dockworkers. There are a hundred, even a thousand similar streets stacked along the eastern flank of the city like so much left luggage. They are ugly, redoubtable places, but by no means the worst the East End has to offer.
If you are born there, the docks are the language you speak, the smells you know, the ebb and flow of your life. And so it is with Jane. She grows up beside queues of drays, moving slowly towards the dock gates; beside the twice-daily rush of men struggling to find day work; beside the crush of seamen and foreigners, their strange languages breaking from beneath turbans, yellow faces, pigtails, ice-blue eyes. Jane is aware of the tidal pull of the water before she can even read the tide tables flyposted on the sides of every public house in Poplar. The phalanxes of Port of London Authority policemen, the pawn shops, the bold glances of loose women, the rat nests and dog fights, the boozed-up sailors of a Saturday night, the bustling tradesmen, the drinking dives and gambling holes, the deals made, the greetings and the farewells, the dockers’ pubs and pawnbrokers and seamen’s missions: all these are familiar to her.
In 1903 the Fulcher family are living in the upper two rooms at number 4 Ullin Street. At the southern end of the street sits the bulking, red brick mass of St Michael and All Angels church and beside it, a gloomy vicarage set in a dark little garden. The remainder of the street is lined with poky terraces where it is common for families of seven or eight to be packed into a single room. There are men in Ullin Street who are forced to work night shifts because there is nowhere for them to sleep until their children have gone to school and the beds are free. And not unskilled labourers either, but craftsmen and artisans. The 1891 census shows sailmakers, foundrymen, glass blowers and carpenters, all living on Ullin Street.
Having two rooms between them, the Fulchers are among the more fortunate. The larger of these rooms is an imperfect square of about twelve feet containing an iron bedstead with an ancient horsehair mattress where Frenchie, Sarah and the younger children sleep, a large fireplace in which a coal stove burns whenever there is money for coal, a gas lamp, a table fashioned by Frenchie from fruit crates, a decaying wicker chair and two fruit crate stools. The room is for the most part mildewy and cheerless, smelling of the family’s activities: cooking, bathing, smoking and sex. It is rarely warm enough to open the window and the wooden sashes have in any case swollen with damp and stuck in their frames, though the draught still sails into the room like an unwanted relative. During the autumn and winter Sarah has to lay newspaper over the panes to keep the cold out, and for six months of the year the family live more or less in darkness, the gas lamp on the wall having been deemed an extravagance they can do without.
The second room is much smaller, little more than a box really, and houses another horsehair mattress which has to be shaken of its bedbugs every morning and rolled into a bolster to serve as a seat and a table. All but the youngest of the children, as well as an older female cousin, sleep on this mattress, and though the room has no fire, its small size and busy population keep it warm. In keeping with their relative sizes, Frenchie and Sarah’s room is known as Main Room and this second room Little Room. On occasion, when there is no money for coal or even for a bucket of coal dust, the whole family is obliged to move into Little Room just to keep from freezing.
Downstairs live another family, the Smileys – Jack, Violet and their nine or so children, the number varying according to whether there is a new arrival that year to balance the one or two carried off by the whooping cough or TB. The Smileys are permanently unlucky. If there is a bout of pneumonia going around, then one of the Smileys is bound to get it. If a neighbour’s boy runs amok with a football, then it will be the Smileys’ window which gets broken. If the vicar is doing his rounds, he’ll always knock first on the Smileys’ door.
Jack Smiley works as a hatchman in the East India and his wife takes in washing and sometimes cleans the ships’ galleys at the East India, but it is never enough. The tallyman is a regular visitor at the Smiley residence. So is the rent collector. And the bookies’ boy. Every Monday morning you can set your watch by the appearance of the Smiley children lumbering up the pavement carrying the family sheets and coats to Nathan James Ltd, outfitter and pawnbroker, where they will remain until Friday payday.
The Smileys and the Fulchers share a small concrete back yard with a privy and a standing tap, from where the Fulchers take their water. The privy is a dirty business. In the summer the smell draws egg-filled bluebottles and in the winter the wind sneaks in and freezes their buttocks to the seat. At some point during the previous decade the privy door worked part-way off its hinges leaving a gap the size of a toddler’s hand. But for all that, the plumbing is solid, there are rarely any overspills or seeping pipes, and most of the rats stay away. For those that don’t, the Smileys’ liver-coloured mongrel Bobs does a grand job of disposal, leaving rat tails and other remnants about as proof of his efficacy.
Frenchie Fulcher works as a ships’ carpenter at Thames Ironworks on Bow Creek, and sometimes at the West India dry dock. He is a journeyman without a permanent job and has to shape up each morning before seven in the hope that the foreman at the Ironworks has room for him. If not, he’ll go down to the West India and try to pick up something there. Fulcher is not a heavy man. All the same, he is an angry man and his neat little body conceals the strength of horses. Among dockers with their sloping shoulders, their rickety legs and half-broken backs, Frenchie the carpenter appears upright and dignified. His manner, too, sets him apart. Men less fastidious than Frenchie go to lengths at shape up, laying on their Irish/Polish/Scots origins and playing the blue-eyed boys. But French is above all that. If there is no work on any particular day, he will go home empty-handed and take it out on the kids. He is proud that way.
On a day when he is feeling right with the world Frenchie looks almost regal. His features are neat and well-made: a slender nose, domed a little in the middle but with a thin pinch at the end; wide-set, peaty eyes with a good measure of white in them, the kind of eyes in which daydreams have space to hide; and a generous but not excessive forehead – a testament, so Sarah says, to his good blood. His voice is high but his laughter, when it comes, is unexpectedly deep and clanging, not unlike an anchor dropping on its chain.
Sarah Fulcher is Frenchie’s opposite, a coarse-grained, flap-fleshed woman of wholesome temperament. She is pliant and sweet, with no obvious vices and a handy array of virtues ranging from dressmaking to midwifery. Most important of all, Sarah Fulcher is thrifty. She can sniff out a rotten swede or a poor potato at ten yards. No Chrisp Street costermonger will dare to slink a slimy cabbage or dud carrot into Sarah’s bag because they know her shrieks of latherish rage will echo halfway to the Thames Estuary. Taking money from Sarah Fulcher’s hand is as hard as prising the ring off a rigor mortised finger.
This small reservoir of fierceness is all the more remarkable because in other ways Sarah Fulcher is soft as snow. Her skin is soft and her hair is soft. Her ears have a wispy bloom of hair and fudgy lobes. Her body is as spongy as sausage meat, her lips as plump as spring chicks. Her disposition, too, is spring-like, fresh, sunny and innocent. A little insensitive, even undigested, but never, ever cruel. So sweet is she that the Smiley children all wish she were their mother, because, unlike Mrs Smiley, Sarah only thumps her children when she can’t think of any other way to make them do what they are told.
Sarah’s love for Frenchie is sweetly naïve and unshakeable. Her life is divided into two eras: Before and After Frenchie. Before Frenchie, Sarah Quelch toiled in a scullery for a family Up West. The family was miserable and the scullery was worse. Then Sarah met Frenchie, married him and found herself living in the bright new world of After Frenchie. In the wide open spaces of Sarah’s mind Frenchie is a kind of a god, or at the very least, a saviour. So unquestioning is Sarah’s devotion that she seems not to sense her husband’s deep sighs, his eyes rolled to the heavens. In an obscure corner of his heart Frenchie resents her. Resents his children, too. The wastefulness of them! The toiling that has to be done to keep them all from the poorhouse. Without Sarah and her brood of guzzling children just think where Frenchie might have ended up! As the owner of a timber yard, perhaps, or a chandler’s, or a leather business, or even a cabinetmaker’s shop. Occasionally, when he has had too much to drink, he’ll give voice to his disappointments, but Sarah only smiles at that and blows him a kiss and says, San Fairy Ann, dear, San Fairy Ann, and he will give up trying to explain.
Sarah gives birth to seven children: William,