Abstract
The cliff-quarries at Winspit can be reached by following a track that leads down to the coast from the village of Worth Matravers. Here the quarrying of Purbeck-Portland “freestone” that began in 1719 and finally came to an end in 1953 has left a broad platform that drops precipitously into the sea and several galleries leading back into the cliffs,1 a spectacular amphitheatre that garnered mild notoriety as the setting for illegal raves in the late 2000s. The raves were soon curtailed by the police, and the quarries later became the setting, in 2010, for a site-specific performance of music and projected puppetry as part of the Inside Out Dorset festival. This trajectory, from unofficial hedonists’ playground to a carefully managed backdrop for international artistic spectacle, might seem typical of the way many post-industrial spaces have been repurposed, but the appropriation of this kind of quarry landscape has form. In the 1960s and 1970s, a number of directors used both the Portland quarries and Purbeck sea cliff-quarries as filming locations,2 employing them as picturesque backgrounds to scenes of separation from the rest of the world, sealed microcosms for the enactment of fantasies of holiness, horror and magic.
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Notes
Ilay Cooper, Purbeck Revealed, 2nd edn (Bath: James Pembroke, 2005), p.47.
Derek Jarman, Dancing Ledge, ed. by Shaun Allen (London: Quartet Books, 1991), p.111.
Derek Jarman, Kicking the Pricks (London: Vintage, 1996), p.138.
See Paul Hyland, Purbeck: The Ingrained Isle, 2nd edn (Stanbridge: The Dovecote Press, 1989), pp.52–59.
Neil Pearson, Obelisk: A History of Jack Kahane and the Obelisk Press (Liverpool: Liverpool University Press, 2007), p.4.
The Old Basing address is first used by Benfield in a letter to F.H. Kendon dated 25 January 1940. Cambridge University Archives, Archives of Cambridge University Press (hereafter CUP Archives), Pr. A. B.411, Sheet 11i. A Falmouth address appears in the correspondence in October 1938 (Pr. A. B.411, Sheet 1); South Hampstead is given as his location in December of that year (Pr. A. B.411, Sheet 3), whilst the time in Essex is referred to in Eric Benfield, Southern English (London: Eyre and Spottiswoode, 1942), p.163.
Rodney Legg, Literary Dorset (Wincanton: Dorset Publishing Company, 1990), p.191.
E. Estyn Evans, Geographical Review, 39 (1949), 690–693 (p.691).
Eric Benfield, Dorset (London: Robert Hale, 1950), pp.16–17.
Eric Benfield, Purbeck Shop: A Stoneworker’s Story of Stone, 2nd edn (Cambridge: Cambridge University Press, 1948), p.xi.
Eric Benfield, Saul’s Sons (London: Chatto & Windus, 1938), pp.145–146.
Eric Benfield, Bachelor’s Knap (London: Peter Davies, 1935), pp.10–11.
Mary Butts, The Taverner Novels: Armed With Madness and Death of Felicity Taverner (New York: MacPherson, 1992), p.201 (first pub. as Death of Felicity Taverner (London: Wishart, 1932).
Thomas Hardy, The Return of the Native, ed. by Phillip Mallett (New York: Norton, 2006), p.12.
For a fuller exploration of the implications of Hardy’s archaeological and antiquarian interests, see Andrew Radford, Mapping the Wessex Novel: Landscape, History and the Parochial in British Literature, 1870–1940 (London: Continuum, 2010), pp.18–51.
Thomas Hardy, The Well-Beloved, ed. by Tom Hetherington (Oxford: Oxford University Press, 1986), p.36.
Llewellyn Powys, ‘St. Aldhelm’s Head’, in Dorset Essays (Bristol: Redcliffe Press, 1983), pp.66–70 (p.68).
Walter Rose, The Village Carpenter (Cambridge: Cambridge University Press, 1937), p.xvii.
Thomas Hennell, Change in the Farm (Cambridge: Cambridge University Press, 1934), p.ix.
These paintings are in the collections of the Dorset Natural History and Archaeological Society and Swanage Museum and Heritage Centre respectively. The kind of cliff-quarrying depicted in Palmer’s paintings was ongoing at West Winspit Quarry throughout the Second World War, producing ‘roadstone and aggregates for building roads and airfields’, according to Peter Stanier. The quarry shrank in scale after the war and closed around 1953. See Peter Stanier, ‘The Quarried Face: Evidence from Dorset’s Cliffstone Quarries’, Mining History: The Bulletin of the Peak District Mines Historical Society, 13/2 (1996), 1–9 (p.3).
D.H. Lawrence, ‘Nottingham and the Mining Countryside’, in Phoenix: The Posthumous Papers of D.H. Lawrence, ed. by Edward D. McDonald (London: Heinemann, 1961), pp.133–140 (pp.135–136).
D.H. Lawrence, ‘The Blind Man’, in The Tales of D.H. Lawrence (London: Heinemann, 1948), pp.243–259 (p.243).
Lewis Mumford, Technics and Civilization (New York: Harcourt, Brace, 1934).
Rosalind Williams, Notes on the Underground: An Essay on Technology, Society, and the Imagination, 2nd edn (Cambridge, MA: MIT Press, 2008), pp.190–191.
Raymond Williams, Marxism and Literature (Oxford: Oxford University Press, 1977), p.122.
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© 2014 James Wilkes
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Wilkes, J. (2014). Purbeck Underground. In: A Fractured Landscape of Modernity. Language, Discourse, Society. Palgrave Macmillan, London. https://doi.org/10.1057/9781137287083_5
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DOI: https://doi.org/10.1057/9781137287083_5
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