A few weeks ago, I reflected on historic and contemporary vandalism and disrespect to Glasgow’s famous Necropolis — one of the city’s most iconic, haunting examples of Victorian-era culture and the palace of the dead — considering how it has changed and commenting on its cultural significance. Passing over the “Bridge of Sighs”, it truly can be a respite from the otherwise-hectic liveliness of the city… but that place of respite is contingent as much upon those who maintain the sacred space as those who pass through it. That reflection has now been released with The Glasgow Guardian’s website, and is available to read here.
“In our contemporary political climate, and throughout history, the defacing of individual graves, historic monuments, and even entire cemeteries, is a well-documented tool of socio-cultural expression: and for what it’s worth, many would argue that vandals cannot injure the pride of the dead. But pride in Scotland is a special, undying beast, and as many other nations would agree, scrawling “fuck” onto a centuries-old gravestone does little to inspire political or religious reformation. What makes these less-specific acts an underreported phenomena is not their innocuous nature, nor their lack of frequency, but their target location and the shame attached to them: no one remembers old so-and-so – but attack the grave of someone notable and the press falls to pieces, reporting the disgrace of a crime which, in truth, exhibited symptoms in cases prior, warning of the storm to come borne of an issue which is both difficult to address tactically and culturally. The longer these minimal crimes go undiscussed, the more mischief-makers will take up arms and spray paint cans to insight a public reaction.”
A house for the dead of any magnitude should be regarded, regardless of one’s religious beliefs or spiritual considerations, as a place of quiet reflection and peaceful consideration for the beliefs of others. The intent behind my publication of this piece is to draw attention to this in the hope of advocating for a respectful approach to visitation and patronage of the site — and perhaps to instigate higher efforts from Glasgow’s City Council in the prevention of more subtle, but equally disrespectful acts of vandalism. At the end of the day, a grave is no more a chalkboard than it is a garbage can.
As both fodder for written reflection and photographic documentation to accompany and illustrate it, my camera is my weapon of choice in the documentation not, in this instance, of the vandalism itself (though this is a topic I hope to revisit through both writing and photography), but the emotional significance of the Necropolis, both culturally and spiritually. By capturing the beauty of the place, rather than giving audience to vandals who would otherwise disrespect its unique grace, there is hope that more patrons of the site will regard it with higher reverence and uphold greater grace than those who would willingly (or passively) desecrate it in any respect.
If you’ve a few minutes, take a glance at some of the other material produced by student journalists at The Glasgow Guardian and support student journalism.