Libre

P1010010.JPG

By Kenn Taylor:

Those 1950s American cars are a key symbol of Cuba under Communism, giving a bit of old glamour to all those Lonely Planet images and travel documentaries. They’re real enough, seen all over Havana. Many however are like ‘Trigger’s Broom’ - having had so many parts replaced they’re more new than old. There’s no denying though that they’re still cool. In Cuba, they are a key part of that desire for ‘difference’ that attracts people to a place. And their owners are only too keen to earn some extra cash taking visitors for a ride along the sea drive, the Malecon, under the sun and close to the spray of waves.

Less well photographed though are the Ladas. The reason the old American cars are still there of course, has largely been the lack of something to replace them, due to the ongoing economic blockade. Though now they’re so famous they are likely to always remain, as visitors will always want something of the past that meets their expectations. The Ladas from Mother Russia though, were the main replacement car for all those decades after the Revolution. They were popular locally for their ruggedness and relative modernity, though of course the Ladas themselves are now also ancient. While less well known as a symbol of Cuba, Ladas are a big part of the modest traffic that runs around Havana, in particular being used heavily as taxis.

I had little naivety about Cuba’s ‘alternative’ system. While there’s a general lack of the hunger and homelessness that marks much of the UK, in turn you are faced with a Government which tolerates no alternative political parties or dissent and heavily restricts its citizens. While basic needs are generally met, the standard of living is also low. Those old cars may have a certain romance and now a tourist income for their owners, but having to constantly repair a forty year old refrigerator has less allure.

The famous free education in Cuba also doesn’t always translate into liberation. In my final Lada taxi to the airport I spoke at length with the driver. He had a master’s degree in IT but saw little point in using it in Cuba when he could make more money by driving. As well as have more freedom, not having to work for the state. He talked about how he felt his education was wasted and how, like many, he wanted to leave. In turn he asked me about IT work in the UK. I said as far as I knew, it was well paid, but highly competitive. And that a lot of IT jobs were now being ‘offshored’ to other countries where labour was cheaper. He was aware also that we had to pay for university and asked how much it would cost to study for an IT masters. It took me a bit of time to work out the maths and then convert it into to Cuban currency. He was aghast at the expense. “Yes, it’s a real problem,” I said. “Especially if you’re from a poor background.” 

We were pretty quiet after that as we did the final leg towards the airport, pondering the madness of our two systems. Neither of which anyone really believes in anymore, both slowly falling apart. 

***

Kenn Taylor is a writer and arts producer. He was born in Birkenhead and has lived and worked in Liverpool, London, Bradford, Hull and Leeds. His work has appeared in a range of outlets from The Guardian and CityMetric to The Crazy Oik and Liverpool University Press. www.kenn-taylor.com 

On the tourist trail...

Rothenburg.jpeg

By Paul Scraton:

From dawn until late into the evening, long after dusk, they gather on the street beneath our hotel room window. They come for the famous view, the one that adorns the front covers of guidebooks sold in a multitude of languages in the town’s souvenir shops; the one that features on postcards of the town in spring sunshine and winter snows; the one that provides the backdrop for an early 1990s computer game. It’s the view of the town that appears at the top of the town’s Wikipedia page and is the number one sight on Tripadvisor. 

It is also the title picture for this piece. To the outside world, this view is Rothenburg ob der Tauber, and beneath our window visitors to the town gather, waiting patiently for their turn at a safe social distance, to take their own version home with them. Only, as our hotel receptionist could tell us, this summer there are far fewer amateur photographers than there might normally be. 

The world doesn’t need another piece of writing about how strange this summer has been, but on a long trip south from Berlin to the Alps it was actually possible, on the high passes and hanging valleys, on the ridge line and down by the lake, to feel as if nothing was actually happening. Walking in the mountains it was possible to pretend, if only for a while, that the world was as it was before. But in between, in those places that form the highlights of many a grand European tour – Rothenburg ob der Tauber, Neuschwanstein Castle, the Rhine Falls – it was clear that this was a summer like no other.

Neuschwanstein.jpeg

Perhaps in any other summer, right in the middle of school holidays and the peak tourist season, we wouldn’t have even bothered to brave these places. Because of course, like all travellers, we like to think we are different to those crowds of tourists who follow the well-trodden trail through the checklist sights, ticking them off before shuffling back onto the air-conditioned coach. Indeed, these are the places we strive to avoid, even though they have become wildly popular for a reason, whether for their beauty, their location or simply the stories and the place in our culture they hold.

We are tourists too. We travel to escape the everyday and to see new things. This is our chance. In Rothenburg ob der Tauber we walk the city walls and soak up the atmosphere of the old town as a thunderstorm rolls in. At the Rhine Falls we follow a group of Dutch motorcyclists, sweating in their leathers, down the steps to where we can see and feel the power of the water rushing by in front of us. In Neuschwanstein we realise that even a pandemic cannot stop of the lure of this fairytale castle on the hillside, as all the tours are booked up and the only option, the friendly young man in a facemask tells us, is to join the queue at six in the morning and hope for returns.

RhineFalls.jpeg

But the absence of crowds is unsettling too. These are places that live from their visitors. What happens if they don’t come back? We cannot know what travel and tourism will look like in the short to medium term, let alone further into the future, but in Rothenburg ob der Tauber empty shop fronts on the main street tell the story of businesses that haven’t made it out the other side of the pandemic. And what we also can see is that it is not just about coronavirus. The clues were there on higher ground. Beyond the current situation, the climate crisis requires that we rethink all aspects of our lives, including how we travel. In the mountains it was possible to feel like none of this was happening, but it was only if we refused to look closer.

A guesthouse called ‘Glacier View’ has long been a misnomer, as the ice has retreated around the corner. It’s out of sight and will soon disappear entirely. Local newspapers write of dangerous rock falls on the high peaks, of unstable ground caused or at least exacerbated by climate change. And as the cable car carries up higher than our legs or mountaineering skills could ever manage, we can’t help but wonder what a ski season looks like without any snow?

We might have been able to escape the pandemic by climbing ever higher on the trails, but the feeling that up there things were as they ever were is just an illusion. We can’t go back, even if we would like to. The real question is – where do we go from here?

***

Paul Scraton is the editor in chief of Elsewhere: A Journal of Place and the author of Ghosts on the Shore: Travels along Germany’s Baltic coast (Influx Press, 2017) as well as the Berlin novel Built on Sand (Influx Press, 2019).  

Irreplaceable – an interview with Julian Hoffman

Irreplaceable Wainwright Twitter.jpg

We are extremely pleased to hear that Julian Hoffman – longstanding friend and contributor to Elsewhere: A Journal of Place – has been shortlisted for the 2020 Wainwright Prize for Writing on Global Conservation. Julian has been shortlisted for his book Irreplaceable, in which he visits habitats around the world that are under threat and which is described on the Wainwright Prize website as being ‘not only a love letter to the haunting beauty of these landscapes and the wild species that call them home, including nightingales, lynxes, hornbills, redwoods and elephant seals, it is also a timely reminder of the vital connections between humans and nature, and all that we stand to lose in terms of wonder and wellbeing.’

To mark the shortlisting of Irreplaceable for the Wainwright Prize for Writing on Global Conservation, we spoke to Julian about his book, the places he visited and the people he met, and the work that is being done and needs to be done to prevent the further loss of such special and important places.

Interview by Paul Scraton:

Elsewhere: One thing that strikes the reader even before you sit down to get stuck in to Irreplaceable is the diversity of places you visited in the course of your research? Was there one particular place that can be seen as a spark for the project, and how did you come to selecting the places to visit for the book?

Julian Hoffman: The spark for the entire book was the Hoo Peninsula in Kent. Slotted between the Thames and Medway rivers, this extraordinary span of glorious marshland, tidal creeks and ancient villages was threatened to be turned into Europe’s largest airport by a proposal championed by London’s then mayor, and now British prime minister, Boris Johnson. The development would have devastated the peninsula, eradicating a massive expanse of protected bird habitat, as well as levelling three entire villages and their 13th century churches. It would have stolen so much of what makes the place so special. But what inspired me to write specifically about the plight of that threatened place was the resilience, bravery, passion and persistence of three people who were doing everything they possibly could to save this home ground of theirs for the benefit of both human and wild communities. So that was the beginning, the Hoo Peninsula; and that day in the company of these three residents was the day when I suddenly understood what loss in the natural world meant. Because so often we measure loss numerically, through so many acres of destroyed woodland or meadow, or by how many millions of breeding birds have vanished from the skies of Europe. But through the stories of these people, and the complex, interwoven beauty of the place and its wildlife that they introduced me to, those numbers became real, visceral and relatable. They were suddenly transformed into the vibrant reality of lands, waters and lives that would be ravaged by the project.

After that, I realised that to approach the issue of loss in the natural world, and more importantly the potential for resistance to that loss, required a global perspective if I was to do it justice in any way. Because these issues affect human societies and nature across the planet. I also wanted to document as many varying habitats as possible, because biodiversity and the flourishing of communities are utterly dependent on a spectrum of functioning ecosystems. So I followed up stories of threatened islands, coral reefs, mangrove forests, tropical jungle and tallgrass prairie, while also consciously investigating what urban nature and green places mean too. And finally, the other important criteria for selecting the threatened places was my desire to trace their stories in real time, exploring them alongside the brave individuals and communities seeking to protect them. Which meant only writing about those places still actively threatened, where no final decision had been made regarding their future. Sadly, this also meant that some places I’d originally intended to include in the book had to be left out because they were destroyed before I could even get to them. These are places that exist solely in memory now for the human and wild communities that once knew them.

Elsewhere: Some of these places are very small… perhaps even unknown to people who live within a couple of miles of them. Can you give our readers a sense of why such places are so important and, as in the title of your book, why they are Irreplaceable?

JH: It didn’t take long to realise that the size of a place bears little relationship to its depth, or to the quality of connection fostered there by people. Our attachments to place can be founded on the small and intimate as easily as the expansive and remote. And for a world in which more than half its human population is urbanised, it’s critical that we pay more attention to small green spaces in cities and local suburban sites. In some respects, it’s taken us a pandemic to recognise just how essential these unsung places are. A recent survey by the Campaign to Preserve Rural England revealed that over half of respondents said that during lockdown they had a greater appreciation for how important local green spaces are for a community’s health and wellbeing. And yet these are precisely the kind of places that are at greatest risk of being destroyed, regularly threatened with being turned into car parks, luxury housing and commercial interests. And with the British government’s new slogan of ‘Build, build, build’, the situation will only get worse, when green spaces of enormous importance to local people will be regarded as expendable and sold off for development instead of being preserved for the benefit of the wider community. Between 2007 and 2014 alone, only four of 198 applications to close allotment sites were rejected by the Secretary of State. So even though allotments are absolutely protected in UK law, the other 194 were destroyed. And with their loss, as with any loss of green space in a city, nature suffers another shrinkage of real estate in which to dwell alongside us, and that world of potential connection close to home, where we often first come into contact with nature, is further eroded. And critically, for those people who lack access to green spaces further afield for socio-economic reasons, these small, unsung, nearby places are often vital for their wellbeing.

Elsewhere: One of the words we’ve heard a lot in recent years has been the idea of “wilding” or “re-wilding.” What role, if any, do such projects have in the struggle to save endangered places?

JH: I think rewilding is critical to the return of natural abundance. By leaving space for vital, elemental processes to regain their fluidity and wild expression, we enable a greater flourishing. And just as importantly, between rewilding and what in North America ecologists call ecological restoration is the opportunity to right some of the wrongs and heal some of the wounds we’ve inflicted on the world’s lands and waters. To rethink the direction that our neo-liberal economic and political systems have taken us, recalibrating our value of what matters in the process, so that the healthy functioning of ecosystems and the prospering of wild communities is part of our everyday deliberations when considering human wellbeing. 

It’s a complex and emotive issue, and there are purists and non-purists to further complicate matters of rewilding, but what is fundamentally exciting about the prospect is how it offers the chance for imaginative leaps to be made, reconnecting us to species, landscapes and places that have been thinned of so much of their meaning because of our intensive industrial, agricultural and extractive practices. Actions that have led us to a world of separation and estrangement. But enormous possibilities for restitution exist, like the Kent Wildlife Trust’s plan to bring bison to within walking distance of Canterbury to aid in the creation of woodland habitats and their multitude of ecological niches. Or like the fantastic community rewilding projects that are taking shape in Scotland and elsewhere, bringing together landowners and individuals with varied backgrounds and interests in the pursuit of a more inclusive and wilder landscape. It’s not the answer to all the issues, of course, and many of our richest seams of biodiversity, such as wildflower meadows, which have declined by a devastating 97% in the UK since the 1930s, are critically dependent on human influence, but rewilding should be seen as one of the many major tools we have to reanimate the planet’s green and blue spaces. And just as importantly, it’s imperative that we simultaneously rewild the heart in a way that makes kinship with other forms of life a natural part of being human.

Elsewhere: What struck me when reading Irreplaceable was how the stories of these places and their futures were deeply interlinked with the people committed to defending them. Can you share something of what it was like to meet such people and also whether what you saw and heard from them changed your own feelings about endangered places?

JH: From the very beginning of the book I wanted people to be at its heart. I think the separation between people and nature can sometimes be replicated in nature writing and film-making that either actively seeks to exclude humans from the scope of the work or creates an artificial island of fecundity, reinforcing not only a distance between species but also a false narrative about how well the natural world is doing. But with Irreplaceable I wanted to make the interconnection between people, wildlife and place a fundamental aspect of the story. Because in order to repair this world of wounds, in Aldo Leopold’s stark phrase, we need to deepen that weave. And what I discovered in my journeys to threatened places, where I sought out ordinary residents as much as ecologists and conservationists, was the profound capacity we have for attachment with the natural world. The people I met there – taxi-drivers, soldiers, teachers and nurses – were actively enlarging the idea of home while trying to defend a place of importance, so that it included the more-than-human in its embrace. It was a deeply moving experience for me, but also wonderfully joyous, welcoming and inspiring being in their company. They showed me that positive, transformative change is possible.

Elsewhere: And have you heard back from any of them as to how they feel about the book?

JH: Yes, I have. And each time it was a really emotional experience after all the anxiety of wondering whether they felt I got the stories they’d entrusted me with right, which often included their own personal worries and vulnerabilities too. But the response has been overwhelmingly positive. Last November I was involved in an event for the Sheffield and Rotherham Wildlife Trust on the theme of trees and irreplaceable ancient woodland and they’d invited the group of people I’d spent time with who were doggedly seeking to protect the ancient woodland of Smithy Wood, with 850 years of continuous wooded history, from being turned into a motorway services off the M1. I hadn’t seen any of these people since 2015 when they shared their stories of this woodland with me, and although we were now in a concrete venue in the middle of the city you could still sense that intricate world of trees and leaves and roots around them. And by sheer coincidence, that was the same day that we learned that Smithy Wood was most likely to be spared. And it reminded me that although four years had passed between our meetings, while I had been writing about other threatened places in the world, their fight to save that irreplaceable ancient woodland had carried on throughout that entire time. So it’s been an incredible honour getting to know such resolute people.

Elsewhere: So often it feels like positive environmental stories come down to the commitment and hard work of individuals or small groups. What do you think governments and other institutional bodies need be doing if we are to stop the loss of the places you write about?

JH: Firstly, and most importantly, to listen. I was amazed by just how many people in my journeys felt a connection to the natural world and green spaces in one way or another. And yet their concerns are largely ignored. The almost complete lack of attention given to environmental issues in its broadest sense during election campaigns and debates is a sign of how low down the list of priorities it is for most politicians. For many of them, particularly on the right, though by no means exclusively, the philosophy of perpetual economic growth is hardwired into their souls. They can’t see around it; neither what it costs in terms of other measures of wellbeing or how it’s a trap, a hamster wheel you can never escape from. All you can do is keep building, extracting, devouring. None of which is a destination in itself, just a way to keep the wheel spinning sufficiently that you can convince yourself you’re actually going somewhere. But listening to others’ concerns, especially when they don’t conform to your vision of the world, and absorbing exactly what scientists are saying about the devastation that climate change and biodiversity loss will cause, is absolutely imperative. And if they won’t listen, then it’s up to us as citizens to be far more pro-active when it comes to voting for parties and politicians who will.

Elsewhere: In a book like yours, where the situation can so often seem desperate, it can be hard to find hope. But I found Irreplaceable extremely hopeful even if not every struggle will be successful. Did you feel hopeful after writing this book and how do you feel now?

JH: I remember right back at the beginning, just after experiencing the Hoo Peninsula in 2013, wondering where the trajectory of the book would take me. Would it be a deep dive into grief, or an angry rant about the destructive power of capitalism? Would it be an elegy, or a tome of hopelessness? I really had no idea back then how the journey would unfold, but it didn’t take long to witness and recognise the enormous potential and capacity for positive action when people stand up for what’s right. When people work in cohesion on behalf of something bigger than themselves, uniting around an idea, a place, a wild species. This is what I came to call radical hopefulness. When the word hope is understood not in a passive context, which is what we all commonly do, but as an active verb. A verb that makes change possible solely by acting on it. So, yes, I remain hopeful, in the sense that I experienced what is not only possible on my journeys but actively happening in communities throughout the world right now. During the dark days, these are the stories I hang on to.

Elsewhere: As great fans of your work, from your writings for various outlets (including Elsewhere!), and your books The Small Heart of Things and Irreplaceable, the last thing we need to know is… what’s next?

JH: Thank you, that’s very kind of you to say! Like countless people around the globe, my plans were upturned by the pandemic. Which meant the book I was intending to write had to be shelved, at least for the foreseeable future, as the journeys, stories and interviews I’d pinned it on could obviously no longer happen. But in the wake of that disappointment, as I had a spring and summer at home instead of one on the road, a new vision for a book took shape. It’s called Shelter, and while not specifically about the pandemic it of course has everything to do with it. The idea emerged out of that need to stay in place, but also from an urgent sense of solidarity with other forms of life seeking to dwell in safety and security. For the past two winters, up to 14 wrens have roosted on especially cold nights in a long-abandoned swallow’s nest above our front door. To have them that near to us as we slept, and to watch them drop out of that shelter at dawn each day, often into a world of swirling snow, and then return at dusk from separate directions, has been one of the most extraordinary and enlarging experiences of my life. Just as they were departing their shelter for good in early spring we were entering our own due to the pandemic, so the book is really about living in a shared world – our mutual, fragile and astonishing shelter we call Earth – a personal exploration of wild lives nearby and how we might go about creating the psychological and emotional space for co-existence. 

***

Irreplaceable: The fight to save our wild places is published in paperback by Penguin

Paper Ghosts

20190823_124614_Film1.jpg

By Anna Evans:

By the water’s edge, the monument to the immigrant, looking back at the city, looking out across the wide and muddy river. Situated at the point of arrival, the old port of New Orleans, marking the point of embarkation, the journey’s end and the start of crossings and travels, hopes and dreams. A two-sided statue, a decorated figure, like those carved on a ship’s prow looks out to the water; an immigrant family look towards the city. The crescent city lies at a bend in the Mississippi River. A city haunted by its migrants, by their comings and goings, the history of these streets and those who walked them.

I remember our arrival. Crossing the Lake Pontchartrain causeway and losing sight of land, as if the train travels an endless bridge to nowhere. New Orleans is a surprise to me, a last-minute change to our plans, an unexpected part of our trip. And like the surrounding Louisiana swampland, it is like a new language, one I had never learned but feel I should know already. 

We have travelled 1300 miles across the land, thirty hours, half in sleep and half in daydream, and it is as if our souls lag behind. From our arrival at sunset, darkness quickly descends to shroud the streets in mystery. We are hushed and excited on arrival, caught in a tangle of new places and new impressions that makes this place feel curiously flat and enclosed, and we wonder what it will look like when daylight comes.

In the morning the sun is caught behind deep overcast skies, waiting to break through. We spend hours mesmerized in the pattern of the streets and the architecture of the old French Quarter. The city of music leads a dance in circles. The vibrant buildings with their elegant shutters, iron porticoes and ornamented balconies, the graceful sweep of the trees above. There are wooden verandahs and carved iron railings, with intricate patterns that take the solidity of iron and give it a careful fragility. 

In the square a group of musicians assemble, playing of impossible dreams, laying their heads beneath the stars of a thousand nights in a hundred different places, drawn to New Orleans from far and wide. Sleeping under the stars and dreaming of boxcars, of all the miles that went before. Something about this place grips and calls them back, the struggle and the sadness. City of roamers, the restless, or those who never had a home. The place to settle if you don’t wish to settle. 

Out on the street the rain comes again as we walk, at a distance from each other so that you are crossing the road while I am standing still staring fitfully, as if the answer could lie in these elegant streets of the French quarter. The rain descends, gallops down from the sky, and we watch from a corner of the street, sheltered by balconies and trees. The skies have darkened, and the rain still comes. For a moment we walk through and it soaks our clothes, water grows in puddles across the streets. The balconies and verandahs make a passageway through and we continue our walk entranced by the rain. Reflected in the pavements, in pools and rippled water forming, are the shadows of the pillars that are everywhere. A place of shadows, the rain brings out the shadows.

The rain in New Orleans. Hurricane season. Rainbow flags and cocktails, and dancing, sprawling tourists, visitors to New Orleans’ spirit of intoxication. Some with a hand on their money, others unguarded, out on the lookout for reckless times. And those elongated souls who look as if they had spent a day too many street wheeling, freewheeling, they forgot where they came from and where they were going.

The French Quarter is like a film set framed in black and white with the tension of a thriller. The restless fans and fire escapes, in all those old detective movies where the private investigator sits late at night in his office, nursing a whisky tumbler. 

We widen and lengthen our walks to the outlying districts, long streets of bright-coloured wooden houses, each one different from the next. It is slow progress as we stop to look at every house, on the way to Frenchmen Street, where the sun has broken through cloud, and shines powerfully through the heat and skies cast over. 

Next to the painted elegance of the dark turquoise green and white house, dark red doors, with its balcony under the sweeping shade of the tree; is a tiny pink house, with a small pointed roof and large windows and doors, green and purple shutters, its steps and iron railings besieged by trailing plants, ivy-covered like something from a story. 

There are pillars with overhanging roofs and lanterns, steps out onto the street. We walk the pavements through trees and plants, depth and shade, and flowers pink and red. Looking down the tree lined street, pillars next to the trees, and shutters purple and green, blue and white, yellow in the streets beyond the French quarter, in Marigny and Bywater. A play of light and shade, shade and light. 

The streets make a poem to the transient. Trees in flower everywhere and hanging baskets with ferns or lanterns decorate the houses, each one taking on new colours and depth, a beautiful façade of permanence claimed back at night by shadow, the deep shadow of darkness that covers the streets when night falls, changing them back. 

Here the pavement is brick and uneven, the roots of the tree below the surface, deep cracks in the road. I always knew the earth was moving but here is the proof spread large. Living on borrowed time, borrowed land, propelled by its legends – the new and the ancient exist side by side - as if this city reveals its faults and its truths like the deep cracks in the road. Life is uncertainty, the roving spirit says it best. The feeling that life is closer here, that it is right at hand, to be lived; the tenuous and unsettled feeling, the one that doesn’t put down roots, or none too deep. For the roots of trees lie just below the surface and erode the stone above as they spread outwards, upwards; as if they might uproot themselves and walk away.

I want to piece it together, to work out if I belong here. So, the saying goes, the legend tells, the city will let you know if you were meant to stay, meant to leave. And I want to be the one the city welcomes, but I know also that there is something here that unsettles, that displaces me deep down.

Under the bridges, the tent cities remain. New Orleans evokes this sense of wandering – for those who choose it, those who don’t. In the faces of those who pace back and forth, day and night, up and down, for a dime, a dollar, a nickel, in the patient, hunted faces of those who lost everything, those who never had it, those who go looking.  

They make paper monuments now to honour all those who were forgotten, unrecorded. You can find them at street corners, down by the water, if you’re looking. From where we cross by boat, to Algiers, on a deserted ferry, to deserted streets between the heavy showers of rain. Heat-steeped, sleepy Algiers, where we trail around, looking for something we never find. 

New Orleans wears its history in layers, like the paper ghosts standing on corners. The city haunted by the spectres of all those who passed through. I float through the map, tracing the streets as I go. I can only write the poem of a stranger to this city, another visitor entering its spell, city of illusion, of powerful emotion. New Orleans you keep on returning to me, keep calling me back. I walk along your streets in shadow. 

I walk along your streets in shadow, watching the changing light, remembering how darkness falls like a cloak, changing the streets, calling them back. 

***

Anna Evans is a writer from Huddersfield in the north of England, currently living in Cambridge. Her interests are in migration and literature, cities and movement, and she has completed an MA in ‘Writing the Modern World’ at the University of East Anglia. She is currently working on a project on place in Jean Rhys’s early novels, and you can follow her progress through her blog, And The Street Walks In.

Ghosts

Photo: Lukas Becker

Photo: Lukas Becker

By Emily Richards:

4th November 2013

Glasses clink. A black dog flits by my feet into shadows. On the island, there’s no light tonight but stars. Yet in the castle, it’s a summer evening. The ballroom is lit up, just at the edge of my gaze. The dead stags have wary, wild brown eyes. They look at me as I move quietly through dark rooms, wandering time’s corridor to the days where they were alive and running, out on the rainy hills; and where a maid, her face veiled in the past, carries trays from drawing room to kitchen, past the billiard room. Sounds of laughter echo behind her, words just out of range. I wonder what stories would be told if I could hear the words clearly, not just the echoes. If I could be the ghost inside their house.

*

I am walking down a narrow corridor. Tall cupboards line the walls, so close that I sometimes have to turn sideways as I pass. A green emergency light burns steadily against the darkness in its little box, and the carpet hushes any sound but that of my own breathing. I can feel the weight of the castle pressing against the flaking, yellowed ceiling above me, the heavily papered walls closing in like a blanket wrapping me in the familiar smell of old wood, old mould, old paint and that unnameable scent unique to this very particular place. 

Coming up on my right, there’s a darker space: the open door to the empty ballroom. If I were to step through it, I’d just be able to make out the fading silver stars painted on the high blue ceiling; it’s only three o’clock in the afternoon, but here on the Isle of Rum in the north of Scotland, it’s already too dark for any light to make its way through the stained glass windows. And even if the days were longer, you’d still see nothing but the sky. When the castle was built, the windows were placed so that no-one could see in. Monica and George would have danced here; servants would have stood at the hatch in the corner to pour champagne or, for Monica, lemonade. The rumours say all sorts of things about Lady Monica Bullough, George Bullough’s wife, but they don’t tell you that she was a teetotaller; there’s a lot they don’t tell you. Up in the gallery, moth-eaten curtains cover another space, where the tiny orchestra from George’s yacht, the Rhouma, played Strauss or swing-time. There is a sprung floor, so that you can dance more easily, and I know already, just two months into my life in the castle, that when I step onto it, it will creak. 

I am not afraid, exactly. 

Low to the ground, a golden, fishy eye looms up suddenly; the stuffed tarpon, or half of it at least, hangs in its glass cabinet, its silvery scales glittering in the shadows, its gaze turned always to the left. There it hangs, motionless in its imaginary Caribbean sea; perhaps this was the one that Monica caught. In the photograph, she stands triumphant, barefooted on the wooden deck of the Rhouma, her Edwardian dress hitched up to her knees, a bearded sailor helping her to winch the fish up from the sea. 

I’ve reached a little hallway, at the bottom of the back stairs; a place nearly at the end of the castle, where another emergency light illuminates George and Monica’s relief map of the Isle of Rum: brown lumpy mountains, green moorlands, a child’s blue sea. White painted writing labels Kinloch Castle, their summertime home, at the head of the bay after which it is named. To my left, cold rain is hammering on the glass door where really, the castle ought to end. But just ahead of me, there is instead another doorway, its frame drooping, and then another, half-blocked by a heavy black pedestal and its door jammed at an odd angle. I make my way carefully across the gaps in the floorboards, squeezing past the pedestal, and manoeuvring my way around this final door. And now finally, I’m here. Inside the library. Now I can settle into the sagging chair where the pile of the velvet has been rubbed away over the past hundred years or so, and tell a story. Are we sitting comfortably? Then we can begin.

Photo: Lukas Becker

Photo: Lukas Becker

But can we?

Alone in George and Monica’s library, where even the sound of the rain is hushed, I’m suddenly aware that I have set out to tell their story, but I’m thinking about my own. I came here to join my wife because she’d found a job here, looking after the castle. But I’m not sure what I’m doing here. Nor is anyone else. They’re not sure, really, what I’m for. With just over forty people living on this island, the question matters. 

There are still not enough houses to go round, no roads, one shop, a few ferries a week in winter if you’re lucky, when the storms allow for them to arrive at all. Though it’s only seventeen miles away, the mainland, with its huge extended families, cosy knitting circles, West Highland Railway, Highland dancing competitions and tourists, has become a remote world; a world of communities, names, signs, directions, possibilities. 

Here, although it’s officially still a few hours to sunset, the library’s already full of shadows. The sun doesn’t get above the mountains in winter, and winter comes early to Rum. The stuffed eagle, raising victorious wings, and his victim, the white hare, are just outlines against the turret window; when you come in you get a shock, wondering what they are. Here, dimly, is the faded chaise-longue in the middle of the room; here the chipped clay warriors eternally wrestling each other; and an alarming portrait of John Bullough, George’s millionaire, patriarchal papa, said to have been kind to his workers but cruel to his wife; John Bullough who is buried alongside George and Monica on the other side of the island at Harris; John Bullough whose remaindered Speeches, Letters and Poems fill the spaces behind George and Monica’s books in the library in their dozens. He’s everywhere; but he never saw the castle. 

Kinloch Castle was George Bullough’s dream (‘a dream in stone, glass and gadgets’, as Alistair Scott has put it), built from 1897 to 1901 after George inherited the island and, at the age of just 21, become one of the wealthiest men in Great Britain, though his grandfather had come from the Lancashire slums. His family’s story was a rags-to-riches fairy-tale, with a darkness never far from the surface; and like a fairy-tale castle, Kinloch Castle stands at the edge of the sea, seeming to warn off invaders. Or perhaps it’s inviting them in for a party? Built of pink Arran sandstone at George’s special request, the castle is not only a dream but a fantasy, constructed not to give battle, but to house stories. 

And so it did. The Great Hall proudly displays a giant bronze eagle – said to be a gift to George from the Emperor of Japan – together with photographs, lion skins and ivories from Africa, knives from Borneo and shells from Madagascar from the world tour George undertook in the 1890s. In the mahogany-lined dining room, another, darker story unfolds; the unsmiling portraits of George’s father, grandfather and grandmother stare across the room at a portrait of George himself, vulnerable at fourteen, hinting at the poverty and violence that haunted the family’s life. Beautiful, adventurous Monica, born Monique Ducarel, whom George married in 1903, filled the castle with her own story of who she could have been if her family had not been exiled from France in the Revolution: pictures of Napoleon (rumoured to be a distant cousin), delicate Sèvres china, books about the Empress Josephine. Together, the Bulloughs introduced hummingbirds, miniature alligators, a Japanese garden; telling a story of pleasure, as if to defy Rum’s inhospitable, stormy coast and their own pasts. 

The hummingbirds and alligators are long gone, the garden is a wilderness. Yet I still share my space with these stories. They press against me when the room is quiet, bright dots at the edge of my consciousness. Like ghosts, you might think. But not in the sense that people mean when they say, ‘Is the castle haunted?’ 

Places, like human bodies, age and have histories. We form bonds of love with them, as we do with people. But while we live in them or visit them, we’re usually too caught up in our own story to pay proper attention. Yet when we come to tell that story, later on, we find that the place has taken on a life of its own, and we’re just another story in its history. 

*

In the winter of 2013 and for two years thereafter, the place I lived was Kinloch Castle. My own story at the time was undergoing huge shifts, even disasters, and I filled my diary with the sense of utter alienation I felt on the island. But when I tell the story now, it’s the castle and its owners, George and Monica Bullough, and the people who worked for them, that I talk about. At first, they seemed more real to me than any of the living people on the island; more real than myself. Like friendly ghosts, they folded me into a community that I desperately needed – the community of a shared place.

Photo: Lukas Becker

Photo: Lukas Becker

That same winter that I first came to Rum, an island baby was born: the first for many years. From the castle, I watched as the helicopter descended in sheets of rain and a tornado of noise, wind slamming the trees, to take the expectant mother off to Inverness. And in the days that followed, where we didn’t know if the baby had been born safely or not, I realised that I didn’t want to be a ghost. I wanted to do something, however small, to play my part on the island. There was just one thing I was qualified to do; and at that very particular time, I was the only person who could do it. I could tell the story of the castle, and make those voices, that I could so nearly but not quite hear, audible again. I could link the past to the present, help create the community I longed for.

It’s only recently that I realised my story about the castle is also my story about myself. More importantly, it’s a story that lets other stories be heard: of the factors, visitors, contractors, teachers, castle staff and gardeners who came to live or work on Rum over the years; of delayed deer sent by train from Kings Cross to the island in the 1920s; or, for example, the story of John Stewart and Catherine Murray. One day in 2015, a middle-aged French woman arrived on the island to show us a photograph of this beautiful couple, her grandparents, who had worked as footman and housemaid in the castle before their marriage. The image shows them on a day out with their colleagues; there they sit, smiling yet serious, by the burn that rushes down from the mountains in the winter. It is a romantic picture, in a sense; but it also tells a story of the future. At George’s wish, the power of the burn was harnessed to provide electricity, just as it still does today, over one hundred years later; it was one of the many technological inventions and innovations George brought to the island.  

And while George looked forward, imagining the future, I look back to the past, trying to imagine his and Monica’s lives on this island, at that time. In this space where our imaginations move backwards and forwards, in the underground roots of our different stories communicating with each other, past and present meet. Not as ghosts, but still, as a kind of haunting; a kind of community. 

***

Emily Richards is a writer and translator who grew up in Canterbury, UK before moving to Berlin in 1992 to discover her German roots. Since then, she has also lived in Yorkshire, London, Lyon and the Isle of Rum in Scotland, where she began to write seriously about the impact of places on our narratives. She is currently completing her memoir about the Isle of Rum, The Castle Captured Me, which was shortlisted last year for the inaugural Nan Shepherd Prize

 

 







The Quarantined Photographer

By Stuart J. DuBreuil:

Nature is impersonal, awe-inspiring, elegant, eternal. It's geometrically perfect. It's tiny and gigantic. You can travel far to be in a beautiful natural setting, or you can observe it in your backyard...
– Gretchen Rubin

My time in Yellowstone and Grand Teton National Parks was inspirational. The abundance of wildlife, in their own unique habitat, far exceeded this photographer’s expectations. Now, like most of us, for the last several weeks I’ve been in self quarantine with my wife at our townhouse in the west end of Richmond, Virginia.

So, what’s an amateur wildlife photographer to do? I found that while I couldn’t venture out to find the animals, they kindly came to me. Or rather, I discovered that they had always been around, but that I just hadn’t seen them. Isolation has taught me to slow down and observe my surroundings. As it turns out, the backyards, front lawns, and surrounding grounds and airspace in the neighborhood is teeming with wildlife. 

We have a bird feeder on a pole in our backyard, just beyond our deck. We fill it with black oil sunflower seeds, approved by the National Audubon Society – you know, the good stuff, that the birds love. It attracts cardinals, robins, finches, sparrows and other birds I haven’t identified yet. It also attracts squirrels and chipmunks, who can’t get to the feeder directly because we have a conical guard on the pole that prevents them from climbing up.  But the birds are generous. While they are feasting at the feeder they also flick out seeds onto the grass and deck so other creatures can share in the banquet. 

I witness this activity daily from inside the house, behind the sliding glass doors that lead to our deck. I will peer through the vertical blinds so I won’t frighten off the wildlife, and then take my photos through the glass door. Recently, I’ve found that I can walk out onto the deck, and if I walk slowly with no sudden motion, I can photograph the creatures without scaring them off. 

My next door neighbor, Scott, is also a keen observer of wildlife. He is working from home, but seems to have plenty of time to look out the window and spot interesting things going on. He will text my phone to let me know when he sees something that I may want to photograph. He told me about the  robin’s nest under his roof gutter, nestled on top of the curved section of the down spout. I was able to get some shots of the mother robin feeding worms to her baby chick. 

He also texted me about two other baby birds that were on his back lawn. One managed to fly up onto the brick wall that divides our yards. I carefully followed this tiny creature’s journey as he plopped down onto our deck and walked across towards the other side of our yard. I was outside, taking lots of photos, until he disappeared into heavy foliage. I spotted him squeeze through a small hole in the wooden fence leading to my other neighbor’s yard. Looking over the fence, I could see him meet up with a larger bird, who I assumed was his mother. I’m not sure what type of birds they were, but it was rewarding to see the reunion.

This is only a sampling of the drama that plays out daily in our yards. Sometimes it is life or death. I once saw one of the neighborhood cats on top of the brick dividing wall staring intensely at something on the other side of my deck. There was a chipmunk backed up into the corner against my house and the other neighbor’s brick dividing wall. Suddenly the cat pounced, and in the blink of an eye he had that chipmunk trapped in his jaws. He hesitated for a second and then bounded straight up the brick wall, prey in mouth, and was gone. 

By far the most amazing spot by my neighbor, Scott, was outside his front door steps. He texted me to look outside at his front steps railing. There, perched on the black wrought iron railing, I saw a magnificent hawk. It must have been 15 to 18 inches long including the long gray and black striped tail. I had never seen one like it before. I later identified it as an adult Cooper’s Hawk, with it’s reddish-orange barred chest and legs and gray back feathers. The head was capped black, and the eyes were bright red. I grabbed my camera and starting snapping away, hoping he wouldn’t fly off too soon.

Turns out he was not skittish at all, like the backyard feeder birds. In fact, it looked like he was poising for me. With his extremely flexible neck, he moved his head to see in any and all directions, while keeping his body perfectly still. He looked left, right, up, down, and behind and down so the head disappeared completely!  When he got bored with that, he flew off the railing onto my front lawn, startling me, so I stepped backwards. From there he pranced across the grass like a runway model, as I snapped away, hardly believing my good fortune. Then in an instant, he flew off.

My neighbor and I would also scan the skies for large birds flying by, like the Turkey Vulture or Blue Heron. Capturing birds in flight with the camera can be challenging, but I’m getting better at it with practice. Scott noticed that a Blue Heron flies over our houses twice a day, in the morning and in late afternoon, going and coming from somewhere close. I’ve been able to get a few good photos of the bird passing overhead. 

The life and death struggles of wildlife can remind me of what’s going on outside our little oasis. My wife and I are among the lucky ones. We’re healthy, retired senior citizens and we’ve so far been able to escape the harsh reality of getting sick, like so many others all around us. Just a few blocks down the road is an elder rehab center that has lost over 50 people due to the COVID-19 virus. We try not to forget them, nor the brave medical professionals who care for patients every day while putting themselves at great risk. Quarantine time has given me the chance to slow down, observe, and reflect on what’s important in life; and for that I am grateful.

***

Website for Stuart DuBreuil and Yoko Gushi

Beside and beneath the water, Hamburg

IMG-0446.jpg

By Paul Scraton:

We walk through the Speicherstadt between red-brick warehouses, home to trading companies dealing in carpets and tea, as well as record labels, new media start-ups and advertising agencies. We are not alone. On the bridge a tour guide tells his group the story of this port city, and the outdoor cafes by the bridge linking the warehouse district with the city centre are packed with every table taken. In Berlin the return of visitors has been slow, and it appears they have all come to Hamburg. 

Socially distanced queues lead up to the entrance of the Elbphilharmonie… no concerts today but tours and visits to the terrace with its views of the Elbe and across to the cranes and ships of the port. On the raised promenade beside the elevated Baumwall U-Bahn station, hundreds of people move back and forth, in search of the perfect photograph of the new concert hall or perhaps a late morning fischbrötchen and an early glass of Astra beer. At the St Pauli Landungsbrücken the piers are also busy, as people move between ferries and trains, take their seat at a restaurant with a river view or find their land legs after disembarking from a harbour cruise. 

We escape the crowds by going underground, taking the stairs until we reach the bottom of an eighty foot high entrance hall. Somehow we missed the entrance to the lifts, manned by guards in facemasks, bringing the cyclists and pedestrians down to the start of the old Elbtunnel. No cars are allowed down here right now, as renovations continue, and there are not so many of us making the crossing to Steinwerder on foot or bike. It is cool and calm in the tunnel beneath the river, although hard to imagine that giant ocean-going vehicle transporter, bound for Morocco, that would have passed over our heads had we been down here just a few hours before.

At Steinwerder we take the lift back up to the surface, wandering around the building to a lookout point with its kiosk selling fish rolls and an ice cream van. People use the tunnel to go to work or get home, but on this Monday in July it felt like most had made the crossing for no other reason than its novelty value, to look at the city from across the water. And, perhaps, in these strange, distanced times, to get away from the crowds above. 

***

Paul Scraton is the editor in chief of Elsewhere: A Journal of Place and the author of Ghosts on the Shore: Travels along Germany’s Baltic coast (Influx Press, 2017) as well as the Berlin novel Built on Sand (Influx Press, 2019).  

Liverpool and Wales: Longing and imagination in city and country

IMG-0458.JPG

By Kenn Taylor

The relationship between Liverpool and Ireland is well documented. The relationship between Liverpool and Wales less so, yet just as deep. At one point, Liverpool had the largest urban settlement of Welsh speakers. From teaching to building to retail, the Welsh were a key part of the region’s fabric. The National Eisteddfod was held several times in Liverpool and Birkenhead. Relations were not always cosy though. In particular when Liverpool Corporation constructed the Llyn Celyn reservoir over the Welsh speaking village of Capel Celyn, helping fuel Welsh nationalism in the 1960s. Liverpudlians too, were also part of Wales. From the earliest opportunities the working class had for holidays, Wales represented open space, clear air, leisure and countryside.

Even now, Liverpool may no longer represent the economic powerhouse for Wales, especially as Cardiff has grown, but it’s still the closest major urban settlement to North Wales. A place to study, to go out, to shop. While, despite the advent of cheap flights, Wales remains popular for holidays and days out. And both still hold a pull to each other, particularly for the young of each place, long after cars replaced paddle steamers as the quickest route between the two. 

Possessing dramatic landscapes and cultures fired with passion and poetry, they are places separate but intertwined. Hills and tall buildings just visible through the distance on brighter days from up high. For populations with experiences so different, how each viewed the other was and is so much about perception, projection, longing. The Welsh idea of Hiraeth, is something many from Merseyside are also familiar with even if they couldn’t put a name to it. A bittersweet longing for homeland, for a lost golden age, even by those who never knew it or never left in the first place. A yearning to return to something which no longer exists, or maybe never did, but is a feeling which always remains.

In urban Merseyside, Wales is a place to escape to. Peace and space and blinding light. The intensity of openness. A bucolic place of nature, of school outward bound adventures, as much about crisps and kissing as mountain climbing and canoeing. Cheap, accessible holidays and golden if chilly beaches. The romantic weirdness of Portmeirion. Steam trains that go from nowhere to nowhere but at least the landscape looks pretty. This though, of course, ignores the vast holiday industry driven by Merseyside, Manchester and Birmingham, the undulating, boxy sea of caravans along the coast. There are the pseuds too who pretend they’re not tourists, that claim they come for the ‘real Wales’. What is real North Wales though? There’s the real of lakes, mountains and beaches, but also the real of intensive agriculture, nuclear power stations, Japanese factories and RAF jet bases. The holiday parks too are just as real.

In North Wales, Liverpool is a place to escape to, especially for the young. Noise and density and blinding lights. The intensity of urbanity. The possibilities are bigger in London of course, but also much further and harder away. Good times, clubs and music, different people and alternative cultures. Freedoms away from small town oppression. Anonymity and maybe even opportunity. A life closer to the edge, even if it’s easier to fall off. But of course, what is the ‘real Liverpool?’ All of this but also, pleasant suburbs, vast parks, technology hubs and polished shopping centres, like so many others. What both places have is a fierce awareness of themselves and their cultural uniqueness, but that sometimes blinds to what is more universal and what is shared. As well as that, living in cultures so strong, can create a drive for some to escape from it. 

The city in the distance. The hills in the distance. The distance is what matters, near but far. Something to daydream of, to work towards, to long for. A projection in the back of the mind, both real and unreal. The closer you get, the more the longing fades and you begin to think what you saw in the distance was a chimera. The longer you stay, the more you think back to what you have left and realise, maybe it wasn’t so bad. Maybe. Fresh eyes. Hiraeth again. The intangible feeling.

And it is everywhere. Strive to break from hard lives or particular places and we find we always take them with us. When we achieve our escapism, we find it’s just another different reality. What we’re looking for has never existed and it never will. Yet we still always look for it. In the distance, just out of sight. 

***

Kenn Taylor is a writer and arts producer. He was born in Birkenhead and has lived and worked in Liverpool, London, Bradford, Hull and Leeds. His work has appeared in a range of outlets from The Guardian and CityMetric to The Crazy Oik and Liverpool University Press. www.kenn-taylor.com