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I suppose, in a small city like Leicester, where what we now call the ‘gay community’ was well-represented by the ‘camp’ professions – actors, hairdressers, chefs and tailors – everyone knew each other, forging tight relationships. We can only guess who Richard was. It reads like a note from a previous employer, but the tone suggests far more. At the opening of his shop, Morley received a telegram: “DESPITE PERSONAL DISAPPOINTMENT WISH YOU EVERY SUCCESS IN THE NEW VENTURE BOTH NOW AND ALWAYS FONDEST REGARDS RICHARD”. In 1955, a shop sign at 2 Hotel Street declared Morley’s shop “HM Clarke, Ladies and Gents TAILOR” open. Meanwhile, Roland was running a bookshop three doors away.
Backstage at Leicester Little Theatre, c.1950. After-show parties spilled over into the Dover Castle across the road – possibly the UK’s oldest gay pub.
A backstage photo of seven men smiling at the camera, arms around each other’s shoulders or sitting between the knees of the man behind, shows a warm camaraderie amongst the cast.
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The teenage Roland had been so overcome by seeing the divine – to use one of his favourite camp adjectives – Ivor Novello perform in London that it was four days before he ‘just about recovered from the effects.’ Having somewhere to be free in body, mind and spirit must have been a heady mixture in those times. They probably met at the Leicester Amateur Dramatic Society (LADS) based at the Little Theatre, where they briefly knew Joe Orton, an openly gay playwright who later achieved notoriety for his outrageous black comedies which were part of the British working-class theatre revolution of the 1960s. Theatre was their shared passion. Later, I like to imagine a frisson between the two thirty-somethings at a suit fitting. ‘I wish everybody knew, then I could do it!’, he writes. Roland’s diaries run across the decades and reflect the times. In 1935, aged seventeen, taking ballet lessons was a deathly secret, and it was difficult for Roland to practice. Diaries are beginning to have their moment, particularly in telling untold stories of ‘little’ people whose lives are deemed unimportant, or, more likely in the LGBTQ+ context, hidden. While on the one hand diaries are belittled as a feminine pastime, on the other they are lauded if written by someone famous (read: famous Western man).
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In How to Read a Diary (2019), Desirée Henderson writes about the ‘gender paradox’ whereby diaries’ usefulness is defined by sexist and patriarchal definitions of what is important: world events, political developments, movements or royalty and famous people.
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Roland’s diaries, though full of words, leave so much unsaid. As I fished around the lives of these two very private men, I had to speculate to understand photographs, letters, a tailor’s ruler and a mysterious telegram.
I felt like an intruder winkling out facts from this family, rooting through Roland’s writings and the lives of myriad Clarke ancestors, half-siblings and cousins. To depict the LGBTQ+ past may involve provocative assertions while assembling facts that don’t quite add up. Just as she re-membered lives of enslaved people whose bodies and selfhood had been pulled apart, I too create stories where none had existed. To fill the gaps in LGBTQ+ history, I borrow from Toni Morrison’s technique of ‘ rememorying’. As a lesbian, I’m learning to queer history, to decipher coded messages and read between the lines. Morley Clarke (left) in Rope at Leicester Little Theatre, 1st November 1949, Leicestershire Evening Mail. Courtesy of Record Office for Leicestershire, Leicester & Rutland.Īs a feminist historian, I read against the grain to glean buried facts. But I also found the joy of burgeoning love, self-expression through amateur theatre and making drag gowns. Morley died in 2010, aged 93, and by accessing his artefacts I’ve traced their joint life, which typifies gay men’s experience in the twentieth century: a shameful secret hidden from family, underground socialising, fear of arrest and public outing. If Napoleon Bonaparte considered Britain a nation of shopkeepers, I don’t think he meant Morley Clarke and Roland Spence – a tailor and a bookseller in Leicester.