I like to start at the western end, off Finch Avenue. To get there, I walk over a railway bridge that looks nothing like a railway bridge, then before reaching the corner, hop up the low wall between a hawthorn and a young oak, and then like many others, cut across the desire path worn into the grass.
At first glance, there’s not much to see. At second glance, not much more. There are two hedges either side of a gate, rectangular slabs of green, largely blocking sight of the road beyond. They’re a little raggedy, but provide a popular skulking place for the local Dunnock; especially the hedge on the left, technically forsythia, but mostly serving as a framework for ivy. Though currently, scruffy spears are poking up, dotted with those cheerfully in-your-face lemon yellow flowers.
All of this nature appeared to be on tap, but to be there in Melbourne, during a summer of killer fires, was disconcerting. Although increasingly aware of the pace of climate change, or climate emergency back home, here the movement felt faster and more urgent than ever. This was Life going wrong at speed, not a sad decline over decades or years, but a race to destruction on fast forward.
Surrounding the wall, stubby ash and elephantine coils of Cherry Laurel gave a writhing border to the site, which, just for a moment, became an abandoned sacred grove. For some reason – the unnatural quiet perhaps – the spot felt like a Celtic ‘Thin Place’, or more accurately a broken thin place, as here it seemed, any doorway to the eternal world had been blocked by litter and forgotten.
A mysterious letter. A secret journal. An ancient wood, in borderland territory. Deceptive paths and strange, ghostlike figures, stirring at the edge of the trees. These were some of the elements that quickly took hold and drew me into Ryhope Wood, when I first read about it aged 15.
Recently I re-read it, rediscovered and found many new things to treasure.
You made a myth of a whitewashed wall,
Jarring ambassador in green…
I never considered handles before this, never wondered who’d held my borrowed basket last filled it, gripped it tight, placed it back neat or abandoned by checkout, unsettling us in its eerie. Didn’t ask, didn’t wonder what those hands did, who they touched waved slapped caressed, ever so tender. Did they stare at the milk…
The day Bristol Museum and Art Gallery’s Chinese Room disappeared, was the day I first realised that places, like people, can change.
To my childhood self, the idea that a place wasn’t fixed, that it wouldn’t necessarily always be the same and might even vanish, came as a shock.
It’s a strange thing to walk into someone else’s memories; especially those that have been woven and tangled about a place. A place that you’ve heard about, but never visited. Somewhere that means a great deal to the person who told you about it, but for you, who’s never been, it retains the status of a rumour.
For the young me, the ghost stories and folklore of Britain had a powerful effect. Odd to think of it now, but reading about the dead as a child, brought the wider world to a rich and vivid life.
Out there, it seemed, was a land, far older, stranger and deeper than my limited experience. A world where multiple layers of history could still be seen, or felt, not only in old houses, ruined castles and abbeys, but also in and around more ordinary sites such as shops, factories, pubs and suburban streets.
Two thoughts, or questions, struck me recently as I reflected on the books I’ve read during 2018. The first was, where do all these books come from? I don’t mean in a literal sense; from a shop or library, but where did I hear about them? I often wonder this about authors in end-of-year-round-ups of…
Imagine a world where there was a demand for poems to be repaired, plot holes to be fixed, unnecessary exposition removed, unfinished tales completed, or lost books and stories to be patched-up and rewritten. The literary equivalent of MyBuilder; let’s call it, Your writer.
