Across the Borderline

But hope remains when pride is gone 

There's a place where I've been told 

Every street is paved with gold 

And it's just across the borderline 

I cruise west, the concrete and steel towering over me as I pass through the shiny gateway to heaven.

And when it's time to take your turn

Here's a lesson that you must learn

You could lose more than you'll ever hope to find

The price is £6.70 to enter these Elysian fields these days, but wtf? With the way the world is spinning we need to treat ourselves. All we really need is the band from the Titanic to play us out, and we can sink happily.

When you reach the broken promised land

And every dream slips through your hands

Then you'll know that it's too late to change your mind

But then it is always too late to change your mind….. There is never a going back. I still believe in the England of Yore (whoever he/she was) where Postman Pat (and his black and white cat) delivers simnel cake and Private Godfrey’s sister Dolly makes the sandwiches. Come to that I even sometimes live in a world where Betsy Trotwood chases donkeys out of her front garden, Justices Shallow and Silence preside over the magistrature, and The Pardoner’s Tale passes the time in the traffic between Sittingbourne and Faversham.

But that is fantasy.  There is no going back,

'Cause you've paid the price to come so far

Just to wind up where you are

And you're still just across the borderline

So I pursue my first intent, to be a pilgrim for the day on Offa’s Dyke, up the hills near Abergavenny, in Monmouthshire. This is border territory, sometimes known as the Anglo-Welsh Border. The England-Wales border runs for 160 miles, from the Dee to the Severn estuary. It has followed much the same line since the 8th century, and for part of the way it is marked by Offa's Dyke. Offa was Trump of Mercia from 757 to 796, and his walled ditch was constructed (at his own expense?) to keep the immigrants from Powys out. The modern boundary was fixed in 1536, when Henry VIII melted the lead off the roof of Tintern Abbey and simultaneously created both the Romantic Poets and Secular Tourism.

Now the only signs of Welsh independence are signs on the road instructing you to go ARAF and a charge of £6.70 to cross the Severn in a westerly direction, where:

A thousand footprints in the sand

Reveal a secret no one can define

The river flows on like a breath

In between our life and death

Tell me who's the next to cross the borderline

En la triste oscuridad (In the sad darkness)

Hoy tenemos que cruzar (today we have to cross)

Este rio que nos llama mas alla (this river which calls us further away)

But hope remains when pride is gone

And it keeps you moving on

Calling you across the borderline

Up on these beautiful hills, with views across England’s green and pleasant (?) land to the East, the Black Mountains and the Brecon Beacons to the west,

and the flatiron top of Ysgyryd Fawr (Skirrid) between me and the Mouth of the Severn to the south,

it feels good. I am away, temporarily, from it all – or so it seems. The corrugated end of a farm building carries verses from Edward Thomas’s The Lofty Sky:

Today I want the sky,

The tops of the high hills,

Above the last man’s house…

…where naught deters

The desire of the eye

For sky, nothing but sky.

The skylarks agree.

The ponies agree.

I am alone with my thoughts, where once border patrols might have shot me on sight.

And other borders, other boundaries, come to mind. What is this United Kingdom if full of care? Will Gretna be Greener when Scotland detaches itself? What about Ireland? In Sunday’s Observer Sean O’Hagan asks Will Brexit reopen old wounds with a new hard border? 

A recent Irish government survey noted that there are now around 200 border crossing points and an estimated 177,000 lorries, 208,000 vans and 1.85m cars travel to and from Northern Ireland every month. In spite of this progress, the prevailing question now occupying people either side of the Irish border, particularly those that live in its hinterland, is: does Brexit mean that checkpoints of some kind could reappear, to prevent the movement of goods and people from European Ireland into British Northern Ireland?

The border is 310 miles long, and, as we soon find out, can be difficult to follow even with the help of an Ordnance Survey map. It skirts five of the six counties of Northern Ireland – Down, Armagh, Tyrone, Fermanagh and Derry – as well as five Irish border counties – Louth, Monaghan, Cavan, Leitrim and Donegal. Along the way, it bisects mountains, towns, townlands, fields, rivers, bridges, farms and even a few houses wherein the occupants sit down to supper in Ireland before going to sleep across the hall in Britain. [Courtesy of Guardian News & Media Ltd]

And O’Hagan reminds us of Seamus Heaney’s chilling poem From the Frontier of Writing:

and everything is pure interrogation

until a rifle motions you to move

with guarded unconcerned acceleration – 

a little emptier, little spent

as always by that quiver in the self,

subjugated, yes, and obedient. 

Do we need these borderlines? Will the ponies be safer? Will the larks fly higher? As Robert Frost, in Mending Wall, said:

Something there is that doesn't love a wall…

…Before I built a wall I'd ask to know 

What I was walling in or walling out, 

And to whom I was like to give offence.

Though he recognises, and challenges, the opposition from his neighbour, but:

I see him there

Bringing a stone grasped firmly by the top

In each hand, like an old-stone savage armed.

He moves in darkness as it seems to me,

Not of woods only and the shade of trees.

He will not go behind his father’s saying,

And he likes having thought of it so well

He only says, 'Good fences make good neighbors'.

The received wisdom of ages: the black, the white, the binary choice. What are we doing with these enclosures, these barriers? In due course they will all be reduced to dust and ashes as the world warms, and meteorites gather speed in the vacuum, teeming towards our fragile planet, mindlessly careering through our futures. Why make things worse?

However, despite this life of care I enjoy a beautifully unfettered walk over Hatterall Hill in Crucorney, with a steep descent in to the Vale of Ewyas, with a stop at the wonky Cymyoy church,

which was built on slippage from the cracked old red sandstone of the surrounding hills (cf Matthew chapter 16, verses 18 & 19, And I say also unto thee, That thou art Peter, and upon this rock I will build my church; and the gates of hell shall not prevail against it…. And I will give unto thee the keys of the kingdom of heaven: and whatsoever thou shalt bind on earth shall be bound in heaven: and whatsoever thou shalt loose on earth shall be loosed in heaven…. I feel reassured?)

and end up in the Queen’s Head, which isn’t really a very Welsh name for a pub, is it? In fact neither the lady of the house, nor any of the clientele switch to Welsh when I enter….

In fact, none of them are Welsh…. A sandwich and a pint, and a few clues in the communally shared giant crossword (The Ghost of Thomas... five letters beginning in K?), and then it’s back across the borderline to Bristol….

Though, as Ry Cooder, Jim Dickinson and John Hiatt wrote:

When you reach the broken promised land

Every dream slips through your hands

And you'll know it's too late to change your mind

'Cause you pay the price to come so far

Just to wind up where you are

And you're still just across the borderline

Now you're still just across the borderline

And you're still just across the borderline

There is no going back…… There is only hope!


Please sponsor my 100 mile hike in support of research into Dementia through Alzheimer's Society by donating online at http://www.justgiving.com/Richard-GIBBS5

For Bob Dylan's Farm Aid rendition of the song, please see:

https://www.youtube.com/watch?v=G0iTXU8bSpk


For one throb of the artery,
While on that old grey stone I sat
Under the old wind-broken tree,
I knew that One is animate
Mankind inanimate fantasy.

W B Yeats
A Meditation in Time of War

Merrie England - Part Two

WINTER

  

“The benches filled with famous men

Who fell to with relish; round upon round

Of mead was passed…..”

What could be more English?  Driving round the M25 in something like Brown Windsor soup at the tail end of December.  Spray and darkness combining to reduce visibility to the brake lights of the vehicle in front; the sky like a plaster ceiling about to collapse under the weight of an over-flowing bath above. 

And for what?  A holiday?  A trip to the seaside?  Surely this is as daft as it gets?  When the sapient majority is either on the beach at Sharm el Sheik or watching Match of the Day or The Great British Bake Off at home, why submit to the perils of aquaplaning into a traffic tsunami?

Well, for one, we are “British.”  And two, I have been reading Beowulf…… And, if I need a third, I am looking for “Merrie England” in the depth of winter - and not a Pickwickian snowscape neither, no twirling on pigs’ bones across the frozen Thames, nor too-hot-to-handle chestnuts to warm the cockles….

So whereto? 

First, into the past.  High above the swollen Deben estuary, across the water from the port of Woodbridge, in Suffolk.  It’s cold, and damp and deserted, but for some 1300 years here lay a remarkable man, buried with his ship and an unsurpassed collection of finery.  This is Sutton Hoo, and here we can taste the strands that formed the weft that became woven into England. 

The site would have been inhabited since the Stone Age, and was undoubtedly known to the Romans, whose roads passed nearby, but by the year 625AD the Romans had been gone for two hundred years, and a new power was developing, which would form the basis of the culture of this land, ready for the layering of invasion, religion and trade that added colour and texture over the centuries. 

The treasures that were buried here, with their historical and cultural values, were undiscovered until the owner of the land, Mrs E M Pretty, invited the archaeologist Basil Brown to open the mysterious mounds in 1938.  What he found, among other things, was the remains of a twenty-seven metre long ship, and when Charles Philips took over in 1939 silver and gold, enamels and jewels came to light, brilliant examples of Anglo-Saxon and Celtic art, as well as objects of everyday life, such as textiles, utensils and weapons.  An ornate helmet, seeming to frame a pair of raybans; a sword that was beaten from twisted threads of steel, manufactured with the greatest technological skill; a lyre which would have been plucked in accompaniment to songs of war and peace; a shield, embossed with golden animals whose eyes shine red with garnets, and a whetstone carved from one of the hardest stones known to man, topped with a stag finial, possibly used as a sceptre to denote the rank of a king.

After the Second World War the British Museum began a research programme and gradually the discoveries were analysed and understanding grew.  In 2002 the site was opened to the public, and, although the actual artefacts are in London, it is fascinating and atmospheric, even in the gloom of December.  There is a glory about this celebration of death, as it celebrates life, and through the patience of those involved the continuity of our past becomes more tangible, more relevant, and I suppose I can feel more purpose in a society which valued art, and which cared for the dead as if they live on.  We view a short film about the site and the world it explores, and while we are visiting a guide expounds on the traditions of feasting in those dark days.  It fits with Beowulf, as retold by Seamus Heaney:

“They sang then and played to please the hero,

Words and music for their warrior prince,

Harp tunes and tales of adventure:

There were high times on the hall benches…..”

There is the Janus effect.  We look backwards and we look forwards.  At this pivotal point of the year, with the darkest days behind, our hopes rekindle, but they are hopes built on experience.  So the marvels buried at Sutton Hoo inform our future: if this is how it was, then why should it not be better?

We return to the present, and move on to our accommodation, at the quaintly (and inexplicably, though it may derive from a local type of eel trap) named Eel’s Foot Inn at Eastbridge.  From here it is a pleasant, if waterlogged, walk to the RSPB Reserve at Minsmere, and the coast from Dunwich to Sizewell. 

Here, between coastguard cottages and the mosque-like white dome of Sizewell B, birds and animals are protected, at least from man (for the moment, though we do not yet know about Sizewell C!) in reed beds and woods.   

This is one of the RSPB’s flagship reserves, with excellent facilities and a number of hides and walks.  The variety of birds is dazzling and serious birdwatchers will return in all seasons, and there are also Konik ponies and deer to see. 

We are fairly lightweight when it comes to identifying distant shapes, but are spellbound by the views from the Island Mere and Bittern Hides.  I just miss seeing an otter (but am shown a picture of it, strangely taken on exactly the same camera and with exactly the same lens as I have) but succeed in counting nine Marsh Harriers circling and settling in the dusk.

After a grey and washed out day the sun slips below the cloud cover and suddenly illuminates the scene, side-lighting the reeds and silhouetting the bare trees in the distance. 

Flights of birds sweep in, dark shapes against the sky. 

It is glorious, and I suddenly think of the warrior in his boat tomb, the years in between dissolved as time sheers away to nightfall.

We walk back to the pub.  The road and flooded fields gleaming in the last of the light.  A wood-burner glows warm in the inglenook, and we restore ourselves with homely food and ancient ale.  A gathering of musicians materialises round the fire, and instruments are tuned to the background of harmonious chatter.  Songs begin to flutter in the hall, and I imagine horns of mead passing from friend to friend.

The musicians take their turns, and their airs illustrate the intermingling of folk, from a tune by O’Carolan, the eighteenth century Irish harpist and composer, to shanties from the seafaring past; from an a capella rendering of Bob Dylan’s “Boots of Spanish Leather,” which exposes its Celtic origins, to a deftly performed cover of Phil Ochs’s “There But For Fortune,” which was a commercial success for Joan Baez in 1964.  The array of instruments, from bones to accordions, is impressive, as are the individual and combined talents on display.  Ron sings a rousing song about the economic crisis and draws everyone into the chorus:

“Bugger the bankers and politicians

Bugger the bureaucrats too

Bugger the buggers that make up the rules

And if you’re one of them

Then bugger you….”

And we all feel much better for that!  The Geats are in their element!  Grendel is buggered!

This kind of evening may not be to everyone’s taste, but it is exactly what I was looking for on this occasion.  Singing by a fireside, lubricated by quaffs of local ale, the oral traditions of folk song and the rhythms of dance erasing the memories of cold and wet – Merrie England thrives!  At least for the moment…..

“The poem was over,

The poet had performed, a pleasant murmur

Started on the benches, stewards did the rounds

With wine in splendid jugs……”

In the morning we stop at Leiston Abbey, wet feet, splashed with raindrops, umbrella-ing our visit with no one in sight.  But then, touching the brick and pebble walls, passing through loops and breaks in the walls, we feel the weight of years, the strange dislocation of the abbey from below, towards the coast, in the 14^th century and then the brutal destruction by the henchmen of Henry VIII, but now we hear the tuning of instruments, the accordance of an ensemble, coming from on high within the reconstruction of the monastic buildings…..  A music school, Pro Corda, now occupies the site of the Premonstratensian Abbey, and, in a wonderful way on this grey wintry day, the sound of instrumental music issuing from a high window in a ruined abbey ties these chords together, as we link up the burial at Sutton Hoo, with the music at the Eel’s Foot Inn, with the idea of Merrie England. 

As we leave we look back, then turn once again to the future. The year ends and another begins.  “Fortune, good night.  Smile once more.  Turn thy wheel.”

 

With thanks to Seamus Heaney for the quotations from "Beowulf"

http://www.nationaltrust.org.uk/sutton-hoo/


http://www.theeelsfootinn.co.uk/index.php

http://www.rspb.org.uk/reserves/guide/m/minsmere/
http://www.procorda.com/index.php?pid=44&p=About_Us