Plume. Will Wiles
part of London – was poisoned. There are winter days when snow-filled clouds trap the land in unshifting twilight and the location of the sun is a mystery. But this occultation was deeper and darker than that, and lower and more sinister. Not storm-grey but the grey of truck tyres and industrial soot, intensifying to near-black at its thickest point. The plume. It had scented the air with a petrochemical tang that brought a solvent sting to the sinuses. I suppose I should be grateful to my neighbours for coating my sensory organs with a fine layer of pulverised brick and plaster, protecting me from the great fire’s morning bouquet.
I picked up a Metro from an untidy heap by the top of the Tube stairs. ‘Two Hurt in Inferno’ said the front page headline; a subheading added ‘Fuel Plant Blaze Rages Through Night’. On a normal morning I wouldn’t read Metro but I wanted to see more pictures of the fire, in particular more pictures from above. I can’t say what prompted this desire, but it was ardent and sudden.
‘I don’t like it,’ a young woman standing nearby said to her colleague. ‘I don’t like it. I just don’t like it.’ They were looking at the plume, but I didn’t know if they were talking about it.
A short hop on the Victoria Line, a transfer through the labyrinth of Oxford Circus, then a longer stretch on the Central Line. Rush hour had eased enough for me to get a seat and examine the paper.
As well as the cover, the fire had been given two inside spreads. The editors had clearly intuited that it would be a major topic of conversation on the morning commute and in the city’s workplaces, and had done their best to cater for that curiosity. Pages four and five were straight reporting: pictures of the fire crews, details of the evacuation, hasty facts about the toxicity of the smoke, and – best of all – a top-down Google Earth view of the fuel facility with numbered spots: ‘Minute by Minute: How Blaze Spread Beyond Control’.
Better yet were pages six and seven: ‘Your Pictures of Barking Inferno’. What an age this was for the gawper and the rubbernecker – at last, satiety. Sam from Leyton had captured an apocalyptic black pillar dwarfing a twilit terrace of houses. Ann from Maida Vale contributed a picture from Hampstead Heath, probably taken around lunchtime: London as Mordor, an inverted black pyramid spewing darkness at its eastern edge. In the foreground of this image, other people could be seen on the Heath, also taking photos with their phones. Lee from Southend had another angle, the smoke cloud from the east, the western horizon kohled, sunset cancelled. My favourite image was by James from Crystal Palace: the view from a passenger seat of a plane approaching City Airport. The horrifying size of the plume was made clear: the leg of an elephant with a foot of fire stamping down on the estuary; London a grimy circuit board experiencing a fatal short. It’s not a long journey from Oxford Circus to Liverpool Street and I made it no further into the newspaper.
At Liverpool Street I had arranged to meet the photographer, Alan, who was coming in by train from Essex. But when I got to the Kindertransport memorial by the tube entrance, Alan wasn’t there. Last time we met – the Quin interview – I had had a heavy morning and had kept him waiting for half an hour. He had not been pleased. Was he taking revenge? But, no – or at least, not yet. To my surprise, I was three minutes early.
The memorial was a handy place to meet, but an uncomfortable object to spend too much time around. It’s very small, almost too small, as if it is somehow embarrassed, which is a bad vibe for a memorial. Its size also makes it look a little kitsch, and I can never see the two bronze children without thinking of the charity collection boxes for the blind that used to be found in every pub. And then, having been struck by those thoughts – every time – I am embarrassed to have felt that way about a reminder of the Holocaust, and the little bronze children are full of reproach.
The equilibrium I had briefly experienced on the train was gone, and I began to choke up again. My options were limited. The pubs were just now opening, and in any case there was no time. On the station concourse there was a little food and wine shop, but where could I discreetly drink a can?
‘Jack.’
I had drifted away from the memorial, into the middle of the concourse; Alan had come up behind me, packhorse-heavy with bags, tripods, reflectors and other equipment.
‘Alan. Hi.’
‘You look a bit lost, mate,’ Alan said, full of cheer and heartiness. He was a short, muscly man somehow well-served by his receding hairline, which gave him an aura of toughness and experience. He combined this with a plain-speaking, no-airs, working-man demeanour – all ‘mate’ and ‘pal’ – that I suspected was a carefully cultivated pretence. Nevertheless, it was enough to set me – provincial bourgeois – ill-at-ease, eager to demonstrate my own (entirely affected) rough-diamond nonchalance. I had the same ridiculous problem with plumbers.
‘Yeah, no worries,’ I said, regretting every word as I spoke it. Was I supposed to be Australian? ‘I was just thinking about getting a coffee.’
‘Now you’re talking,’ Alan said. He checked his watch with a flourish. Chunky metal strap, hanging loose. ‘Yeah, plenty time, plenty time.’
We crossed to a little coffee booth, Alan’s many bags clanking against my nerves. I ordered two black coffees. Coffee might help, for a time.
‘Jack, mate, this Q&A guy …’
This took me a moment to parse. ‘You mean F.A.Q.?’
‘Yeah.’
I didn’t like this direction. Alan had had real trouble getting Quin’s portrait. He had wanted to shoot the designer in the Tamesis nerve centre, where a giant screen streamed live data from the app. But Quin had refused, and was steadfast in his refusal, fretting about client confidentiality and industrial espionage. The alternative offered was his characterless office, which Alan hated. Eventually, using the combination of charm and un-embarrassable persistence that is a standard part of the photographer’s kit, Alan got Quin up on the roof of Bunk’s Shoreditch building. The London skyline made a good backdrop for the creator of Tamesis. But the very next day I got an agitated phone call from Quin – the first of many – insisting on picture approval. Compounding all this was the rush caused by our – by my – lateness. I would prefer never to hear the name Quin again, but it continued to dog me.
‘Can you nudge your people?’ Alan said. ‘I haven’t been paid.’
‘Shit. Alan, I’m sorry, I’ll give them hell.’
‘I knew I could count on you,’ Alan said.
The coffee was too hot to hold for long and I had to continually switch it between hands as the pain became unbearable. Alan did not appear to be affected. He even sipped his.
‘Do you want a hand with those bags?’ I asked.
‘Nah,’ Alan said, redistributing the load around his body with a practised sequence of heaves and shrugs. ‘Used to it. Like to keep everything with me.’
‘Very sensible.’
‘You drinking that? We’ve got to get a shift on.’
‘Uh, I’ll take it on the train,’ I said, changing hands.
The eastbound Central Line platform was quiet, but I would have been happiest turning right and walking along it to find its quietest part. Alan had different ideas and turned left, where there was only a short stretch before the platform ended. Again, he said this was habit – it was where the rear of the train would be, and there would be more room, in theory, for his bags. I doubted his reasoning. I doubted his Tube sense. And we were left standing in an awkward corner between two staff-only doors, right by the tunnel mouth. One of those doors was a concertina-like affair, which I found gravely unnerving. Warning signs. Cabinets closed with inspection tape, like a crime scene. My discomfort was ticking upwards at regular, frequent intervals. The coffee could only be tolerated for ten seconds or so in one hand before it had to be passed to the other, and was still too hot to be sipped. I tried, once, and scalded the roof of my mouth and the middle knuckles of the fingers of my right hand. While the pain of that had subsided, stickiness had spread between all my fingers, across my palm, and