We’re Not Scared

Bear Hunt is an improbable book: wonderful, but not really a narrative of an afternoon’s outing. The children move through a variety of landscapes and seasons in a re-playing of an older nursery game (with possible variants about lions, guns &c.) and we are not, I think expected to view this narrative as reliable. Grassy hills in summer, mud flats, forests, snow and then to a seaside cave: wild, funny, incongruous, and fantastically depicted by Helen Oxenbury. It is open, therefore, to a lot of very playful interpretations – and therein lies some of its strength: the rhythms and the scenarios carry us along to the encounter with the bear and then back again. There could be debate about why the bear chases them, too – and whether it is hungry or lonely as it returns to its lair at the end. Michael Rosen’s own energetic performance of it differs from my own; I suspect everyone who has shared this with a child or a group of children will have done something similar: a pace-change here, an inflection there.

I might as well shrug and say “literature is like that.”

But one reason why literature allows so many interpretations is that we each bring to any interpretive act – reading, walking the landscape, whatever – the acts that have come before it.

And so Bear Hunt presents itself to me afresh as I prepare for my next encounter with the Big Thing we might suggest is not dissimilar to a bear in a cave: the dwelling of the Thurs (þyrs) that gives us Thursbitch. In that light the bear is a figure of terror as it is often in folktales, and actually that’s how I first read the Rosen-Oxenbury collaboration. Children, the innocent protagonists, play out a possible trespass and run home. Red Riding Hood’s great-grandchildren have to learn the lesson for themselves.

When we went to Ludchurch that feeling of trespass was not so much one of danger as of nefas, of the unhallowed intruding. The Green Chapel was a place of wonder, and if it is the site of Gawain’s encounter with the Green Knight, I can understand why. A place of awe and wonder – but also one from which Gawain returns chastened, wiser.

The next day’s expedition in the fog to Thursbitch felt different.

Here is Garner’s own evocative description of his visit not only to Thursbitch, but to the elusive Thoon above it:

At high noon in high summer, Thursbitch is visually different from the first visit, when I didn’t notice the bump on the horizon. Now I did. In the two-mile stretch of the valley, this outcrop is the only interruption of the peat ridge. We went to look.

It’s an extraordinary feature, entirely geological: a natural recess, shelter and cave, above a confluence of waters at a ford.

The combination of a natural cave above a confluence of waters at a ford made sense. In my background reading I’d discovered that such a place was the one most favoured by a þyrs.

When I – we – went there I was definitely a bit spooked, and it wasn’t a beautiful day: this was my account. Our haste at leaving felt more like a dismissal than being chased – and yet the dreams that followed certainly suggested I had felt more menaced than I had let on. To borrow Garner’s words “A novel may be finished. A journey is not.” Which is why I am sitting in a busy University atrium, planning the next trip – and why, thinking about We’re Going on Bear Hunt makes me wonder: trespass and return is a powerful theme, and if Garner’s mastery of his narrative means there is, in some sense, no return for the protagonists in his novel, this is an arabesque on the more familiar plot line: leaving home, trespass and initiation are deep-seated in our communal storytelling psyche.

Bear Hunt retains power as a story not only because of the lovely illustrations and the driving, rhythmic storytelling – and it does have both of those – but because it taps into a deep source. The children are Red Riding Hood’s descendants; they are also Gawaine’s.

Yellow Skies and Red Suns

Monday 16th October:

What a day today has been! And while words like “apocalyptic” were bandied about on Twitter, the epic skies made me think not only only of texts like this manuscript of Beatus of Liébana’s commentary on the Apocalypse , with its rich and terrifying visions of the end of all things, but of the icon gold of Jackie Morris’ art work in The Lost Words. The icon is important here, the translation of the Divine into the here and now. I remembered the colours in the Corfu Icon Museum and the gold in the Palatine Chapel in Palermo and Monreale Cathedral in Sicily. It is as if I am back with de Hamel and the Remarkable Manuscripts again: so much beauty. Back to myth and might-have-been.

I have said I won’t review The Lost Words, although I have commented on it, notably in response to Rob McFarlane’s wonderful essay and on the original movement around excising words from the dictionary. My avoiding a “proper” review is partly because Dara McAnulty’s blog reviews it so much better than I could. I will however comment on this one other aspect of the work: how nature writing and art have an astonishing double edge to them, revealing the instant beauty of the thing or event, and at the same time revealing the “mystery…instressed, stressed,” that is at the heart of the icon, maybe at the heart of this book of spells and the pictures than conjure not only this kingfisher, those otters, but also an almost Platonic ideal. Nature -dare I personify it? – herself.

And maybe this is the revelation, an apocalypse: the eternity in the gold behind Jackie Morris’ kingfisher, the “quick now here now always” of Rob McFarlane’s Wren.

More on lost words

When, a while back, I made a brief mention of the disappearance of some words from the Oxford children’s dictionary I acknowledged the limitations of the lexicographer, who needs to balance all sorts of needs. I also mourned (briefly) the way that “country” words might fade into ignoble disuse. Today, Robert Macfarlane picks up the linguistic gauntlet, reporting and critiquing a paper (which I must read) on the capacity of children to assimilate knowedge about real species, but contrasts this with what appears to be a preference for Pokemon, which Macfarlane characterises as part of a “lack of natural literacy.” I could, maybe, try and contrast this with the walk I’ve just taken where 7yo granddaughter made up a song about conkers- but as I type, I see “conkers” is not recognised by my predictive text or spellchecker….

His writing is detailed, moving, insightful, and ranges from Barker’s Flower Fairies through Le Guin and Garner. I feel, as I read Rob’s thoughts in the paper, that I have been trotting behind him for a long while, as well as looking at other stuff along the way, and am looking forward to hearing him and Jackie Morris as part of their book tour for Lost Words. His name-checking of authors and critics we both admire – or that a growing community that I am amazed to find I inhabit with him, and Mat, and the great Alison Lurie and others all have read – is enlightening about how a scholarly community is constituted, made up of links and lines as complex as a set of ecological interrelationships.

Jackie Morris explains the evolution of the new book. Here is her blog post on the book, itself well worth a read, and she explains how the vision for their new book moved from protest letter through initial conceptions of a “children’s book” through to something rich and strange. I am looking forward to buying my own, and to having it signed in due course…

But this essay in the paper takes me further, and I am immensely grateful. It seems to me that we (whoever that comprises, but I hope it means me, and Mat, and The Landreader project, as well as bigger names) are no longer marginal children’s lit ecocritics, but part of a bigger movement of eco-literacy. I feel a call, if not to arms, then at least to get my critical compass out, to set out again (and again) on the paths that lead from the crossroads where The Chaperon Rouge meets B’zou, to where Gawain meets the Green Knight – and back again, through the riches of folk tale and legend, through traditional tales and modern inventive fictions, so we can help people appreciate, in Macfarlane’s words, how “nature, naming and dreaming are all tangled together.”

Creating Relationships with Place through Story

This is Garner’s own line, and I come back again and again to the talk it comes from.

I am not going to debate his method or dispute with him about this. I do wonder, however, about whether there is a mutual relationship here, too. Place gives rise to story, story creates relationship with place – this is at the heart of the repeated line in Boneland that has become something of a motto for me “I dream in Ludcruck.” It is also at the heart of the saying I have on my office door, “Sing me frumsceaft.” (This is as good an introduction as any to the English text of Bede’s story of Caedmon.) “Sing to me the origin of things” commands the vision – and the illiterate, tone-deaf shepherd does:

He ærest sceop eorþan bearnum

heofon to hrofe, halig Scyppend

and it is a divine act of shaping, creation from on high, ex nihilo: the world comes from nothing, the song from nothing, too.

The world experienced, “place” in effect, is given meaning for us through story. However, I think the converse is also true: for me the song does not come from nothing: this valley, that hill, have meaning because of a story about it, and the meaning is given because of the story. We are knots in a web of interconnected stories and places, “haunted,” as Robert Macfarlane says in The Wild Places, by the archetypes, for example, of forest and upland, and what our forebears have made of them or said about them. Perhaps this is one of the Oxford connections for writers such as Cooper, Garner, Lewis, Tolkein: they are searching not for a one-way relationship but something much more mutual and complex.

I am typing maybe 200m from where, driving back to Oxford in Dorothy Sayers’ Gaudy Night, Harriet Vane starts her descent:

Headington. She was very near now, and in spite of herself a chill qualm cramped her stomach. Headington Hill, up which one had toiled so often, pushing a decrepit bicycle. It seemed less steep now, as one made decorous descent behind four rhythmically pulsating cylinders; but every leaf and stone hailed one with the intrusive familiarity of an old school-fellow. Then the narrow street, with its cramped, untidy shops, like the main street of a village; one or two stretches had been widened and improved, but there was little real change to take refuge in.

Magdalen Bridge. Magdalen Tower. And here, no change at all–only the heartless and indifferent persistence of man’s handiwork. Here one must begin to steel one’s self in earnest. Long Wall Street. St. Cross Road. The iron hand of the past gripping at one’s entrails…

For Sayers, this is the start of a deceptively simple exploration – Gaudy Night is at once a crime thriller, a romance and a gentle satire – of the city where she was born, where she attended University. Her principal character is coming to terms with the “the whimpering ghost of her dead youth” in a landscape (and an urban and very particular one at that). She is creating a place, both real and imagined, making sense of the place through story – but also recognising how much the story shapes the characters. I don’t think it shapes just the characters in a story, however wonderful and terrifying it is to be out in the marshes with Pip or on the rooftops of Paris with Vango, or with Olive in the Lighthouse in Emma Carroll’s book, or in the chalk pits with Tom Tit Tot or even (the list goes ever on and on) in the fairytale landscape of the Ahlbergs; it also shapes the reader, helps give sense to their world. Story arises from place, and invites us to make sense of place: aetiology is not a one-way path, and it is not just for critics and folklorists. As Thomas Lane’s ingratiating dedicatory poem-preface to Robert Plot’s “Natural History of Stafford-shire” begins:

Describe the Land, Israel’s Commander said

And the glad Artists strait the word obey’d

Describing, engaging: this is the heart of Garner’s intensely localised life-long project, it seems to me. In looking at/for Thursbitch, we recognised as we wrote for Folklore Thursday that

the fear of us losing touch with the stories that made us who we are and still design us. What will happen to us when we stop looking back; when we can no longer dreamwalk into a history?

From Alderley to Arkudah

When William Mayne’s Vendale appears in Earthfasts it is largely a recognisable place, a Dales market town, but with features from the Lakes, the high Pennines: it is a composite of a number of places. Emmerdale is maybe one valley away one way; Wharfedale is another. De Fombelle‘s Scottish Highlands in Vango, the wonderfully named Everland, is similarly more-or-less fictional. In both these works the authors move the reader from one imagined place to another skilfully. Skillfully, in that the atmosphere of a place is beautifully captured – but maybe at the expense of accuracy.

But does that matter, except to a pedant like me? I am not sure that de Fombelle is really interested in the clerical dress of the Church of Scotland, for example, but I am sure he wants the reader to be with Ethel in her horseback chase after the lost sheep and the horror with which she finds her neighbours are hunting a human, not a deer. The rush of the story needs setting and landscapes, and I hold it up by quibbling. Vango is set in real as well as half-real places: so much so I feel it is in a parallel universe. What is worth speculating on, I think, is how de Fombelle makes the choices between accuracy and setting. The author creates a powerful fantasy that is atmospheric enough to makes us believe in a hidden monastery in the Aeolian Islands as much as a life of marginalised young people in the Paris rooftops. Fantasy, adventure, real and imagined landscapes all are presented together in a jumble. His own travels enrich de Fombelle’s writing.

Garner, rooted in his land and its past, however, offers a different challenge: fantasy in a “real” (I’ll come back to this) landscape. In doing so, he offers up for appreciation a topography of Staffordshire and Cheshire and Derbyshire – his corner of the world – that I am trying to explore in textual and actual exploration. Solvitur ambulando: de Fombelle has his Zeppelin; Garner has his walking boots. Visits are vital, Garner seems to say, reading is important. Get out the map, prepare your research tools. This is underlined in Rob Macfarlane’s essay The Gifts of Reading which, like so much of his writing makes me want to put my boots on, take my kettle and a sleeping bag and walk off. His description of the “famously ornate style” of Patrick Leigh Fermor’s “hopschloss” across a doomed Europe struck me as a good connection with Garner:

Almost everything in his prose leads to something else (path to path, culture to culture, word to word)and this abundance of connection is itself a kind of offering up, or giving away. You feel, as a reader, passionately- perhaps even at times oppressively – hosted: Read this! Look here! Listen to that! Walk this way!

This is where the “reality” persists: we walk a geographically recognisable path through the adventures of Colin and Susan in Weirdstone and Gomrath; we have that path snatched away from us in Boneland. We are challenged to walk this way, and that, and that again (to use Garner’s own story, to go this way and that as lead by the Wizard, by Seven Firs and Goldenstone) to accept the Man in Boneland as the metaphor for the story of the area, as the first teller of the Garner Ur-Myth, in the Garner landscape. A deeper read, time spent reading the topography and archaeology (Read this! Look here!) of this small, magic area, and I am still challenged to accept the Garner philosophy of story and landscape. Ludchurch is an ancient cultic site before Gawain learns his lesson: Alderley is a place to encounter the uncanny before its landscaping for the visitors from Manchester.

So how “real” is all of this? What do I mean by “real”?

I mean, at one level, that I have been there. It is as de Fombelle’s Paris: I can see the bones of the authors’ settings. I do not need the streets to be named exactly, but more or less, this is Paris, this is Cat’s Tor… At another level, something is impelling me to look at Ludchurch and Alderley and Thursbitch in a different way. His meticulous scholarship tells me there are interpreters’ paths to follow, with James Dakeyne and Frederick Hackwood and Robert Plot, and geologists and archaeologists: this is at once a verifiable landscape and its own stage set on which Garner has placed not only his characters – Colin, Sal, Jack, the Man – but a maze of metaphor for us to pass with them. If it was easy for Macfarlane to forget, in the midst of his time in China that

literature might be there to thrill, perplex or amaze,

Alan Garner’s landscapes are there to tell us that “dreaming in Ludcruck,” telling the myth of a place, is at once to be playing with history and geography – and astronomy and archaeology- and yet is nevertheless a “true story.” He goes way beyond de Fombelle in playing with visitabke settings, and it is enough for now to ask why. The sonorous beginning to Garner’s 2010 lecture gives the best clue as to his intent:

the uniquely human quality: our ability to derive a sense of belonging through oral tradition, to create relationships with place through story.

and maybe that is as far as I can get tonight.

Green Thoughts: time and space in Thursbitch and Boneland

It is interesting to speculate on the role of a complex author such as Alan Garner and whether he can be counted a “green writer” – or whether that kind of nomenclature is at all useful. He is not writing the polemic of George Monbiot, whose lyrical, engaged prose in work like his Feral has an explicit moral tone. In critiquing (p215) a Wildlife Trust’s management plan, for example, Monbiot writes

“…invasive and undesirable species are native trees such as rowan, sallow, birch and hawthorn, returning to their natural habitat… [A]t great expense, it sustains the ambiance of a nuclear winter.”

Powerful advocacy. We might, however, contrast Garner’s use of trees at the moving death of the eighteenth-century protagonist in the final scene at the end of Thursbitch:

“If I’m to rest tonight in this flowery valley, tell them to put me in my own fold, so as I’m close to you. Then, tell them, put at me head a pipe of hornbeam, for sweetness, a pipe of holly, for sadness; a pipe of oak, for wildness. Then when the wind blows it must play.”

They are writing for different purposes, of course. Monbiot, to state the baldest argument, has a concern for place and the future, while Garner’s project is place and the past. Jack Turner seeks a resting place and finds it at the intersection of myth, legend and a mystical experience of the powers that shape his cultic space. The end of Boneland offers a similar set of images, of story at the heart of land and belonging. The modern protagonist Colin walks free of his nightmares (to some extent) and the Paleolisthic Man rests, his story passed on. Garner is even bold enough to cite the rhythmic refrain from the local story of the sleeping knights as the past and present protagonists become one, walking

…by Seven Firs and Goldenstone and Stormy Point to Saddlebole

where he (who? Colin, the Man?) see “a new story, a Dream.” Where – or more precisely when – are we in these last, beautiful rags of prose in the book? Whenever we are, we are [at] the heart of the human story, with sacred cutting of stone and Jodrell Bank. There is no simple catechism of how we might be kind to the earth, but we are at the heart of how and where we belong. This is where Garner’s “greenness” resides, where his inspiration rises like a spring on a hillside.

Lyotard (I am not an expert) suggests that the Oikeion, the “belonging to the dwelling place,” is “a relation with something that is inscribed at the origin in all minds, souls or psychic apparatuses” (in the brief but incredibly dense section “Ecology as Discourse of the Secluded” in The Green Studies Reader, ed Laurence Coupe, p135). While I can see that Lyotard is going in a very different direction in looking at the oikeion as a motivating relationship in literature, it strikes me that this brief quotation might be a way of looking at Garner as an ecological writer. That it not to say that we should choose a title like “Green Writer” and shoehorn someone we admire into a role we choose for them, but that it points to exactly the deeper relationship with the world, the deep ecology that we see in Thursbitch and Boneland. Time is a crucial part of this.

When Sal, the modern-day protagonist in Thursbitch, surveys the ruined farm at Thursbitch, she says plainly “The stones belong but the house doesn’t. What’s here is much older.” The house is a ruin, much as Sal is, and affects her so deeply that even in the challenges of her deteriorating condition, it remains powerfully in her memory. In the same way the Man, the pre-Sapiens hominin, tells the first story of his “dream in Ludcruck” in Boneland and thus passes to modern humans, to the early Cheshire people, his story,and gifts for the future his song

To dance in Ludcruck to cut the rock and to keep the sun from death.

Story (song, dream) help us pass out of a linear view of place into something else, something that loosely is called Heritage (however that term is used and abused by the tourist industry these days).

Garner is concerned with belonging in time and space, and the non-linear peculiarities of his stories only serve to point out how difficult it is to come to terms with. Place is powerful not only because of our use (or abuse) of it, but because of our intimate relationship with it, inextricably linked to our experience of time. Nails grow at the same rate as tectonic plates shift. Sal sees Jack Turner and he sees her. Is she Sal at the end, or Jack’s wife Nan? Characters and objects move through spaces and time in a very fluid way: myths represent themselves in the Owl Service, historical episodes and artefacts merge and confuse in Red Shift, in the earlier works Weirdstone and Gomrath, Garner plays with story and legend and language in ways that even the powerful adult third episode in the trilogy, Boneland, only half resolve. He is acutely aware of how inhabiting a landscape places the writer – maybe the reader – in a place but not necessarily in time. As he ends his meditation on the alder copse in Arboreal, “the dead men in the ground had worked the same land.”

Boneland and Thursbitch

As I come away from Twitter this evening I am aware I have started a hare around “favourite” works by Alan Garner. Now, Mat raised a tricky question about “good books” and children’s books in his MA session in which the class explored the Brookes Early Children’s Book Collection, and this evening I feel pulled in all sorts of directions.

What do I “get” from Thursbitch as a novel?

Is there something that takes the edge off Boneland for me?

Is Elidor a better children’s book than Thursbitch is an adults’ one?

In response to Mat’s challenge these are crass questions here, I know, simple responses, not Lit Crit. I’m only going to look at the first one, and “which is best” faced with these two books is a game for the deluded: I have to admit this is just about taste, and that others can defend their own options as robustly.

What I love about adult Garner is his trickery. He deliberately lays trails of myth and language across his known landscape, dragging us (like the unwilling Mobberley farmer in the Alderley Edge foundation myth) around the countryside in search of his deepest roots. This is known territory. In Boneland- crudely recapped here and with a crystal-clear review from Ursula LeGuin here – Garner asks what it might be like to grow up having had some ambiguous and dangerous adventure as a pre-teen. But this is not really his motive, it seems to me: in linking a present story with a Mesolithic (or even pre-Sapiens hominid) story in the same place, he is challenging the reader to ask about time, about myth and religion, and therefore about people as storytellers. He draws on his own story, first seen in the Weirdstone and the Moon of Gomrath, but with a real reverence for pre-history, for advanced astronomy, and for the tale of Gawain and the Green Knight, whose denouement is set in the area. Like the Green Knight, Garner offers a challenge to go beyond the comfortable, and does so in a moving and accomplished conclusion to the Weirdstone trilogy.

What I love about adult Garner is his trickery. In Thursbitch, Garner plays again with time – as he has in Elidor, Red Shift and the Owl Service – but here , as in Boneland, his argument is not just with simplistic and linear history but with how past and present are mutually influential. In Boneland, the Man, the shaman of a prehistoric refugium, is anchored in a spirituality that returns him again and again to Ludchurch, which Garner renames Ludcruck. I found myself profoundly moved by the place, on visiting it – and in contrast found Thursbitch no less – well, what? “vigilant”? “sentient”? but markedly less welcoming. It would seem natural, therefore, to like Boneland more than Thursbitch (I had read them both a number of times before the visit). But actually, much as I like (too weak a word) Boneland, and especially the prehistoric sections, I think it’s Thursbitch the novel that takes my prize, even if it’s Ludchurch, the place, the Green Chapel, Ludcruck that has my heart.

What I love about adult Garner is his trickery. He tickles me into action, into deep (as much as close) reading, and thence into the archaeology of story. In this way the mystical parallels that underpin Thursbitch play out Garner’s own insights into the valley’s potential as a cultic site. In making Jack Turner the jagger or packman key to the story, he is able to pull threads (yes, this is a Garner metaphor) of stories from 4000 BCE Sumeria, astronomy and myth from England and elsewhere, and weave the passing tales of local farmers he knows. In doing so he writes with an authority I do not feel in Strandloper or even Boneland. Can I defend this? Is it simply that in Thursbitch – and arising from Garner’s own evocative commentary on it in a number of places – I can see the trail of reference, half-remembered story, song and ritual? That I am flattered, or flatter myself?

There is that.

What I find so moving in Thursbitch is the complexity of his meditation on love and death. Sal, terminally ill, finds herself attracted to the place. Her companion, the Jesuit Ian confronts, with her, her impending illness. The barely spoken love they feel is half explored, and ruthlessly, painfully part of their relationship. In the eighteenth century valley, Jack loses his wife to the plague, loses his baby, and nearly loses his soul, too. The dual protagonists come so close in their experience of love and loss they discern one another’s presence in the valley – and in the end, when Sal and Jack meet the end that has been inevitable since their first appearance in the novel, there is some sense of a kindness in the way the Immortals end their sport with the two of them.

So it presses lots of buttons for me: it gets my mind racing, it excites me to think and read (and read and read) beyond the text and then go back for more. It has (and if you have followed this blog before you are maybe tiring of the references) dragged me up to the Tors themselves for (no pun intended, but inescapable nonetheless) a Peak Experience. Quid multa dicam? There is a lot more to say – a lot more work for Mat and me (and others) to do, unpicking the landscape and the myth and the story. But this will have to do for now; I think I have written enough to convince myself of my love and admiration for Thursbitch.

But I dream in Ludcruck.

Difficult Spiritual Experience and Landscape

One of the reasons I suspect beautiful waterfalls and so on are attractive when people (including me) talk about spirituality is that they exalt but do not challenge. The Great Bell Chant by Thich Nhat Hanh is a wonderful example of a series of pictures and text that mostly show natural beauty – “the beautiful child appears in the heart of the lotus flower.” [3’23”] – waterfalls from a great height, whales, then Masai leaping, monks walking. But pay attention to the children at around 5’15” and see where they are, what they are doing. Meditation is about truth. Thick Nhat Hanh has worked with the war refugees from his homeland: Boat People who saw the same crippling suffering we see in the refugees from Syria, from Africa. In the same way, in the Great Bell Chant there are children gleaning from a rubbish tip. This is not comfortable living for people who want to Zen their home – however much I look enviously at their photos of libraries, sunrooms, bathrooms!

In the same way, the film that reduced me to tears last night has an ambiguity: when I sit in a comfortable cinema, watching expensive SFX and carefully coached acting and think about the anger of grief and loss, I spectate a deep – but hugely uncomfortable and potentially damaging – spiritual experience. So there’s my disclaimer. In reading A Monster Calls and seeing the film many people will be challenged. The critics were ambivalent. Variety didn’t like it; their advert-heavy review linked here says “we’ve heard the same lesson countless times before in other movies” (I’d disagree, but it shows the tone of their review), others refer to a “cheap tear-jerker” but Rotten Tomatoes is at least somewhat warmer. So it is on the level of the protagonist’s experience rather than the success of the book or film that I want to ask these questions:

Can a spiritual experience be damaging? Can trauma be a spiritual experience?

There are a number of gnomic statements we might at least look at here: “The best way out is always through,” “We learn through suffering,” etc., and it is Philip Sheldrake in Spirituality and History who really pulls these to pieces for me in considering spirituality in a post-Holocaust era. Spirituality, when it is at its most genuine, confronts pain. The easy inspirational poster draws on the spirituality-laden themes of waves and whales, maybe, but can we tell Patrick Ness’ protagonist Conor these things, as he struggles with his nightmare, facing the ravaging decline of his mother? Will the poster help the war child?

This is where the earlier editions of A Monster Calls are so powerful: the illustrations (echoed in the film) show a menacing creature, full of earth and storm and history and danger, from the grasping hands of the half-title page and the stalking wildman of the cover. This is a Lud-like demigod, who shows no mercy at one level but in a deeper way is the psychopomp who leads Conor through the death he has to face. And the message this creature brings to suffering Conor is simple beyond a motivational poster’s reach: “If you speak the truth, you will be able to face whatever comes.”

Misappropriated, mishandled, a spiritual experience might well be damaging. It is open to willful or stupid misinterpretation (as Teresa of Avila discovered); it is open to manipulation even (almost) to the point of murder as Katharina von Hohenzollern discovered; it is open to the demagogue, the cruel, the convincing psychopath. In this sense, it can be damaging. There is another sense, too, in that someone who is misled might move to convince themselves – to allow themselves to be convinced by that cruel demagogue – to hurt others, to despise them. And sometimes the urge is simply to give up on them. The Headmistress after Conor attacks his bully sums this last position up in her first words: “I don’t even know what to say.” They reminded me of my tutor’s comment on my weekly test at University when I came back from my mother’s funeral: Forgiven for this week. He didn’t even know what to say – and maybe neither did I. How does anyone come back from something huge and have something to say? At best, perhaps, we can say that spiritual experience is like any experience: it has a yesterday and a tomorrow.

Or perhaps it has, rather, an inside and an outside: an enclosed and controllable aspect, and the wild, Ent-like, elemental rage Kathleen Raine (whom I quote more here) so vividly depicts in her Northumbrian sequence:

The storm beats on my window-pane,

Night stands at my bed-foot,

Let in the fear,

Let in the pain,

Let in the trees that toss and groan,

Let in the north tonight.

This spiritual experience (of loss, of choice, of change) is going to change the boy Conor forever. He is left (more or less) without a father and without this magic (is that the right word?) spiritual guide: the losses he sustains are huge. The reason this traumatic loss of so much is – we guess – not going to damage him, is this lesson he learns at the end: “All you have to do is tell the truth.”

Maps

I have spent time looking closely at another of my Christmas acquisitions, the OS Great British Colouring Map this morning. Engrossing. It strikes me that, like any book, it is capable of a range of responses, from the “Meh” when a nephew or goddaughter receives it from a well-meaning adult because said young person is doing geography GCSE (the aunt or godfather possibly displaying the fact that they do not understand geography or GCSEs) to the more exacting interaction. In the latter, it would be possible to get out the colouring pencils in the precise colour range for A Roads, buildings, &c in the correct scale series, or, more iconoclastically, in purples and fluorescent oranges, to redraw OS Britain in some sort of “mindful colouring” activity. Either would take ages.

I don’t know if I will ever put pencil to the beautiful, thick pages. This quick snap cannot do justice to this detailed and thoughtful book production.

Did I say “detailed”? What I love most is the lack of some details I might normally come to rely on: no words, no contour lines disturb the clinical outlines. Is that York Minster, so small? Where are the city walls? And in Conwy – which I have visited once, in 1976 – what do I make of this detail, or that? What is that structure just along from what I think must be the station, opposite the castle, across the estuary? Or what can I see in a flat, monochrome Wensleydale that I might miss on the coloured and labelled “full” map? I would never find huge Shining Tor if it had been included, much less the hidden Thursbitch or Ludchurch. I realise (at a deeper level than I had already understood) how much an OS map is an interpretation tool, an artefact that suggests and guides. Perhaps when I struggled with Digimaps in the summer that this was my basic problem: I was looking for answers when all I could hope for was signs.

Manuscripts: a brief thought on autoethnography

I’ve been given Christopher de Hamel’s beauty of a book, Meetings with Remarkable Manuscripts for Christmas, and today I sat in bed listening to de Hamel and Andrew Marr enthusing about the more notable MSS de Hamel discusses.

The greater part of me is enthralled by the book, by the challenge of a not insignificant work, and by coming back to something I used to know well. Part of me, however, is a little wistful: I have had late medieval Books of Hours, chant books, portiforia in my hands, known or guessed their provenance, struggled with their handwriting. It was a world I loved, playing M R James as I looked at the Bridgettines of Syon Abbey- although I knew it a bit even at the time, I was without the obsessive commitment needed for the role. I describe myself as a “lapsed medievalist,” and I guess this will have to do.

So now, for the most part, I am the kid outside the sweet shop, looking at the barley sugars through the window…

…with the exception of the work on Gawain that’s come my way this year. I find that the past stuff on late medieval literature and spirituality is carrying me a long way into the sentient landscape project, picking up the crumbs that Alan Garner has dropped with a sharper eye than I would have done if I had not had those years of experience with the Syon MSS.

A final thought (for now) on making sense of my stumbling study: the way I looked at “my” manuscript (MS Rawl D 403) [when I finally packed away the reproduction I have and got on with training to be a teacher] was that I might come back to it. However, I wonder if that confuses scholarship in its widest sense with doctoral study, which is a a part of the scholarly project. Maybe the Liber Mortis et Vite never really left me; maybe I can dredge from those twenty-something enthusiasms skills and understanding I can still use. I used to dream in Syon; now I belong as much to the myths of quest and learning from my mistakes that are in Boneland, and Ludchurch. It feels all about synthesis of these different parts tonight.

Maybe a thought for my study in 2017…

Maybe