Category: Art

The long view

The Snowdon range from Rhiw

We’ve moved just over ten miles to a very small cottage on the side of the hill above Porth Neigwl which, in English is rendered as Hell’s Mouth on account of the number of ships wrecked there in South Westerly storms. We’ve been down to the long dune fringed beach in severe storms, and seen how the sea can be almost overwhelmingly dangerous. The Welsh name might also be translated into gateway for the clouds – a name we can also vouch for. This part of the peninsula, with Mynydd Rhiw on one side and Mynydd (mountain) Cilan on the other, seems to attract and embrace banks of low cloud and sea mist in its long arms, mist that, with luck, will burn off during the day. There’s an irony in the photo because we struggled without success to make the telly work last night and it wasn’t until we looked at the photo that we realized there was a satellite dish on the wall. Wrong socket error!

A third quarter moon above Aberdaron last night

We’re looking down from the garden towards Sarn y Plas below us; the cottage owned by the Keating sisters who allowed R S Thomas, priest and poet to live there after his retirement from Aberdaron. The church authorities refused to allow him to remain in the vicarage next door in spite of their having no use for it. Madame noticed some days ago that it was in disrepair, and a drive around it today confirmed the very poor state of the roof. I find it very hard to believe that the church had so little understanding of how celebrated he was as a poet, even though they must have known that his eccentricities led many village people to dismiss him as a “miserable bugger” . The church on the beach in Aberdaron does its best to give pilgrims somewhere to see and hear the reality of his poem “The Moon in Lleyn” , and there’s a small upper room in Llanfaelrhys church with a peaceful feeling and a fine view of Bardsey. In the churchyard his wife Elsi, his son Gwydion, the Keating sisters and the poet and acquaintance, Jim Cotter are all buried. It’s a windy and often cold place for visitors to meditate. Even Sarn y Plas, his old retirement home is under plans to open it to the public, but there is no sense that the church authorities or the village itself is prepared to treat him and his work as much more than a side-hustle. The old vicarage could be redeemed with some restoration and a permanent exhibition. The Keating sisters, who lived almost next door at Plas yn Rhiw, on the remote estate where we’re staying, were equally disliked by many for their opposition to potential caravan sites in the area and even bought up land and gifted it to the National Trust to prevent any further development of tourism. They united in opposition with RS and many others to a nuclear power station being built in Edern up the road, and to military development down on the dunes where bombing practice took place during the war. RS was rumoured to have supported the arson of second homes in the area but no evidence was ever presented. He was a fierce Welsh Nationalist without doubt, leaving ample evidence, sadly, for the the fact that those with most to gain from the destruction of this beautiful place wanted him and his campaigns gone for good. The church, as chaplains to the status quo, wrung its hands and hid the bibles in case anyone ever read them properly.

So, inspired as I’ve been by his brutally honest poetry, it’s pretty cool to be here in the midst of it. I’ve already mentioned his poem “The Moon in Lleyn” which shares a kind of melancholy tempered by hope with Matthew Arnold’s poem “On Dover Beach” which could as easily have referred to Porth Neigwl. But before we get too carried away by the melancholic solitude of this extreme Westerly point, it’s sensible to remember that beneath the hillside where I’m typing this, lies a lode of manganese ore that led to one of the biggest manganese mines in Europe for a while. For all I know this cottage could have been built for a quarryman and his family who would have lived here many decades before RS came to minister here. I could walk across the top of the mountain, which isn’t very high at all, and in ten minutes drop down into the valley beyond, where there are abundant signs of the old industry. I suspect RS would have hated the clanking of the overhead cable lift down to the waiting ships below; the pollution and the whole bleak rust-belt atmosphere of it. However passionate a priest he was, he would never have regarded himself as a missionary; more of a Jeremiah perhaps!

And today, sitting in the pub opposite the church with the smell of hot cooking oil drifting past and hundreds of tourists looking for something to do, I know he would have hated it just as much. The environment has recovered from the mining and could recover perhaps from mass tourism and caravan sites, although there’s talk of another nuclear power station on Anglesey. Despite the best efforts of RS, the Keating sisters, the National Trust and thousands of Welsh Nationalists, his world was a temporary one. The other night we were driving down to Porth Oer for a walk and we even surprised a hare which ran down the road in front of us and bolted into a field. Another poem brought to life. The soil here is slightly acidic and I’ve been finding Heath Bedstraw and Harebells, not to mention orchids on one of the dune lined beaches. It’s still awesome but overhead the bombers still make training flights

It would be easy to put on a pessimistic air and claim that – therefore there’s no point in resisting change – and our local (but thankfully no longer) MP Jacob Rees Mogg was dubbed minister for the 18th century by one journalist for wanting to reintroduce imperial weights and measures. But battles such as engaged RS can last for a generation or even a century, outliving our own disappointments but ultimately vindicating our campaigns. There’s no need to accept the judgements of our contemporaries who will, soon enough join Dante’s bishops in the circle of hell especially reserved for those who didn’t give a shit. All we can do is hold on to the good we can still find and keep the hope alive for the turn of the soft withdrawing roar of the sea.

Oh and this – one farmer’s investment in the future:

Back on Lleyn no heatwave.

The Beach and cliffs at Aberdaron

While the rest of the country is apparently melting under 30C plus temperatures we’re sitting under thick Atlantic clouds and sea mist for most of each day. It seems to brighten up for a couple of hours in the afternoon – so poor sunbathing weather but excellent for walking and mooching around looking at plants. We’re a mile or so away from the nearest village and eight miles from a very good supermarket in Nefyn which deserves an award for its community spirit. They cook a daily hot lunch, and every day customers queue for a decent takeaway meal at a very reasonable price. They also support local businesses – farms and dairies and (in this last bastion of the Welsh language) show no signs of tourist fatigue. They’re also very adept at recognizing us and speaking English before we’ve even spoken. Must be something about the way we dress! I’ve yet to say ‘thank you’ in Welsh (‘diolch’) for fear of provoking a conversation. Far from the stereotypical view of the Welsh we’ve always found people extremely friendly and helpful. What still remains a challenge is the long history of asset stripping by the English (think coal, slate, minerals and especially water) and the scandal of second homes. A couple of years ago I had a long chat with a local farmer’s wife and she quizzed me quite fiercely. We parted on friendly terms after she asked me “but if you lived here would you learn to speak Welsh?” and I answered “In a breath!” – and it’s true. As my old Greek tutor, Gerry Angel once said – “there are only two languages worth learning, Greek and Welsh” – but I should add that he was an ardent Welshman. I had to learn to pronounce Welsh place names when I was running a writers’ group in South Wales and needed to travel everywhere by bus. Welsh has the great advantage of having phonetic spelling so once you’ve learned a few basic rules about sounds and stresses, you can find your way to Ystradgynlais without provoking amusement among the other passengers.

The Lleyn peninsula, the thin strip of land that leads west from Snowdonia into the Irish Sea, is – if you’re a poetry reader – RS Thomas country. He was vicar of Aberdaron for many years and became a campaigning Welsh speaker even though he only learned the language as a young man. Like many reformed smokers and drinkers he out-did most people in the ferocity of his new attachment to Welsh and (according to the excellent biography “The man who went into the West” by Byron Rogers) even berated the local butcher for labelling his meat in English. I met RS once at a reading and he was charming, although his bone-dry sense of humour could be misleading to anyone unable to tune in to it. I was far too awestruck to say anything sensible to him but I’m still in love with his work which is all in English because he never felt confident enough of his grasp of the nuances of the Welsh language to write poetry in it – the complete opposite of Samuel Beckett who wrote in French after 1945 because (he said) it allowed him to write without style.

Elsi, Thomas’s wife and a fine artist in her own right, is buried above Aberdaron in the bleak churchyard of St Maelrhys Church, Port Ysgo, with their son Gwydion; near to the grave of Jim Cotter who was also Vicar of Aberdaron and a pioneer of modern liturgy as well as being a significant campaigner for gay rights in the church. I knew Jim quite well from some of the retreats he led; a delightful man. Yesterday while out walking near Rhiw we met a couple whose next-door neighbour RS had visited regularly. Apparently he would often bring a piece of cake in his pocket when visiting. Local opinion about him was always divided. Some thought him a saint and others thought he was “a miserable old bugger”. His bishop and the church in Wales hierarchy had no grasp of his gift so they hated each other cordially and refused to let him continue to live in his house when he retired. The house now appears to be empty and there’s a hole in the roof (reported by Madame as we drove past) , so it seems the churches’ incapacity to cope with gifted and creative clergy is undiminished.

Elsi and RS Thomas were great friends with the Keating sisters who owned the estate of Plas yn Rhiw. They too lived pretty austere lives in their house (now owned by the National Trust) and when we visited it in 2019 I was very moved by finding, in their kitchen, a very similar paraffin stove to the one my grandmother had in her cottage in the Chilterns. The Keatings had Plas yn Rhiw extended and some of the furnishings including a fine staircase were salvaged by Williams Clough Ellis who also designed an extra floor for them whilst not working on the italianate village of Portmeirion.

So to cut a very long story short, we’re moving later this week to stay for a few days in a rather inaccessible and tiny cottage on the National Trust estate, overlooking Porth Neigwl bay within easy walking distance of Plas yn Rhiw, The Thomas’s retirement home – Sarn cottage, and St Maelrhys Church all joined by footpaths across the abandoned manganese mines I mentioned a couple of days ago. How much good fortune is proper in such a short visit. Thomas’s poems speak to me and often kept a few embers of faith smouldering in me when I read them during hard times in the past, because unlike the prophets of Baal and all their certainties he practiced doubt, uncertainty and steadfastness in the face of an overwhelming emptiness. It has a posh theological name – kenosis – but I prefer Wittgenstein, “whereof one one cannot speak thereof must remain silent” or perhaps the Taoist saying – “The Tao that can be spoken is not the Tao”.

Sunset over the Monet and Brecon canal

Madame and I have exchanged words about whose idea it was to take this picture, but it was me that pressed the button. The resemblance to a Monet painting only occurred to us over breakfast this morning. The impressionist blobs of Hogweed and Nettles; the solitary clump of Reed canary grass and – if this were an ultra high definition photo – the little cloud of mating Mayflies; balanced by the streaks of cloud and the bright gaps between the leaves; even the composition leading your eye towards the horizon and the hills around Brecon.

If you look very carefully you might be able to see a low wall alongside the small road leading west towards Llanfrynach, and if you had walked up there last night you would certainly seen a farmer and tractor carrying large bales of hay back across the canal to his barn; he with a broad smile on his face as he sang (inwardly) a hymn of thanksgiving in Welsh for the harvest snatched from the jaws of global weather disruption. I gathered my watery eyes and snot soaked features into a smile as he passed, trailing clouds of pollen behind him. It’s been a tough week for plant hunting – hot, sweaty and malignantly pollen-rich, and necessitating my taking industrial quantities of asthma inhaler and paracetamol. This is the second time we’ve camped in Wales during haymaking, and the other one didn’t end well either!

Anyway, enough wheezing for now. I was particularly interested in the canalside wall because I’ve been reading the most marvellous book called “Urban Plants” by Trevor Dines, only published last week and I’m not on any kind of commission here! In it, there’s a chapter on walls and so my eye was drawn immediately to the one on the canal where to my great delight I found three more plants I’d not recorded before – by no means rare, but new to me – I’m not a twitcher. In addition to the grass I’ve already mentioned, there was a vetch and a couple of new stonecrops. Being a good (non-practising, lapsed) Protestant I still need to balance every moment of pleasure with a good deal of hard work which, yesterday, included several email conversations with other botanical friends who know a lot more about plants than I do. So welcome to my spreadsheet numbers 727-729, we all hope you’ll be very happy.

Anyway it was an idyllic and peaceful end to the day and a decent night’s sleep on top of the duvet. But this morning I celebrated the new day with the thickest, blackest, sweetest and bitterest cup of coffee ever made.

I’d forgotten, but we’ve been carrying this little mocha coffee maker in the campervan for so long that I only found it accidentally while I was clearing out the cupboard last week. Madame has always made fun of me because on one of our first ever camping trips to the Lizard, we struggled across the fields with a cafetiera and my portable typewriter. by now, sixty odd years later I can understand why the typewriter, but the coffee apparatus is some kind of transitional object. For goodness sake I don’t even like the life-threateningly sweet tar of its gurgling infusion, just the smell gives me palpitations – but that cup of coffee in the morning with its big spoonful of sugar somehow girds my loins (if you’ll forgive the imagery). A slice of toast and home-made bramble jelly, a very small cup of the distillate of hell and I’m ready to write. I feel like a writer.

Nine tenths of writing isn’t the perspiration bit, it seems to me, but in noticing. It’s an almost pathological interest in the tiniest things that cross your path – for instance …… what are those nettles and that hogweed doing there looking pretty in the photo? They’re both of them opportunist, thuggish colonisers of disturbed ground. At least half of the peaceful and lovely rural idyll probably looked like a mud-bath a year ago. Someone’s been doing some earth moving. Why does that plant on the wall look so like the rare one I found on a supermarket wall in St David’s several years ago? Because they’re closely related but not the same. What about this one with similar leaves but loads of dead stalks standing up? – same family, again different cousin. You have to be careful with cousins and families.

Anyway, we’ll be back home soon and then off to North Wales. Right now I’ll be putting on the kettle, filling the water tank and emptying the cludger – oh joy!

Only the yew trees know the whole story

St Meugan’s Church Pencelli

I suppose some might find churchyards rather melancholic places. but not me. We were walking alongside the Monmouth and Brecon canal when we saw the road sign which indicated a church half a mile up the hill. It was more of a Welsh mile and a steady climb of 200 metres, passing an adventure centre and a lot of sheep before we came upon the church which is so large as to hold a population much larger than the little collection of houses around and about which wouldn’t even amount to a hamlet’s worth. It was a blistering hot june morning and we passed a group of walkers descending who said there was a good bench up at the churchyard and that sealed the deal.

I’ve spent a lot of time in and around churches and the first thing that caught my attention was the broadly circular wall to the churchyard. This is an often seen feature of Saxon churches which stood on repurposed pagan sites. Churches dedicated to St Helen (Emperor Constantine’s mother who once revivified a corpse with a piece of the true cross that she’d bought from the local relic market) , for example, were almost all situated on springs and one of our neighbours hired a dowser who managed to locate the spring at what would have been my local parish church before the congregation all moved away to work in the quarries.

The walk up a narrow lane to the church was a botanist’s dream, notwithstanding the worst hay fever I’ve ever suffered from. I dripped, sneezed and coughed my way up the long hill taking photos while Madame walked on ahead. By the time we reached the church gate I’d found five species of wildflower I’d never seen before. The circular churchyard and the yews reputed to be more than 2000 years old suggested that this squarely built church sitting silently in the hillside has a history reaching back through beyond the Roman period. Holy places are like that. We find ourselves being drawn to them, never quite knowing why. I’ve always thought that they function as lost property offices frequented by people like me who can’t even fully describe what it is that we’ve lost.

The guidebook came up with some facts and recalled some of the tragedies that the church has seen, including the deaths of family wedding-party who, in 1753, drowned while attempting to cross the river Usk. Outside the church a patch of grass was reserved for the playing of handball, and a pit for cockfighting – forerunners of the creche and free coffee with damp biscuits after the service, favoured by modern clergy.

Outside, a fallen yew tree has been turned into a noticeboard worthy of Antoni Gaudi.

But as I wandered around the churchyard I chanced upon some plants, presumably garden escapes or maybe sown on purpose. I knew that if they were truly naturalised and “wild” they would have been exceptionally rare, but after a few moments the more likely thought came to me that they’d been deliberately put there; safe behind the railings of a pair of listed chest tombs and as symbols of the resurrection just beyond the reach of strimmers and zealous gardeners. The plants – Jacob’s Ladder – were there in three colours, blue, purple and white; a kind of living bible class for those who care to stand and stare. Jacob’s ladder on which, in his dream, Jacob saw the angels ascending and descending to earth. It’s a potent symbol in a churchyard even now – subtle and creative, even a bit subversive.

The aesthetic gift of plants

A stacked focus macro photograph of the prickles on the cactus that lives on my desk

This is turning into something of a series. On January 5th I wrote about the plants being markers of the passing seasons after walking down a lane towards the beach here in Cornwall; none of them rare in any sense but all capable of lifting your heart as an avatar of spring. On 6th January I wrote about plants and their properties as irreplaceable sources of as-yet undiscovered drugs; but I warned that they’re also the canaries in the environmental coalmine warning us clearly about the danger of our extractive and instrumental abuse of nature. Then on the 7th January I turned towards the difficulties but also rewards of a meditative relationship with plants and nature as a whole. Notwithstanding the difficulties of talking about “soul” and “spirituality” I asked whether a loosely Taoist spirituality can build a deeper relationship with the earth and creation without resorting to religious fanaticism. Is there a way into a green spirituality that honours Wittgenstein’s wise aphorism – * “whereof one cannot speak, thereof one must be silent” ? or perhaps more simply, can we ever attempt to explain mysteries without distorting and diminishing them?

So today, in the fourth of these I want to address another gift that plants bring to us – their sheer beauty. Anyone who’s ever loved a William Morris wallpaper or fabric design will understand his debt to natural forms. Any ceramic artist must surely be especially inspired by the natural forms, textures and colours of fungi. Any painter could learn how to replicate the colours, and any sculptor the forms of these exquisite parts of creation that were growing here long before the first hominids evolved and will still be here and still evolving long after we’ve gone the way of the dinosaurs. I don’t write this as a knockdown stand-alone argument for preserving nature, but I believe that the aesthetic can’t be left out of the argument because it’s the aesthetic dimension that helps us to value those parts of life that can’t be reduced to money. If you ask the question “what is a Cowslip worth?” could anyone respond fully without mentioning its beauty, its history, its place in the scheme of things? The value of a wildflower meadow could never be expressed without including its aesthetic dimension except – I write this with a heavy heart – a property developer who might pay lip service to its “recreational value” by offering to build a playing field somewhere else – a promise that will be waived away by the local planning authority if the developer pleads that they can’t make a profit unless they build on the football field too!

And if I might sound off a little bit longer, if we all watched nature programmes on TV from dawn ’till dusk, seven days a week, we’d be in danger of being as ignorant of nature as we were when we were born. Television is inherently passive entertainment more or less presented as education. The real stuff is out there in the cold and rain or, with a bit of luck, on those warm summer evenings when once, in France, I grumbled because a churring Nightjar was keeping me awake in my tent. Real nature is sensual, tactile and mucky, and it demands patience and fierce concentration as well as some ultra rewarding book-work.

When I was learning to do botanical illustration (I never got very far but it taught me the value of close attention), I took dozens of close-up photographs of a Hyacinth so I could paint it using just three colours. This is a great exercise for anyone to try. I’ll never be a William Morris, but I’ll never again dismiss a Hyacinth from a supermarket as “just a Pot Plant”. As I went through my albums looking to pick some appropriate photographs for this post, it occurred to me that one other gift from the natural world to us is to inflame our curiosity. But that would demand a separate post.

*Tractatus Logico-Philosophicus

The Potwell Inn New Year quiz – answers below

First image – which kind of Wild Carrot is this?

Second image – what’s so fishy about this?

Third (Bindweed) what’s the significance of the little pointed bit between the two reddish leafy things?

Upper fourth – Which children’s’ book character shares a name with this plant?

Lower fifth – which word does this plant share with the one above?

Left upper sixth – What part of the body shares a name with this fern?

Left lower seventh – what’s wrong with this Strawberry?

Right eighth – where would you look for this plant?

Left ninth – What punctuation mark shares the name of this butterfly?

For the photo at bottom right, check out the tree label!

Answers – 1. Sea Carrot, 2. Oyster fungus, 3. !t’s the difference between Large Bindweed, where you can see it, and Hedge bindweed where you can’t. Gardeners hate both! 4. Marsh Woundwort. 5. Marsh thistle. 6. Hart’s tongue. 7. It’s yellow, still a strawberry but it’s inedible, 8 Sea radish. 9.Comma. 10. See nameplate.

Winter camping – here we come!

Pen y fan in February 2016

Did I mention that we love going to the Bannau Brycheiniog – the Brecon Beacons – or, according to the spellchecker here on my laptop, the “banana strychnine”. Every year as the clocks go back and it gets dark so painfully early, we try to squeeze in one last camper-van trip before we drain the water tank and pull the curtains. Summer is never long enough. It’s over now to fungi and ferns and we managed to fit in a walk around the woods on the Mendips last week which was disappointingly light on fungi but challenging on the fern front. I remember well the early days when I thought there were just Dandelions until I discovered that they were just a small part of a huge group. These discoveries always leave me equally exhilarated and depressed. On our walk, and with a good deal of hands and knees stuff, I confirmed what I already knew in my heart of hearts – that not all green and ferny looking things are called Bracken (any more than all overweight white middle class men in Rohan trousers are called Dave). At once, exhilarated and depressed, I lashed out on a couple (more) ferny books and settled down for a good read. I am abashed; vanquished; and breathlessly looking forward to a ferny bash in the Bannau.

So it’s been a bit of a week – two exhibitions; Paula Rego and Goya at the Holburne Museum and Rinko Kawauchi: “At the edge of the everyday world” at the Arnolfini in Bristol; an excellent talk by the Director of the Holburne at BRLSI and two films – “The Outrun” in Bath and “A sudden Glimpse to Deeper Things” – both of them lovely; the second, showing at the Watershed was a biopic of Wilhelmina Barnes-Graham a shamefully neglected modernist artist. After the usual depressing few autumn weeks we felt like students again, bathing in fountains of glittering inspiration. Of course the payback came with exhaustion and an urgent call to the doctor when my heart rate went down to 45 and blood pressure to 92/61. I’d have to have been a saint not to laugh when the doctor told me that my symptoms were caused by the drugs I was prescribed to cure the symptoms! I don’t want to expire in a Kafkaesque cycle of thwarted goodwill.

Anyway, the sun’s shining and we’ve booked a spot alongside the Monmouth and Brecon canal. I’ve also been sorting through hundreds of old flower photos but I’m held up by the absence of replies to emails requesting bits of information. If this army of citizen scientists is ever going to live up to its immense promise, the learned institutions need to get over themselves and answer emails from those of us without PhD’s. But then I’m a bit of a loner and the least clubbable person you could imagine. Madame is the only person who comes (dangerously) close to “getting” me – we even hold hands in bed: dangerous!

Finally, I’ve yielded to temptation and bought a black iron bread tin. I’ve had enough of pancake sourdough loaves. Tigger and Eeyore the two starters are going well, and so I’ll re-unite them during the week and start some experiments to create an organic sourdough loaf that stands up enough to make a sandwich with a soft enough crust not to rip the roof of my mouth or snap teeth off. Then when that’s done I’m going to write a long letter to Keir Starmer to explain that his job is not to shuffle bits of spreadsheet around like a junior manager in a shoe shop, but to reunite managerial competence with a bit of visionary leadership and some ethical backbone which he seems to have lost somewhere along the way.

Starter or non-starter?

I mentioned on Tuesday that I’ve returned to bread making after quite a long break, and re-started my sourdough starter. In fact the one I made from about 1/2 gram of dried starter flaked from the rim of the original container and given a couple of days feeding, has done so well I made a loaf with some (probably stale) leftover flour in the absence of a delivery from the mill. The resulting loaf in the photo above was pretty good,and so I’ve re-christened the two starters Eeyore and Tigger for fairly obvious reasons. The flour I’ve ordered is made from organic Maris Widgeon wheat which is less productive (50% less than Canadian hard wheat for example) and more expensive but is slightly lower in protein and, the millers claim, perfect for slow proving. I’ve been lowering the protein level by adding cake flour to the mix – which works after a fashion. Breakfast today was a joy!

But we’ve also been busy on other fronts as well. The allotment, mercifully, is pretty well closed down for the winter except for picking the apples; the winter crops will sit quietly in this awful weather. It seems that if you have about ten fruit trees you’re entitled to call it an orchard. We’ve got ten so we can talk about our orchard with a contemptuous toss of the head to those poor souls with only five. Yesterday Madame made a Dutch apple cake and we’ve had stewed apple every day for ages. The great thing about seasonal food is that it almost always runs out before you get sick of it.

Back in the flat I’ve been sifting through thousands of photos of unidentified wildflowers; giving them names, dates and locations – which is a massive undertaking – and then building a database. I’ve got a good memory for where I first saw a plant and so sticking a pin in the OS map for the ones that preceded phone cameras, isn’t as hard as it sounds. So far I’ve got 320 ram stamped entries, all double checked and accompanied by photographic evidence.

Last night we went to a lecture on modern art in Bath, given by the Director of the Holburne Museum. Apparently the City Council allowed a nationally important collection of craft ceramics including the Leach archive to go to Farnham and the national photographic collection to be taken to Bradford. What a huge loss to the city! In return we got the nationally trivial Crest Nicholson development south of the river which looks like a Russian bonded warehouse and was so badly built it’s pretty well bankrupted them with compensation payments which are a closely guarded secret because they’re trying to sell the business before anybody notices! Ah joy – Bath has a Director of Heritage but no head of cultural activities. They say it’s Jane Austin and the Roman Baths that bring the tourists in; but the traffic down Milsom Street towards the shops is always greater than the traffic in the other direction.

So there we are. All’s well with the Potwell Inn and tomorrow we’re off to the Mendips on a fungus hunt before it starts raining again.

Seeing and beholding

A rather neglected apple tree on the allotments. I’m thinking of Samuel Palmer.

Hardly anyone was drawing in the 70’s, when we were at art school. A few tutors paid lip service to it but basically it had fallen out of fashion in favour of a rather woolly notion of creativity. Observational drawing; life drawing; were so last year and the now was all about being. Stony ground, then, for those of us who persisted in the archaic study of form and structure. I remember a bit of a row with my Head of Department when I showed him a monochrome painting I’d made of an apple tree and suggested that apple trees had a particular structure that you could see through the distortions of wind, weather and pruning. He said that this was ridiculous and that all the trees were pretty much alike. He, of course, lived in an entirely uniform conceptual world whereas I was drawing the phenomenal. I felt puzzled and deflated by his negative response and yet -decades later – I can see that not only was I in the right, but that an understanding and recognition of these subtle structures would turn out to be absolutely essential when I began to love plants.

*On reading this back to myself the next day it seems I should at least try to explain what I mean about the structure of the apple tree.

All trees, of course, need light and soil and so they have evolved to make the best use of what light there is available which in turn suggests that branches and leaves are always arranged in the most efficient way to catch the sun in order to ripen their fruit/seeds for the continuation of the species. That’s undoubtedly true, but they all seem to do it in different ways and those different ways seem to be remarkably consistent from species to species. The apple, being a domestic fruit, grown for the benefit of humans, gets mucked about a fair bit by pruning for the best possible crop. The one in the photo has been very neglected and in a commercial orchard it would have had the central tangle of overlapping branches pruned out to allow light and air to the tree. But even amidst the mess I can see something of the familiar structure. The apple is a bit of a ballerina. I always think of a dancer on points, arms extended , curving slightly upwards and then downwards towards the lowered fingertips. The fruits, in the autumn, are like fairy lights; golden and streaked with red. They don’t need any notices to suggest “eat me” like Alice’s mushroom although too much cider from those same apples might have something of the same effect – and due to their propensity to cross breed promiscuously, every tree and every fruit – unless it’s been grafted – will be different. Some might be so full of tannin they’ll put your face into a rictus like pucker for the next hour and some so sweet you’ll fetch your penknife back from your pocket and peel another, and then another. While some trees sit solidly on their roots like cathedral pillars, the apple dances for the sun. It’s almost impossible to describe it in words but from winter buds to spring flowers and then ripening fruit it’s pure joy. It’s just a plant, you might say, but we truly know plants through all of our senses. We don’t just see plants we behold them. There’s aesthetic joy in seeing. We smell their perfume; we (when we’re sure of them), listen to them – shake a ripe Cox and you may hear the seeds rattling inside; taste them, dry them for the store and cook them. We can even turn them into alcohol and medicine.

Finding some botanical competency has been a long and pretty arduous journey through small errors and real howlers but just as we once learned to draw the human form by understanding how it articulates and holds together; the process of identifying plants involves genuine and deep contemplation of the tiniest details and the elimination of each false trail one by one until a family and then a species finally emerges. Often I’m defeated and I have to appeal to a higher authority – someone with more experience.

The upside of the experience is that – like the spokes of a wheel – explorations can take you off into all sorts of different disciplines, relationships and histories. Ecology, environment, global heating, folklore, cooking and medicine are just a few of the fields that can help to determine not just the name, but the meaning of a plant within human culture.

Autumn has slammed down the shutters on the prospect of long and warm days and tomorrow is offering a day of driving rain. At this time of year we turn towards the lovely world of fungi but darker nights and shorter days also provide the chance to go back over the hundreds of photographs I’ve taken during the season. This year I’ve been learning to use a new and very lightweight camera which offers in-camera focus stacking and eliminates the biggest bugbear of macro photography – very shallow depth of field. Now, for the first time, I can photograph a leaf and then, later, examine it at around x20 magnification; even down to the tiniest star shaped bunches of hairs. It’s all evidence when it comes to ID.

We’re soon off to Cornwall again in the campervan and so I’ve been hard at it in the kitchen preserving and bottling. Luckily our son has got a half-empty freezer and so some of the work can wait until we’re back. Later on we’re looking forward to a short trip up the canal in a narrow boat. The polytunnel is now clear apart from a couple of lunches worth of sweetcorn. I suppose it’s no surprise that we get so knackered. I’m massively disappointed with the Labour government but I never really expected anything more from them. Deacon Starmer and the Prophets of Gloom would make a great album for a funeral.

Being annoying isn’t just a personality trait – it’s a vocation!

Yesterday’s food from the allotment

City centre life is something of a competition between optimism and pessimism much of the time. Even in this impossible summer season the vegetables still grow and ripen; our best ever crop of Alderman peas – they grow vigorously to six feet and more and this year, for unknown reasons, we’ve escaped the usual infestation of pea moth. The pods are full of large, sweet, delicious peas of a quality that make you wonder if the frozen supermarket peas are even the same vegetable. The polytunnel tomatoes (Crimson Crush) are their usual vigorous and blight resistant selves, in fact the maincrop potatoes (Sarpo Mira) are also blight resistant and so we haven’t seen the ruination of the whole crop since we started growing them. We’re holding our nerve this year and growing all our sweetcorn in the tunnel – last year I transplanted them outside when they were 2′ tall and they too gave us a lovely crop because the badgers, squirrels and rats left them alone. The courgettes still try and rampage all over the allotment, but we’re ruthless with them. The only surprise is that pollintions have been generally good notwithstanding the desperate shortage of pollinators. We can’t claim any credit for the blackberries aside from training them along the boundary fence to deter night-time visitors. Unlike most garden cultivars the fruits taste great but the thorns are long and sharp enough to snag a rhinoceros.

That’s all on the plus side, but more negatively we have to cope with the usual inner city challenges thick and humid air; of night time overflights to Bristol Airport; constant ambulances and police cars driving past with warning sirens blasting; juvenile seagulls – temporarily grounded by their inability to fly back to their nests screeching for food from 4.00am, kitchen waste strewn across the pavements by urban gulls and foxes, noisy hen parties in the airBnb opposite with occasional glimpses of male strippers doing their thing, and then the ubiquitous semi conscious junkies, dealers, drunks and out of control dogs crapping unobserved by their owners who make sure they’re deeply absorbed by important business on the mobile rather than doggy business on the grass. Then, yesterday afternoon a squadron of jackhammers, bulldozers and heavy lorries started breaking up the foundations of the old Homebase site ready for another completely unnecessary block of overpriced and under spec flats. Promises to build doctors surgeries, primary schools and community facilities alongside low cost housing will be broken as always with the payment of a small fine to the local authority. The snagging for the redevelopment opposite has continued for years with missing damp courses, missing fire safety precautions, crumbling lintels, lime green slime mould on the faux Bath Stone walls, windows improperly installed or not fixed at all, and, (following a conversation today with a very upset owner) meaningless insurance. He couldn’t talk about it because it just made him emotional and depressed. Any word of protest will result in angry responses from landlords and Airbnb owners who would prefer you not to know that this is not quite the Paradise Regained promised by the publicity. Naturally, for a student of life like me, it’s a marvellous field for research and we wouldn’t want to live anywhere else! The weeds are fabulous.

My interest in Geoffrey Grigson (The Englishman’s Flora) has continued and I wanted to find out why exactly he’d managed to fall out with quite so many people. As someone who has regularly been told that I’m the rudest person they’ve ever met I thought he might have something I could learn to improve my technique. However it seems we are simply inveterate bubble poppers and can’t help ourselves when we’re confronted by mediocrity and dishonesty. His collected newspaper reviews* are tough going – far too prolix and dripping with anger aimed at other writers who are now (decades later) absolutely unknown – so they seem like a drastic waste of emotional energy. Far better to go for a walk and try to identify that tall Dandelion looking thing on the pavement outside. Most of the spanners, fruitcakes and halfwits will lose their reputations purely through the attrition of time. I’m aiming to disappear long before I’m dead, but the prospect of cluttering up the memory of a computer in the middle of the Mojave Desert with the Potwell Inn blog for all eternity amuses me, as I shall be asleep under a rock in a troutstream somewhere having completed my million words.

But hey, The Englishman’s Flora in spite of it’s Grandiose “The” in the title, rather than a more modest “An”; and its inappropriately sexist attitude to non male botanists is a really interesting and useful book that attempts (against all the odds) to unite the great ship of field botany with the other great ships of folk medicine, regional and local names and even witchcraft; all of which are heading off in different directions. It’s a book that hasn’t yet fallen for the daft idea that the pruinose texture of a Sloe in the autumn can be completely or even adequately described by a DNA string. Who’d have thought that there’s a member of the Stonecrop family called “Roseroot” which lives high in the mountains and whose roots smell of – obviously roses. Who’d have guessed that the odd looking Pineapple Weed, which lives in farm gateways where it’s guaranteed a regular hammering, actually smells just like a pineapple when you squeeze its flowerhead. For me this is not at all evidence of the hand of God, but of the awe inspiring, wasteful and aesthetically dazzling creativity of evolving nature.

  • Geoffrey Grigson – “The Contrary View” 1974

The stream of consciousness – a creative affliction.

Whitchurch Common, Dartmoor. March 2016

I said to Madame yesterday while we were walking through Bath – “I think I’m living in the 1940’s and 50’s”. She, being an avid reader of history and biographies, knew exactly what I was saying. She’s presently finishing the last of C J Sansom’s Shardlake novels and living in the Tudor period. Not having to explain things is one of the great blessings of our long relationship. Of course the imagination can play tricks and too lax an attitude towards truth telling could lead all the way to prison or even to 10 Downing Street; but in the manner of a psychoanalytic session – by allowing the mind to range freely and without comment, connections of the utmost significance can be forged.

So, if you’re a Potwell Inn regular you’ll know I’ve been thinking about and researching Geoffrey Grigson – author of “An Englishman’s Flora” and husband of Jane Grigson the great food writer. Chains of thought often take us on a journey and in this case it involved reconnecting with the village above By Brook where we lived for two and a half years while we were at art school; and a hairy drive over to Slaughterford in search of a pub that was actually one village further upstream on the little trout river which runs for around twenty miles between Castle Combe and the Avon at Bathampton . In the course of our day and in subsequent reading we discovered that Slaughterford is probably not the site of a famous battle between Alfred the Great and a small army of Danish raiders. and that the name probably derives from the Anglo Saxon term for the crossing near the place where the Blackthorns grow.

But this turned out to be much more than an antiquarian story. Immersing ourselves in a landscape in which we’d lived the early years of our relationship stirred up the strata of many memories. The melodious sound of the small river, for instance became the river that runs through the Potwell Inn garden in HG Wells’ novel – “A History of Mr Polly” as well as being the real place where we’d attempted unsuccessfully to poach brown trout and where I’d spent days drawing a tangle of tree roots. Being an artist or a writer seems to involve a huge struggle to lay hold of something significant. That laying hold rarely seems to work and we are left empty handed. The poet RS Thomas brilliantly describes it as being like placing your hand in the warmth of a hare form which a hare has recently fled. The creative life is full of almost and not quite.

Standing next to the river, memories resurfaced of moments in galleries and museums when suddenly, as if a flare has gone off in the mind, you can see clearly for the first time. Once, unexpectedly bursting into tears in front of a Renoir painting I’d only ever seen poorly reproduced less than the size of a postcard. Being young, passionate and raw the memories never leave you. The paintings that had given us a whole expressive language floated through my head and so in a wild yomp through the unconscious I remembered John Minton and, the imagination being capable of leaping over impossible fences, suddenly brought a roomful of associations – Elizabeth David, Jane Grigson, MFK Fisher, Patrick Leigh Fermor, Alan Davidson; who would all have known one another. Geoffrey Grigson would probably not have figured in too many Christmas card lists having been rude to, or about, so many people.

I’ve got a proof/review copy of Francis Spalding’s biography of John Minton “Dance ’til the stars come down” * which I bought quite cheaply because I couldn’t afford the original. It has no illustrations but in searching the secondhand booksellers today the book came up with his familiar self-portrait on the cover. Completely unexpectedly I almost welled up with grief as I recalled his melancholia, alcoholism and eventual suicide. A man I never met evoked a sense of loss that took me completely by surprise and the terrible thought came to me that this, perhaps, was the beginning of the end. The moment when the dark forces of conservatism began their fight back against post-war optimism and freedom. Since then they’ve synthesised joy and sold it back to us by subscription – one trivial experience at a time. We seem to have lost touch with the ordinary, everyday moments that used to make us dance ’till the stars came down. Art’s now a business, patrolled by curators and gallerists, and art schools run courses on keeping accounts, tax returns, building a website, networking effectively and staying in touch with the fashion of the moment.

I’m filled with the need to go and sit quietly on the bank next to the river once more to listen to what the spirits of the place still have to say to me. They, at least, have not been silenced by the self appointed magistrates of taste!

Postscript

The title of the Minton biography is a borrowing from W H Auden’s poem, which is itself a representation of the medieval “Danse Macabre” and equally a working of Stravinsky’s 1910 Firebird. The idea was very much in the air and was echoed in all sorts of media, not least in Bernard Leach’s rediscovery of 17th century English slipware. I’m thinking of the pelican in her piety. With two world wars in mind, there’s less hope in Auden’s poem – “not to be born is best for man”. A kind of mad defiance in the face of an overwhelming threat is his prescription.

Dance, dance for the figure is easy,
    The tune is catching and will not stop;
    Dance till the stars come down from the rafters;
    Dance, dance, dance till you drop.

W H Auden – Death’s Echo