Uncanny Waters: Upcoming events in London and Hastings

Photo: Katrin Schönig

Our editor-in-chief Paul Scraton is heading to the UK next week for a couple of events that bring writers, filmmakers and musicians together to explore the topic of uncanny coastlines and waterways, from the Baltic beaches of Paul's book GHOSTS ON THE SHORE (Influx Press) to the canals of London and the coastlines of southern England. The events will take place at The Social in London on the 28 February and at the Electric Palace in Hastings on the 2 March.

Paul will be reading and presenting, with filmmaker Eymelt Sehmer, the short film IN SEARCH OF GHOSTS, a lyrical portrait of the book. Alongside Paul and Eymelt, Gareth E Rees will read from his new book THE STONE TIDE (Influx Press), his novel about tragedy, folklore and eco-apocalypse in Hastings, with a live musical performance of U118, a psychedelic invocation of the town’s infamous beached U-Boat. Finally, Gary Budden, author of HOLLOW SHORES (Dead Ink) and contributor to Elsewhere No.01, will explore the emotional geography of Kent's coastline and London's haunted canals with a reading and GREENTEETH, a wyrd fiction super-8 film directed by Adam Scovell based on one of Gary's stories.

In Hastings, they will also be joined by Rebecca E. Marshall who will be presenting her immersive documentary GLITTER AND STORM, which evokes the magical joys of sea swimming.

If you are anywhere near London or Hastings, we would love to see you at one (or both!) of the events. You can find out more information and get tickets using the following links:

Uncanny Waters - The Social, London - 28 Feb 2018 / Facebook event page / Buy tickets
Uncanny Coasts - Electric Palace, Hastings - 2 Mar 2018 / Facebook event page / Buy tickets

Curious contours of time in a city – Hyderabad

By Suranjana Choudhury:

“The desire to see the city preceded the means of satisfying it.” Michel de Certeau

Can one experience a city and then narrate it? Is it not quite challenging to embark on such a task? A city lives its own life. I had visited Hyderabad before, the most recent being my fourth time in the city. I knew that Hyderabad also possesses its own lived realities and fantasises. But prior to this I never experienced any urgency to write about this city. Now, as a resident of a quiet and mildly pensive hill station like Shillong, I have grown rapidly sharp and perceptive to the kinaesthetic appeal of a place like Hyderabad.

A longer stay in the city offered me the scope to experience Hyderabad with all its fluidities and fixities.  The sights and sounds overwhelmed me as I realised that I had come to live in what was both an ancient and a very modern city. I remembered my stay in Rome. Rome too had a similar appearance. It had witnessed thousand years of history and preserved many derelicts of the past amidst its growth as a global metropolis. Hyderabad also exuded such a peculiar charm. As a city, Hyderabad has traversed a historical route which has been quite different from that of most other cities in India. The city is defined through its relationships between the expansiveness of its space and episodes of its past. History is a tangible, palpable presence which none can dare ignore. The city does not merely tell its past, it does more than that.

Marco Polo in Calvino’s Invisible Cities tells us that the past in Zaira is contained “like the lines of a hand, written in the corners of the streets, the gratings of the windows, the banisters of the steps, the antennae of the lightning rods, the poles of the Bags, every segment marked in turn with scratches, indentations, scrolls.” There are many ways of describing the city. On the one hand, it incarnates the busyness of lives driven by corporate dreams. On the other, an idleness of an archaic feudal order. The forts, the tombs, some celebrated museums, some half-forgotten memorials, stood in sharp contrast to a few glamorous and a few prosaic components of contemporary city culture. I responded with awe to the richly nourished histories of Salarjung museum, to and fro motions of time in Golconda gullies, aromatic tastes of biriyani, dazzling visuals of various saree stores and of course heavy trail of chaotic traffic on the streets.

Of all my experiences received in Hyderabad, I remember a particular twilight spent in Golconda fort. This extraordinary structure is not a singular edifice; rather it is a community of constructions spread on a sprawling landscape. Being a Saturday, the place was already swollen with visitors arriving from everywhere. The composition of this anonymous crowd chronicled the hierarchy of a society and the differences of lives lived. On the huge, sprawling canvas one could witness such multiplicities in terms of nationality, ethnicity, language, religion. In short, the place was microcosmic India.

Some fashionably attired young men and women had arrived to spend a casual evening, some very spirited and dedicated travellers browsed every spot of the fort. Interestingly, it appeared that for some families the fort also offered a veritable site for picnicking. Some burqa-clad women, some scantily dressed. A father trying to appease a demanding baby. Some ravenous children gorging on multi-coloured ice-creams… They all presented an aesthetic delight of a different measure.

It was not just the sound or the sight or the smell; the space had transformed into something else. It evolved into an enduring visual, aural and tactile archive, preserving all the contours of this unique experience. It was a rhapsodic evening. As I walked along the belly of the historical ruins, I grew progressively aware of something which is perhaps symptomatic of every tourist spot. Golconda fort has ceased to be a piece of history. It had embraced saleability. This remnant of history had become an object to be exhibited; a public display to be visually consumed.

Amit Chaudhuri, the noted creative artist of our times, writes about a similar trope in his extremely evocative article “Kalighat Revisited.” I had read it long before I visited Hyderabad. I suppose his writing was somewhere lurking in the margins of my mind, and this in turn informed my observations. As more and more viewers trickled in, the fort growingly ascertained its acceptability, its popularity in the sphere of public desire.

There were other aspects of the Golconda narrative. Just as a television visual often renders random layers of a scene one upon another, so does the pattern of traveller/ consumer behaviour offer compelling commentaries on time and change. Some years back, when digital cameras were not digital and world was not so narcissistically obsessed with ‘selfie-images’, the photographer-sellers hitting those tourist places had reason enough to experience their own sense of self-importance. But now, these photographers appeared more and more desperate and sad. There were quite a few of them hanging around. They longed for potential buyers. With anxiety and hopelessness writ large on their faces, these professionals exercised several strategies to acquire a willing customer. They seemed haunted by phantoms of a happier past.

Their tragicomic predicaments held sway over everything else. Even a few years back there was no dearth of customers for them. The visitors who did not possess cameras or who forgot to bring one would gravitate towards these photographers to carry back their own personal memories of having been visited the fort. They would deliver one photograph after another in surprisingly short span of time. They were performers, conjurors who ensured that the audiences experienced full satisfaction after the show got over. However, a post-globalised universe has now fiercely transformed our imagination and cravings. I perceived these lost professionals as parallel recipients and victims of a changed world. They haunted the margins of an existence. Could they launch a different career? Is there any other strategy?

It is difficult to arrive at any answer. When I walked outside this luminous, resplendent architecture, my thoughts had changed perceptibly. I no longer felt an outsider. The collective experience of this visit opened up an imaginary space. This space was infinite, boundless. I was happy to inhabit and possess it together.

About the author:

Suranjana Choudhury is an Assistant Professor at the Department of English, North Eastern Hill University, Shillong. Her areas of interest include Narratives on Partition and Displacement, Women Studies, Travel Writings and Translation Studies. Besides her academic writings, she has also contributed to Humanities Underground, The Statesman, Cafe Dissensus, Coldnoon Travel Poetics, and Scroll.in.

Postcard from... the Canal Bank

By Paul Scraton:

To reach the canal bank the path moves past a stonemasons, where headstones wait in rows for future owners behind a chain link fence, and through a colony of allotment gardens, mostly locked and shuttered for the winter. Gnomes, felled by the last big storm lie on the lawn. Puddles gather in the centre of sagging trampolines. Leaves that fell months ago clog the drainage channels. The courts of the tennis club stand empty, the nets packed away. Grass grows long on the American Football field. Across the Atlantic they are preparing for the Super Bowl. Here, the season is long over.

Past a patch of wasteland of chipped bricks, blackened fire circles and piles of empty spray cans, the path runs alongside the canal now, through a tunnel of overhanging trees. Every so often a road crosses above, taking buses and cars in the direction of the airport. Thousands of people must pass this way each day departing or arriving in the city, but down here by the water is the domain of only a few. Joggers and cyclists. Council workers cleaning up the verges. Dog walkers. The canal itself still takes a barges or two, laden with coal, gravel or scrap metal, but as long as it is not frozen this is a place that belongs to the grey herons and mallards and the rowers with their metronomic strokes and heavy breathes. Their coaches ride ahead on little motorboats, issuing commands through a loudhailer, the only sound competing with the jet engines of the planes as they come into land.

In the summer, with the allotments in full swing and the path part of a major cycling and walking route, the canal bank will be alive with people. Alongside the rowers there will be kayakers on the water. The smell of barbecues and the sound of pop music from the gardens. The ringing of impatient bicycle bells. In the winter it returns to the edgelands. An in-between place. On the opposite bank from the path, smoke rises up from a houseboat in the shadow of a young offenders unit. Workers park their cars in front of steel and glass office blocks serving an airport well past its sell by date. Beyond the high fences, all is quiet and still in the army barracks built for an occupying army that left decades ago.

Places get their character from their surroundings. From the tennis club and the gardens. The proximity of the airport and the still waters of the canal running through the middle of the scene. But they also get it from the weather. From the season of the year. From the time of day. Now, with the rowers out of sight and earshot, everything on the canal bank is calm. Even the planes seemed to have stopped taking off or coming in to land. Winter mist above the water. The sudden movement of a jay, spotted through the trees. A siren in the distance.

A large branch, felled by the storm and not yet dealt with by the council workers, blocks the path. It doesn't matter. This is far enough. It's time to turn back.

A winter pilgrimage

By David Lewis:

In the shortest days I make a secular pilgrimage from the small town of Presteigne to Limebrook Priory, about eight kilometres away.  My one long annual walk, my one communion with the natural world, is sacrosanct and taken alone.  It is a pilgrimage of solitude. 

On this cold grey afternoon Presteigne is deserted.  The old town ends abruptly at the last wall of stone and lichen, and the river Lugg leads me into a wide valley of sheep fields, slashed with lines of hedge-snow.  My mind slows to the touch of a thorn hedge and the crunch of my boots on wet gravel, and the silence folds itself around me.

Silence is walking’s greatest pleasure.  I work in heated buildings and electric light, and I value a cold wind and the rain on my face.  Solitude too is a rare gift, and I do not expect to meet other people on this journey.  I am not a serious walker, often stopping to appreciate the moments of stillness: a pheasant in an empty field, a buzzard rising on a thermal, a shaft of sunlight through a cloud.  It is quiet enough to hear the buzzard half a mile distant; already even the quiet shops of Presteigne seem a long way away.

After four miles, the valley narrows and deepens.  This is the loneliest and darkest stretch of the journey.  The river is sullen and powerful after recent snows, and walls of tall sombre pines darken the light with a slow sighing of branches.  There is a legend that defeated soldiers escaping the medieval battle of Mortimer’s Cross passed wearily through this gorge.  Was the mud as deep, the river as menacing?  I break through ice into mud, stumble over the frozen ground in their footsteps.  There are ravens overhead, breaking the silence with their wary croaks and the air with their ragged bullet bodies. 

In the next wide sheep valley the grey light returns, but there is no sign of human life – no farm, no house, no road, no vehicles.  The pale fields are bare, cut by the wind with the raw smells of winter fields - sheep manure, dry grass, mud – until the wind drops behind a shoulder of hill, and an old thorn hedge-line takes me to the Lime brook.  Usually the nuns’ stream is light and playful, but today it is a powerful torrent surging to join the Lugg.  An isolated farm road for ten minutes’ brisk mud-free walking, and the Priory appears around a corner.  I have arrived.  The pilgrimage is over.    

Stone still stands on stone, walls still stand, but Limebrook Priory was dissolved by Henry VIII and  has been a ruin since 1539.  I arrive at 3pm, when the nuns would be preparing for the mid-afternoon service None, but grass has grown even over the ruins, and I struggle to imagine vegetable gardens, refectory, the nuns’ cells, the church itself.  I do not stay long, but always leave something of my journey for the nuns’ memory; a makeshift staff, a pile of leaves held by peg or river stone, even just a thought.  In the nuns’ steep, narrow valley daylight is lost early on winter afternoons, and I repack my rucksack and climb into the grey light above the Priory.  The valley has already folded protectively around the old stones and the walls can barely be seen.  With every year, Limebrook Priory belongs more and more to the natural world. 

On this little-used road I nod to the only people I see all day.  Hooded and muffled against the wind the hedge-layers are strangely medieval, with a hill’s arc of stem and trunk behind them that the nuns would recognise as a well-laid hedge.  I have a long road still to walk, and half an hour after leaving Limebrook I start to lose the light.  I imagine the rush lights and candles being lit in the Priory behind me in time and space, the preparations for the dusk service, Vespers.  My dark road bends through woodland and fields until the lights of Presteigne appear through the trees and hedges.  Wet and exhausted I stumble up the hill past the old houses, their warm rooms a long way from the mud and cold thorns of the dark path behind me.  Yet my winter pilgrimage is a celebration of these contrasts.  This floundering walk over saturated fields and narrow roads is a rare slowing of personal time, when the only sounds are the wind, the river, a distant bird.  And for me the annual ritual of the journey, towards an appreciation of daylight around the winter solstice, is pilgrimage enough. 

David Lewis has written five books of history/landscape/psychogeography about his native Liverpool and Merseyside.  He posts urban/rural images on Instagram - davidlewis4168 and mutters about the world on Twitter - @dlewiswriter

A village pond without a village

By Matt Gilbert:

As quests go, this wasn’t exactly an epic. There was no Green Chapel to be found, no Mount Kailash to be reached, nothing but a pond next to a busy A-road, on the fringes of Croydon.

Beulah Hill Pond is named after a farm that was once here, before the area was built up. According to Croydon council’s website, the place was also known locally as ‘Big Pond’. The site had long been used a ‘watering place’ for horses and cattle and a bar had been placed across the middle to prevent livestock from straying too far in and drowning. In the past, when it froze, people liked to skate on it.

Other than that, there is nothing exceptional about the pond: no rare species make it their home, no famous historical events occurred there and it doesn’t lay claim to a ghost. As ponds go, this one is almost utterly unremarkable. Almost. Yet something about the place caught my imagination.

When we first moved to this part of South London, I noticed the pond on an A-Z and wondered what it was doing there. On a map the pond looked a little lost; wedged into a corner between a road, a pub and a row of houses. I made a mental note to go and take a look sometime, before forgetting all about it.

A couple of years later I read a story in a local paper about a pub called the Conquering Hero, which was home to a pig. The pig – a Vietnamese pot-bellied pig, called Frances Bacon – had been barred from wandering about near the bar, because it had taken to deliberately knocking over people’s pints to drink them. The report jarred my memory – this was the pub next door to Beulah Hill Pond. This was a sign, finally it was time to pay a visit.

I felt a mild, but nagging sense of guilt. I thought about an old ad for Time Out, which showed London’s famous tube map with all the station names blanked out, except for two. One of these, near the edge of the page, was marked Home, while the other, near the centre, said Work. The headline read: London without Time Out. I used to scoff at the idea that I would ever inhabit London, my adopted home, in this way. Now, here I was about to visit somewhere a few minutes’ walk from my home, that I had never seen before, via roads within my postcode that I had never previously set foot upon. The distance between us was negligible, but Beulah Hill Pond simply wasn’t within my orbit. Last year, one early morning, I set out to change that. 

This bit of what is now South-East London used to be Surrey, but today belongs to Croydon and Lambeth. The area is also known in places as Norwood; a name derived from the Great North Wood – as in north of Croydon – that once stretched over land to the south of the Thames, where the ragged edges of London shaded out into the Surrey hills. However, unless you go back to prehistoric times, this territory was never covered by some vast wildwood of the imagination. For centuries, stands of trees and coppices dotted the land, but for the most part were managed as commercial enterprises – many by the Lambeth and Croydon manors of the Archbishop of Canterbury.

Tiny remnants of this sylvan heritage can be found scattered across south east London – Dulwich and Sydenham Hill Woods being the largest examples. Local place names including Forest Hill, Penge, Honour Oak and Gipsy Hill, also carry traces of this bosky past.

Looking at some old 18th and 19th century maps online, I was intrigued to see that some of today’s streets appear to follow the course of the edges of former fields and land boundaries, but on the ground, picking up such historic traces proved hard.

As I walked I tried to imagine ancient fields and tracks that once hugged the same curves as the tarmac and paving slabs beneath my feet. Sparrows in straggly, uncut hedges, near occasional grassy lanes leading to garages, made a desperate stab at evoking a greener past. Mostly though, as marching rows of Victorian terraces on Tivoli Road gave way to 1930s semis, I had a greater sense of multiple daily dramas being acted out behind door after door after door.

Steam from central heating snaked into the air from outlet pipes. Music rattled out of windows. Kettles boiled. Parents yelled at children to get dressed for school. Others readied themselves for work. Or not. The relentless everyday of human life.

Nearing my destination, I rounded a corner onto the A215. Cars sat in long queues waiting to pile into London. I glanced up and in the morning sun, confused glinting wires that fanned out from a pylon, for a series of highly choreographed aeroplane vapour trails.

I looked back down, and there it was, my stray pond. I don’t know what I had expected really, but I was a little disappointed, to find the pond fenced off behind iron railings. A couple of benches set on concrete next to the road faced the water. A sign showed photos of birds you might see: Herons, Moorhens, Ducks. I peered through a gap in the railings. A yellow polystyrene burger carton floated in green water. From out of the reeds behind it, a lone moorhen bobbed into view.

I recalled a conservation volunteer I’d once met telling me about a clean-up session he’d been involved with here, where they’d found a mummified Terrapin. Thick ranks of small trees and shrubs surrounded the pond on three sides. Perhaps somewhere behind the wall of vegetation more aquatic life was in hiding. I looked again at the fence, it made the place look like an enclosure in a zoo, but at last I was here. I had found it, a village pond without a village.

Matt Gilbert grew up in Bristol and now lives in London. He blogs about place, books & other diversions at richlyevocative.net and tweets @richlyevocative

Postcard from... Gdańsk

By Paul Scraton:

Under the archway at the end of the Long Market, two photographs looked down on the pedestrians as they moved through to cobbled streets of the Main Town or out to the car park by the theatre, where the Christmas Market was in full swing. Not many people looked up, to contemplate the vision of Gdańsk as it was at the end of the Second World War. Perhaps they had seen them so many times before. But for the new arrival, they were enough to make you stop and stare.

Here, in the city where the war began, roughly 90% of the buildings were destroyed. The photographs showed the devastation in brutal black and white. It was possible to make out the streets, but barely a single building survived intact. What remained were the stone steps, leading up from the street to where once elegant townhouses stood, now reduced to piles of rubble.

The rebuilding of Gdańsk was an incredible achievement, the Main Town of the city once again reflecting the Hanseatic heyday of this port city that would later come to symbolise the opposition of everyday people to the Communist elites via the Solidarity movement born in the shipyards. On the waterfront or along the Long Market, in front of the grand churches or the amber shops of the atmospheric Ulica Mariacka, the rebuilding made it possible to imagine a city where the war never happened; even with the knowledge that behind those façades, so true to the originals, were buildings of a much more modern construction.

Elsewhere in the city, the reminders of what happened in Gdańsk in the 20th century were easier to discover. The Old Town, to the north, was a fairly nondescript residential district, with only a few pre-War buildings, such as the iconic Post Office, still standing or rebuilt. There were many memorials, of course. To the Post Office workers who held out against the German forces. To the victims of the Second World War and the Communist regime that followed. There were museums seemingly around every corner, trying to tell the story of the city via the many events that shaped it and the different periods of its long history.

Kashubia and Poland. Hanseatic League and Teutonic Knights. Prussia and Germany.

Free City. Destroyed city.

Danzig / Gdańsk

But perhaps the most striking reminder of the past appeared back in the Main Town, on Świętego Ducha. There, on one side of the street, the houses had been rebuilt as elsewhere. Red brick and ornate façades. Crow-stepped gables and Dutch-inspired roofs. But on the other side of the cobblestoned street, the space had been left empty when the rebuilding began, eventually filled a little by trees, a car park and a public toilet, standing in the shade. On that side of the street the steps that survived the war lead up from the pavement to only the memory of the building that stood there before. A ghostly entranceway to a city almost completely destroyed, now re-imagined. The steps were like a postcard from the past, enough to stop you in your tracks – just like the photographs, hanging beneath the city gate.  

Headlong towards the end of the year

As we reach the middle of December, the Elsewhere crew is already scattered and soon there will be no-one in town, holding the fort, as we head off on our journeys to family in friends, whether in Germany, Thailand, Ireland, the United Kingdom or Poland. So we thought we'd take this last opportunity to say thanks to the wider Elsewhere community for another great year of exploring place and places, whether in real life, in the pages of the journal, or here on the website. We'll be back in 2018 so make sure you check in with us then.

In the meantime, if you would like to support the journal in any way, the easiest way to do it is to buy a copy. All five editions of the journal are still available via our online shop, where you can buy them individually or in double sets. And if you already have them all (thanks so much!), then it would be great if you could share a word about what we do with any of your family and friends who you think might be interested. This also includes our facebook, twitter and instagram accounts. Word of mouth is how we keep going...

So that's your lot for 2017. Thanks again for all your support... we're off to unfold maps, check our train timetables and clean the old mud from our walking boots. See you on the other side...

Paul & Julia

Printed Matters: Europe by Rail

Long-time readers of Elsewhere: A Journal of Place will know how much we love rail travel. In the pages of the journal and here on the blog we have never been slow to admit that it is almost certainly our favourite mode of transport,  challenged only by our joy of going for a walk. It is a love that we share with a couple of close friends of the journal, Nicky Gardner and Susanne Kries. Nicky was a very early contributor to Elsewhere, with a short essay appearing in the very first edition of the journal, and together with Susanne, is the editor of the wonderful hidden europe magazine.

Last month, Nicky and Susanne’s latest project hit the shelves: the 15th edition of Europe by Rail: The Definitive Guide. As both editors and now publishers of the guidebook, Nicky and Susanne have brought their trademark attention to detail to all aspects of the new publication, and as always it is an absolute pleasure to read. With routes from the Atlantic coast of Portugal in the west to the Carpathian Mountains in the east, there can be few more pleasurable ways to spend a cold and windy winter’s afternoon than to be curled up on the sofa with this book, reading about and imagining the different journeys contained within these pages, growing ever-more inspired for the next journey to elsewhere.

Nicky and Susanne have been kind enough to send us some sample texts from the book, to give you a sense of what you can discover between its elegantly designed covers, and we can highly recommend it either for yourself, to plan a trip, or as a Christmas present for that rail-loving friend or member of your family.

Europe by Rail: The Definitive Guide

For the 15th edition of the guide there are a number of new routes. One of which takes us from Zagreb through Serbia and Bulgaria to Thessaloniki in Greece. As befitting a book written, edited and published by strong proponents of Slow Travel, the routes are not ones where anyone is in a rush. Here’s how things get started, around Zagreb station in Croatia:

Take a look around the vicinity of the station before leaving Zagreb. The north is the posh side of the railway tracks. The distinguished Croatian writer Miroslav Krleža wrote a damning essay on social (and spatial) divides in Zagreb in 1937. To the north of the station, he found “hot water, roulette, lifts, on parle français, Europe, good!” Over on the south side of the railway there were “open cesspits, malaria… Balkan, a sorry province.” To Krleža, those quarters of Zagreb beyond the railway were “the back of beyond, Asia.” That from a left-leaning writer who was keen to shock the Zagreb bourgeoisie – all by definition residing north of the railway – out of their complacency.

Nowadays, the cesspits south of the tracks are long gone and the district between the railway and the river, while not pretty, is an edgy part of town where activists protest against real estate speculators. Even Zagreb has its rebel zone. If you incline towards more sedate cityscapes, stick to the north side of the station where the Esplanade Hotel still has uniformed bellboys and the Paviljon restaurant attracts an affluent elite who like elaborate cakes and seem not to have noticed that the Habsburg Empire disappeared a while back. Both the Esplanade and the Paviljon are visible from the front of the station. It’s also impossible to miss the statue of good old King Tomislav and his horse which arrived here in 1947 and commemorates the tenth-century monarch who is credited with having created the first coherent Croatian state. Whatever you make of Tomislav, the statue was a good way of recycling old cannons which were melted down to secure the bronze needed.

As the journey from Croatia to Greece continues, the emphasis, as with all the routes in the book, goes beyond practical information to give the reader a sense of the appeal of the journey. Here are a couple of further snapshots of the route to Thessalonki:

From Slavonia to Srem

The train to Belgrade rolls on across the dark plain to reach Tovarnik, a village which would barely warrant a stop bar for the important fact that it’s the last community in Croatia. Just over the fields lies the border with Serbia. It’s not so many years since minefields in this border region continued to pose a major danger. Today, all is calm and the border formalities, conducted at Tovarnik and at Šid on the Serbian side are invariably civil and often even good-humoured.

Beyond Šid, our train doesn’t rush. This is pleasant, undemanding country: the Sava flatlands drifting away to the southern horizon on the right side of the train, while to the left there are the distant ripples of the forested hills known as Fruška Gora. The first stop is at Sremska Mitrovica, the biggest community in Serbia’s Srem region and a relaxed riverside town which traces its history back to the Roman settlement of Sirmium. The town’s claim to be ‘the glorious mother of cities’ may raise a few eyebrows, but it’s a nice enough spot for a first taste of Serbia.

Towards the Bulgarian border

Leaving the main line at Niš, there is immediately a sense of entering another world. We’ve swapped a double-track electrified railway for a humble single-track rural line where trains are hauled by an ancient blue diesel engine which was once reserved for use on the luxury plavi voz (Blue Train) which ferried Yugoslav leader President Tito around the country. But there is no hint of luxury on the slow train to Dimitrovgrad. The railway follows the Nišava Valley up into increasingly rugged hills, along the way passing through Bela Palanka and Pirot, the latter newly raised to city status and still noted for its fine traditional woven carpets. From Pirot it is just a short hop onto Dimitrovgrad, the last station before the Bulgarian border, and a community where ethnic Bulgarians outnumber Serbs by two to one. The language spoken in this border region is Torlak, a South Slavic transitional dialect which has elements of both Serbian and Bulgarian.

Europe by Rail: The Definitive Guide is published by hidden europe publications. Alongside the guidebook, there is a dedicated website that includes regular updates and news on European rail travel. The book is available on Wordery, Amazon or via a number of different outlets, which are listed on the Europe by Rail website. 

Am I Alone In Dreaming Of Rubble

By David Lewis:

I am walking through a blunt triangle of empty terraced streets, dominated by a long low red brick church, closed and boarded up; a hole in the boards allows local children to once again play in the church porch.  It is starting to get dark.

Twenty years ago, in a period of deep, isolated research, I began to have dreams about Liverpool.  I was studying the city’s churches, curious about how they define the city; how their spires contribute to the roofline, how their architecture dominates a street, how the city is changed on the date of their demolition.  I worked alone, spending weeks in the city’s Records Office poring over memoirs and old street plans.   Days were spent immersed in the stark and beautiful photographs of Liverpool in its Victorian prime, and in the dark and destructive 1960s when many of the city’s older churches were demolished.  I took many long journeys to find the sooty, bruised survivors, only to discover that this destruction was ongoing.  In some cases I arrived only days after the final clearance, to a raw slash in the urban landscape, a sense of wounded stone and dust settling.  I began to see all buildings as temporary, as part of a rolling history of the fabric of the city.  Lines began to blur. 

And I started to dream.  Carl Jung famously dreamed of the city; mine were more prosaic. They have always been short and in black and white, and fall into two categories.  In the first, I can see small details of the city - street corners, ruined walls, unnamed streets reduced to fields of rubble.  Some districts appear time and again; Edge Hill, Toxteth, Netherfield Road, places that have been in a radical process of decay and regeneration since the 1960s. I started to record the dreams as accurately as I could, in a staccato, notebook style.  Sometimes they help me remember more detail; in other cases they are all that is left of the dream. 

Unknown derelict dockland streets, ironwork, weeds, tall closed warehouses.  A steep cobbled street called St George’s Place, behind a railway station. Early morning. 

The dreams were fuelled by the photographs, but I came to realise that they were also reviving memories.  The Liverpool of my childhood was a city partly in ruins, and blitz-memories were still strong.  Older people talked of evacuation to north Wales, of nights in air-raid shelters, of bombers over the city.  The destruction continued after the war, when in a spurt of self-loathing the city demolished with a frenzy, and on car journeys to visit relatives in the northern reaches of the city I saw miles of cleared terraced streets.  In those days all gaps in the landscape were known as ‘bommies’, a word which meant bomb sites but also bonfires; urban folk memory overlapped urban function.  I had a recurring dream of a large square black building in the middle of a demolished city, a composite view of the boarded-up churches and barely-open pubs I saw on the disappearing streets of north Liverpool. 

In the other dreams, I see residential areas associated with my grandfather’s family.  Vincent Lewis was born in 1904, and grew up surrounded by family in the working-class streets of Liverpool 8.   As a child I knew many of the streets with family connections, and as an adult it was these places that began to appear in different dreams; sometimes in ruins, sometimes full of people, sometimes just streets of alleyways and tall brick walls. 

Cockburn Street in the early morning.  There are no cars and the street is deserted but I can see down another cleared street to the Mersey below me, gleaming silver.  Tall walls behind me. 

I came to realise that all these dreams, these blurrings of old photograph and old memory, are a creative response to the demolition of my grandfather’s city.  The books I have written on Liverpool are an attempt to understand and articulate the Victorian city that is gradually disappearing.  Yet the pace of urban evolution is so quick that one day all our familiar places will have gone or been radically changed and everyday memories, however commonplace, will have become history.  I still walk the vulnerable city as often as I can, exploring and recording amputated streets, stretches of cobble and redundant warehouses.  Often after these long walks I dream once more of the city in ruins, feeling now that our rubble dreams tell us more than we know.      

David Lewis has written five books of history/landscape/psychogeography about his native Liverpool and Merseyside.  He posts urban/rural images on Instagram - davidlewis4168 and mutters about the world on Twitter - @dlewiswriter

Mount Koya: Beware of Bears

By Pete Martin:

I stop at Karukayado (the Hall of Karukaya). The Karukaya is a story of a boy called Ishidomaru who came to Koya-san in order to meet his father. The boy met a monk, who was in fact his father, but, as the monk had renounced his past life for priesthood, he told the boy that his father had died and sent him back to his mother at one of the inns at the edge of the mountain. (At this time, women were not allowed to enter Koya-san and so seven temples were built on the periphery for women). Ishidomaru found his mother dead at the inn and so returned to study under the monk, never knowing the monk was his father. The hall is now preserved as a hermitage where father and son practiced asceticism together for over forty years. I walk along the corridor of the hall that houses the shrine and follow the paintings on the wall that depict the story.

In the centre of Koya-san is the Kongobuji and Danjo Garan complex. The Kongobuji is the head temple of Koya-san Shingon Buddhism. The temple comprises two temples that were combined together in 1869. It has a feel of history and tradition in its plain, ancient wooden features. It was in the willow room of the Kongobuji that Toyotomi Hidetsugu, the nephew and retainer of the great Toyotomi Hideyoshi, committed seppuku (ritual suicide by disembowelment) after being accused of plotting a coup.

The complex opens up further with the old, dark wooden Fudodo on the left sitting prettily in front of a lake. This is the oldest existent building in Koya-san built in 1197. Opposite is the magnificent towering red Daito (Great Pagoda). Kobo Daishi planned the Daito as the centre of the monastery. The original construction began in 816 and was completed seventy years later. The forty-nine metre high red pagoda that is here now had to be rebuilt in 1937. Inside there is a golden statue of Buddha Mahavairocana.

This area is spectacular. The ground is covered with snow or, where it has melted, with wet orangey-brown gravel. Beyond the Daito are more sacred buildings, including the Meido (Portrait Hall), where it is said that Kobo Daishi had residence. This building is closed to the public and is only opened once a year, on the anniversary of the day Kobo Daishi began his long (and continuing) meditation. Inside is a portrait of Kobo Daishi painted by his disciple Shinnyo.

At Rengendani, it’s a short walk uphill to my shukubo - a temple that provides lodging. The outside of the shukubo looks like an old, traditional temple, with a rock garden and carp pond. Inside, I change into geta and am shown to my room by a monk in full robes. Inside, it’s completely modern except that there is no heating. Later, I change into my kimono and warm outer coat and I’m collected from my room by the monk for dinner. My private dining room is a small room along a cold, glass panelled corridor. The shoji on one side have simple tree paintings on them. The others are bare. The glass doors are closed and in the middle of the floor are a cushion and two red trays with cold food laid out. Beyond the glass doors, I have a view of the rock garden, now lightly lit in the dark of the evening and sprinkled with what remains of the snow. Another tray is brought in with hot food, sake and tea. I take my time to sample it all. It’s one of the best meals I have ever eaten and in one of the most amazing locations. It takes me nearly an hour to finish everything.

Just before seven o'clock in the morning, I’m lead to the older part of the temple, through the cold corridors, to the shrine room. At the back there are cushioned benches on either side of the central aisle. I sit down. Two small side rooms have hundreds of red lanterns on the ground. In the middle of the room, there’s a model of a golden pavilion in front of the altar. From the ceiling, more lanterns and pendants hang. The only light comes from several rows of lit candles. One monk sits directly in front of the altar and one monk to the side. The one to the side begins a slow chant and soon the monk at the altar begins a louder chant.

Both use various bells, chimes and cymbals to wake the Buddhas. Halfway through the chanting, one of the monks comes to me and asks me to drop three grains of rice into a bowl. The monk then returns and they chant in unison again. Without intending to, I find myself falling into a trance. I’ve been given a sheet of paper with the words to the ‘Heart Sutra for the Perfection of Wisdom’ which is written in Japanese and English. The Japanese is also spelt out phonetically in English. Amazingly, I can pick up the sounds and I’m able to chant quietly along with the two monks as they recite the sutra. Time seems to stand still.

After forty minutes or so, the morning ceremony is finished and I’m taken directly to breakfast. The rock garden looks very different in the early morning daylight. Once breakfast is done, sadly I have to leave the inn. At the stop for the bus back to Koya-san station, there’s a sign on the wall which reads: ‘Beware of Bears! Recently bears were seen at each area in Koya-san and there are so many eyewitness reports. When you go out, don't go out alone.’ I now realise why I have had the wonderful sights of Koya-san to myself.

Pete Martin’s book Revolutions: Wandering and wondering on a sabbatical year is a compelling tale of travel and change and is out now. More information can be found at www.wander2wonder.com.