Thursday, March 27, 2025

Crow’s toes gripped the wet pebbles

Crow on the Beach


Hearing shingle explode, seeing it skip,

Crow sucked his tongue.

Seeing sea-grey mash a mountain of itself

Crow tightened his goose-pimples.

Feeling spray from the sea’s root nothinged on his crest

Crow’s toes gripped the wet pebbles.

When the smell of the whale’s den, the gulfing of the crab’s last prayer,

Gimletted in his nostril

He grasped he was on earth.

He knew he grasped

Something fleeting

Of the sea’s ogreish outcry and convulsion.

He knew he was the wrong listener unwanted

To understand or help -


His utmost gaping of his brain in his tiny skull

Was just enough to wonder, about the sea,


What could be hurting so much?



This is Ted Hughes, one of the most influential British poets of the 20th century, known for his stark, elemental imagery and exploration of nature, violence, and myth. Born in Yorkshire, England, he became Poet Laureate in 1984 and was widely recognized for collections like The Hawk in the Rain and Birthday Letters. His work often delved into the primal forces of life, influenced by folklore, shamanism, and a deep reverence for the natural world.


Although there is no specific connection between Hughes and Brighton, this photograph of a crow on the Brighton pebbles seemed to lead me directly to Hughes’s poems. Crow on the Beach, as above, comes from Crow: From the Life and Songs of the Crow, published by Faber & Faber in 1970 (which can be freely borrowed online at Internet Archive). 


The collection is considered a pivotal work in Hughes’s career, marking a shift towards a darker, more fragmented style. It was originally conceived as part of a collaboration with the American artist Leonard Baskin and reflects Hughes’s personal grief following the death of his wife, Sylvia Plath. Crow is said to present a chaotic, amoral trickster figure that challenges religious and existential narratives, embodying survival, destruction, and rebirth. See the Oxford Dictionary of National Biography for a more detailed analysis of the work. Meanwhile, here is another poem from the collection.


Crow and the Sea


He tried ignoring the sea

But it was bigger than death, just as it was bigger than life.


He tried talking to the sea

But his brain shuttered and his eyes winced from it as from open flame.


He tried sympathy for the sea

But it shouldered him off - as a dead thing shoulders you off.


He tried hating the sea

But instantly felt like a scrutty dry rabbit-dropping on the windy cliff.


He tried just being in the same world as the sea

But his lungs were not deep enough


And his cheery blood banged off it

Like a water-drop off a hot stove.


Finally


He turned his back and he marched away from the sea


As a crucified man cannot move.


Wednesday, March 26, 2025

Return of the Laundry Arch

In the first phase of renovation work on Madeira Terrace (see Madeira Terrace restoration - hurrah!), several arches have now been entirely dismantled, leaving the huge sea wall bare and revealing a building within, a building that, frankly, looks like it’s had some history! A photograph by Allan King on the Brighton Past Facebook group has prompted members to offer snippets of local history and some memories of the place. 

Derek John Wright, for example, says ‘It’s the Laundry Arch. Used by a hotel, located at the end of the tunnel, to dry laundry.’ Neil Pike mentions the Bristol Pub hotel, and Julian Widest suggests it was Chaplin’s hotel. Ovular Sphere has more direct knowledge of the property, ‘Was the studio where my bands The Flesh Happening and Pink Narcissus used to rehearse and record. I also recorded some vocals for my album Fag Machine here. I believe it used to be a toilet.’ Richard Talbot says: ‘That’s Studio 284. The heart of Brighton punk. Occasional venue and rehearsal and recording space. Lovely people ran that.’ Paul Daltrey says, ‘Also used as a gun range at one point.’

Studio 284, in fact, was originally established in 1997 as a recording and rehearsal studio. It occupied a former public toilet block under the terraces (see Brighton and Hove News) and was run by Austen Grayton. A popular venue, it specialised in punk and metal music. In August 2015, however, it was forced to close due to the major structural concerns with the Madeira Terraces. Following the closure, the outfit relocated to Kemp Town and rebranded as BlackRock Subway Studio. It has continued to maintain a focus on providing services for various music genres, including punk, metal, acoustic, reggae, ska, folk, and hip hop.

Meanwhile, the planning application for the renovation work specifically mentions ‘Alterations and repairs to Laundry Arch to enable future operational use with replacement windows and door and a new balustrade.’






Tuesday, March 25, 2025

I have bathed so often

One of Brighton’s earliest literary visitors was Frances ‘Fanny’ Burney, later known as Madame d’Arblay. She first arrived in the early 1780s, at a time when sea bathing was becoming a popular remedy for health ailments. She became a famous novelist, but was also an inveterate letter writer and diary keeper. Indeed, today she is best remembered for her diaries which were first published in seven volumes. Curiously, although she tells her diary in 1982, ‘I have bathed so often as to lose my dread of the operation’, in all those volumes I can only find one significant reference to Brighton beach and seaside.

Burney was born in 1752 at King’s Lynn, Norfolk, the daughter of Charles Burney, a musician and man of letters. The family moved to London in 1760, where Charles was part of a busy literary circle. Fanny was a precocious child (although her mother died when she was just 10). She was educated at home with the help of her father’s extensive library and of his friends, in particular Samuel Crisp who encouraged her to write journal-letters, in which she carefully reported on the social world around her family. And, it was writing of this ilk that led to her first novel, Evelina, published anonymously when she was only 26.

Evelina was an instant success and led London society to speculate on the identity of the writer - widely assumed to be a man. The Burney Centre biography says Fanny ‘became the first woman to make writing novels respectable’. With Evelina, it adds, she created a new school of fiction in English - a ‘comedy of manners’ - one in which women in society were portrayed in realistic, contemporary circumstances. This new genre would later pave the way for Jane Austen and other 19th century writers. Meanwhile, once discovered as the author of Evelina, Burney was taken up by literary and high society, in particular she became very friendly with the Thrales and Dr Johnson, and would often stay at the Brighton house of the Thrales in West Street.


In 1786, Burney was appointed Second Keeper of the Robes to Queen Charlotte, wife of George III. This position took her to Brighton where the King decamped for health reasons. But she was not happy in court, and was allowed to resign in 1791. Not long after, she married the French emigré Alexandre d’Arblay, and they had one son. She died in 1840. More information is available at Brighton Museums and The Burney Centre.

Burney left behind a rich literary estate of diaries and letters. Heavily edited versions of these were published in the late 19th and early 20th centuries, but it wasn’t until Joyce Hemlow published her landmark biography, The History of Fanny Burney, in 1958 that the full impact of Burney’s contribution to literature and letters began to be better appreciated. All seven volumes of the original Diary and Letters of Madame d’Arblay, edited by her niece and published by Henry Colburn in 1842, are available online at Internet Archive. For information on the more recent Complete Scholarly Edition by Hemlow see Oxford University Press.

Burney first visited Brighton in 1779. Here is a brief diary extract written during that visit.

26 May 1779

‘The road from Streatham hither is beautiful: Mr., Mrs., Miss Thrale, and Miss Susan Thrale, and I, travelled in a coach, with four horses, and two of the servants in a chaise, besides two men on horseback; so we were obliged to stop for some time at three places on the road.

We got home by about nine o’clock. Mr. Thrale's house is in West Street, which is the court end of the town here, as well as in London. ’Tis a neat, small house, and I have a snug comfortable room to myself. The sea is not many yards from our windows. Our journey was delightfully pleasant, the day being heavenly, the roads in fine order, the prospects charming, and everybody good-humoured and cheerful.’

And here is a diary entry from three years later - Burney’s only significant mention of the beach and swimming (at least that I can find).

20 November 1782

‘Mrs and the three Miss Thrales and myself all arose at six o’clock in the morning, and ‘by the pale blink of the moon’ we went to the sea-side, where we had bespoke the bathing-women to be ready for us, and into the ocean we plunged. It was cold, but pleasant. I have bathed so often as to lose my dread of the operation, which now gives me nothing but animation and vigour.’

In view of this latter comment by Burney, it is somewhat curious that she doesn’t mention Brighton’s beach or bathing elsewhere. When I asked ChatGPT why this might be, it proposed the following reasons.

1) Burney, like many women of her era, maintained a degree of propriety in her writings. Sea-bathing, particularly for women, involved being physically handled by ‘dippers’ and experiencing an undignified immersion in the sea. She may have found the experience too embarrassing or indelicate to describe in detail. 2) While Brighton was famous for its sea-bathing, Burney’s letters suggest she was more interested in its social scene - the promenades, assemblies, and court gatherings. 3) Once she became accustomed to bathing, she may not have considered it remarkable enough to record further. 4) References to bathing were removed by editors if they were deemed too trivial or personal.

(The photograph of bathing machines above is a detail from a larger image found in Victorian and Edwardian Brighton from old photographs by John Betjeman and J. S. Gray published by Batsford 1972.)

Monday, March 24, 2025

Löyly, Leil and Saunacraft

Löyly, Leil and Saunacraft are good for another five years! Earlier this month, Brighton & Hove City Council approved an application by Beach Box Spa Ltd for ‘a temporary change of use of beach for use as a spa/sauna for period of five years’. The company - set up by Liz Watson and Katie Bracher - first offered a single sauna back in 2018, but since then has expanded to three saunas. In support of the planning approval, the council received hundreds of positive comments. 


Beach Box first operated nearby the early Sea Lanes site; but, it was obliged to close down as the Sea Lanes complex developed. In early 2022, it repositioned its saunas a little further east, at the Banjo Groyne (by this time Liz Watson was the sole owner). A temporary planning permit was granted, to March 2023, and then another to March 2025. However, the most recent planning permission will last till 2030, ‘to allow time for a new, permanent location to be found’. Three conditions are attached to the permit: the land to be restored to its natural condition on or before 30 April 2030; operations limited to the hours of 7am to 10pm; and, a prohibition on any use of external loudspeakers (unless otherwise separately agreed).

Leil, the original sauna, was created from a converted horse box. Aspen-lined it has benches on one level and it boasts a snug, grey, felt ceiling. Löyly was built by the Bristol company Saunacraft, and is the hottest of the three, also aspen-lined. It is said to have a woodland cabin feel, and a maple syrup aroma. Lotta was crafted by local sauna builders, Wildhut, and is cedar clad - cedar having aromatic and antibacterial properties. It offers panoramic ocean views and a capacity of 9/12.

According to the council, some 229 letters in support were received in support of planning permission. The contents are summarised as follows:
‘- Provides health and wellbeing benefits
- Economic boost to local area from employment and tourism
- Positive feature on the seafront with benefit to local community
- Fits with other venues in the area
- Facility is well run and accessible
- No harm to neighbouring amenity
- Generates positive publicity
- Location on the beach benefits the sauna experience’

As well as a range of spa treatments and a forest sauna near Battle, Beach Box also offers a busy schedule of sauna events. This one, on 31 March, looks particularly interesting: New Moon Party. ‘A New Moon offers us an opportunity to set intentions and goals, letting go of limiting beliefs that might hold us back and planting seeds for the future. It feels like a breathe of fresh air for the mind! Our trained Sauna Masters will guide you through a journey for the senses, with sauna rituals, leaves and aromatherapy scents. Enjoy cold plunges between rounds to reset and invigorate. A cosy moment around the firepit, to finish, with post-sauna nibbles under the moonlit sky. Let the warmth of the sauna soothe your body, the coolness of the water awaken your senses, and the magic of the New Moon inspire your soul.’

Sunday, March 23, 2025

Ye olde Victorian lampposts

Brighton & Hove Council has recently launched its project to restore five Grade II listed lampposts of different styles and condition. Although the initial pilot project is small, just five columns, the £4m scheme should see 80 restored in time - returning ‘our seafront lighting to its former glory’. The most prominent examples are the 66 identical lampposts installed along the seafront in 1893, stretching both east and west from the Palace Pier. These cast iron structures feature elaborate decorations, including foliage, acanthus, and ribbed mouldings. The wide, basket-shaped capitals support twin lamps suspended from ornate brackets. While originally gas-powered, they were later converted to electricity. 


The new project  - with the participation of Historic England - focuses on careful refurbishment and, where necessary, replication of damaged or missing parts, ensuring the 80 lampposts maintain their historical accuracy. The meticulous process, the Council says, involves expert metalwork and craftsmanship to preserve the original character of the iconic structures. The restoration aims to enhance the aesthetic appeal of the seafront and historic areas while ensuring the lampposts continue to provide effective and energy-efficient lighting.

The project is expected to take several years to complete and will cost in the region of £4m. Some of the funds are being covered by the council’s Carbon Neutral Fund, but the council is also taking advantage of capital funding and money remaining from a project to install LED lights in the city’s street lighting.

The council has provided more detail on the work. Each column, it says, has been individually logged so that, once restoration is complete, they’ll be placed back in their original location. A company called Cast Iron Welding Services will transport the columns to its foundry restoration facility, There, it will remove many layers of lead-based paint, disassemble/inspect the columns, repair any fractures and apply a new exterior coating/paint to protect the columns. New energy efficient LED lamps will be made for each column by CU Phosco.

Tom Foxall, Regional Director at Historic England, said: ‘The historic lampposts along the seafront, with their decorative twin pendant lantern lights, are an iconic feature of the promenade and a reminder of Brighton & Hove’s heyday as a Victorian seaside resort. However, many are in poor condition due to corrosion from the sea air. We have worked in partnership with a specialist metal conservator and Brighton & Hove City Council to identify the best way to restore the lamps, preserving as much of the original materials as possible. I’m delighted that the pilot project to restore five columns of different styles and condition is now underway, which will inform how the rest of the columns will be restored. It’s vital that we protect and appreciate our seaside heritage.’

Meanwhile, a description and list of the city’s old lampposts can be found on its Heritage Assets web pages. There are, apparently, over 5,000 cast iron street lights in the city, with most of them (not the elaborate seafront columns) falling into one of nine types - as in the council’s photo montage below.



Saturday, March 22, 2025

A dash of Venetian elegance

Cecconi’s, known for its refined Northern Italian cuisine and style-conscious decor, has just opened its new Brighton Beach venue to the general public, bringing what, some might say, is a dash of Venetian elegance to the Sussex coast. Situated on the first floor of the Soho House buildings within the Grade II-listed terrace on Madeira Drive, the restaurant has views across the beach and towards the Palace Pier. 


However, a word of warning to the general public: Cecconi’s remains a rather exclusive venue. Having walked all the way round the Soho House premises on Madeira Drive, I’ve no doubt the restaurant is inside somewhere but I could find no trace of Cecconi’s from the outside, no name, no sign, no menu.

Cecconi’s was founded in 1978 by Enzo Cecconi, the youngest-ever general manager of Venice’s famed Hotel Cipriani (which nowadays offers rooms starting at $1,400 per night!). The first restaurant opened in London’s Mayfair, quickly becoming a hotspot for those seeking a theatrical dining experience and authentic Venetian cuisine. In 2005, the restaurant was acquired by Soho House (‘a club for creatives’), a move which led to a rapid expansion of the Cecconi’s brand, with a first UK location outside London at Bicester Village, and thereafter some 15 or more venues, from Miami to Mumbai, and Istanbul to LA. 


Among the cicchetti on offer in the Brighton Cecconi’s is ‘whipped ricotta, chilli honey, oregano’, a snip at £10, while ‘spaghetti, native lobster, tomato, chilli’ will set you back £40. Open Table has mostly positive reviews, such as ‘a lovely spot for lunch, the staff were really warm and friendly. It’s very easy to enjoy the wine and the views!’ Another diner, though, noted: ‘Beautiful location. Food is ok. Restaurant staff were wonderful but bar staff very moody and abrupt.’ Happy dining, if you can find the entrance!

PS: If you’re over 27, local membership of Soho House will cost you £125 a month, or £2,000 for global membership (both require a hefty £550 joining fee).






Friday, March 21, 2025

Freedom or Kiteboarding on Brighton Beach

As free as the sky

As free as the sea

As free as she wants to be


As free as the wind

As free as the breeze

As free as she hopes for ease


As free as flight

As free as the air

As free as she wishes to dare


Zink Zonk Zunk


This is space/time warping 30 degrees

The air rotating to an acute angle

The sea flowing down and to the west

The breeze churning into a mighty easterly

And she who was as free as . . .

And she who was free . . .

And she who was . . .

And she who . . .

And she . . .


Is taking a last glorious, epic leap - up, up and beyond

Never to be seen again