"Some of the best field naturalists I know grew up in working-class rural communities, skipping school like Billy Casper to practise forms of natural history that bent or broke the law: they ferreted rabbits, collected eggs, broke into quarries, kept pigeons, reared finches, climbed fences to poach for fish. Today they can still spot a linnet’s nest in a furze bush at 50 paces and possess fieldcraft skills that would put many a birder to shame. There’s little room for them in today’s culture of nature appreciation and even less so in nature writing, which tends to entrench a sense that the correct relation to the landscape is through walking and distanced looking." From the section on 'Landscape and Englishness', which sounds excellent.
29 December 2014
I’m pretty sure that the best book I read last year was Helen Macdonald’s H Is For Hawk.
It’s easy to say that now it’s won the Samuel Johnson award, and probably appeared on a pile of end of year lists. Well, good: sometimes popular things are popular for a reason. I am glad it has achieved such recognition.
A few times when I’ve explained the book to people, I enthuse: “It’s this wonderful, big book about grief, in which following the very sudden death of her father, a woman decides to train a goshawk.”
“Wow,” says the other half of the conversation, “that sounds incredible.”
“I mean,” I say, “worth pointing out she’s a very experienced and knowledgeable falconer.”
“Oh,” with a twinge of disappointment.
Disappointment! As if trying to train one of the larger, most unpredictable birds of prey wasn’t remarkable enough. (And, as the book proves in its study of TH White’s The Goshawk, what damage the untrained amateur can do). It turns out that it’s precisely because Macdonald knows her field so well that the book has turned out so well. It turns out there a few things expertise cannot always overcome; one is a living thing with a mind of its own, and the other is ineffable sadness.
I also usually caveat it when I recommend it. It’s a more difficult book than I think it may initially seem.
It’s about nature, red in tooth and claw; a bird of prey needs to be taken hunting, and Macdonald treats that topic with care, and thought, and there’s a lot of different angles to it. But the bird is going to hunt, and once it’s big enough, you can’t avoid that topic.
It’s about TH White, a man I knew little of when I began (other than that he wrote The Sword in the Stone) but gosh, it turns out he was not an easy man, and he did not have an easy life.
But mostly because it’s about grief, which is a tough and horrible topic, and the book is a remarkable treatment of that because of how little it explicitly talks about it. Rather, the grief runs through everything like a vein; it’s the why at the bottom of some sequences, the of course waiting for you at the end of a tough chapter. Macdonald is unflinching in a portrayal of herself several (about seven now) years ago, and if the book doesn’t bring the pain of any of your own grief to the surface again, then it still may bring the pain of compassion for someone you cannot help up. It’s a book written in the past tense, but the present tense within the book is heart-wrenching, and there’s nothing you can do.
It’s not all difficult, though. Macdonald is a marvellous writer – her experience in writing poetry shows through, not just in the beauty of her prose, but also its sparseness. Some of the passages I highlighted were simply for the language. Mabel – the goshawk – is this rich, wonderful character; not even a character, because she’s real, but she comes to life on every page, the changes in her as she grows minutely observable.
It’s a particularly lovely book about what living in Cambridge is like – living around the University, but also living in that cold town on the edge of the Fens that most students don’t see outside of, or see outside termtime.
And it’s a lovely book about the English countryside. Not just because it’s charming – it is, at times, but it’s also raw, and honest, and talks well about the history of land, and the strange magic buried in that writers such Robert Macfarlane also touch upon.
I’ve read it about twice this year – once, in a cottage in France, barely doing anything but turning pages, and then again, in tandem with my Mum as she read the copy I gave her for her birthday. It’s still a treat, and I still dive in, in part to be thrilled by the prose, but then inevitable to find some little inner truth that calms and settles me.
It’s hard to talk about, because it’s a book that’s inevitably hugely personal to the author, and I do not know them at all, but you have to engage with something when you read, and sometimes compassion overwhelms you. So: anything not directly quoted is opinion about people in text, and not people in the world. But regardless:
I can’t recommend it enough. Below, as usual, are the points I underlined in my copy.
I remember a teacher showing us photographs of the cave paintings at Lascaux and explaining that no one knew why prehistoric people drew these animals. I was indignant. I knew exactly why, but at that age was at a loss to put my intuition into words that made sense even to me.
Location 397, on reading the falconry canon as a child:
Being in the company of these authors was like being dropped into an exclusive public school, for they were almost entirely written a long time ago by bluff, aristocratic sportsmen who dressed in tweed, shot Big Game in Africa, and had Strong Opinions.
Location 429, on encountering White’s The Goshawk as a child:
This was a book about falconry by a man who seemed to know nothing about it. He talked about the bird as if it were a monster and he wasn’t training it properly. I was bewildered. Grown-ups were experts. They wrote books to tell you about things you didn’t know; books on how to do things. Why would a grown-up write about not being able to do something?
Location 463 – Macdonald talks to a former U2 pilot, who revealed he read The Once And Future King during the boring parts of getting to altitude and back down again. The cadence of the prose:
…the solitude of the pilot in the spy-plane, seeing everything, touching nothing, reading The Once and Future King fifty thousand feet above the clouds – that makes my heart break, just a little, because of how lonely that is, and because of some things that have happened to me, and because T. H. White was one of the loneliest men alive.
Location 467, in which White describes his early plan for The Goshawk:
It ‘would be about the efforts of a second-rate philosopher’, he explained sadly, ‘who lived alone in a wood, being tired of most humans in any case, to train a person who was not human, but a bird’.
Independence – a state of being self-contained – is the only generosity, I thought, the only charity we can claim of a living creature. We must have nothing to do with another’s bones; that is our only right – to have nothing to do with them. The bone must be the axis of a globe of intrusion-proof glass. One could not say, watching a hawk: ‘I ought perhaps to do this for him.’ Therefore, not only is he safe from me, but I am safe from him.
In the 1950s, in a small research station in Madingley a few miles north of where I lay, a scientist called Thorpe experimented on chaffinches to try to understand how they learned to sing. He reared young finches in total isolation in soundproofed cages, and listened, fascinated, to the rudimentary songs his broken birds produced. There was a short window of time, he found, in which the isolated chicks needed to hear the elaborate trills of adult song, and if that window was missed, they could never quite manage to produce it themselves. He tried exposing his isolated fledglings to looped tapes of the songs of other species: could they be persuaded to sing like tree pipits? It was a groundbreaking piece of research into developmental learning, but it was also a science soaked deep in Cold War anxieties. The questions Thorpe was asking were those of a post-war West obsessed with identity and frightened of brainwashing. How do you learn who you are? Can your allegiances be changed? Can you be trusted? What makes you a chaffinch? Where do you come from?
Nothing was wrong with the hawk. She wasn’t sick. She was a baby. She fell asleep because that’s what babies do. I wasn’t sick either. But I was orphaned and desperately suggestible, and I didn’t know what was happening to me.
Despite the eccentricity of a hawk on his fist, what White was doing was very much of his time. Long walks in the English countryside, often at night, were astonishingly popular in the 1930s. Rambling clubs published calendars of full moons, train companies laid on mystery trains to rural destinations, and when in 1932 the Southern Railway offered an excursion to a moonlit walk along the South Downs, expecting to sell forty or so tickets, one and a half thousand people turned up.
Location 1580, after Helen begins walking Mabel in Cambridge to get her used to people:
I am beginning to see that for some people a hawk on the hand of a stranger urges confession, urges confidences, lets you speak words about hope and home and heart. And I realise, too, that in all my days of walking with Mabel the only people who have come up and spoken to us have been outsiders: children, teenage goths, homeless people, overseas students, travellers, drunks, people on holiday. ‘We are outsiders now, Mabel,’ I say, and the thought is not unpleasant. But I feel ashamed of my nation’s reticence. Its desire to keep walking, to move on, not to comment, not to interrogate, not to take any interest in something peculiar, unusual, in anything that isn’t entirely normal.
Location 1614 – this is a cracking part. Macdonald discovers that lots of the 18th and 19th century literature around goshawks by and large describes them as irritable, difficult women (the female goshawk is larger than the male, and generally preferred for hawking). By now furious, she continues going back in time, and finds that earlier writers were much more sensitive to their hawks (and perhaps also their women):
…reading further back I find that in the seventeenth century goshawks weren’t vile at all. They were ‘sociable and familiar’, though by nature ‘altogether shye and fearfull’ wrote Simon Latham in 1615. They ‘take exception’ at ‘rough and harsh behaviour from the man’, but if treated with kindness and consideration, are ‘as loving and fond of her Keeper as any other Hawke whatsoever’. These hawks, too, were talked about as if they were women. They were things to win, to court, to love. But they were not hysterical monsters. They were real, contradictory, self-willed beings, ‘stately and brave’, but also ‘shye and fearfull’. If they behaved in ways that irritated the falconer it was because he had not treated them well, had not demonstrated ‘continuall loving and curteous behaviour towards them’. The falconer’s role, wrote Edmund Bert, was to provide for all his hawk’s needs so that she might have ‘joye in her selfe’. ‘I am her friend,’ he wrote of his goshawk, ‘and shee my playfellow.’
Location 1639 – Macdonald discovers that Mabel likes playing with her, tossing a ball of newspaper around the living room:
An obscure shame grips me. I had a fixed idea of what a goshawk was, just as those Victorian falconers had, and it was not big enough to hold what goshawks are. No one had ever told me goshawks played. It was not in the books. I had not imagined it was possible. I wondered if it was because no one had ever played with them. The thought made me terribly sad.
My vision blurs. We carry the lives we’ve imagined as we carry the lives we have, and sometimes a reckoning comes of all of the lives we have lost.
Being a novice is safe. When you are learning how to do something, you do not have to worry about whether or not you are good at it. But when you have done something, have learned how to do it, you are not safe any more. Being an expert opens you up to judgement.
It struck me then that perhaps the bareness and wrongness of the world was an illusion; that things might still be real, and right, and beautiful, even if I could not see them – that if I stood in the right place, and was lucky, this might somehow be revealed to me.
There is a time in life when you expect the world to be always full of new things. And then comes a day when you realise that is not how it will be at all. You see that life will become a thing made of holes. Absences. Losses. Things that were there and are no longer. And you realise, too, that you have to grow around and between the gaps, though you can put your hand out to where things were and feel that tense, shining dullness of the space where the memories are.
I was furious with myself and my own unconscious certainty that this was the cure I needed. Hands are for other human hands to hold. They should not be reserved exclusively as perches for hawks. And the wild is not a panacea for the human soul; too much in the air can corrode it to nothing.
Location 3124 – Macdonald goes to the doctor. I remember this train of thought well:
He says it will make things better. Which is ridiculous. How can this grey and mortified world be washed away by little dots and lines? Then I start to worry that the drugs will make me ill. Even more absurdly, I panic that they’ll stop me thinking clearly. That they’ll stop me flying Mabel. That whoever I’ll become under their chemical influence will be so strange and alien she won’t fly to me any more.
The American writer and ecologist Aldo Leopold once wrote that falconry was a balancing act between wild and tame – not just in the hawk, but inside the heart and mind of the falconer. That is why he considered it the perfect hobby. I am starting to see the balance is righting, now, and the distance between Mabel and me increasing. I see, too, that her world and my world are not the same, and some part of me is amazed that I ever thought they were.
From the top I can look down and see the whole of Cambridge. The light today is beguiling. The rooftops and spires seem within a hand’s grasp; a chess-set town glittering among bare trees, as if I could pick up the brute tower of the university library and move it six places north, set it down somewhere else.
Location 3697 – also, from a remarkable section, about the nature of what ‘England’ is. Even our nature – hawks, deer, squirrels – are all imports from other cultures, countries and times. The whole passage was too long to underline, so I just chose this:
Old England is an imaginary place, a landscape built from words, woodcuts, films, paintings, picturesque engravings. It is a place imagined by people, and people do not live very long or look very hard. We are very bad at scale.
Mike Harrison on the books he read this year, which is as good a recommendation list as any.
This is a good list, from Toby Litt, and clearly one earned many times through fire.
Some useful reference points in here – bookmarking for when I actually have time to reutrn to it.
"You are in a library that may not exist. You are having a terrible time." And so forth.
17 February 2014
I couldn’t put this down.
I’m a fan of Harrison’s writing, so I might be biased, but this enthralled me. Much of his work veers between Fantasy, SF, and magic realism. This is at most only a little of the latter: a hazy set of tales spread over a year, from the perspective of a man – “Mike” – moving to the north to leave a failing relationship, and finding solace on the side of rocks and in the company of climbers. Not a failing relationship, actually, so much as a dwindling one. Nothing stops or starts here: things just fade in and out.
There is a plot, for sure, told in fits and starts, but threading ever-forward. And yet the magic of the book is in the telling. In some ways, it’s very plain prose – and yet it unpacks in your head, like dense poetry. It’s told with a very narrow depth-of-field: some scenes, some people are perceived acutely; others just float by, either out of Mike’s focus or ignored, either unconsciously or not. And, every now and then, out of the mist, the text just leaps out. I underlined quite a bit; I’m not sure how much sense it’ll make out of context.
It probably helps that I read most of it on holiday in the Peak District, not far from many of the places the gang are. “We’re just here in my book,” I’d say, as we drove along, and I thought about Mike, and Normal, and Sankey, and Gaz, and Mick, falling off walls, sheltering from the rain, arseholing along in a Robin Reliant.
It’s special, for sure. I’m not a climber, but am outdoorsy enough to understand some of the perspective – and, when I lack it, to remember the vested men and women extended on Malham Cove, and imagine who Mike is talking about.
Speaking to Rolling Stone about his novel Libra in 1988 – the year Harrison completed Climbers – Don DeLillo described fiction as an art-form capable of ‘rescuing history from its confusions . . . providing balance and rhythm . . . correcting, clearing up and, perhaps most important of all, finding rhythms and symmetries’.
David was a fireman, whose prematurely white hair gave him a kind but slightly overdressed look, like a professional snooker player.
When they spoke to one another it was in a language full of ellipses, hints and abrupt changes of subject, in which the concrete things were items and prices.
The wind pulled the strings of mucus out grotesquely, so that during the instant before they snapped they floated with all the elegance of spider-silk. Our fingers went numb, only to come back to life twenty or thirty feet up, at just the wrong moment, the size of bananas and throbbing with hot-aches.
‘It’s no good. I can see what to do but I can’t convince myself to do it.’
March is the hinge. There is always the sense that the year might as easily slam shut on it as open.
…jumped off with a thud and stared sulkily across at the abandoned explosives store with its fringe of rank weeds. ‘Looks like bloody Dr Who.’
Earth, 1997: everyone lives under the ground and wears identical clothes. Something appalling has been done to their sexuality and they walk round staring directly ahead of themselves. ‘Not much different to now.’ Every fifteen minutes a voice like the station announcer at Preston says something nobody can understand and they all walk off down a different corridor. Can the Doctor help them?
‘For fuck’s sake shut up,’ said Gaz, ‘and let’s go somewhere we can climb.’
When you hear an old song again like that, one you have not thought about for years, there is a brief slippage of time, a shiver, as if something had cut down obliquely through your life and displaced each layer by its own depth along the fault line.
…we went, as he put it, arseholing down the M6 with the radio turned up full: AC/DC, Kate Bush, Bowie’s ‘Station to Station’ already a nostalgia number. How many times, coming back after a hard day like that, has there seemed to be something utterly significant in the curve of a cooling tower, or the way a field between two factories, reddened in the evening light, rises to meet the locks on a disused canal?
One thick vertical bar crossed at three-quarters of its length by a thinner, shorter one, both enclosed in a parallelogram of shadow: a strange figure, the dark part the colour of earth and lichen, the bright parts green and gold. All morning the sun had been forcing it round to the north. It elongated itself to escape. Eventually it would go too far and break to pieces against the shelves of books, but not before the cat Rutherford had got down in it and wriggled with pleasure.
The life that goes on in cafes is domestic but minimal. Alone in one you pour your tea, unwrap a knife from a paper serviette that says ‘Forte’ or ‘Thank you, we hope you will call again at Marie’s’; there is as much comfort as you like to create out of the rattle of crocks or the slump of the waitress’s shoulders, and no further claim on you as there would be at home.)
On Sunday mornings the Railway Cafe at Grindleford is full of school teachers, up from the Midlands by Ford Fiesta to do climbs in the Hard Very Severe and low Extreme grades. They squeeze between the tables in the hot steamy air, shouting and talking and clattering their plates. The men, in their middle thirties, with longish hair and aggressive but neat beards, often teach maths or geography; some of them can play the guitar. They make thoughtful, steady climbers. Though they lack the imagination, the edge of nervous excitement, to be outstanding, they form the backbone of the sport. They occupy its middle ground. They decide its shape. If they have a fault it’s that they are too minutely concerned to use in the same way the same holds everyone else has used.
The moment you step into a landscape it becomes another one.
All Sankey’s things – the chipped Baby Belling on the draining board; the bits of unmatched blue and fawn carpet; the one-bar fire, the transistor radio, the stereo with its handful of dog-eared albums from the early Seventies – had a used but uncooperative look. He had assembled them, and while he was still alive his personality had held them together; now they were distancing themselves from one another again like objects in a second-hand shop.
‘You spend Christmas,’ I wrote, ‘surrounded by other people’s assessment of you’
If you look straight down an Inter-City second-class carriage, the landscape on both sides of the train flies past in your peripheral vision like images in a split-screen film. You have only an instant in which to recognise an object before it becomes a blur.
Without a word, he levered himself on to The Snivelling and climbed neatly and carefully, without slowing down or stopping, to the top of it. There, he waved his arms disconnectedly in relief. He let out a shout of triumph which made his face seem distorted and animal-like: I understood that Mick went climbing only to release this expression from himself. What it represented I had no idea. For a moment though I was awed, and almost as excited as he was.
Mick’s stories about his job are mixed with sentimental memories of ‘the rescue’, preserved in – and intricated with – an even older level of material from his school days. He often seems to forget I wasn’t there when this childhood sediment was laid down. His tenses saw violently back and forth as he tries to unearth what he wants.
You believe, as you make the first move, that you have already accepted the potential fall.
I played ZZ Top, ‘Deguello’: my aggression seemed endless. The music fell obliquely across the rock, illuminating it like a new wavelength of light to reveal brand-new ways of climbing.
Something seemed to lurch inside my knee, like a small animal trying to escape.
In a figure-four move, you try and sit on your own arm to extend your reach.
Cavers, anyway, are proud of their parties, which are predicated on a greater despair than climbers can ever experience, the knowledge that you are going down into the ground the next day, where it is dark and cold and smells like a hole in the road; or on a greater joy, which is that you have come up again.
He turned up ten minutes later, in a bruised Transit van belonging to his firm. Inside, it smelled of oil, Swarfega and old polypropylene rope.
‘Ever been? One minute nothing’s happening. They’re just cruising round the pace lap. The next it’s like Apocalypse Now in a cinema full of hot dog stands. You can’t see for cinders and all you can smell is fried onions. Fucking awesome!’
As if pigments could learn about what they represent, events understand themselves more accurately towards the end than the beginning, the freshly quarried boulders photographed at Millstone Edge have confirmed their outlines and no longer resemble melted lumps of sugar.
"The notion that an artist’s life project, his crowning glory, should have been a sort of side project, something done in the margins, as it were, while he was busy getting on with the real thing (whatever that was) is to be savored. It expresses an almost universal truth, and says everything about Phillips’s infatuation with whim, chance, and the vicissitudes of choice." Lovely review. Also, gosh, the second edition looks exciting.
"Work energises work, and I have set about filling some of those remaining frames for Version II which, in anticipation, hold blank grey sheets. Half a dozen have already appeared with more to follow as the exhibition heads to its closing in January 2014. One such revised page features Peckham mud combined with that gathered from a nearby river in Massachusetts." What a wonderful way to hang it.
"I remember a Christmas as a boy where I was given both a bicycle and a copy of The Hobbit, and strict instructions to make immediate progress with both. [My dad and I] continue to find it very easy to choose birthday gifts for each other." Mainly linked just for this paragraph.
"Though I lost the original notebooks, I still have the journal. It stood in a complex relationship with, and served as a feeder for, the actual writing of Climbers, which went on concurrently elsewhere; also as a record of one of happiest and most productive times of my life. The pages were carefully numbered. The photographs, especially polaroids, have become faint and dark-looking at the same time, tinged with purples and greens not present in the lived scene." Beautiful documentation of work in progress.
"Truth be told, I’m a bit tired of pixel art, but work like this aspired to transcend mere pixels. And I think that’s why it still packs a punch for me today. It’s evidently not content with the paltry colour depth and resolution it’s forced to use. It’s not about celebrating its form, unlike today’s pixel art, which is all about the form and evoking aesthetics of the past without quite nailing their fundamental nature. Instead, these backgrounds are all about what they depict – little scenes, ripe with little stories and humour, and inflected with travel pornography." Great writing from Alex, and a lovely cherrypicking of the selection. I am not a huge SNK fan, systemswise, but I adore their background art – and have a particular fondness for the whole package of Garou: Mark of the Wolves. This post does a lovely job of explaining why.