Kipling at Brighton Beach

Rudyard Kipling was born on 30 December 1865 in Bombay, then part of British India, making today the 160th anniversary of his birth. He was educated in England from the age of six, returned to India as a young journalist and writer in the 1880s, and achieved early fame with poems and stories rooted in Anglo-Indian life. By the 1890s he was one of the most widely read authors in the English-speaking world, later producing works that remain central to his reputation, including The Jungle Book, Kim, Just So Stories, Barrack-Room Ballads and the novel Captains Courageous. In 1907 he became the first English-language writer to receive the Nobel Prize for Literature.

Between India and later Sussex, Kipling spent unsettled years moving between London and the south coast of England. These were years of intense productivity, illness, restlessness and emotional volatility. Brighton belongs to this period. It was not a place of long residence, but part of the circuit of seaside towns that offered sea air, anonymity and a charged social atmosphere. Brighton Beach, with its press of bodies, its holiday freedoms and its sharp exposure of private feeling in public space, offered Kipling material very different from both imperial India and rural England.

The poem commonly known as Brighton Beach dates from this early English period, probably 1882 when Kipling was 17. It was never collected by Kipling in his lifetime (i.e. not put into poetry collections by Kipling himself), but has been included in modern scholarly editions of his juvenilia. Early Verse by Rudyard Kipling 1879-1889, edited by Andrew Rutherford, was, for example, published by Clarendon Press in 1986. This can be freely read online at Internet Archive. 

The piece is a short, compressed lyric focused not on scenery but on a fleeting encounter between two people who recognise a momentary intimacy and just as quickly deny its future. The beach functions as a setting of revelation rather than romance. What flashes into being is not love, but knowledge, followed by retreat into routine and restraint. The poem’s emotional economy, its refusal of consolation and its emphasis on self-discipline anticipate aspects of Kipling’s later work, even as its tone belongs firmly to his youth.

Kipling would later settle more deeply into Sussex life, first at Rottingdean and then at Bateman’s near Burwash, where he lived from 1902 until his death in 1936. That later Sussex is rural, inward-looking and historically layered. Brighton Beach, by contrast, survives in his work as a place of exposure and passing contact, where certainty flares briefly and is extinguished just as fast. The poem stands as a small but telling example of how Kipling used specific places not for description, but as engines of moral and emotional pressure.

Brighton Beach

A flash in your eye for a minute -
An answering light in mine.
What was the mischief in it?
Who but we two could divine - 

Before those eyelids droop
Do I read your riddle -
Well I take it an angel may stoop
Sometimes, to the nether Hell.

We’ll argue it this way then
Tho’ it sound a trifle inhuman -
I am not your man among men,
Nor you my first dearest woman.

Each touched some hidden chord
In the other’s heart for a minute,
That sprang into light at a word
And pulsed with the music in it -

The veil was torn asunder
As I sighed and pleaded and wooed,
And we saw the truth there under
As it stands - uncouth and nude.

Now back to the work again -
In the old blind tread-mill fashion -
False hope, false joy, false pain,
Rechauffés of by gone passion!

Neighbour of the wave

Winter on the Sussex coast has long been associated with health, sea air and bracing walks along the shore. When Brighton was consolidating its reputation as a fashionable watering place in the early nineteenth century, those qualities were already being recorded in print. In 1809 Mary Lloyd published Brighton: A Poem, Descriptive of the Place and Parts Adjacent, an extended verse account of the town that set out to capture its setting, its visitors and its daily rhythms.

Little is known about Lloyd herself. The book appears to be her only published volume. It was issued by subscription rather than through a commercial publisher, a common Georgian practice that secured sales in advance and reduced financial risk. The volume runs to eighty-eight pages and includes a substantial list of subscribers, among them the Duke of Clarence and Mrs Fitzherbert, alongside military officers and members of Brighton society. The book was sold in London and locally, and its subscription list indicates a readership closely connected to the resort and its seasonal life.

The volume is more than a single poem. Alongside the long descriptive piece are miscellaneous shorter poems, including several written in Scottish dialect, suggesting personal connections beyond Sussex. The book is illustrated with two engraved plates: a frontispiece view looking west across Brighton, and a separate plate depicting the Royal Chain Pier (and a nameplate). These images anchor the poem in recognisable topography and align the work with the growing market for picturesque views of the town.

The title poem itself is written largely in rhyming couplets and adopts the voice of a strolling observer, moving between shore, cliff and town. Lloyd stated her intention was to delineate Brighton’s scenes at the seasons and hours when they appeared most striking, and the poem progresses from morning activity to evening calm. Fishermen, boats, bathers and promenaders populate the beach, while the sea provides both spectacle and sublimity. Contemporary reviewers were reserved about Lloyd’s poetic powers, but noted that her work excelled in accuracy of description and in capturing the characteristic features of the place.

The poem repeatedly returns to the meeting of land and water, where human activity gives way to the scale and movement of the sea. To close with Lloyd’s own words, here are unedited extracts describing Brighton’s shore and seaward outlook: (Sources: Googlebooks and Quaritch.

Brighton: A Poem

Extract 1 (opening)

‘BRIGHTON! thou loveliest neighbour of the wave,
Whose stately cliffs the rolling surges lave,
Where roseate health, amid the breezes play,
Whose gentle breathings cool the fervid ray
Of scorching summer; pleasing gay Retreat,
Beauty, and fashion’s ever favourite seat:
Where splendour lays its cumbrous pomp aside,
Content, in softer, simpler paths to glide;
Where in succession, various pastimes sport,
Where nature’s grand and simple beauties court,
Where every taste may find a charm to please,
If fond of the sublime; the surging seas
Their vast floods rolling on the sounding shores,
When the bold wind unfolds the billowy stores;
Will lift with solemn awe the wond’ring soul,
To Him! who bade those mighty waters roll.’

Extract 2 (early-morning shoreline and the beach)

‘How sweet the sea-girt shore to pace along,
What time the lark begins her matin song,
When the mild moon her regency declines,
And to the glorious sun the reign resigns;
While the blue waves rejoicing in the light,
Reflect the golden smiles that chase the night.’

Extract 3 (fishermen coming in)

‘How sweet to mark the vessels’ devious way,
Their white sails glittering in the morning ray;
What time the weary fisher ends his toil,
And homeward steers, exulting o’er the spoil:
See the bold youths, who snare the finny train,
Press every sail, and through the liquid plain,
Cheerly pursue their course, to gain the shore,
While joyous they survey their hard-earn’d store;
And ere the boat has clear’d the surging deep,
Advent’rous, in the waters see them leap,’

Austen’s unseen Brighton

Today marks the 250th anniversary of the birth of Jane Austen, the great chronicler of English places and manners. One of her books above all - Pride and Prejudice - has a direct and consequential link to Brighton and its beach, even though they are never once described.

The novel, first published in 1813, centres on the Bennet family, a middle-class household with five unmarried daughters and a precarious financial future. The story follows the growing relationship between Elizabeth Bennet, the second eldest daughter, and Fitzwilliam Darcy, a wealthy landowner whose pride and reserve initially offend her. Alongside this central courtship runs a series of secondary plots involving reputation, marriage, and social judgement.

One of these concerns Lydia Bennet, the youngest sister, who is impulsive, flirtatious, and largely uncontrolled by her parents. When a militia regiment is stationed near the Bennet home in Hertfordshire, Lydia becomes infatuated with the officers. Among them is George Wickham, a charming but unprincipled soldier who forms a brief attachment to Elizabeth before revealing himself to be unreliable and deeply in debt. Wickham later transfers with the regiment to Brighton, then a fashionable seaside and military town.

Lydia is allowed to accompany the wife of the regiment’s commanding officer to Brighton for the summer. There, free from family restraint, she renews her acquaintance with Wickham. The two run away together, first to London, with no intention of marrying. Their disappearance threatens to disgrace not only Lydia but the entire Bennet family, whose daughters’ chances of respectable marriage depend on female reputation.

The crisis is resolved only through the private intervention of Fitzwilliam Darcy, who tracks the couple down, pays Wickham’s debts, and secures a marriage settlement. The family is saved from public scandal, but the damage narrowly avoided leaves a lasting impression. Reflecting on events, Elizabeth Bennet later observes that ‘Had Lydia never been at Brighton, she had never met Wickham.’

It is at this point that Brighton’s peculiar role in the novel becomes clear. Although it is named repeatedly, Austen never describes the town itself. There is no account of the beach, the sea, the buildings, or the daily life of the resort. Brighton exists entirely as a place of reputation rather than observation, a setting defined by what it permits rather than what it looks like.

For Austen’s contemporary readers, that would have been enough. By the late eighteenth and early nineteenth centuries Brighton was already firmly established as a fashionable seaside resort and military centre, associated with sociability, display, and a loosening of ordinary moral restraints. To send Lydia there is to remove her from domestic supervision and place her in a setting where temptation lurks. Austen needs only to name Brighton for its implications to be understood.

This reticence is striking because Austen was perfectly capable of writing about the seaside when she wished. In Persuasion, Lyme Regis is vividly rendered, its Cobb forming the setting for a pivotal accident. In Sanditon, her unfinished final novel, she turns her attention to a speculative seaside resort, analysing promenades, bathing machines, health claims, and commercial optimism. These places are described and judged. Brighton is not.

Biographies say there is no firm evidence that Jane Austen ever visited Brighton. Her surviving letters place her instead at coastal towns such as Lyme Regis, Sidmouth, Dawlish, and Worthing, where she stayed for several months in 1805-1806. Worthing, a quieter and less conspicuous rival to Brighton, appears in her correspondence as a place of walks, mild society, illness, and boredom - the kind of lived experience she habitually transformed into fiction. Brighton remained known to her largely by reputation.

That reputation was sufficient. In Pride and Prejudice, Brighton functions not as landscape but as catalyst. It is the place where supervision weakens and consequences begin. Austen’s refusal to describe the beach or the town turns Brighton into an abstract moral space rather than a physical one.

Sources include Project Gutenberg, Brighton Museums, Jane Austen - A Life by Claire Tomalin and Wikipedia. The imagined book cover above was created by ChatGPT. 

The famous Brighton novel

Brighton has inspired scores of writers, but none has left a deeper mark on the seafront than Graham Greene’s Brighton Rock. The novel, which has been published in hundreds of editions (see Good Reads), portrays the beach, the pier and the summer crowds as a stage of glittering daylight and hidden menace, a version of the city so sharply drawn that anyone crossing the shingle can still feel its shadow.

Graham Greene, born in Berkhamsted in 1904, spent long stretches of his early career as a journalist and later as a roving novelist and reviewer. His first known stay in Brighton came during the mid-1930s, when he took rooms near the front while researching a short story; he returned repeatedly while working on Brighton Rock in 1937, walking the Palace Pier, the racecourse, the lower promenade and the warren of streets behind the seafront. (The photograph of him below was taken in 1939 not long after Brighton Rock was published for the first time in 1938.)

Although the town appears in several of his other works, it is Brighton Rock that locked the place into his imagination. The novel follows Pinkie Brown, a teenaged gang leader determined to cover up a murder on the seafront. He courts and marries the innocent waitress Rose to prevent her testifying, while the indomitable Ida Arnold, half sleuth and half conscience, pushes back against his fatalism. The story is set largely between the pier, the racecourse, the shabby boarding houses off the front and the bars and kiosks that once crowded the lower esplanade. Its famous opening, set just yards from the beach, establishes at once the collision of sunlit day-trippers and the violence brewing beneath. The Brighton of the book carries the familiar rhythms of the beach in season - music, heat, the gulls, the press of crowds - but all refracted through Greene’s stark moral universe of damnation, innocence, chance and fear.

In world literature, Brighton Rock occupies a rare place as both a crime novel and a major novel of belief. Its Catholic undertow - Pinkie’s terror of damnation, Rose’s trust in redemption, Ida’s secular certainty - gives it a depth beyond the gangster genre. Critics routinely class it among Greene’s finest works, alongside The Power and the Glory and The Heart of the Matter, and it remains a touchstone for how fiction can convert an ordinary English seaside town into a theatre of metaphysical conflict. For Brighton, the book is an ambivalent gift: it fixed the Palace Pier, the shingle, the boarding houses and the summer crowds into an international literary image that still shadows the real beach today. (Sources include Notre Dame Magazine, Encyclopaedia Britannica, and the full book can be read online at Internet Archive. Green’s own much later introduction to the novel can be read in this edition.)

Here, then, are the great novel’s opening paragraphs, so quickly drawing the reader in: ‘Hale knew, before he had been in Brighton three hours, that they meant to murder him. With his inky fingers and his bitten nails, his manner cynical and nervous, anybody could tell he didn’t belong - belong to the early summer sun, the cool Whitsun wind off the sea, the holiday crowd. They came in by train from Victoria every five minutes, rocked down Queen’s Road standing on the tops of the little local trams, stepped off in bewildered multitudes into fresh and glittering air: the new silver paint sparkled on the piers, the cream houses ran away into the west like a pale Victorian water-colour; a race in miniature motors, a band playing, flower gardens in bloom below the front, an aeroplane advertising something for the health in pale vanishing clouds across the sky.

It had seemed quite easy to Hale to be lost. in Brighton. Fifty thousand people besides himself were down for the day, and for quite a while he gave himself up to the good day, drinking gins and tonics wherever his programme allowed. For he had to stick closely to a programme: from ten till eleven Queen’s Road and Castle Square, from eleven till twelve the Aquarium and Palace Pier, twelve till one the front between the Old Ship and West Pier, back for lunch between one and two in any restaurant he chose round the Castle Square, and after that he had to make his way all down the parade to the West Pier and then to the station by the Hove streets. These were the limits of his absurd and widely advertised sentry go.

Advertised on every Messenger poster: “Kolley Kibber in Brighton to-day.” In his pocket he had a packet of cards to distribute in hidden places along his route: those who found them would receive ten shillings from the Messenger, but the big prize was reserved for whoever challenged Hale in the proper form of words and with a copy of the Messenger in his hand: “You are Mr. Kolley Kibber. I claim the Daily Messenger prize.” This was Hale’s job to do sentry go, until a challenger released him, in every seaside town in turn: yesterday Southend, to-day Brighton, tomorrow -’

NB: ‘Sentry go’ is an old military phrase meaning a turn of sentry duty - a shift of walking a set route, keeping watch, following a fixed pattern until relieved.

The Town Beehive

Fifty years ago, in 1975, a modest paperback appeared under the imprint of QueenSpark Books - a fledgling community press run from Brighton’s Queen’s Park. Its title, The Town Beehive: A Young Girl’s Lot in Brighton 1910-1934, announced its subject with quiet pride. The author, Daisy Noakes, had been born in Princes Road in 1910 and lived almost her entire life within walking distance of the seafront whose hum and hustle she immortalised.

QueenSpark’s founders had set out to publish the voices of working people, and Noakes was among their first and most enduring discoveries. She wrote with humour, precision and memory unclouded by nostalgia. Her words carried the weight of a life lived in modest rooms, in domestic service, and later among the deckchairs and boarding houses of interwar Brighton.

 The Town Beehive was followed by two further volumes, The Faded Rainbow and Street Noises, as well as radio and television appearances. She became a familiar presence on BBC Southern Counties Radio, interviewing fishermen and stallholders with the same unvarnished curiosity that animated her writing. Later she appeared in the BBC’s Out of the Doll’s House, a landmark account of women’s history, and was honoured by Sussex University for her contribution to local culture.

Noakes’s style was direct and her recall extraordinary. The sea, for Daisy, was both backdrop and lifeblood - the edge of the world against which Brighton’s fortunes rose and fell. She remembered the beach not as a picturesque resort but as a working stage, crowded with buskers, vendors, families, and barefoot children chasing coins through the shingle. Few writers of her generation - and certainly none from her background - recorded the soundscape of the town so closely, from pier bands and concert parties to the black minstrel troupes who sang at low tide.

What gives The Town Beehive its lasting warmth is Noakes’s unpretentious humanity. Her Brighton is not the Brighton of postcards or pleasure palaces, but of aching legs, shared cups of tea, and the kindness of sisters. It is a Brighton of ordinary lives, played out within sight and sound of the surf. More about Noakes can be read at My Brighton and Hove and Writing Lives.

The Town Beehive is free to read online at the Queenspark website. Here are two extracts/

‘One of the times we were all together was Armistice Day of the First World War. With young George in the pram, we all walked to Brighton Sea Front and along to the West Pier. Everyone seemed to be singing and dancing, and I remember soldiers and sailors in uniform, the worse for drink, staggering around. We then walked back through the town to New England Hill, and all went in a cafe, where Dad bought a large jug of tea and one cup which we took turns in drinking out of. I still remember to this day how my legs ached with walking, and longed to have a ride in the pram if only someone would carry George, but no, it did not happen.’ (The image below is an illustration by ChatGPT.)

‘The seafront had plenty of attractions. There were bands that played on the Pier, two concert Parties, the one near Black Rock was called Jack Shepherd’s Entertainers, the one near the West Pier was Ellson’s Entertainers.

At this one, talent contests were held on Saturday afternoons, but one was only eligible to compete if one had a paid seat. The cheapest was 6d. I had earned 5d. that morning, and after a lot of persuasion my sister Emily gave me the other 1d. if I would sing her favourite song at that moment: “God send you back to me”. She had been friendly with a South African wounded soldier, and he had gone home. So we walked there and back but happy because I won a Teddy Bear for first prize.

Black minstrels played their banjos at low tide on the sands, and would get the children to join in the choruses, I remember “Oh Moana” and the actions. People on the Pier would throw pennies down to the sands, and the boys would scramble for them. All sorts of vendors were on the beach with newspapers, Brighton Rock and the Whelk Stalls where one could buy a small plate of whelks, cockles, mussels or winkles, and one could leave the plate on the beach to be collected.’

Raging with the greatest violence

‘A severe hurricane and occurring at the spring tide, the low tracts along the coast were inundated and considerable damage occasioned thereby. I drove to Brighton and arrived there between one and two, at the time the sea was raging with the greatest violence, the surf dashed over the pier and occasionally hid it from our view.’ This is from the remarkable diary of Gideon Algernon Mantell - doctor, geologist, and fossil collector - who died this day in 1852. Born in Lewes, he moved to Brighton where he lived in a house on Old Steine becoming something of a celebrity palaeontologist.

Mantell was born in Lewes in 1790, the son of a shoemaker. Apprenticed as a teenager to a local surgeon, he later trained at St Bartholomew’s in London before returning to Sussex to practice. His first fame came not from medicine but from geology: he was the discoverer of the Iguanodon, among the earliest of the creatures that would come to be called dinosaurs. His book The Fossils of the South Downs (1822) made his name, and within a decade he had identified a second great reptile. Yet his ambition remained medical: he longed to establish a prosperous practice among the aristocracy drawn to Brighton by the Pavilion court of George IV and William IV.

In 1833 he finally moved his family to 20 The Steyne, at the heart of fashionable Brighton. To his frustration, he became less a physician than a celebrity geologist. Visitors besieged his home, eager to see his fossils. In 1838, the collection was purchased by the British Museum. That same year he bought a practice in Clapham Common, which soon became a success and allowed him frequent trips to London to attend institutional meetings. He moved again in 1844 to Pimlico, where he remained until his death on 10 November 1852. Further biographical information is available from Wikipedia and Dinohunters.

A lifetime of diaries kept by Mantell were edited in 1940 by E. Cecil Curwen, whose father had lived in Hove. Extracts were first published that year in Sussex County Magazine under the title The Diaries of Gideon Mantell, F.R.S., based on Curwen’s fuller transcription now held at Barbican House, Lewes. Many of Mantell’s original notebooks and letters, however, were taken to New Zealand by his son Walter Baldock Durrant Mantell and are preserved today in the Alexander Turnbull Library and at Te Papa Tongarewa. 

Later editions have sought to complete Curwen’s partial selection: John A. Cooper’s The Unpublished Journal of Gideon Algernon Mantell, 1819–1852 (2010) makes available the sections omitted from Curwen’s edition and is freely accessible online, while  another volume covering June-November 1852 was separately published by R. Dell in 1983. It is Curwen’s typescript, together with these supplements, that remains the principal record of Mantell’s day-to-day observations of life in Brighton and Lewes. They reveal a man of abundant restless energy, fired with an ambition to become immortal in the realms of science, but also one who sought solace in the sea air and who described with striking immediacy the changing moods of Brighton’s coast.

Here are several diary extracts about Brighton Beach contained in Curwen’s original The Diaries of Gideon Mantell.

16 August 1823

‘Drove to Brighton; the sea very rough and magnificent. I walked along to the beach and seated myself on a rock, viewing with delight the tempestuous foaming of the billows around me: the hull of a vessel wrecked the preceding night was lying near me, and was hurled to and fro by the impetuosity of the waves. The foam from the surges dashing through the piles of the pier was fine and imposing.’

23 November 1824

‘A severe hurricane and occurring at the spring tide, the low tracts along the coast were inundated and considerable damage occasioned thereby. I drove to Brighton and arrived there between one and two, at the time the sea was raging with the greatest violence, the surf dashed over the pier and occasionally hid it from our view. So soon as the water was retired so as to allow of walking on the esplanade, we went to the Pier, which was much damaged by the waves; the railing in many places washed away, and the platform destroyed, so as to render access to the Pier-head difficult and dangerous: however we ventured to the farthest end although every now and then a sea dashed over us, and completely drenched us, but the awful grandeur of the scene more than compensated for the inconvenience of our situation.’

29 October 1836

‘A dreadful hurricane from the SSW at about eleven AM it was terrific - houses unroofed - trees torn up by the roots: chimney-pots and chimneys blown in every direction - sea mountains high. Went to the Pier, and was present when violent oscillations began to be produced by the hurricane: the whole lines of platforms and chains were thrown into undulations, and the suspension bridges appeared like an enormous serpent writing in agony - at length one of the bridges gave way, and planks, beams, iron rods - all were hurled instantaneously into the boiling surge! The tension of the bridge being thus set at liberty, the remaining bridges gradually became motionless; the damage done to this beautiful structure cannot be much less than £1,000. Some persons were killed by the falling of chimneys and lead blown off the houses.’

See also Brighton’s oldest pier.

I confess I like tar

‘I like to go down on the beach among the fishing boats, and to recline on the shingle by a smack when the wind comes gently from the west, and the low wave breaks but a few yards from my feet. I like the occasional passing scent of pitch: they are melting it close by. I confess I like tar: one’s hands smell nice after touching ropes.’ This was written about Brighton Beach by John Richard Jefferies, an English nature writer born on this day in 1848. Although not well remembered, he turned his attention to Brighton in at least two books of essays - Nature Near London and The Open Air.

Jefferies was born on 6 November 1848 at Coate Farm, near Swindon in Wiltshire. His early years were steeped in rural observation - he studied the hedges, brooks and fields around him with a sharp eye and lyrical sensibility. He worked as a local journalist - reporting for the North Wiltshire Herald and the Wiltshire and Gloucestershire Standard - and began to publish articles on natural history and rural life in the Pall Mall Gazette and other London papers. In 1874 he married Jessie Baden, the daughter of a neighbouring farmer at Syde near Cirencester, and the couple had three children, though the third died young.

Jefferies earned his living precariously as a freelance essayist and novelist; the success of The Gamekeeper at Home (1878) brought him a wider readership and regular commissions from magazines such as Longman’s, The Graphic and The Standard. His blend of realism, spiritual intensity and precise nature description made him one of the leading English nature writers of the Victorian age. Although his name is most often linked with Wiltshire, he moved south in later life, seeking sea-air and convalescence on the Sussex coast. He died in August 1887 at Goring-by-Sea in West Sussex.

In his last years, he published two books of essays: Nature Near London (Chatto & Windus, 1883) and The Open Air (Chatto & Windus, 1885) both with lyrical passages about Brighton and its seaside. These first two are from a chapter in Nature Near London called ‘To Brighton’.

‘The clean dry brick pavements are scarcely less crowded than those of London, but as you drive through the town, now and then there is a glimpse of a greenish mist afar off between the houses. The green mist thickens in one spot almost at the horizon; or is it the dark nebulous sails of a vessel? Then the foam suddenly appears close at hand - a white streak seems to run from house to house, reflecting the sunlight: and this is Brighton.’

‘Westwards, a mile beyond Hove, beyond the coast-guard cottages, turn aside from the road, and go up on the rough path along the ridge of shingle. The hills are away on the right, the sea on the left; the yards of the ships in the basin slant across the sky in front. With a quick, sudden heave the summer sea, calm and gleaming, runs a little way up the side of the groyne, and again retires. There is scarce a gurgle or a bubble, but the solid timbers are polished and smooth where the storms have worn them with pebbles. From a grassy spot ahead a bird rises, marked with white, and another follows it; they are wheatears; they frequent the land by the low beach in the autumn.’

The more extensive passages below are from ‘Sunny Brighton’ in The Open Air.

‘Some of the old streets opening out of the King's Road look very pleasant on a sunny day. They run to the north, so that the sun over the sea shines nearly straight up them, and at the farther end, where the houses close in on higher ground, the deep blue sky descends to the rooftrees. The old red tiles, the red chimneys, the green jalousies, give some colour; and beneath there are shadowy corners and archways. They are not too wide to whisper across, for it is curious that to be interesting a street must be narrow, and the pavements are but two or three bricks broad. These pavements are not for the advantage of foot passengers; they are merely to prevent cart-wheels from grating against the houses. There is nothing ancient or carved in these streets, they are but moderately old, yet turning from the illuminated sea it is pleasant to glance up them as you pass, in their stillness and shadow, lying outside the inconsiderate throng walking to and fro, and contrasting in their irregularity with the set facades of the front. Opposite, across the King's Road, the mastheads of the fishing boats on the beach just rise above the rails of the cliff, tipped with fluttering pennants, or fish-shaped vanes changing to the wind.’

‘I like to go down on the beach among the fishing boats, and to recline on the shingle by a smack when the wind comes gently from the west, and the low wave breaks but a few yards from my feet. I like the occasional passing scent of pitch: they are melting it close by. I confess I like tar: one’s hands smell nice after touching ropes. It is more like home down on the beach here; the men are doing something real, sometimes there is the clink of a hammer; behind me there is a screen of brown net, in which rents are being repaired; a big rope yonder stretches as the horse goes round, and the heavy smack is drawn slowly up over the pebbles. The full curves of the rounded bows beside me are pleasant to the eye, as any curve is that recalls those of woman. Mastheads stand up against the sky, and a loose rope swings as the breeze strikes it; a veer of the wind brings a puff of smoke from the funnel of a cabin, where some one is cooking, but it is not disagreeable, like smoke from a house chimney-pot; another veer carries it away again, - depend upon it the simplest thing cooked there is nice. Shingle rattles as it is shovelled up for ballast - the sound of labour makes me more comfortably lazy. They are not in a hurry, nor “chivy” over their work either; the tides rise and fall slowly, and they work in correspondence. No infernal fidget and fuss. Wonder how long it would take me to pitch a pebble so as to lodge on the top of that large brown pebble there? I try, once now and then.’

‘When this peculiar bank appears at Brighton it is an almost certain sign of continued fine weather, and I have noticed the same thing elsewhere; once particularly it remained fine after this appearance despite every threat the sky could offer of a storm. All the threats came to nothing for three weeks, not even thunder and lightning could break it up, - “deceitful flashes,” as the Arabs say; for, like the sons of the desert, just then the farmers longed for rain on their parched fields. To me, while on the beach among the boats, the value of these clouds lies in their slowness of movement, and consequent effect in soothing the mind. Outside the hurry and drive of life a rest comes through the calm of nature. As the swell of the sea carries up the pebbles, and arranges the largest farthest inland, where they accumulate and stay unmoved, so the drifting of the clouds, and the touch of the wind, the sound of the surge, arrange the molecules of the mind in still layers. It is then that a dream fills it, and a dream is sometimes better than the best reality. Laugh at the idea of dreaming where there is an odour of tar if you like, but you see it is outside intolerable civilization. It is a hundred miles from the King’s Road, though but just under it.’

‘There is a scheme on foot for planking over the ocean, beginning at the bottom of West Street. An immense central pier is proposed, which would occupy the only available site for beaching the smacks. If carried out, the whole fishing industry must leave Brighton,- to the fishermen the injury would be beyond compensation, and the aspect of Brighton itself would be destroyed. Brighton ought to rise in revolt against it.’

The portrait above is from Wikipedia, and the fishing boat image is from the collection of Royal Pavilion & Museums, Brighton & Hove.

Brighton Beach Scumbags

This day in 1991, Steven Berkoff’s play Brighton Beach Scumbags opened at the Sallis Benney Theatre in Brighton. Directed by George Dillon, it was the inaugural production for the Brighton-based Theatre Events team and quickly gained notoriety for its raw depiction of two East End couples on a seaside outing. The play’s unflinching treatment of casual homophobia, class prejudice and sexual tension caused a stir in the city, while its setting gave Brighton audiences a distorted mirror of their own seafront culture.

Berkoff, born in Stepney in 1937, trained at the Webber Douglas Academy of Dramatic Art and went on to build a reputation as one of the most distinctive and provocative voices in British theatre. After working in repertory, he founded the London Theatre Group in the 1960s and began writing and performing plays marked by a visceral physicality and a confrontational use of language. Works such as East (1975), West (1980) and Greek (1980) established him as both playwright and performer, while his career on screen brought memorable roles in films such as A Clockwork Orange, Octopussy and Beverly Hills Cop. His stage adaptations of Kafka and his Shakespeare productions have also drawn international acclaim.

Brighton, though, was not just a convenient setting for Scumbags. Berkoff’s own early memories of the town were affectionate. In his memoir Diary of a Juvenile Delinquent (JR Books, 2010) he writes: ‘Now that the war was over we were able to travel and get around a bit. One day Dad rented a car to take us all on a trip to|Brighton and as it drew past the pavilion, I was gobsmacked at my first glance of the deep blue sea; it was also a perfect summer’s day. We were booked into a pleasant, cheap-and-cheerful B&B and the landlords, a young woman and her husband, looked after us really well - so much so that we all wanted to stay a few more days while Dad went back to Luton since he probably had to work (you never knew with him). We walked everywhere in an idyllic post-war [Brighton] played ‘housy-housy’ on the pier and took the miniature Volk’s railway to Black Rock swimming pool. It was a marvellous lido and this was a blissful time in a typical English summer. (Just above Black Rock is the so-elegant Lewes Crescent, where 40 years hence I would be sitting on my own balcony, watching the sunset from the first-floor flat of a splendid Regency house.)’

That mixture of nostalgia and confrontation runs through Brighton Beach Scumbags, premiered on 23 October 1991 (and revived in 2009 by Loft Theatre). The characters revel in their trips to the beach while simultaneously turning it into a stage for crude outbursts, prejudices and fears. A synopsis of the play can be found at the RDG website. The following extract, from Plays 2 (Faber, 1994), captures the tone:

DINAH: Oh yeah, before you come we had a drink ‘cause we always went there you know, always made a bee-line ‘cause you could sit outside, when we courted Derek and I would drink there . . . got the train from Victoria, a quid return, a quid, went swimming by Black Rock, by the cliffs, lovely it was . . . it was then . . .

DEREK: Oh it was a treat, definitely a treat, walk to Rotters, Rottingdean, tea and scones, jam and butter and cream.

DINAH: Sat outside, it was a bit Continental, or we had a plate of fish and chips.

DEREK: Yeah, and we swam cause we loved swimmin then until one day we saw that turd swimmin in the water, well I could never get in there again . . . never.

DINAH: Horrid!

DEREK: Never!

DINAH: Just horrid.

DEREK: I did say at the time that it was probably an isolated turd, not a fucking sign like of sewage seepage, probably a one-off turd by some little bastard who couldn’t hold it, but I never got in there again.

DINAH: Horrid, it just floated past my ear.

DEREK: Before that we’d love a swim, just let the waves grab you and throw you abaht a bit, love it that, triffic, a wave would pick you up like a dog wiv a bone and bung you down again on the shingle, cor didnarf sting at time but it was handsome, then we’d got for a tandoori in the Lanes, triffic place, did a right handsome prawn vindaloo!

Brighton’s fishing past

Just inside the vaulted arches of the marvellous Brighton Fishing Museum rests Sussex Maid, a clinker-built beach punt that once worked the inshore waters off Brighton and Shoreham. Her black-painted stem proudly bears the registry mark SM 380, the ‘SM’ denoting Shoreham. With her varnished planking and bluff bow, she embodies the traditional form of Sussex beach boats that for generations were launched and hauled directly from the shingle.

The Sussex Maid was built in the 1920s by Courtney & Birkett of Southwick, a noted yard for small fishing craft. She belonged to Brighton fisherman Robert ‘Bobby’ Leach, part of the long-established Leach fishing family, and was worked with nets and lines in the waters off the beach. Although fitted with an auxiliary motor, like other Brighton boats, she would have been hauled up the shingle by capstan and crew.

Beach boats like this were the backbone of Brighton’s fishing community until well into the twentieth century. Their sturdy clinker hulls could withstand the pounding surf, and their crews were experts at reading tides and weather. The Sussex Maid is a rare survivor of that fleet. Retired from service, and now set among nets, lobster pots and photographs, she was preserved as the centrepiece of the Fishing Museum when it opened in 1994, standing as both an exhibit and a memorial to generations of Brighton fishermen.

Much of Brighton’s fishing history has been captured in Catching Stories: Voices from the Brighton Fishing Community (QueenSpark Books, 1996). The project, which began in 1993, sought to preserve the memories and daily realities of a declining local fishing community. Organised thematically rather than by individual life story, the book weaves selected excerpts from transcripts into chapters on beach life, types of fishing, the role of women, the market side of fisheries, and changing technologies and social pressures. It can be freely downloaded from QueenSpark’s website. 

Implicitly precarious

Graham Swift’s Here We Are - published in the UK five years ago today - is steeped in Brighton, with Brighton’s Palace Pier both setting and symbol in the summer of 1959, the heyday of seaside variety entertainment. Swift evokes the scene with precision: the stage ‘on a flimsy structure built over swirling water’, the pier boards beneath performers’ feet, the tang of salt air drifting into the theatre, and the nightly dispersal of audiences back onto the beach and prom. For him, the seaside is an ‘implicitly precarious’ place. 

The story circles around three performers: Jack Robinson, a gifted compère; Ronnie Deane, who takes the stage name ‘The Great Pablo’; and his assistant Evie White. The pier theatre is their world, a place of illusions, transformations, and betrayals, all played out above the restless sea. Ronnie, once a wartime evacuee lodged with a Brighton family, has made his identity anew as a magician. Evie, by day a shop worker in town, by night slips into sequins and vanishes nightly into Pablo’s illusions. Jack holds it all together with wit and warmth. But as the season that summer reaches its climax, Ronnie vanishes not just from the stage but from their lives. Swift then shifts the perspective to decades later, when Evie looks back on the Brighton summer that shaped everything. The pier, the gaudy lights, the endless stretch of pebbles, become bound up with memory, loss and the final trick that could never be undone.

Brighton is not only a backdrop here but a character in itself. Its beach is a place of impermanence, its pier a fragile platform where each night’s show disappears as soon as it is conjured. The book’s themes of illusion, disappearance and reinvention mirror the seaside town’s own rhythms, with its tides of visitors, its lights that glitter and fade, and its stages that once seemed to promise the world.

Swift, born in London in 1949, has always been a novelist of memory and what might be thought of as the ungraspable past. He read English at Cambridge and came to prominence with Waterland in 1983, a novel that blended history and personal inheritance, later adapted into film. His Last Orders won the Booker Prize in 1996, and across a dozen novels he has returned again and again to the mysteries of time, identity and loss.

Here is Swift in The Guardian writing about his book in 2021: ‘It seems I’m attracted to the seaside. It features in several of my books. A large part of my latest novel, Here We Are, is set not just in Brighton, but in a theatre on Brighton Pier. But then we are all, surely, drawn to the seaside. It’s a deeply compelling - and paradoxical - place. We go there for enjoyment, yet at the same time it is an elemental zone where land and water meet and thus, with or without the presence of cliffs, it is implicitly precarious. Nothing could more embody this than the seaside pier – a flimsy-looking structure dedicated to fun and frivolity, deliberately constructed over the crashing waves.

Interestingly, the book’s cover - taken from a famous American natural history book, The Birds of America by John James Audubon - was given a bespoke billboard installation by the Buildhollywood agency. It features hundreds of individual feathers hand applied and said to create ‘a bold, textured display to match the dramatics of the novel’.

We gave it away to the crabs

Piers are stepping-stones
out of this world, a line of poetry
flung out to sea on a whim,
a dazzle of sea lights
glimpsed between floorboards.

This is the opening stanza to Hugo Williams’s poem i.m. The West Pier (1866-2003), first published in the London Review of Books four years ago today. It’s an affectionate portrait of the old pier but far from sentimental, capturing instead the tension between seaside gaiety and slow decay, and placing the ruined structure firmly in the realm of memory and mortality.

Williams, born in Windsor in 1942, is the son of actor Hugh Williams and model-actress Margaret Vyner. Educated at Lockers Park and then Eton, he began publishing poems while still at school and went on to build a career marked by wit, intimacy and a finely-tuned autobiographical eye. His first collection, Symptoms of Loss, appeared in 1965, and over the decades he became recognised as one of Britain’s most distinctive voices, blending humour, candour and a conversational ease with themes of family, memory, illness and love affairs. His marriage to Hermine Demoriane has provided a recurring source of inspiration, as have the lives and deaths of his siblings, and his later years brought powerful reflections on dialysis and transplant surgery.

Williams’s books include Love-Life, which won the Geoffrey Faber Memorial Prize, Billy’s Rain, which took the T. S. Eliot Prize, and Collected Poems, which secured him the Queen’s Gold Medal for Poetry. Although most of his life has been rooted in London, he has long contributed travel writing, journalism and poetry that reach into England’s coastal imagination. His work often circles themes of seaside towns, childhood holidays and the shifting moods of shorelines, placing him within a tradition of poets for whom Brighton and other resorts serve as shorthand for both freedom and transience.

Williams’s poem i.m. The West Pier (1866-2003) was first published in the London Review of Books (Vol. 43, No. 18, dated 23 September 2021), and can be freely read on the LRB website. It later appeared in book/pamphlet form in The West Pier, published by New Walk Editions in 2022.

The poem is considered an elegy to the Brighton beach ruins of the West Pier. Written in his typically spare and understated style, Williams evokes the pier as a decaying skeleton of its former grandeur, a structure whose collapse into the sea mirrors the erosion of memory and time. The poem treats the West Pier as both a civic monument and a personal touchstone, registering its slow disintegration not with nostalgia but with a wry acceptance of impermanence. In Williams’s hands, the pier becomes an image of loss that is as much about the inevitability of decline in human life as it is about the destruction of a beloved seaside structure. See also: the Sphinx Review; The London Magazine; and my own reflections on the ruins (written before I knew of Williams’s poem) - see In a silvery sea of time.

The portrait of Williams is a screenshot taken from a video of him talking to camera last year, when the T. S. Eliot Prize team invited him into a film studio to reflect on having won the T. S. Eliot Prize five years earlier.

i.m. The West Pier (1866-2003) by Hugo Williams

Piers are stepping-stones

out of this world, a line of poetry

flung out to sea on a whim,

a dazzle of sea lights

glimpsed between floorboards.

For 50p you can study eternity

through a telescope

and never have to go there,

only promenade to nowhere and back

in an atmosphere of ice cream

We used to take the speedboat ride

between the two piers,

pulling the canvas up to our chins

when the spray flew in our faces.

Now we stand and stare

at the remains of our innocence,

twisted girders piled up

in a heap of dead holidays,

while Brighton limps out to sea

on its one good leg.

*

There it is over there,

a little rusty island moored off-shore,

the empty cage of its dome

lying lower in the water

every time I come down.

Where are the luminous dolphins

on the merry-go-round?

Buffalo Bill’s Wild West?

We could have saved the old pier,

but we gave it away to the crabs

and put up a giant pogo-stick

on the seafront,

a middle finger to its memory.

Now only seagulls cry

in what’s left of the concert hall,

only storms shift the scenery.

It sinks below the horizon,

a black and tangled sunset

surrounded by bubbles.

Madame Esmeralda, gypsy fortune-teller,

presses her lips to the glass

of her waterlogged cubicle

and gurgles her apologies

for getting it all so wrong.

The starlings have gone mad

Today marks the 16th anniversary of the publication of The Death of Bunny Munro - Nick Cave’s darkly comic novel partly set in Brighton. One particular passage focuses on the burning down of the West Pier.

Cave, an Australian singer, songwriter, novelist and screenwriter, has been closely associated with Brighton since the early 2000s. Having lived for years in Hove with his wife Susie Bick and their children, Cave was often seen around the city and became a familiar if sometimes reclusive presence. 

Brighton has figured in both his music and his fiction: he wrote and recorded albums here, and its seafront and piers became woven into The Death of Bunny Munro. His time in the city was also marked by personal tragedy, most notably the death of his son Arthur in 2015, after which Cave and his family later relocated to London and Los Angeles.

The Death of Bunny Munro, published on 8 September 2009, follows the disintegrating life of a Brighton-based door-to-door cosmetics salesman. Bunny, a compulsive womaniser and alcoholic, is left to care for his young son after his wife’s suicide. As he spirals into chaos, his grotesque behaviour and addictions clash with moments of tenderness toward his child. The novel mixes bleak comedy, surreal imagery and local detail, casting Brighton in a lurid and unsettling light. Here is one extract from the book.

Bunny . . . says, ‘Libby, baby, where do we live?’

‘Brighton.’

‘And where is Brighton?’ he says, running a finger along the row of miniature bottles of liquor arranged on the bedside table and choosing a Smirnoff.

‘Down south.’

‘Which is about as far away from “up north” as you can get without falling into the bloody sea. Now, sweetie, turn off the TV, take your Tegretol, take a sleeping tablet—shit, take two sleeping tablets—and I’ll be back tomorrow. Early.’

‘The pier is burning down,’ says Libby.

‘What?’

‘The West Pier, it’s burning down. I can smell the smoke from here.’

‘The West Pier?’

Bunny empties the tiny bottle of vodka down his throat, lights another cigarette, and rises from the bed. The room heaves as Bunny is hit by the realisation that he is very drunk. With arms held out to the side and on tiptoe, Bunny moonwalks across the room to the window. He lurches, stumbles and Tarzans the faded chintz curtains until he finds his balance and steadies himself. He draws them open extravagantly and vulcanised daylight and the screaming of birds deranges the room. Bunny’s pupils contract painfully as he grimaces through the window, into the light. He sees a dark cloud of starlings, twittering madly over the flaming, smoking hulk of the West Pier that stands, helpless, in the sea across from the hotel. He wonders why he hadn’t seen this before and then wonders how long he has been in this room, then remembers his wife and hears her say, ‘Bunny, are you there?’

‘Yeah,’ says Bunny, transfixed by the sight of the burning pier and the thousand screaming birds.

‘The starlings have gone mad. It’s such a horrible thing. Their little babies burning in their nests. I can’t bear it, Bun,’ says Libby, the high violin rising.

The photograph of the West Pier above is credited to Terry Applin and can be found at The Argus.

A monstrous tuna

On this day, nearly 250 years ago, an anonymous visitor to Brighthelmstone stood on the shingle and noted in his diary a ‘monstrous fish, called a Tunie,’ hauled ashore to the profit of curious onlookers. Those pages were later mislabelled as ‘Mr Bew’s diary,’ but the writer was in fact Peregrine Phillips, a solicitor from London whose 1778-1779 journal is among the earliest substantial first-person accounts of Brighton.

3 September 1778: ‘On the beach: A monstrous fish, called a Tunie, but not much unlike a shark, lays on the shore, wearing two double rows of large masticators: it has broke the net, and, towards mending same, the fishermen collect money of the curious. But is not this impolite, especially as such exhibitions happen very frequent? for might not such a voracious monster come, or be toss’d nearer in, and fish in its turn for human white-bait? Ask a fisherman about this, who, with an arch leer, assures me they are forbid coming nearer in shore than six or seven miles, which, without doubt, I swallow implicitly, “Mark, how the toe of the peasant doth kibe the heel - (I was going to say) of the courtier.” ’ The image here was made by ChatGPT.

Phillips was an eighteenth-century London solicitor with Whig sympathies whose name now rides on one of Brighton’s earliest printed first-person accounts. Contemporary catalogues attribute to him A Sentimental Diary, kept in an Excursion to Little Hampton, near Arundel and Brighthelmstone (London, 1778), a lively narrative (affected, perhaps, by Laurence Sterne’s digressive style) that opens with the editor’s conceit of ‘found papers’ in a coffee-house and then settles into day-by-day observations of Littlehampton, Arundel, and Brighthelmstone in the season. 

Two years later the material was reissued and expanded (with an alternative spelling!), as A Diary kept in an Excursion to Littlehampton, near Arundel and Brighthelmston in 1778; and also to the latter place in 1779 (London, 1780), in two volumes ‘printed for the author,’ recording a return visit the following year. Phillips writes as a sociable observer - curious about bathing machines and beach music, keen on playbills and libraries - so his Brighton pages preserve small but telling particulars of the Steine, the North Street theatre, raffles and ‘trinket auctions’, and the tempo of a growing resort. Beyond authorship he surfaces in theatre circles through his daughter, the celebrated Drury Lane singer Anna Maria Crouch (née Phillips), which helps explain his ear for stage life and his informed remarks on the Brighton companies. Read together, the 1778 and 1779 sequences form the oldest published diary-length account of real substance devoted to Brighton.

Victorian writers muddied the waters by calling it ‘Mr Bew’s diary’. This seems to have been because the 1780 edition was sold by the London bookseller J. Bew. John Ackerson Erredge, for example, mined the original diary for his History of Brighthelmston (1862), only he identified (wrongly again) a different Mr Bew! - a dentist and occasional theatre lessee. In summary: the diarist was Phillips; Bew sold the book; the dentist came later. 

A year after witnessing the tuna, Phillips was again on Brighton Beach (for this extract I have modernised the language)..  

20 September 1779: ‘On the Sands: I have been haggling over some fish and talking to two men by the seaside, whose boat the breakers have just thrown ashore. They say they dare not sell their fish on the beach. One of the poor men is deaf; and no wonder, considering the high winds, which blow for more than half the year almost incessantly. He says his partner, who is in the boat - poor man! - is lame, a perfect cripple: that they were, God help them, beneath the notice of the press-gang. I muttered, in a low tone, my indignation against the late midnight act, which took away the fishermen’s statute-right of exemption from the impress; when the deaf man, suddenly turning round, much to my surprise, thanked me for being the poor man’s friend, and bawled to his partner, the perfect cripple, to jump out of the boat and bring the fish ashore. “The gentleman was a gentleman, and should have his choice, God bless him, of the whole parcel.” At the same instant he fixed a quid of tobacco in his mouth, winked with his right eye, and told his comrade to “jaw no more; there was no danger.” The poor fellows are obliged to use a little craft; and who can blame them?’

Deluge on Brighton

If you’ve ever stood on the promenade and watched a squall gallop in from the west, you already know Brighton can be gloriously contrary. That mix of charm and cheek is exactly what an anonymous 1840s writer - hiding behind the classical pen-name ‘Arion’ - bottled for a Victorian magazine called Blackwood’s. No one now can say who ‘Arion’ really was; the signature was a wink, the voice the point. What matters is the mood: Brighton as a place that can blow your hat off one minute and have you laughing about it the next.

Half a century later, Lewis Saul Benjamin (pen name, Lewis Melville) gathered some of Brighton’s best tales and reprinted Arion’s verses in his 1909 book Brighton - Its History, its Follies, and its Fashion, keeping their quickstep rhythm and salt-spray humour intact. Read today (the book is freely available at Internet Archive), they feel like dispatches from any wet weekend here: gaslights won’t stay lit, the Downs shove you back to town, and everyone looks a bit drowned but somehow game for it. Below is the first half of Brighton in Storm as Benjamin preserved it - proof that our weather has always had a starring role. (This - unattributed - image is dated 1835 and has been used courtesy of Royal Pavilion & Museums, Brighton & Hove.)

Brighton in Storm

So, this is your summer

To meet a new comer!

The sky’s black enough to benight one.

From Mondays to Mondays,

(Above all, on Sundays,)

It pours down its deluge on Brighton.

If I walk on the cliff,

From the sea comes a whiff,

That whirls off my hat, though a tight one;

If I stroll through the streets,

Every soul that one meets

Looks like a drown’d weasel, in Brighton.

If I stir in the day

I’m half-buried in clay,

And, ’twixt sand, salt, and chalk, I’m a white one;

If I slip out at night,

Not a glimpse of gas-light

The tempest will suffer, in Brighton.

If I ride on the Downs

A hurricane frowns—

I’m off, ’tis quite useless to fight one;

On one of those days

I fairly missed stays,

And came by the life-boat to Brighton.

For my dreams of gay gambols,

My waterside rambles,

Serenades, promenades, to delight one;

With an old telescope

In my window I mope,

From sunrise to sunset in Brighton.

Then, as for the shows,

I see none but wet clothes,

Umbrellas, and faces that fright one;

Fat squires with lean daughters,

By salt and spa waters

All come to be plump’d up in Brighton.

Goodwyn’s Rental and The Old Ship

Three hundred and sixty years ago today, a surveyor named Goodwyn compiled a rental for the town of Brighthelmstone. Known ever since as Goodwyn’s Rental, it is the earliest surviving document to give a detailed account of property ownership along the seafront. Most significantly, it records the Old Ship, a tavern that stood directly on the beach and would later become Brighton’s first great hotel. Owned then by Richard Gilham, the Ship was already well established enough to be recognised in this roll of holdings.

Goodwyn’s Rental rental, dated 30 August 1665, lists some two hundred and twenty properties, covering the length of the town from east to west, but it is those facing the sea that now seem the most evocative. The shingle was not yet hemmed in by groynes or promenades, but the Ship looked south across open water much as it does today, and its mention shows how the town’s fortunes were already tied to the beach. By setting down ownerships and tenancies, Goodwyn’s Rental provides a snapshot of Brighton before the later century’s storms and rebuilding, an early record of the way houses and taverns clustered against the cliff line.

The document is also remarkable for what it says about leisure. Among the listings is reference to a bowling green, providing rare evidence of organised recreation in seventeenth-century Brighton. This was no rustic farming village but a town where visitors and townspeople alike could spend their hours in play. The inclusion of such a facility underlines the breadth of life the surveyor was attempting to capture, not only houses and yards but amenities that gave the town its character.

Read today, Goodwyn’s Rental is more than an account of land and rent. It fixes Brighton’s early connection to its shoreline, records the first great beachfront inn, and reveals that even in 1665 entertainment was part of the town’s appeal. The Old Ship would grow in renown, the bowling green would have successors, and the beachfront would become the defining edge of the town. In its dry listings of tenants and properties, Goodwyn’s Rental holds within it the beginnings of Brighton’s story as a place shaped by the sea and enjoyed for its pleasures.

I’ve used the earliest image of The Old Ship I can find, from A Peep into the Past: Brighton in Olden Time with Glances at the Present by John George Bishop, freely available to read online at Internet Archive. And the image of Goodwyn’s Rental comes from The Keep’s Facebook page.