Tag Archives: Penelope Lively

London – “a card-index system to an inexhaustible set of topics”

It doesn’t happen that often, but every now and then I read a description of London that makes me sit up – finally somebody sees London in the same way that I do! The following is from Penelope Lively’s very pleasant 1984 novel According To Mark – and is a perfect study of the overlapping Londons that exist inside my brain, and perhaps some of the other readers of this very occasional (sorry!) but still just about hanging on blog.

“To drive from south-west to north-east London is not just to spend a lot of time sitting in traffic-jams but also, for a certain kind of person, to pass through a system of references and allusions that ought to be more dizzying than it actually is. Mark, during the next hour and a quarter, found himself reflecting – in quick succession – upon Roman Britain, Whistler, Daniel Defoe, Harrison Ainsworth, Virginia Woolf, Isambard Kingdom Brunel and various other matters, all of these prompted by fleeting glimpses of the slivery glitter of the river, the dome of St Paul, a railway station or street name.

The city, indeed, seemed to exist not just on an obvious, physical and visual plane but in a secondary and more mysterious way as a card-index system to an inexhaustible set of topics… And all these references coexist in a landscape even though separated from one another by decades and centuries; the mind has no problem latching onto each one in turn, switching obediently from one level to another, providing without effort the appropriate furnishings by way of costume, language and action.

The head should be spinning, and yet it isn’t; it accepts quite calmly the promptings of what is seen and what is known.”

More soon, perhaps.

London bricks

‘The bricks – laid Flemish bond, headers and stretchers alternating – were all old London stock bricks, but of many kinds and colours: rust red, beige, grey, brown, nearly black. Here and there were yellow ones – malm bricks made with an admixture of clay and chalk. The cumulative effect was pleasing – the variety gave texture, interest and warmth to the surface of the wall. The eye approved the range of colour, the uneven look, the way in which each brick differed from its neighbour and yet was in subtle harmony. But, more that that, to look at it was to see the way in which this wall arose from the ashes of many buildings. Studying it, Matthew saw in his mind’s eye warehouses and churches, factories and shops, terrace houses like this one, blasted to the ground perhaps on some furnace night of 1940. He thought of how the city lifts again and again from its own decay, thrusting up from its own detritus, from the sediment of brick dust, rubble, wood splinters, rusted iron, potsherds, coins and bones. He thought of himself, living briefly on top of this pile, inheriting its physical variety and, above all, the clamour of its references. The thought sustained him, in some curious way, as he sat at his desk in the flat which was not yet a home, or as he moved through days and through the city, from Finsbury to Docklands to Covent Garden to Lincoln’s Inn.

Penelope Lively in ‘City Of The Mind’ (1991, Andre Deutsch).