The Floating Coffin of Pinner

February 20, 2012

At the top of Pinner’s medieval high street, shielded from sight by the L’Orient restaurant, sits the 14th century St John’s Church.

In the small graveyard that skirts the church (sadly, it was entirely refurbished in flint in 1880, so little of the ancient building remains) is a unique wedge-shaped memorial.

Halfway up, a coffin seems to protrude, an end jutting out of each side, as if it’s been picked up and hurled through the centre of the triangular monument.

It was remarked upon by Charles Harper in 1902, in his book Cycle Rides Around London.

An odd tomb, in the shape of a tower, is to be seen in the churchyard. Now thickly overgrown with ivy, it is a picturesque object, but the peculiarity of it is that the body of the person “buried” here a certain William London, in 1809 is contained in a stone-encased coffin, projecting from the tower, half-way up. The end of the coffin bears an epitaph, which, however, affords no clue to this freak.

Legends, that may or may not be well founded, tell that the descendants of William London, a Scotch merchant, retain the property bequeathed by him so long as he remains “above ground.” This tower is supported on arches filled in with ornamental ironwork, on which appear the mysterious words, “BYDE-MY TYME.” The inquisitive stranger naturally wants to know what he is waiting for, but the mystery is insoluble.

The strange tomb was erected by acclaimed landscape gardener and prolific horticultural author John Claudius Loudon (1783-1843) to the memory of his parents William (d. 1810) and Agnes (died 1841.)

Loudon’s major work was Arboretum et Fruticetum Britannicum (1838), a guide to every species of shrub and tree growing in Britain, complete with their history, the conditions they favoured and illustrations drawn from life. It took Loudon eight years from start until the publication of the final part.

During that time, he developed the influential concept of ‘gardenesque’ planting – whereby plants were placed in such a way that they formed pleasing patterns, and gardens became a clear product of the gardener’s art, rather than trying to mimic nature.

Along with designing Derby’s arboretum (which inspired the Botanical Gardens at Kew), Loudon was also employed by private companies building large, suburban cemeteries to replace the overcrowded city churchyards – a period which coincides with the erection of the memorial to his parents.

Loudon designed cemeteries in Bath, Cambridge and Southampton, and his ideas for public spaces, which he expounded upon in 1843’s On the Laying Out, Planting and managing of Cemeteries, were adopted by Abney Park and the City of London cemeteries. John Claudius did not live for long after the strange monument was erected: he died in 1843 of lung cancer, virtually penniless despite his lifetime of work, and while memorialised on one end of his monument, was buried at Kensal Green.

“Villagers have come up with many theories over the centuries as to its origin and purpose,” wrote James Bond in the local Harrow magazine Limited Edition back in the 1990s. “One legend which will not rest in peace is that the monument is a device to ensure that a legacy considers to be paid to the church – as long as the dearly departed were left above ground.”

It seems unlikely the church would go to such lengths to swindle a dead man’s family out of their full inheritance, and most likely it was simply a rather literal case, even in death, of social climbing (something still alive and well in Pinner today.)

John Claudius Loudon’s unusual monument, completely out of scale with its surroundings, was probably built to signify his parents were above the rest of those buried in the churchyard, and nearer to their God…than thee.

The unique monument was Grade II listed in 1983.

I first came across David Thomson’s In Camden Town  a couple of years ago as bite-sized entries in a London anthology book. Thomson’s tightly wrought street reportage stood out like a beacon amidst the other more florid and familiar entries, so I kept an eye out for the book whenever I popped into a second-hand book shop. After a fruitless year of searching, I turned to Abebooks, where I picked up a battered second-hand copy for a couple of quid.

Put simply, it’s an enthralling work about London by a largely forgotten, hugely talented writer.

Born in 1914, Thomson worked as a writer, researcher and BBC radio producer, writing three novels, a book about animal folklore, and a number of children’s books for Puffin, such as Danny Fox, Danny Fox Meets A Stranger and Danny Fox At The Palace. In 1955, he and his wife moved to Regents Park Terrace in Camden to bring their three sons up.

In 1980, at the age of 66, he was attempting to complete a vast, sprawling history of Camden Town. Struck with writer’s block at the sheer immensity of the project, he started to keep a diary.

He thought that forcing himself to write short entries each day would help break the deadlock, as well as “bypass for a time my dread of opening the manuscript at the page where I left off.”  About halfway through his diary, he attempted to restart the book, but found himself in tears after just six lines. Returning to his new manuscript later in the day, he found the page he had been working on had been torn out – only he couldn’t remember having done so, nor could he remember what he’d written.

The book he ended up publishing instead was the diary – a wide-ranging vivid often beautiful, often bad-tempered account of life in Camden Town, as he writes, drinks and struggles with work.

He spends days roaming through Camden, describing the horrors and the dirt that he passes – “Canal black, with plastic cups floating on it, potato-crisp bags, Kentucky chicken and, I think, a dead cat” – popping into the pubs along the way, and passing hours chatting to the tramps, drunks and chancers who he runs into on a regular basis.

Thomson frequently writes about a Scottish alcoholic named Davy and his on-off partner Mary. He’d known them both for twenty years,

but only been on speaking terms with him since Christmas Eve in 1975…Davy came up to me and said that the off-licence was shut and would I go into the pub and get some cider. He had some little coins in his hand to encourage me. They are not allowed in anywhere and only into one cafe that I know of. I got the cider and some Guinness for myself and we went to drink it on a bench near the Buck’s Head where in those days they liked to sit in the sun facing the end of Inverness Street market. No market that day. Beautiful sun, but weak. Mary and Davy were surprised that I felt cold. They spend their lives in such places.

Elsewhere, Thomson talks with passion on the conditions that navvies worked under on the railways into Euston (a topic that he would have covered in his never-completed history) – in the course of his research, he discovered a record of a woman who’s lost twenty-nine of her partners in six years, and only one of them to natural causes.

Thomson starts to despise the fact he’s getting old, tells how he once smelled what he thinks were “ghost horses” at some traffic lights at Henley’s Corner, talks about how the smell of bonfires rouse old memories, and decides that the Punk fashion (this being 1980) he sees outside The Music Machine venue is akin to Puritanism – “it is startling to see such a look of severity, especially on the girl’s faces in the evening outside a pleasure dome, but this I guess is fashion too.”

He attends a sparse funeral in East Finchley for a pauper (“I felt I was in a desolate housing estate among minature houses for the dead”) and relates how even as an elderly man, he still always sat near attractive women on buses.

If it’s a girl with long hair down her back…I clasp the hand rail on the back of her seat. That’s what it’s meant for I suppose, but I’ve never seen anyone else clasp it. And as she moves her head her hair touches my hands….I just haven’t changed since I was fifteen. I learn from autobiographies that people do change.

Published by Hutchinson, and later in paperback by Penguin, the book was reviewed favourably at the time by The Guardian and The TLS, so it seems quite surprising that David Thomson is almost totally obscure today. His memoir Woodbrook (concerning a period in the 1930s where he tutored two girls in a rural Irish country house and ended up staying for ten years) is better known, but Thomson’s work has largely fallen out of the public eye.

Seamus Heaney wrote an introduction for a reissue of Thomson’s collection of seal folktales The People Of The Sea in 2001, and much of what he says about that ‘luminous’ book could equally apply to In Camden Town .

He refers to “the sweetness and intimacy of David Thomson’s imagination,” saying the book follows “his own creative, truth-telling bent with characteristic unpredictability and sprightliness.” Oddly, it sounds all very high-falutin’ until you’ve read In Camden Town, and the spikiness, the strangeness and the vividness that Heaney talks of can be spotted immediately.

The fact Heany’s comment applies equally to a book about living in a run-down North London district, as it does to a book about ancient Celtic seal fables, is purely down to the sheer brilliance of Thomson’s writing.

It’s a shame that this book has been totally forgotten, and it’s a shame that David Thomson seems to have been totally forgotten too. It’s something neither of them deserve.