Tag: Cotswolds

Keeping sane amid the chaos

How (if you’re me!) to keep measured and sane amid the chaos.

For starters, two reminders from a Buddhist meditation handbook:

‘…one shouldn’t have a great deal of desire… one must be content, which means whatever one has is fine and right.’ ‘Whatever one has is fine and right.’ (My italics.)

‘The place where we stay should be free from a lot of activity and a large number of people… (we should reduce) our involvement in too many activities.’  Now there’s a challenge.

Then there’s something I’ve loved since childhood – watching cricket. I enjoyed England’s decisive and exuberant victory over Pakistan in the second test match that ended yesterday. Always good to head out to Lords or the Oval, or stand on the boundary at Cranham cricket club … (A friend reminds me of the joke – ‘God gave cricket to the English so that they should have some sort of idea of eternity ‘ – that was certainly true of the first test match. I was there.)

And moving out beyond the cricket field – out further into the wild, and the wilderness, into the countryside, to the coast, to the mountains:

(‘What would the world be, once bereft /Of wet and of wildness? Let them be left…’)

walk (or run) in the meadows and beech woods

head off down to Cornwall and walk around Penwith from St Ives, via Zennor and Land’s End and Porthcurno, to Penzance (carrying a tent and heavy rucksack in the hot sun a small downside, likewise the heat exhaustion!)

puzzle over the wild flowers (betony abundant in Cornwall – a small sense of triumph identifying it!)

listen or watch, or maybe both…

– two buzzards wheeling above me on the coast path near Treryn Dinas just east of Porthcurno, piping much of the time, occasionally they come together and there’s a scurry of wings, and they resume their circling. The following morning, 7.30, I’ve struck camp, and I’m on my way, light rain, grey out to sea, and they’re back there, ahead of me, still slowly circling

– the owl which I disturbed in the woods later that morning – it took off maybe only two or three feet away from me, a vast and silent presence, and a powerful absence, disappearing into the light at the end of the green tunnel behind me

– the sound of a soprano, yes, a soprano, from the Britten opera being performed at the Minack theatre a mile away, it was 9pm, and I was tucked away in my tent, trying to sleep…

– a yellow snail (a ‘white-lipped banded snail’), and a red-winged fly – the small and surprising things, which puzzle, and take the mind down from the high and inflated places to the simple and beautiful

– and back in the Cotswolds, a lesser spotted woodpecker now a regular visitor to the bird feeder and the birdbath in the garden, and the goldfinches

– and the long warm summer evenings, the stillness, and the small party which headed out onto the common at midnight to look for glow-worms

There is hope for the world yet.

 

Camino – all about symbols

The Camino runs in, pretty much, a straight line, but I love the way it weaves itself into your life, with reminders here and there of that extraordinary heritage into which I tapped last autumn.

We stopped in Ludlow ten days ago, and visited the wonderful parish church, which has held on to its medieval heritage better than most. A palmer was someone who’d completed the pilgrimage to Jerusalem, and the palm was his symbol. Ludlow’s Palmers’ Guild was formed in 1284 and with wide commercial interests across the area they became very wealthy – and they put that wealth into the church.

But, curiously, I noted that another symbol of pilgrimage, which appears more than once, is the shell, rather than the palm.

The palm had other symbolic meanings, not least triumph and victory. The shell, very much the symbol of the Santiago pilgrimage, had become a symbol for all pilgrimages.

Once you’ve walked the Camino and knowing how many routes cross-cross Europe you’re always on the look out for the shell symbols. It’s there even in biblical representations of St James with no pilgrimage associations – his supposed burial place wasn’t discovered until eight centuries after his death.

I found one in an unlikely place last week, on a muddy track, just off Offa’s Dyke. It was – a large shell-shaped fungus, of guaranteed impermanence, and a clear case of the symbol being in the eye of the beholder.

Camino reminders don’t only come fungus-shaped.

The chancel of Leonard Stanley church near Stroud has a carved capital depicting Mary anointing the feet of Christ, his hand raised in blessing. There’s a wooden head of Christ at South Cerney, a little further east into the Cotswolds, that’s comparable, and it’s thought likely this was brought back by a pilgrim to Compostela in the mid 12th century. The way the beard curls apparently gives the clue: I love that kind of detail. A curling beard another symbol? (Acknowledgements to David Verey’s Cotswold Churches for this information.)

And finally, guess what I’m cooking for supper tonight – scallops, with bacon, and it’s clear from one or two looks in my direction that it’s time I headed for the kitchen…

A day of innocence

The subject is innocence (sounds like I’m an old-style, tub-thumping bible preacher – but do read on!), with Philip Larkin’s poem MCMXIV (1914) my starting point:

Never such innocence,/Never before or since,/ As changed itself to past/Without a word – the men/ Leaving the gardens tidy,/The thousands of marriages/Lasting a little while longer:/ Never such innocence again.

Larkin’s poem, to which I’ll return, is about innocence lost as we went to war, an innocence of the consequences, an innocence we could never see again.

But here is also another innocence, what I’ll call ‘found innocence’, which we find by looking within, and which helps us to understand a little more about ourselves.

For me the quiet interiors of country churches are places of innocence, where we stand simply and openly and innocently before God. In one church, Winstone, in the Cotswolds they invite you to say the collect of the day, aloud, so the church is prayed in every day, even if no priest or congregation is there to read or witness. So that’s what we did, and I felt a strange and special innocence that moment, as if I was a middle man, briefly connecting God and the world.

If that’s too spiritual, there’s another innocence, the innocence of animals, from which we can learn about ourselves, and which should determine our attitudes toward animals. There’s a letter in the Economist on behalf of the Nonhuman Rights Project in New York which expresses this beautifully: ‘The Nonhuman Rights Project does not demand human rights for animals. Rather, it wants chimpanzee rights for chimpanzees, orca rights for orcas, elephant rights for elephants.’ Animals may be in our terms cruel or violent, but they act as evolution dictates. We may choose to eat animals but that doesn’t mean that we should act with cruelty toward them, or deny them a ‘natural right’ to live in their natural state.

We are in this case not so much intermediaries between God and the mankind, but between nature and mankind. We have a responsibility both to the animal world and to our own species. If ultimately we mistreat animals we mistreat ourselves, and devalue our own innocence.

And, finally, back to Larkin. I read his poem, MCMXIV, for the first time at lunchtime today. Immediately after lunch I drove to a local supermarket, and put on my car radio. It was a programme, Brain of Britain, that I hadn’t listened to for many years. And the first question: the quote I’ve printed above, and the question – from what poem with a title in Roman numerals does the poem come?  This was all too much of a coincidence for me. If I innocently believed coincidence to be no more or less than an accident of timing, the absolute perfection of this coincidence challenged that belief as never before.

How it can be explained I simply don’t know. But if ever a day was a day of innocence – me thinking on the subject, rather than consciously acting innocently! – today was that day.

Norwegian wood 

And when I awoke I was alone, this bird had flown/ So I lit a fire, isn’t it good, norwegian wood? (Norwegian Wood, The Beatles, Rubber Soul)

One surprise Christmas bestselling book in the UK has been ‘Norwegian Wood’, which has the great virtue of being exactly what it says on the tin, or the book cover, ‘chopping, stacking and drying wood the Scandinavian way’, and more particularly, the Norwegian way.

I knew I must have a copy. Why? In my partner Hazel’s Cotswold home there’s a woodburning stove, and a stack of wood outside, under cover, partly seasoned – that is, partly dried, and I have the regular and rather enjoyable task of bringing it inside and keeping the log basket by the lounge fire well-filled. Sometimes the wood – I believe it’s all local beech (though we have some old indeterminate wood recycled from the rebuilding of the house next door) – flames up and lights the room, and we damp it down, and the room warms quickly, other times it’s slow and we open the vents and still it’s reluctant to flame. It has a mind of its own. But then of course  – it doesn’t.

Read Lars Mytting’s book and all will be revealed. Wood as a highly practical activity, but also pastime, mindset, lifestyle, craft and (check out some of the woodpiles illustrated in the book) art form.

‘Every man looks at his wood-pile with a kind of affection.’ (Henry Thoreau, by Walden Pond, in the 1850s.)

I remember my step-mother’s father, in his 70s by the time I knew him, building his woodpile along a garden path facing south, several hundred feet above Lake Lucerne, where his family had lived for generations. The woodpile may also have been there for generations. I was 13 years old, and impressed. I watched a total lunar eclipse from the same path, the woodpile, maybe I should call it a woodpath, behind me, the lake below, the mountains reaching up beyond, and the moon a deepening shade of red above.

‘The ideal way to dry wood is to stack it as loosely as possible.’ 

Keep the surface exposed to wind and sunlight. ‘Logs dry best when the surface contact between them is minimal.’ And I love this quote:

‘In Norway, discussions about the vexed question of whether logs should be stacked with the bark facing up or down have marred many a christening and spoiled many a wedding when wood enthusiasts are among the guests.’

There’s the sun-wall woodpile, the firewood wall, the round stack, cord stacking, the closed square pile – just a few of the stacking options.  There’s a wonderful photo in the book of a stack in the shape of a fish.

‘Splitting the wood is the part of the job Arne enjoys most.’ (Arne Fjeld, quoted by Mytting.)

And there’s sawing and chopping and splitting, though all are pretty much denied me. I don’t have a chainsaw, or a trailer, and that’s what you need in the Norwegian birch woods. But I do have memories of hand- and felling-axes from my Boy Scout days. How did we get away then with wielding such dangerous items? I loved the big felling-axe, lifting it up and bringing it down from well above my head, sliding my hand down the shaft, the smooth and mighty downstroke.

‘I don’t think people in the old days had a particularly personal or romantic attitude toward wood.’ (Arne Fjeld again)

These days it’s different, in England as well as Norway. Wood is a source of comfort, where once it was simply a matter of life and death over the long winter months. Piling and chopping and feeding the flames are these days recreation as well as necessity.

‘Wood is best when dried quickly.’

Drying gets conversations going. Cut trees down in the winter or spring, before the sap rises (and fungus and mould can’t get established in the cold) and let the wood dry during the summer for next winter use. And keep the leaves on! Strip the bark in two or three places and let the logs breathe. All apparently arcane but in reality hard, practical and close-to-the earth advice. (But not too close to earth – stack your wood off the ground.)

But many argue that you should leave it two summers. I guess it has much to do with space and time (a touch of relativity here): if you’re well set up, as a Norwegian farmer would be, then one summer’s drying may be enough.

‘Wood is the simplest form of bioenergy there is.’

Each wood burns in its own way, but what matters in the end is the density. An oak log will generate 60% more heart than an alder log of the same size, but ‘pound for pound (they) produce the same amount of heat’. The hardest wood makes the best firewood, but quick-burning woods may well be better for chilly early or late winter days.  Mix them with a harder wood of beech or oak.  For kindling use pinewood or twigs from deciduous trees. And there’s coppicing: ‘birch can have a rotation period of fifteen to twenty years and more.’

You can calculate how many kilowatt-hours of energy a tree can produce, and put a financial value on it.

Birch is ‘queen of the Norwegian forest’, not least because it grows tall and straight, with obvious advantages for felling and stacking. Ash is tough and strong, and ‘regenerates from the stool, and therefore is ideally suited for coppicing’. It’s also, for many cultures, Yggdrasil, the tree of life, so the symbolism as well as the reality of the threat from ash dieback is powerful. Green pine is almost impossible to burn.

I remember as a Boy Scout going on many a ‘woodfag’, and building fires for cooking that sometimes flourished and sometimes struggled. And with them the evening stew, and the immediate welfare of the small patrol of four boys in my charge. I’d have done well to know more about the kinds of wood I was collecting. But I do remember – we didn’t starve. The main criterion then as now is – collect dry wood. If you can break it with your hands, or it breaks easily under the axe, that’s what matters.

‘… thick woollen socks hung up to dry dripped and hissed onto the woodstove.’

Back to Gersau on Lake Lucerne, and my Swiss step-grandparents’ house on the hillside. Everything was wood-fired and there was a fine traditional stove in the sitting-room. (The earth closet extended a long way down into the ground, and was regularly emptied into a neighbouring field. But that’s another story!)

Modern clean-burning stoves compared to old-fashioned stoves have an extra supply of heated air. There are different kinds of stove: closed iron, soapstone, kitchen, tiered, tiled …. each with its own story. In so many areas of life we have lost touch with story, or we have story without history. Wood in Mytting’s hands, beneath his axe, is all about story, all about history.

‘Even in oil-rich Norway an astonishing 25% of the energy used to heat private homes comes from wood.’

Here in the UK woodstoves will never be a way of life as they are in Scandinavia. We’ll never have stacks of wood decorating our landscape. But as one source within an energy mix of renewables, with renewables part of wider mix of oil, gas, coal, nuclear, with the former growing as the latter diminish, wood could have a big future. Time is on its side, as stoves become more efficient, and if we take on board all the wisdom in Mytting’s book renewable woods might be more part of our own landscape, and carefully planned they wouldn’t need to be the scars on the landscape that pine forests have been.

And finally, there’s a poem I wrote a poem (The Woodman) two years ago, inspired by the sound of someone chopping one early morning, and that’s how I’ll end:

Across the field the woodman drags/ The log he would reduce with axe/ Raised high above his head it falls/ A wrench of sound breaks the still/ Of morning and there’s a rhythm/ As each repeated stroke is given/ A little extra force or thrust 

For he who cuts alone would still be best/ Of all the woodmen, though no-one knows/ But he how so sharp blade so cold/ Could cut to such design/ Or how he to such contracted space/ Could aim his axe and lay to waste/ In single moments a century of time