Out of Place No.04: 'The Summer Book' by Tove Jansson

Out of Place is an irregular series about movement and place, and the novels that take us elsewhere, by regular contributor Anna Evans. 

‘Floating on the water like a drifting leaf.’ – Islands and imaginary worlds in Tove Jansson’s The Summer Book.

The sea is always subject to unusual events; things drift in or run aground or shift in the night when the wind changes, and keeping track of all this takes experience, imagination, and unflagging watchfulness.

In a cabin on an island somewhere in the Gulf of Finland, a little girl awakes under a full moon to find herself alone in bed. Perhaps it is the moonlight that illuminates and sweeps across the island to wake her, like the sea covered by ice at its shores. She remembers that she is sleeping in a bed by herself on the island because her mother is dead. She climbs out of bed and looks out of the window. It is April, and the floor is very cold under her feet. The fire is lit and flames flicker on the ceiling. The black ice on the sea mingles with reflections of the room, and its furniture and objects. It appears as if the suitcases and trunks that are lying open on the floor are filled with moss and snow, and ‘coal-black shadow’. There is a dreamlike intensity to the images and reflections that she sees, a mingling of perspectives of inside and outside, so that we are not sure if she is awake or dreaming. She watches their luggage float out in a river of moonlight, ‘All the suitcases were open and full of darkness and moss, and none of them ever came back.’ As she drifts back to sleep, Sophia lets the whole island float out on the ice and on to the horizon, as if she is letting go.

The Summer Book is full of such moments of space and solitude. Ali Smith writes that ‘the novel reads like looking through clear water and seeing, suddenly, the depth.’ The presence of water is a constant and the book is full of images of floating and drifting, sinking and diving. For the inhabitants of an island, the sea is always there, ‘a long blue landscape of vanishing waves,’ an immersion in water. The book contains beautiful and striking descriptions of the sea and the archipelago, such as the arrival of a storm, when the island begins to look small and insignificant and the sea becomes immense, ‘white and yellow and grey and horizonless’. 

Tove Jansson, known mainly as creator of the Moomins, was a writer, illustrator, and painter, who wrote several novels and short stories for adults including The Summer Book, published in 1972. Running through the book is the relationship between a grandmother and granddaughter, and their shifting perspectives, which Jansson navigates with a light touch. They are companions who explore and have adventures together, arguing and playing together during a summer on the island. Recurring throughout are their thoughts and conversations which touch on questions about life and death in a way that is open-minded and truthful, irreverent, and unconventional. 

There is a sense of displacement and loss that comes from those images of the suitcases gliding away, the black ice and the moonlight, reflections of the darkness outside and the fire inside. This moment of grief is never dealt with explicitly, but perhaps a sense of loss hovers at the edges of the narrative. Jansson wrote The Summer Book after her mother’s death and in some ways the book feels like a remembrance of absent friends, and of an intense spirit of creativity and imagination which seems emblematic of her art and personal relationships. Contained within its pages is a deeply held belief in difference and free thinking, and a tolerance for others. It is a book about age and wisdom – ‘you have to come to it by yourself’ - that manages to be both weighty and understated, philosophical and poetic, moving and very funny. 

It is a book that resists characterisation and one that creates space for the reader through its structure: a series of vignettes, of connecting episodes and stories that are interlinked and overlapping. Ali Smith describes how the ‘profound quiet of the setting’ allows space for all the things left unsaid to be heard. ‘Jansson's brilliance is to create a narrative that seems, at least, to have no forward motion, to exist in lit moments, gleaming dark moments, like lights on a string, each chapter its own beautifully constructed, random-seeming, complete story.’

It is a book that rewards re-reading, one of those books in which you notice different things each time you read. Reminding me of a time when I sat down to write, with the book beside me, in the early mornings of a long dark winter. I would set an alarm for 5am and sit with a blanket around me, often lighting a candle, and write for an hour or two when daily life would start to intrude again; the rituals of getting ready for school and work. The flame of the candle was the space I was carving out for myself, and sometimes a glimmer of an idea would surface. Writing back through the lens of memories real and imagined, I started to realize that it was places I was seeking to capture in words, a particular kind of longing.

The Summer Book is rich in place with a deep respect for the natural landscape. The setting is a tiny rocky island in the Pellinge archipelago in the Gulf of Finland. Tove and her brother Lars built a house on the island of Bredskär in 1947, and Tove and her long-term partner Tuulikki Pietilä spent many years together on a nearby island Klovharun further out on the rim of the archipelago, where it is possible to visit their summer cottage. The book is set during a summer, or perhaps a series of summers spent on the island: ‘It was just the same long summer, always, and everything lived and grew at its own pace.’ For me, Tove’s writing, and her descriptions of the island, render a landscape I recognize from summers spent in Sweden as a child, the forests, lakes and archipelagos, the moss and granite rocks. The vividness of that landscape for me feels like the experience of summer, a place I associate with space and light.  

The book describes how these tiny rocky islands are remarkably resilient and self-contained. A small island ‘takes care of itself. It drinks melting snow and spring rain and, finally, dew, and if there is a drought the island waits for the next summer and grows its flowers then instead. The flowers are used to it and wait quietly in their roots.’ The human inhabitants of the island are self-sufficient too and the book is full of reflections on island living and island dwellers. In her foreword to The Summer Book, Esther Freud describes her visit to the island and how amazed she is to find how tiny it really is. She marvels at the use Jansson made of her surroundings ‘investing so much detail in every patch of ground’. Here, she thinks, was a writer who understood ‘the proper magnitudes of our small worlds’.

Although its setting is a tiny island, it is a book that is full of travel and imaginary worlds. When a picture postcard of Venice arrives one day, Grandmother begins to recall her travels in Venice and Sophia is curious about this city built on the water. Tove herself loved to travel and had spent time in Italy. The postcard is ‘the prettiest picture anyone in the family had ever seen. There was a long row of pink and gilded palaces rising from a dark waterway that mirrored the lanterns on several slim gondolas. The full moon was shining on a dark blue sky, and a beautiful, lonely woman stood on a little bridge with one had covering her eyes.’ The image of Venice sinking into the sea fuels their imaginations and they build their own pretend version of Venice, carefully constructing palazzos and bridges and gondolas: ‘There is something very elegant about throwing the plates out the window after dinner, and about living in a house that is slowly sinking to its doom.’

For Grandmother, moments of stillness and of careful observation are meaningful. She observes with care a blade of grass, a fragment of seabird down, becoming entranced by tiny details - the way they are constructed, how they move in a draft of air. This attentiveness to details can be revelatory, and Grandmother knows that she must give these moments her full attention: ‘It was important for her not to stand up too quickly, so she had time to watch the blade of grass just as the down left its hold and was borne away in a light morning breeze. It was carried out of her field of vision, and when she got on her feet the landscape had grown smaller.’ A tiny piece of driftwood, a scrap of bark that she finds on the shores of the island, could become a whole world. ‘If you looked at it for a long time it grew and became a very ancient mountain. The upper side had craters and excavations that looked like whirlpools.’ 

Running through the book is a deep awareness and respect for the living creatures they share the landscape with, for every plant, insect, bird, and animal that dwells on the island. The magic forest is a ‘dense, sheltering wall of trees’ that ‘had shaped itself with slow and laborious care, and the balance between survival and extinction was so delicate that even the smallest change was unthinkable.’ They leave the trees untouched, for to clear a space between them or attempt to separate them ‘might lead to the ruin of the magic forest’. Grandmother sits in the magic forest and carves animals from driftwood that she finds: ‘They retained their wooden souls, and the curve of their backs and legs had the enigmatic shape of growth itself and remained a part of the decaying forest.’ As for the forest, left to themselves, ‘the trees slipped deeper and deeper into each other’s arms as time went by.’

This sense of preservation and letting things be is part of their existence on the island, to leave parts untouched, to not leave too many traces. They are part of a bigger system, a sustainable island environment in which you sense that all things are equal and have their place. The human inhabitants of the island stick to narrow paths by which they wander the different parts of the island, the rocks and to the sand beach, bypassing the carpet of moss and being careful not to step on the frail moss: ‘Step on it once and it rises the next time it rains. The second time, it doesn’t rise back up. And the third time you step on the moss, it dies.’ Their habitation of the island is based on a deep understanding and reverence for the other forms of life with which they co-habit. 

‘The Tent’ is an incredibly beautiful and moving section of the book, in which the story seems to echo through the dual perspectives of grandmother and granddaughter. Sophia wants to hear Grandmother’s stories about the past and about her days as a Scout leader, and what it was like to camp outside in a tent. But when Grandmother tries to put her memories into words, they feel fragile and distant; it is as if everything is gliding away from her. Sophia sets out to spend the night in a tent, and as she sets out on her adventure, the creek where the tent is placed starts to feel like a ravine, distant and forsaken. She zips up the little yellow tent which feels small and friendly, ‘a cocoon of light and silence’. In the long summer evenings, it is still light outside, and she falls asleep. Later, waking up in the night, she finds that darkness has entered the tent and now surrounds her. She can hear strange movements and sounds, ‘the kind no one can trace or account for’. In this darkness she finds she really listens for the first time in her life and notices the feel of the ground under her feet which is ‘cold, grainy, terribly complicated’. In this awareness and surrounded by darkness she has the sense that the island has grown tiny, that it is ‘floating on the water like a drifting leaf’. Returning to find Grandmother awake, Sophia begins to tell, in her own words, what it feels like to sleep in a tent.

As the summer nights begin to fade away, the human inhabitants begin to remove their marks and traces from the island, ‘a place for everything and everything in its place’.  Grandmother feels the island becoming cleaner and returning to its original condition. It begins to feel lonelier and more distant and secret. There is a sense of taking leave, as Grandmother sits by the water at nightfall, watching the passing boats. The Summer Book is full of such quiet moments, where the lightness of Tove’s writing reveals depths. 

***

Anna Evans is a writer from Huddersfield who lives in Cambridge, with interests in place, memory, literature, migration, and travel. She enjoys writing about landscape – nature, cities, and all the places in-between. You can read more about Anna and her work on her website The Street Walks In. You can find more of Anna’s contributions to Elsewhere here.

Return to Lewis

By Ian Grosz:

It had been fifteen years since I had last sailed on the Lewis ferry. The largest of the islands of the Outer Hebrides, Lewis is separated from the mainland of Scotland by an often stormy stretch of sea known as the Minch, the crossing twice that of Dover to Calais. This distance, and its Celtic, Gaelic heritage, has maintained Lewis’s mystique in the imagination. Romanticised through the ages but found often lacking by its visiting authors, a series of historic writers from Johnson’s infamous eighteenth-century post-Union A Journey to the Western Islands of Scotland, to Louis MacNeice’s I Crossed the Minch in 1937, have been less than kind about the islands.[1]

MacNeice, a Belfast born, Oxford educated poet, playwright, BBC producer, writer and critic, declares in the opening to his travelogue of the journey he took through the Hebrides, that ‘I doubt that I shall visit the Western Islands again.’ Filled with the memories of childhood visits to Connemara and the vicarious childhood memories of his father’s own Connemara childhood, MacNeice experienced an ‘out-of-placeness’ that came as a surprise on an island where he hoped to find something of his own ‘Celtic soul.’ 

‘What is shocking is to find an island invaded by the vices of the mainland,’ he says, his sentimental view of what life should be there, knocked off-kilter to find a crofter industrialise the weaving of Harris Tweeds, capitalising on the work and skills of his own community. Islands, no matter how romantic, are never as isolated and changeless as we might imagine. I sit at a window table and look out to Ullapool’s slowly shrinking harbourside cottages, and the mist and drizzle beginning to shroud the hills. The Summer Isles slip by to starboard and the boat passes quietly into the strangeness of the sea-swell and the mist, the horizon indistinct, a thin grey line between sea and sky. 

*

Driving off the boat and into the town, the years that have passed since I lived here suddenly contract to meet me. Nothing at first appears to have changed: like I have never left and am simply returning from a visit to the mainland, but I stop at a new supermarket to pick up some supplies before driving to Achmore where I will be staying ten miles south of Stornoway. The supermarket is full of teenagers on their lunchtime break from school, their universal Americanised accents shaped more by social media and Netflix than by the islands. At the checkout, the lady putting my shopping through the till is English.

The first morning I wake to find it wet and windy: the kind of wind that makes the rafters moan and snatches a car door from your hands. After breakfast I take a drive down the single-track road to Stornoway through the moor, chasing the ghost of Lewis poet Iain Crichton Smith. Crichton Smith had grown up in Lewis during the Second World War, learning English as a second language in school and leaving the islands to attend University in Aberdeen, before becoming a school teacher which he remained until he retired in Oban on the west coast of Scotland to write full-time in 1977. He was one of few island poets to find success writing in both English and Gaelic, and although he never returned to live on the island of his youth, it remained a fundamental part of his identity as both poet and person. 

Passing cold grey lochans alive with waves, and peatbanks signalled by rows of tattered plastic bags and upturned wheelbarrows scattered along their length; lonely looking, makeshift shielings sitting high on the moor, I pull over and look out across its undulating expanse, feeling its apparent emptiness in the pit of my stomach. I am reminded of Crichton Smith’s description of the setting for his childhood home. ‘My house lay between the sea and the moor,’ he tells us; ‘the moor which was often red with heather, on which one would find larks’ nests, where one would gather blaeberries: the moor scarred with peatbanks, spongy underfoot: blown across by the wind (for there is no land barer than Lewis).’[2]

No land barer; and yet the moor was filled with untapped memory and story, locked away like the carbon stored within the peat. I wondered how the moor appeared to the local crofters on their way home from the town. The moor’s monochrome appearance to me, a result of the lack of colour that can be painted by the brush of emotional attachment, but even Crichton Smith had articulated this chromatic sameness: ‘The sky of Lewis above the stones, the sea, the bleak landscape almost without distraction of colour.’ Today it seemed a fitting description. I put the van into gear and continue on, following the long and empty road toward Stornoway. I arrive at the town by the land-fill site, gulls crowding greedily overhead, before the road gives way to familiar looking streets and houses that almost erase the time since I lived here completely. I stop at the supermarket again, picking up some last-minute supplies I’d forgotten yesterday. The people inside are warm and friendly, chatty and open. I have not heard any Gaelic spoken yet. 

I am making my way to the village where Crichton Smith had been raised under the regime of his strict Presbyterian mother, ever terrified of her sons falling ill after losing her husband to tuberculosis when the future poet was still only an infant. The church figured heavily in Crichton Smith’s early life and the Sabbath strictly observed. Even the village’s name has a darkly biblical resonance. Bayble, or Pabail, like most of the island’s place names has a Norse rather than Gaelic origin, and is derived from Papa- býli meaning ‘dwelling of the priests’, possibly named so when the Norsemen who first settled here found the Culdee already inhabiting the fertile peninsula where the settlement is situated. It lies on the headland east of Stornoway, on the other side of `The Braigh’ (pronounced Bry): a narrow sea-battered spit of land connecting the eastern arm of Lewis – known locally as ‘Point’ but officially as The Eye Peninsula, or An Rubha – with the main island.

After crossing the Braigh, I head east a mile or two and then turn right down a long, minor road following the sign for Upper Bayble. The village is divided into two parts: upper and lower, its houses, some empty and dilapidated, scattered like pebbles either side of the single-track road that cuts a line between the moor on one side, and steep cliffs that meet the sea on the other. I try to imagine growing up here under the watchful religious gaze of the widow, the town of Stornoway with its little harbour and its few shops the highlight of my week; school and literature my escapism and my chance of escape; a wider world invisible beyond the horizon, seeping in only through the radio and the stories of returning servicemen and whalers. I would have wanted to leave too, and yet Crichton Smith never really escaped. He looked for it ever after, finding it always just beyond his grasp. 

It’s the island that goes away, not we who leave it.
Like an unbearable thought it sinks beyond
assiduous reasoning light and wringing hands,
or, as a flower roots deep into the ground,
it works its darkness into the gay winds
that blow about us in a later spirit. [3]

This haunting Crichton Smith conveys – the ghost memory of the island of his imagination – is expressed in much of his poetry: a lament for an island not only diminishing in personal memory but its language and culture slowly being lost, slowly sinking beyond the horizon of the collective past. 

I drive down to the pier where I sit and watch the waves jostling each other into the small bay, and wonder how many times Crichton Smith may have come here to do the same, dreaming of the wider horizons that lay beyond the Minch; the view of the headland, and the moor beyond the row of small houses lining the cliff-tops, as familiar to him growing up here, as the tightly-packed terraced houses of the street where I grew up in the northwest of England, and a knowing deep-down that to thrive meant to leave. In that way we are similar, but the difference is that I did not have to leave my language behind, and without a language that you grow inside of, that fundamentally connects you to home but that you see in slow decline, you will struggle to know who you are no matter how many times you return. 

***

Ian Grosz is a writer based in the northeast of Scotland. His writing features in the forthcoming book Four Rivers Deep, a collaborative deep mapping project that explores the rivers Don and Dee in northeast Scotland and the Swan and Canning rivers in southwest Australia, due for publication by UWA Press in 2022. Ian is currently working on a narrative nonfiction project exploring the ways in which landscapes help shape a sense of place and identity. He has a website at https://groundings.co.uk

Notes:
[1] Louis MacNeice, I Crossed the Minch, (1938, Longmans, Green & Co, repr. Edinburgh, Polygon, Birlinn Ltd, 2007).
[2]  Iain Crichton Smith quotes taken from Iain Crichton Smith, Towards the Human, Selected Essays, (Loanhead, Midlothian, MacDonald, 1986)
[3]  Iain Crichton Smith, ‘The Departing Island’ from Three Regional Voices, 1968, in Mathew McGuire (Ed.), Iain Crichton Smith, New Collected Poems, (1992, repr. Manchester, Carcanet Press, 2011), V 13-18, p.65 

Uist

Photo: Jack Bush

By Emma Jones:

On the ferry our bikes are all tied up with string to keep them stable. I am not a seafarer and do not know the knots. I twist and wind the rope and hope that it will be enough to keep my bike from toppling over. My bike is heavy, all loaded up, front and back and frame bag. We are two weeks into our trip and my packing is becoming untidy, clothing shed and then not put away properly, instead glove fingers peeking, a shirt tied unceremoniously, one arm flapping in the breeze. 

These two weeks are felt in the body too. My legs are tired, calves stretched and thighs hot, lower back burning. Hair stuck down to my scalp. Clothes streaked with mud and sheep shit and sweat. In the mornings wriggling about inside the tent I keep myself curled up so as not to touch the sides and let the dew in. A whole home folded up and wrapped tight. Kneeling my weight down onto my roll mat I feel the air being pushed out of it and something gives way in this act of deflating, like I am letting all of that is pent up inside of me out too, shaking myself out in the wet morning light. When we leave, all that’s left behind from the night before is an indistinct shape in the flattened grass.

Climbing up to the deck we sit on the little plastic seats and feel the salt and wind sting. It's another grey day where I do not cast a shadow, as if a part of me is missing, as if I have nothing to project. I watch the diving birds fold their wings and turn themselves into one long beak and barely upset the water. I watch the ferry engine churn everything behind it up into white foam. I look for land, and look, and look, and then, finally, it’s Uist that rises from the sea. 

I am politely told by a man we meet on the ferry that I am pronouncing Uist wrong. It should, in fact, be an oo sound and then the ee and a short sharp st. Not Ooohisst but Oooooeest. More like a whistling sound, he says. I try it on, but struggle with its call. Each small town and road sign is noted in Gaelic, the collection of letters and accents unfamiliar to me, a language that is, in part, an act of civic reclamation. English was enforced here, first among the clan chiefs, and then the schoolchildren. I read these signs as a form of taking back. As a way to think about place but also the body. Does language impact and change the shape of the tongue? Until the body forgets what it used to speak with ease? My own struggles to take the shape of this place in. I cannot speak it, despite the sign telling me Failte gu Uibhist a Deas.  

Uist isn't one place exactly, but a collection of six islands, stippling the coast of West Scotland. A collection that seems unsteadily attached to the water beneath, as if at any moment it could shudder and give way, become unmoored and break up even further. Each island is connected via causeway, with rocks buffeting each side. Whenever we cycle over them the tide seems to be perpetually out, revealing white sand or fecund matter and the faint smell of something rotting. It is very open and the wind is against us. I try to keep close behind Jack, use his body as a type of shelter. He is a stronger rider than me, pushing us forward while I hang back. We’re both tired and not talking in that gentle familiar way that comes from being in each other's company a lot. And so, I am mainly left alone, just my body and my thoughts.

Photo: Jack Bush

Perhaps it is the proximity to the sea, and the grey nothing of the day, that makes it hard to feel as if I am doing anything but moving through, floating through, passing through. I feel strangely unplaced here. Letting the road dictate my movements but not taking anything further in. Only the asphalt beneath me. Swift and sharp pushes over small rises, dipping into another collection of houses, feeling the cars passing with a metallic reverb. We plan to travel from south to north over the course of the day, and it is distance that keeps me occupied. I keep tracking how far it is I have travelled, how far there is still to go. I am chasing the miles, wanting my body to become a blur. 

I am trying to act as if it's impossible for this place to be felt. As if cycling isn't a series of impressions in which place and body meet. But each turn of the pedal feels like another chance to look again. A cliché about wheels turning, a place that beckons as a type of rotation. Calls out, fades, calls out again. 

It is not as if this place is empty. When we pause at a Co-Op car park to eat lunch a car pulls up and I watch a man in a heavy green quilted jacket walk up to the curb to kick and scrape his boots. Signs of industry and labour are everywhere. There are sprawling farms with jagged half fence posts and abandoned rust-toothed machinery. Fishing nets all tangled up in a dense weave. So too, are signs of this industry fading as the permanent population of these islands steadily decreases. Former homes reduced to an outline of bricks and gaping doors and windows. In one field we watch a short-eared owl quartering dreamily just above the grass, silent on its daytime hunt for the squinting voles.

In North Uist, the final island of the day and where we plan to spend the night, the landscape changes into earthy peatland. There are small incisions from where it has been cut out in blocks. There aren’t many trees here and so the peat is burnt for fuel. The local population knows how to take from this landscape and use it up. While riding, I am trying to do the same. It is not a moving through, but an attempt to take in. We stop for dinner and I try Lobster for the first time, a local catch, and am surprised when it is served cold. I dig my little trident under the shell, pull out white flesh. 

A woman in the pub asks if we are staying and I wonder how many people she sees each evening with bags on their bikes, or else, all wrapped up in the metal shell of a camper van. How many of them, like me, will be trying to remember and gather up as much as possible before the next place sits on the tongue. There is more of Uist than I am able to tell but still, I am here, trying to find a way through. 

In the late spring it doesn’t get dark here until after 10pm. Toward the end of the day the sun starts to break through the clouds and soon everything is turned soft with a peachy hue. On the way down to the beach where we plan to camp there’s an old graveyard between the sea and the machair. There are old graves mixed with the new. And beneath the graves are the bodies of the people who lived here, the ground finally pushing into their bones, in a way that it will never do for me.

***

Emma Jones is a non-fiction writer and Curatorial Assistant, Photography at Tate. They hold an MA in Writing from Royal Holloway, London. As an arts writer and curator, Emma has been published in Source Magazine and contributed to the recent publication Photography: A Feminist History (Octopus Publishing). Contact her on twitter: @perceptivehow

Between the Forest and the Sea

By Sara Bellini:

I don’t know why the sea. I like expanding my gaze, following the waves in reverse until they reach the horizon and the water dissolves into the sky. It must be this idea of infinity - the line you can never reach, the water you cannot quantify - and of all the things that exist beyond the horizon and that I hold in my gaze without seeing them; another coast; another country; people and birds and trees. And while I contemplate these transcendental thoughts, I hear the waves in the background, repetitive and calming, always the same and always different.

When I was a child, we’d have a seaside holiday every year, and yet the sea of my childhood is different than that of my adulthood. The first one symbolised summer, ice-cream, playing and swimming, while the latter is more often a place of cold wind, of fish and chips, of walking and healing. This new relationship was forged around a decade ago, when I was living in London and unhappily so. Work was stressful and I needed to slow down. The lack of time, money and energy dictated my escape route: a Southern Railway train to Brighton. Every few months I would spend a day there, more rarely a night or two. I didn’t do anything special. I just wandered for hours and stared at the sea. 

When I found myself in a similarly strenuous situation a couple of years ago, with no possibility of taking significant time off work, I thought of the sea again. The closest option from Berlin was the Baltic. My friend K. also needed to step out of her life for a moment, so we stepped out of our lives together, at the same time anchoring each other in order to avoid drifting away. 

The trip itself was serendipitous, but the reason behind it was rooted in our existential impasse and the tiredness of not being able to find a way out. In our perception we were akin to severely ill pious women on a pilgrimage to Lourdes. Our Lourdes was nature. It was the sea.

If you take a train from Berlin up to what the Germans call the Ostsee, you reach a city called Stralsund. But the railway doesn’t stop there - it arches over the water to land again on Rügen. The island is connected to the mainland via a bridge, it’s that close. And yet, like every island, it is its own world. 

“Beyond their actual geographical coordinates, islands will always be places we project onto, places which we cannot get a hold on through scientific methods but through literature.”*

Rügen became famous during the 18th century, when the Romantics made art of nature and in nature itself found the sublime. It was the painter Caspar David Friedrich who showed the world the charm of the island, its stunning white cliffs covered in leafy trees on a background of cobalt and till sea. The Romantics had good taste and heavy moods, and we followed in their steps with a ravenous hunger for the sublime, looking for something that would overwhelm us with beauty and shake us out of our skin.

The core of our stay on the island was an excursion to Jasmund National Park, a UNESCO world heritage site in the north-eastern part of Rügen. To be precise, UNESCO granted the title to the primeval beech forests in Germany, which shaped the whole continent after the last Ice Age, and have been severely damaged by human intervention. The title is there to keep these ecosystems intact, to protect them from us.

Tourists visit the park every year, mainly to see the impressive chalk cliff known as Königsstuhl. K. and I found it rather curious how people would pay to step on a platform on the cliff, rather than admiring it for free from an adjacent cliff. This is named for Victoria of Prussia (daughter of the English Queen Victoria) by her father-in-law Kaiser Wilhelm I, because she loved that spot. We thought about how the fact that someone once found that particular cliff so lovely brought someone with temporal power to give it a name and put it on a map, initiating a process of conservation and meaning-giving. It reminded us of the many ways in which human and natural history were intertwined, and how the former - shorter and more insignificant - has so often tried to claim the latter.

From the Victoria-Sicht we walked along the Hochufer - the path following the shoreline down below - dipping in and out of the woodland. It looked like some trees were growing from the rock walls, almost parallel to the sea underneath. A sign told us that the cliffs were made of chalk, which has the property of freezing during the winter and then thawing once more in spring. When that happens, the cliffs crumble down, taking pieces of the forest with them. This process is called natural erosion and it made me muse on the idea that the island we were on was the same island of Friedrich’s, but also significantly different. If I go back to Rügen every year, I thought, it will always be a geologically altered place, where the cliffs scratch and reshape themselves ever so slightly each spring: an island of entropy.

That was the first time I’ve walked in a forest on a cliff, and it was sensorially baffling. The smell of the wet ground and understory mixed up with the saltiness, whose scent was coming in waves, mirroring the water that generated it. On our right slugs and mushrooms, and on our left swans and a lonely red sail. 

All of a sudden we had to stop, stupefied and awed, on a man-made path descending towards the sea. The dappled light made everything look green: our hands, our faces, the ground. The phenomenon appeared almost fairy-like, and we felt like we were about to metamorphose into sylvan creatures. The light seemed to possess a tangible quality, a volume, a physical presence. A few steps away, everything looked normal, and wooden stairs led us down to a pebbled beach.

We sat in the sun, enjoying the marine breeze and the glistening depth of the Baltic. We had swum the day before and we would swim again the day after, allowing the cold water to remodel our skin and turn us into marine creatures, dissolving the distance between us and the natural world where we craved to belong.

Walking in the woods was a richly immersive experience and we felt we were part of our surroundings, just like the birches and the chaffinches, the fungi and the mosses. Our minds were too busy processing all these inputs, in being present, that we didn’t have the time to get caught up in anxious thoughts about the future and the lives we had briefly put on hold. Wasn’t that what we were looking for - a reminder that we were made of the same matter of the sea and the forest? The cliffs themselves didn’t worry about anything, including their own demise, so it felt silly to do anything other than simply being.

The trees suddenly ended at the outskirts of the village of Sassnitz. We walked silently under the sun to reach the station, barely meeting any other people. As our bodies moved from nature to tarmac interspersed with rose-studded gardens, our headspace shifted from a present mode to our city-life mode, at the same time leaning forward towards the future while looking backward at the past. And yet we knew we had left some of our worries back in Jasmund National Park, perhaps lifted up by the birch branches while we were staring at the green light.

We started and ended our stay on the island in the same way, with fish and chips and a cup of coffee from a stand near the beach in Binz. At that moment, it was the best fish and chips we had ever had.

 ***

Sara Bellini is an editor of Elsewhere: A Journal of Place. She lives in Berlin, the place she calls home at the moment.

* Judith Schalansky, Pocket Atlas of Remote Islands

Hoyggja: Harvesting grass in the Faroe Islands

Photo by Stephen Pax Leonard

By Stephen Pax Leonard:

(You can listen to an audio version of this essay, read by Stephen Pax Leonard, at the bottom of this post)

July is the time of the hoyggja which refers to the cutting of the in-field (bøur) grass and harvesting it for the sheep’s winter feed. Families are outside; their cheery voices drift in the wind. Children’s laughter sweeps across the fields. There is noise everywhere. Flies hum heavily. I hear the haunting curlews, the ghosts of dead boys, on the horizon. The air tremours with their distinctive call. High up on the mountain ridges, skuas defend the spines of the hills. A woman’s brassy voice can be heard jabbering from a nearby window, her sentences shrinked to disconnected words. There is the sound of scythes being whetted. Radios are perched on the stumps of fence posts. Their aerials waltzing in the wind. Music plays. Dogs bark. 

Leaning on two-tined pitch-forks, elderly men with creased brows stand around exchanging gossip. Their voices dangle in the light breeze. The farmers nod as they listen to an account of a wet harvest two score years ago. They square their shoulders and lower their tones as the lay-reader shuffles by, his shoes grinding on the gravel. Then the conversation turns to lawnmower designs. They all swear by a certain liver-shaped Italian brand that is used to negotiate the very uneven ground of the steep slopes. But first the long grass has to be scythed. With scythe in hand, I cast a glance over the hills and see elderly men scything grass with obstreperous grandchildren at their feet collecting the grass. This rural scene, this summer idyll could be from a hundred years ago. Further up the bank where Gudmund and his extended family are at work, Stein from Hvalba talks endlessly about the huldufólk (‘supernatural, elf-like spirits to be found in the Faroese countryside’) of Lítla Dímun (the uninhabited island without electricity where sheep are taken to graze in a smack). His conversation turns to the intertwining of the visible and the invisible, the material and the spiritual. The places where the stones speak to the ocean. Families battled over ownership of Lítla Dímun, this tiny nipple of basalt in the mid-Atlantic, for many years. In the end, a cooperative of 48 farmers from Hvalba bought the island and still keep their sheep on this mysterious, unsettled outpost. The talk turns to politics, parliamentary squabbles, fishing quotas and the dead. Telling stories seems to be an essential part of hoyggja. It is a time to meet with friends, laugh, pass on memories from previous harvests and of course prepare the grass. Then, orders wrapped in a shower of expletives are barked at Stein and it is back to work. The people of Suðuroy are known for their expressiveness, their sometimes crass language and the way they wave their arms around when they speak.

It is a dry summer’s day and we are busy raking the grass and placing it on long drying racks (turkilagar) that line the hilly pastures running from top to bottom. Flocks of starlings feast noisily on clews of worms that are revealed as the rake drags across the earth. Covered in nets, the grass is left to dry on these racks in the wind. It is imperative that the grass is dried as much as possible before the rain comes which can be taxing in the Faroes. More than the rain, the farmers fear fog and windless days. Providing there is wind, the grass normally dries even if there is the odd shower of rain. This summer has been rather dry and the farmers are hopeful that we will have a good harvest of hay to feed the sheep over the winter. Sunshine has been forecast for the whole week and all going well the grass should be sun-bleached in ten days or so. If the grass gets very wet, it turns into a soggy mush, a useless liability and a rotting curse. Nowadays, it is less important than it was before. Almost no farmers are dependent on just sheep anymore and some now have silos to make silage. Previously, a wet harvest could have had disastrous consequences. This is the last day of harvesting the grass to make silage. Everyone is helping out to make sure the job is done. Aside from the grass that is being dried the old-fashioned way, this grass will be stored in airtight silos and fermented using formic acid and water. Men tread the grass in silos as if it were grapes; they try to squeeze out as much of the air as possible. There is little baling here for the ground is so uneven and the slopes are so steep. That must in part explain why farming methods are barely unchanged.

After a long, hard day in the fields, we are fed ræst kjøt at Gudmund’s house.  Ræst kjøt is lamb that has been air-dried for several months and then braised for 7 hours. With few trees and no salt production due to adverse weather conditions, the Faroese were not able to smoke or salt meat to preserve it. The pungent smell of ræst kjøt, somewhere between a veiny cheese, lamb and wool hits you as you enter the kitchen. The meat is served with root vegetables. The meat comes from the sheep that were slaughtered in September. Gudmund sells the meat privately to local people and distributes the rest to his extended family. Almost all the meat is eaten air-dried, the way the Faroese love it. 

Dinner finished, we stand outside on the veranda. The air is crisp and fresh. I used to tell visitors to the Faroes ‘when you land, stand on the tarmac for a minute and just breathe in the air’. It feels so clean and perfect. Tonight it tastes of the sea. The view over the green slopes and the principalities of sheep that border the fjord could only be the Faroes. The gullied hills, the vestiges of a glacial age, wrinkle the bare lead-coloured rock. Houses, painted the colours of the rainbow, hug the bay. As is often the case this time of the year, the colours of the fuschia-coloured sunset have invaded the sky by the rounded peaks that cradle the fjord. The Trongisvágur valley looks like an oil painting with the evening glow gushing across the horizon. Gudmund tells me repeatedly how he loves this view. The Faroese take great pride in their country. Elderly women in the village would often be seen photographing their landscape even if they had spent their entire life there. They never tire of its beauty. Late in the evening, we retire under the scattered light of the fading sun to homes warmed by the summer sunshine and to kitchens alive with radio noise.

***

Stephen Pax Leonard is a writer, linguist and traveller. He is the author of six books on the Scandinavian and Arctic region. In total, he spent nearly a year living in the Faroe Islands. He is currently compiling a book of short travel stories which focus on the poetic memory and acoustic experience of his travels in northern climes. Wherever possible, he travels with his 3 year old spaniel, Stan.

Marseille, port city: sails and sunlight

By Anna Evans:

I am waiting to take the bus from Cassis to Marseille. Leaving behind the little streets of the town of Cassis and the cafes with their terraces, where artists came to paint the colourful fishing boats and its perfect bay; to sit by the lighthouse surrounded by waves. The rocks on the beach where I sat and watched the sun set across the rooftops of the town, to the lights of the harbour and the illuminated castle in the darkness. In the little square by the church I read in the warm shade of trees, with cats sunbathing, and the singing cicadas rising, while patterns of sunlight form on the page.

As I wait, I am thinking about travel and new places, of my first visit to the south of France and how it captured my imagination. The flickering colours of the train journey along the coast, where we stood for the whole journey immersed in the scenery passing by. There is always the sense of what lies around the next corner, the changing view that comes from moving on. The excitement of the journey to new, unknown places needs the sense of apprehension to make it more real. I fell for Marseille and for the feeling that travel brings, even then; for the feeling of being away.

The ride is breathtaking. The winding road ascends to the rocky plateau, crossing the Massif des Calanques. Across the rocks, the city stretches out white towards a blue and sparkling sea. From here I glimpse panoramas of the city, the harbour, and the Frioul islands. The descent is exhilarating; spectacular at the bottom of the hill lies Marseille by the water, recognizable by the silhouette of the Notre-Dame church, and a series of high-rise white tower blocks.

Marseille is a city with a certain reputation, a city apart. Perhaps it is for the lure of ports, and stories of voyages and arrivals, that I am drawn to it. A point of departure I return to constantly as an anchor. It is not for a feeling of belonging, of being at home, that I like it. Not for a sense of recognition but for its displacing effects.

Arriving in Marseille and stepping out into the sunlight from the train station, the sensation of heat, of warmth on my skin, surrounding me. Undeniable the feeling of arrival and scattered impressions of the city. If I close my eyes there it is again. Stepping out and feeling the heat as my first and abiding impression. From St Charles station you can stand and look down a hundred steps to a long street pulling you onwards and into the city.

I am interested in this idea of a return, of exploring the memories contained in a place, even if they are not definitive. Later I developed a captivation with the city and for years I imagined moving to Marseille, but I never did it. Something always held me back; this never became my city. The apprehension stronger than the desire to leave. Held back by the idea that there would be time, always time stretching ahead. Not expecting, not realizing that growing older would bring a sense of narrowing horizons, of enclosure, and that I would need to keep wandering inwardly; that settling was for me a myth.  

Then here are two selves, the one that returns, who looks back, and the one who embarked from a train one day stepping out into a feeling of intense heat. I could call myself a writer then. It didn’t matter so much whether I was one. There was always time, time ahead. 

Imagining a small balcony looking out to the street below, to where the street opens out and people gather as the sun begins to set. They draw up chairs to sit and talk, or to sit and look at nothing but the street itself. The sun in the afternoon, the day ending. 

I am careless, the thrill of being away sinks into my bones, as if I were fleeing something, as if I were running away. Drinking small, strong black coffee each morning and wandering the picturesque streets. I abandon myself to swimming in the sea, to the all-encompassing waves, warm, azure and enfolding. There is something intoxicating about being somewhere hot; having lived in cold places all my life, I can understand how a lack of heat could feel like a loss. The heat is alluring to me as the city is; it pervades everything, is inescapable and all-surrounding. 

I remember looking out towards the castle on the rock and out to sea. Walking the streets of the panier, of old Marseille. The buildings, white with shutters and balconies, the sloping, rundown streets and the intense blue of the sky where boats depart for Algiers, signifying another direction. The shape of the buildings, solid and definite next to the perfect clarity of the sky.

There is something about the blue of the sky that cannot be argued with, that gives it a certainty. 

Now I follow the Rue de Rome towards the old port. Everywhere the buildings with shutters, white and pastel, as if the sun has drained and turned everything a faded white. The harbour lined with boats, their sails blue and white; in lines they point upwards, their forms definite and leaving shadow. The reflections in the water are gentle ripples which turn them back to trees, they are branches bending gently with the movement of water. There is a big wheel circling slowly and up into the blue. I take photographs into the sun to see how they are drenched by light, as though the sun has pulled all the colours out and left only reflected lights. 

Looking down over the port from its vantage point, the basilica of Notre-Dame, again pure white in the heat of the sun. White buildings and shutters, the terracotta of their roofs and balconies. I climb the sloping streets that fan outwards and upwards from the harbour.

In the café near the old port, a young man sits outside a pavement café, gently strumming a ukulele.  He is relaxed, apart from everything, living in the moment. I wonder what his story is. The waitress minding the tables with ease reminds me of the waitress we admired on that first trip, for the art and grace with which she moved around the tables. 

In the morning light, the harbour bears traces of the football match that has taken place the evening before in the stadium across the city. The bars and cafes have spilled into morning as the smell of stale beer across pavements. The early morning brings the setting up of the market, the arrival of fishing boats to sell their catch; and the fisher men and women collide with the departure of stragglers in the cafes, holding on to the last part of night. 

A bus out to the city beach and at the back music playing loudly, the kind that saturates the atmosphere like the sunlight covering everything, transcendent and dreamy music. While the sun beats down outside, around us, we are bathed in music for a few moments, cinematic and ethereal. Trying to work out what song it is, somehow joyous and uplifting, it saturates our eyes in a timeless sound, we smile at each other; this is what we wanted.

Now I take the boat out to an island, passing the Chateau d’If, the legendary prison fortress. On the island, I walk paths across the rocky coves and inlets, pirate beaches. Where craggy rocks create places to climb, secret coves looking down to where the water beckons, the sheltered and secluded azure green of the water.

The boat back towards the city frames another view, the harbour as the jeweled centerpiece of the city, white and blue; sails and strong sunlight. I take a photo and it looks like a painting in oils from a time of ships and sunsets. Turquoise blue and burned terracotta orange like an antique map. 

As the city beckons me back again, to winding streets and afternoon shadow. The wheel turning towards the sun. 

***

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

Usedom: A winter diary

By Paul Scraton:

We have travelled north to the Baltic in the lowest of low seasons, to reflect on the passing of another year and another decade at a place that has meant so much to us over the recent and not-so-recent past. It feels like we are the only ones here, in our thatched house divided into apartments, and we move quietly up the stairs despite knowing there is no-one around to disturb. We arrive after dark, so we know our location only from the little blue spot on the map, but the morning will come and we will step out onto the village’s quiet streets, to walk from one side of the island to the other.

The next morning, when we reach the harbour the view across the inland sea is obscured by the mist that has rolled in off the Baltic and covered the island. Is there any point to this? We ask ourselves the question, but still we press on, following a farmer’s track across the field to the lookout point. It is a gesture more of hope than expectation, for visibility is down to less than fifty metres, but we are rewarded. First we hear the call, loud and distinctive, sounding through the mist. And then we spot it, standing tall in the misty field. A white-tailed eagle, its distinctive beak visible even in this strange half-light. After a moment it takes flight, and we catch a momentary glimpse of its impressive silhouette, before it disappears into the mist and the clouds, soaring high and out of sight. Perhaps it manages to get high enough for a glimpse of the sun. We can only imagine. 

It will be a day of shadowy apparitions, of figures emerging and retreating as we make the short walk that will lead us across the island from the lagoon to the sea. We leave the last of the village houses and enter a low landscape of fields, drained by ditches and surrounded by dykes, home to bulls, sheep and horses. In the distance, we spy a couple striding along a dyke-top path that my map tells me is a dead end. In the other direction, two cars meet at the end of a bumpy track beside a collection of tumbledown wooden buildings. I imagine a conversation through open windows and something in the boot, to be transferred from one car to the other.

You cannot help but summon scenes and images when the mist obscures almost everything that would normally be in sight. The footpath enters a forest, rising and falling between dense evergreen trees before we come across a brick house behind a high wall and metal gates. There are empty flagpoles in the garden, three of them, and they suggest a story, a history, that is unavailable to us in the mist. Unhappy is the land in need of heroes, and insecure is the land with too many flagpoles. But those poles were erected in a country that no longer exists, and however insecure we might be, not all of us are waving flags.  

Across the main road and the railway tracks, we enter the resort, where the houses sit on low cliffs above the beach and dunes, with a view across the stilled waters of the Baltic Sea. The kiosks and beer gardens are shuttered and closed, but smoke rises from the chimneys of holiday homes and light shines behind net curtains in some of the windows. In the distance the mist curls around the white towers of a grand hotel, that seems less grand the closer we get. The walls are water-stained and the terrace canopies tattered, with grass poking through cracks in the paving stones and a handwritten note posted in a smudged window to tell us the bar is closed for the season. 

In the 1920s this was the preserve of silent film stars, who travelled north from the studios of Berlin to take the water and the sea air. Now, at the start of the 2020s, the town was quiet, the posters outside the hotel advertising karaoke nights and tribute acts, and evenings with members of GDR-rock bands, the skeleton staff stalking the echoing halls in service of the handful of guests. 

We walk through the dunes, past an old fishing boat long out of service, and for the first time we see the waters of the Baltic. At the beach, the sand, sea and sky blend almost into one as ghostly figures walk the sands. In the mist it has been a kind of half-light all day, and now even that is fading. It is as if the town, the hotels, and the island itself is just waiting. The new year has begun. A new decade. But not here. Not yet. Only when the mist lifts, and the sun starts to shine once more.

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

In Orkney

By Ian S. Grosz:

I am headed north for Orkney, a UNESCO World Heritage site, and a landscape both largely devoid of trees and deeply sedimented in vast layers of human history. I surge up the A9 from Inverness, skirting the bleak seascapes of Caithness, and eventually reach Gills Bay. Here I will catch the ferry for the short crossing to St. Margaret’s Hope on South Ronaldsay, the most southerly of the Orkney archipelago.

On South Ronaldsay I camp at the wonderfully eclectic Wheems Organic Farm – just the right side of hippy - and fall into an easy sleep listening to the calls of oystercatchers and the swooping chirrup of swallows in the dusk. The next day, I head out on my bicycle to see the evocatively named Eagle’s Tomb, and the less compelling but well marketed Tomb of the Otters. That night I dream of bones. 

What I have really come for, like most people, is the enigmatic group of monuments centred around Brodgar and Stenness - the latter the site of an ancient stone circle that pre-dates Stonehenge by a thousand years - and the mysteries being uncovered at the Ness of Brodgar, where a five thousand-year-old complex of ceremonial buildings has been unearthed. Approaching the head of the isthmus that separates lochs Harray and Stenness, linking the dark and brooding Ring of Brodgar with the other sites, I find myself in a natural amphitheatre dominated by the two peaks of Hoy to the west. At mid-winter the sun sets between these hills and, for three weeks either side of the solstice, illuminates the deep interior of the incredible feat of engineering that is Maes Howe Chambered Cairn. 

This is a liminal place, a portal between worlds: between our time and theirs, between the setting sun and the mountains, and the shimmering waters of the lochs. It is a place between life and death, and not without atmosphere. Taking in the monuments in context with the surrounding landscape makes sense of the location of these sites, and bridges the vast gap in time between the people who built them and us. Here, in the low lying fertile ground, where fish and wildfowl were plenty, and the sun’s light fell at year’s end, was where they found and made their place. 

Maes Howe, still a striking feature in the landscape today, pre-dates the Great Pyramid at Giza by several hundred years, and commensurately, to view it I must join an official tour that needs to be booked in advance. No photography is allowed inside the tomb. Pictures of it for a keepsake are available as part of the official brochure. Still, it is worth the expense, and the unwanted chitchat with other tourists on the bus from the visitor’s centre to the tomb itself.    

Once inside the tomb, we crowd around the guide in a reverent hush, as ages layered on ages are revealed in the light of her torch: from the standing stones re-used in its construction and the Viking graffiti on the walls, to the Victorian roof repair. Swallows nest above our heads while the ages are unpicked for us, and once or twice the lights are dimmed to bring the tomb-dark that bit closer. The earthen smell is both sobering and strangely comforting, and the now empty spaces where the dead once would have lain seem no more than generic storage places. Those people of so long ago are absent, and yet moment-by-moment their presence seems to come closer.

Between the layers of larger facing stones that make up part of the walls are many smaller pieces, wedged in to level each course in the wall. Seeing this calls to mind the dry-stone walls that still criss-cross the countryside all over the British Isles.  I begin to feel a connection to the people who built these impressive monuments, building with hands just like ours, looking out at the Universe, and trying to make sense of it all.

Later, in Stromness, I visit an exhibition entitled Conversations with Magic Stones that is part of an island-wide collection tracing our relationship with stone: from those who work it, collect it, or simply have special pieces that have been passed down in the family or come to them by chance. How many of us pick up pebbles on a beach, are drawn to stone sculpture, or seek out these ancient memorials in the landscape? Stone is aeons old, constituted in stars, formed in the earth, shaped by ice and water, and worked by people. In them is an impossible journey spanning time we cannot imagine.    

Whilst camping at the Sands of Evie, I take a walk along the crescent moon-shaped bay as the sun dips toward the horizon. There, amongst the many stones and pebbles grouped and sorted by the tide along the beach, I spot a long, pale, tapered stone. It is smoothed and rounded at the edges like many of the other stones gathered by the waves, but has a shape I am drawn to. I pick it up and turn it in my hands. It has a weight and a presence that communicates with me. It fits in my palm perfectly. It seems made for my hands: for pounding or hammering. It has a feel, a life: imminence. Although smoothed by wave action it has an overall size, shape and balance that cannot be accidental. The Broch of Gurness - occupied between 500 BC and 100 AD - lies just beyond the headland. It could be wishful thinking, but perhaps this stone in my hands is a once discarded Mace Head, now washed to the shore on to this beach.

Barbara Hepworth said that ‘…it is a perfectly natural feeling to wish – to take a rock and turn it into life and to make, in that way, an image which has a magic to preserve life in one’s own personality.’ In this stone I now hold in my hands, I feel a personality coming through; as though someone is speaking to me from a time I had thought unreachable.   

About the author:
Ian is a writer interested in the themes of Place, Landscape, Belonging and Identity. He writes both poetry and prose and uses photography to supplement his non-fiction work. He has recently completed a Post Graduate Certificate in Social Research and is now enrolled on an MLitt in Creative Writing at the university of Aberdeen. He is currently planning a trip for a project in the Outer Hebrides.  

A companion piece to this essay was published by our friends at The Island Review. You can read 'Orkney: a sense of time and place' here.