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The Docks Of Old London

May 17, 2025
by the gentle author

The crowdfund for Tessa Hunkin’s Hackney Mosaic Project book closes today Saturday 17th May at midnight

 

Within living memory, the busiest port in the world was here in the East End but now the docks of old London have all gone. Yet when I walk through the colossal new developments that occupy these locations today, I cannot resist a sense they are merely contingent and that those monumental earlier structures, above and below the surface, still define the nature of these places. And these glass slides, created a century ago by the London & Middlesex Archaeological Society for magic lantern shows at the Bishopsgate Institute, evoke the potent reality of that former world vividly for me.

Two centuries ago, the docks which had existed east of the City of London since Roman times, began an ambitious expansion to accommodate the vast deliveries of raw materials from the colonies. Those resources supplied the growing appetite of manufacturing industry, transforming them into finished products that were exported back to the world, fuelling an ascendant spiral of affluence for Britain.

Despite this infinite wealth of Empire, many lived and worked in poor conditions without any benefit of the riches that their labour served to create and, in the nineteenth century, the docks became the arena within which the drama of organised labour first made its impact upon the national consciousness – winning the sympathy of the wider population for those working in a dangerous occupation for a meagre reward.

Eventually, after generations of struggle, the entire industry was swept away to be replaced by Rupert Murdoch’s Fortress Wapping and a new centre for the financial centre at Canary Wharf. Yet everyone that I have spoken with who worked in the Docks carries a sense of pride at participating in this collective endeavour upon such a gargantuan scale, and of delight at encountering other cultures, and of romance at savouring rare produce – all delivered upon the rising waters of the Thames.

Deptford Dock Yard, c. 1920

Atlantic Transport Liner “Minnewaska” – The Blue Star Liner “Almeda” in the entrance lock to King George V Dock on the completion of her maiden voyage with passengers from the Argentine, April 6th, 1927.

Timber in London Docks, c. 1920

Wool in London Docks, c. 1920

Ivory Floor at London Dock, c. 1920

Crescent wine vaults at London Dock – note curious fungoid growths, c. 1920

Unloading grain – London Docks, c. 1920

Tobacco in London Docks, c. 1920

Royal Albert Dock, c. 1920

Cold Store at the Royal Albert Dock showing covered conveyors, c. 1920

Quayside at Royal Albert Dock, c. 1920

Surrey Commercial Dock, c. 1920

Barring Creek, c. 1920

Wapping Pier Head, c. 1920

Pool of London, c. 1920

Mammoth crane, c. 1920

Greenwich School – Training ship, c. 1910

The Hougoumont on the Thames, c. 1920

Images courtesy Bishopsgate Institute

You may like to read these other stories about the London Docks

Colin Ross, Docker

George Wells, Able Seaman

Views from a Dinghy by John Claridge

Along the Thames With Tony Bock

Among the Lightermen

Whistler in Limehouse & Wapping

Dickens in Shadwell & Limehouse

The Grapes in Limehouse

Madge Darby, Historian of  Wapping

Steve Brooker, Mudlark

Sarah Ainslie In Covent Garden

May 16, 2025
by the gentle author

The crowdfund for Tessa Hunkin’s Hackney Mosaic Project book closes tomorrow Saturday 17th May at midnight

 

 

In the eighties, Contributing Photographer Sarah Ainslie photographed the street performers of Covent Garden and her pictures are currently being exhibited at Paul Smith, 40-43 Floral St, WC2E 9TB until 11th June as part of the 50th Anniversary of Covent Garden Street Theatre.

The square outside St Paul’s Covent Garden, designed by Inigo Jones, has offered a space for street performers since the seventeenth century. In 1975, after the fruit and vegetable market closed, this became the Covent Garden Street Theatre created by Alternative Arts led by Maggie Pinhorn.

The community was able to preserve it as a public space through resistance from the local residents, traders and activists who came together to halt the plans to demolish the old market buildings. It was an inspiring example of people working collaboratively to manage their own spaces and the importance of public art as a living experience, in a place where street entertainers have been part of the history and culture of the area for over three hundred years.

Photographs copyright © Sarah Ainslie

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At the Punch & Judy Festival

William Morris’ East End

May 15, 2025
by the gentle author

Click here to book tickets for The Gentle Author’s Tours

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If you spotted someone hauling an old wooden Spitalfields Market orange crate around the East End, that was me undertaking a pilgrimage to some of the places William Morris spoke in the hope he might return for one last oration

William Morris spoke at Speakers’ Corner in Victoria Park on 26th July & 11th October 1885, 8th August 1886, 27th March & 21st May 1888

The presence of William Morris in the East End is almost forgotten today. Yet he took the District Line from his home in Hammersmith regularly to speak here through the last years of his life, despite persistent ill-health. Ultimately disappointed that the production of his own designs had catered only to the rich, Morris dedicated himself increasingly to politics and in 1884 he became editor of The Commonweal, newspaper of the Socialist League, using the coach house at Kelsmcott House in Hammersmith as its headquarters.

As an activist, Morris spoke at the funeral of Alfred Linnell, who was killed by police during a free speech rally in Trafalgar Sq in 1887, on behalf of the Match Girls’ Strike in 1888 and in the Dock Strike of 1889. His final appearance in the East End was on Mile End Waste on 1st November 1890, on which occasion he spoke at a protest against the brutal treatment of Jewish people in Russia.

When William Morris died of tuberculosis in 1896, his doctor said, ‘he died a victim to his enthusiasm for spreading the principles of Socialism.’ Morris deserves to be remembered for his commitment to the people of the East End in those years of political turmoil as for the first time unions struggled to assert the right to seek justice for their workers.

8th April 1884, St Jude’s Church, Commercial St – Morris gave a speech at the opening of the annual art exhibition on behalf of Vicar Samuel Barnett who subsequently founded Toynbee Hall and the Whitechapel Gallery.

During 1885, volunteers distributed William Morris’ What Socialists Want outside the Salmon & Ball in Bethnal Green

1st September 1885, 103 Mile End Rd

20th September 1885, Dod St, Limehouse – When police launched a violent attack on speakers of the Socialist League who defended the right to free speech at this traditional spot for open air meetings, William Morris spoke on their behalf in court on 22nd September in Stepney.

10th November 1886 & 3rd July 1887, Broadway, London Fields

November 20th 1887, Bow Cemetery – Morris spoke at the burial of Alfred Linnell, a clerk who was killed by police during a free speech rally in Trafalgar Sq. ‘Our friend who lies here has had a hard life and met with a hard death, and if our society had been constituted differently his life might have been a delightful one. We are engaged in a most holy war, trying to prevent our rulers making this great town of London into nothing more than a prison.’

9th April 1889, Toynbee Hall, Commercial St – Morris gave a magic lantern show on the subject of ‘Gothic Architecture’

1st November 1890, Mile End Waste – Morris spoke in protest against the persecution of Jews in Russia

William Morris in the East End

3rd January & 27th April 1884, Tee-To-Tum Coffee House, 166 Bethnal Green Rd

8th April 1884, St Jude’s Church, Commercial St

29th October 1884, Dod St, Limehouse

9th November 1884, 13 Redman’s Row

11th January & 12th April 1885, Hoxton Academy Schools

29th March 24th May 1885, Stepney Socialist League,  110 White Horse St

26th July & 11th October 1885, Victoria Park

8th August 1885, Socialist League Stratford

16th August 1885, Exchange Coffee House, Pitfield St, Hoxton

1st September 1885, Swaby’s Coffee House, 103 Mile End Rd

22nd September 1885, Thames Police court, Stepney (Before Magistrate Sanders)

24th January 1886, Hackney Branch Rooms, 21 Audrey St, Hackney Rd

2nd February 1886, International Working Men’s Educational Club, 40 Berners St

5th June 1886, Socialist League Stratford

11th July 1886, Hoxton Branch of the Socialist League, 2 Crondel St

24th August 1886, Socialist League Mile End Branch, 108 Bridge St

13th October 1886, Congregational Schools, Swanscombe St, Barking Rd

10th November 1886, Broadway, London Fields

6th March 1887, Hoxton Branch of the Socialist League, 2 Crondel St

13th March & 12th June 1887, Hackney Branch Rooms, 21 Audrey St, Hackney Rd

27th March 1887, Borough of Hackney Club, Haggerston

27th March, 21st May, 23rd July, 21st August & 11th September, 1887 Victoria Park

24th April 1887, Morley Coffee Tavern Lecture Hall, Mare St

3rd July 1887, Broadway, London Fields

21st August 1887, Globe Coffee House, High St, Hoxton

25th September 1887, Hoxton Church

27th September 1887, Mile End Waste

18th December 1887, Bow Cemetery, Southern Grove

17th April 1888, Mile End Socialist Hall, 95 Boston St

17th April 1888, Working Men’s Radical Club, 108 Bridge St, Burdett Rd

16th June 1888, International Club, 23 Princes Sq, Cable St

17th June 1888, Victoria Park

30th June 1888, Epping Forest Picnic

22nd September 1888,  International Working Men’s Education Club, 40 Berners St

9th April 1889, Toynbee Hall, Commercial St

27th June 1889, New Labour Club, 5 Victoria Park Sq, Bethnal Green

8th June 1889, International Working Men’s Education Club, 40 Berners St

1st November 1890, Mile End Waste

This feature draws upon the research of Rosemary Taylor as published in her article in The Journal of William Morris Studies. Click here to join the William Morris Society

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At Kelmscott House

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At Kelmscott House, Hammersmith

May 14, 2025
by the gentle author
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The crowdfund for Tessa Hunkin’s Hackney Mosaic Project book closes this Saturday 17th May at midnight

 

 

I have walked past William Morris’ former house on the river bank in Hammersmith many times and always wondered what it was like inside but, since it is now a private dwelling, I never expected to visit. However, the residents kindly open their doors to members of the William Morris Society once every two years and thus I was permitted the privilege of joining the tour.

William Morris was forty-three years old when he came to live here. It was to be his last house in a succession that began with his childhood home in Walthamstow and included the Red House in Bexleyheath, designed for him and Jane as their marital home by Philip Webb, and the sixteenth century Kelmscott Manor by the Thames in Lechlade. The rural idyll which William Morris hoped for at Kelmscott Manor had been sullied by the overbearing presence of Dante Gabriel Rossetti whose obsession with Jane Morris had led him to take up permanent residence.

“If you could be content to live no nearer London than that, I cannot help thinking we should do very well there and certainly the open river and the garden at the back are a great advantage,” William wrote tactfully to Jane in February 1877. “If the matter lay with me only, I should be setting about taking the house, for already I have become conscious of the difficulty of getting anything decent. As to such localities as Knightsbridge or Kensington Sq, they are quite beyond our means.”

Built in the seventeen-eighties, the house was known as The Retreat and had once been the home of Sir Francis Ronalds, inventor of the electric telegraph, who had filled the long garden, which stretched all the way back to King St then, with buried cables as part of his experiments. When William Morris came here and renamed it Kelmscott House, it had been the home of the novelist George MacDonald for a decade. However – somewhat ominously for Morris – they chose to leave since MacDonald believed that the proximity to the polluted river was responsible for his family’s ill-health. In those days, the riverfront at Hammersmith was heavily industrialised with factories and wharfs.

I realised that, in my imagination, I felt I had already visited Kelmscott House. Long ago, when I read Morris’ novel News From Nowhere, I was seduced by his vision of a homespun Utopia that had turned its back on industrialism. In my memory, as if in the moonlight of a dream, I joined the characters as they departed Kelmscott House and undertook the journey up the Thames from Hammersmith to Kelmscott Manor in Oxfordshire, travelling a hundred years into the future.

When I paid my visit to Kelmscott House, there were compelling details which evoked that faraway world, even if time and change had wiped away almost all of the evidence of Morris’ occupation of the house. “Let us hope that we shall all grow younger there,” he wrote to Jane with forced optimism in October 1878, just before they moved in.

Walking through the narrow passage beside The Dove, you discover the wide expanse of the Thames on the left and Kelmscott House rising up on your right, presenting an implacable frontage to the river. You enter through the area stairs on the left of the house, leading down to the kitchen, and immediately you notice a wall of original trellis wallpaper, designed by Morris with birds drawn by Philip Webb. If no-one told you, you would assume it was a recent reprint since these papers remain in production today. The low-ceilinged basement rooms are now the headquarters of the William Morris Society, where you may admire his Albion Press before climbing stairs again into the former coach house. This long narrow room was employed by Morris as a workshop for knotting carpets, also lectures and meetings of the Hammersmith Socialist League were held here. During his final years at Kelmscott, Morris became increasingly involved with politics and the Socialist cause.

The garden no longer stretches to King St, just as far as M4, yet it is impressively generous for a London garden, with well-kept herbaceous borders and a wide lawn. Most fascinating to me, though, was the strawberry patch – since William Morris’ Strawberry Thief is one of his most celebrated textile designs, inspired by his experiences at Kelmscott Manor where the thrushes raided his soft fruit.

Approaching the house from the rear, it presents quite a different aspect than from the front, with assymetric projections and a bowed turret. The high-ceilinged dining room at the back was especially offensive to Morris with its Adam detailing and Venetian window. This seems a curious prejudice to the modern sensibility. Perhaps our equivalent might be those eighties post-modern buildings which have not aged well. Fortunately, Morris suspended a vast sixteenth century Islamic carpet across one wall and part of the ceiling, drawing the eye from the Georgian elements which he found so hideous.

Emery Walker photographed the interiors, capturing Morris’ personal sense of interior design, employing lush textiles and extravagant antiques, mixed with furniture painted by Philip Webb and fine oriental ceramics. Architecturally, the most impressive space is the first floor drawing room which spans the width of the house, created by George MacDonald by knocking two bedrooms into one. In this south-facing room, the views over Chiswick Reach are breathtaking. Morris lined it with a rich, bluish tapestry of birds in foliage that he designed for this location. A huge settle painted with sunflowers by Philip Webb once sat beside the fireplace, lined with blue and white tiles manufactured by Morris & Co and still in situ.

In 1881, seeing children from the nearby slum known as Little Wapping swinging on his garden gate, Morris recognised, “It was my good luck only of being born respectable and rich, that has put me on this side of the window among delightful books and lovely works of art, and not on the other side, in the empty street, the drink-steeped liquor shops, the foul and degraded lodgings.”

Overlooking the garden at the back was Jane Morris’ room, somewhat detached from the rest of the house, granting her the independence she required as she withdrew from her marriage during the years at Hammersmith. The two front rooms on the ground floor, overlooking the river, comprised William Morris’ workroom and bedroom. It was in the workroom to the left of the front door that he supervised the creation of the Kelmscott Press, publishing fifty-two titles in five years. In his bedroom to the right, he installed a loom to undertake tapestry through the long hours of the night when he could not sleep. Here he died from tuberculosis on 3rd October 1896, aged just sixty-two, nursed by Emery Walker as his breath failed him. His last words were, “I want to get mumbo jumbo out of the world.”

I walked back along King St to the tube, past the Lyric Sq Market where William Morris once spoke. I thought about him taking the District Line back and forth to visit East London for public speaking, and I decided I should trace his footsteps in the East End next.

Basement stairs with original Morris ‘Trellis’ wallpaper

William Morris’ design for ‘Trellis’ wallpaper with birds drawn by Philip Webb

William Morris’ Albion Press

Hammersmith Socialist League gathering on the back lawn at Kelmscott House, 1885

William Morris’ workroom from which he ran the Kelmscott Press, with stairs leading up to the coach house where Hammersmith Socialist League meetings were held (Photograph by Emery Walker)

Strawberry patch in the garden at Kelmscott

William Morris’ ‘Strawberry Thief’ design

Sixteenth century Islamic carpet displayed by Morris in the dining room at Kelmscott (Photograph by Emery Walker)

William Morris’ Islamic carpet was acquired by the Victoria & Albert Museum where it is on permanent display (courtesy Victoria & Albert Museum)

‘William Morris’ rose blooms at Kelmscott

The drawing room at Kelmscott (Photograph by Emery Walker)

Tapestry designed for the drawing room at Kelmscott

The drawing room at Kelmscott (Photograph by Emery Walker)

William Morris spoke here – Lyric Sq Market, Hammersmith

Archive photographs courtesy William Morris Society

The lower floor and coach house of Kelmscott House are open on Thursday and Saturday afternoons. Visit the William Morris Society website for further details

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Dorothy Bishop, Artist & Teacher

May 13, 2025
by the gentle author
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Looking towards the City of London from Morpeth School, 1961

This painting shows the view from the art room at the top of the school in Bethnal Green where Dorothy Bishop taught for twenty years. It was a formative experience that Dorothy treasured and this painting – which her friend Ruth Richardson kindly brought to my attention –  is one of only a few pictures of hers that are known to exist. Although she painted throughout her life, she did not consider herself a professional artist.

Born in Brockley, Dorothy lived with her parents, her elder sister and younger brother for most of her life. After training as an Art teacher, she taught at a school in the north west of England for the duration of the war, returning south to live in Harefield, Uxbridge with her parents afterwards. In 1947, Dorothy took a job teaching evening classes Stewart Headlam Recreational Evening Institute in Morpeth St, an employment which was to occupy her until 1968. Recording her memory of these years, Dorothy wrote a diary of her impressions of the people and the place from which we include these excerpts.

“I was there for twenty-one years and it was one of the best things in my life. Now I am old and I must lead a quiet life, I would give much to be back at Stewart Headlam School. I really loved the cockney boys and girls, especially the wit and vitality of the boys. The whole atmosphere was full of life and rough kindness. I loved the wildness of the boys, once it had snowed and they made for me with snowballs and I saw their dark eyes dancing with joy, shining in the lamplight. They did enjoy things. The layabout boys tended to come to Art as in football training you had to do something, whereas in Art you could just sit and exercise your wit on the teacher and thus show off to your friends. The girls then were almost a different tribe and provided me often with members of the class who would work and were also friendly. They always supported me in any trouble with the boys and, on the whole, sex solidarity was more powerful than class solidarity.”

“The class was from 7:30pm to 9:30pm with a quarter of an hour’s break to go to the canteen for a cup of tea. The second half of the class was the most difficult as the boys would become restless, even to throw pencils. Sometimes I was utterly exhausted at the end and thought, ‘Why am I doing this?’ but then I thought, ‘Why should they drive me out?’ also I really loved them and there were some gentle quiet boys and girls who would talk to me. The next week they would be quite different and ask, ‘Did we upset you, Miss? We was only having a bit of a giggle.’”

“I was not approved of by the L.C.C. inspectors. Once they found my class copying Mickey Mouse and painting him in bright colours. I told them I could not change the taste of Bethnal Green for such things, but did not add – as I thought – that it would be impertinent to try to do so. In their report they said I was ‘defeatist’. I got a letter which said, ‘While your qualifications remain at their present level you are not suitable for employment by the L.C.C.” I was devastated. I was not terrific but I had had a full art training. As to drawing Mickey Mouse, the Pop Artists were doing this a few years later.”

Dorothy Bishop (1913-2005)

Painting copyright © Estate of Dorothy Bishop

(With thanks to Esther North, Dorothy’s niece)

Andy Strowman, Poet

May 12, 2025
by the gentle author

The crowdfund for Tessa Hunkin’s Hackney Mosaic Project book closes at midnight next Saturday May 17th

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Andy Strowman

Let me introduce Andy Strowman, the poet of Stepney. ‘I’ve kept quiet for long periods of my life,’ Andy confessed to me when I met him. ‘I hope this interview will help people not to be ashamed and feel able to talk about whatever subject they want in life.’ Of modest yet charismatic demeanour, Andy is a born storyteller and I was rapt by his tale, unsentimental yet full of human sympathy too.

‘At Bearsted Maternity Hospital in Stoke Newington, the doctors said to my mother, ‘I’m sorry Mrs Strowman, you’re going to have to have a caesarean.’ But she said, ”Oh no you won’t’ and I gave one push and out you came.’ She showed formidable East End spirit. They brought me back to Milward St, where we lived at the back of the Royal London Hospital, one of the oldest streets in Whitechapel.

Rose, my mother – maiden name Cohen – was a true East Ender born at the Royal London Hospital. Her sister, my Aunty Rae, lived with us. Her brother Jack worked at the Cumberland Hotel where he introduced me to Mohammed Ali. Then there was Barney who was also a formidable, beautiful man. He ended up in Wormwood Scrubs because he was a Conscientious Objector. He was in the army but he had no bad bones in his body and refused to fight.

My mother started work at fourteen years old, her first job was in Whitechapel Rd at the junction with New Rd. She was besotted with wanting to be a milliner. She always stood up for herself and, in another generation, she would have been a Suffragette. In her first job, the governor told her to clean the toilets so she went home and told my grandmother.

My grandmother told the governor, ‘I sent my daughter here to get a training and learn a trade, she’s not here to clean toilets.’ He said, ‘But that’s how I started…’ So my grandmother told him, ‘My daughter’s not going to be working for you any more,’ and took her away. God bless her for fighting for her rights! My mother got another job and went up to the West End, copying designs for hats, then making them at home before taking them into her new work place where the manager was very pleased.

Her mother came from Vilna which was then in Russia, escaping the pogroms, the mass slaughter of Jews. She was fourteen when she came over and seventeen when she married. It was an arranged marriage to my grandfather, who was nineteen. He was from Warsaw, most likely the Vola district, and he was in the garment trade.

Sam, my father, was an American who became a black cab driver in London. His parents were Russian, from the Ukraine, who landed in New York. He came over here as a soldier in the Second World War and my mother met him in a night club in Piccadilly Circus. They got married in Philpot St Synagogue in Whitechapel, where I and my brothers had our Bar Mitzvahs. 

It is emotional for me to talk about my childhood, because although there were many happy moments there were also many very sad ones. It still stays with me now and it is why I do everything I can to help other people.

There was an expectation that we would go out and play in the street to give our parents a break and we used to play football. We were often tasked with running errands for old people and my mum used to arrange for me to sit with old people in their houses too.

Next door lived Rosie Botcher. Mum and Betty Gillard used to go round and wash her down after she had cancer. When I was born, she was given a year to live but lived another thirteen years. Also in our street was Byla Kahn who was from Poland, I used to love to sit with her because she told me stories. Since I was always a good boy, I waited for that formidable moment when she pulled open a little drawer and produced a bar of Cadbury’s chocolate for me.

One of the stories she told me was about when she was living with her grandparents. One day, she was washing clothes in the river when a resplendent man came along on a horse. He climbed off and started to talk to her. He was beautifully dressed and had a sabre. When she got home and told her grandmother what had happened, her grandmother was furious. That man was a Cossack and they had a terrible reputation for violence against Jewish people.

I have so many memories of Milward St but, like so many good things, it came to an end. We got a letter and my brother Paul, the journalist, read at it and said, ‘We’re going to have to leave.’ By that time, my mum and dad had split up. My father left when I was fourteen and I did not see or hear from him again for nearly seven years. After he left my mother stayed in bed for year and gave up washing. The letter said the houses were ‘unfit for human habitation.’ I did not understand what it meant but my brother told me, ‘We can’t live here anymore.’

We moved to a maisonette in Wager St off Bow Common Lane but we missed the strong community in Milward St where neighbours helped each other. My uncle told me that on a Friday night, before the war, people would go out into the street and talk until one o’clock in the morning. He said that once the war came, people did not do it anymore and the habit never returned afterwards.

Primary school was an adventure for me. I was always the last one in and the first one out. I think I got it from my mother, she was born with a club foot and did not like school because the children used to make fun of her, so she had to leave school after everyone else had gone home.

However I made a lot of good friends at Robert Montefiore School in Hanbury St. My favourite memory is when I was late and got taken upstairs and put into the class room by my mum. She asked ‘Where’s Mr Martin?’ and one of the children said, ‘He’s gone out.’ So she went to the front and announced, ‘I’m going to take the class now – everybody be quiet.’ As you can imagine, I was embarrassed to the hilt but also secretly proud that my mum with so little education had become a teacher. She asked, ‘Anybody going on holiday this year?’ One by one, they announced where they were going to go. Then Mr Martin returned in an advanced state of intoxication and said, ‘Well done, Mrs Strowman, you’re doing a marvellous job, you’d make a great teacher.’

We all had to take the 11-plus exam before we went to a grammar school or a secondary school but we never told our mums. Four of us – Colin McGraw, Keith Britten, Stephen Jones and me – made this pact to sit near each other and fail the exam, so we would all end up in the same school. But, although they failed and stuck together, I got a place at a grammar school, Davenant School in Whitechapel.

There began the tumult of my life. If I had one wish, it would be to have left school at eleven. In the first week, I was completely sabotaged by what was going on. I could not cope or keep up, moving classrooms, and doing homework.

The Chemistry teacher had a formidable stance and a bellowing voice like a ship’s captain. I was beginning to shake in fear and he noticed that – he picked up on my anxiety. He dragged me along the floor by my jacket until we reached the blackboard, where he smashed me to the ground. I could  not believe what was going on. He pulled me up and dragged me all the way back. The lesson continued. We were performing our first experiment, a test for hydrogen with a lighted splint. We were all working from textbooks and I was the only one to take it with me at the end of the class. He swore at me and smashed me against the wall with his fist. I was crying on the floor and my head was swollen. No charge was ever made against this man but I later discovered that he was well known for this kind of behaviour. The climate was fully acceptable for violence in that school.

The next day the headteacher pulled me out of class, took me to his office and said, ‘Strowman, you’ve got to learn to take the rough with the smooth. Now get back to class.’ From that moment onwards, my life was hell. Boys made fun of me and I was frightened most of the time, getting beatings off the other kids – sometimes four or five times a week. I had nobody to tell.

I asked to my brother, ‘Why didn’t you warn me?’ He told me, ‘They are all bad in there.’ He told me he was lining up outside the Art room once before class and heard this noise inside, so one of the boys opened the door to discover the headmaster and the Art teacher on the floor, punching each other.

The Geography teacher tried to make it kinder for me. He encouraged  me to look beyond. ‘Look out the window and think of the real world,’ he said to me once.

Our English teacher gave the books out quickly and put his feet up on the desk. He would learn back in his chair, while a pupil read ‘The Pied Piper of Hamelin,’ and drink a half bottle of whisky right down at three o’clock in the afternoon. I got endeared to him quite quickly. On my way back to school after lunch at home, I would see him come out of the Blackboard pub and steer him across Valance Rd and back into school.

Eventually, I was put in a separate class with eight others – two of whom were known to the police – and we did not have to do homework. School was very damaging for me. I received an apology from the deputy headteacher, forty-eight years later.

The sun only began to come out when writing came into my life – it happened for two reasons. I had a teacher who encouraged me to write poetry and my brother Paul became a journalist, he was an inspiration to me. When I came back from school after the beatings and the taunts at fourteen years old, I found reading poetry was a great release – I wanted to change my name to W B Yeats! He was my hero, also Dylan Thomas, John Keats, Wilfred Owen and Isaac Rosenberg – also the Yiddish writers. These people inspired me. Without money coming in, like a lot of East End boys, I lived on my wits – so I used to dodge my fare to buy books.

After I had left school, when I was sixteen and a half, I met Becky who was from California at Liverpool St Station, where I used to go in the evenings as write my poetry. I wrote her a poem.

To this day, when I write, I cannot believe it is me. It was a passion. It was the way out for me. Suddenly I learnt I could express myself. For around a year and a half, I was wandering around trying to get someone to take on my poetry. I visited publishers but got nowhere.

In the end somebody said to me, ‘Why don’t you try Chris Searle?’ He was the Stepney English teacher whose pupils went on strike after he was sacked. So went to a phone box in Aldgate by Gardiner’s Corner to call him and he said, ‘Why don’t you come round this evening?’ He became like a surrogate father to me. He recognised my work and helped publish STORY OF A STEPNEY BOY. He opened this magic door and I could go through it.

Poetry elevated my spirit and helped me to see myself more objectively. It took the thorns out of my soul.’

Andy, aged seven

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Andy with his mother at the seaside

Andy aged eleven, with his parents

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Uncle Davey

Uncle Jack once introduced Andy to Mohammed Ali

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Andy’s father with Uncles, Davey and Jack

After Andy’s brother Howard’s Bar Mitzvah – Andy sits front left

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Andy’s maternal grandmother

Aunty Rae

The wedding of Andy’s maternal grandparents

Copies of STORY OF A STEPNEY BOY may be obtained direct from Andy Strowman by emailing andy.strowman1@gmail.com

Harry The Pencil’s Sketchbook

May 11, 2025
by the gentle author

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When I visited Harry the Pencil in Mile End once, he showed me this modest little sketchbook that he filled when he was working in Great Sutton St, Clerkenwell, undertaking a single half hour drawing each lunch hour  – most are nearby his office but you will spot a few further afield in Soho, Kings Cross, Hatton Garden & Spitalfields.

Drawings copyright © Estate of Harry Harrison