
Bearing in mind everything I said about words and drawings yesterday, today we visited the Porth y Swnt exhibition in the National Trust building in Aberdaron and for the umpteenth time in a week we were blown away by the vigour of artists in Wales. Yesterday it was Jonah Jones, today Pandora Vaughan and all the other artists who contributed to the installation who managed to remind me that even Tracey Emin managed to combine words and images with great power. In fact she may be one of the exceptions to my criticisms of the rather bloodless artworks that have stolen the foreground in the UK over the past decades. Consider my hand slapped. In the light of our total cultural immersion this week I’m coming to the reluctant conclusion that there is no more English poet than RS Thomas and, if I’m pressed I’ll explain why I’m coming to think it.
But I wanted really to lament the fact that yesterday when I went to get some propane gas I didn’t take a photograph. Like most real places, Lleyn has it’s share of breeze block and corrugated asbestos buildings, and any such building used as a garage is pretty much bound to be surrounded by more or less rusty cars and caravans turned green with mould; abandoned to perpetual storage by the almost dead on their last ever holiday. I say this with no malice, how could I? – I’m shuffling to the front of the queue myself. (Thanks, Rose for that most evocative phrase). In high season the aspiring saints only have a couple of miles to drive to the point of departure for the Bardsey ferry, but on a point of information, the churchyard is almost certainly closed.
The key thing about isolated rural places is that everyone knows you’re there whether you know them or not. We once caught a bus from Cork to Clonakilty and by the time we arrived we were greeted by someone on the bus stop as ‘the English people from the ferry’. The second of those words was the most worrying, given that the Troubles were raging at the time. So today when we turned up at the local garage to buy a bottle of gas for the cottage – we were expected. Having rehearsed the pronounciation of the address which – being extremely remote – needs triangulating from three nearby places – my linguistic efforts turned out to be completely unnecessary from the moment the owner said “Frank said you’d be coming”.
He was wearing the usual dark blue boiler suit and holding a broken numberplate as a palette on which a pile of freshly mixed filler paste was resting. The aromatic perfume of fibreglass filled the garage as he prowled the perimeter of a very old pickup truck, applying large quantities with a flexible palette knife. “I’ll just finish this mix” he said, and I was only too pleased to watch him working. All the lights had been taken off along with a busted wing panel, and the grey filler occupied more than a third of the remaining panels. “Seen a bit of life then?” I asked. No reply invited or received. The pickup was a kind of motoring palimpsest, with the earliest trace of its original owner, the word cenedlaethol, barely visible under layers of more recent paint. That was the moment at which I should have taken the photo – it would have made a wonderful, almost abstract drawing. Long pause……. “Selling it on?” I added…… “Yes”. He was no great conversationalist, but sensing the remote possibility of a sale he said “How do you like it here?” . “Oh I love it but I couldn’t live here.”
And then he said it – “There we are”.
I fell into a pool of delight. That, I thought, must be one of the most beautiful phrases in the English language. ‘There we are’. uttered by a Welshman for whom English is almost certainly a second language and meaning ” I really can’t understand why anyone would not want to live here but he’s making an effort to be honest, bless him, and so I’ll sell him some gas and make him feel welcome, before he drives back to that dreadful place beyond the rivers of Babylon, the place without song……. “There we are”. “There’s nothing else I can say.”
It’s impossible to be insulted or annoyed by there we are . It’s a phrase so pregant with patoral care that it can turn a canoe around at the top of the Niagara Falls and send it safely back to dry land. As he said it, inflected by his local accent, I felt myself being cared for, and when the gas arrived just now he tapped on the window and gave me a thumbs up with not least least clue I was writing about him as I waved back.
Last night I used the phrase myself. I had to explain to an old friend how, inexplicably, I had believed her to be dead for forty years because of a mistaken message, and having attempted to write the unwriteable I ended my message “There we are – I’ve said it”.
Basta.


The sharp eyed will notice that at this point in the journey we were the only passengers on the train apart from two conductors, the driver and someone who seemed to be a peripatetic cleaner.
More commonly known locally as Llanfair PG, this photograph is at the seaward edge of the Newborough National Nature Reserve which my mobile tagged as being near to the place with a very long name – actually dreamed up in the 1860’s by an enterprising local wit who thought it would attract visitors to spend their money in the village. The platform tickets on the village railway station probably sold pretty well too.
Just as we were coming down the steep path off Ynys Llanddwyn I found a tiny little spot with its own microclimate tucked into the side of the path, sheltered from the sea and the wind, and I recognised an old friend, or at least I recognised the leaf. The rule for new botanists is that it really does get easier eventually and after a mighty tussle with the identification keys in Rose – “The Wildflower Key” or even worse in Stace’s “New Flora” the plant will be engraved in your memory along with the associated pain of naming it. In my experience the name will often flee away, but like a familiar face, you’ll know that you know it. In this instance it was doubly complicated in the way that it feels when you meet your neighbour in a completely unexpected place. This particular neighbour lives on the back steps of our flat and I had to do a quick double take when I spotted it on a sand dune 250 miles away. So its English name is Rue Leaved Saxifrage – Saxifraga tridactylides there’s a bit of a clue in the latin name, and it’s a great survivor in urban Bath because it manages to flower and seed before the official chemical street warfare begins.
Madame sometimes gets restless if I spend too much time rooting around on my hands and knees when we’re suposed to be going for a walk.
Left – Sea Holly – Eryngium maritimum on the same wall as the Red Goosefoot and Spear Leaved Orache below. This is (I’m sure) Red Goosefoot – Chenopodium Rubrum . The only other plant it could be is Saltmarsh Goosefoot – Chenopdium chenopoidesbut checking the current BSBI list it doesn’t apear there or in Ellis’s Welsh Flora whereas Red Goosefoot does in both lists. What was interesting was that it was growing alongside Atriplex prostrata – Spear Leaved Orache on the same wall, which – I don’t know why – seemed a bit strange. Growing in amongst it is Sea Sandwort – Honckenya peploides, a highly specialized environment, I think, on a sea wall constantly breached by wind and waves.
I had no idea what this fungus was until I spotted a smaller one nearby and I recognised it immediately as some kind of Lycoperdon. I had to wait until I got back to base to identify it as a Pestle Puffball – Lycoperdon excipuliforme – which has an astoundingly thick and long stalk, unlike any other puffball I’ve seen. A very striking find.


I think it was Samuel (Dr) Johnson who once said that every project bears within itself the possibility of failure. If you wait until all possible objections have been met then you’ll never do whatever it is that’s in your mind. So piling a load of seaweed on to the asparagus bed could be construed as a bit risky were it not for the fact that we’ve seen it done at the Lost Gardens of Heligan without any obvious ill effects. Their bed, mind you, are about fifty times bigger than ours.

being human necessarily being lonely? -and what was that lovely quote from Chekov? – “If you’re afraid of loneliness don’t marry!” . It sounds harsh but it’s the unpalatable truth we rarely want to address. The starting point for our humanity is a terrible aching isolation. Love, laughter, joy and ecstacy are acts of defiance; and all art – painting, drawing, writing – are a declaration of war. Like Jacob at the Jabbok Brook, we wrestle with the angel who refuses a blessing and we always emerge from the encounter more or less damaged. Art dares to grasp the ephemeral and render it. By painting his rotting leaf in its glorious colours I have snatched it from the same oblivion that awaits me. “The force that through the green fuse drives the flower drives my green age” That’s it Dylan Thomas – although the fuse metaphor always seems a bit contrived. “If only you could bottle it” say the emotionally illiterate who can’t be arsed to join the resistance.
It’s too cold and wet to get out today so apart from going to Nefyn to get some milk I’ve spend all day writing or thinking. From time to time we’re getting intense flurries of sleet and snow and as I was typing I noticed these fine mammatus clouds outside the window. They’re very odd and striking. Beyond them the sea is paynes grey and disturbed. By about 3.00pm patches of blue sky had begun to appear and although the wind is still a fierce and bitterly cold north westerly gale, and where the birds emptied the feeders yesterday, today they spent much of the time sheltering and periodically appearing as small flocks of one species or another.
Picking up my earlier thread, the other constant factor in our humanity is change. We age, and for years we ignore it or perhaps welcome the changes. We count it as maturity in our powerful days and then we cling to wisdom as the reward for our energy until we notice that our skin and sinews are less resilient than they once were. I once had a dream about being followed by two elephants. i woud occasionally catch sight of them, often a street away. I talked about it to Robin [my psychoanalytic psychotherapist] and he said “I’m a Freudian. They’re sex and death.”



