Grevel Lindop

Poet, biographer, critic, essayist and writer on just about everything

Strange Country Details

Bizarre signpost to Snipe House Farm (plus This, That and the Other Way!)

Exploring the countryside, I often notice and photograph quirky details – and then don’t know what to do with the pictures. So, unashamedly, this post will simply be a collection of strange or intriguinbg little things I’ve spotted here and there! Reflecting on this reminded me of my favourite book in the old ‘I-Spy’ series: I Spy the Unusual. It contained things like a thatched telephone kiosk… Not sure how many of those you’d find nowadays. Even in the 1950s you’d have got the full number of points for that one, I think.

Nothing quite so unusual here, but never mind. My prize for the oddest goes to this weird signpost on a path near Lamaload Reservoir. Quite amusing the first time you see it, but surely a very expensive joke for whoever put it up? That beautiful woodwork must have cost a fortune.

Next is a pair of Henry-Moore style natural sculptures on top of Kinder Scout. There are many more where these came from, but they look so companionable together!

Natural sculptures among the Tors on Kinder Scout

Then there’s this wonderful old threshing machine I found under the viaduct near Bosley in south Chesire. It must be a good hundred years old – it looks like the kind of thing Tess and her friend got so exhauster with feeding in Tess of the Durbervilles: a fascinating piece of industrial archaeology just rotting away in the nettles at the edge of a field.

 

 

Ancient threshing machine: just needs a traction engine to get it going!

Abandoned ship: by the causeway to Roa Island Cumbria

The next item isn’t really a country detail but I’m fond it and it puzzles me. It’s one of several derelict hulks left apparently to rot just off Roa Island near Barow in south Cumbria. Doesn’t it have any salvage value? Why has it been left here to disintegrate? A strange evocative sight of this weird, end-of-the-world place!

 

Then – back to the countryside – there’s an odd place in the Dane Valley where someone seems to have built a snall sheepfold (or something) around the trunk(s) of a three-trunked tree. I’ve never quite worked out what this is supposed to be for.

 

Stinkhorn: you may not haver seen one, but you’ve probably smelt it.

I can’t resist adding a photo of my favourite fungus: a stinkhorn. Very hard to find, though you can often smell them in woods from about August on. I tracked this one down following my nose, and it was a classic!

 

Root cutter at Crag Cottage, Eskdale

Finally, another indication of my love for old farm machinery. This, I think, is a root cutter: it sliced up turnips, swedes etc so that stock could eat them as winter feed. This one was rusting in a field just below Crag Cottage in Eskdale, former home of Hugh Falkjus, naturalistr and fisherman who used to entertain the poet Tom Rawling here for sea trout fishing holidays.

Tpom Rawling has a poem – ‘Rootcutter’ – which could even be about this very machine: it begins ‘Scrap iron among nettles, / A wheel, the drum it used to turn…’ and he remembers using one as a child on his uncle’s farm. Could this be the very one that suggested the poem much later, on a visit to Falkus? Maybe.

 

I may add other pictures in due course, but these are for a start!

GRATITUDE for 1964

Over the holidays I found myself remembering earlier Christmases, and realising how important Christmas 1964 had been for me – and how grateful I am to my parents for making it so.

I was 16 then, and my parents had got into the way of asking me what presents I’d like for Christmas. Extremely kind of them, and kinder still not to turn a hair when I asked for some fairly unusual things – especially unusual in those days, I suspect!

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Threefold magic: here they are, battered but still in use

What they gave me, and what I must have asked for, though I don’t recall the asking, was: (a) a set of Tarot cards; (b) a copy of The Golden Bough; and (c) a copy of Robert Graves’s The White Goddess.

They gave me all of them, and with the enthusiasm of youth – and a youth still in the process of discovering, or making, a self, I wrote my name in all of them. Three different versions of my name, in fact. With the date. And that’s how I know that all these wonderful things arrived at that particular Christmas.

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Those gifts led to a great deal. I’ve been interested in Tarot ever since, and at some periods of my life reading Tarot on a regular basis. It helped me to appreciate Charles Williams’s novel The Greater Trumps far more deeply than I could otherwise have done. And I’ve just had the honour of reviewing Cherry Gilchrist’s excellent book Tarot Triumphs for Quest magazine in the US.


As for The White Goddess, I sat up reading it every night between Christmas and New Year, utterly enchanted and fascinated. It made me want to read Robert Graves’s poems. I hadn’t read any modern poetry before, but together with The White Goddess those poems got me hooked. I wanted to write poems too. Graves’s books made me a poet, setting me on course for a lifetime. And in the 1990s I edited The White Goddess, working at Graves’s former house and getting to know the wonderful Graves family, and many Graves scholars. Again, life-changing.

And Frazer? I have to admit that I’ve only read The Golden Bough right through once. It doesn’t quite have Graves’s verse and excitement. Nor do I wholly believe Frazer’s theories about the universal dying-vegetation-god cult any longer. With Ronald Hutton, I suspect that it’s our own secret religion, more than that of the ancient world. But how we need it! I’ve dipped into The Golden Bough many times to find details related to Graves, TS Eliot and other authors and things. And I really, really will try to read it once more in this life!

Nice to see that in 1964 you could buy a new 756-page hardback for thirty-five shillings! That’s £1.75p in today’s money, or about $2.15.

But what great foundations for an imaginative life! Blessings on my kind and understanding parents who listened to me and gave what Yeats might have called ‘the right twigs for an eagle’s nest’. I may be more of a jackdaw, but I’m still busy trying to build that nest, 42 years later. Happy New Year, all blessings to you, and may all your gifts prove as fruitful as these did for me!

The Moons: artwork & anthology

I’m very pleased to be able to include this beautiful graphic rendering of my poem by artist Linda Richardson(https://www.facebook.com/linda.richardson.942?fref=ts) with discussion by poet and priest Malcolm Guite (http://www.malcolmguite.com). Malcolm has included the poem in his very fine anthology Waiting on the Word: A Poem a Day for Advent, Christmas and Epiphany and it appears as one (untitled) section in my sequence ‘Silver’ in my recent book of poems, Luna Park.
I’m delighted with both Linda’s sensitive commentary on the poem and Malcolm’s discussion of it in his anthology. Lovely when a poem takes off like that into other minds and brings such rewarding responses!

The Moons by Grevel Lindop

Discussion by Malcolm Guite, artwork by Linda Richardson

The Moons, image by Linda Richardson

The Moons, image by Linda Richardson

Here is the poem set for the 2nd December in my Advent Anthology from Canterbury Press Waiting on the Word, The Moons comes from Grevel Lindop’s  latest collection of poems Luna Park (which I highly recommend!) and is used with his permission.

You can read my brief essay on this beautiful poem in Waiting on the Word, and click on either the title or the ‘play button below to hear me read it. Linda Richardson writes about her image:

‘Here it is, distant gleam on the page of a book.’ These final words were the ones that jumped out for me as I responded to this poem, and also Malcolm’s comment, ‘offered to a companion in the darkness of our common journey’. So my starting point was night time, the soul’s time, when light gleams through our consciousness in dreaming. The poem spoke to me of memory and the sharing of life with someone, not the immediacy of sense experience. To paint a moonlight image was too immediate so I let the words literally gleam in white ink on black paper. In this way I felt that it was keeping the integrity of the poem, that our memories are uniquely our own, and we will recall them either for enriching or impoverishing our lives and the lives of those who are on our common journey.I noticed that it was she who saw and brought him to seeing. It was the feminine leading the masculine away from the desk of the intellect, to step out into the dark womb of the night and to apprehend a phenomenon of nature, the wonder of the reflected light of the sun at night. I am left with the wonder of the contrasts in our lives, the light and dark, the male and female, all the many different parts that form one body and one spirit.

 

The Moons by Grevel Lindop

Too many moons to fill an almanac:

the half, the quarters, and the slices between

black new and silvercoin full –

pearl tossed and netted in webs of cloud,

thread of light with the dull disc in its loop,

gold shaving afloat on the horizon of harvest –

How many times did you call me from the house,

or from my desk to the window, just to see?

Should I string them all on a necklace for you?

Impossible, though you gave them all to me.

Still some of their light reflects from memory.

Here it is, distant gleam on the page of a book.

A Weekend at Cockley Moor

I spent the weekend at Cockley Moor, in the fells above Ullswater. The excellent Norman Nicholson Society had organised a Study Weekend and I was delighted to be asked to give a talk – not just because I love and admire Nicholson’s poetry but because I’ve always longed to get inside Cockley Moor, a house with a wonderful history.

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Cockley Moor, an old farmhouse with many extensions – so that it now runs along the top of the fell for quite some way – was the centre, in the 1940s, 50s and early 60s, of an amazing circle of artists, writers and musicians. Helen Sutherland, a wealthy patron of the arts, moved there in 1939 and invited a galaxy of creative people to visit and stay, sometimes for long periods.

These included Ben Nicholson and his wife the painter Winifred Nicholson; sculptors Naum Gabo and Barbara Hepworth; poets Kathleen Raine, TS Eliot, and Norman Nicholson (no relation to the other Nicholsons); David Jones, who was both poet and artist; and the pianist Vera Moore, amongst others.

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Norman Nicholson

Helen Sutherland also had a fine art collection including Seurat, Hepworth, Jones, both Nicholsons, Brancusi (and Picasso, whose work she decided she didn’t like, so his two paintings were kept in a cupboard!).

 

The art collection has now been dispersed: Helen Sutherland died in 1965 and the house was later lived in by the astronomer and sci-fi novelist Fred Hoyle. But the house is still beautiful and atmospheric. And the weather was perfect: golden sunshine giving a warm radiance to the views across the fells.

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Lively discussion on the terrace at Cockley Moor

It was lovely to be there with almost thirty lively, knowledgeable poetry enthusiasts to discuss Nicholson and the artistic heritage of Cockley Moor, with excellent talks by Val Corbett, photographer and author of the splendid book A Rhythm, a Rite and a Ceremony: Helen Sutherland at Cockley Moor; Philip Houghton on Norman Nicholson’s poem ‘Cockley Moor, Dockray, Penrith’; and Caroline Watson on Kathleen Raine. Also taking part was my friend Kathleen Jones, poet and biographer of Norman Nicholson. (I’ve borrowed this picture of the terrace discussion from her Facebook page – I hope you don’t mind, Kathy!).

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After the closing session at Cockley Moor, Caroline Watson and I made a pilgrimage to the other side of Ullswater to visit Martindale Vicarage, where Kathleen Raine had lived during the war. The little house under the fell is still as beautiful, quiet and mysterious as Kathleen describes it in her memoir The Land Unknown.

Linda Ryle’s Paintings

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A visitor admires ‘Show Me the Moon’ (for the book cover, scroll down & look right!)

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Roman and Egyptian art and artefacts inspire elements in some of the paintings

Coming face to face with Linda Ryle’s painting ‘Show Me the Moon’ a few days ago was a shock: I’ve been so used to seeing it as a 13 by 17 cm cover image on my book Luna Park that I’d forgotten quite how big it really is. Meeting it again in this new exhibition at the Heaton Cooper Studio, Grasmere, was a pleasant surprise.

The painting – even more fascinating at its full size, naturally – draws you in hypnotically, with its affectionate yet slightly eerie rapport between woman and cat, and the tiny glimpse of the new moon in a limpid, radiant sky.

The sense of mystery, of magical meanings only half-revealed, is typical of Linda Ryle’s work (she’s also know by her married name as Linda Cooper), and this retrospective exhibition, Time Regained: 1975 – 2016 reveals these qualities as connecting elements running through some quite diverse work.

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Linda Ryle in conversation at the opening

There are landscapes, figure paintings (with animals) , still lifes – often incorporating ancient Egyptian or Roman sculpture and other artefacts – and most recently detailed, almost trompe-l’oeil studies of little corners of domestic interiors: a spice cupboard; a flight of old, deeply-worn stone steps; a crucible burning with fierce flame and backed by black smoke.

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Hand-painted belts – sought after by ’70s celebs in the King’s Road

There’s even a display of the wonderfully vivid and imaginative belts, hand-painted with animal forms, which Linda supplied to a King’s Road fashion boutique in the 1970s, and which were acquired by (amongst others) Elton John, Bianca Jagger and Britt Eklund.

 

What connects all of these works, along with a love of detail and an evocative use of colour, is a sense of symbolism, of contemplative and often disquieting meaning hidden within each image. It’sa world not unlike that of Leonora Carrington, who similarly loved to blend pagan imagery with encounters of animals and humans who had a more than normal rapport with one another. I’m inclined to think Linda deserves a place in the rich but elusive category of female surrealists, though the subtlety of her work is far from the simply bizarre or aggressively disruptive effects we might associate with mainstream (usually male) surrealism. Linda Ryle has a deep interest in Jungian psychology, and her work was exhibited last year at the Association of Jungian Analysts in London.

 

Strikingly, to me the most powerful works were the most recent. The meticulous representations of details of her eighteenth-century house in Cockermouth, such as a staircase leading down into a cellar, are extraordinarily suggestive: the apparently ordinary becoming a powerful symbol of something psychologically profound and (I think) more than a little disturbing. These are beautiful images; but don’t be surprised if you feel the hairs on your neck rising a little. In Linda’s work, the everyday becomes the slightly uncanny. It’s a remarkable achievement.

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A glimpse of some of the quiet but intense and deeply suggestive later work

Time Regained: an exhibition of past and present work by the painter Linda Ryle runs at the Heaton Cooper Studio, Grasmere, from July 14 until the end of October. Details from 015394 35280.