“Retirement” still seems to involve twelve-hour days.
Posts have been few and far between recently….my apologies. Here’s why. I’ve just finished printing and framing twelve new versions of graphic prints, to be included in a display of eighteen of my works that I’m hanging next Wednesday. I also completed Empire’s Hostage, Book II of the Empire’s Legacy Series, this week, prepped the files for printing, and sent them off – just waiting now to get the first proof edition. This was also the last week of the on-line university course I’ve been taking, on the landscape archaeology of Britain…and then there’s been the community newsletter, the community herb garden, retirement parties to attend, books to edit, the kitchen cabinets to prep for painting (next week!), and all those little things – like grocery shopping and meal prep and time with friends – in-between.
“Retirement” still seems to involve twelve-hour days – I’m usually started on the day’s work a bit after 7 a.m…..and it generally continues on to about 7 p.m. I’m still fairly reliant on my on-line calendar to remind me what’s next to be done. The huge difference is that I’m doing exactly what I want to, most of the time, and an hour-long bike ride to pick up my library books and a liter of paint is multi-tasking – exercise and errands in one – but it’s FUN. And if I feel like taking a day (or more) off, there’s no-one to tell me I can’t, or shouldn’t…hence our week in Cape Cod and the White Mountains at the beginning of the month, a fairly last-minute decision. (But if we were ever going to see Bicknell’s Thrush, it had to be done. I’m pleased to say we were successful.)
I’m going to drop the pace for a few weeks, though: it is, after all, summer. There are outdoor concerts to attend (weather permitting, in changeable and stormy Ontario this year), books to read….and cupboards to paint. I need a break before I start writing Empire’s Exile, Book III, plus there are a few other projects that have been on the back burner…and in the fall I start a new university course that will help with the background for Exile. I will, of course, keep everyone updated on the release and promotions for Empire’s Hostage, but also, I hope, some other posts…I miss it!
To my Canadian readers, have a safe and fun Canada Day weekend, remembering that Canada 150 is also Turtle Island 15,000. We have a lot to celebrate, some things not to, and a lot of work to do. Happy July 4th to my US readers: stay safe: Nolite te bastardes carborundorum; and to the rest of the world, whatever season it is, enjoy!
Fluttering against the glass windows was a young kestrel. Pursuing a house sparrow, it had flown in the open door of the patio.
Sometimes two parts of a life can collide unexpectedly. At my Monday morning writer’s group, which meets in the upstairs restaurant/bar of an independent bookstore, we had propped the patio doors open to let in the summer breezes. We’d all been working about an hour – this is a place for silent writing, not discussion or sharing – when I heard a high-pitched, rapid cry from the bar area. My writer’s brain disengaged, my birder’s brain engaged – that was the cry of a bird in fear of its life.
I and another writer ran for the bar area. Fluttering against the glass windows was a young kestrel. Pursuing a house sparrow, it had flown in the open door of the patio. The house sparrow was somewhere in the room, but our priority was the kestrel.
A sweater was found and thrown over the terrified bird. The other writer – herself experienced in bird banding – carefully carried it out onto the patio and let it go. I searched the room for the sparrow, but it was hiding somewhere.
About half an hour later someone came in from the bar area to say the sparrow was fluttering against the front windows. It was a simple matter to drop my cotton shirt over it, and carry it carefully to the patio. It vocalized the same rapid, high-pitched distress call the whole time I held it, but flew away as soon as I freed it from the confining cloth.
The chances of this happening are minuscule. Kestrels eat primarily insects, although small birds are also part of their diet; my guess is this was an inexperienced and hungry young bird that thought a house sparrow was fair game.
And when both birds were free again, my writer’s brain re-engaged and I went on to write 600 words of Empire’s Hostage.
Courting yellow-shafted flickers, the male at the top of a dead branch, the female lower on the same branch. The male drums, moves his head to the left, fans his tail. The female moves her head to the right. Back and forth they do this, the male drumming every third or fourth time, heads moving back and forth in precise time. He’s dressed to impress, every black dot on his buff-yellow breast crisp, his red nape gleaming, his tail feathers glowing gold in the morning sun. The dance goes on for about five minutes, until the male flies to another drumming perch to beat a louder cannonade. There is no visible response from the female.
A small, thin, whistle from high in the maples catches my attention. Looking up, thinking to find a small bird, I find instead a male wood duck, standing on a branch. I watch his bill open and close as the thin ‘zeeting’ is repeated. Definitely him. An unexpected sound from a duck.
Walking through Victoria Woods, a funnel of leaves rises and falls from the forest floor, rising to no more than a foot or so off the ground, falling nearly to nothing, then rising again, moving east to west. I can see the track of disturbed leaves several meters into the woods. It looks animate, or animated by something invisible – which of course it is: a small whirlwind. But the experience had an odd feel, as if I was seeing something of faerie, not this world.
I would like to know this place intimately, to understand its ecology and geology, its weather, its landscape, its history. I want to watch the seasons here, the ebb and flow of waders on the Wash, feel the wind off the North Sea in the winter, bringing hard frost and snow; hear the nightjars churring on the Fen at a summer’s dusk; see the hordes of geese returning, and leaving, autumn and spring.
Norfolk, England, May 2015
Beyond the village, west towards the Wash, flat fields of barley and wheat, latticed with ditches, lie on either side of the paved right-of-way out to the water. Once this was marsh, and from the satellite images on Google Earth, the patterns of waterflow can still be seen, like a ghost, or a memory, held in the soil.
Around the village, around its bungalows and houses, shops and pubs, church and hall, people going about their lives shopping, walking dogs, gardening, working, I see other ghosts, memories not my own underlying the quotidian. My father’s memories, and his parents, and beyond that for unknown years. Memories now at their newest eighty-seven years past, and going back for generations.
I would like to know this place intimately, to understand its ecology and geology, its weather, its landscape, its history. I want to watch the seasons here, the ebb and flow of waders on the Wash, feel the wind off the North Sea in the winter, bringing hard frost and snow; hear the nightjars churring on the Fen at a summer’s dusk; see the hordes of geese returning, and leaving, autumn and spring. I would like, as much as can be in a changed world, to know this place as my forebearers did, the knowledge of foot and sight and smell and feel. I have been making small beginnings, over the last thirty years, coming closer together over these last ten. What can I learn, this time, in a month in spring?
I am walking in what I am arbitrarily determining as the boundaries: the old marshes west of the A149; the three commons of Dersingham; the footpath on the old railway line as far north as Ingoldisthorpe; Sandringham Park and Dersingham Bog NNR. The first walk was to and from the Wash.
A century ago my great-grandfather built a tiny wooden bungalow, a beach cottage, on the shingle beyond the marshes. I do not know exactly where. Between Dersingham and the Wash were the marshes, and, the first part of the lane which is now the bridleway from Station Road, which is recorded on Faden’s 1797 map of Norfolk. There was (and is) also the Drift, a droveway to move sheep on and off the marshes.
What lay between the edge of the village and the Wash I imagine to be much like the shooting marsh beside Titchwell: a mix of rush and sedge and ling, cut with hundreds of channels and small ponds, rich with wildfowl, water vole and waders. Perhaps not, though; perhaps it was grazing marsh, diked and drained, wet meadow. And perhaps it was a mix of the two; I suspect this is the most likely. Some of the drains, or sluices, are on Faden’s map, so drainage had begun in at least the 1700s. At some point in the 1920’s, my grandfather, Percy, and one of his brothers-in-law, Sid or Eph, walked out from the Drift to the bungalow, across the wet land and the unbridged waterways. Because this story was still being told eighty years later, I think they arrived very wet, very muddy, and to a good telling off from the women.
Now the bridleway and some of the side lanes are paved, huge, tilting slabs of concrete pavement. I am not sure when this was done: either before the war, when the shingle from the pits at the Wash’s edge was being removed, or after the floods of 1953. To the south of the bridleway, the land belongs to the Sandringham estate; to the north, to (mostly) another landowner. The land is arable, planted to cereals for the most part, but also managed for wildlife, or at least for shooting. Weedy headlands, broad buffer strips on either side of the waterways and around each field, some fields left to grass fallow, strips and clumps of trees: all give shelter not only to the pheasant and red-legged grouse, but to other wildlife. The first morning we walked out there were hares everywhere. Marsh harriers hunted over the fields and the marshes; whitethroat, dunnock, robins, blackcaps, and reed and sedge warblers sang, along with finches, green and gold, and linnets. Songs I do not know, songs to learn, to become part of the tapestry.
A few greylag geese are raising goslings in the fields near the Wash, along with several Egyptian geese. Oystercatchers and ringed plover nest on the beach. Goldfinches twitter from the tops of the blackthorn. Cuckoos call from the woodlands. A whitethroat sings from every bush or tall reed along the ditches, it seems; some will be raising cuckoo chicks, unwittingly.
But while the land has changed, two things have not: the sky and the sea. The vast Norfolk skies, the ebb and flow of the tide over Ferrier and Peter Black Sands, and the birds that belong to both: in May, oystercatchers, dunlin, knot and grey plover, feeding at the edge of the sands, moving with the tide, or taking to the skies in huge wheeling flocks, sometimes put up by a peregrine, sometimes by seemingly nothing. And along with waders, black-headed gulls, nesting on the rocks and islands of the pits, or out on the remnants of the shingle gantry, a structure that was built in the 1930s to load the beach pebbles onto boats, and has withstood the storms of 1953 and 2013.
I am drawn to this flat and open land. There are several walks through woodland available to me, but my instinct is to go west, out into the fields, or the fen. I explore different routes: there is a permissive path that runs north from the Station Road bridleway, over to the edge of Ingoldisthorpe Common: I try that. It loops around two fields: the part that parallels the A149 is loud with road noise, and a few birdsongs from the belt of woodland between the road and the fields, but the western side is quiet. I watch buzzards hunting, one coming down repeatedly into the uncut hayfield beside me, but I see no evidence of success. But it’s an adult bird, so it knows what it’s doing. A kestrel hovers over the same grasses but does not dive. In the distance a cuckoo calls, and the ubiquitous wood pigeons beat across the fields.
Another time I access the fields a bit further south, from the Drift. The Drift runs, for much of its length, between a thick hedge or woodland on the south and a ditch on the north, edged first with houses and then with fields. West of the A149 the southern side is a mix of field and woodland, but the boundary is still treed. Good songbird habitat; lots of blue tits, robins, dunnocks. Wildflowers grow on both sides: yellow flag iris in the ditch, kingscup and buttercup, all yellow. On the woods’ side a creeping purple mint – heal all? – and a starry white flower colour the grasses. I need a book. Or an app.
Where the Drift ends at a cross lane – a Sandringham estate farm lane, and at least to the north open to walkers to make a connection with the bridleway to the Wash – I stop, and look west, thinking of my grandfather’s walk. To do that walk today, were it possible, there are at least three waterways to be crossed: Boathouse Creek, a drain, and the River Ingol, challenges in themselves. What is gone is the vast web of minor channels between them, and the right to access.
I watch the fields for a while. Gulls circle and scream at the edge of the Wash, a kilometer or so distant. Pheasants call. To the south, in the woodland called Gogg’s Whins and firmly signed as to no public access, there are feeding stations for the gamebirds: these are birds for the shooting.
A gamekeeper and his black lab begin to walk a field north of me, paralleling the Drift. As I turn and walk east again, we keep pace with each other. When he reaches a small woodland, I hear the shotgun. I can’t determine what he’s after – possibly wood pigeon, more likely one of the Corvidae – crow or magpie. I hear half a dozen shots as I continue east.
Back within the village boundaries a gate opens off the Drift and into a woodland marked on the maps as Bypass Wood. (Unless a woodland or other landscape feature is very old, it will tend to have a practical name: Bypass Wood edges the A149 bypass of the villages of Dersingham, Ingoldisthorpe and Snettisham, and does not appear on the 1992 Ordnance Survey map.) I follow the path round and through the woodland, hearing long-tailed tit, and enter the village fen at its western end. The village fen (once known as Bog Common) is one of the three commons of Dersingham, and would have once been grazed, the reeds gathered and the birches cut for fuel and peasticks; now it is managed as a nature reserve.
I watch a family of robins in one clump of birches, and a single female blackcap. The path branches and I cross the Lynn Road and enter Sandringham Woods, immediately turning left and back up the hill (well, small rise, but this is Norfolk, so it’s a hill), crossing at some point onto Shut-Up Common. More long-tailed tits chatter from the birches which dominate the common now: once it was open heath and bracken, kept that way by the large population of rabbits, and the commoner’s right of wood gathering. Myxomatosis reduced the rabbit population, and most villagers don’t gather wood now. I follow the track across to Heath Road and onto Open Common, and come out on the Lynn Road. From here it’s a ten minute walk back to the cottage.
Had I chosen to walk up Heath Road, I would have passed the house my great-grandfather had built, known then as The Retreat. From this house, it’s a twenty-minute or so walk through Shut-Up Common and across what is now Sandringham Country Park to Sandringham House itself, a walk (or perhaps a boy’s run) my father did frequently in the years he lived here, sent to Sandringham with a message for his grandfather. When he and I and my sister came back, he was in his early 80s and had not made that walk in seventy years, but he unerringly took us across the overgrown common with its branching paths, and onto the estate, the memory of the landscape lying deep within the hidden neural networks of his mind.
These two poems reflect just a little of the awe and joy watching birds has given me over the last forty years.
Lucifer, and, Terns at Hong Kong Harbour
These two poems reflect just a little of the awe and joy watching birds has given me over the last forty years.
Lucifer (Sterna paradisaea)
Arctic Terns live almost entirely in light for their entire lives. They fly 30,000 km each year, from the Arctic to the Antarctic and back. Their return – south or north – heralds the light, and spring.
I often go walking when I’m working out plot points, conflicts, or scenes, and today was no exception. I’m reaching a fairly pivotal plot point in Empire’s Hostage, and I needed to think about it. However, I’m also house-and-cat sitting for my sister this week, and so am close to the birding mecca of Point Pelee National Park. And those of you who’ve read my bio on various sites know I’m also a birder.
It’s fall, not the intense migration of spring with birds (and birders) in hordes. So I figured I could walk, look at a few birds and think about plot at the same time. Ha! Warblers everywhere. Thrushes everywhere. Sparrows everywhere and all the Eastern Phoebes in the world, it seemed. I’d walk a few paces, thinking… “if Lena does this, how will Cillian react?” and would just start formulating a scene and ‘What’s that? A black-throated green? Yes, juvenile male….ok, where was I? Cillian doesn’t like…..Now what? Kinglet…which one…golden-crowned, should be a ruby-crowned in this bunch somewhere…”
This went on for my entire two hour walk. I can’t turn my birding brain off; it’s just not possible. I wonder if Margaret Atwood has this problem? (Canadian writer extraordinaire and also a birder, in case you’re unsure.)
However, at the end of the two hours, I had seen a ruby-crowned kinglet along with a lot of other birds, and had more or less worked out the next couple of scenes, albeit in a very fragmented way. So once I’ve got today’s records entered in e-bird, I’ll go and write for a couple of hours. Away from the window and the bird feeders.