Doubling Back: Paths trodden in memory - Softcover

Cracknell, Linda

Softcover

ISBN 10: 1915089905 ISBN 13: 9781915089908

Publisher: Saraband, 2025

Synopsis

Past and present converge as Linda Cracknell doubles back to walk in the footsteps of others.

Across Norway, Kenya, and the northerly islands of Skye in Scotland and Lindisfarne in England, Doubling Back traces the contours of history. Following paths long mythologized by writers and relatives gone before, Linda Cracknell charts how places immortalized in writing and memory create portals; wrinkles in time and geography that allow us to recreate journeys of others moving at a slow and steady pace, on foot.

Join Linda as she traverses the dangerous crevasses of the Swiss Alps to retrace the mountaineering past of the father she barely knew. Walk with her as she follows the escape route of a Norwegian scientist on the run in the Second World War, or as she simply celebrates the joy found in the 'friendly paths' of her local, regular terrain, and the rhythms and ritual of returning home.

Published in the UK to rave reviews and serialized on BBC radio, this beautifully rendered account of walking and memory helps us to locate ourselves in time and space and to reflect on our future on this fragile Earth.

About this title

About the Author

Linda Cracknell is a writer of narrative nonfiction on the natural world, as well as of fiction and radio scripts, and the author of Writing Landscape (Saraband, 2023). Landscape, place, nature, and memory are key themes in her work. Her first story collection was nominated for Scotland’s National Book Awards and the Robin Jenkins Literary Award for environmental writing. She teaches nature and place writing as well as creative fiction writing, often through the medium of outdoor or residential workshops and courses.

Excerpt. © Reprinted by permission. All rights reserved.

Saunters

Château de Lavigny, Switzerland, August 2012

 

The desk at the window of my room overlooks the orderly lawns of the Château. Hibiscus is flowering on the veranda and roses are trained over arches. A few kilometres below, Lác Leman shimmers, and beyond it rises the hazy outline of the Alps. A huge plane tree flapped its leaves close to my window throughout last night, played into tunes by the wind and rain. I arrived three days ago to a heat-wave but thunderstorms are beginning to fracture it now; the air is cooled by rain and then rises up yet more steamily when the sun returns.

I’m here on a writing retreat, and each day for a month is my own. Already I have established rituals. I like to be first to the kitchen, to collect the fresh loaves left hanging on the little side-door which opens onto the village street. After a glass of orange juice, I put on my shoes and slip into the garden, past the lavender bushes fussed over by small white butterflies and scrambling with bees. At the bottom of the sloping lawn, a wicket gate opens into the wider world.

At first the way is familiar. There’s a grassy avenue between a field of sunflowers to my left, each swinging heavy heads in the same direction, and rows of glossy vines to my right. Soon though, I’ll break new ground, perhaps venturing into the wooded slopes of the Aubonne valley to find out where a set of steps go that lead intriguingly upwards. Greeting the day like this I walk the restlessness out of my body and wake up to my work. But my morning walks here are also about exploring. It’s as if the Château is laced into place by small lanes, tracks and paths between farms and villages. I need to get to know them, to fill in the detail of my circle a little more each day. There are places to go back to, perhaps to sit and draw, or just for the pleasure of returning. By walking an hour each morning, I plant myself here.

My internal monologue and a tiny hand-stitched notebook always accompany me. There may be chatter or observations I need to note down, a new story idea, or solutions to my writing problems. It’s as if I think better on the move, think more creatively, or as Jean-Jacques Rousseau would have it, ‘my mind only works with my legs’. Slow but alert. Attentive to both inner and outer landscapes. Later, each walk will become a journal entry and a sketch map.

*

The first time I remember striking out alone on a journey I can’t have been more than about four years old, yet many of the elements of my adult walking are reflected in it. There was something deliberate about it, a necessary adventure which changed my relationship to a landscape. It remains greenly luminous in my memory.

After the death of my father in 1961, my mother moved my older sister, brother and myself to a Surrey suburb. I was under two, and the garden became my habitat. It was where I went by choice but also where I was banished. My mother would turn the key on the inside while she washed the kitchen floor. In memory, although we disagree about this now, the key then stayed turned for much of the day.

As the corner plot of an estate of circularly-arranged houses, it was by default a large garden stretching down to the railway line running between Guildford and Waterloo. Whilst tipping its hat to tameness and family life with lawns for somersaults, handstands and sunbathing and a vegetable garden where my mother teased up rows of beans and blackcurrants, it was the remainder that most interested me, where things grew of their own accord. Down one side of the garden and across its end a dense jungle of bracken and rhododendron, swayed over by silver birch, encroached on the order. A rowan tree hosted enormous pigeons when loaded with fruit. I would sometimes pick the berries, crush them with ditch-water and serve the resulting ‘tea’ in old yoghurt pots to my imaginary guests. They came to visit at the ‘dwelling’ I built in the woods out of old timber packing cases.

The garden teemed with life and mysteries. I was secure between its taut wire fences, but it also offered exploration and adventure and I became myself amidst the undergrowth and mud. The ground was clayey, crossed by drainage ditches that emptied into a larger one stinking its way parallel with the railway line. Leaves darkened these ditches and the water was covered with a film of oily rust. The sludginess always fascinated me and drew me down into them.

My first solo journey wasn’t exactly a walk but rather a crawl on hands and knees, a traverse parallel to the railway line from one boundary fence to the other at the bottom of the garden. I never saw my mother in this part of the garden except when she emptied grass clippings onto the compost heap, but some impulse sent me trail- blazing a tunnel though a forest of sappy bracken. My hands dragged through leaf mould, sinking into mysterious layers of damp things, too soft to exactly be considered ground. I disturbed dark smells, slugs and worms. I pressed on, despite slow progress across the no-mans-land, determined to reach my destination. In memory the journey took a long morning.

When I completed the expedition, I recall a sense of achievement; a new, braver me had emerged at the other end. It was play of sorts I suppose, but serious-feeling play, and solitary. I repeated it and I discovered other journeys to make in the garden, wearing paths through the undergrowth that came to carry our family stories. Supposedly I often disappeared like this, only traceable by the quiver of bracken fronds, and emerging muddy and beetle-infested a few hours later.

It was also in that area of the garden that my hands scrabbled below the surface for treasures, churning up fragments of pottery, and one day, a large white shiny lump that I dragged onto the lawn for inspection. It turned out to be a smashed ceramic insulator from the railway line, but this did nothing to dispel the thrill of my own act of discovery.

This exhilarating place could also turn on me. There were brambles, stinging nettles, poisonous berries. I remember once sitting damp- bottomed and submerged amongst the undergrowth when I saw something from the corner of my eye. Whatever it was, the horror of it propelled me towards the house screaming, yet unable to explain what I’d seen. I only knew that it was too terrifying to revisit or give words to. I can vaguely remember it now. Something was caught in my hair or perhaps in a nearby branch and blurred by proximity; the suggestion of a spider’s web shape but with a great darkness and weight and horrible stickiness.

The garden was where I went to sob away my private miseries but also a setting for odd rituals. At a predestined time each day, I’d climb onto a pile of silver-birch logs, swallow a lungful of air and bellow across the adjoining back gardens the repeated line from Cilla Black’s, ‘Anyone Who Had a Heart’; number one in the charts in 1964.

I suspect I was a strange child, internalised, tearful, quiet. But I remember that there was always a lot going on in my imagination. It was fed by this strange Surrey garden that was a place of safety, adventure, play and enchantment, with a geography that came to be mapped intricately in my head as I grew higher than the bracken. I learnt about my need to discover, to make sense of local geography by propelling myself through it. I trod routes into familiarity, let my imagination work on the things left behind by others, and got the dirt of the place under my fingernails. I found self reliance and independence there.

My mother married again when I was eight, to Hugh, and we’d take a weekly drive out of Surrey suburbia, seeking splashes of green, lungfuls of fresh air, a stretch of our legs. We’d go to Cookham to look for cowslips in the Spring; or to the Downs and Stanley Spencer’s decorated chapel at Burghclere; or to Hugh’s beloved chalky ways near the Thames in Berkshire.

I was always the one screaming ‘wait for me’ from several yards behind on family walks. I was the ‘Cry Baby Bunting’ whose ‘Daddy’s gone a-hunting’, seemingly always torn between wanting to be alone and fury at being left out. I’m not sure what, apart from being the youngest, made me so slow. At school I often won the 100 Yard sprint. I wonder now if it was because I stopped to look at bugs or to poke a stick in a hole in the ground, dwelling upon wonders along the way.

The word ‘dwell’ now seems appropriate. Its etymology contains the idea of a trance induced by a narcotic berry, being led astray, and finally through hindering or delaying to lingering and thus to ‘making a home’. The word suggests edges of error – the danger zone where creativity often happens – and the idea of home and security. All inherent in my ‘dwelling’ in the thickest undergrowth of the garden where I began to be an explorer.

*

I’ve remained both a daily walker and an ‘expedition’ walker. My life has been shaped by it to some extent. An enjoyment of walking in remote and mountainous terrain explains at least in part my move to Scotland in 1990 from where I started to write five years later.

The walks in this collection have been made over the last eight years. They are mostly retreadings of past trails either taken by myself or others. In the act of doubling back I discover what remains or is new and listen for memories, some of which have become buried. I also explore how the act of walking and the landscapes we move through can shape who we are and how we understand the world.

These are ambles, treks and expeditions ranging across mountains, valleys and coasts in Scotland, Kenya, Spain, Cornwall, Norway and here in Switzerland. Each setting out is the realisation of an obsessive curiosity and seems to have chosen me, rather as stories choose to be written. Sometimes they have similarly unforeseen resolutions.

I think of these first two walks as ‘saunters’ because they are musing and exploratory. Neither of them are steady lines between two places, but meandering rambles with opportunities for distraction and deviation. They take me to places significant in the early lives of Thomas Hardy and Jessie Kesson, landscapes that had long legacies beyond the writers’ youthful roamings and inspired their later texts. I’m also following my younger self. I want to explore how the freedom of certain places at significant points in our lives can encourage us to become close observers of the world, or transform our imaginations, or simply, transform us.

Boscastle, Cornwall

 

When I set out for Lyonesse,

A Hundred miles away,

rime was on the spray,

And starlight lit my lonesomeness

When I set out for Lyonesse

A hundred miles away.

 

From When I set out for Lyonesse (1870), Thomas Hardy

 

The sea always draws me, especially where cliffs soar and plummet and birds are like shooting stars against dark rocky chasms. I’m at Boscastle in Cornwall, with a salt tang in my nostrils. The rhythmic company of wash and breaker, and the estuaries tamed by the retreating tide into mud flats seem to remind me of something. Perhaps it’s my sea-faring ancestors, the Drakes and Chichesters, who from 50 miles east of here at Braunton ran the last sailing coasters of the early 20th century, delivering coal and slate.

But for now I turn my back on Penally Point, the gnarled headland that guards the serpentine entrance to Boscastle harbour. I leave the view out to the surf-skirted black bulk of Meachard to which ships too large to navigate into the harbour were once moored. I turn away from salt towards freshwater.

The Valency Valley beckons me inland, eastwards, across what I remember was a meadow behind the row of shops, and is now a carpark. The ground is tightly netted and gabionned against the vandal- fingers of water. I’m soon walking through an aisle of trees, alone on a quiet path that follows the north bank of the river. A duck flies low and fast ahead of me, embodying purpose. Like the jets I see skimming lochs at home, it adjusts its angle in expert increments to steer the central course of the winding river, then disappears around a bend. But this flight defines the landscape as miniature; a narrow valley with secret corners. A scale and nature that I’m here to re-learn.

The area of land defined by these waters and paths has swayed the course of English literature, and also shaped my own track. At least one love story gleams within its lush green crevices.

*

In 1976 I arrived in Boscastle for a week’s painting holiday with the sullen steps of a post-glandular-fever, first-time-in-love seventeen year old. ‘I’ve got here but feel terribly lonely and depressed,’ I complained to my diary on the first night. ‘Everyone is so cheerful and friendly but I’m very isolated. It always takes me so long to get used to a place.’

Bringing with me a 1:50,000 Ordnance Survey map and an instinct for exploration and recovery, I was soon enchanted. Over the week, letters to my boyfriend became less frequent as I wrote more lengthily in my diary, and at the end I complained: ‘I really wish I could stay another week, to go on some more walks, and meet more people… I can just imagine waking up in the mornings to seeing the garden through the window [at home] rather than the sun and the sea and the hills and the cottages and friendliness. …I find it hard to believe that all the people I’ve met here have been purely through myself.

…’ In that week I had the sensation of tumbling into my adult life – discovering I was someone who loved to be alone, to be gregarious, to make connections through reading, and to affiliate myself to a place of raw beauty through the movement of my feet.

I learnt from Tom, a bespectacled literature lover also staying at my guest house, that Thomas Hardy had come here as a young architect in 1870 and fallen in love with Emma Lavinia Gifford. At first out of politeness I listened to what Tom had to say, aware of his wife and sister-in-law rolling their eyes behind him. Once drawn into the tale, I also leafed through the books he offered and indulged his recitals of Hardy’s poetry, such as The Seven Times: ‘I thought not that I should meet an eyesome maiden,/But found one there’.

Emma was a young woman above Hardy’s social status. An unconventional spirit took her exploring on horseback the thrusting black cliff tops, hanging valleys, and the waterfalls in the deep centre of this landscape. Her father’s church of St Juliot’s and their home at the Old Rectory were in the Valency’s upper reaches. In one week Hardy’s romance with her and the places she introduced him to on their daily rambles, ushered him into a new life: ‘She opened the door of the West to me/With its loud sea-lashings,/And cliff-side clashings/Of water rife with revelry’. He declared her in two further poems as the one with whom he aspired ‘to walk the world’ and later, claimed the place as the key to his life.

Returning home to Dorset with new passion unlocking his writing, he propelled himself towards literary success in order that he could marry her against the wishes of both families. He worked relentlessly, still making a living with architectural jobs and able to visit Cornwall only rarely.

Already introduced to Hardy by my sixth-form readings of Return of the Native and Tess, I’d been entranced by the slow movements of his characters through landscapes, the connection between ‘the road’ and the tragic unfolding of lives and stories. So it seemed I had stumbled into a privileged proximity to Hardy here.

Tom told me that Hardy’s third novel A Pair of Blue Eyes, was set here in the Valency Valley. It was a story with autobiographical echoes about a love affair between the vicar’s daughter and a visiting architect from a stonemason’s family. He also told me how, after Emma’s death in 1912, Hardy returned to the area on a painful pilgrimage. He retraced their steps in the valley and on the high-winged cliffs, as if the paths themselves had been worn by the couple and become a monument to their life together.

Claire Tomalin’s biography Thomas Hardy, The Time-torn Man reveals the ambiguity of this return: ‘Part of him was ecstatically absorbed in recalling Emma and their early love, another part sorrowing for his neglect and unkindness to her’. This remorse and appreciation produced a series of heartbreakingly beautiful poems in which Emma becomes again that spirited young woman on horseback amidst the wild landscape that had once captivated him. Knowing how I often walk at times of stress or gloom or creative stasis, I wonder whether these walks after her death were also an attempt at a cure, as in the words he gives to the newly rejected Stephen in A Pair of Blue Eyes: ‘Bodily activity will sometimes take the sting out of anxiety as completely as assurance itself.’

Like Hardy, in my first week here, I also fell in love. If for him, this landscape contrasted with his soft Dorset fields, imagine the contrast for me with suburban Surrey. Such a home had already driven me to get a bicycle and launch myself away from concrete on long summer evenings towards the suggestion of soft lanes to ride along on imagined ponies. By the end of my week in Cornwall, Hardy’s words rang with my own sentiment:‘The place is pre-eminently … the region of dream and mystery. The ghostly birds, the pall-like sea, the frothy wind, the eternal soliloquy of the waters …’

*

So I return in 2008 with a soft tread, fearful of shattering dreams. I rarely like to return to places that have had a powerful hold on me – perhaps it’s a fear of deflation or that things will have changed, but mostly it’s a fear of experiencing too keenly a sense of loss for that past time.

As I settle in to the ‘Top Town’ guesthouse where I stayed in 1976, I recall the teenager I was, forever on the brink of a blush. I was drawn from my shell into chatter and a restored appetite by the conviviality of hosts and fellow guests brought face to face around a huge dinner table, including Tom, his wife and sister-in-law. Now the place smells of damp and kippers and something deodorised. Apart from mine the rooms are empty and a TV is left talking to itself in the guest lounge. I grow afraid that my adolescent romance can’t be sustained, that I’ll find Hardy’s plots too contrived, his rustic characters painted patronisingly, the landscape here tamed by my last 18 years living in the grand scale of Scottish hills.

I retrace some of my readings – the novels and poetry and biography – and I begin to retrace my physical ways with an updated OS map and a vague sense of my former routes.

As I walk slowly up the Valency Valley, my re-reading of A Pair of Blue Eyes starts to take life between the clatter of waterfalls and the tree-lined way. Here, Elfride walked with both her lovers – Stephen Smith the architect, and the older man she rejects him for, Henry Knight. I remember how my younger self related to something in the character of Elfride – her hunger to be loved, her joyous riding of the galloping pony, her restlessness, and an adolescent weakness for tragic poses and melodrama as fate and morality conspired against her.

There’s a scene in which her anguish begins to crystallise. As they sit by the waterfall, Knight hails the valley: ‘Elfride, I never saw such a sight… The hazels overhang the river’s course in a perfect arch, and the floor is beautifully paved. The place reminds me of the passages of a cloister.’ Elfride was numbed to Knight’s attentions and her beloved waterfall, even to his proposal of marriage that followed shortly; the moment poisoned by the secrets she withholds from him which will ultimately turn this second suitor away from her.

I continue upstream, Minster Wood rising steeply to my right on the other side of the river. Sessile oaks climb the hillside like giant, be-mossed human figures gleaming in partial light, bare arms reaching up in a search, branching just before the canopy into a show of tiny swaying fingers each anxious for light. Beneath them rambles the deep green gloss of holly.

The woodland floor illuminated by this bare light drips green with bluebell leaf, wild garlic, dog’s mercury and spears of ‘Lords and Ladies’. Flowering celandine carpets the gaps. Every now and again, early jewel-boxes of violet, primrose and pink campion cluster on the banks. The path has been washed clean, but there’s a sense of things growing up through silt, of winter being shrugged off and flood damage being overcome. It crackles underfoot with the audible promise of spring.

Emma Gifford wrote recollections of her early courtship with Hardy, which reveal how far A Pair of Blue Eyes reflected life: ‘Often we walked down the beautiful Valency Valley to Boscastle harbour. We had to jump over stones and climb over a low wall by rough steps, or get through by narrow pathways to come out on great wide spaces suddenly, with a sparkling little brook going the same way, into which we once lost a tiny picnic tumbler, and there it is today, no doubt, between two small boulders.’ This incident was immortalised by Hardy in a sketch he made of Emma searching for the tumbler. It also features in his poem, Under the Waterfall in which he associates the everyday sensation of his arm in water with searching for the tumbler on that ‘fugitive day’; a poem with his characteristic pulse of time and change and loss.

The path climbs through a narrow earthen corridor and then from the subdued light of the woodlands, a kissing gate opens like a window onto a blaze of green field. Crossing it now, the path marked by a dotted line on the map doesn’t reveal itself on the ground. I am guided only by a chink in the hedge opposite, by the suggestion of a darker green meandering line teased in the grass by repeated footfall; simply by an instinct as to where the ‘desire line’, the preferred route of previous walkers, lies.

My early reading of Hardy’s novels seem to have drummed the path as custom into my obsessions. When I speculate on the wearing or making of a way; or see the ghost of an old road, disguised now by grass, winding up a hill; or when in East Africa I’ve passed walkers carrying enormous burdens, then Hardy and his small figures moving in big landscapes are invoked.

In The Return of the Native all regular ‘haunters’ of Egdon Heath are expert path-finders. In the dark on incipient paths, the secret ‘lay in the development of the sense of touch in the feet, which comes with years of night rambling in little-trodden spots. To a walker practised in such places a difference between impact on maiden herbage, and on the crippled stalks of a slight footway, is perceptible through the thickest boot or shoe.’

I reach a crossroad. To my left is the Old Rectory, glimpsed in its halo of ragged daffodils – Emma’s home, where Hardy stayed as he worked on the church restorations and later returned to visit her. The path to my right drops to the river and then climbs the opposite hillside, traversing eastwards and over a crest to meet the sister church at Lesnewth, which I remember for its extraordinarily tall tower and the cream-coloured stone, mottled mouse-brown. Although I’ll continue to St Juliot’s, I pause to admire this path that swings across the valley making an ancient connection between places.

*

In that summer of 1976 the sun scorched down every day, browning lawns and igniting peat on the headland above the harbour so that a fire engine was permanently stationed there pumping water into the earth. I walked from Boscastle one day along higher farmland to the south of ‘Emma’s’ Valley. My intention was to drop to St Juliot’s and return to Boscastle alongside the Valency. I remember that somewhere around Lesnewth I got lost. I blundered across fields trying to regain my path and was forced to pass a caravan before climbing over a fence. Stretched out beside the caravan lay a sunbathing man, black-haired and bearded. I whispered past him, afraid to be caught trespassing.

Two evenings later in the Public Bar of the Napoleon Inn to which Tom, Jean and Jo, the grown-up befrienders from my guesthouse had invited me, a gang of locals were singing Cornish folk songs. The sunbather was amongst them. The evening ended on my guesthouse doorstep with him calling me a ‘mermaid’ and an ‘Egyptian maiden’ as he stared into my eyes. When I told him that I had slunk past his caravan while he lay sleeping, he said, (and I recorded it in my diary), ‘Tis funny how you miss the thing you are most looking for’.

I was plunged into a Hardy novel; had entranced one of his rustic characters. A tragic tale began to take shape in which I was torn between this man who I allowed to kiss my hand and my boyfriend at home, between a life in wild Cornwall or a return to suburbia and school.

As it happened I didn’t see him again, but that didn’t stop the story. In early memories of that week, the little thrill of this attention came to embody the valley, the village, the experience I had there, and a lost era that I imagined I’d stumbled into. Back home, the magic of the place, my time spent within it, and the jewel-like flirtation ached in me as entirely inseparable losses.

*

The tower of St Juliot’s rises from the north-facing slope, leading me forward along field edges and over stiles. Seen from below it seems curiously high and prominent but I know that approached from the higher road to its northwest, it appears low and tucked away, a deliberate strategy to conceal the churches in this valley from seafaring raiders. Hardy first approached the church from a different direction. Yet, as it was the tower that brought him here to make drawings for its restoration, in one sense it stood iconic on his horizon all the way from Dorset and perhaps even as he looked back over his shoulder on his journey home.

I know from reading Tomalin’s biography how starting school in Dorchester at the age of ten meant a daily walk for Hardy of three miles each way. He observed hares, and ‘learnt to read the noises of the fields and the woods, the bark of the fox’. This time for solitude and reflection perhaps fostered his keen observations of nature. But as Tomalin says, ‘Walking the roads, meeting others on the road, exchanging news with travellers, being overtaken by riders, carts and carriers or offered lifts’, will also have educated him about human life and led towards speculation and then drama, exercising his imagination and walking him towards his writerly sensibility.

When I’m leading ‘walking and writing’ workshops, I’ll often ask participants to summon a character into their heads, perhaps with the aid of a picture. Before they set their character in motion I ask them to consider a few things including what the character has on their feet, why they’re in this place and what they carry in their pockets: a clue to hidden lives, hidden purposes. Then they walk, making observations through the filter of the character’s emotions and motivations. Asking ‘what if ?’ of a character when engaging with a place through the senses is the kind of ‘play’ that makes storytellers of us all. I like to think of ten-year old Thomas Hardy playing such a game as he walked to and from school.

I climb the stile between field and sloping churchyard, passing the first wheel-headed cross, and finding alleys of daffodil-blown softness between crooked headstones carved with the repeated family name, Jose. The heavy-looking church door with its huge keyhole purrs open at my touch, stepping me onto grey stone, paled by subdued light. A sign reassures me that the brass has already been stolen but that the church is left open for my ‘enjoyment, rest, and spiritual re-creation.’ I love the double meaning of ‘spiritual re-creation’– as if the human soul is a building, a church tower to be restored, re-created. But it also suggests exercise of the soul as in a run or cycle ride. It seems to me that if the visitor has been ‘present in the moment’ to observe, enquire and imagine as she walks up the valley, then some spiritual recreation will have happened.

There’s an unspoken acknowledgment in the church that of the many pilgrims who have arrived at it, few nowadays are on a religious mission. This pilgrim, for example, is drawn to Hardy’s sketches of the pew ends; to the plaques commemorating Emma designed and commissioned by her husband in 1913. There’s a window that I don’t remember engraved with images and lines from the poems. It includes ‘their’ waterfall, and his journey to Lyonesse depicted on a path meandering over rounded west country hills. A cliff top on which a girl sits on a pony, hair streaming behind her, inevitably evokes (with a small shiver as I read it) the lines from his poem Beeny Cliff: ‘O the opal and the sapphire of that wandering western sea,/ And the woman riding high above with bright hair flapping free - / The woman who I loved so, and who loyally loved me.’

His memories of their time in the valley tinkle with water and a sense of sunken enclosure. But he more often conflates Emma’s spirit with the wild beauty of the cliff landscape to the north. The contrast, as one climbs from damp leaf-filled valleys onto the shaly exposure and vertiginous drops of the highest cliffs in England (if you consider Cornwall to be in England), characterises this place and seems to generate and deepen for me the human drama of A Pair of Blue Eyes.

In the poem If You Had Known, Hardy describes a wet walk back from Beeny Cliff towards the Old Rectory ‘by crooked ways and over stiles of stone’. Stiles and gateposts of slate here seem silk-edged with the wear of hands and feet and weather. The distinctive ‘curzy-way’ dry stone walls with slates diagonally arranged are lichen-mottled like tweed, decorated with celandine leaves and cushions of stonecrop. Hardy’s ‘crooked ways’ seem to me characteristic of the scale of North Cornwall with its tight valleys, intimate fields, and the lanes that tunnel deep below the bordering farmland.

Sumptuous growth over built structures means that walls, corners, culverts, channels, paths, become softened by earth, disguised by ivy, fashioned into emerald mysteries. The scale means that even a 17 year old cannot be bored by walking here. A few strides brings a change in view; a small climb reveals the next valley; a dropped hedge reveals the sea. Walking unlocks the treasures of this valley.

*

I also explored the cliffs to the east and west of Boscastle in 1976 as I walked in increasing circles and offshoots from my centre – circles which moved me towards orientation, recognition, familiarity and finally a sense of ‘owning’ the place, or perhaps it owning me. This walking ritual, a sort of ‘beating of the bounds’, that I learnt here is now instinctive when I visit new places, a link perhaps to Hardy who walked his way to a native knowledge of London in the five years that he lived there.

The summer after my first visit, I returned with The Boyfriend, the one who had been much missed but also dismissed in fits of anger or independence the previous year. The diary I kept on the 1977 holiday reveals the miles I marched him, seeking out and showing off ‘my’ places, though we also extended our walks to new destinations. We would do a long day-walk from the campsite and then in the evening tramp four miles to Boscastle along the cliffs to go to the pub. I don’t remember if he complained.

On this return I’ve walked the cliffs too. I climbed onto Beeny in spring sunshine and a rib-slicing north-east wind, panting through the progressions in height – Buckator, Rusey and finally onto the windblown wasteland, High Cliff, where mushroom-shaped islands of turf cling to bare rock. I crouched amongst tussocks for the view across to Lundy Island; to Cambeak north of me, before the turn of the coast to Crackington Haven. I gazed back west to Boscastle harbour, and beyond to the white look-out tower on Willapark and the cliffs stretching away to Tintagel Head. Below me yawned a vertical black cliff, the face I could see scarred with seams of blood-coloured stone and white quartz. Distantly, far below, I heard the crack of breakers, and saw the sea mustering cloudy-grey onto the shore after several recent storm-days.

Emma was invoked in lines from I Found Her Out There, ‘Where the ocean breaks / On the purple strand, / And the hurricane shakes / The solid land.’ And so was Elfride, Emma’s fictional alter-ego, leading both her lovers at different times onto a perilous ledge. ‘There far beneath and before them, lay the everlasting stretch of ocean; there, upon detached rocks, were the white screaming gulls, seeming ever intending to settle, and yet always passing on. Right and left ranked the toothed and zigzag line of storm-torn heights…’

Hardy’s dialogue between landscape and character, human mood and nature, had captured me as a reader by 1976, and has coloured my own fiction writing. Almost unconsciously, I conjure characters out of particular places, or observe places and landscapes through the state of mind or qualities of my characters. When Henry Knight dangles from the edge of the cliff by two handfuls of heather in one of the most dramatic moments of A Pair of Blue Eyes, he observes: ‘We colour according to our moods the objects we survey. The sea would have been a deep neutral blue, had happier auspices attended the gazer: it was now no other than distinctly black to his vision. That narrow white border was foam, he knew well; but its boisterous tosses were so distant as to appear a pulsation only, and its plashing was barely audible. A white border to a black sea – his funeral pall and its edging.’ I leave the two-dimensional version of Beeny Cliff etched onto St Juliot’s window, close the church door behind me and return down the valley, appreciating the change in perspective as the sea is caught between diagonal slopes. Sinking back into the sub-marine, moss- drenched world below Newmills, I cross the river and start to climb steeply up through Peter’s Wood. The path follows a tributary of the Valency, levelling out as it approaches the back gate of Minster churchyard. Just before I go in, something low against the dark bank catches my eye. A small grey headstone is inscribed with the pagan symbol of a full moon, a crescent resting its back against each side.

Below it I read:

 

‘JOAN WYTTE BORN 1775

DIED 1813

IN BODMIN GAOL BURIED 1998

NO LONGER ABUSED.’

 

This was the ‘fighting fairy woman of Bodmin’ – seer, diviner and healer; user of holy wells and cloutie trees. She was imprisoned for GBH after a tooth abscess made her bad tempered. Her coffin was connected with poltergeist activities and remained unburied. Later it was acquired by the Boscastle witchcraft museum and given a proper burial here.

It makes me think of Emma, referring in her recollections to witchcraft still being practised amongst the ‘primitive inhabitants’ here and also of Hardy’s stories in which sympathetic magic is an integral part of rural custom. As he says in The Return of the Native, ‘the impulses of all such outlandish hamlets are pagan still’.

I step inside Minster church where a book records the handwritten prayers of visitors. Its subjects are the terminally ill, soldiers away at war, the love-lost and bereaved. It strikes me how these prayers – written in ink that will fade, on paper that will dampen and decay – are not unlike the charms of rotting cloth in the Rocky Valley a little southwest of here, dangling in the salt winds from a cloutie tree.

Of the three churches in this valley, Minster feels the deepest sunk into a hollow, its tower almost appearing to touch the moist steep bank of spent daffodil and wild garlic. Inlaid with words of love and loss, the churchyard recalls me to Hardy’s ‘ghost-walks’ when he returned here after Emma’s death, back to find the girl he knew before 38 years of marriage dulled his appreciation of her. In The Phantom Horsewoman, he is the man who ‘comes and stands / in a careworn craze, / And looks at the sands / And the seaward haze…’ and ‘what his back years bring / - A phantom of his own figuring’, ‘a ghost-girl rider’. In The Haunter, a ghost follows him that he doesn’t see, telling us, ‘Yes, / I companion him to places / Only dreamers know, / Where the shy hares print long paces, / Where the night rooks go’.

Referring to these poems of repressed sorrow and forgotten love, Tomalin compares him to ‘an archaeologist uncovering objects that have not been seen for many decades, bringing them out into the light, examining them, some small pieces, some curious bones and broken bits, and some shining treasures.’ It’s almost as if in this place where, ‘lonely I found her,/ The sea birds around her,’ the essence of Emma, the cackle of wind and gulls is all waiting to be rediscovered. In revisiting his passion for Emma and her valley in footsteps and words, he must have faced a personal and creative challenge.

In 1976 I often walked the hill between the harbour and ‘Top- Town’ – down to swim in the evenings, and back up to my guesthouse. Higher up the hill from the guesthouse was the studio of artist Carole Vincent, who was coaching me in drawing and painting each morning as preparation for A-level Art, and for a portfolio I needed for art college entry. Palpable in my diary scribblings, amongst anxieties about letters not received or protestations of independence from The Boyfriend, is the excitement I felt in the creative focus on my drawing and painting tasks each morning.

Every lunchtime, a group of us sat in the sunny garden with hunks of Carole’s oven-warm bread and glasses of homemade beer. I revelled in finding myself treated as an adult at the studio, as well as in the guesthouse and the pub. I enjoyed the chat. But equally I seemed to need a daily dose of solitude. After lunch I would leave with my map to find a new walk. This pattern is one I still follow on days I shape for creative work.

I climb the hill through the village slowly now, winding between squat white cottages with bright paintwork, low slate roofs and crooked chimneys. Geraniums and palm trees throng the gardens. I pass the Napoleon Inn and find my way back to Carole Vincent’s house and studio. I guess she’s still here from the colourful concrete sculptures that add oases of colour in the garden. I find her at the sink in her studio; the same woman. She came here for a six month teaching contract and remains in the same house 47 years later. I feel a keen sense of joy in this fragment of permanence. She’s still teaching, encouraging other artists, developing her own work, swimming. She tells me she makes beer to the same 1976 recipe. But this time we drink sherry.

Carole takes me up to the first floor where her father’s restored writing desk stands. It’s made of pale oak inlaid with leather, and is bare of clutter. There’s no sign of a computer. She invites me to sit at the desk. Drawers slink open to reveal neat lines of pens and notebooks, plain white pages inscribed with a sloping black script that I remember from her early publicity materials. I spread my hands on the desk and look down through the familiar tumble of cottages in the Jordan valley. The sea opens beyond the harbour, and I look out towards the horizon.

A door opened for me when I was here first, and I see now a clear pathway between that 17 year old who was learning to draw and paint and the woman who writes in 2008. We are not so different. I’ve not outgrown the romance that helped me ‘find my feet’ and shaped my passion for paths and for walking as well as for literature.

Would I ever get any writing done at Carole’s desk, I wonder? But then, I know now that if a place takes hold of you, and you simply ask, ‘What if ?’, it isn’t long before a story presents itself. 

Edition details

• Publisher: Saraband
• Publication date: 2025
• Language: English
• ISBN 10: 1915089905
• ISBN 13: 9781915089908
• Binding: Paperback
• Number of pages: 304