Beneath a stovepipe hat his face is grey and blind, as good as eyeless. I assume the statue is meant to suggest why Joseph Williamson was known as the mole of Edge Hill, but the appearance of a creature that has seen too little daylight is excessively convincing for my taste, and the motley clothes in which he’s dressed don’t help. The plump middle-aged woman in a Friends of Williamson’s Tunnels T-shirt behind the counter opposite seems bent on ignoring his presence, but she glances up at my approach, and then does rather more than glance. “May I help you?” she says as though she’s addressing someone in another room. “If this looks familiar,” I say, indicating my face. She frowns at it—more accurately, continues to do so—before sidling from behind the counter. “Please excuse me a moment,” she says and retreats down a stone corridor into the museum. It isn’t very large. Most of the exhibits—clay pipes and china fragments and skulls smaller than human, all retrieved in the process of clearing the tunnels—are housed in glass cases on either side of the corridor.
What do You think about Creatures Of The Pool (2013)?
