Writers react to the rise of the motor car

At the end of Patrick Hamilton’s novel Mr Stimpson and Mr Gorse, there is an extraordinary passage in which he depicts the rise of the motorcar as a plague of black beetles spreading out all over England. The beetles have taken over and made human beings their slaves and attendants. The novel was published in 1953 but set in 1928.

Hamilton had his own reasons for disliking cars. He had been badly injured in a hit-and-run incident in the 1930s. To ram the point home, he gave his villainous anti-hero, Gorse, an association with cars and the motor trade. There is something of this idea that cars may not altogether be a good thing in Nicholas Blake’s 1938 novel The Beast Must Die. The hit-and-run driver who kills a young boy and tries to cover it up is a garage owner. This novel was inspired by a “near miss” incident involving the author’s own young son.

In 1927, H V Morton had published an account of his travels round the country, In Search of England. In his foreword, he was much more enthusiastic about the rise of the petrol engine than Hamilton or Blake. He sees the provision of coach services and “the popularity of the cheap motor car” as reviving road travel and making remote areas of the countryside more accessible than they were in the railway age. He laments the “vulgar” behaviour of some visitors, but thinks that in general, the age of the car will lead to a greater understanding and love of the countryside, which will therefore help preserve it. The seaside holiday will go out of fashion, he suggests, to be replaced by the country holiday.

Compare this to a report in the “I” newspaper of 16 November 2019. It is headed “Pay As You Go”, and continues “As UK resorts clog up with traffic, Dean Kirby reports on a plan to charge tourists a congestion fee in the Lake District.” There is now a conflict in many areas between tourist traffic and local road use.

Things have been heading this way for a long time. Some years ago, I went to Lyme Regis in Dorset. From the top of a double-decker bus, I could see the “park and ride” car park, necessary to prevent the town’s high street seizing up completely in the summer. A little further off, was the disused viaduct of the now closed railway line to the town.

We tend to think now of the inter-war years as a “golden age of motoring”, bringing to mind the image of a uniformed AA patrolman saluting a passing sportscar, the only vehicle on an otherwise empty road. We can’t really blame H V Morton for not having a crystal ball, but it’s interesting that he did not seem to have thought out the implications of increased car use.

We see the 1930s as the Shell Guide era of motoring. Paul Nash took the photographs for the Dorset volume. But these detailed descriptions of rural England were sponsored by a petrol company. The original editions were spiral bound so they could be opened flat on a car seat. Admittedly Hamilton was writing with the benefit of hindsight, but he seems to be one of the only writers who saw that Britain would have to change to accommodate the motor revolution.

Of course, it was a fictional character who appeared as early as 1908, who caught the deep appeal of this new form of personal transport. I am thinking of Mr Toad, staring after the speeding car with a gleam in his eye. Despite his string of accidents and fines, Toad could not resist getting into a car again. “Toot Toot!”

H V Morton: poetic snapshots of a lost London

The short pieces that make up H V Morton’s The Nights of London were originally published as newspaper columns in the 1920s, but had a long afterlife in book form. My small blue hardback is dated 1948 and it had been reprinted fourteen times by then.

Morton was a star journalist, making his name by being present at the opening of the tomb of Tutankhamun. He went on to become a successful travel writer, the Paul Theroux of the inter-war years.

Here, Morton is our guide on a series of lone, nocturnal tours of London. He was aware that the idea of London by night had already become something of a cliché and he strove to avoid that.

He starts out at two in the morning in front of the Bank, cold, dead and deserted. It’s immediately clear that we are in the company of a sort of poet of London, as he walks on to London Bridge: “No sound, but that of a stray, petulant siren downstream. . . the rush of lit water and a sudden puff of steam from the Cannon Street railway bridge.”

Part of the fascination of this book is reflecting on what has changed and what has not. Morton’s attitude to the Chinese in Limehouse is not that of today; on the other hand he is broadly sympathetic to those struggling to make ends meet.

He visits the Suicide Station under Waterloo Bridge, where the police wait with a small dinghy to fish would-be suicides out of the dark water.

He accompanies the maintenance men on the tube and hopes that the current in the live rail really has been turned off, as they so confidently assure him.

He passes the time in a warm and cosy cabman’s shelter.

When he visits Fleet Street, we feel the journalist’s love for “the astonishing thunder of the press”. There is something of Rudyard Kipling here, as he describes the huge printing machines, “ready to tell today about yesterday”. There is also a reminder in his language that this is London just after the first world war: “In Fleet Street it is zero hour. The first edition is just going over the top into a new day.”

Similarly, the firemen in the station he visits remember dealing with the recent Zeppelin raids.

The pieces on evening classes and hospitals, remind us that we are in a harder world than today, before the expansion of public education and public access to health care.

He spends an evening in the East End, watching boxing bouts in a smoky hall.

The steam engine Sir Percivale pulls the night Continental boat train into Victoria Station, bringing the romance of the Mediterranean into London along with his train of Pullman cars. A touch of Kipling again, as Morton imagines the engines talking to each other in the engine shed.

He reflects on the sad atmosphere in an afterhours club, where people dance on into the small hours, people “who dare not be alone with themselves”.

A long bus ride north takes him to the very edge of London, where a development of new houses is reaching out into the countryside. His young companion proudly shows him the unfinished house, waiting for him and his young bride. On the other hand, a Bloomsbury boarding house straight out of E F Benson or Patrick Hamiliton is inhabited by retired Indian army colonels and shabby-genteel widows.

On a trip down the river on a police launch, time slips away in the dark and Morton sees London looking much as it always has done. This is an experience certainly not available to us today. What would Morton make of the view now?

The penultimate piece is slightly longer and was not previously published. Morton goes to stay in a candle-lit room at The George in Southwark, the coaching inn even then regarded as a miraculous survival from Victorian London. Even more miraculous is that it is still there today, now looked after by the National Trust.

His nocturnal wanderings end with a beautiful evocation of early morning over London: “The feeling of other worldliness has vanished with the dawn light”.

“London in the dawn is a clean, unwritten page”, Morton tells us. What will the new day bring for the millions of Londoners?