By Sebastian Groes (auth.)
London has turn into the point of interest of a ferocious resourceful power because the upward thrust of Thatcher. The Making of London analyses the physique of labor through writers who've dedicated their writing to the numerous lives of a urban present process advanced ameliorations, tracing an enormous shift within the illustration of the capital city.
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Additional resources for The Making of London: London in Contemporary Literature
Moorcock subtly embeds an even more sinister layer into the image by pointing out the Nordic mythology which was at the heart of Hitler’s conception of fascism, with its belief in Aryan superiority and its drive for ethnic purity. Fleet Street is ‘rimed’, that is, not only covered in a frost that turns London temporarily into a Scandinavian city, but it is also ‘rhymed’, as city a site of textual and ideological contestation.
We find this alternative cosmopolitan model of Goethe in Al’s friend and rival, Goetzle, a Jewish refugee who fled Nazi Germany and established the publishing house Handyside Press, who has gone on to achieve a stellar political career by inventing a new party for post-imperial Britain – he ‘might become Prime Minister’ (L 54), anticipating Ian McEwan’s Charles Darke in The Child in Time (1987). Al nicknames him ‘Guzzle’ for his gluttony – he ‘is Johnsonian in his girth and by extension in his speech’ (L 50).
They are the true Londoners, denizens of the cosmopolis. My hometown was danced away around a VJ bonfire while yesterday’s snows turned to slush and piddled off down the drain […] For it’s gone. As I lie here with the house like an archaeological site staged above me I know my dad, sharp as he was, would barely recognise this grave new world. Does it matter that we make dreams that only half come true, that are sea-changed in the dreaming and making, so looking back we hardly recognize the country we plotted, and would hate to arrive there, since we’re no longer the same people who set out and our dreamland changes as we walk?