Printed Matters: Flaneur

Photo: Diana Pfammatter

Photo: Diana Pfammatter

By Sara Bellini

To relaunch our series on physical magazines, we started from the city where, for very obvious reasons, we have spent almost the entirety of the past few months. At the same time we wanted to reach out to the world, to emphasise what has become particularly evident since the beginning of the pandemic: How local and global are connected. Flaneur is a Berlin-based publication that aims at exploring this connection by centering each issue on a single street in all its details, and on how the details that build the individuality of a place also fit in a universal framework. 

Flaneur has a multidisciplinary and collective approach to its subject. This translates into physically exploring a place while collaborating with local creatives and stretching the artistic possibilities across different fields and beyond a predefinite structure. The launch of the Taipei issue in summer 2019 was a twenty-hour festival at HKW in Berlin, merging performance, exhibition, readings and music, to transcend the medium of the magazine and highlight the social fabric at the base of the publication.

While Covid has delayed their production process, we caught up with Flaneur publisher Ricarda Messner and editors in chief Fabian Saul and Grashina Gabelmann.

What are the goals and motivations behind your publication and why did you choose the physical magazine as a form?

Ricarda: The idea for the concept to go with “one street per issue“ was a personal tool to reconnect with known territory. I was born in Berlin and spent most of my life here. There was an urge for me to find my own place within the city without being too overwhelmed, so I started with something that was familiar to me, not knowing what would come out of it. Grashina and Fabian came up with the brilliant editorial framework around this very concrete concept, translating it into an unpredictable but still conceptual approach. So I guess, looking back, it wasn’t so much about the idea of making a magazine but more about establishing this “inner journey“ in an artistic, collaborative way that people can associate themselves with.

You define your creative process as “collaborative, impulsive and unconventional” - what do you mean by that?

Grashina: Since we often arrive at a place without knowing the city, its inhabitants or the street we will choose, having no flat-plan, editorial plan, or financial structure, we consider our method to be quite impulsive and unconventional. I think any magazine is collaborative but we emphasise this point as the content isn't written by us about artists but is made by artists specifically for the magazine and its concept.

How do you pick a place and what makes a place?

Grashina: We arrive in the chosen city oftentimes without knowing it at all. We might have one or two contacts but we basically start from the position of knowing nothing and no one and just walk. We mostly walk alone, sometimes with locals who we meet somehow and listen to their stories. Mostly though we let our intuition guide us and the street choice is based on a certain feeling, a sense of curiosity we feel or something disturbing or something for us unusual. Once we decide on the street - and this can take two days or two weeks - we spend almost every day there [for a couple of months].

Fabian: In collaboration with our contributors, we immerse ourselves into the place beyond what meets the eye and beyond the narratives of positivity that travel magazines perpetuate. We allow multi-voiced pieces that not always form one solid perspective but rather create a fragmented image that does not confirm [standard] exciting narratives but allows for contradiction. It is a very psychogeographic approach. The flaneur is concerned with things that may soon vanish and thus he walks the line between being a melancholic nostalgic but also being able to project into the future and beyond the realm of the visible, an avantgarde figure. Flaneuring is about seeing the plurality of truths in the urban fabric that surrounds us. It is those dark sides flaneuring can lead us to and the plurality of truths that form the literary realm we see the magazine in.

Photo: Diana Pfammatter

Photo: Diana Pfammatter

What’s your relationship with the creative scene of the cities you feature?

Grashina: Our contributors are chosen once we get to know the place and meet people. We like to call it a domino-effect where meeting one person will lead us to meeting three more etc. In Brazil we met 120 people during our time there but of course not everyone became a contributor - that crystalizes sometimes immediately and sometimes after weeks, through an organic process based on spending time with people, trusting our intuition and having great dialogues/walks.

You are about to launch a podcast - what are your plans for it and what’s its relationship with the magazine?

Grashina: Each season will feature a street we have already worked with. Season 1 will revisit Kantstrasse [in Berlin]. The podcast - though it's almost more like an audio play - does not simply regurgitate the content that one can find in the magazine, but approaches those themes in new ways. The audio format allows us to experiment with storytelling in a different way than the magazine does. What stays the same is that the content of the podcast, like the magazine, is fragmented, literary, subjective and experimental. We performed a sneak preview of Episode 1 on the rooftop of HKW this summer. We wanted to experiment with what a live collective listening session could be. There were four performers and three musicians performing and two voices that had been pre-recorded. We intend to keep experimenting with bringing the podcast into different spaces for audiences. 

What are your plans for the next issue and how has Covid changed them?

Grashina: We were meant to start production in Paris for Issue 09 this Spring but Covid obviously delayed this. We are now back to speaking with the Goethe Institut in Paris, establishing new timelines and funding opportunities and plan to continue production this fall. Six months after lock-down began in Berlin, we feel a bit more able to assess the situation and will see this as an opportunity to challenge our own approach and come up with new methodologies.

Find out where you can purchase Flaneur in your city or order it online. Support independent bookshops and publishers!

Irreplaceable – an interview with Julian Hoffman

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We are extremely pleased to hear that Julian Hoffman – longstanding friend and contributor to Elsewhere: A Journal of Place – has been shortlisted for the 2020 Wainwright Prize for Writing on Global Conservation. Julian has been shortlisted for his book Irreplaceable, in which he visits habitats around the world that are under threat and which is described on the Wainwright Prize website as being ‘not only a love letter to the haunting beauty of these landscapes and the wild species that call them home, including nightingales, lynxes, hornbills, redwoods and elephant seals, it is also a timely reminder of the vital connections between humans and nature, and all that we stand to lose in terms of wonder and wellbeing.’

To mark the shortlisting of Irreplaceable for the Wainwright Prize for Writing on Global Conservation, we spoke to Julian about his book, the places he visited and the people he met, and the work that is being done and needs to be done to prevent the further loss of such special and important places.

Interview by Paul Scraton:

Elsewhere: One thing that strikes the reader even before you sit down to get stuck in to Irreplaceable is the diversity of places you visited in the course of your research? Was there one particular place that can be seen as a spark for the project, and how did you come to selecting the places to visit for the book?

Julian Hoffman: The spark for the entire book was the Hoo Peninsula in Kent. Slotted between the Thames and Medway rivers, this extraordinary span of glorious marshland, tidal creeks and ancient villages was threatened to be turned into Europe’s largest airport by a proposal championed by London’s then mayor, and now British prime minister, Boris Johnson. The development would have devastated the peninsula, eradicating a massive expanse of protected bird habitat, as well as levelling three entire villages and their 13th century churches. It would have stolen so much of what makes the place so special. But what inspired me to write specifically about the plight of that threatened place was the resilience, bravery, passion and persistence of three people who were doing everything they possibly could to save this home ground of theirs for the benefit of both human and wild communities. So that was the beginning, the Hoo Peninsula; and that day in the company of these three residents was the day when I suddenly understood what loss in the natural world meant. Because so often we measure loss numerically, through so many acres of destroyed woodland or meadow, or by how many millions of breeding birds have vanished from the skies of Europe. But through the stories of these people, and the complex, interwoven beauty of the place and its wildlife that they introduced me to, those numbers became real, visceral and relatable. They were suddenly transformed into the vibrant reality of lands, waters and lives that would be ravaged by the project.

After that, I realised that to approach the issue of loss in the natural world, and more importantly the potential for resistance to that loss, required a global perspective if I was to do it justice in any way. Because these issues affect human societies and nature across the planet. I also wanted to document as many varying habitats as possible, because biodiversity and the flourishing of communities are utterly dependent on a spectrum of functioning ecosystems. So I followed up stories of threatened islands, coral reefs, mangrove forests, tropical jungle and tallgrass prairie, while also consciously investigating what urban nature and green places mean too. And finally, the other important criteria for selecting the threatened places was my desire to trace their stories in real time, exploring them alongside the brave individuals and communities seeking to protect them. Which meant only writing about those places still actively threatened, where no final decision had been made regarding their future. Sadly, this also meant that some places I’d originally intended to include in the book had to be left out because they were destroyed before I could even get to them. These are places that exist solely in memory now for the human and wild communities that once knew them.

Elsewhere: Some of these places are very small… perhaps even unknown to people who live within a couple of miles of them. Can you give our readers a sense of why such places are so important and, as in the title of your book, why they are Irreplaceable?

JH: It didn’t take long to realise that the size of a place bears little relationship to its depth, or to the quality of connection fostered there by people. Our attachments to place can be founded on the small and intimate as easily as the expansive and remote. And for a world in which more than half its human population is urbanised, it’s critical that we pay more attention to small green spaces in cities and local suburban sites. In some respects, it’s taken us a pandemic to recognise just how essential these unsung places are. A recent survey by the Campaign to Preserve Rural England revealed that over half of respondents said that during lockdown they had a greater appreciation for how important local green spaces are for a community’s health and wellbeing. And yet these are precisely the kind of places that are at greatest risk of being destroyed, regularly threatened with being turned into car parks, luxury housing and commercial interests. And with the British government’s new slogan of ‘Build, build, build’, the situation will only get worse, when green spaces of enormous importance to local people will be regarded as expendable and sold off for development instead of being preserved for the benefit of the wider community. Between 2007 and 2014 alone, only four of 198 applications to close allotment sites were rejected by the Secretary of State. So even though allotments are absolutely protected in UK law, the other 194 were destroyed. And with their loss, as with any loss of green space in a city, nature suffers another shrinkage of real estate in which to dwell alongside us, and that world of potential connection close to home, where we often first come into contact with nature, is further eroded. And critically, for those people who lack access to green spaces further afield for socio-economic reasons, these small, unsung, nearby places are often vital for their wellbeing.

Elsewhere: One of the words we’ve heard a lot in recent years has been the idea of “wilding” or “re-wilding.” What role, if any, do such projects have in the struggle to save endangered places?

JH: I think rewilding is critical to the return of natural abundance. By leaving space for vital, elemental processes to regain their fluidity and wild expression, we enable a greater flourishing. And just as importantly, between rewilding and what in North America ecologists call ecological restoration is the opportunity to right some of the wrongs and heal some of the wounds we’ve inflicted on the world’s lands and waters. To rethink the direction that our neo-liberal economic and political systems have taken us, recalibrating our value of what matters in the process, so that the healthy functioning of ecosystems and the prospering of wild communities is part of our everyday deliberations when considering human wellbeing. 

It’s a complex and emotive issue, and there are purists and non-purists to further complicate matters of rewilding, but what is fundamentally exciting about the prospect is how it offers the chance for imaginative leaps to be made, reconnecting us to species, landscapes and places that have been thinned of so much of their meaning because of our intensive industrial, agricultural and extractive practices. Actions that have led us to a world of separation and estrangement. But enormous possibilities for restitution exist, like the Kent Wildlife Trust’s plan to bring bison to within walking distance of Canterbury to aid in the creation of woodland habitats and their multitude of ecological niches. Or like the fantastic community rewilding projects that are taking shape in Scotland and elsewhere, bringing together landowners and individuals with varied backgrounds and interests in the pursuit of a more inclusive and wilder landscape. It’s not the answer to all the issues, of course, and many of our richest seams of biodiversity, such as wildflower meadows, which have declined by a devastating 97% in the UK since the 1930s, are critically dependent on human influence, but rewilding should be seen as one of the many major tools we have to reanimate the planet’s green and blue spaces. And just as importantly, it’s imperative that we simultaneously rewild the heart in a way that makes kinship with other forms of life a natural part of being human.

Elsewhere: What struck me when reading Irreplaceable was how the stories of these places and their futures were deeply interlinked with the people committed to defending them. Can you share something of what it was like to meet such people and also whether what you saw and heard from them changed your own feelings about endangered places?

JH: From the very beginning of the book I wanted people to be at its heart. I think the separation between people and nature can sometimes be replicated in nature writing and film-making that either actively seeks to exclude humans from the scope of the work or creates an artificial island of fecundity, reinforcing not only a distance between species but also a false narrative about how well the natural world is doing. But with Irreplaceable I wanted to make the interconnection between people, wildlife and place a fundamental aspect of the story. Because in order to repair this world of wounds, in Aldo Leopold’s stark phrase, we need to deepen that weave. And what I discovered in my journeys to threatened places, where I sought out ordinary residents as much as ecologists and conservationists, was the profound capacity we have for attachment with the natural world. The people I met there – taxi-drivers, soldiers, teachers and nurses – were actively enlarging the idea of home while trying to defend a place of importance, so that it included the more-than-human in its embrace. It was a deeply moving experience for me, but also wonderfully joyous, welcoming and inspiring being in their company. They showed me that positive, transformative change is possible.

Elsewhere: And have you heard back from any of them as to how they feel about the book?

JH: Yes, I have. And each time it was a really emotional experience after all the anxiety of wondering whether they felt I got the stories they’d entrusted me with right, which often included their own personal worries and vulnerabilities too. But the response has been overwhelmingly positive. Last November I was involved in an event for the Sheffield and Rotherham Wildlife Trust on the theme of trees and irreplaceable ancient woodland and they’d invited the group of people I’d spent time with who were doggedly seeking to protect the ancient woodland of Smithy Wood, with 850 years of continuous wooded history, from being turned into a motorway services off the M1. I hadn’t seen any of these people since 2015 when they shared their stories of this woodland with me, and although we were now in a concrete venue in the middle of the city you could still sense that intricate world of trees and leaves and roots around them. And by sheer coincidence, that was the same day that we learned that Smithy Wood was most likely to be spared. And it reminded me that although four years had passed between our meetings, while I had been writing about other threatened places in the world, their fight to save that irreplaceable ancient woodland had carried on throughout that entire time. So it’s been an incredible honour getting to know such resolute people.

Elsewhere: So often it feels like positive environmental stories come down to the commitment and hard work of individuals or small groups. What do you think governments and other institutional bodies need be doing if we are to stop the loss of the places you write about?

JH: Firstly, and most importantly, to listen. I was amazed by just how many people in my journeys felt a connection to the natural world and green spaces in one way or another. And yet their concerns are largely ignored. The almost complete lack of attention given to environmental issues in its broadest sense during election campaigns and debates is a sign of how low down the list of priorities it is for most politicians. For many of them, particularly on the right, though by no means exclusively, the philosophy of perpetual economic growth is hardwired into their souls. They can’t see around it; neither what it costs in terms of other measures of wellbeing or how it’s a trap, a hamster wheel you can never escape from. All you can do is keep building, extracting, devouring. None of which is a destination in itself, just a way to keep the wheel spinning sufficiently that you can convince yourself you’re actually going somewhere. But listening to others’ concerns, especially when they don’t conform to your vision of the world, and absorbing exactly what scientists are saying about the devastation that climate change and biodiversity loss will cause, is absolutely imperative. And if they won’t listen, then it’s up to us as citizens to be far more pro-active when it comes to voting for parties and politicians who will.

Elsewhere: In a book like yours, where the situation can so often seem desperate, it can be hard to find hope. But I found Irreplaceable extremely hopeful even if not every struggle will be successful. Did you feel hopeful after writing this book and how do you feel now?

JH: I remember right back at the beginning, just after experiencing the Hoo Peninsula in 2013, wondering where the trajectory of the book would take me. Would it be a deep dive into grief, or an angry rant about the destructive power of capitalism? Would it be an elegy, or a tome of hopelessness? I really had no idea back then how the journey would unfold, but it didn’t take long to witness and recognise the enormous potential and capacity for positive action when people stand up for what’s right. When people work in cohesion on behalf of something bigger than themselves, uniting around an idea, a place, a wild species. This is what I came to call radical hopefulness. When the word hope is understood not in a passive context, which is what we all commonly do, but as an active verb. A verb that makes change possible solely by acting on it. So, yes, I remain hopeful, in the sense that I experienced what is not only possible on my journeys but actively happening in communities throughout the world right now. During the dark days, these are the stories I hang on to.

Elsewhere: As great fans of your work, from your writings for various outlets (including Elsewhere!), and your books The Small Heart of Things and Irreplaceable, the last thing we need to know is… what’s next?

JH: Thank you, that’s very kind of you to say! Like countless people around the globe, my plans were upturned by the pandemic. Which meant the book I was intending to write had to be shelved, at least for the foreseeable future, as the journeys, stories and interviews I’d pinned it on could obviously no longer happen. But in the wake of that disappointment, as I had a spring and summer at home instead of one on the road, a new vision for a book took shape. It’s called Shelter, and while not specifically about the pandemic it of course has everything to do with it. The idea emerged out of that need to stay in place, but also from an urgent sense of solidarity with other forms of life seeking to dwell in safety and security. For the past two winters, up to 14 wrens have roosted on especially cold nights in a long-abandoned swallow’s nest above our front door. To have them that near to us as we slept, and to watch them drop out of that shelter at dawn each day, often into a world of swirling snow, and then return at dusk from separate directions, has been one of the most extraordinary and enlarging experiences of my life. Just as they were departing their shelter for good in early spring we were entering our own due to the pandemic, so the book is really about living in a shared world – our mutual, fragile and astonishing shelter we call Earth – a personal exploration of wild lives nearby and how we might go about creating the psychological and emotional space for co-existence. 

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Irreplaceable: The fight to save our wild places is published in paperback by Penguin

Five Questions for... Malte Brandenburg

Photo: Malte Brandenburg

Photo: Malte Brandenburg

By Sara Bellini

Malte Brandenburg is a photographer based in Copenhagen. In his creative practice he looks for simplicity and symmetry and in the past he has often found them in Berlin buildings. Housing spaces are explored both in their aesthetics as well as their urbanistic context and social value. After the pandemic changed his travelling plans, Malte is now finalising some projects while exploring the familiar streets of Copenhagen with his camera. 

What does home mean to you?

That is a tricky question for me as I left my home town Berlin almost thirteen years ago and moved to Copenhagen. I still feel attached to Berlin, but at the same time the city becomes more and more foreign to me. And vice versa Copenhagen was for a number of years just a city I lived in, without the feeling that this is my home. It was somewhat in between, which was strange. However, after a while I found the right corner here for me and finally clicked with Copenhagen. Strangely though, I also feel more independent from where I am, as long as I'm with my family, it's difficult to describe. I guess they are my own little biotope :-).

Which place do you have a special connection to?

I have a very special connection to a place in Berlin called Gropiusstadt, a settlement of various tower blocks designed by Walter Gropius in the south of Berlin. I grew up nearby and had a couple of friends there and also had to pass through to get to the local swimming pool, which is why I spent quite a bit of time between these tower blocks. It always felt like a very surreal place to me, because of the sheer amount of concrete reaching into the sky.

Photo: Malte Brandenburg

Photo: Malte Brandenburg

I could not fathom that almost 50 000 people lived there. Also from a sociological point of view it's a quite interesting place and how it has changed within a relatively short period of time. This place was one of the first topics I was drawn to when I started to focus my photography more and more on urban architecture. I still return to Gropiusstadt on a regular basis.

What is beyond your front door?

Beyond my front door there are friends, a nice park and the beach, which I appreciate a lot. About 40 meters away there is also one of the best bakeries in town with shelves of sourdough bread!

What place would you most like to visit?

I would like to travel through Eastern Europe, all the way to Russia. I am fascinated by the culture and especially the food.

What are you reading / watching / listening to right now?

I am currently reading Agent to the Stars, a novel by John Scalzi about an alien race on earth that hires a PR agent in order to manage the revelation of their presence to humanity - it's hilarious! I also just finished The Last Dance, the Michael Jordan documentary. One of the best documentaries I have seen. I might be biased though, as he was a bit of a childhood idol. In terms of music, I listen a lot to Moi Caprice these days, a Danish band I discovered by accident, because the lead singer's daughter goes into the same class as my son.  

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Find out more about Malte Brandenburg on his website and Instagram.

The Easternmost House... an interview with Juliet Blaxland

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As a companion piece to the third of our essays by Anna Iltnere about literary seaside houses – The Easternmost House – we present an interview with Juliet Blaxland...

Interview by Anna Iltnere:

Juliet Blaxland, writer, architect and illustrator, had lived in a coastal house by the North Sea with her family for more than a decade. The house doesn’t exist anymore but continues to live in a book she wrote about it. The Easternmost House: A Year of Life on the Edge of England was published last April, when the house was still standing on the edge of the cliff in Suffolk, England, overlooking the sea. The Easternmost House was demolished this February, so it wouldn’t fall into the sea. 

I contacted Juliet Blaxland to ask her about her relationship with the sea, her view on the seaside houses and what she misses the most from The Easternmost House.

The book is a love letter to a house that no longer exists. Was it easy or hard to write it?

I found it oddly easy to write The Easternmost House because by the time the idea of a book occurred to me we had lived there for ten years or so, and I grew up in the countryside nearby, so it was very much familiar territory. It seemed sad to me after so much had happened at the Easternmost House, and so many people had known and loved the house, its immediate surroundings of the beach and the farm over the centuries, that one day soon, there would be only empty sky where the house had been, and ‘the people on the beach below will not know’.

I don’t know why it bothered me that ‘the people [of the future] on the beach below’ would not know, but it did, and that became the incentive to write, so that they would know. And now, the people on the beach below, and the people of the future, will know. That is how the book ends, with that image of the empty sky over the beach, where the house and the cliff once was.

What is your understanding of ‘sense of place’? What creates place?

‘Genius Loci’, the Roman religious concept of ‘spirit of place’, is perhaps my starting point when thinking about sense of place. A sense of place can be found in all different environments: desert, farm, city, church, country house, town house, skyscraper, mountain, forest, and so on. What seems to define the ‘place’ to me is some sense of its essential character and ‘spirit’. There is a knack to finding the spirit of a place, but I believe that this can be found in any place, and I also believe that some people seem to be more attuned to feeling that 'spirit of place more instinctively, more easily, than other people. Some don't seem to feel a ‘sense of place’ at all, and nor do they seem to need it. I think most people do feel it and need it, even if they might not be able to pin down exactly what they mean or what they need. Most of us know the feeling of being in our own ‘right place’, literally or metaphorically, and it is a great gift if we can find that place of calm in our minds, as it goes with us wherever we are. 

I am an architect, so I have often thought about the idea of a ‘sense of place’, ‘genius loci’ or ‘spirit of place’, and its uncatchable but knowable feeling still intrigues me, as it has done since I was a student and unwittingly since I was a child. The old house and farmyard where I grew up had a 'sense of place' in spades, and my mother still lives there, so it is still an ongoing preoccupation to work out what it is. 

What do you miss most about the Easternmost House?

What I miss most is the visual emptiness of living right on the edge of the cliff, so that from our windows, from our bed, the view was of the sea, the horizon, and often some 'big' weather, far beyond what we normally experience in more sheltered places or inland.

We have been lucky in that we have moved only a mile or two up the coast, and can still walk to the Easternmost House site, and see it from afar, and we still live only about 500 metres from the sea and the cliff edge, but the sea is now a big field away not 10 metres!

Are seaside houses somehow different from other houses?

To me it is the isolation and the open view that is the difference, not necessarily the sea, although the sea certainly adds a vast and different dimension to everyday living. A ‘seaside house’ in a seaside town, perhaps a holiday place crowded in summer, would to me be less appealing than a isolated cottage on a farm or similar. I don’t mind the inconvenience of living in the countryside, as I grew up with it. The sea adds enormously to the different sounds you hear, and the very different birds and animals you see on the coast, seals, oystercatchers, bitterns etc.

Two of my favourite books are The Outermost House by Henry Beston and Ring of Bright Water by Gavin Maxwell, both of which describe an extraordinary life in an extraordinary house ‘on the edge’, of the land, on the edge of the norms of society and on the edge of the mass of humanity. Both of these houses were destroyed by natural forces, a storm and a fire, respectively. The Easternmost House having been destroyed by coastal erosion seems a natural companion to these two (the books and the houses themselves). 

We have visited the site where the Easternmost House used to be, and it is strange to see an empty space where so recently we lived. The trees and surrounding landscape is still there and completely recognisable. It is only us, and the house, that has gone. It some ways, it is probably a good thing, to leave a nice, clean, quiet cliff, so that the birds and other wild animals are no longer disturbed by our chatter, and our greyhound, and our just ‘being there’.

What the sea means for you?

I think we all have quite a complex and conflicted relationship with the sea. The sea is mesmerising to be near, or to swim in. It connects us to the rest of the world, and that is one of the things I like about being near the sea. I think islanders tend to be culturally less insular than land-locked peoples, as islanders are constantly look outwards not inwards, and have a history of accommodating those who have arrived or invaded by sea. I am fascinated by the sea and sea people in different parts of the world, different fishing methods and so on, and I love the more remote parts of Venice and the Venetian lagoon. On the other hand, I always feel the enormity and dangers of the sea, and at night when we listen to the BBC Shipping Forecast, your mind tends to wander, to think of ‘those in peril on the sea’ as that famous hymns puts it.

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Read Anna’s essay on the Easternmost House here

Anna is the founder of the Sea Library in Jūrmala, Latvia and the author of our ‘Unreal estate’ series of essays on literary houses by the sea. On the Sea Library website you can read reviews, interviews and, of course, borrow a book.

Quoyle's Point... an interview with Annie Proulx

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As a companion piece to the second of our essays by Anna Iltnere about literary seaside houses – Quoyle’s Point from The Shipping News – we present an interview with Annie Proulx, the Pulitzer Prize-winning author of the novel.

Interview by Anna Iltnere:

The Shipping News (1993) by Annie Proulx is a vigorous, darkly comic, and at times magical portrait of a family moving to Newfoundland and starting to live among local fishermen in an abandoned seaside house, moored to a rock. The house at Quoyle’s Point is a vivid character in the book, dusty, gaunt, despite the efforts, and moaning in the wind. 

I contacted Annie Proulx to ask her four questions about the role of Quoyle’s seaside house in her book and about her own relationship with water.

What is your relationship with water and with the sea? What does the sea mean for you?

Like most people I am attracted to shorelines, whether lake, river or ocean. All of these locales have been severely damaged by humankind over the millennia—wetlands drained, rivers dammed, ocean-shores faced with armored rock walls, estuaries polluted. My interest in today's warming oceans is based on concern as the waters move toward acidity, as coral reefs die, as kelp and eelgrass decline. I watch with trepidation as fish stocks dwindle and the shells of tiny pteropods dissolve. I walk regularly on the shore, picking up plastic as I go and feeling grief at the damages inflicted on these habitats. 

Quoyle is afraid of water and yet he has to overcome his aquaphobia to own a boat and live by the sea. What does his fear symbolize in the book?

I’m not big on symbols. His fear can mean whatever the reader thinks. Books are somewhat cooperative in this way, that a reader can use her or his own experience of life to interpret the actions and thoughts of a book’s protagonists.

What role does the house at Quoyle’s Point play in The Shipping News?

The house is his link with the past—it is the ancestral home of the Quoyles. It also carries bad memories for the Aunt so that what happened in that house a generation before drives the story. And it is a testament to the staying power of Newfoundlanders of the fishing-village period when people lashed their houses to the rocks against the pounding seas and hurricane-force winds. 

Would you agree to spend a summer at Quoyle’s house (if it would be still standing)?

Of course! Where do I sign up?

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Read Anna Iltnere’s essay about Quoyle’s Point here.

Anna is the founder of the Sea Library in Jūrmala, Latvia and the author of our ‘Unreal estate’ series of essays on literary houses by the sea. On the Sea Library website you can read reviews, interviews and, of course, borrow a book.

Shruff End… an interview with Miles Leeson

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As a companion piece to the first of our essays by Anna Iltnere about literary seaside houses – Shruff End from The Sea, The Sea by Iris Murdoch – we present an interview with Miles Leeson, lead editor of the Iris Murdoch Review:

“Having lived all my life near to the sea I’m in the same mind as Murdoch; the importance of the sea to mental health and wellbeing, and to freeing the creative part of the mind. Iris Murdoch always wishes in her letters to friends that she could have a cottage by the sea and one wonders why she didn’t as she could have afforded one.”
– Miles Leeson, director of the Iris Murdoch Research Centre at the University of Chichester

Interview by Anna Iltnere

What was Iris Murdoch’s relationship with water and with the sea? What the sea meant for her?

A very long relationship! I can’t think of any novels in which water isn’t mentioned or used as a symbol in some way. It’s always connected with boundaries, whether it’s the Thames that Blaise crosses to meet his mistress Emily, or the gap between reality and the unconscious in The Sea, The Sea which Charles constantly struggles with. Iris herself was, as we know, drawn to the sea throughout her life and regularly swam in the wild – near Oxford, in lakes, in the Sea, or indeed in the pond in the back garden at Steeple Aston! It’s her most enduring image I think, and one which the film Iris from 2001 makes much of as well.

 “To be able to swim, for Murdoch, is within her fiction almost to possess moral competence,” Peter Conradi writes in his essay “Iris Murdoch and the sea”. Is there more to swimming, near drowning and drowning in Murdoch’s books than just thrilling plot turns?

As I’ve hinted at above water is much more than just a useful fictional device for Murdoch. Peter is right of course, a sense of the moral life is tied up with images of confidence, or lack of confidence, in water. We remember that early scene in The Unicorn when Marion has her experience on the beach below the cliffs at Gaze, she meets the seal perfectly happy in his environment whereas Marion is very much a fish out of water in the space she now finds herself in. Effingham in the same novel and his revelation as he sinks slowly into the bog. Quite often our male protagonists, Blaise, Charles, Bruno in Bruno’s Dream, Tim Reed in Nuns and Soldiers, and others have a complex relationship with water and find themselves faced with set-pieces – who could forget Tim’s near-drowning in France? – that force them to face reality. 

What role does the seaside house Shruff End play in The Sea, The Sea?

Oh, Shruff End, and the immediate landscape, is the setting for all of the central action; it’s very much the ‘stage’ and everything else really happens ‘off stage’ in a sense. What is little known is that Murdoch wrote a stage version of The Sea, The Sea that was never put on in her lifetime. Much has been said about what Murdoch takes from Shakespeare and here, of course, it’s The Tempest. We have our Prospero who has, of course, recently retired from the Theatre and his ‘court’ who end up following him out to the seaside. One way of reading the house is the mind of Charles writ large; how the rooms relate to his conscious and unconscious thought and so on; especially once he captures Hartley. That’s only interesting in part I think, we lose much if we give a simplistic psychoanalytic reading to the text; it should be enjoyed as a comedy in form, with Charles as a quasi-tragic figure.

Would you agree to spend a summer at Shruff End? Why or why not?

Oh, I think so, so long as Charles was no longer resident! The setting is rather bleak in some ways but at least I could get down to some serious writing. Having lived all my life near to the sea I’m in the same mind as Murdoch; the importance of the sea to mental health and wellbeing, and to freeing the creative part of the mind. Iris Murdoch always wishes in her letters to friends that she could have a cottage by the sea and one wonders why she didn’t as she could have afforded one with John if she wanted to; especially after the success of the 1970s. Shruff End probably needs some major updating and renovation in any event; I certainly don’t remember it having central heating!

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About Miles Leeson: As well as being the lead editor of the Iris Murdoch Review, Miles also published Iris Murdoch: Philosophical Novelist in 2010, the edited collection Incest in Contemporary Literature in 2018, the festschrift Iris Murdoch: A Centenary Celebration this year and is currently writing Iris Murdoch: Feminist

About Anna Iltnere: Anna is the founder of the Sea Library in Jūrmala, Latvia and the author of our ‘Unreal estate’ series of essays on literary houses by the sea. On the Sea Library website you can read reviews, interviews and, of course, borrow a book.

Five Questions for... Yuri Segalerba

By Sara Bellini:

These photos are taken by the series La Ciudad Nuclear by Yuri Segalerba. The Nuclear City is a semi-abandoned and never completed Cuban town built in the 1980s to house the families of the workers that were supposed to work in the new power plant. The Russians started constructions in Cuba following a bilateral agreement, but after the collapse of the USSR, they abandoned the project and its inhabitants.

Yuri Segalerba is an Italian photographer based in Berlin and Athens and published among others on Vice and art - das Kunstmagazin. His photography inhabits the liminal space between architecture and sociology and has a focus on abandoned places, geometric shapes and the personal and collective stories behind a place. At the moment he’s working on an ongoing project about Russian suburbs and a social reportage in Egypt. 

What does home mean to you?

I have been asking myself for a long time and I think home is the place where I have a family (a biological family or a chosen one) waiting for me. I realised this after years living in Berlin, when I finally found myself living with friends that I consider family and I started saying “I’m going home” not only when I was going to Genoa but also when I was coming back to Berlin.

Which place do you have a special connection to?

I’ll answer without even thinking about it: Havana, Buenos Aires and Russia in general. (You’ll also want to know why I assume…) Havana and Buenos Aires are connected to my work as a photographer, because they’re two extremely cinematographic cities. Each corner is a photo and when I go to these cities I always come back with hard discs full of material - more or less good, but always very inspiring.

Buenos Aires feels like a home away from home. I usually arrive there at the end of long periods of being in South America and getting there means breathing European air again, to me it’s the link between Europe and South America. Let’s not forget that a lot of the people there have Italian ancestry, and I often meet third-generation immigrants from my city, Genoa, so I connect Buenos Aires with the feeling of home in South America.

With Russia I don’t know, it’s a more visceral feeling. Maybe I’ve developed this interest because of my name, which I didn’t fully understand as a kid (I don’t have Russian origins, my parents are not communists and they don’t particularly love Space, so it was a random choice). Russia is an incredibly vast and unknown country, very closed-off, with a consistent language and geographical barrier. I think I’m attracted to its inaccessible and unexplored sides, the nationalism of its inhabitants, this complex culture isolated from external influences, their cinema, their architecture...

What is beyond your front door?

Oh god, that’s such a difficult question! When you say “beyond”, am I inside or outside? Is it a physical or a meta-physical door? If it’s a physical one, which one is my door to me? Because I’m not so sure about it...

What place would you most like to visit?

All of them! I usually feel a sudden urge to go to a specific place and I just go. Lately I’ve been feeling that it's time to go back to southern Africa for example… And then there are places like Havana and Buenos Aires where since the first visit, when I was leaving them I was already thinking “I’m definitely coming back”. Every time I went back, I found myself thinking the same thing. And then Siberia...

What are you reading / watching / listening to / looking at right now?

Reading: Chernobyl Prayer, written by the Belarusian Nobel Laureate Sviatlana Alieksijevič who met and interviewed the people that were living in Chernobyl at the time of the catastrophe in 1986.

Watching: A lot of movies, especially Russian movies, I really like Andrey Zvyagintsev, but lately I've started paying attention to Iranian cinema, it’s a window on a world that fascinates me and that I don’t know at all.

Listening: A bit of everything… Maybe it’s better if I don’t answer this, I’m a bit ashamed of myself!

Looking: Right now I’m in Genoa, so I’m taking this as an opportunity to look at the sea from my window, before coming back to the Spree.

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Five Questions for... Amanda Thomson

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Amanda Thomson is the author of A Scots Dictionary of Nature, a collection of nature-related Scots words from 19th and early 20th century sources and a beautiful representation of the relationship between the Scottish people and their landscape. She teaches at Glasgow School of Art and in her art and writing she explores themes of place, home, nature and migration.

Amanda has just signed a book deal and is currently working on a collection of hybrid essays about landscapes and a video and writing project about an alder tree. She’ll be the artist in residence at Small Halls Festival this November, and travelling to Southern Africa with other nine writers as part of the Edinburgh International Book Festival initiative Outriders Africa

What does home mean to you?

I’ve been thinking about and actually writing about home a lot over the summer. For me, it can go from the micro, and being with my partner, to the house that we live in, or the place where it is. It’s about a feeling of missing a place and longing to be there, and that deep exhale of relief once you reach it. It’s not something that any of us can take for granted at all, so there’s a thankfulness to know I have a place I call home, when there are so many in the world who don’t.

Which place do you have a special connection to?

Abernethy Forest, where I did my PhD and is now a place I call home; the North West Highlands. I am smitten with Scotland and the Highlands and Islands. 

What is beyond your front door? 

I have a field which hasn’t been grazed by sheep or cattle for a couple of months. It’s been full of white and red clover, germander speedwell and all kinds of grasses, occasional deer and hares, and the aforementioned alder. The farmer has just cut it and bailed hay, and the swallows and house martins are swooping by just now on their way south. 

What place would you most like to visit?

I love living in Scotland and would happily spend all my time here. I always love going to the islands – North Uist in particular for the birds, and Shetland, and I am not long back from Sutherland in the North West. Now, and unexpectedly, I am very excited to be going to spend time in Southern Africa.

What are you reading / watching / listening to / looking at right now? 

Reading, I’m jumping between books: Kathleen Jamie’s Surfacing and Sadiya Hartson’s Lose Your Mother. Looking at the Collin’s Book of British Insects to figure out what kinds of moths I’ve been seeing.

Watching – This summer there have been red deer and hares in the field, swallows and house martins on the wires and just now the sun is coming and going and the trees are flouncing in the wind. The rain’s coming over from the West.

Listening to – this summer I have been listening to Braebach’s Frenzy of the Meeting a lot, also Duncan Chisholm’s music; Kinnaris Quintet’s amazing Free One, and Ali Hutton and Ross Ainslie’s Symbiosis II is the perfect album for the drive between Glasgow and the North – A lot of Scottish folk music.

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Five Questions for... Jessica J. Lee

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Two years ago we reviewed Turning, her memoir about swimming in the lakes around Berlin. This autumn Jessica J. Lee is back with the autobiographical Two Trees Make a Forest: On Memory, Migration and Taiwan. She is an environmental historian, writing tutor, nature writer and editor of The Willowherb Review, an online platform for nature writing by writers of colour. Jessica writes with the precision of a botanist but without the pretence that nature writing has no singularity, discarding the old cliché haunting the genre: that we all experience the environment in the same way, that diversity doesn’t matter and doesn’t exist. 

 What does home mean to you?

Multiplicity. It’s taken me a really long time to realise that home didn’t have to be singular, that I didn’t need to pick one place to call home. Both my parents are immigrants, and I’ve been an immigrant myself: instead of seeing that as a kind of “dislocation”, I’ve made a conscious choice to see that as productive, as a way of saying I belong to many places. I was born in London, Ontario, which people seem to find confusing because I lived in London, England for so long. Halifax (in Nova Scotia). Toronto. Berlin. Taipei. 

Which place do you have a special connection to?

I wrote my PhD dissertation about Hampstead Heath, which I lived next to through my early twenties. There was a beautiful lime tree that I used to hang out under, reading, resting, dreaming, crying: it bore witness to a lot of my most transformative moments in young adulthood. The tree came down in a storm in 2012, but the spot where it stood still draws me in. I have its leaf tattooed on my arm. 

 So I’d say there, but also: the bay at my family’s cottage in Canada, the cafe window in Berlin where I usually sit and write, the Taiwanese breakfast shop in Taipei where I get cold soy milk and hot shaobing youtiao. 

What is beyond your front door?

My street has one of the most beautiful views in Berlin, I think: it’s abnormally long and tree-lined and lovely. To the left, you’ll find more children and ice cream shops and wine bars and pet stores than necessary, and to the right you’ll find a busy road with a tram that races back and forth over the old Berlin Wall border all day. There’s a spicy hand-pulled noodle shop not far away, which is probably the best thing within walking distance. 

 What place would you most like to visit?

This is an impossible choice! There are so many countries I’ve yet to visit—Japan, Norway, New Zealand—but if I can be really specific, I’ll say Jiaming Lake in the Central Mountains of Taiwan. It’s a teardrop of a lake at the top of the mountains, famous for being a shallow, glassy mirror of the sky. People used to say it was formed by a meteor strike, but it was actually formed by glacial movement. But it’s a nightmare to hike to because of permits, the logistics of getting to the trailhead, the three-day trek, etc. I’ve twice had journeys to the Jiaming cancelled, so it’s become something of an obsession for me to one day actually make it there. 

What are you reading / watching / listening to / looking at right now?

I have the bad habit of reading many books at once. Currently, Brandon Shimoda’s The Grave on the Wall and Yoko Tawada’s The Last Children of Tokyo during the day, and Ben Aaronovitch’s The October Man as bedtime reading. I watch too much television—it’s one of the only ways I can switch off at home—so I’m currently finishing with Jane the Virgin. And for music, I’ve returned to Japanese Breakfast’s Soft Sounds from Another Planet on repeat. 

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Five Questions for... Vanessa Berry

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Interview by Sara Bellini:

We love zines, maps, psychogeography and archives, which is why we really wanted to speak to Vanessa Berry. She started making zines in the 1990s and is the creator of the long-running Disposable Camera, the last issue of which was published a few days ago. Besides making zines Vanessa writes a psychogeography blog Mirror Sydney, exploring “the marginal places and details of the city of Sydney” and in 2017 she also published a collection of essays and hand-drawn maps with the omonimous title.

Vanessa’s work is equally autobiographical and historical, exploring her personal relationship with place and memory as well as the stories that belong to a specific place. In the case of Australia where the pre-colonial memory of the island has been highly disregarded, Vanessa always writes “with acknowledgement of the Aboriginal lands”, reminding us that we should always be respectful of spaces that we share with others and that many others before us have respectfully preserved.

Vanessa’s newest project is a book of essays on place, memory and relationships with animals and the 20th anniversary issue of her other zine I am a Camera.

What does home mean to you?

My connection to the physical environment is strong and deeply-felt and always has been. I attribute this to being a quiet and introspective person, an observer who has always felt a kinship with the environment around me - its objects, creatures, details, changes, daily rhythms - as much as with other people. I do a lot of work at home, in a small and cluttered room amid piles of books and papers, and this is probably where I feel most at home. Although writing is also a kind of home for me, if you see me with a notebook open and I'm writing in it, know that this is when I feel most connected with the world. Perhaps that's what home means to me: feeling connected to where I am, wherever that be.

Which place do you have a special connection to?

My mental map of Sydney is made up of many such places I feel a special connection to. Generally they fall under the categories of anomalies, places of respite and places of solace. In the latter category there's a particular headland overlooking the Pacific Ocean that I go to at times of significance or difficulty. The city's eastern edge is a long stretch of coastline, scalloped into bays and beaches between sandstone cliffs. The approach to this particular headland is a stretch of parkland which rises up to a rocky outcrop. I sit on the grass and watch the magpies which patrol it. A group of them live here, and whenever I am there I see them moving across the lawn, heads cocked, listening for insects under the soil. One time, when I was sitting on the rocks, they assembled in front of me and all started singing, which felt like a gift from them and from this place, which never fails to make my spirit feel lighter.

What is beyond your front door?

Having lived in the same house for almost a decade, this scene is now permanently established in my mind's eye and I could describe it to the utmost detail, however I will keep it brief: a low brick fence with a crooked front gate made of wrought iron shaped into hearts and curls. Beyond this, lining the street, is a row of native fig trees. Directly across from the house is an olive-green metal box a few metres long which I like to imagine holds the street's secrets, but is actually an electricity substation. At the corner of the yard is a hibiscus tree which is often in flower. People like to pick them as they walk past and I don't have the heart to tell them that once you do, the flowers close up very quickly.

What are you reading / watching / listening to / looking at right now?

I am writing this answer on a plane which is flying over a scene below where the land meets the sea in an outline of bays and rivers, and the sun has dispersed to an orange glow on the horizon. I'm listening to the new Gwenno album, Le Kov. Tucked into the seat pocket in front of me is How to Write an Autobiographical Novel by Alexander Chee and an issue of Elementum. My watching, for now, is all out the oval frame of the plane window, thinking about the ocean below, the atmosphere above, and how it feels to be suspended in between.

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