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Sample text
Market gardeners up for the Borough Market chatted here with watchmen from neighbouring business premises when they retired for the night. Dark and gloomy, every surface patched and painted and built over and repaired and uneven, it feels older than any other part if the inn, even though it isn’t. The uneven, mismatched furniture was like this decades before such a look became fashionable for gastropubs and venues, bars and eateries. It looks like it’s been here for centuries, and in the case of a few seats worn by countless bums, it has: a pair of fixed benches with curved ends and armrests are thought to date all the way back to the seventeenth century.
This is hardly surprising, given the way popular entertainments have taken to romanticizing such figures. John Gay’s Beggar’s Opera – performed just next door in the Tabard a few years ago – at once glamorized highwaymen and likened them to First Lord of the Treasury Robert Walpole, now mockingly referred to as the ‘Prime Minister’. 3 Theatre is for the most part regarded as a base and disreputable form of art. It’s still less than a century since the Puritans outlawed it altogether, pulling down the playhouses just over on the Bankside, flogging the players, and fining those who dared watch them.
When I first arrived in London, I was eager to see how the city would look when the giant cranes had finished their work. I soon realized they never will. The cranes are more permanent than some of the structures they create, in a city that never stops being rebuilt. In the summer of 2011, when I make this commute from Stoke Newington to Borough on a weekly basis to research this book, a second railway bridge is cutting a swathe of devastation through Borough Market, lurching over the High Street and into the busy station, as brutally pigdog-ugly in its modern way as the first bridge was in its day.