City of Exiles by Stuart Braun

The first time I visited Berlin was in the spring of 1989. Falling into conversation with a Berliner on a bus one day I asked him if he thought the Wall would ever be taken down. Of course it would, he replied, though not in the lifetime of any of us. But by November of that year, as we all now know, the Berlin Wall was breached and the process of removing it had begun. Perhaps we should have been prepared for Berlin to surprise us. Stuart Braun seems to agree, and City of Exiles (Noctua Press) is his explanation why.

exiles

Transformation, Braun argues, is embedded into the very bedrock of Berlin. He notes the German writer Karl Scheffler asserted as long ago as 1910 that: ‘Berlin is a city condemned forever to becoming and never to being.’ Thus, concludes Braun, the Wall was fated to fall:

For me, however, Berlin felt so intrinsically free that the Wall seemed like an aberration. Its fall was less about struggle than inevitability.’

Go to minor literature[s] to read the rest of this review.

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Psychogeographic Review’s Recommendations – October 2015

This past month Psychogeographic Review has been reading:

City of ExilesStuart Braun – City of Exiles (2015)

Read my extended review of this book  at minor literature[s]

 

 

 

 

 

Mapping LondonSimon Foxell – Mapping London: Making Sense of the City (2007)

This is a compelling, beautifully illustrated book, though the cover price of £40 will make most of us baulk and resort to buying it second-hand or reading it in a library, as I did.  But what you get for your money is a lavish cartographic journey through London past and present.  The 150 maps are arranged in thematic order and are accompanied by a stimulating collection of literary imaginings and political and social comment.

Gender of ModernismBonnie Kime Scott (Editor) – The Gender of Modernism: A Critical Anthology (1990)

I think this is one of the most important works on literary modernism in recent decades and is one that I come back to again and again.  Put simply this anthology redefines the ways we look at modernist writing.  With contributions by Mary Lynne Broe, Suzette Henke and a host of others Kime Scott successfully pulls together a gendered reading of modernism.  Foremost for me are the sections on Dorothy Richardson and May Sinclair by Diane F. Gillespie.  Kime Scott asserts that:

 

Gender is not a mask for feminist or woman, though they are inextricable from it.  Both men and women participate in the social and cultural system of gender, but women write about it more, perhaps because gender is more imposed upon them, more disqualifying, or more intriguing and stimulating to their creativity.

 

meanwhile we were  listening to:

 InstrumentalsInstrumentals – Flying Saucer Attack (2015)

The kind of album the contrarian in me loves: no lyrics, no song titles, no ‘songs’ to speak of.  Nothing, in fact, to get in the way of David Pearce’s sonic wash of guitars, tapes and ambient effects.  As the first FSA album in 15 years Instrumentals feels like something of a place-holder, but a very enjoyable one for all that.

 

RatatatMagnifique – Ratatat (2015)

Although this is Ratatat’s first album in five years, longstanding fans will know what to expect and will not be disappointed.  The downside is that, within the canon of the duo’s work, it is not particularly innovative.  The joy of Magnifique, however, is the precision of the musicianship and production and the fact that it is a flowing album of atmospheric music, and not just a collection of songs.

Teenage LicksTeenage Licks – Stone the Crows (1971)

Teenage Licks is one of the great lost albums of the 1970s and showcases a band at their tight, funky peak. Listen out for the late Les Harvey’s sublime blues guitar on tracks like Big Jim Salter and Don’t Think Twice and Maggie Bell’s soulful, throaty vocals throughout. We even get a little Gaelic from her on the traditional Ailen Mochree.  The album also features some of the early work of prog rock record producer Eddie Offord as engineer.

 

and watching:

Invisible FrameThe Invisible Frame – Cynthia Beatt (2009)

In the excellent DVD version currently available in the UK this comes as a companion pair of films.  In both Cynthia Beatt looking at the impact of the Wall on Berlin, the city in which she is based.  In Cycling the Frame from 1988 Tilda Swinton traces the line of the Wall making a journey by bicycle.  More than twenty years later, in  The Invisible Frame, she returns to consider the Wall once more and finds its physical reality has been removed but its memory still casts a shadow.

Ploughman's LunchThe Ploughman’s Lunch – Richard Eyre (1983)

The Ploughman’s Lunch is one of the key British films of the 1980s and one that, in its subject matter, is uncannily prescient of current events.  Against the background of a bullish Conservative government seeking to boost its popularity at home with military interventions overseas, a young journalist quickly comes to realise the compromises and deceptions he has to be prepared to stomach get to the top in his profession.  Jonathan Pryce, in one of his first major roles, is superb as the journalist James Penfield.

 

JubileeJubilee – Derek Jarman (1978)

Derek Jarman’s second feature film is a genuine historical document which records an important moment in British popular culture.  It’s not just a film about the punk movement, but one made in accordance with the original punk aesthetic: a mainly amateur cast, a budget of just £200,000 and a shooting schedule of  six weeks.  By the time the film was released it was all over; but what a glorious, anarchic, exhilarating moment it was.

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Why I Am Not a Painter

 

Why I Am Not a Painter is one of my favourite Frank O’Hara poems.  He wrote it after a series of visits to his friend Michael Goldberg, the American abstract expressionist painter.  Like many have done so before and since O’Hara grapples with the idea of the many forms of expression open to the human creative spirit.

Frank O’Hara

Michael Goldberg

Michael Goldberg

 

 

 

 

 

 

 

 

 

I am not a painter, I am a poet.
Why? I think I would rather be
a painter, but I am not. Well,

for instance, Mike Goldberg
is starting a painting. I drop in.
“Sit down and have a drink” he
says. I drink; we drink. I look
up. “You have SARDINES in it.”
“Yes, it needed something there.”
“Oh.” I go and the days go by
and I drop in again. The painting
is going on, and I go, and the days
go by. I drop in. The painting is
finished. “Where’s SARDINES?”
All that’s left is just
letters, “It was too much,” Mike says.

But me? One day I am thinking of
a color: orange. I write a line
about orange. Pretty soon it is a
whole page of words, not lines.
Then another page. There should be
so much more, not of orange, of
words, of how terrible orange is
and life. Days go by. It is even in
prose, I am a real poet. My poem
is finished and I haven’t mentioned
orange yet. It’s twelve poems, I call
it ORANGES. And one day in a gallery
I see Mike’s painting, called SARDINES.

O’Hara’s title for his poem seems to suggest it will be about the differences between the two art forms, painting and poetry. However, in its execution, this poem seems to concentrate more on the similarities between the two.

In fact, one can even go so far as to say that the poem is a celebration of art in all its forms. Frank O’Hara creates his art with words while his friend, Mike Goldberg, does so with paint and visual imagery. Each is different but, O’Hara seems to be saying, both are valid expressions of the creative mind.

In the opening line  we are led to infer that poetry and painting are different:

“I am not a painter, I am a poet.”

But O’Hara then goes on to highlight the similarities of the two processes: Goldberg’s process of painting, in the second stanza, and O’Hara’s process of creating poetry, in the third. In fact, these two stanzas can almost be read in parallel, with the same creative impulse being expressed, the one at his easel, the other at his typewriter.

O’Hara’s poem is called ‘Orange’ and is inspired by that colour. His friend’s painting, when O’Hara first sees it, has the word ‘SARDINES’ in it. Later he sees that this is all but gone from the finished picture, ‘all that’s left is just letters’. The picture, however, is now called ‘SARDINES’. Thus, both the poet and the painter are inspired by a particular word, though neither word is immediately obvious in the finished work.

sardines

The painter’s creative process seems to be about refining, concentrating his imagery from a starting point as he works towards the finished object. O’Hara’s working method, on the other hand, seems to be cumulative, an expansion of words that leads him towards his finished poem:

‘………. Pretty soon it is a/whole page of words, not lines./Then another page.’

Why I Am Not a Painter is recognisably a poem of the New York School following, as it does, the I-do-this-I-do-that pacing of many of the works identified with this school of poets. Whilst this style produces a relaxed, seemingly spontaneous effect, O’Hara’s poem is, in fact, carefully structured.

He uses an introductory stanza of four lines to set up the premise of his being a poet and not a painter, although, almost as an aside, he lets slip that he thinks he might like to be a painter. He then employs two further stanzas, each of thirteen lines. In the second stanza O’Hara visits Mike Goldberg’s studio and reflects on his friend’s way of working and creating his art. O’Hara then discusses his own working method, in the third stanza, before describing the finished poem and the completed painting in the final few lines.

O’Hara breaks many of his lines in this poem with seemingly odd small words such as ‘is’, ‘a’, ‘in’ and ‘of’. He even ends the first stanza with ‘Well’. But rather than disrupting the flow of the poem, as one might expect, these line breaks give it a sense of unity and progression by referring forward to the next line and back to the one which preceded it.

The creative process may be sparked by a moment of inspiration but, O’Hara seems to suggest in this poem that producing a work of art, be it a poem or a painting, takes time and effort. A number of phrases in the poem are suggestive of the passing of time while the poet and the painter work away at their craft: ‘the days go by’, ‘pretty soon’, ‘Days go by’ and ‘one day’.

O’Hara, as the poem draws to a conclusion, seems to be satisfied with his chosen art form: ‘I am a real poet’. Then the final two lines bracket together the poem and the painting, each with its own somewhat enigmatic title, as if to emphasise the creative unity of the two.

Why I Am Not a Painter – reproduced courtesy of the estate of Frank O’Hara

Sardines – reproduced courtesy of the estate of Michael Goldberg

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October Sky

October Sky poem

October sky

grey above –

Sun glow

claws at

southern edge.

Daggers of rain

cold, vindictive.

Leaf blown,

withered.

Slick wet paving

mirrors sky.

Grey on grey.

 

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The Eye of the Inner Ear

image8

as the films of Davies illustrate so convincingly, ultimately it is the inner space of the individual imagination that matters most.

Wendy Everett: The Eye of the Inner Ear: Terence Davies and the Space/Time Dimension, p.308.  Essay published in: Wendy Everett & Axel Goodbody (Eds), Revisiting Space: Space and Place in European Cinema (Oxford, Peter Lang, 2005)

Davies

 

By positioning the spectator as co-author, Davies’s resistance to mainstream cinema’s demands for pace, linearity, and closure should thus be recognised as an act of creative empowerment.  For above all his films are about film; whatever they tell us about ourselves, about Davies, about time, space, music, image, they are also telling us about the glorious, terrible, and powerful nature of cinema and its role in structuring our identity and that of the world we live in.

ibid. p.308

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Poem No. 4

HPIM0254

 

 

Rooted –

in nurturing soil,

a growth inarticulate

in its proliferation

Anorexic pruning –

a painful birth

revealing flowers

of such unexpected beauty

 

 

Image: Culloden, August 2010

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Four Dogs

I asked my friend Will to join me on this walk. Will has lived in Wrexham for most of his life and I hoped he could put a personal perspective on some of the places I planned to explore.

Four Dogs

Ever since I moved to Wrexham I’ve been aware of the town’s connection with the land-owning Cunliffe family of Acton Hall. The house was demolished many years ago, but the name lives on in the guise of Wrexham’s Acton suburb. Part of the parkland previously surrounding the hall now forms a public park. I sometimes run in this park, Acton Park, and I’ve enjoyed the odd pint in the nearby pub of the same name.

Acton Hall 1938

The thing I was not aware of until recently, however, was Acton Hall’s connection with George Jeffreys, the so-called ‘Hanging Judge’. Jeffreys was born at Acton Hall in 1645 and, after reading law at Cambridge and training at the Inner Temple, became James II’s Lord Chancellor in 1685.

George Jeffreys

George Jeffreys

He is infamous for presiding over the Taunton ‘Bloody Assizes’ of 1685 in which more than 160 alleged participants in the Monmouth Rebellion were executed. Will recalls seeing Patrick Troughton play Judge Jeffreys in a 1960s television dramatization of Lorna Doone, which I guess gives Acton Hall an extremely tenuous Doctor Who connection too.

We start our walk in Westminster Drive where Will points out the yellow fire hydrant post which, back in the 1970s, he and his childhood friends regularly used in order to climb over the fence into the school playing field to play football. This sports ground, known locally as the Nine Acre Field, was once part of the parklands of Acton Hall until it was purchased by the local Council just after Second World War. Westminster Drive, incidentally, translates into Welsh as Rhodfa San Steffan, an interesting reference to Westminster’s St Stephen’s Hall.

Stand PipePlaque

Walking along Chester Road we soon come to one the few remaining parts of the fabric of Acton Hall. The imposing neo-classical gateway marooned at the edge of a modern housing development which was once the main entrance to Acton Hall. It was built in 1820 at the behest of Sir Foster Cunliffe whose family bought the hall in the late eighteenth-century and remained there until 1917.

Four DogsFour Dogs

The symbol of the Cunliffe family is the greyhound: it features on their family crest and is also now used as the emblem of the Wrexham Area Civic Society. The original gateway to the hall had four wooden greyhounds mounted on its top. One disappeared when the US army were stationed at Acton Hall in World War Two and another was destroyed by vandals in 1964. The present greyhounds were made by local art college students in 1982 when the council restored the gates. The students constructed moulds from an original greyhound figure and made four new ones from glass fibre and concrete. One of the original wooden dogs is now housed in Wrexham’s museum.

Adjoining the gates is a pub called, unsurprisingly, The Four Dogs. The Four Dogs has a bit of a reputation locally, although that may be a little unfair as I’ve certainly never had any problems on the couple of occasions I’ve been in there. Allegedly, however, it is the pub of last resort for people who have been banned from all the other hostelries in town.

As we walk we reflect on how pub names often seem to tap into local history and mythology. Across the road from The Four Dogs is a pub called The Acton Park and, a mile or so away on the other side of Acton is another called The Greyhound. Nearby, along the eastern edge of Acton Park is Jeffreys Road, named in memory of the previous occupants of Acton Hall. When a new pub was built here in the early 1970s the brewery invited suggestions for what it should be called. The Whippet, The Swinging Judge, The Hanging Judge and The Scaffold were all rejected before they settled on the rather less edgy name of The Cunliffe Arms.

We turn down Box Lane along what was once the northern edge of the Acton Hall estate. This was once the main road to Chester before the new turnpike on what is now Chester Road was constructed. Supposedly the ‘box’ in Box Lane comes from the sentry box Sir Foster Cunliffe had installed to prevent travellers using ‘his’ road as a cut-through to avoid the toll charges on the turnpike.

Acton Hall

Half way along Box Lane we come to Acton Park Primary School. Will’s daughters both attended this school. The oldest part of the school was built in 1917 by the Belgian-born diamond merchant Sir Bernard Oppenheimer. Oppenheimer bought all 224 acres of the Acton Hall estate when the Cunliffe family put it up for sale that year.

Oppenheimer

He immediately sold 64 acres to the council for what was to become the Acton Park housing estate and gifted 125 acres to a trust set up to provide small-holdings for ex-servicemen. He also built a factory unit on Box Lane on the site of the present school. His plan was to set up a diamond polishing works to provide work for disabled ex-servicemen. The initiative was not a success, however, and the site was sold to the council in the early 1920s.

Acton Park School logo

We take a right down a street called Acton Gardens which leads through to Acton Park. This street edges the former kitchen garden of Acton Hall and some parts of the estate’s original sandstone walls, formerly extending for some 23 miles around its perimeter, are still evident here.

Acton Gardens

The older houses in Acton Gardens appear to date from the 1920s but, just before we enter the park, we pass through a new development of town houses around a faux-village green. There is also a large three-storey apartment block modelled, so Will tells me, on the original Acton Hall. Although, to my mind, it doesn’t seem to bear much resemblance to the any of the archive pictures I’ve seen.

Acton Hall Walks

Acton Hall was built by the Jeffreys family in the sixteenth-century and was the birth-place of Judge George Jeffreys. The house passed through several other hands before being sold to Sir Foster Cunliffe in 1785. He made improvements to the house, expanded the estate and made it the Cunliffe family seat for another 130 years.

Sir Foster Cunliffe, 3rd Baronet

Sir Foster Cunliffe, 3rd Baronet

But the Cunliffes were not originally from the landed gentry; Sir Foster’s grandfather, who was also called Foster, was a Liverpool merchant who amassed his fortune on the back of the slave trade, a part of their family history which later generations tended to play down.

Sir Foster, the 3rd Baronet of Acton Hall, died in 1834. The final Cunliffe family custodian of the hall was the 6th Baronet, Sir Foster H E Cunliffe, an Oxford don and MCC cricketer. He succeeded to the title in 1905 but died in the Somme in 1916.

By 1917 the Cunliffe family’s fortunes were at a low ebb and they vacated the hall and put its lands up for sale. The house itself remained unoccupied. It was used as a furniture store in the inter-war years and as a billet for the US 33rd Signals Battalion in WW2. The building’s fabric continued to deteriorate and, with no resources to restore it, the council demolished Acton Hall in 1954.

Some of the grandeur of the Acton Hall estate is still apparent to us, however, as we meander across Acton Park. The park comprises 55 acres of grass, trees and ornamental gardens. At its centre is a lake which was once Acton Hall’s fish-pond.

Acton ParkActon Park

To the south of Acton Park we pass through Wrexham’s oldest council housing estate, also called Acton Park. The first 118 houses were built in 1920 following the ‘garden village’ concept of gardens, crescents, open-spaces and landscaping. The architect was Professor Sir Patrick Abercrombie of Liverpool University. More houses were added in subsequent decades, but they seem to lack the build-quality and imagination of Sir Patrick’s original design.

Beyond the Acton Park council estate we cross a main road and follow Park Avenue back to our starting point in Westminster Drive. Park Avenue is a wide, tree-lined road with an almost continental feel. It was originally called Cooper’s Lane but, when a number of large houses began to be built here in the 1930s, the council felt it needed a grander street name to attract the ‘right’ kind of resident. They also planted an avenue of 52 trees at the then astonishing cost of £22-16s-00d.

Sensing I might be tempted to write something wistful about Acton Hall and days gone by in Wrexham, Will reminds me before we part of the murky antecedents of the Jeffreys and Cunliffe families. Even Bernard Oppenheimer, he added, for all the good he tried to do for people disabled in the Great War, wrested his colonial diamond fortune from its rightful African owners.

But the resonances abound; so many of the street names in this part of Wrexham pay homage to the legacy of Foster, Cunliffe, Acton and Jeffreys. And that greyhound motif keeps turning up in odd places. Which just leaves me with the four dogs. After all, everyone likes dogs.

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Psychogeographic Review’s Recommendations – September 2015

This past month Psychogeographic Review has been reading:

51PZWznCa9L__SY344_BO1,204,203,200_Iain Sinclair – London Overground: A Day’s Walk Around the Ginger Line (2015)

These days Sinclair writes like a man  aware that he is running out of time: words tumble out of him, one project after another, often over-lapping.  There is a palpable sense of urgency in his work: the flow of words accelerates just as the pace of his walks, the groundwork that is so essential to his style of writing, seems to have speeded up.  London Overground follows a typical Sinclair scenario, taking a walk along the route of London’s overground railway, the ‘ginger line’ of the title, and using it as a starting point for Sinclair’s peregrinatory riffs on writers, politics and urban life.  Yes, he’s done similar London walks before, but rarely with the pace and verve of this book in which he sets out to complete the entire journey in one day.  Sinclair’s companion on his walk, Boswell to his Samuel Johnson, is the film-maker Andrew Kötting, who brings a glowering physicality to Sinclair’s sensory meanderings.  But, as ever with Sinclair, the words, the ideas, memories and observations, tumble forth.

51bSHEcj1BL__SX324_BO1,204,203,200_Roger Willemsen – The Ends of the Earth (2010)

Roger Willemsen is a respected German writer and television presenter and this is his first book to be translated into English.  The Ends of the Earth comprises of series of essays reviewing the author’s travels to some of the world’s remoter corners.  But this is not a simple travelogue, because Willemsen is not just a simple observer; he engages at an emotional level with the places he visits and the people he meets.  So, whether it is with prostitutes in Mumbai or at a hospital death-bed in Minsk, Willemsen is fully engaged and invites us to join him, not just to gaze but to understand and empathise.

 

18369750Terence Davies – Hallelujah Now (1984)

This is a fascinating read for those of us who are admirers Terence Davies’s Trilogy series of films in which he explores the life of his alter-ego, Robbie.  Like the films this, his only novel to date, traces the course of Robbie’s life as he struggles to come to terms with the weight of his upbringing, his Catholicism and his sexuality in the working-class Liverpool of the fifties and sixties.  Davies’s vision is clearly more fully realised in film, indeed I would suggest he is a far better film haunting glimpses into Robbie’s interior world.

 

 

By-Grand-Central-Station-b-format2Elizabeth Smart – By Grand Central Station I Sat Down and Wept (1945)

Elizabeth Smart’s prose poem of love, longing and betrayal delivers a visceral punch that is just as relevant today as when it was first written more than half a century ago: “I have learned to smoke because I need something to hold onto.”

 

 

 

 

Front PageSTEPZ: A Psychogeography and Urban Aesthetics Zine (Pilot Edition, Summer 2015)

STEPZ is the first issue of a new zine launched by Tina Richardson to try to bring together some of the creative expressions of what she terms the new psychogeography.  She succeeds in bringing together a host of new voices and some familiar ones, people interested in “critiquing, appreciating and debating urban space.”

 

 

 

umagthreeUniformagazine (No.3, Spring-Summer 2015)

A series of pieces on sounds, images and words  each loosely connected by a sense of place: “The uniformity of presentation highlights the variations and particularity of each combination of text and image—the singularity of each work is established by its relationship to other works.”

 

 

 

 

and listening to:

tmp_2F1427319212308-6k9bgbylc7jpp66r-6fb4ac4ca8a53f0cc687ae92aabda074_2FLITA129_HighresCoverDon’t Just Sing: An Anthology 1963-1999 – Karin Krog (2015)

Karin Krog is a Norwegian jazz singer whose CV stretches back to the early-sixties and includes work with Steve Kuhn, Red Mitchell, Dexter Gordon and Archie Shepp.  Krog’s vocals have been described as sculptural and this collection amply demonstrates the way she is able to shape her voice to extract maximum effect from every syllable.

a yearIn Every Mind – A Year in the Country (2015)

“This is the first audiological research and pathways case study constructed solely by A Year In The Country.  In contrast to the telling of tales from the wald/wild wood in times gone by, today the stories that have become our cultural folklore we discover, treasure, pass down, are informed and inspired by, are often those that are transmitted into the world via the airwaves, the (once) cathode ray machine in the corner of the room, the zeros and ones that flitter around the world and the flickers of (once) celluloid tales.  They take root in our minds and imagination via the darkened rooms of modern-day reverie, partaken of in communal or solitary séance.”

a1f8374c45e0c7cb2d54bcaaede43db3The Serpent’s Egg – Dead Can Dance (1988)

The music of Dead Can Dance is like an ethereal soundtrack meandering its way through ancient churches, stone circles and forest glades.  The Serpent’s Egg is one of a string of richly textured albums band members Lisa Gerrard and Brendan Perry produced in the eighties and early-nineties and serves as a good introduction to their work.

 

homepage_large_e3b2cb24Paris 1919 – John Cale (1972)

This is Cale’s fourth solo album and arguably includes some of his best post-Velvet Underground work.  A satisfying fusion of ballads, rock and the avant-garde music Paris 1919 also showcases Cale’s playful lyrics: “Somewhere between Dunkirk and Paris
Most people here are still asleep
But I’m awake
Looking out from here -at half-past France.”

 

and watching:

220px-Into_the_abyss_posterInto the Abyss – Werner Herzog (2011)

Into the Abyss is Werner Herzog’s critique of the American penal system and a powerful contribution to that nation’s debate on capital punishment.  But this is not mere polemic, although Herzog is a well-known opponent of capital punishment he enables all those included in his documentary to tell their own stories in their own way.

 

 

 

51QNWVAGTEL__SY445_Liebestraum – Mike Figgis (1992)

Liebestraum is ostensibly a thriller, but Figgis ignores any temptation to offered laboured explanations and instead concentrates on his film’s visual impact, soundtrack and moody atmosphere.  In doing so he succeeds in conjuring up the ‘love dream’ of his title; and like all the best dreams it embraces love, death and architecture.

 

 

$_35Get Carter – Mike Hodges (1971)

Michael Caine’s gangster, Jack Carter, is on the loose in Newcastle seeking answers and looking to exact revenge.  Hodges created a genre of British crime films later taken up in movies such as The Long Good Friday and Lock, Stock and Two Smoking Barrels.  But nothing quite matches Get Carter’s documentary-like evocation of provincial Britain in the 1970s, not to mention its score by Roy Budd and stand-out performances by Caine, Ian Hendry and John Osborne.

 

 

 

 

 

 

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Confluence

But where does the river sit in all of this: as a reflection of (and receptacle for) change?  

Surface Tension, Rob St John

This is as far as I can go.  I have been following the course of the River Gwenfro across Wrexham and now I have reached its end at its confluence with Wrexham’s other river, the Clywedog, here at King’s Mills.  Four miles further on, to the south-east of the town, both rivers will join the Dee.

Both the Clywedog and the Gwenfro rise in the Denbighshire hills to the west of Wrexham.  The Clywedog skirts the southern edge of the town while the Gwenfro follows a course right through the centre and forms the boundary of the ancient parishes of Wrexham Abbot and Wrexham Regis, which I have written about elsewhere.

confluence 1

It’s hard to catch sight of the Gwenfro in the centre of Wrexham, as much of it has been culverted.  But at an area called Island Green the river emerges and insinuates itself past a 1990s shopping centre and an old brewery now converted into apartments.  In the nineteenth-century, Island Green was at the heart of Wrexham’s tanning and brewing industries, the waste from which turned the Gwenfro’s waters into a foul soup.


confluence 2

 

confluence 3Soon after Island Green the river goes underground once more at Brook Street and doesn’t emerge again for another half mile or so at Rivulet Road.  For the intrepid river-hunter, of course, the clues are all there in the street names!

The Gwenfro then channels its way through Caia Park, the largest council housing estate in Wales.  Caia Park’s reputation has suffered from its past associations with crime and drug-dealing and there were serious inter-communal riots in 2003.  But local people have worked hard to overcome these problems and, on a sunny June day, it was a very pleasant walk across the estate.

confluence 4

confluence 5confluence 6The Gwenfro cuts a green swathe through Caia Park; a ribbon of footpaths, sports pitches, playgrounds, strips of woodland and mercifully neglected green spaces edge the river.  Beyond the estate the Gwenfro emerges into what feels like true countryside. 

confluence 7

 

confluence 8Its waters are mountain spring clear today, but one can imagine the Gwenfro in days gone by, weighed down with effluent, reaching this point and suddenly being reminded of the trees, meadows and sweet air of the place where it was born.  A bit like a work-worn old pit-pony being turned out to grass for its final few days.

Within another half mile the river and I arrive at King’s Mills.  The area was named after its large water mill, the original one being built in the fourteenth-century and the present building, which ceased work in 1940, dating from the eighteenth-century.  All of the residents of Wrexham Regis were required to bring their grain to the mill to have it turned into flour and, of course, to pay their taxes to the Crown.

confluence 9

confluence 10

 

confluence 11confluence 12Kingsmill Bridge dates from 1782 and marks the point where the two rivers join.  It’s quite a steep climb down to water-level, but there are plenty of branches to hold. 

confluence 13

Gwenfro from the right joins Clywedog on the left

Gwenfro from the right joins Clywedog on the left


confluence 14

I dip my toes into the waters and wave a salute to the river, a combined force now, as it makes its way onward towards the River Dee.

 

Words and images by the author

Rob St John’s Surface Tension is available here

 

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Abbot and Regis: A Tale of Two Townships

A market town, a parliamentary borough, the head of a Union, and a parish, chiefly in the hundred of Bromfield, county of Denbigh; 26 miles (SE by E) from Denbigh, 18 (ESE) from Ruthin, and 187½ (NW) from London; ….. and containing 12,921 inhabitants, of whom 5818 are in the townships of Wrexham Abbot and Wrexham Regis, forming the town.

A Topographical Dictionary of Wales, 1849, Samuel Lewis

There is something profoundly binate embedded in the very nature of the town of Wrexham in North Wales.  A border town straddling the divide between England and Wales.  To the east of the town centre is Wat’s Dyke, constructed in early Saxon times when Wrexham was a Welsh outpost, while to the west is Offa’s Dyke, which was built much later after Wrexham had fallen into Mercian Saxon hands.  The town was returned to Wales after the Norman Conquest, but still retains that duality of psyche that comes from being a border territory.

Temple Row, Wrexham

Temple Row

In the English Civil War Wrexham, like much of Wales, was firmly Royalist.  But the town surrendered to a division of Cromwell’s army without a shot being fired and then decided to support the Parliamentary cause.  A Janus-faced town, looking both ways, an accident of topography making it necessary for the locals to be prepared to switch sides in order to survive.

Former Border Brewery

Former Border Brewery

Alleyway off Foundry Road

Alleyway off Foundry Road

Although there is some evidence of a small Roman settlement at Wrexham, the town itself was founded in the Middle Ages.  The area that is now the town was part of the Marcher Lordship of Bromfield and Yale and, at some point in the twelfth-century, the Marcher Lord granted lands to the control of monks from Valle Crucis Abbey in nearby Llangollen.  Thus, from its very inception, Wrexham had two identities: Wrexham Abbot, the part of the town that belonged to the Church, and Wrexham Regis, the remainder of the town which answered to the King.

St giles Churchyard, Wrexham

St Giles Churchyard

College Street

College Street

The two separate townships continued to grow, cheek by jowl, and after the Church was disestablished they became separate parishes: Wrexham Abbot and Wrexham Regis.  This continued right through to 1885 when, as part of a process of civic reform, Wrexham Abbot was dissolved as an entity and incorporated into the parish of Wrexham Regis.  By 1974 another round of local government reform killed off Wrexham Regis too.

But that wasn’t quite the end of the matter: echoes of Abbot and Regis resound throughout Wrexham’s town centre.  The core of the town still retains much of its medieval street pattern with a web of narrow streets and alleyways centring on the parish church of St Giles.  In this area we find Temple Row and Church Street hinting at an ecclesiastical heritage and, on the other side of Town Hill,  Abbot Street provides a potent reminder of the days of Wrexham Abbot.

St Giles Church

St Giles Church

Abbot Street

Abbot Street

To find street names indicating a connection with Wrexham Regis we have to look to the north of the town’s medieval core.  Here we find King Street and Regent Street and, on Lord Street, a hair salon called Regis!  There is no definitive map of the boundary between Abbot and Regis; I suspect the line was always a bit haphazard even in times gone by.  However, most local historians seem to accept that Regis was to the north of the River Gwenfro and Abbot was centred on the original core of the town to the south of the river: the part that grew up around the medieval parish church.

River is probably too grand a name for the Gwenfro, it is more of a brook.  But it has great historical significance for the town as it was essential for Wrexham’s once important tanning and brewing industries.  Much of the river has now been culverted through the town centre, but it is still possible to trace its line and walk along some sections of it, which is what I did when I went in search of evidence of Abbot and Regis.

River Gwenfro

River Gwenfro

Old Oast Houses on River Gwenfro

Old Oast Houses on River Gwenfro

I am fascinated by borders and edge-lands, those special places where two identities meet and, at the point of the tectonic clash of the two, an amorphous, but fascinating, third identity often emerges.  Tracing the route of the River Gwenfro, Abbot to the south and Regis the north, I ponder the nature of duality, or deuoliaeth  as it is called in Welsh.  This idea of the binary seems to resonate in our mythologies and archetypes: Gemini’s twins, Castor and Pollux, Janus, and Orthus the two-headed dog. 

Casting our eyes up from the streets to the heavens, it’s an amusing irony that astronomers have discovered a rich sprinkling of double stars in the Gemini constellation (United States Naval Observatory’s Washington Double Star Catalog).

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