Back in the Peak District! A few weekends ago, before Aberystwyth even, before the anthropocene decided that summer would be cut short. I am writing an editorial for City in my own blood at the minute, so thought I would take a break to vicariously breathe the wind, taste the air and freedom, regain perspective on deadlines, cross this little thing off the to-do list. We were following the walk as signposted by Ali Cooper in Archaeology Walks in the Peak District, but started at Hope train station as all those without cars must do. It was beautiful.
In this field, the Roman fort of Navio once stood, occupied between AD 75-120 and from about AD 160-360.
A town full of civilians also once stood here — all that is left still visible are some stones of the wall embedded in the ground and a collection of masonry in the field’s middle. They found lead ingots here, so the Romans were definitely mining these hills. We walked up towards Castleton
Skipped Peveril’s castle as we’d already been.
On towards Odin Mine:
Through a field with two lost lambs who didn’t understand the concept of lateral movement.
Mined for lead since the 13th Century, legend has Odin mined by the Romans and the Danes as well (hence the name). This mine comes complete with ore-crushing circle, where a horse once pulled a gritstone to crush the rock! Now I know what those are.
And then up to Mam Tor starting along the old road fractured through subsidence in a fairly apocalyptic way
We climbed up, really really far up and then up some more. The tor is surrounded by an immense ditch from the Iron Age, once home to a large settlement over a long span of years — though it is hard to tell now how regularly it was occupied. This is what archaeologists think it might have looked like once.
It is looking back you can get a better sense of the scale of the ditch marked along the hillside though you have to look closely at the photograph which doesn’t do justice (of course) to how marked it was as we stood there.
It is beautiful, windy, wild, from here we walked along the ridge towards Black Tor and Lose Hill.Artifacts have been found on Black Tor as well, though it is unknown if this was a residential or burial site.
We continued on
Chased by the rain
And down, passing a horde of London youth mourning the lack of escalators. We laughed, marveled at the foxgloves.
Found a pint.
It is hard to remember the moors exist on a day like today in front of the computer filled with frustrations. I have to remember that the road goes ever ever on. Just like in this cool display from the Hobbit.
Of course, Mark wanted me to call this post ‘Circling the Cement Factory’, which we did. I quite loved the cement factory I must confess.
But I loved most the wild, misty windswept hills with as few people on them as possible. I am far too domesticated.
I loved the Shirley Baker exhibition, found it moving and inspiring both. ‘Women and Children; and Loitering Men’ at the Manchester Art Gallery. Her photographs are vibrant, beautifully composed, full of life, provocative–everything photographs should be–and at the same time her subject is the one closest to my heart: everyday life and working-class community.
From the Manchester Art Gallery Website:
Pioneering British photographer Shirley Baker (1932-2014) is thought to be the only woman practicing street photography in Britain during the post-war era. Baker’s humanist documentary work received little attention throughout her sixty-five years career. This exhibition includes previously unseen colour photographs by Baker alongside black and white images and ephemera such as magazine spreads, contact sheets and various sketches. It specifically focuses on her depictions of the urban clearance programmes of inner city Manchester and Salford. This intense period of study, spanning from 1961 – 1981, documents what Baker saw as the needless destruction of working class communities.
This is an exhibition put together by Anna Douglas, first shown in London (of course, already I am feeling this North-South injustice)
For an amateur photographer and an urbanist and with a lifetime devoted to building power and community, these photographs sing. They document this structural period of demolition, the hope of better lives and council housing, the children my god the children everywhere and you love every one of them. Mothers everywhere too (and all my fears of being like that, like them, that joy vanished from them though I know often it is still there and it is my own fear speaking still, it seems visible only in the children and some of the old men).
The old men, the unemployed, the laundry, the cats and the dogs, the hope and despair, beauty and laughter and oppression and a hard working life all painted in black and white and glorious colour.
Maybe I loved most sharing this space with others, it felt like these rooms were filled with unusual suspects for a gallery, and a couple of older men were reminiscing behind me for a while about these days I was staring at captured with such compassion and immediacy it was altogether beautiful.
Some pictures from the website dedicated to her. There was another picture with a cat that was my favourite. I cannot find it. The unexpected heartbreak of denial in an internet age. Reminds me of my own poverty-stricken youth. Nothing like this though. The kids above — I imagine this was a day that all of them have remembered all their lives. The kids below — those faces too old and wary. I knew so many kids like that, love this country because seems like they are rare now. Nothing sad about this kid though. There is so little about Shirley Baker and I want to know all of it, devour all of her photographs. The book cost £30 — impossible at the end of the month. The other books from the handful of times her work has been shown all over £100. Luckily there is a website dedicated to her, it states:
Shirley Baker (1932 – 2014) was one of Britain’s most compelling yet underexposed social documentary photographers. Her street photography of the working-class inner-city areas, taken from 1960 until 1981, would come to define her humanist vision.
“It has always astonished me how quickly things can disappear without a trace.”
Hampered by union restrictions on female press photographers, she abandoned plans to work for the Manchester Guardian…. it is her empathetic but unsentimental photographs of inner-city working-class communities in Salford and Manchester as they experienced years of ‘slum’ clearance that has come to define her distinct vision.
“My sympathies lay with the people who were forced to exist miserably, often for months on end, sometimes years, whilst demolition went on all around them.” (Shirley Baker, on the slum clearances of inner Manchester and Salford)
Look at these incredible visions of the city and the life that filled it and spilled over it as the face of it was being transformed.
They are incredible, I wanted to see all of them. I wanted to know more of how she thought about them. I loved too, the exhibition’s integration of oral histories from people in these neighbourhoods, though I kind of hate the technology so I didn’t listen to all of them.
I will be patient, I suppose, and wait for more.
In looking for some of my favourite photographs I found this one online, an older Shirley Baker in front of this building I love and have long wondered about as I walk past it all the time on my way home, now a Chinese Restaurant on Plymouth Grove. It’s somehow so warming to think of her here, in my own place.
Trains. I really love steam trains, and the Rheidol Valley Steam Train is a corker. It is second only to the train from Chama to Antonito in my experience, though granted my experience is still very small taking a global view. This narrow-gauge train, opened in 1902, leaves from Aberystwyth and climbs and climbs through the valley to Devil’s Bridge.
Crawls up the valley. Stops to refill, and allowed us to marvel at the wonderful raised beds full of wondrous flower plantings — it is amazing how this whole project is loved. The volunteers were young, with leather caps and overalls. Life was fine on this Saturday.
Finally we arrived at Devil’s Bridge. Everyone headed there directly so we headed in the opposite direction, following the walk which can be found detailed here.
It’s longer than 6 miles.
We walked to the ruins of Bodcoll’s Woolen Mill, mysterious, overgrown. The river Mynach is beautiful here, impossible to photograph the smooth bowls its waterfalls have carved from the rock.
Climbed up and looked out across the hills. Walked and walked, saw some local hill sheep.
Got a bit lost. Got back on track.
Saw this little church, built in a much older sacred site and incorporating standing stones into the walls. I was tempted to swing by, but there were cows between us and the church.
Also, I had dragged Mark out on this walk in deck shoes. Neither of our shoe decisions was fortuitous.
Still, sheep scattered before us with fear, picturesque against the heather-covered hills.
Feeling powerful we strode up and up, young and strong, not a single ache or pain, not a breath out of place, the wind teasing our hair, the horseflies shying away from our very splendour. We found ruins, marveled at thick walls of stone.
We continued on and on. Crossed more water running sluggishly in the heat filtering down through sun dappled trees.
Then up again.
And then down and down and down a steep, rock stubbled roadway, sharp points penetrating the thin soles of Mark’s shoes though he made not a single complaint. We came to a stand of Scots pines, which the guide tells us have long been associated with rights of way, planted to mark overnight stops for men and cattle as they moved across the land, and at difficult sections of the route.
We descended further, came to the mine tailings of the Cwm Rheidol.
They continue to pollute the river and surrounding area, the informational sign noted the presence of marcasite, a mineral which in the presence of air and moisture (and this is Wales you know, there’s a lot of moisture) begins to develop a powdery white bloom and a whiff of sulpher as it crumbles away (if it’s in a museum exhibit) or dissolves into a sulpheric acid that can also melt lead and zinc into a rather toxic mess.
Still. I spent many holiday excursions of my youth around mine tailings, this made me happy. I know it shouldn’t.
Down into the valley, it was beautiful.
Yet we knew we would have to climb back up.
Back up to the railway line.
And then those bastards made us walk parallel this fairly level if steady climb in a strenuous up and down pattern that echoed the larger walk in microcosm. Until finally, with only once getting lost at the very brink of town, we arrived back.
Past the station and on to Three Bridges itself. Looking down.
A pound in the slot gets you through the old fashioned and terribly narrow iron-barred entrance. Look at this place, three generations of bridge built one upon the other.
The oldest built between 1075–1200, the second in 1753, and the third in 1901. The three of the span this incredible chasm.
Why devil’s bridge? The legend of the old woman who outwitted the devil himself — tragically at the expense of her loyal dog — can be found here. George Borrow wrote of it, Wordsworth too. I haven’t let Wordsworth ruin it though.
I had remembered this bridge from watching Y Gwyll, which I quite loved and have an immense desire to watch again now that I know these landscapes so much better.
We had no time for a pint. We boarded the train. And then failed to find a table at any of Aberystwyth’s fine dining establishments. We bought some wine at the Spar and had a glorious fish and chips sitting on a bench by the harbour.
This miserable town. Boredom, hopelessness, despair drip as condensation down its every surface to deaden the skin and the eyes, light up a thousand cigarettes. Defeat’s miasma curls wood, strips paint, shatters windows, repairs them again with superglue and uneven squares of plexiglass. Or leaves them jagged stars. Watches beautiful buildings sag and fall in a slow moaning plea for new use, truncates facades gawping at the sky, metals up entrances as it sends roofs slowly collapsing into the mildewed black holes beneath. Closes up all but the cheapest pubs, strip clubs. Ensures anger and violence always simmer just beneath the surface, marks couples by angry words, makes bodies spread wide or condense into hardened addict knots of wasted flesh. Faces too old.
Here and there a brave effort tries to rise above it. One holds knock-off china of a poorly-executed traditional pattern and cakes no one will ever eat embalmed in its windows. There are no bookstores. There are many people who do not embody poverty and despair here as foil to the rest, but they will not be found walking here after five. They disappear in cars to pockets of relative prosperity after picking up groceries at the giant Asda, carefully avoiding its predecessing poverty-stricken brutalist arcade next door. The two buildings together must have claimed a large section of the city center.
It is as miserable in the heat as it was in the rain and December’s freezing chill.
I hoped to escape, to find a mountain I walked up a broad paved path through a park, garbage winking at me everywhere beneath a welcome cover of riotous summer growth. It was isolated, trees and high banks to either side, beautiful old trees. Defeat running through their sap, their leaves keening. This is no safe place, there is nowhere to run but a preordained forward or back. A shuffling figure ahead of me, zombied with spice, dragging something from the bushes. Forward or back. Forward. No fear. It is some kind of jacket left here some time ago, he has dragged it into the middle of the path. Forward, he tries to see me but his eyes can’t focus, his lips can’t move to shut the gaping mouth over rotting teeth. His skin is mottled, I would not recognise him again because there is little of him here. It must feel like hours between thought and jerking steps. My heart breaks. Three others up ahead. Two young and one old, none of them have many teeth. All way too fucking thin, sinews standing out, anger simmering, arguing. Still walking with purpose, intent. Homemade tattoos stand out against white flesh. Only the old (prematurely old) one sees me, at my nod he makes way. ‘Sorry, love’ he says. I like his smile.
And then I am on an estate. A wide sprawling one, semi-detached houses that have all seen better days. Nothing else here. A sense of barrenness. Isolation. No plants, gardens. A place strangers never come, I can tell by the way cars slow with their music blaring, by the curious gazes of the children. I feel myself curling up inside because there is nothing about me that belongs to this place. This is somewhere so long cast out from belonging they belong only to each other. I am familiar with these places, knowing one makes you no more welcome in another. The mountain is getting closer. I swing my way through stares like wet concrete.
I approach what I suddenly realise is a motorway. No way over to escape to the mountains, you must go under. A fucking underpass, here. No way to walk alongside the road. No way to safely cross it. I can already smell the underpass. There is only forward and back. The air is horribly sickly sweet but underneath is human waste. Two fires have been lit here, I would guess to burn the sum of someone’s meagre possessions. Charred shapes rise from the ground, they feel alive, malignant. The underpass is actually a series of bridges. I stared, you cannot see from this place of safety what lies beyond. The tunnel that must be there.
Forward or back.
It was back. Had to be.
Past the same eyes, wading through the same concrete for the worst of it. I did manage to bypass the ‘park’ and instead curved down another road that opened up views across the valley — I had no idea how high I had already climbed. It should have been beautiful, but wasn’t. Down I went.
Oslo is a lovely city, a wonderful city to wander — we didn’t realise how big it was until we took the ferry out to the Viking ship museum (zomg the viking ship museum, amazing), but it feels human size, liveable. I think partly it is because only a short walk from the center you reach areas where you find things like this:
I’ve not been to a city with quite this shape — a yard or second road and houses tucked in behind them. It creates variety, interest, surprise — all the things Cullen and Alexander described as key to an interesting human environment. The above picture isn’t the most picturesque, but the only shot that managed to capture some of the contrasts, and just how cool a space this is.
Then there are the old streets of wooden houses. But I have already sung their praises.
There are balconies that seem well used, cafes spilling out onto sidewalks, coloured lights and tables and chairs inviting you to enjoy any summer evenings you can manage. Lots of street furniture too, in pallet style though I am fairly certain that is not cheap pallet wood upcycled.
It is also almost all mixed use and plenty of small shops, like this fruit and veg vendor protecting his wares by a small sacrifice to the birds. There are parks and green spaces all over.
There is a museum dedicated to Labour — we walked up the Akerselva to the old working class neighbourhoods to get there (I confess, they don’t really feel working class any more).
Lots of cobbled streets still. I love them, though I love them more since I stopped wearing heels.
The museum itself is small, nice, not quite enough about Labour and a little too even handed in describing the workings of capital, but we’re biased. It was worth a visit, and had we not gone we would have missed these splendid waterfalls in their entirety. They appeared nowhere in my admittedly quick search for weird and wonderful things to see — that turned up the mini bottle museum (closed), but not this beauty?
This was the centre of Oslo’s industry, the museum had an exhibition on of paintings of the Aker. These waterfalls once powered sawmills, later textile factories. A vision of it as it once was below:
Heading out towards the Munch Museum we passed what felt more like the current environs of the working class. Nice, I love these balconies, with their built in window boxes.
There is street art everywhere, here off of Tøyengata we found a beauty, along with an impressive diversity and some old buildings and cracked walls and lots of tags and stores that sell everything with brand names you don’t recognise that made me feel right at home.
Perhaps what I loved best was how massive luxurious modernity was squished into its own small section — though modern building is spread through out the city. This ‘landmark area’ still felt more vibrant and interesting than say Salford Quays (though we didn’t venture in), but they’ve actually done very interesting things with long narrow buildings lines all up in a row. I like them confined this way.
With wonderful plazas, a parade for each day we were there, some of the best public art I’ve seen as well as awesome (often anti-fascist) graffiti and stickers, I enjoyed Oslo immensely, despite the rain. Just reminded us of home I suppose.
There is a wonderful and all-too short video of Faith Ringgold talking about Harlem’s Sugar Hill, and the many people who lived there on the New York Times website from 2010. This comes just above a map that shows building by building where some of the people I admire most once lived.
I wish I had found this earlier. I love hunting down the homes of people who have inspired me, because it always takes you into residential streets, among the everyday places of the city that as a tourist you never see. It also allows you a slightly different glimpse of the person themselves — after all, I believe places shape us just as we shape places. Of course, a lot has changed in Harlem since these incredible days. There is so much nostalgia not for segregation, but for these spaces that concentrated community in such a way. Look at all of the people who lived only a few blocks from each other.
We did, however, know to find 409 and 555 Edgecombe. But the best site I found (also post-visit), was from the NY architecture site from a report prepared by Elisa Urbanelli, Landmarks Consultant (excerpted here, there is another good history of sugar Hill found in the docs establishing Sugar Hill as a historic district, much of it reintegrated into the arguing documents to extend the Sugar Hill historic district to include Hamilton Heights).
The Ebony article characterized Sugar Hill society and the residents of 409 and 555 with the observation that “Harlem’s most talked-about men and women in law, sports, civil liberties, music, medicine, painting, business, and literature live on Sugar Hill.” Adam Clayton Powell, Jr. presented a portrait of the Hill’s residential grandeur in 1935:
On Sugar Hill…Harlem’s would-be ‘sassiety’ goes to town. ‘Midst panelled walls, parquet floors, electric refrigeration, colored tile baths, luxurious lobbies, elevators and doormen resplendent in uniforms, they cavort and disport themselves in what is called the best ofay manner.”
There were racketeers and gamblers who called the Hill home, living side by side with judges, scholars, and writers. In the 1940s Ebony reported that Sugar Hill incomes ranged from $3,000 to $7,000 per annum, most being within the upper half of wages in the United States, yet also estimated that one-quarter of Hill dwellers had to take in boarders and make other sacrifices in order to meet expenses. Rents in Harlem were generally high, but in Sugar Hill they were even higher. At 409, tenants paid from fifty to ninety-eight dollars per month, while at 555 Edgecombe, two-and-one-half rooms rented for sixty-six dollars and five rooms for eighty-seven dollars. As one observer commented, “…Harlem prices leave little for luxurious living. The main difference between those on Sugar Hill and those in the slums is the knowledge of where their next meal is coming form and, at night, a spaciousness which helps erase the memory of a Jim Crow day.”
There’s a link to http://www.hometoharlem.com/ at the end of this, but it connects to nothing. I honestly do not know why I didn’t become a landmarks consultant. Best. Job. Ever.
But to return to who actually lived here — I’ve pieced this together from multiple sources, which I find astonishing. There is also an absence of plaques or markers, though it was nice to see a number of streets named after the famous people who had lived on them.
363 Edgecombe is where Faith Ringgold herself lived — I was hoping to see her quilt at The Studio in Harlem, but much of it was closed in preparation for new exhibits. Still.
365 Edgecombe – Cecilia Hodges
375 Edgecombe – Roy Eaton
377 Edgecombe – Sonny Rollins
381 Edgecombe – Joe Lewis
409 Edgecombe: Thurgood Marshall, W. E. B. Du Bois (Du Bois!), Aaron Douglas, William Stanley Braithwaite, Clarence Cameron White, Walter White, Roy Wilkins, Jimmy Lunceford (conductor at the Cotton Club), Dr May Chinn.
I remember from Walter White’s autobiography that he shared a building with Du Bois, it’s actually hard to imagine the two of them and Roy Wilkins occasionally meeting in the lobby. Back to Elisa Urbanelli:
No. 409 Edgecombe was certainly the most prestigious of addresses on Sugar Hill in the 1930s and ’40s. Counted among the residents of this very special enclave were people of national and international significance. As one who grew up at 409, Arnold Braithwaite eloquently explains, “…nowhere in New York City, and perhaps the country, will you find any other apartment building, whose halls and suites echo with the ghosts, as it were, of distinguished men and women, many of international repute, who were forced to over come the obstacles of poverty, for most; of pernicious racism, for all.”
As Ebony stated in the mid-1940s, “legend, only slightly exaggerated, says bombing 409 would wipe out Negro leadership for the next 20 years.” Indeed, residents have included such notable African-American luminaries as scholar and activist W.E.B. Du Bois; former N.A.A.C.P. leader Walter White; White’s successor, Roy Wilkins; and Thurgood Marshall, who was then special counsel to the same esteemed organization and later became the first African-American Justice on the U.S.Supreme Court. They were joined by New York State Assemblyman William Andrews, Assistant Attorney General of New York State Harry G. Bragg, and Charles Toney, a municipal judge, as well as others who had crossed the racial barrier into the fields of politics and law. Residents involved in the arts included renowned poet, critic, and literary anthologist William Stanley Braithwaite; Aaron Douglas, the famed painter and illustrator of the Harlem Renaissance and head of the art department of Fisk University; Luckey Roberts and Jimmie Lunceford,, popular jazz musicians; actor and singer Jules Bledsoe; and classical composer Clarence Cameron White. Another long-time resident, prominent physician Dr. May Edward Chinn, had an office at the ground story and lived upstairs. (For more information about these and other tenants of 409, see the Appends.)
What it looks like now? Sadly with scaffolding — it felt like almost every building we hoped to see had scaffolding:
A view beyond to see how it sits on this street, looking down Edgecombe towards the more modest buildings (but still Sugar Hill):
An atmospheric view down the backside of this stretch of Edgecombe:
And from here you can see all the way (looking up, it must be said) to 555 Edgecombe.
It left off that list Zora Neale Hurston. Wikipedia notes Kenneth Clarke (who wrote an amazing study of Harlem) but forgets his wife Mamie who was equally brilliant, Andy Kirk and Canada Lee. Joe Louis lived here a while too, he, Basie and Robeson are noted in the AIA Guide to New York City. The Lonely Planet adds Billy Strayhorn.
One of the few old pictures I was able to find:
Here is Duke Ellington’s ‘Take the A Train’ up to Sugar Hill (though we took the C)
The loveliest thing of all is that musician Marjorie Eliot opens her room up in the building, inviting people into her living room on Sundays for live jazz.
The saddest thing — that the National Park Service listing for this historic building only lists Robeson. Which is fucking crazy.
I did find one lovely site — While We Are Still Here — that is displaying information about 409 and 555 Edgcombe Ave.
While We Are Still Here (WWSH) ensures that the “post-gentrification” community of Harlem and beyond will honor and find a meaningful connection to the legacy of African American achievement, and its paramount importance to world culture.
What we didn’t see?
749 St Nicholas Ave — Ralph Ellison
773 St Nicholas Ave — C. Luckeyth (lucky) Roberts
But here’s the view down St Nicholas Ave:
Harlem though…Harlem is so much more than this of course. We Went to the Schomberg Library, I remember Ella Baker describing coming out of the subway here, staying in the Y.
Saw The Studio, saw the Apollo, walked past this:
Walked down some of these streets of the famous brownstones I have read so much about (how can I see these the same after reading Paule Marshall’s Brown Girl, Brownstones?)
Found 267 W 136th St, a rooming house where almost everyone from the Harlem Renaissance stayed: Zora Neale Hurston, Langston Hughes, Wallace Thurman, Countee Cullen, Gwendolyn Bennett and others, and closely connected with Fire! magazine.
Nothing here either to note the brilliance these walls have contained.
We saw memories of Marcus Garvey:
A bit of East Harlem (SO not enough), memorialised in a Tito Puento street sign:
There is so much more we didn’t see here of course. So much left to see, I should say.
I worried that moving north would make the tradition of bluebell hunting on my birthday much harder, and I was right, but on the 22nd of April we still found lots of them, though it seemed perhaps they weren’t quite at their height.
The walk from Altrincham to Durham Massey also wasn’t quite a country walk, but it had its moments.
From the town:
With its suspicious great-coated highwaymen and thieves:
I confess, though, I love these few weeks when we get to walk softly through a world of flower petals:
We had a bit of country lane before arriving at the deer park crawling with human beings (and a few highly indifferent deer):
I confess I didn’t love the house (once belonging to the Earls of Warrington and then Stamford) so much as the old brick outbuildings — some of them from the original Elizabethan period I imagine, like the mill:
The stables (and everything being surrounded by such beautiful stretches of water really helps):
These are places of work, unlike the ostentation of the house which is a thing of Empire. And if you weren’t sure, they immortalised a black figure right dead centre in front of it to remind you:
Not a slave, the plaque is quick to proclaim, but a moor. Cemented into eternal service.
We were there for the bluebells though, I admit I should have chosen a wilder wood, with no memories of slavery and long stretches of bluebells to be stumbled across at will, but ah well. They were beautiful here none the less.
The other spring flowers were also stunning, they have truly done a wonderful job making this a winter/early spring garden with color lasting beyond all of the crocuses and most of the daffodils, but before many of the other flowers are yet out.
The new foliage of the trees:
We walked back to Navigation Road station along the Bridgewater Canal.
Returning to both Victorian industrial splendour in the shape of these 1897 Linotype works (clearly being prepared for what I imagine will be more ugly luxury flats, but I am glad they are keeping the facades at least):
And some more modern splendours of ugliness:
We ended the day with Fast and Furious 8, which was a ridiculous and enjoyable as expected, though this AMC cinema always make me feel as though the apocalypse has already happened when we come in this entrance.
A grand day.
Queequeg! Who could have guessed that he stayed — well, Amos Smalley, upon whom Melville based the character — in this very room (that top room, there at the sunlit end), in this very house where I first met Sam’s grandmother wearing a baseball cap backwards to dinner causing what I later realised was probably some level of disapproval. I stayed here the last time I came, when Queequeg’s room was Tas’s. Her family built this house long ago.
So exciting. Good to come back to a place that always feels a bit like home away from home, after Sam and me got ourselves through college commiserating over worries about our families, lack of funds, the love and loss of land, and missing wildness. We also both lived in in places inundated by seasonal tourists, though the ones on her island were of a slightly different sort. We would escape to the basement in Mary Lyons to drink tea in the evenings — escape everyone else — listen to music, talk about home and writing. We invented the happiness game. I wish we lived within at least a thousand miles of each other.
I love that it still feels wild here, and old. Surrounded by ocean:
Walking through woods full of lovely stone walls from when this place was once grazed flat by sheep:
Old iron wheels and the great tower from those (very semi)industrial times when this island once produced the bricks that helped build Boston’s Beacon Hill
The beginnings of spring (already in full daffodil flower here in Manchester, with crocuses being done), and the season of pinkletinks. I was invited to share the audible delights of peeper’s corner, and we sought them further here:
I am forgetting this pond’s name, black silver reflecting the last of the beech leaves before the new green begins. And now the pinkletink.
Imagine them so loud they can be heard for miles, through the glass car windows even. So loud that as you approach they hurt your ears. They remained invisible to us, escaping to obscurity and silence as we approached.
They are also reintroducing Cranberry bogs, amazing:
This island also has the best baked goods I have had in ages. But mostly, I loved the beauty of it. The emptiness of it. And I miss the whole of this family, who feel a bit like mine, except that they are always so very late. I was so sad to leave…yet I was leaving in the co-pilot’s seat of a tiny Cessna (look, it’s me!)
This made me feel like a flyer or a film star, and was an incredible view as we flew through crystal clear skies to Boston. I now know what some, not all, of those buttons, levers and gauges do.
It took the sting off, I confess. But I was still sad to go.
We got more sunsets the last time I was here, seven years ago now… hope it’s not another seven before I get back.