Notes

1 ‘Houseless – Homeless – Hopeless!’: Suburbs, Slums and Ghosts 1830–1870

1. John Summerson, in Georgian (1991) in fact describes a fourfold originary suburban typology: i) overgrowth of existing villages; ii) building of remote villas; iii) roadside developments along key routes; iv) development of self-standing estates. 2. The Crystal Palace was of course of crucial architectural significance; the first iron and glass structure in the world, strong, durable, light, adaptable and moveable. It was also immensely popular and, despite its official role show- casing British scientific and imperial achievement, was actually dedicated to amusements, spectacles, games and sports. 3. See also Sanitary Ramblings, Being Sketches and Illustrations of Bethnal Green by Hector Gavin (London: Frank Cass, 1971), 1872’s London: a Pilgrimage by Jerrold and Dore ( Jerrold and Dore, 2004), In the Slums by the Rev. D. Rice- Jones (London: Dodo Press, 2009). 4. See http://booth.lse.ac.uk for reproductions of Booth’s maps. 5. Ironically, this prestigious lineage serves to further undermine Sparkin’s authenticity. Originally, the suffix ‘Fitz’ indicated that the person named was illegitimate, was in fact of Royal bastard lineage. 6. This lack of suburban individual substance reaches a comic, even uncanny, extreme in Great Expectations Here, Wemmick’s intended wife, at home in his Walworth ‘castle’, is portrayed as wind-up automaton, made from wood. Wemmick himself is a robotic commuter lacking free will. 7. First recorded, incidentally, in the 1860s, and according to one source: ‘The cheap, flimsy constructs of Jerry Brothers – a Liverpool building firm.’ See http://www.phrases.org.uk/meanings/211600.html. 8. Compare this with the London suburb in Wilkie Collins’ Basil (1852); it barely exists, with ‘unfinished streets, unfinished crescents, unfinished squares, unfinished shops, unfinished gardens’ (Collins, 2000: 32). For Basil, proud of his ancient Norman lineage, it was the ‘newness and desolateness of appear- ance that revolted me’ (Collins, 2000: 32). The place ‘was silent; desolately silent as only a suburban square can be’ (Collins, 2000: 34)

2 ‘A World of Mud and Fog’: The High Victorian and Edwardian Suburb, 1880–1914

1. The suburbs were becoming a concern. Tristram Hunt has argued that by the end of the nineteenth century suburbia and suburban man were consid- ered the root causes of many of the country’s national problems: ‘The great achievements of the Victorian civic spirit were progressively undermined by a string of outwardly innocuous green suburbs . . . Commuting between city

211 212 Notes

and suburb, spending the day in crowded offices, reading the sensational press, avidly following professional sport, and happy to live in a state of blissful political and social ignorance, the modern suburban man was as much a threat to British civilisation and Empire as the lowliest Whitechapel slum dweller’ (Hunt, 2004: 306–7). 2. Norwood appears in the 1890 novella The Sign of the Four. Doyle himself lived, happily enough, it seems, in South Norwood, from 1891 to 1894. 3. Conan Doyle and Wilde actually met in summer 1889, with the editor of Lippincott’s magazine, and received commissions to write The Sign of Four (the second Holmes story) and Dorian Gray, respectively. 4. Or, they can be ignored. Jonathan Rose, in his exhaustive study The Intellectual Life of the British Working Classes argues the curious invisibility of this new socio-economic group. One response to the ‘growing numbers of self-educated workers’, he argues, ‘was to ignore their existence’ (Rose, 398). ‘No such characters’, he argues ‘appear in any English novel before 1880, except Felix Holt and [Charles Reade’s] Alton Locke’ (Rose, 398). 5. In the spirit of George Borrow, Richard Jeffries and W. H. Hudson. Hence Margaret Schelgel’s comment: ‘Borrow was imminent after Jeffries – Borrow, Thoreau and sorrow’ (Forster, 2000: 84). 6. This malicious waywardness of everyday domestic objects and activities is wittily described by humorist Paul Jennings’ theory of ‘Resistentialism’. Jennings humorously contends that the condition of bodily ‘being-in-the- world’ is more contentious than even Sartrean existentialism ever imagined, and this is because of things. Being, for Jennings, has to contend, not with contingency, with the universal indifference of world, but with that world’s active malignancy, with things. For Resistentialism it’s a gruesome battle out there, as Jennings’ catchy slogan emphasises: ‘Les choses sont contre nous’ – (Things are against us) (Jennings, 1963). 7. Shan Bullock’s titular clerk in Robert Thorne: A Story of a London Clerk (1907) is an antidote to these accounts of ‘thingly’ humour. The capable and resourceful Thorne is angered by his economic entrapment, both sickened by the dull unrewarding routine of clerkly life – ‘I’m about sick of mucky offices’ – and aware that he can never progress – ‘a man gets no chance. We’re not good enough. We aren’t class enough. Look at us, a hundred and twenty Men-clerks like sheep in a pen.’ The novel also depicts scenes of domestic happiness quite unlike Pooter’s absurd mishaps and discomfort. 8. Jeffries wrote Nature Near London in 1888, a series of explorations of the edge zone around Surbiton where suburb dissolves into countryside, and where a spectacularly diverse and rich population of wild plants and animals persist, if you know where to look. What connects this vision of the suburbs from Jefferies vision of a possible future is the ineradicable aspect of ‘wild nature’; it persists, returns, mutates, but never entirely disappears. 9. Again, we notice the continuing theme, as with Pooter, of lower middle-class suburbanites aping upper class mannerisms. 10. Importantly, we can argue, however, that Holmes’s ‘method’ is in fact, rather than an outstanding example of scientific certainty, a response to a particu- lar crisis of knowledge at the end of the century. For all its self-confidence, Victorian positivist science generates doubt. Moretti points out, at the end of the nineteenth century ‘high bourgeois culture wavers in its conviction Notes 213

that it is possible to set the functioning of society into the framework of scientific, objective, laws’ (Moretti, 2005: 247). More exactly, science cannot produce a synthesis of causal factors to explain all observable events. More precisely Holmes’s famed modern scientific investigative ‘method’ is not what it seems. It is not technically ‘deductive’ at all, but, rather, has better been described, by semiotician Thomas Sebeok, as ‘abductive’. What Sebeok calls the ‘detectival method of abduction’, is in fact a mix of ‘logical deduc- tion, intuition and inspired guesswork’ (Sebeok, 1994: 86). In addition Holmes’s method, employing imagination and play, as well as coolly ‘scientific’ deduction, can usefully be seen, in fact, as dramatising an anxiety over Victorian material conceptions of reality. Objects of knowledge here, the material world of the suburb itself, are slippery and contingent. Holmes uses other methods, not just scientific , to decode the truth. 11. Wells’ series of serio-comic novels concerning lower-middle class Edwardian ‘clerk’ figures and their gradual search for some kind of individual identity – Mr Polly, Kipps, Mr Lewisham – all show the journey of social nonentities toward some kind of individualism. The suburb does not help here. Our anti- hero, at the end of Love and Mr Lewisham, is trapped in Clapham, finding some personal meaning in fatherhood, but dispiritedly ripping up his writ- ten grand ‘schema’ of youthful life projects: Mr Polly, escapes the suburb. Polly, a Pooteresque shopkeeper suffering from dyspepsia, bad teeth and a terrible sense of foreboding, nethertheless we are told, is constantly aware of ‘life dancing all around him’, and possesses a ‘capacity for joy and beauty at least as keen and subtle as yours or mine’ (Wells, 2005a: 23). Trapped, Polly has a revelation: ‘If you don’t like this life you can clear out’ (21). Polly manages to ‘look through the paper walls of everyday existence’. He even manages to find a kind of utopia, working in an Inn along the river: ‘At the Potswell Inn he had found his place in the world’ (201). This is the anti- suburb, full of good cheer, hearty food, ale, sunshine and bodily health (he is ‘plumper, browner, healthier’). Unlike the Polly’s previous existence (‘getting obstreperous things around corners’) the inn was ‘full of the militant possi- bilities of pacific things – pokers, copper sticks, garden implements, kitchen knives, garden nets, oars, blankets . . . ’ (189).

3 ‘The Third England’: Suburban Fiction and Modernity, 1918–1939

1. This perception of the contemporary suburb as strange, illegible and false is interestingly challenged in a very influential work from 1946, J. M. Richards’ The Castles on the Ground (with woodcut illustrations by John Piper). This work, written peripatetically during World War Two, ponders the significance of home in the context of a global struggle over the meaning of home and nationality, with compulsory migrations, mass evictions and movements, and offers a rare, sympathetic and serious account of suburban demands. The suburban villa, the fantasy of security that the home-as-castle offers, may, Richards suggests, be the ‘despair of people of taste’ but what must be taken into account is ‘the appeal it has for 90% of the population’ (Richards, 1946: 30). ‘The times we live in’, Richards notes, ‘do not provide much sense 214 Notes

of security’, and the ‘individual is increasingly the victim of circumstances beyond his control’ (Richards, 1946: 30). 2. This debate starts with Arnold Bennett’s negative criticism of Woolf’s 1922 novel Jacob’s Room, in his provocatively titled 1923 essay ‘Is the Novel Decaying?’, published in Cassell’s Weekly (Bennett, 1923). The fundamental point of disagreement here is over the notion of character. Woolf’s ‘characters do not vitally survive in the mind’, Bennett argues, ‘because the author is ‘obsessed by details of originality and cleverness’ (Bennett, 1923: n.p.). 3. In terms of nostalgic loss for the lost time of the nation, the Great War is the pivotal moment here, clearly marking an enormous gulf between ‘before’ and ‘after’. The twenties was the period when the myth of the lost golden ‘Edwardian summer’ took hold, when everyone seemed to agree that ‘the pre-War summer was the most idyllic for many years. It was warm and sunny, eminently pastoral’ (Fussell, 1980: 23). Great War poetry and memoirs, first appearing in the twenties and thirties emphasise a lost English pastoralism and childhood innocence as the profound opposites of the war’s mechanised murder.

4 ‘Your Environment Makes as Little Sense as your Life’: Post-War Suburbia 1945–1980

1. This presages that popular icon: the suburban zombie. For example in the suburban-set Zombie comedy Shawn of the Dead (2004, Dir. Edgar Wright), a north London suburb is overrun by waves of zombies – but nobody notices. This is suburban normality. See also the suburb as home of the (un)dead, in fiction by Will Self and Hilary Mantel, discussed in the next chapter. 2. The Bohemian itself, as Elizabeth Wilson reminds us, is a bourgeois perfor- mance space that plays out the contradictions of art, commerce and the individual (Wilson, 2003).

5 ‘I Tried to Work Out Where I Was’: Contemporary Suburbia

1. ‘Exurbia’: coined by coined by Auguste Spectorsky in his 1955 book The Exurbanites. These exurbs, booming in the 1990s and 2000s, more typical of land-rich North American or Australian growth, are extra-suburban, semi- autonomous developments, independent of nearby urban centres. 2. There is also a vogue in contemporary publishing for studies and guides dedicated to uncovering a range of forgotten or secret : lost railways, canals, rivers, slums, cemeteries, counter-cultural London, criminal and devi- ant demimondes. 3. Wendy Wheeler identifies this lack, and its mourning, as the key feature in Swift’s writing, an ‘attempt to domesticate through small narratives the sub- lime and unheimlich (‘unhomely’) narrative of human mortality’ (quoted in Luckhurst and Marks, 1999: 63). 4. This coincides with B. S. Johnson’s 1973 novel of suburban clerkdom, Christy Malry’s Own Double Entry (Johnson, 2001), which I have do not have the space Notes 215

to discuss in full. This novel features an angry clerk faced with a bewildering moral and social system, yet who knows the truth and thus seeks to avenge every perceived slight by retaliating in kind. The myopic alienated clerk is the one who sees the world as it really is, who cannot just cannot accept social convention. 5. A reference here to Jan Struther’s 1937 novel Mrs Miniver, made in to an extremely successful film in 1942, and presenting British semi-suburban domestic fortitude in World War Two. 6. The novel’s very title surely contains an echo of that vast necropolis, the US National Cemetery at Arlington, Virginia. The suburb as deathly, again. Bibliography

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Abercrombie, Patrick Bluemel, Kristin ‘Greater London Plan’, 125 on ‘intermodernism’, 107 Ackroyd, Peter ‘Suburbs are not so bad I think’ London: The Biography, 24 (essay), 116 Adorno, Theodor Bowdler, Roger, 90 Minima Moralia, 86 Bowen, Elizabeth 102–3 Aldiss, Brian ‘Attractive Modern Homes’, 103 Billion Year Spree, 137 To the North, 102 Augé, Marc ‘A Walk in the Woods’, 103 on ‘non-places’, 163 Bowie, David, 157 Bowlby, Rachel Ballard, J. G., 136, 176–80 Feminist Destinations, 98 Crash, 139 Bracewell, Michael, 132, 162, 194 The Kindness of Women, 176 Bradbury, Malcolm Kingdom Come, 178–80 No, Not Bloomsbury, 134 Miracles of Life, 176–7 Brah, Avtar, 167 The Unlimited Dream Company, Brooks, Peter, 1 139–42, 176 Brottman, Mikita Barker, Paul, 164 ‘Apocalypse in Suburbia’, 132 The Freedoms of Suburbia, 3, 206 Brown, Bill the ‘non-plan’, 4, 153 ‘Thing Theory’, 74 Barnes, Julian Brummel, Beau, 28 Metroland, 144 Bullock, Shan Barnett, Alfred (R’Andom’) Robert Thorne, 76 Neighbours of Mine, 113 Burgess, Anthony, 135–6 Barratt, Nick, 4, 35 A Clockwork Orange, 135 Baxter, Jeanette, 175 The Wanting Seed, 136 Bellamy, Edward Burnside, John Looking Backward, 79 Common Knowledge, 161 Bennett, Arnold, 11 A Man from the North, 7, 54–5, 57, 76 Carey, John Bennett, Jane The Intellectuals and the Masses, 7, Vibrant Matter, 190, 197 90 Bentley, Nick Carter, Angela ‘Re-writing Englishness’, 168 Wise Children, 207 Betjeman, John, 116–19 Chadwick, Charles Ghastly Good Taste, 117 It’s Alright Now, 190 ‘Parliament Hill Fields’, 118 Chadwick, Edwin, 30 Shell Guides, 116 Chaudhuri, Nirad ‘Slough’, 117 A Passage to England, 143–4 ‘A Subaltern’s Love Song’, 119 Chesterton G. K. ‘Summoned By Bells’, 118 ‘The Blue Cross’, 60–1 ‘The Surrey Homestead’ 118 ‘A Defence of Detective Stories’, 66

232 Index 233

The Man who was Thursday, 7, 66 ‘The Blue Carbuncle’, 62 The Napoleon of Notting Hill, 66 ‘A Case of Identity’, 58 Childs, Peter Holmes’ deductive methods, 62 ‘Suburban Values’, 205 Sherlock Holmes stories, 57–66 Clapson, Mark The Sign of Four, 64–5 Invincible Green Suburbs, 125, 126, A Study in Scarlet, 59, 62–3 151, 152, 165, 196, 206 Dyos, H. and Reeder D. Cobley, Paul ‘Slums and Suburbs’, 22 ‘The Semiotics of Paranoia’, 289 Cohen, Phil Eagleton, Terry ‘Subcultural Conflict and Working After Theory, 109, 207 Class Community’, 246 Egan, Pierce Collins, Michael Life in London, 28–9 The Likes of Us, 166 Eliot, T. S. Collins, Wilkie ‘The Waste Land’, 95 Basil, 51 Conrad, Joseph, 135 Farley, P. and Roberts, M. S. Crosland, T.W. H. Edgelands, 187 The Suburbans, 54 Felski, Rita, 205 Cunningham, Valentine Fisher, Mark, 181 British Writers of the Thirties, 90 Fishman, Robert Curry, Patrick, 188 Bourgeois Utopias, 20, 25, 78 Curtis, James Flint, Kate The Gilt Kid, 105 ‘Fictional Suburbia’, 53, 57 Cusk, Rachel, 200–2 Ford, Ford Madox Arlington Park, 200 The Soul of London, 57 Saving Agnes, 200–2 Forster, E. M. Howards End, 68–70 Davidoff, L. and Hall, C. Frayn, Michael Family Fortunes (‘Separation of Towards the End of the Morning, 128–9 spheres’) 24–5 Frith, Simon De Certeau, Michel ‘The Suburban Sensibility in British The Practice of Everyday Life, 185, 203 Rock & Pop’, 154 Delderfield, R. F. ‘Avenue’ Sequence, 129–30 Gardham, Jane, 196–7 Dentith, Simon Gibbons, Stella ‘Thirties Poetry and the Landscape My American, 113–14 of Suburbia’ 95, 117 Westwood, 114 Dickens, Charles Gilbert, Pamela K. Dombey and Son, 7, 21 Imagined Londons, 146 ‘A House to Let’, 44 Giles, Judy Oliver Twist, 43 The Parlour and the Suburb, 63, 99, Sketches by Boz, 31–41 196 Dickens, Monica Gillett, Charlie The Heart of London, 130 The Sound of the City, 154 Disch, Thomas, 135 Ginzburg, Carlo, 62 Donald, James, 208 Gissing, George, 54 Doyle, Arthur Conan In the Year of the Jubilee, 72–3 Beyond the City, 59 The Whirlpool, 12–13 234 Index

Glaisher, James 28 Karl, F. R. Gordon, Richard A Reader’s Guide, 100 Good Neighbours, 151 Kermode, Frank Greene, Graham A Sense of an Ending, 133 The End of the Affair, 101 Keiler, Patrick, 181 It’s a Battlefield, 101 Kersh, Gerald Groes, Sebastian Night and the City, 104 The Making of London, 8, 9, 177 Kristeva, Julia Grossmith, George and Weedon The Power of Horror, 75 The Diary of a Nobody, 12, 71–8 Kureishi, Hanif The Buddha of Suburbia, 155–60 Hamilton, Patrick Hangover Square, 146 ‘Lad-lit’ sub-genre, 191 The Slaves of Solitude, 201 Lanchester, John Hanley, Lynsey, 127 Capital, 170 Hapgood, Lynne Mr Phillips, 195–6 Margins of Desire, 78 Le Corbusier, 94 Hardy and Ward Le Fanu, J. Sheridan Arcadia for All, 80 ‘A Glass Darkly, 49 Harris, Alexandra ‘Green Tea’, 48–9 Romantic Moderns, 107 ‘The Watcher’, 50–1 Head, Dominic Leavis, Q. D. ‘Poisoned Minds: Suburbanites in Fiction and the Reading Public, 96, 99 Post-war British Fiction’, 205 Lefebvre, Henry, 5 Hornby, Nick, 309 Lehan, Richard Howard, Keble The City in Literature, 8 The Smiths of Surbiton, 55, 71 Leigh, Mike Hubble, Nick, 162 Abigail’s Party, 151 Hughes, Molly, 6 Light, Alison Humble, Nicola Forever England, 113 The Feminine Middlebrow Novel, 96, London 102 , 79, 90 Huq, Rupa Barnet, 187 Making Sense of Suburbia, 162, 167 Barnsbury, 128 Huxley, Aldous Battersea, 99, 101 Brave New World, 92 Beckenham, 155 Bedford Park, 105 James, Henry Bermondsey, 299 ‘The Suburbs of London’, 80 Brixton, 59, 63, 68, 125, 144, 162 Jefferies, Richard Bromley, 3, 156 (as representative After London, 81 suburb, 157) Jerome, K. Jerome Camberwell, 33, 59, 106, 125 Idle Thoughts of an Idle Fellow, 85 Catford, 216 Three Men in a Boat, 73, 84–8 Clapham, 1, 10, 25, 29, 33, 54, 66, Johnson, B. S. 67, 68, 98, 99, 101, 106, 213 Christy Malry’s Own Double Entry, Cricklewood, 171 214 Croydon, 102, 129, 131 Johnson, Pamela Hansford Crystal Palace, 27 This Bed Thy Centre, 99–101 Dagenham, 152 Index 235

Dalston (‘as Dulston’), 182 Penge, 191 Deptford, 33, 134 post-war development, 125–6 Dulwich (as ‘Dulburb’), 182, 191 River Thames, 80, 101 Dulwich and Sydenham Golf Club, shared image of, 26 191 Shaw, Norman, 79 Ealing, 154 Shepherd’s Bush, 144 Earl’s Court, 128, 146 Shepperton, 139, 140, 185 East End, 53 South London, 128, 138, 191–6 Elephant & Castle, 166, 185 the sights, 26, 33 Eltham, 167 Southall, 127, 162, 165–8 as fantasy, 159, 160 Southwark, 23, 35 as fictional place, 177, 186 Stoke Newington, 104 Forest Hill, 59, 191 Surbiton, 66, 212 Garden City Movement, 66, 79 surveys of, 53 gentrification, 205 Sydenham, 114, 194 Great West Road, 92 as ‘system for sorting inhabitants’, 24 Greater London, 90, 154, 167 terrorism, 134 Greater London Plan (1944), 125 Tufnell Park 60 Greenwich, 128, 162, 184 Upper Norwood, 64 Hackney, 10, 128 Walworth, 25, 36, 129 Harlesden, 278 Wandsworth, 194 Hayes, 123 Wembley, 144 Heathrow, 175, 178 Willesden, 171 Hendon (‘living death’), 182 Wimbledon, 60, 66 ‘heritaged’, 184 Lott, Tim Herne Hill, 27 The Scent of Dried Roses, 10, 127, Highbury, 113 165–8 Highgate, 114, 118 Luckhurst, Roger Holloway, 33 (Upper) 71, 114, 162 The Angle Between Two Walls, 138–9 Honor Oak Park, 191 ‘The Contemporary London Howard, Ebeneezer, 79 Gothic’, 181 imagined in the suburbs, 153–5 investigative reports, 28–9, 31 Mabey, Richard Islington, 42, 67, 128 A Good Parcel of English Soil, 188 Lambeth, 47 Machen, Arthur in literature, 230 ‘A Fragment of Life’, 65–6 London County Council, 90 MacInne, Colin London Transport, 144 Absolute Beginners, 153 M25, 175, 178, 183, 184, 185 MacNeice, Louis ‘Metroland’, 187 ‘Autumn Journey’, 92 ‘neo-gothic’ writing, 57–8, 181–2 Malkani, Gautam New Towns, 125, 187 Londonstani, 167 North London, 118, 191 Mantel, Hilary Norwood, 59 Beyond Black, 183 Notting Hill, 66, 130, 153 Marcus, Sharon, 22 Old Kent Road, 128 Marshall, Steven, 162 Palmer’s Green, 107, 108, 112 Masterman, C. F. G., 3, 54, 63 panoramic writing, 169–70 McLeod, John Peckham, 10, 106, 133–4 Postcolonial London, 143 236 Index

Meades, Jonathan, 105 Pearsall, Phyllis The Fowler Family Business, 191–2 London A–Z, 116 Mieville, China, 183 Peirce, C. S., 11 Miller, D. A., 52 Pett Ridge, William, 54 Moretti, Franco 69 Birnham Road, 68, 71 Atlas of the European Novel, 10, 28 ‘Outside the Radius’, 72 Morris, William, 81 Phillips, Mike ‘Art under Plutocracy’, 83 London Crossings, 143 News from Nowhere, 83–4 place Morrison, Blake and imagination, 143 South of the River, 190 defining location, 157 Mortimer, Geoffrey and writing/literature, 78, 208 The Blight of Respectability, 68 Priestley, J. B. Morton, E. V., 116 Angel Pavement, 104 Mumford, Lewis, 2 English Journey, 92, 115 Murdoch, Iris the ‘third’ England, 92, 115 Under the Net, 127–8 Pugh, Edwin The City of the World, 68 Naipaul, V. S., 145–9 The Enigma of Arrival, 14, 143, Raban, Jonathan, 128 145–6, 208 Soft City, 128 The Mimic Men, 147–8, 208 Rankin, Robert, 192 Mr Stone and the Knight’s Companion, realism, 35, 104, 169 148–9 ‘proletarian realism’, 167 Nairn, Tom Reeder, David, 22 Outrage, 126 Rett Ridge, William Your England Revisited, 132 Outside the Radius, 114 Nord, Deborah, 49 Richards, J. M. The Castles on the Ground, 213 O’Farrell, John Riddell, Charlotte, 43 The Best a Man Can Get, 190–1 ‘The Old House in Vauxhall Walk’, Ogborn, Miles, 5, 24 46 Oliver, Paul, 4, 90, 153 ‘The Uninhabited House’, 44–5 Olsen, Donald, 4, 24, 39 Rose, Jonathan Orwell, George, 27 The Intellectual Life of the British Burmese Days, 120 Working Classes, 68 A Clergyman’s Daughter, 195 Ruskin, John, 27, 81 Coming Up for Air, 116, 119–24 Keep the Aspidistra Flying, 96, 122 Saegert, Susan ‘On a Ruined Farm Near the HMV ‘Masculine Cities, Feminine Gramophone Factory’, 92 Suburbs’, 99 Sala, G. A. Pain, Barry Twice Around the Clock, 29 The ‘Eliza’ Stories, 70 Sandhu, Sukhdev Papadimitriou, Nick London Calling, 142 Scarp, 187 Sansom, Ian Parr, Martin, 131 ‘Emotional Sushi’, 195 Paxton, N. and Hapgood, L. Scott, James, 126 Outside Modernism, 106 Seeing Like a State, 126–7 Index 237

Sebeok, Thomas Spender, Stephen anxiety, 21–2, 56 ‘Landscape Near an Aerodrome’, 93 ‘proxemic shell’, 56, 205 suburb ‘semiotic self’, 77 anachronistic, 197–202 ‘world modelling’, 146 apocalyptic, 17, 132–5 (as ‘showing Self, Will through’, 261), 134–5, 162 How the Dead Live, 182 as arcadia/utopian, 16, 78–89, 107, Selvon, Sam 188, 213 The Lonely Londoners, 144 banal, 55, 65–6, 132, 140–1, 150, semiosis, 16, 21, 31 158, 160, 161, 204 lifeworld, 17 body, 68, 67: abject 75; feminised reading signs, 24, 34, 89, 194, 177, 76; ‘flabby’ 198–9; incompetent 183 74, 191; ‘labouring’/’sluggish’ semiotic anxiety, 39, 65, 90, 122 198, 199; ‘pummeled’ 202; as semiotic processes, 13 ‘thing’ 74, 120; ‘tubby’ 121, 148; the semiotic self, 77 ugly 75–6 signs of the individual, 15, 95 boundaries, 14–15, 22, 32, 47–8, 75, suburb as semiotic challenge, 14, 77–8, 141, 148, 154, 183 (‘eco- 35, 41, 56, 67, 161 tone’, 188) /’world modelling’, 56–7 cannot be written, 127, 203 Sheriff, R. C. 129 chance, 171 Silverstone, Roger, 3 claustrophobic/imprisoning, 101–2, Visions of Suburbia, 94, 157 104, 120, 165, 202 Simpson, Helen, 197–200 clerks, 3, 68–78, 104, 195 ‘To her Unsteady Boyfriend’, 199 cliches of, 109–10, 113, 122, 149, ‘Hey, Yeah, Get a Life’, 197–8 151, 152, 154, 204 ‘Lentils and Lilies’, 198–9 colonies, 144–5, 147 Sinclair, Iain, 180–7, 302 comfort/discomfort, 307 City of Disappearances, 180 consumerism/commodities, 72–3, Downriver, 182, 183–4, 186 84, 86–8, 155, 157–8, 160, 179–80 the ‘Fugue’, 185 ‘cosy catastrophe’, 137 Lights Out for the Territory, 184–5 council estates, 127, 160, 172–3 Liquid City, 8, 184, 185 culture, 144: culture of the suburbs, London Orbital, 185–7 156, 158; high culture 69, 157 ‘When In Doubt, Quote Ballard’, 175 as destructive, 82–3, 103 Smith, Stevie, 26, 107–13 detection, 178–9, 296 ‘A London Suburb’, 107 , 57–66 Novel on Yellow Paper, 112–13 development/growth of, 23, 25, 53, ‘Suburb’, 111 90–1, 162–4, 185 ‘The Suburban Classes’, 110 DIYer (incompetent), 74–5, 190, Smith, Zadie, 9, 168–75 192, 156, 189–90 NW, 174–5 domestic, 38, 55, 101, 137, 156 On Beauty, 171 domestic things, 47, 70–8, 84, 86–7, White Teeth, 170–2 141, 156, 162, 190, 196, 197–9 Spalding, Francis, 109 Dunroamin’ housing, 90, 201 Spark, Muriel ‘eccentric’ (writers), 16–17, 108 The Ballad of Peckham Rye, 133 eccentricity, 159 Spencer, Bernard economic precariousness, 42–6 ‘Suburb Factories’, 93 The ‘Edgelands’, 187–8 238 Index suburb – continued middlebrow culture, 96–106 Empire, 65, 155–6 mimicry, 146–7 enchantment, 188 modernity, 94–5, 101, 116–17, 139, Englishness, 2, 26, 143, 117, 122, 181: ‘conservative modernists’, 127, 130, 165–72, 171 124 everyday life, 129, 140, 158, 194–5 modernism, 16, 94–5, 107 exurbia, 178–9, 180, 214 mourning, 193 fake, 115 (George Bowling’s ‘fishy multiculturalism, 135, 156, 166, Frankfurter’, 121–2) 173–4 fantastic, 38, 66, 161 murderous intent, 192–3, 201–2 ghostly/doubled, 143, 147, 172, narratives of the self, 165–9, 173 182, 185 nature, 103 gossip, 39 ‘The Nobody’, 3, 15, 67–78, 195, 207 haunting, 41–52 as ‘nonplace’, 102, 165, 175 home/homeless, 12, 18, 46, 70, 79 nostalgia, 116–17, 120, 123, 214 (unbelonging, 88), (habitat, 91), not being pyschogeographic mate- 95–6, 101, 103, 117, 120, 128–9, rial, 144, 184, 187 155, 166, 192, 194, 206–7 as palimpsest, 181–2 hostility towards, 2, 4, 90 (by panorama, 27–8, 92–3, 104, 129, Clough Williams-Ellis, 150) 130, 169–70: panopticism, 27–8, house, 41, 44 100 hybridity, 168–9, 171–3 perception, 67–8, 127 Identity, 38, 87, 121, 156, 158, 159, performance, 9, 37–9, 107, 109; 168, 172–4, 173–4, 213 mimicry 38, 61, 108, 140, 151, as imaginary site, 127, 146, 148, 158, 204; home theatricals, 40 153–5, 155, 187 as place of fantasy 7, 37–8, 155, immateriality, 77, 83–4, 123, 142–9, 160, 128, 135, 140, 159, 160, 204; 145, 147, 148–9, 156, 164 fantasy of destruction 81–3; as a immigration, 269 place for fantasising the city, 153, information, 40 159, 160 investigation (city ‘Sketches’, 32–3), poisoning, 192 53, 68 pop culture, 17, 149–50 (TV sitcom, knowledge, 7, 57, 58–9, 108, 178 150), 151, 153–4, 157 lacking history, 203 pop music (punk, 150, 160), 157 language, 88 postcolonial writing, 145–9 legibility/illegibility, 13, 15, 16, 37 as postmodern space, 163–4 (seen from the outside, 54), 120, and the private sphere, 25 126, 131, 139, 143, 151, 183, 186, race, 166–7, 179 204 reading the clues/signs, 34–5, 60–2, ‘lifting the roof’ figure, 55, 58, 152 178, 184 and the literary, 1, 143–4, 145, 146 reading the suburb, 14, 20 mapping, 30 respectability, 59 materiality, 18, 26, 29, 41–3, 52, ‘sensation’ novels, 51–2 55–6, 62–3, 93, 67, 130, 189–202, sense of community, 164, 179–80 195; material smothering, 197–8; ‘silver-fork’ novels, 28 material waywardness, 70–8, 86–7, skin (as boundary), 76, 122 120–3, 148, 165; ‘resistenialism’, slums, 22, 30–1, 42–6, 95 212; ‘vibrant materiality’, 190 as spectacle, 40–1, 43 mess, 63, 198, 201–2 spectres and speculation, 44–6, 147 Index 239

spatial function, 25 Thorns, David C., 23 status, 38 Trotter, David strange, 9, 27, 25, 92–4, 103, The English Novel in History, 31, 53 108–13, 131–4, 135, 142, 242 Cooking with Mud, 63 ‘subtopia’, 126, 150, 162 Vidler, Anthony surfaces, 35, 133, 139 The Architectural Uncanny, 132, 139 surrealism, 225 surveillance, ‘curtain twitching’, Waugh, Evelyn 39–40, 77, 79 Vile Bodies, 92 temporality, 197 Webster, Roger, 9, 35 Thatcherism, impact of, 167 Expanding Suburbia, 175, 203 ‘Tudorbethan’, 90, 116 Wells, H. G., 82–3 unmapped, 86, 145 The History of Mr Polly, 73, 76 the individual, 24, 58, 62, 165 A Modern Utopia, 131 uncanny, 17, 75, 132–42, 177, 198 The New Machiavelli, 82 unreadable/unknowable, 3, 35–6 The War of the Worlds, 82–3 unreal, 17, 195–6 When the Sleeper Awakes, 83 vision/visibility, 3, 6, 7, 9, 15, Wheeler, Wendy 21–2, 26–8, 35, 42–3, 47, 54, ‘Postscript on Biosemiotics’, 11 103, 108–13, 124, 130, 131, 139; Whelan, Laura, 30, 42 as ‘anti-vision’, 78, 146; dream, Wilde, Oscar 141; exposure, 48–51; focus, 93, The Picture of Dorian Gray, 62 100, 114–15; impenetrable, 152; Williams, Nigel transparency, 148–9; visionary, The Wimbledon Poisoner, 192–3 78–84 Williams, Raymond, 1 voyeurism, 332 Wodehouse, P. G and women, 196–202 Psmith in the City, 2 work, 84—6; leisure, 81–9, 97 Wolff, Janet, 25 as zone of the dead, 105–6, 138, Wolfreys, Julian, 26 142, 182–3, 202, 214 Wood, James Swift, Graham, 193–5 ‘Hysterical realism’, 169 The Sweetshop Owner, 194–5 Wood, Michael, 34, 52 Symons, Julian Woolf, Virginia 97–9 The Blackheath Poisonings, 192 ‘How it Strikes a Contemporary’, 99 ‘The Tigers of Subtopia’, 150 ‘A London Adventure’, 155 ‘Middlebrow’ (essay), 97 Taylor, Elizabeth ‘Mr Bennett and Mrs Brown’, 98–9 At Mrs Lippincote’s, 101 ‘Modern Fiction’, 26, 97 Taylor, Teddy ‘The London Scene’, 97 Baron’s Court, 154 ‘Street Haunting’, 97 All Change, 154–5 Wyndham, John Theroux, Paul The Day of the Triffids, 136–9 The Family Arsenal, 134–7 The Kraken Wakes, 137 ‘Thing theory’, 74, 197 Thomas, Edward, Young, M. and Willmott, P. The Heart of England, 54, 56 Family and Class in a London Suburb, Thomas, Leslie 152 Tropic of Ruislip, 152 Kinship in East London, 152 Thompson, F. M. L., 23 ‘Yummy-mummy’, subgenre, 196