Deadad 
Iain Sinclair on Andrew Kötting
From the balcony, seven floors above the coast road, I watch the pepper-grey beach disdain its nuisance presences: night-fishermen, scavengers sweeping the shingle with metal detectors for small change lost in the spasms of last night’s courtship rituals. Dog valets. Tai chi soloists. Convivial drinking schools, cans raised to the world, enjoying the last cocktail party in England before being tidied away into that sinister under-promenade with its extruded viewing chapels (tidemarks of bright blue tin). In season – early June to mid-October – regulars perform stately laps across the bay, not far out, drifting with the tide. Frequently coupled for moral support, for the affirmation that the experience is survivable, they wallow and tussle, necks stiff, heads high above the tannin scum: leathery seaweed, wads of yellow paper. They tiptoe out, speeded-up Benny Hill, over sharp stones, to neat piles of folded clothes. The watched, towelled down and returned to their balconies, rusting rails and anti-gull devices, become the watchers. A slow-motion cinema of such tender boredom that they will never move again.
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Iain Sinclair’s anthology London: City of Disappearances appeared last year. Hackney: That Rose-Red Empire, a documentary fiction, will come out in 2009.
Other articles by this contributor:
Museums of Melancholy · Silence on the Euston Road
Hopi Mean Time · Jim Sallis
The Olympics Scam · The Razing of East London
In Hackney · Steve Dilworth
All change. This train is cancelled · Iain Sinclair tries to get to the Dome
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