Standing on a windy corner of Ku'damm in Autumn

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By Emily Richards:

It is six o'clock in the evening and I am waiting for a bus because I chose to miss the last one. Here at Olivaer Platz in Berlin, as the people run out of their offices to jump on buses, speed across lanes in their shiny black BMWs, or swerve on their bikes through traffic in their anxiety to be home, I am unable to move, mesmerised by this autumn evening.  I have passed through this place, one of the busiest in Berlin, at different times and for different reasons for twenty-five years now. Once it was strange to me. Then, it was home. Now it is strange again.

It is not yet dark but there is a haze upon the air, and some of the street-lamps are already glowing silvery-bright. The autumn light turns from gold to a translucent pallor, tinged with the colours of the red, gold and brown leaves swirling in the wind. The flowers on the corner of the Platz, planted in a gesture of beauty amidst noisy traffic, still grow in green profusion, though a dimness is settling over them as evening falls. They are the first to lose their outlines in the twilight; the first to be overlooked as our faces turn towards clocks, mobile phones, LED displays to see if it's hometime yet, so that the longing which has built in us all day can be released like the tension on a trigger.

But I won't be going home just yet. I'm kept here almost against my will by the fading light, by the faces of Berlin that pass me by one by one and look at me for longer than English faces would, on this evening, two days after the general election. In the election, a radical right-wing party gained over a quarter of the vote in parts of Germany, and thirteen percent overall. I look at each person who walks, ambles or hurries past, and their faces look different to me.

I never noticed how misshapen and worn a human face can look. Sagging skin, stooped shoulders, a grimacing mouth; orange blusher scarring the too-pale face of a middle-aged woman who plunges in uncomfortably high shoes to her next appointment. Her head's skewed around awkwardly to pin her mobile phone to her shoulder as she talks into it, gesturing vaguely, staring at nothing. A tall, elderly woman with thinning brown hair and feet too plump for her old black shoes walks as stiffly as if on stilts, slowly raising each foot high above the pavement before grinding it back down. A younger woman with half-shaved head, dressed entirely in black with wide Cossack-style trousers and Russian boots, walks boldly past, but her clothes are dusty, nearly grey in places. A young man ambles in front of me, dark hair closely gelled to his scalp, eyes glued on the tightly-clad bottom of the young, hard-faced woman ahead of him, whose heavy gait is disconcertingly masculine for someone with such a bleached-blonde ponytail and such conventional make-up. Her double chin sags and the lines around her eyes crease as she swings her head round, shouting into her phone. An old man – but surely he's not much older than I am! – with a loose mouth, a white fringe of hair and a red nose stands for minutes in front of a rubbish bin, staring into it, looking for bottles he can take away and turn into money; then he looks around swiftly, bends to the ground and snatches up a fag-end before swinging away, arms flopping wide and uncontrolled in his badly-fitting beige jacket.

There is a sense of dissolution in the air.

The summer dissolves; the outline of the Ku'damm, of its buildings, buses, lamp-posts and cars, seems to dissolve in the haze of this autumn evening, in the rustle and whisper of the leaves moved by the wind. Before my eyes, the safety I once found here dissolves too. The reassuring, orderly security of these middle-class Germans loses its outline in the dusk, their aspirational Wirtschaftswunderland revealing itself as the illusion I should have known it to be. I did know it, really. But the shared illusion was a comfort, and, as such, transcended its own illusory nature to demonstrate its greater truth: that security, beauty and order all matter, and that those who are denied them or have lost them or mistrust them will turn to more dangerous illusions of their own; for example, that rejecting everything outside your own culture and experience will keep you safe. In this way they remove safety for everyone, not least themselves. For what if one day their fellow voters turn to them and say, "But you had a foreign grandparent did you not? You were once kind to a refugee, we hear." Then you too will be cast out. This is what happens. But by then you'll have done your damage, and it will be too late to be sorry.

Yet nonetheless, on this autumn evening, the wind whispers to me that something is stirring, something is afoot, something is changing. And I prefer this in the end. I prefer it, though I don't know what it is, what it will demand of me, what it will do to me.

And now here is my bus. And like all Berliners I might be foolish enough to miss a bus once, but I won't miss it twice. For who knows when the next one will arrive? Who knows when I'll be home.

You can read more from Emily on her blogs The Castle Captures Me and Boring in Berlin.

Printed Matters: The Line Between Two Towns

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We are really excited about this place-related project from our friend and Elsewhere contributor Laura HarkerThe Line Between Two Towns is a new zine that explored the Esk Valley line between Middlesborough and Whitby in northern England, bringing together writers, poets, artists and photographers who have all been inspired by the different destinations on the line between the two towns. Here is Laura's introduction to the zine, and you can order your copy online here.

The idea behind this zine came from wanting to explore the differences between Whitby and Middlesbrough, and all the unique nuances and cultures that set them apart from one another. Though there are such stark differences between the two towns, there is still one thing that brings them together: the Esk Valley Railway.

It clocks in at only 36 miles long, but the Middlesbrough and Whitby line was once part of a larger network of railways that covered the area until many lines were closed after Dr. Beeching’s cuts. Thankfully, the line remained open due to its popularity. Originally intended to serve the mines and quarries across the region, the Esk Valley line quickly became a hit with Teessiders who realised that it placed the North Yorkshire seaside just over an hour away.

Over the past few decades, the area’s industry has disappeared, Brits have set their sights on sunny European beaches, and the line is now rarely busy except for Bank Holiday weekends. But it continues to be an important lifeline for many in the villages it passes through, connecting them to Middlesbrough and Whitby.

I was born in Middlesbrough but we moved to Glaisdale, just outside Whitby, when I was 11. Carefully picked up from my urban childhood, I was transplanted to the countryside where most other kids were members of the Young Farmers and thought my Boro accent came from Ireland. Even though my childhood so far had been spent less than 30 miles from Whitby, I realised there was a large gulf between these two locations – industrially, culturally and aesthetically.

This isn’t something that bothered me that much until I moved to Berlin and I was constantly asked the same question: Where are you from? When Germans and other non-Brits asked, the answer was easy – I went with North Yorkshire. But when Brits asked, expecting a more specific pinpoint for their mental map, I couldn’t bring myself to give just one answer.

I couldn’t just say Whitby and ignore Middlesbrough or that would be turning my back on my first decade, family ties, and roots as a Teessider. But I couldn’t simply say Middlesbrough, as I’d spent 15 years on the moors by this point. My Boro accent is long gone and my Middlesbrough geography gets hazy whenever I step off Linthorpe Road in the centre of town – I can’t quite stomach saying I’m a true Teessider. And so I thought about writing a personal essay on this identity crisis and the towns that sparked it, using the Esk Valley Railway to bind it all together. When I realised there was just too much for me to say, I decided to make this zine and open it up to submissions to try and create something of a printed tapestry of the area.

The zine includes works from local writers, poets, artists and photographers, all of which have been inspired by stops along the line. Threading together their work along the context of the Esk Valley Line, I wanted the zine to explore the cultural and landscape shifts that can be found taking this particular train journey, from starting in Middlesbrough surrounded by tired factories and ending in Whitby just steps from the beach. And it might actually help me figure out what to say whenever someone asks me where I’m from.

The shingle beach, Crosby

All Images: Chris Hughes

All Images: Chris Hughes

About a month ago we published the essay The War Memorial in the Sea by David Lewis. As always, we love to hear what people think about the work we publish both here on the blog and in the print journal, and we are especially pleased when it inspires as moving a response as this, from a long-time friend of Elsewhere, Chris Hughes:

Following on from David Lewis’s fascinating piece about the architectural rubble spread on the beach north of Crosby promenade after the clearance of bomb damaged houses and major public buildings in Liverpool and Bootle at the end of the Second World War I send you these photographs taken a couple of years ago on the beach just south of the shingle. Like David I have tramped across the shingle to find the remnants of the large buildings of Liverpool destroyed in the bombing and once found wonder in imagining which of the buildings a remnant comes from. Looking at the photographs from the time, and to see the sheer scale of the destruction, it is doubtful that even the most brilliant architectural historian could identify the pieces; it’s enough to find them and marvel that their presence is still here.

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But what of the bricks, thousands, probably millions of bricks, half bricks and the grainy rubble that was once a brick that lie scattered along the beach, some still resembling the cuboid they once were, others pummelled by the tide over and over again to become a rounded pebble? What a range of colour and texture is here considering that all were created from the clay of the local area and the North Wales brick works.

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Following the death of a good friend who was also a lover of stones, shells and drift wood, we were asked to bring a stone to the funeral from our own area and a cairn would be built of these stones as a symbol of our love and friendship. There are no natural pebble beaches on the Sefton coast; it’s all sand, so it was here, to Crosby shingle beach I came to select two very different rounded remnants of bricks to add to the cairn. And very good they looked too, bright red and orange among the predominantly grey and white stones from other parts of the country that were piled up along with them.

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On a very windy day in February 2015 we went to walk among Anthony Gormley’s cast iron men on Crosby beach and I saw the way that the wind had carved out the patterns on the sand, blowing away the smaller grains, leaving the heavier stones and shells each with a tail of sand in the lee of the gale. The larger pieces, almost whole bricks, ended up isolated in little pools of water; a tiny moat around the brick castle. I started to look for the different colours in the bricks, the reds and browns, oranges and yellows, but also the blue and black. Was this a different band of clay? Was it crushed shale or even clinker from the iron furnaces of the day? I’ll probably never know but the colours will always remain in the bricks of the Crosby shingle beach.

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Moor-haunting

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By Elizabeth Wainwright:

I moved back to a place that I know; it tugged me in my sleep, seeped into my blood like wine and desire. Suddenly I am on Dartmoor, feeling myself dissolve into its shifting mist and separate from my body – like long ago when I was someone I am not, and being under the influence, I drifted away from myself when I hadn’t chosen to. But this time I choose to wander away from myself: not sure whether I am an individual or part of the churning mass of life.

I have become fixated by hares, those mythical and elusive creatures. Search them in spring, and if you’re lucky (I haven’t been so far), you’ll witness the ‘mad march hare’ boxing antics; elegant creatures transformed into tall, aggressive dancers; each one Odette and Odile, black and white swan, fighting for courtship rights. This time I hear them snorting nearby, calling the approaching solstice into being like a spell.

I’ve taken shortcuts that were the long way round. I’ve opted for easy routes that were the boggy, marshy, slow routes. I should know better. But Dartmoor is an ancient cauldron of reason and desire; and I am learning that I gain less from a level-headed caution than I do from imagination and intuition (whilst all the while feeling the edge of my compass in my pocket, safe in the knowledge that someone knows where I am). A stones-throw away in Exeter, where I live, I enjoy wandering and observing life in the city – as Virginia Woolf called it, ‘Street Haunting’. On Dartmoor, I do the altogether more consuming, wide-open-space version; I become a moor-haunter, a Gore-Texed Artemis, roaming; sometimes searching, sometimes found.

Joseph Campbell said, “What the myths are for is to bring us into a level of consciousness that is spiritual.” Dartmoor is a place in Devon, but more than that, it is a myth. It strips me of any role, any context, any time, and takes me into the place behind the pause button. It is here I have heard God and myself. Where I’ve reacted to and interacted with nature. It’s here I’ve doubted myself, and then felt the most ecstatic, frenzied, deep but momentary understanding of absolutely everything. And also where I’ve simply watched a sunrise with a quieted mind and mug of tea.

Once, I saw the carcass of a dead moor pony and I stopped to look. It clutched a foal, half-born. Half in the world and half hidden. Dead before it was alive. The foal wouldn’t get to stagger on lanky legs; hunker down in winter snow; doze in a summer haze to the amusement of passing tourists. Dartmoor is barren, heartbreaking. But it is not cruel. It would rise up to meet the death with soft grazed pale grass, and with it, feed worms, ravens, plants. Nothing mourned, but nothing wasted either. Suffering without cruelty. We’re terrified of our own mortality – especially in the age of the self. But perhaps that pony had no sense of itself as a separate being. It was always connected to all the other creatures on the moor.  “The tygers of wrath are wiser than the horses of instruction”, but these are not horses of instruction – they are wild and free, hardy and intuitive. Theirs is a third way inbetween Blake’s aphorism; inbetween wrath and instruction, desire and reason. I see myself there, feel it on Dartmoor – theirs is the here and now, the mysterious kingdom come, on Earth. Not fierce uncultivated energy, and not mindless robotic being either. Rather, free to roam and to congregate, to sense and respond.  

I flinch when someone asks a question to which I must respond by saying ‘I like walking on the moor’. It feels like Peter’s denial before the rooster crows, claiming I never knew it. I feel Dartmoor glance at me, granite eyebrow raised, hurt. I do like walking on the moor, but that’s the method, not the purpose. For me it is no hobby. It is essential, like touch, and I like to think it is essential for Dartmoor too. Because we need people who are happy to get lost and get found again; to sit on a rock and all-at-once smile and weep at the grandeur and beauty of a sight that contains scale and possibility; colour and tiny miracles; music. Not a ‘nice view’ that we do not really see, but rather a roaring, existence-shaking singularity where all that ever has and ever will exist is here in this one moment, and it’s all the more heightened because for some reason we get to experience it but the dead foal never will. We need to tap into the soul-aligned ecstasy of being out in non-human nature (rather than mind-aligned ‘pleasure’) because when that joy takes root and turns into astonishment, deep connection, essence, and understanding, it becomes so infinite that one person can’t possibly contain it and so all we’re able to do is give it away, maybe to a neighbour or a child, or to the world. We become protective of it; we lovingly work in a garden, or furiously work on the global sustainability agenda (knowing that ‘sustain’ is a pale shadow of what we really feel or want).

But it all starts with a place, a call of the wild, a call of the divine. And for me that place is Dartmoor – its purple heather that fills lines of folk songs; its yellow summer gorse that in winter, yellowless, shelters sheep; its gentle springs that swell into churning white water; its storied tors and ancient bronze-age traces; its space and howling peace; its smells and shape-shifting light and weather and mood.

Dartmoor is a grazed, razed, bleak and beautiful place. No, it’s more than a place – it’s an experience. But it reclaims the idea of ‘experience’ from those companies that two-dimensionally offer ‘great customer experience’ or a ‘really wild experience’. Dartmoor owns the real meaning of the experience – ‘to feel or undergo; observe as a source of knowledge; an event which has affected one’.

Dartmoor affects me; it reveals knowledge and wisdom that – in my broad travels –  has not disclosed itself elsewhere in quite the same way. So I will keep on moor-haunting. And if we meet, and we talk about pastimes – please know that Dartmoor is more to me than that. It is stopped time; truth-telling time; wonder-full, wild, sensual, transformative time. It is never just passed time.

About the author:

Elizabeth Wainwright is The Ecologist’s nature editor, and she co-leads the community development charity Arukah Network. She has lived, worked and travelled around the world but is now back in Devon, UK, where she is from. @LizWainwright www.elizabethjaynewainwright.com