hard stuff

September 20, 2010

Interesting to wander around this immediate vicinity – described or assessed as ‘run down’ and therefore needing government grants. Many residents try hard to make their mark on the area so that it looks inviting to others – just part of the regeneration that is pushed on by individuals and their creativity. Some may say it’s  ‘on the up’ while others moan on about ‘gentrification’. I thought I’d make a circle of about a 100m radius and see what took my fancy of the ‘hard stuff’. Very close by, in Market Street,  is this old sandstone block retaining wall  – quite tactile in its softness –  with a decent batter that supports the base of the raised land along Market Passage . . . .

. . . there must have been storage within the wall or this could be the old portal to the flights of steps that climb the cliff face. The concrete steps just visible on the left are relatively new  . . .

. . . the corner of Market Street and the London Road stands the old Admiral Benbow pub. I like this building and I think a lighting designer likes it too. On the roof of the building next door, the vegetation isn’t part of a roof garden but a bit of buddleja . . . .

 . . . and next to this at the corner of London Road and Norman Road, we can enjoy a piece of street art that causes some puzzling looks. Unfortunately, the subject  received a swastika on his conk within a couple of days – no surprise – but everyone’s behaving like good subjects now . . .  I understand that it’s by Ben Eine . . .

 . . . and down at Deborah’s, more childish stuff but, more interesting and attractive . . .

Looking in to the house at close quarters, there is a roof garden here  . . .

 . . and as  Deborah designs wall paper, she’s added this in too, along with a reference to upholstery . . . very jolly . . .

. . . a look towards the back of her workroom/shop window shows she knows how to arrange objects . . .

. . . and looking back into the doll’s house, I see there’s a nod to the local dilapidation . . .

. . . walking west along Grand Parade towards The Marina, there’s a very decrepid building with a balcony that is rather lovely in its fragility . . .

. . . and close by, an ‘installation’ created late at night . . .

. . this is the ‘gentrification’ that some criticise, olive trees in tubs and buildings receiving a makeover. 

Higher than the handsomest hotel

The lucent comb shows up for miles, but see,

All round it close-ribbed streets rise and fall

Like a great sigh out of the last century.

The porters are scruffy; what keep drawing up

At the entrance are not taxis; and in the hall

As well as creepers hangs a frightening smell.

There are paperbacks, and tea at so much a cup,

Like an airport lounge, but those who tamely sit

On rows of steel chairs turning the ripped mags

Haven’t come far. More like a local bus.

These outdoor clothes and half-filled shopping-bags

And faces restless and resigned, although

Every few minutes comes a kind of nurse

To fetch someone away: the rest refit

Cups back to saucers, cough, or glance below

Seats for dropped gloves or cards. Humans, caught

On ground curiously neutral, homes and names

Suddenly in abeyance; some are young,

Some old, but most at that vague age that claims

The end of choice, the last of hope; and all

Here to confess that something has gone wrong.

It must be error of a serious sort,

For see how many floors it needs, how tall

It’s grown by now, and how much money goes

In trying to correct it. See the time,

Half-past eleven on a working day,

And these picked out of it; see, as they climb

To their appointed levels, how their eyes

Go to each other, guessing; on the way

Someone’s wheeled past, in washed-to-rags ward clothes:

They see him, too. They’re quiet. To realise

This new thing held in common makes them quiet,

For past these doors are rooms, and rooms past those,

And more rooms yet, each one further off

And harder to return from; and who knows

Which he will see, and when? For the moment, wait,

Look down at the yard. Outside seems old enough:

Red brick, lagged pipes, and someone walking by it

Out to the car park, free. Then, past the gate,

Traffic; a locked church; short terraced streets

Where kids chalk games, and girls with hair-dos fetch

Their separates from the cleaners – O world,

Your loves, your chances, are beyond the stretch

Of any hand from here! And so, unreal

A touching dream to which we all are lulled

But wake from separately. In it, conceits

And self-protecting ignorance congeal

To carry life, collapsing only when

Called to these corridors (for now once more

The nurse beckons -). Each gets up and goes

At last. Some will be out by lunch, or four;

Others, not knowing it, have come to join

The unseen congregations whose white rows

Lie set apart above – women, men;

Old, young; crude facets of the only coin

This place accepts. All know they are going to die.

Not yet, perhaps not here, but in the end,

And somewhere like this. That is what it means,

This clean-sliced cliff; a struggle to transcend

The thought of dying, for unless its powers

Outbuild cathedrals nothing contravenes

The coming dark, though crowds each evening try

 With wasteful, weak, propitiatory flowers.  The Building  Philip Larkin

3 Responses to “hard stuff”

  1. Cloudier Says:

    Who criticises the ‘gentrification’ of the area? Not that I’m especially for it, but it would be interesting to hear their reasons for disliking it. Do they think it zaps the local character?

    • julia fogg Says:

      I think people are generally suspicious and don’t like change or cannot contemplate how changes might be beneficial for others. It’s all about human control . . . in my opinion!

  2. […] Ben Eine, of the dropped shadows, designed the graphics on the focal point wall. Ben’s done another show stopper just close by. […]

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