Spring Grove

By Eugene Navakas: 

Winter:

Three mute swans live in this cemetery. We hear one before we see it. It flings itself forward against a stiff, stubborn sheet of surface ice, so fiercely, so indefatigably, that we wonder whether we should help. This is common winter behavior, our phones tell us, not to worry, but the force is so brutal and compulsive, the breast so soft and undefended, that we struggle to believe them. The swan’s face is unreadable. It makes no vocal sound. We’ve seen it in strange postures before⎯once, standing on the steps of a grand mausoleum, gazing into the tomb through a bronze veil of Arts-and-Crafts grape leaves, as if contemplating the past and future and all the world’s lost things⎯but it is, after all, an animal. There is a limit to our ability, however much we may refine it, to understand what it wants.

What we can do is walk. Every Saturday, for twelve months, with our boots we trace trails across 450 acres of hilly parkland devoted to the peculiar mix of feral nature and steady human memorialization. We aren’t the only ones. There are long, snaking funeral corteges for which we respectfully step aside and sometimes halt, arrested by a driving, rhythmic rumble leaking through the windows of a hatchback at the rear. There are joggers, whooshing past in suspended clouds of breath, cheeks flush with wind and cold and the heightened fluency of pounding, reliable hearts. There are even guided tours, groups of five or ten around a single, heavily bundled figure. Sharp mitten-dartings punctuate her recitation, before a familiarly grand mausoleum, about the Canteloupe King within. He grew rich, she says, by using refrigerated rail cars to ship Colorado melons nationwide.

Spring:

In March we turn and gasp at a great blue heron, portent of the coming profusion. It freezes at the lip of a pond, amid sunning turtles, and so do we. The turtles are red-eared sliders, the most popular pet turtles in the United States. They are also among the most damaging invasive species, outcompeting native turtles at great expense to ecosystem biodiversity and even human health, in the form of salmonella infection. The heron is a juvenile, more gently shaded than its maturer counterparts. Instead of blacks and whites, here suffuse more smoky blues and grays, fading as they extend from wing and impossibly sinuous neck to a long spearpoint of orange-bellied beak. The bird stares back at us, sidelong, from the black pit at the center of its banana-bright eye, then flaps up and out over green water⎯gliding, mouth open wide with seeming glee, until resettling, safer, on the far shore. The Eastern Redbuds show early signs of flower, but they’re barely intimations of the riotous, purple future.

Our asphalt path leads straight to May, beneath skies deep as ocean and the soaring, white-hulled wings of turkey vultures. Each branch, now, is fragrant color, sweet with bees. The Higan Cherries weep tears so cream they’re pink, so pink they’re cream, moody and intense as dreams. Around one bend, the stones themselves sprout flowers. Arcing, vibrant, lush cascades of custom, deeply felt bouquets⎯GRAMMY; a can of energy drink; a three-foot baseball; the wreathed photo-print of an ultrasound⎯dazzle gray- and red-granite monuments like stars. Thistles carved in sharp relief peek out behind the floral burst, below all-capped Scottish surnames. Each year, come Memorial Day, Scottish Travelers return to these stones, this parkland cemetery, to mourn and cherish their dead. If you search the digital record, you’ll find a contemptible archive of fear and bigotry, exoticized misunderstanding. An online business magazine tries to link the changing scope and luxury of the annual display to its own broad economic forecast. But if, for a moment, you breathe in the display yourself; if you pause, at respectful distance, on the trip back toward the sliders and the Weeping Cherries; you may feel a sharper, more familiar pang⎯something living, something lost.

Summer:

Summer is a season for the ears. What better place than a graveyard for hungry, roused life to fly shrieking from the ground? Here, specifically, over half a billion Brood X cicadas⎯roughly 1.5 million per acre⎯burrowed into the soil as fresh-hatched nymphs in 2004. For seventeen years, they fed on roots and tree sap less than a foot below the surface, until last week they tunneled up and out. The males broke through first, shedding skins and rapidly contracting tymbals, the clicking reverberators that, in chorus, sync into a jangly, hissing call loud as a motorcycle engine. The females heard that call, and now they’re everywhere. Pavement, grass, bushes, trees. Your car, your hair. Even the chocolate shop uptown, if you’re game for a crunch and can brave a mid-pandemic crowd. Their eyes are ladybugs, glossy red buttons with faint black spots for holes. Or at least that’s what we think their eyes are, until, much later, magnified, we spot the other three. Onscreen, inset like jewels on an igneous plain between submerged red moons, hides a tiny triangular trio. They’re called “ocelli,” simple eyes, and as far as we can see, they distinguish light from dark.

It’s funny how the greenest days, air thick with water, hot with sound, can also feel so full of death. In two short months, the cicadas will have come and gone, their seventeen-year regeneration restarted, today’s lively bodies in stacks like rotting blankets, warming future generations beneath the dirt. One of the most spectacular structures in these half-shorn, half-wild hills is a private Gothic Revival funerary monument built in 1870 in the style of Paris’s medieval Sainte-Chapelle. Its first interment was the English whiskey magnate whose fortune paid for its construction, as well as the transfer of his remains to marble catacombs eight years after initial burial in parts no longer known. On the second floor, above the crypts, sleeps a tall and narrow chapel twelve feet wide but thirty deep and thirty-four high⎯an austere, long-suffering space we’ll likely never see. While even on sweltering, swarming summer afternoons, the exterior remains a popular stage for professional photography, the heavy doors stay locked, the wrought-iron gates chained. Brides and grooms and Instagram influencers grin wide before the retreating flying buttresses of a family in disrepair. Just three Brood-X life-cycles after the building’s birth, the magnate’s granddaughter tried, and failed, to have it razed.

Fall:

It’s not hidden, but it takes a little looking to find the graves of Levi and Catherine Coffin, unmarked until 1902, when a memorial was erected in personal tribute by the city of Cincinnati’s Black population. During the forty-one years from their marriage to the end of the Civil War, the Coffins aided 3,000 enslaved people as they risked their lives in search of freedom. The Coffins’ home in Fountain City, Indiana became known as the Grand Central Station of the Underground Railroad. Levi himself was often called its President. The landmark we use to return to this quiet, shattering spot⎯just seven miles north of the Ohio River and the Mason-Dixon, the old, antebellum border⎯beckons only a few paces away. A fat, trunk-like branch radiates out like a sine wave from the base of a squat tree. It skims briefly above the trimmed, leaf-pocked grass, then dives, submerged, before again swooping back up. So much of Autumn feels between. Leaves turning, half-glorious, half-gone.

Our air comes quick, our tendons groan, as we lean ahead into the circuit’s final stretch. The trees buoy us⎯great oaks and beeches; sycamores; maples; a prodigious, solitary September elm, a national champion⎯as if a god would compete. Pixelated crests of red and orange, green and yellow, each shade just slightly tilted off of true, draw up our eyes to the spotlit, golden-hour sunbursts of hunting hawks. Closer to our feet, a labored scurry. A groundhog galumphs through underbrush and disappears. A frog’s twin bulbs peep up like periscopes above a dollhouse sea, then quickly dive and vanish. Around a corner, flustered scrabbling from a bewildered flock of spindle-legged turkeys, surprised from their leisure beneath the awning of a portable funeral tent. A mermaid rises from a harp atop a bed of kelp and conch and a guardian ring of dolphins. Louisa Lawson fished her out from marble in 1887. Now she decorates the tomb of the world’s once-largest manufacturer of architectural sheet metal. In the end, however, we return to the swans⎯which today, though on opposite sides, all share the same turbid, algal pool. There’s a kind of paradox to writing through the seasons. A temptation to squeeze shape from a cycle that never stops. We turn away and keep walking.

***

Eugene Navakas is a lit. Ph.D. turned TV writer who splits time between Oxford, Ohio and Los Angeles, California. His 2020 crime drama pilot script GALAPAGOS, TEXAS was recognized on Kyle's List here, and his dramedy pilot script EXPECTATIONS won the 2016 UCLA Extension TV Pilot Writing Competition. He also updated and co-performed a 19th-c. folk song about coral, which was featured on a podcast hosted by the Newberry Library in conjunction with his wife's academic environmental research here.

The Short Line

Der Bahnhof vom Stadtpark aus gesehen by Axel Mauruszat is licensed under CC BY 3.0 DE

By Alexander Daily:

In the southeast of Berlin’s inner ring there is a gentle ravine that stretches between the hearts of two of the city’s more bourgeoisie quarters. This depression, carved out by long gone glaciers, is of considerable length but not very wide. Its ground being too soft to build on, the decision was made at the turn of the last century to cultivate it into the People’s Park. Trees line the edges of the ravine and further seclude the sloping lawns and playgrounds nestled between them. A curious feature, for a park, is the Berlin subway station Rathaus Schöneberg. This teutonically neoclassical station is truly in the park. The tracks of the subway exit one side of the ravine and delve into the other, sheltered by the stone structure of the station, forming a bridge under which one cannot cross.

As a non-native transplant from the US, I first experienced this curious edifice running at night along a path that follows the curve of the ravine. I became aware of a long, squat cathedral with the gleaming windows of a glass palace. It seemed to mark the end of the valley and I could not guess its purpose. As I drew closer, behind the bright panes the unmistakable mustard-yellow form of a Berlin subway train rolled into view. I chose to continue my run, but I was excited at the prospect of experiencing the station from the inside.

This was a familiar pattern of my early time in Berlin, for there was much to see that divulges the unique character of the city, and making plans comes easy to lonely new arrivals. For a person with no business at or around the Rathaus, however, the chances of riding through the station are slim. The line that services it, the U4, is curiously short. The primary function of its 2.86km and five stations is to connect the quarter of Schöneberg to the wider Berlin network. The days passed, I traveled other routes; moved to a different part of the city. Schöneberg became the only word I had to go on, a clue that stymied me, as another station carries this name. Passing through the busier, almost homonymous station one day, I noticed it is nowhere near as nice from the inside, nor located in a park. Time continued to elapse, but this trip allowed me to eliminate one of two potential candidates from the subway map.

Having narrowed things down, I headed to Innsbrücker Platz, the southern terminus of the U4. Consistent with the diminutive nature of the line, the trains that service it are only ever composed of two cars and depart every twenty minutes. One waited at the platform, the color and length reminiscent of the school buses of my home country. I boarded, and a few minutes later the train lurched and stuttered out of the station. As we rolled into Rathaus Schöneberg I was able to finally experience, with a certain sense of triumph, the low-key sublimity of sitting simultaneously in a Berlin park while in the Berlin underground.

The many parks of Berlin are dependable places to find natural recuperation. It is an understated quality of this city that most every flat has some bit of communal green near it, or a subway station within reach to get there. In their number and variety, the parks of Berlin are also sources of great adventure and mystery. Each has its own quirks for connoisseurs to discover. A sunny day poses a hard question: stick with a reliable known quantity or venture to some new verdant expanse.

***

For the past decade, Alexander has been exploring the more curious corners of Berlin. In addition to trains and parks, the part he likes most about the city is stumbling upon something previously unknown to him.

The Dangerous Beach

By Fiona M Jones:

This is the biggest beach I have ever seen. We have driven miles along narrow winding roads, pausing to squeeze past the occasional vehicle coming the other way. We have parked by Goswick Golf Club and followed a path over two lines of dunes, and suddenly we are on flat sand. 

Sand and sand and sand, miles of it, and somewhere in the distance the North Sea. We head towards it. If a piece had fallen off the coast of Norway a few hours ago, a tsunami would be on its way. We’d run and run and never make it. We would DIE, I tell my niece and nephew, widening my eyes to scare them, but their father assures them there’s no tsunami forecast. I try again as we walk uphill ever so slightly: this would be a sandbar we’re standing on now. When the tide sweeps in on a stormy day you can find yourself surrounded, cut off from land. You would DROWN in the swirling grey tide as you struggle for land and find yourself only going deeper. The tide is actually still going out, someone observes, and my nephew and niece settle down to digging drainage channels and river systems in the waterlogged sand near the water’s edge. One of my sons wades in the water, looking for jellyfish, but all he finds is a partially-deflated helium balloon dropped out of air, washed up by water. It looks like a Portuguese man-o’-war jellyfish. Which can, of course, KILL you, probably with fear, if you were listening to the wisdom of your Aunty Fii, but nobody is. 

In the sand I hollow out five oversized toe-holes and follow up with an enormous artificial sole-indentation: a giant’s footprint. An imaginary monster has walked out of the sea. It will probably EAT you. The longsuffering niece and nephew help to smooth the work of my hands until it looks almost plausible. My son takes out his phone to record the monstrous footprint. We build little hills of sand, mountains standing between mini-rivers running down to the sea. This sand we’re building mountains with is the accumulated product of eroded mountains, I tell the children, who are growing in skepticism by the minute. It’s time to head homeward, exploring driftwood and flotsam on the way. The nephew forms an emotional attachment to an abandoned buoy the size of a space-hopper. Can he take it home? Will it fit through the door of his home if he does? Will there be enough room to live there if he gets it indoors? In the end he must content himself with the scrap of rope that we cut off the buoy, fatally blunting Aunty Fii’s scissors in the process. 

On the way back between the dunes, somebody stops to read the sign we passed earlier, half-obscured by dune-grasses. QUICKSAND, it tells us. And don’t touch any metal objects left over from the military training operations of yesteryear. Because they’ll EXPLODE. 

Didn’t I tell you this was a dangerous place? 

***

Fiona M Jones is a creative writer living in Scotland. She writes short/flash/micro fiction, CNF and occasionally poetry. Her published work is visible through @FiiJ20 on Facebook, Twitter and Thinkerbeat.

A Quiet Edge of England

By Alex Gray

I’m in England for the first time in a couple of years. I had only planned to spend a few weeks here visiting family, but then the corona virus swept its way across Europe and my plans, like everyone else’s, changed.  

Suffolk, on the east coast of England, is only a couple of hours from London by train, but it feels a world away. Here you can find the last lingering remnants of that English idyll where village traditions follow the seasons. It’s a land of farms, scattered woodlands and slow WiFi. At different stages of my life its remoteness has felt like both a prison and a refuge. Now it’s a combination of both.  

During most of February and early March I spent hours sitting at my laptop, refreshing maps tracking the spread of the virus and calling friends in other parts of the world to compare the situation. Almost all of them were in the same predicament as me, stuck at home and waiting for normality to resume. I video called my girlfriend and she said, “It feels like I’m waiting for you to come back from a war.”  

I laughed and told her, “It’s a very boring war.” 

But for a lot of us it’s true that so far this ‘war’ has been defined by an underlying unease and anxiety as we brace for an invisible wave that we know is coming and have little control over.   

As March continues winter eases into spring and better weather. I take the dog for long walks across the open countryside and begin to rediscover this quiet edge of England. There’s not much breath-taking about the Suffolk landscape. There are no spectacular mountains or waterfalls. Instead the beauty here is mostly subtle and undemanding of attention, in a way that I realise makes me love it all the more. A herd of deer on a distant field. Ancient twisted oak trees creaking in the wind. Waves of the North Sea lapping softly against the beaches. 

The ghostly shape of a barn owl at dusk. A gentle wildness. 

My parents get the local newspaper each morning and between the headlines about the coronavirus there are smaller articles, often about Suffolk’s vanishing coastline. The county has always been badly effected by coastal erosion and over centuries in certain places has literally disappeared into the sea.  

During my newly found free time I visit some of these places, defined by what has is no longer there. Dunwich, which in the Middle Ages was a bustling international port, is now a small village with a few ruins of an abbey on the cliffs. The subject of folktales and songs:  

“By the lost town of Dunwich 

The shore was washed away 

They say you hear the church bells still 

As they toll beneath the waves” 

The coast at Covehithe also has one of the highest rates of erosion in the whole of the UK. Fallen trees scatter the beach, one road simply drops away from the cliffs, and only a cluster of houses remain. But it’s also a great spot to walk and look for sea glass, twinkling like gem stones on the beach.  

The church here is another oddity. It sits within the ruined walls of a larger medieval church. Walking around this half destroyed structure, and with the sound of the nearby sea in my ears, I difficult not to think about the impermanence of our ways of living. Maybe it’s because everything suddenly seems so fragile.   

And perhaps for the first time I feel very lucky to have this place at all, even if it won’t be here forever. What I’m feeling is probably familiar to anyone like me who has grown up knowing only one home. A place to return to, and keep returning, to gather thoughts, and take shelter in troubling times.  

***

Alex Gray is a writer and teacher of English literature from Suffolk, England. He is a former sub-editor of 52 Insights Magazine and holds an MA in Creative Writing. Since 2017 he has been based in Hanoi, Vietnam. His most recent writing focuses on travel and issues affecting indigenous communities. Website.

Memories of Elsewhere: The White Arch by Paul Scraton

In these times when many of us are staying very close to home, we have invited Elsewhere contributors to reflect on those places that we cannot reach and yet which occupy our minds… first up, our editor in chief Paul Scraton:

Above my desk, taped to the wall, are a series of photographs and postcards. There is an illustration of the Cow and Calf Rocks on Ilkley Moor, not far from my mother’s house. There are photographs from the Baltic coast, taken during the writing of Ghosts on the Shore. There is a picture of myself and my daughter Lotte, on the night train that was taking us from Paris to Berlin. And there is a small painting of a rugged coastline in Wales, waves breaking beneath a white arch and the faint outline of a rocky outcrop, swathed in clouds, in the distance. 

Like the books on my shelves, these postcards and pictures are triggers of memory. Of journeys taken and the places along the way. Some of them are places visited but once while others are more familiar, locations that have acted as stage sets for many moments at different times of our lives. They are places we return to physically and we return to in our imagination. We remember and, now more than ever, we look forward to when we will see them again.

The small painting of the Welsh coastline has at its heart Bwa Gwyn – the white arch of the Rhoscolyn headland. Since I was a child, the white arch has been a destination. It is not far, perhaps a forty-five minute walk from the house where my Uncle and Aunt live, depending on which route you take and how much time you spend exploring the coves and the beach along the way, or admiring the view from the coastguard lookout point from where, when the weather is right, it feels as if you can make out the walkers on the ridges of Snowdonia right across Anglesey on the Welsh mainland.

It’s a walk I’ve made so many times I cannot remember. But I can picture moments, still hear snippets of conversation; I can remember the first time I ever dared to walk the narrow path above the arch, the sea on either side of me as kayakers rocked and rolled in the swell, waiting their turn to pass beneath. This stretch of coastline, like all stretches of coastline, has its share of stories and legends, the mythology of Saints and the tragedies of the open water. They mingle with the personal stories, those we experienced and those we heard second hand, from family members and friends. The stories pile up on top of each other, adding texture to the place like the heather and gorse on either side of the worn footpath, soundtracked by the waves, the distinctive call of choughs by the cliff-edge and the whirring blades of a sea rescue helicopter. 

I look at the painting of the white arch above my desk, along with the postcards from Prague and Gdansk, the photographs of Rannoch Moor and the Baltic coast, and I think about what it is about certain places that means they remain with you even after you’ve left. It is, I think, about how they make you feel, from the people you meet or those who travel with you, the atmosphere of the cliff-top path, the wide city street or the narrow alleyway, and the stories you hear and the ones that you write for yourself. 

I look at the painting and I am walking again, out from the house and across the fields, around the headland and skirting the beach. Through the houses on the far side, the path rises up to the lookout point and from there I can see the mountains and the islands, the ferry leaving Holyhead and the route of our walk. Bwa Gwyn is not far away now. The path drops down and swings round. Past the place where we once saw the wild goats, clinging to the grassy slope. A little bit further and the white arch will appear before us. The sea is rough. The sea is calm. The white arch stands above it. The white arch is waiting. We’ll be there again. Soon.

***

Paul Scraton is the author of Ghosts on the Shore: Travels along Germany’s Baltic coast (Influx Press, 2017) and the novel Built on Sand (Influx Press, 2019). His first book to be published in German (translation by Ulrike Kretschmer) is Am Rand, about a long walk around the edge of Berlin. It is out this month from Matthes & Seitz. 

Arrowhead

By Katherine Peters:

Arrowhead, named for the lake which lies at the heart of a nameless pinewood, was, for the first decade I lived there, a wilderness. We’d moved from the prairies, driving east until our endless views were obscured by a dark spray of pine. Within days my siblings and I had laid giddy claim. Though the wood was once leased by the Diamond Match Company and slated for development, no evidence existed to disrupt our explorations except the cant marks we came across now and then, a diamond-enclosed D burnt into bark. Cities a remote apparition, this wild tract uninterrupted except for a few hunting camps and peopled by eagle, moose, bear—the center of my world was, for most, the end of the world. 

My parents built our home just about from the ground up. Durable post-and-beam raised out of sixty-foot pines from our acreage; later, profusions of phlox, hydrangea, rose given their concentrated hue by acidic forest soil. From the safety of our cultivated lot, books in hand, woodfire blazing in an old stove, we listened to the loons sounding the dark. 

Over the next years the woods were measured, divided, clear-cut, cheap housing raised at regular intervals to accommodate Portland’s low-income surfeit. A different wilderness emerged, generated by reduced constructions: the effects of economic hardship and limited access to education compounded over generations, and the pain of societal indifference. Social illness could be read in the band-aid consumption and accumulating refuse that seemed to barricade many of the occupants in and the rest of the world out: foreclosures, empty swimming pools, plastic playhouses embrittled by the sun, cars run into the ground, rusty skidoos, powerless powerboats. In school, stories littered the daily periphery, whispered in lunch-lines and recess queues: abuse, alcoholism, drug addiction. My guerilla war with loggers and excavators converted to elaborate daydreams in which, by reconstructing each house I could transform the lives of its inhabitants. Darker moments found me lighting a Diamond match in mind’s-eye, rebuilding from the ground up. Even my daydreams of opulent elsewheres corroded under the glaring realities we encountered in wealthy coastal villages, where facades concealed the same spectrum of human health. 

I returned home last year after a long stint abroad, with an accumulated disarray of remembered objects collected over a decade of travel and curated within me by no order I could name. After years of remote horizons, I was confined suddenly to the network of unpaved paths that, labyrinth-like, encircle the lake through the thickest stands of remaining trees—roads for which no map exists, with street signs that echo and intersect each other in their attempt to bear witness to what they have displaced. Getting lost is a given. I walked the tracks relentlessly for months, in all weather. 

At the same time, my mother was sorting through the objects my grandmother had left behind after her death, reading the tags affixed to each on which she had written, in her close hand, a detailed account of the object’s history, care and storage instructions. The narratives of these travelling objects—paths extending over decades and thousands of miles—intersected largescale events with their keepers’ unseen emotional lives. Garden tools, well-used, in pristine condition; a level in sound working order; a passport for “no country”; a feather blanket filled with prewar down and carried through combat zones. They spoke the private register of political violence: lost homes, wartime flight, immigration, work camps, death camps, mass graves. If they spoke of being marked and hunted, they also spoke the hope of being free. Textually inscribed, each object posed a question. How—now, today—do we take symbols in hand: till an unspeakable past to cultivate our rocky lots. We understood, finally, that familiar stories, told and retold, had formed a set of care instructions for life: collect knowledge because it is priceless and weightless; live sparingly; love richly; conserve resources. The narrative instrumentality that moved compass needle cast its shadow, pointing us uncompromisingly onward, and also to invisible sites of trauma. Inherited texts marked us “From Away” in a community with their own sets of cultural blueprints. They also generated resonances I discovered on returning.  

On my walks, I travelled deeper into the cultural landscape. Unexpected encounters destabilized long-held notions. I met a pastor-turned-carpenter with nine children, the oldest of which had won an opera scholarship. A woman who lives in what she calls the “Keebler House” and edits the local Gazette, for whom Arrowhead is the center of the world in the way it is epicenter of the earthquakes that shake the state. There is the young boy who leapt, rope-swing in hand, from a giant pine by the lake, only to get tangled in the cable and plunged headfirst, arms bound, into the water. And there is the man, referred to distrustfully by many Arrowhead folk as “The Big Indian,” a six-foot-tall crippled war veteran, who dived in and cut him loose, then returned that night with an axe to cut down the pine and himself free of the stereotype. A pack of boys that had transformed the old tennis-court in the woods into a skate park with cement blocks and sheet-wood, for the sheer joy of movement. A little girl who fishes at dusk most evenings from the shore, catching sunfish mostly, scales glittering lilac and silver in the dying light, and kisses them each as they gape speechlessly at her before tossing them back. 

In quieter moments, flashes of returning wildness pierce: the sharp long calls of geese in storm darkness; an eagle diving from a great height over the lake to face me up-close, dark eye casting out his challenge; a hawk in hunt, lifting laboriously toward her shrieking nest, a squirrel dangling in her talons like a paraglider gone wrong; a cyclone of swallowtails drunk on magnesium; water-made diamonds—wind-cut, cloud-sieved. Permeating all, like insight, the clear scent of pine. Nature I had considered lost re-emerged on these walks, relocating me though I travelled the same paths. A world I thought gone—one unowned, fiercely free, writ with love and connection—I discovered displaced within. 

***

Katherine Peters recently completed a dissertation on landscape and literature called “Disruptive Geographies” and teaches at University of Southern Maine. She is currently at work on a series of essays about her travels, as well as a book project. Her work is forthcoming in Canary.

In Walthamstow Forest

By Dan Carney: 

Wide, flat dirt paths carving through lush woodland, open meadows flanked by wooded corridors and undulating, densely covered glades. Clusters of hornbeam, oak, and birch, many ancient, pollarded at the top to encourage further growth, presiding over hundreds of plant species; grass, herb, nettle, weed, fern, and wort. Underfoot, the fossil-rich London clay soil, hard and stiff but deceptively quick to churn during wet weather. Birdsong mingling with the low, umbilical hum of traffic on the A104, Epping to Islington, everywhere between, periodically suppressed by the sound of a plane or the sudden and invasive whooping of a siren. Bisected by both the Woodford New Road and the endless, disheveled North Circular, this is the beginning trickle, the tentative first stretch of the north-east London woodland panhandle which will open out into Epping Forest proper, and eventually creep, pleasingly, just beyond the confines of the M25. This part of the forest is a scruffy outpost, often overlooked in favour of its more storied and unbroken counterparts. There are no visitors’ centres, Iron Age settlements, or Grade II-listed timber hunting lodges here, but the paths lead, eventually, to all these things.

The first path, approaching the southernmost entrance to Rising Sun Wood, is inauspicious; a thin, dusty track, cracked and dry in the summer months, running through an open field, reassuringly parallel with the 1930s semis of Forest Rise opposite. The entrance is marked by a wooden post, painted white at the top, ground-secure in the shadow of the trees at the top of Greenway Avenue. Underneath the first flourish of woodland canopy, the path widens, becomes even and firm. The trees are tall, with dramatic branch formations exploring every possible angle. Some are hollowed out, exposing tender white bark. Dead trunk husks lie everywhere. A sparse glade foregrounds the wrought iron gate of the St. Peter’s-in-the-Forest graveyard, where the headstones are lopsided, covered in ivy, many rendered semi-legible by weather and time. The air is comfortable and still.   

Just to the north is an open, unkempt meadow. Large oaks guard secretive glades along one side, hash paraphernalia and half-empty chicken boxes strewn at the thresholds. Opposite, behind the incongruously shiny Empire Lounge on Woodford New Road (“Enjoy The Food, Enjoy The People, Enjoy The Vibe”), lays Bulrush Pond. Bog-like, derelict, murky water mostly obscured by large clumps of reeds. Once there were paddle-wheel boats, ice-cream kiosks, and deckchairs, before widespread car ownership enabled the leisure-seeking families who gathered here on bank holidays to travel further afield. It’s quieter now, but by no means deserted or bereft. Joggers, cyclists, dog-walkers, families on short-hop rambles, occasional equestrians, and groups of teenagers punctuate the calm, but now it’s less organized, no longer an end point but a backdrop, a surrounding, or a point on the journey. On a warm summer’s day, the meadow feels enveloping, hermetic, unconnected to anywhere else, only leading back to slightly differing iterations of itself, like a gently fluttering audio loop or blinking, cyclical visual display. Bucolic and restorative, a place to think things through, but always with something flickering away, faintly, off to the side. A made-for-TV fever dream poking through the idyll. Layers and stories just beyond the lens flare, unseen, unarticulated but ready to emerge and speak, when the wind rises and the nights draw down.

Back inside the forest cover, the track splits around a stubborn old hornbeam, its knotted roots securely encased under the top layer shingle. The route to Mill Plain is kinder here, on the west side of the A104, where there’s no need to engage with the fractured grimness of the Waterworks Corner pedestrian interchange. This is where the path breaks clear of the cover and ramps up, knobbly, cracked, onto a raised, open ridge, where the track bends gently through the long grass and willowherb. To the right is the Thames Water pumping station, its wonky rear steel fence offering negligible protection from anything with sufficient stature and determination, and the Waterworks Corner roundabout, only metres away. South Woodford to Redbridge, Barking, Beckton, Woodford Green, Loughton, Epping. To the left, the scoop of the Lea Valley. The atmosphere is sleepy and strange, ominously peaceful. Twin paths converge and slope down towards Forest Road, the occasional tent visible through the bushes, and the sharp tops of City of London buildings poke through the trees. Look into the valley-dip from the bridge adjacent and it’s Walthamstow, Tottenham Hale, Edmonton, Harringay, Alexandra Palace, Brent Cross. Stadiums, reservoirs, retail parks, antennae, the ever-present wash of the traffic, distant and interior.

On the other side, nestled behind the roundabout, is a raised, circular grass platform, flat, wide, and empty, aside from a shabby Thames Water brick hut at the edge. Marked, appropriately, as “The Circle” on Google Maps, it offers readymade laps for joggers, and numerous exits, down the tight, surrounding verge, back into the cover of the forest. Manmade and incongruent, barely visible from the road, it’s easily cast as the site for something more atavistic and obscure. A sacred place, where anonymous figures gather to offer up euphoric human sacrifices to a provincial woodland deity. A landing site for a small extra-terrestrial reconnaissance craft, carved out to order by devoted earthbound aides. A place to hide in the open. Stay too long and the joggers, smiling and efficient, assume – possibly through no fault of their own - a slightly sinister, collective aspect.

The path to the bridge over the A406, just beyond, is gravelly and uneven, bricks and slate pieces baked into the dirt, recalling the clay pits and brick kiln once residing nearby. A well-covered passage, accessible via a tight, cosy glade, runs parallel with the road, overlooking it. Thorny and narrow, discarded carrier bags hanging forlornly from bushes, a person-thin viewing corridor for the unending, thrusting snake of the daylight Walthamstow traffic. Crossing the bridge, to the South Woodford side, is a journey of metres but feels like an escape from this exhaust-choked claustrophobia into something wholesome, time-frozen, pastoral. The trackway widens, getting flatter and kinder underfoot. The canopy is less oppressive, offering a pleasing combination of light and shade. Patches of sunlight cast through the trees, dappling the floor. Little private clearings just off the main track lead into exquisite mini-mazes. To the left, an intricate branch structure built around a large horizontal trunk, and a carved stone memorial marking the birth site of a celebrated gypsy evangelist. Everything honeyed in yellows and browns. With minimal effort, you can block out the vehicle drone. Approaching the open field in front of Oak Hill, boundaries begin to dissolve; thoughts flicker and fade, hazy before they have fully formed. You start to feel drowsy, detached, separate, before the sudden rustle-rush of a small animal brings you back, sharply, to jittery alertness. You turn and hurry back the way you came. The sun hangs low and follows you, blinking and glinting through the gaps, and the temperature starts to drop.

***

Dan Carney is a musician and writer from north-east London. He has released two albums as Astronauts via the Lo Recordings label, and also works as a composer/producer of music for TV and film. His work has been heard on a range of television networks, including BBC, ITV, Channel 4, HBO, Sky, and Discovery. He also has a PhD in developmental psychology, and has authored a number of academic research papers on cognitive processing in genetic syndromes and special skills in autism. His other interests include walking, writing, and spending far too much time thinking about Tottenham Hotspur. Dan on Twitter.

Seven Days Walking by Ludovico Einaudi

Seven Days Walking is the title of the new album by Ludovico Einaudi Listen to it at https://lnk.to/Einaudi7DD1FP "I remember that in January 2018 I often went for long walks in the mountains, always following more or less the same trail.

"I remember that in January 2018 I often went for long walks in the mountains, always following more or less the same trail…”

Ludovico Einaudi is a prolific Italian composer and pianist, and has published 20 albums since 1988. In his work he is often influenced by the quotidian and nature: his album 'Una Mattina' is the perfect soundtrack for a lazy spring morning with a book and a good coffee, and in 2016 he recorded a heartbreaking 'Elegy for the Arctic' for Greenpeace. 

His latest project is 'Seven Days Walking', a series of seven albums that will be published in the next seven months; all focusing on a different day of the same walk in the Alps, and how the days change while walking, slowly but discernible. 

"The idea first came to me as I was listening to the recordings of the first sessions: each version seemed to me to have its own personality, with subtleties so distinct from one another that I was unable to choose which I preferred. I associated everything with walking, with the experience of following the same routes over and over, discovering new details each time. And so in the end I decided to thread them all together in a sort of musical labyrinth, a little like stepping inside the twists and turns of the creative process, to understand how a musical idea can develop in multiple directions, and changing once again at the moment in which it is heard."

You can listen to the album through a variety of different services here.