs are rapidly moving inwards as they are forced to peel back from the corrosive waves of the North Sea. Shuck is said to roam these paths during storms, forcing onlookers to negotiate the crumbling cliff tops in the darkness as they are pursued by the thundering bounds and howels of the phantom hound. Shuck’s presence on these cliffs is connected to the landscape itself; legend tells how the dog rises from the depths of the nearby Beeston ‘Bump’, a grass covered hill that looms over the nearby village of Sheringham, before making his way along the ridgeway through Cromer and on to Overtstrand where he paces the streets before leaping into the churchyard and disappearing.
On visiting Overstrand at the end of the summer I immediately noticed that the village sign displaying Shuck has been replaced. Having spent quite some time in Overstrand, I now understand this as symbolic of the changes that have taken place in the village in general, an influx of holiday home owners replacing the local community and with it an erasure of the legend of the great black dog. I stopped to ask a number of people about their knowledge of or encounters with the Shuck, the majority of them were not local, having recently moved to the area or owning holiday homes along the coast. From twenty two people asked only two were lifelong residents and only one of these was aware of the tale of Shuck’s Lane. This person alleged to have witnessed the Shuck running along the beach away from Overstrand and made his relief over seeing the dog heading in the opposite direction very clear to me. The man provided me with directions to the so-called Shuck’s Lane, joking that if I happened to see the dog then he would happily take my camera off my hands: “Got no need for a camera if you see Old Shuck, boy”, he laughed.
I followed the man’s instructions to a narrow, cottage lined lane that was barely wide enough to fit a car along. The tarmac ran out after about twenty meters, leaving the car in dusty lay-by to make the rest of the journey by foot. I followed the lane as it turned into a hedge enclosed trackway, the wind blew heavily gushing through gaps in the hedge and sending twigs and leaves cutting across my path. The trackway went on for some twenty meters before turning to the right and opening up onto the edge of a field. I stopped to see a dead rabbit laying before me, partly disemboweled with a raven pecking at what remained of the eye socket. Startled, the raven left his grisly business and fled upwards into the mercy skies. I soon realised that the lane had led to nowhere; to the right of me lay fields and to the left and beyond was the edge of a steep cliff drop into the sea. I suddenly felt very alone and all too aware of the precarity of the situation; standing on the edge of a cliff top with biting winds now blowing about me, forcing me to back away from the edge. The grey skies made the space seem yet more desolate and after capturing some site photos I quickly turned to head back, the discomfort of being in that place was really quite unnerving. As I reached the end of the lane and started back along the road an elderly couple were unpacking groceries from the boot of their car. They were obviously curious as to where I had come from and what I might have been up to lurking about in the fields. I said hello and asked them about Shuck and whether they knew the story of Shuck’s Lane, which now appeared to be more ghostly in its absence than I might have imagined. Shuck’s Lane, they told me, had been lost to the sea sometime in the 1920s when the road disappeared over the edge of the cliff. Shuck’s Lane was as spectral as its ghostly canine namesake; I knew then that there was of course nothing to see as the lane was no more but still there remained an element of danger in returning to look for the traces of it. I didn’t go back to the cliff top.
The tale of Shuck is not to be taken lightly, the hound is indeed ominous and whether or not he exists in spectral form will have to be determined in the mind of the reader. But the point remains that as a folktale, Black Shuck serves to provide a warning to those who mean to treat the coastal paths lightly. Like the sea that serves the coastal communities, Shuck too is a transgressive entity, at once moving in and out of places. Shuck’s mobility mirrors the instability that surrounds both the spatial and temporal elements associated with the sea; the movement of and reliance upon the tides, the daily cycle of gaining and losing land to the saline waters and the erosion of the landscape proper. The low-lying land of the inner parts of the county, and of East Anglia as a whole, as well as the constant threat posed by the sea in these parts, is made manifest in the tale of Black Shuck in that the ghost acts as a conduit for the anxieties that have been and continue to be present in communities around this part of the country.
The above is a contracted version of two pieces of research I am currently working on; the first is Grey Area, a collaborative project with London-based artist Clare Parfree which uses a mixed methodological approach to examine the relationship between landscape and folklore. The other is an article on folk memory and the eerie geographies of Black Shuck. More on both projects to follow.
A few years ago I organised a half-day symposium on the themes of geography, nature and the occult under the name of Strange Naturalisms: Reflections on Occult Geographies. I was in my second year as a research student at the time and was feeling frustrated by the very few events taking place that were aimed at dealing with geographies of the strange and uncanny, not least because I knew from my own research that this was an of area cultural geography that was growing in popularity. After submitting a short proposal and projection of costs to my department, I was awarded a grant of £300 to invite speakers and pay for refreshments. I had previously met and was aware of other, more established scholars working in the field of the strange and so it made sense to try and get as many as I could together, given the small grant I had to work with, so as to establish some sort of cohesive school of thought around these geographies of the strange.
The symposium was fairly well attended for a Wednesday afternoon in late February and despite the winter weather a number of people made some heroic trips to come speak and take part in the event. As is so often the case with this sort of event I had planned on doing something productive with the speakers’ contributions but never actually got around to it. Earlier today I came across the recordings of the talks that I had taken during the session and I thought now to be as good a time as any to finally make them available.
The abstract for the day is below and the microsite for the symposium together with the abstracts for the talks can still be found here. The running order for the talks was as follows:
Julian Holloway (MMU) – The Strange Nature of Gef the Talking Mongoose
James Kneale (UCL) – London’s ‘lively unknown dead’: Maureen Duffy’s Capital
James Thurgill (RHUL) – Conjuring place: the strange case of the Ankerwycke Yew
Owain Jones (UWE) – Sylvan Spirits. Trees as makers and shapers of strange places
Steve Pile (OU) – Telepathy, affect and the strange nature of the human mind
Phil Crang (RHUL) – Discussant
‘Strange Naturalisms’ is a half day symposium aimed at collating discussions of the spectral, the fortean and the occult in geography; demonstrating that the very events and practices that we regard as supernatural are better viewed as instances of the vitality of nature. This event will bring together a number of geographic thinkers to discuss the uncanny formations of an occult landscape. Investigations into the fortean have proliferated within geography and cognate disciplines in recent years (See Holloway:2003,2006, Pile:2005, Dixon:2007). As such, the immateriality of place has come to rival the importance of material features in geographic writings. To this end, we have seen something of an occult turn in approaches to the landscape, with attention turning to uncovering the hidden or mystical properties of place. This session is dedicated to locating experiences of the strange; to elucidating those places that are perceived as anomalous, weird, and unnatural. There is much scope to develop understandings of the mystical, spectral and enchanted in relation to landscape, particularly in exploring the methods or ways in which we might encounter the uncanniness of N/nature. Through relations to place, landscape and the cultural practices and narratives that aid in their construction, each paper will provide an account of how our surroundings are bound up in a network of landscape mysticism.
It’s been quite a while since i last posted anything and the site was in dyer need of an update. I’ve been busy working on completing my PhD over the past few months and with various other demands on my time, including work, I’ve neglected to use this space as I had intended. Anyway, the next few months don’t appear to be any less busy so I am forcing myself to make time and try and get one post out at least every two weeks along with some photos on the wyrd and occluded spaces I come across in my research, as well as more frequents images, sounds and links to events that might be of interest. Other than as a brief update this entry details a strange burial site I came across a few weeks ago – St George’s Gardens. It really is a strange little spot and I will write a more detailed account of the place and uncanny frequencies that resonate within it at some other point, however what is below serves as an introduction and will hopefully direct readers to a rather bizarre though tranquil spot in London’s city centre.
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St. George’s Gardens are formed by a small, walled cemetery in the Bloomsbury area of central London. A stone’s throw from the Kings Cross/ St. Pancras complex, the cemetery is now a public garden maintained by Camden Council. There are many cemetery spaces scattered throughout London, what makes St. George’s stand out is the the alignment of large stones set across the graveyard, diving it into two sections.
Established in 1713, this pair of burial grounds were created to serve the parishes of St. George the Martyr Queen Square and St. George’s Bloomsbury and were the first Anglican burial grounds to be placed away from the churches they were built to serve.
The line dividing line itself is constructed of what appears to be crumbled headstones. Though the area is no longer used for burials, the remaining boundary imparts a sense of strange psychic partitioning, forcing the observer to question the sacrality of either side. The demarcation of the sacred by the alignment brings the politics of both death and consecration under scrutiny – we are used to seeing such elements contained, enclaved by the non sacred, but a division within the sacred space appears quite distinct, with the line of stone itself mirroring the social division between the people of Holborn and those of Camden of who the sides of the grounds represent. The Gardens are worth a visit by anyone visiting the area and are around a 15 minute walk from either Euston, Holborn, Kings Cross or Russell Square stations. There are also plenty of large ivy clad tombs to be seen, numerous gothic style headstones and a single obelisk which along with the stone boundary is a highlight of the gardens.