How Hull Went From Crap Town To City Of Culture – And What It Says About Brexit Britain
Alec Charles, 15 Nov 17
       

Tom Arran/Hull 2017

All over the city of Hull, sculptures of moths and toads commemorate two of the town’s greatest exports: the aviator Amy Johnson and her Gipsy Moth aircraft, and the poet Philip Larkin and his symbol for the world of work, the toad. These emblems of paralysis and flight represent the city’s conflicted nature and at once insular and cosmopolitan, Hull mirrors the cultural rift at the heart of Brexit Britain.

Hull has historically been a cosmopolitan port, promoting international investment, industry and trade. It also produces influential art and culture. The Hull Truck Theatre, the eclectic Ferens Gallery and the Skelton Hooper dance school have nurtured a bevy of talented actors, artists and dancers. It is a city of poets: Stevie Smith was born in Hull, and Larkin, Andrew Motion and Douglas Dunn all worked at its university.

Hull has also been at the epicentre of major historical events. The English Civil War was triggered in 1642, when Hull’s dignitaries refused King Charles I entry to the town. The abolitionist William Wilberforce was born in Hull, and represented the city in parliament. And during World War II, Hull’s industrial and strategic importance meant it was targeted by the German Luftwaffe; more than 90% of its homes were damaged in air raids.

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