Joe Orton’s Islington Library Vandalism: The Prank That Landed a Playwright in Prison
60s playwright Joe Orton and his partner were made an example of, following an elaborately creative protest against theirlocal library.

On Essex Road in Islington stands a grand Victorian building that looks slightly out of place amongst its neighbours. Red bricks with sturdy stone pillars flanking wooden doors, and a stone crest above. This is Islington South Library, and in the early 1960s it became the unlikely battleground for one of British literature’s most audacious pranks.
Between 1959 and 1962, playwright Joe Orton and his partner Kenneth Halliwell waged a campaign of cultural sabotage against Islington’s libraries. They stole books, and smuggled them home. From there, they decorated dust jackets with outrageous collages, wrote obscene fake blurbs, and surreptitiously returned them to the shelves. A biography of John Betjeman sported an elderly tattooed man in trunks. The Collins Guide to Roses featured a baboon. Dorothy L. Sayers mysteries were described as “at her most awe inspiring, at her most queer, and needless to say, at her most crude!”
The real thrill wasn’t just creating the alterations. It was watching unsuspecting library patrons discover them. “I used to stand in the corners after I’d smuggled the doctored books back into the library and then watch people read them,” Orton recalled. “It was very fun, very interesting.“
The prank ended with both men in prison for six months. But it revealed the instinct that would make Orton one of Britain’s most celebrated playwrights. He had a genius for shocking the genteel middle classes by turning their own cultural institutions against them.

The Campaign Begins
Joe Orton and Kenneth Halliwell lived together at 25 Noel Road in Islington, a few streets from Essex Road. Both aspired to be writers, though by 1959 neither had achieved success. Their flat was cramped, their prospects uncertain, and their local libraries stocked what they considered an appalling selection of mediocre books.
Rather than simply complain, they decided to intervene.
Starting in 1959, they began stealing books from Islington’s libraries. At least 36 books worth £23 from the Essex Road location, at least 36 more worth £25 from the Holloway Road library, and another 6 from Hampstead Central Library (whose building now houses one of London’s most underrated cultural hubs, Camden Arts Centre). They smuggled the books home, altered them, and returned them to the shelves.
The alterations were methodical and increasingly elaborate. They created false dust jackets using collage techniques, cutting images from magazines and art books and reassembling them into surreal compositions. The Three Faces of Eve got an adorable kitten. Agatha Christie novels were decorated with giant cats. The Collected Plays of Emlyn Williams suddenly included works titled “Knickers Must Fall” and “Fucked by Monty.”
The fake blurbs were equally outrageous. One Sayers mystery advised readers to enjoy it behind closed doors “and have a good shit while you are reading!”
They also stripped plates from art books to cover the walls of their Noel Road flat. Eventually, police would find over 2,000 art plates papering their living room from ceiling to floor, creating an unbroken expanse of illustration.

Sidney Porrett’s Mission
For over two years, Orton and Halliwell operated undetected. Library staff noticed the doctored books appearing on shelves, but identifying the culprits in a busy central library proved nearly impossible. Too many readers, and no way to observe individuals closely enough.
Then Sidney Porrett got involved. Islington Council’s principal law clerk, Porrett made catching these “literary vandals” his personal mission. His language about his quarry dripped with the homophobic sarcasm typical of the era: “I had to catch these two monkeys. They were a couple of darlings, make no mistake.“
Porrett called in Detective Sergeant Henry Hermitage, known as “The Hermit.” Hermitage spent months working undercover as a Saturday librarian, observing readers and narrowing his list of suspects from eighty to ten.
The breakthrough came when operations shifted from the central library to a smaller branch location. With less traffic, staff could observe individual readers more closely. A librarian noticed two men who always visited together, shared the same address, and seemed to be present before doctored books appeared on shelves.
Suspicion centred on Orton and Halliwell. But suspicion wasn’t proof.
The Typewriter Trap
Police devised an elaborate sting. They sent Orton and Halliwell a letter about an illegally parked car outside their flat. The letter was calculated to provoke a response.
Halliwell fired back an incandescent typed reply, lambasting the council’s petty-mindedness and pointing out they didn’t even own a car. His furious defence revealed exactly what police needed: the typeface.
The forensic laboratory compared Halliwell’s typed letter with the typewritten text on the fake book blurbs. The typeface irregularities matched perfectly. Both came from the same machine.
Suspicion became certainty. Armed with a search warrant, two detective officers knocked on the door of 25 Noel Road on April 28, 1962.

The Raid
What police found inside the flat left no doubt they’d caught the right men. The living room walls were covered floor to ceiling with art plates stripped from books. Book jackets in various stages of alteration lay around the flat. Over seventy books from Islington libraries were present, though only eight had been properly checked out on library cards.
Police also found upwards of 1,600 loose plates removed from books, over a hundred of which could be immediately identified as library property by the rubber stamp on the reverse.
Orton gave a statement to police on April 28: “Over the last twelve months, we started to cut pieces out of these books and make false book jackets. I tried to make them as effective as possible by making it look like part of the book… I used to go back with them a couple of times a day.”

The Daily Mirror Breaks the News
Orton’s family in Leicester knew nothing about the arrest. They found out the same way most of Britain did: from a story in the Daily Mirror titled “The Gorilla in the Roses,” illustrated with the altered Collins Guide featuring a baboon.
Orton’s father William wrote to his son in prison on August 11, 1962. The letter, preserved in the Orton Collection at the University of Leicester, captures a working-class father’s bewilderment at his son’s incomprehensible crime:
“Dear John, I really do not know how to begin this letter for it has been such a long time since I wrote, and you have done such a stupid thing to land yourself where you are, still it’s no use crying over spilt milk its over with now, it was the most curious thing that I learned about it and you had not wrote and told us. I was watching a play or something on telly and happened to pick the Mirror up while the adverts were on, looked at a headline which read a Gorilla amongst the roses naturally I thought it was about gardening and then I got the shock and your Mum nearly went crackers for a day or two worrying about you, and then we got your letter. I can’t understand why you done it, you should have known you were bound to get caught in the end, and you certainly fell for the typewriter trick, still it could have been a lot worse I don’t think it’ll put you in the criminal class but for goodness sake John when you get back to your flat pack your Greek models or whatever you call them and find a new hobby… Well Cheerio John and no more foolish acts. Love from all at home.”
The letter is heartbreaking in its ordinariness. There’s a real struggle to fathom why his son would risk everything for a niche prank. The hope that this wouldn’t put John “in the criminal class” would prove sadly misplaced.
Old Street Magistrates Court
Orton and Halliwell were tried at Old Street Magistrates Court in Shoreditch. They were charged with stealing 72 books and removing 1,653 plates from art books. The magistrate described the fake blurbs as “mildly obscene” and decided to make an example of them.
The sentence: six months in prison and a fine.
Half a year for stealing and defacing library books?
A wildly disproportionate punishment. Or perhaps not, for two gay men living together in the 50s, creating sexually suggestive collages, and writing obscene parodies of respectable literature. The sentence wasn’t really related to books. Their ‘deviance’ was being made an example of. How dare Orton and Halliwell refuse to respect the cultural gatekeepers, or mock the idea of literary respectability?

The Unrepentant Artist
Orton discussed the incident years later in a 1967 interview with Barry Hanson: “I realise what I did was unforgiveable, I’m just unrepentant. But I objected to public money going on dull, badly written books under the heads of successful lady authors on the backs of their book jackets. I think one was written by Lady Dartmouth. The libraries had a tremendous amount of space for rubbish but none for good books.”
He never truly admitted his reasons at the time, but these acts of guerrilla artwork were an early indication of Orton’s desire to shock and provoke. He targeted the genteel middle classes, authority figures, and defenders of morality with the same savage wit he’d later bring to plays like Entertaining Mr Sloane, Loot, and What the Butler Saw. This extended to one of his most colourful creations – Aunt Edna – whose presence was in letter correspondences rather than the stage.
The library prank was a rehearsal for the theatrical career that would make him famous, and earn him the label “the Oscar Wilde of Welfare State gentility.”
Prison and After
The six months in prison proved transformative. Orton and Halliwell were separated for the first time in years. Orton later said the experience crystallised his understanding of authority, hypocrisy, and the absurdity of British respectability. The plays he’d write in the coming years would savage exactly the kind of petty officialdom that had sentenced him to jail for defacing books.
When they were released, they returned to the flat on Noel Road. The art plates were still on the walls. The Greek models his father had urged him to pack away remained. Five years later, in August 1967, Kenneth Halliwell would murder Orton in that same flat before taking his own life.
But in the years between prison and murder, Orton would write the plays that made him one of Britain’s most celebrated dramatists. And the instinct that drove the library prank—the urge to shock, to mock, to turn respectable culture into something obscene and hilarious—would define every word he wrote.

Islington South Library Today
The Victorian building on Essex Road still serves as Islington South Library. The sturdy stone pillars, the wooden doors, and the stone crest all remain. Inside, the books are presumably safe from guerrilla artists, though the story of what happened here in the early 1960s has become part of literary legend.
Standing outside the library today, you can imagine Orton and Halliwell emerging with books hidden under their coats, smuggling them home to Noel Road. You can picture them weeks later, slipping the altered books back onto shelves, then positioning themselves in corners to watch unsuspecting readers discover baboons on gardening guides and obscene advice on Dorothy Sayers mysteries.
It was performance art before the term existed, cultural critique disguised as vandalism. And it was, without doubt, Joe Orton discovering the transgressive, unrepentant voice that would bring him acclaim.
Explore Joe Orton’s Islington with Cobble
Download the Cobble app to walk through Joe Orton’s Islington, where his story unfolds in immersive audio as you stand on the streets where he lived, created, and committed the crimes that would land him in prison. Within walking distance of the library you’ll find CobbleGo stops at 25 Noel Road, where Orton and Halliwell doctored the library books and where the latter would condemn Orton – and himself – to a tragic end. There are nearby stops on Upper Street and near Highbury & Islington tube exploring some of his experiences in the area, as well as one at Clerkenwell County Court (which despite its name is in Islington too, seconds away from Noel Road) where Orton and Halliwell returned for their second trial. These all feature in ‘Almost Legal: Joe Orton & Queer 60s London’, our Joe Orton Collection, which draws on extensive research in the Orton Collection at the University of Leicester, and was developed in partnership with the Young Vic Theatre.
The collection is available year-round, part of Cobble’s broader exploration of LGBTQ+ London history, from Oscar Wilde to the organising of London’s first Pride marches.
On the Cobbles
Cobble Scene Location: Islington South Library, 115-117 Essex Road, Islington, London N1 2SL
Nearest Tube Stations: Angel (Northern line), Highbury & Islington (Victoria line, Overground)
Viewing: Library is open to the public during operating hours
Nearby Islington Attractions: 25 Noel Road (Orton’s home, private residence), Sadler’s Wells Theatre, Camden Passage antiques market, Old Street Magistrates Court (now Courthouse Hotel)
The Joe Orton Collection was researched at the Orton Collection at the University of Leicester and developed in partnership with the Young Vic Theatre. Explore Orton’s story of guerrilla art, cultural rebellion, and tragic genius with Cobble’s GPS-triggered audio walks throughout Islington.




