The saloon bar of the Wheatsheaf was not large but cheerful, warm in winter and always brightly lit, good blackout boards fitting tightly over the windows of armorial glass and the floor spread with scarlet linoleum. It had mock-Tudor panelling and inset round the walls, squares of tartan belonging to various tartan clans. (‘Memoirs of the Forties’, Julian Maclaren-Ross).
London never did café culture, that was Paris’s forte; but what we used to have was the writers’ pub. During the 1930s and 40s London’s own left bank was Fitzrovia, that archipelago of pubs and restaurants between Fitzroy Square and the bottom of Rathbone Place, where it slams up against Oxford St.. The queen of Fitzrovia’s literary pubs was the mock-Tudor Wheatsheaf on Rathbone Place. The stories associated with the Wheatsheaf are the stuff of literary cliché. If you walked in here one lunchtime during the 2nd World War, you would almost certainly encounter the twin popes of The Wheatsheaf bar, Dylan Thomas and the novelist Julian Maclaren-Ross, each with his own set of acolytes.
‘What will you have to drink Mr. Thomas?’ ‘Anything that goes down my throat.’
Whilst Dylan was versifying by the stained glass windows in the public bar, MacLaren Ross occupied the saloon end of the counter, from where he would broadcast his opinions on films or modern novels. You might see George Orwell on lunch break from the BBC, perhaps waiting to meet the glamorous Sonia Brownell who lived just around the corner. Sonia’s employer, Cyril Connolly, the pudgy aesthete and editor of Horizon review, might be there too, talking an incongruously beautiful woman into investing money in his magazine. Perhaps you’d notice a young woman who, on closer inspection, turns out to be Quentin Crisp in austerity drag. Or you might wonder about the demure ‘Sister Anne’, a prostitute whose quiet demeanour gave no indication as to her trade. And you’d also see the bar limpets of an older Fitzrovia: an ancient lady in Edwardian dress drinking Guinness over newspaper crosswords; or the venerable Nina Hamnett, a once feted artist and model, muse to Modigliani, Sickert and Gaudier-Breszka, but now well into her alcoholic decline. You get the idea. The Wheatsheaf was the real thing: the place where dreams, greatness and failure met.
In the 1930s and ‘40s, Julian Maclaren-Ross was a ‘promising’ writer, his stories exploring the seedy, London-to-Brighton idiom pioneered by Patrick Hamilton (who used aspects of The Wheatsheaf in his monument to inter-war drinking 20,000 Streets Under The Sky) and the young Graham Greene. Like those illustrious practitioners, Maclaren-Ross described the furtive world of the travelling salesman, the cheap hotel, and the saloon bar – but Maclaren-Ross was living the material of his own stories to an alarming extent. He pursued his own ideal of how a modern man of letters should live, an experiment carried out in the teeth of aggrieved landladies, vengeful girlfriends, and exasperated publishers. He had a career-trashing habit of selling the same rights to the same unwritten novels to multiple publishers in return for a few quid to pay the next week’s rent. His occasional commissions were marked by a celebratory splurge of immoderate spending, the lavish dinners, benders and extra-long cigarettes somehow failing to mitigate the mounting bills and imminent (and occasionally actual) homelessness. One way of supplementing his shaky literary income was to lure the gullible into playing his ridiculous matchstick game ‘Spoof’ for real money, the bar of the Wheatsheaf offering him the ideal venue to fleece the unwary. And when the pub closed at 10.30, Julian would lead the hard-core drinkers a few steps up Rathbone Place to the Marquis of Granby, which – being in the borough of Marylebone – was subject to different licensing laws and didn’t ring time until 11. After that, it was back to wherever he was kipping that night; a Turkish baths, say, or the waiting room of Euston station, or – if his luck was in – a girlfriend’s flat in some distant suburb.
‘Somebody’s boring me. I think it’s me.’
Dylan Thomas, drunk again, the quote taken from a live radio broadcast for the BBC. Everyone knows Dylan Thomas; but in life, his burgeoning fame as poet and public figure offered no respite from the lure of the London pub. Although he was the prototype professional Welshman it was in London that Thomas cemented his reputation as a raconteur, mimic, and purveyor of his own patent brand of Welsh sentimentality. There’s a strangely touching story about him taking Henry Miller on a pub crawl around Soho and Fitzrovia and then on to a little dairy that sold sandwiches just opposite The Wheatsheaf. Miller was rather more far-gone than Dylan Thomas, as well as being very short sighted, and was convinced that he was in some kind of brothel, and Dylan was trying to stop him propositioning the startled waitresses. This is an unusual story as it casts Thomas in the unaccustomed role of (relatively) responsible adult, as opposed to the incorrigible man-child drunk that forms the bulk of his legend. It’s a more endearing image of Thomas than, say, that of him shacking up with Caitlin Macnamara, teenage mistress of the ageing Augustus John, a few hours after their first meeting in The Wheatsheaf.
Literary drinking in Fitzrovia is a big subject and I will return to these characters in future instalments. But, for now, I will leave the last word to the Wheatsheaf’s most extravagantly dressed monument to squandered talent. Julian Maclaren-Ross’s conspicuous outfit (teddy-bear overcoat, green aviator shades, a carnation in his button hole, an extra-long cigarette in his cigarette holder and a silver-topped malacca cane in his hand) made him an occasional target for abuse. Towards the end of his stint as barnacle in chief of the Wheatsheaf bar, he was approached by a clutch of menacing youths who demanded that he ‘Say something witty!’ Maclaren-Ross peered at them and declaimed:
(For those interested in Maclaren-Ross, I recommend the excellent biography by Paul Willetts, Fear and Loathing in Fitzrovia.)