On my bookshelf: The story of my heart – Richard Jeffries* 1883

My most treasured book by Richard Jeffries is not this one but a fragile early edition of The Amateur Poacher, (1879). The Amateur Poacher is a collection of essays detailing bucolic life around Jeffries’ native Coates, in Wiltshire and is cherished for its evocation of a rural England now lost. But there’s something else in it, not so much written as alluded to through the intensity and the beauty of Jeffries’ prose. What that is exactly is hard to describe but many have felt it, and wondered,…

Let us get out of these indoor, narrow modern days, whose twelve hours somehow have become shortened, into the sunlight and the pure wind. A something that the ancients called divine can be found and felt there still.

Traditional ideas of spirituality and religion are but the ossified remains of this ineffable thing the ancients called “divine”, but it’s still present in the world and can be felt anywhere where the last sleepy cottage slips from view, where we can immerse ourselves once more in nature and intensify our experience of it through the lens of the psyche as well as the senses.  Jeffries allows that nature can be cultivated – meadows, coppices, fields of wheat – it does not have to be wilderness. It’s the life-energy in it that’s important to the soul, while the built world – the towns, the cities – are dead places more associated with the soul’s decay.

The nature of this ineffable “something” haunted Jeffries. While it’s hinted at throughout his writings, it’s here in “The Story of my heart” he attempts a more direct understanding of it. It’s not an easy book to summarise and must really be experienced, so there’s little I can do here but grant a flavour of it.

Written in the intense and emotional language of a prose poem, the book treats mankind as a being both of and keenly attuned to beauty, also as something apart from the world and capable of great perfection on our own terms, both physically and mentally. Nature, on the other hand, though at times ravishing to the senses, is more reflective of something within us, while being of itself blind to our existence. Though not intentionally cruel, nature can easily harm us. Also when we see the low creeping forms of life, it can be ugly, even offensive to the soul. Only superficially then can we describe Jeffries as a nature mystic. He does not deify nature, more something in man that’s higher than anything we can imagine.

“The sea does not make boats for us,” he says, “nor the earth of her own will build us hospitals.”

But for all our efforts with boats and hospitals in the last twelve thousand years, we’ve done nothing more than struggle for subsistence. Yet if we put our minds to it we might harvest in a single year enough to feed the entire world for decades. That we don’t suggests a deep failing, that we allow ourselves to be perversely distracted by everything that is bad for us, deliberately avoiding the need for cultivating the soul-life. Instead, we eulogise enslavement to largely meaningless and unproductive work.

He describes observing traffic in London, the crowds the carriages, the mad, rushing crush of it, everyone driven by an insatiable craving for motion and direction. Yet for all of that, he says, we are going nowhere, and shall continue to do so: while money, furniture, affected show and the pageantry of wealth are the ambitions of the multitude.

He sees the general human condition as one of perpetual ignorance and suffering,… so great, so endless, so awful that I can hardly write of it. He dismisses religion in all its forms, also the idea of deity entirely on the basis of the evidence,… that there is not the least trace of directing intelligence in human affairs.

Our miseries are our own doing, he insists, and we must own them: because you have mind and thought, and could have prevented them. You can prevent them in future. You do not even try.

For us to progress, he urges us to reconnect with the higher mind, what he calls the “mind of the mind” – this being the soul, or the psyche because:

The mind is infinite and able to understand everything that is brought before it. The limit is the littleness of the things and the narrowness of the ideas put for it to consider.

Neither religion nor the physical sciences can offer us anything in this regard, those modes of thinking being completely wide of the mark. But as one who has felt the full blistering force of his own higher nature, Jeffries cannot be wholly pessimistic about our lot either, only lamenting that we need a quantum leap in understanding if we are not to spend another twelve thousand years going around in circles.

But while he tries his eloquent best to tell us the story of his heart, the abiding impression of this book is of an exquisitely sensitive man beset all his life by visions and feelings of such sublime loveliness they left him virtually speechless.

I was sensitive to all things, the earth under, and the star-hollow round about; to the last blade of grass, to the largest oak. They seemed like exterior nerves and veins for the conveyance of feeling to me.

Branded heretical in his time, pilloried by the Church for his paganism, and by urbanites for his unflattering views of London, the book did not sell well and many critics dismissed it as unintelligible. But for others, including me, Jeffries’ prose describes most powerfully those things all sensitive countryphiles have felt, and which we know point to a greater understanding of our place in the Cosmos – if only, like him, we could open our hearts to it properly, and find the words.

*[Richard Jeffries, English nature-writer, novelist, natural historian. 1848-1887]

For more information about Richard Jeffries you can do no better than to click here.

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Blind Cats Eyes

November and these cloud-thick nights,
Darken now my wending of the way,
Releasing sleepy thoughts,
From the oppression,
Of that harsher light of waking day.

Such a long road, so often travelled,
But now without the stars to guide,
Their names forgotten,
Friendly patterns lost
As with the memory
Of once much clearer skies.

There are just these vague pecked lines,
Ticking out the time,
And the blind old eyes of cats,
Sunk, each in their little pit of grime,
Depressed in layer upon layer
Of careless tar,
And just the odd one
Feebly blinking now
At the passing of my car,

Lost souls, all.
Adrift, alone,
And not candle in the dark,
To guide us home.

 

 

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Vonnegut’s Xavier Letter

It was Pablo Picasso who said: all children are artists, the problem is to remain an artist as we grow up. The fact that so many of don’t is a serious problem – it was me who said that last bit, not Pablo – and I don’t mean ‘serious’ economically or politically. I mean we risk making our souls sick. Another fine artist, the writer Kurt Vonnegut said of art, and I paraphrase slightly for artistic purposes: it’s not a way to make a living, more a way to make living bearable.

In 2006, he wrote to Xavier High School in New York by way of reply to pupils inviting him to come and speak at the school. He was one of many venerated authors so invited, and the only one to reply, which perhaps says much about the majority of venerated professional authors. Vonnegut declined to visit on account of his great age, but the Xavier Letter is now legendary, and encapsulates very well his philosophy regarding the true value of art – not as a means to make a living, nor to gain approval, or praise, or fame, but on a more fundamental, vital and deeply personal level, to experience what he called ‘becoming’.

Here it is, read aloud by another fine old artist, none other than Gandalf the Grey:

We can think of life in very complicated terms, I know I often do. Indeed we can make it as complicated as we like, or we can pare it down to more manageable proportions, perhaps even to something akin to a Zen Haiku, instead of Wordsworth’s Prelude, and that Haiku might say something like: we’re born, we fart around for a bit, and then we die, but inbetween we have a chance to grow some soul – I’m paraphrasing Vonnegut again, but he definitely said fart, though not in that letter to Xavier High School. And the best way to grow some soul is through the practice of art, any kind of art that takes your fancy.

But the problem with art is you cannot write an app to do it. And since the endgame of unbridled Capital is to complete the grand project of reducing the entire world to nothing more than the sum of its parts in pursuit of maximum profit, then art – and especially amateur art, which neither computes, nor ever pays the bills – is going to get itself rubbed out. It’ll be dropped from all the school curriculums as those fiendishly clever little chaps with their apps pare the money down until only Maths and English and Science survives the reckoning, these being the tick-in-a-box, sure-fire CV gold-star employability type subjects.

Then we’ll all spend our days between birth and death writing yet more little apps to hang off the iron brain of the human universe. And it’ll be a profitable place, that universe, at least for those who own the iron brain, but it will also be a place without much soul, a place where the farting will have become everything of value, and where none of us will be anything other than robots made of meat, and valued not a jot, and where life for anyone with a brain, and a longing for some kind of meaning – which is just about all of us – will become utterly unbearable.

So,… by all means value your Maths and your English, and your Sciences – I know I do – and make no mistake, their diligent pursuit makes for a decent pay-packet in return, even in these most straightened of times – but do art as well, and experience the mystery and the magical, intangible rewards of ‘becoming’.

Write that poem. Dance that dance. Sing that song. Don’t do it for money, or praise or fame.

Do it for yourself.

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Black dog stalking

With the going of the light, and the fast fading memory of summer’s ease, Black Dog comes stalking once again. We toss him a stick, some stupid novelty or other, which he returns sodden and chewed beyond attraction. Thus, after a couple of turns, we are no longer minded to pick it up, so there he curls, our unshakeable friend, creeping ever closer until he’s in our lap, weighting down all possibility of forward movement.

Words fail in our throats, people look strange, look also strangely at us as we sink into paranoia at the apparent indifference, even of our loved ones. In pettiness, we withdraw, lose empathy, and equanimity as we huddle in imaginary self defence. We become then the worst of ourselves, favouring the lonely places, or the indoors, the impersonal, the pointless flicking at our phones,  the mindless digestion of the indigestible, the foolish, and the vain.

The soundtrack to our lives deepens to despair as Gorecki displaces once more the Red Priest from the player. A symphony of sorrowful songs de-tunes the cellos from their once ravishing Baroque concertos, splits the lustrous age-old wood, breaks the bows, shape-shifts rosin into a cold slime, and bends the dead strings into the intersecting snail-trails of man’s infinite inhumanity.

The filters of filth fail us, and we are overwhelmed by the madness of the world again, no longer able to blind-eye its deep vales of deceit, its mountains of depravity. And we see the leaders naked, as they truly are perhaps, lost or mad or utterly grotesque, letting loose their policemen, black-armoured cockroach armies to hammer blood from dissent.

Black Dog, your visions are cruel, rendered bearable only by the numbing fragrance of your breath. You are the rot of crushed leaves, the rot of wood dissolved to crumb by cringe-legged beetling lice, you are the perennial black mould on the wallpaper above my desk, you are the scratching in the night, and the sinister rustling of an infestation of mice.

We brush down our books in vain, our books of dreams, of alchemy, of transcendentalism, yet, once treasured, we find them mould-stained and dusty, and scented of you, taking with them the key to the only escape we knew, to the vast labyrinth of the esoteric. Now there is only the unsoftened day ahead, each to be taken in its turn. Thus we answer each half-lit morn the alarm clock’s shrill call, rise, stretch our stiffening limbs, pee out our aching bladder.

Is this really the only way? But what of those moments when we shook you from our lap and soared? Those days we rattled the high roads while the beatific sun beat down and tanned our faces? Where were you then? Or the glad beach-days with the soft sand and the multitudinous shades of ocean blue? Or coffee, and company, and that gentle hand to hold? Where were you then?

But these are earthly things for sure and transient as mist, the meagre sticks we toss, then you’ll chase and allow us a moment to breathe. What we seek now is the secret of another kind of cultivation, and the ability to cast it an infinite distance away.

Then go,… Fetch!

Damn you.

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On my bookshelf: The Soul’s Code – James Hillman

Dr James Hillman (1926-2011) was a renowned post-Jungian analyst, depth psychologist and latter day guru of the human development movement. His books offer ideas that draw on early Western (Greek) philosophy and mythology. If we want to understand, to accommodate and direct the forces of the psyche, says Hillman, then we do well to think on what the Greeks wrote about their gods.

I find him difficult, but if one perseveres bits of him stick. In the Soul’s Code he tells us about Plato’s myth of Er, part of his magnum opus, The Republic, in which we are acquainted with the idea of a personal Daemon, an internal, psychical companion who carries the map of our lives, according to a plan laid down before our birth.  Our future then, according to this myth, is not determined so much by the environment we are born into as by a kernel of potential, like an acorn, that will grow into what it was meant to be regardless of any adversity we face in life, or possibly even because of it.

Our task in life is to live out the potential of the acorn, to allow it to grow down from the fertile earth of the deep psyche into the blossom of material realisation through the physical entity that we are. But the Daemon also has the power to bend and shape events to suit the attainment of its ambition for us. So,… we miss the bus, the car gets a flat tyre, we miss the crucial meeting, we lose our job; seen from the Ego’s perspective as personal disasters, such upsets can now be re-interpreted as part of a grander plan, releasing us to pursue another path, one closer to what the Daemon has intended for us. It’s a catch-all – so even the bad hand we are dealt can be greeted with a philosophical acquiescence. It was simply meant to be.

But we can also resist the daemon, resist the call, run capriciously and contrary to the Daemon’s aim. When this happens though, we will at some point feel resistance, feel a gnawing dissatisfaction with our lives and our tireless wants. Persist long enough in a contrary direction and the Daemon will make us ill, or even kill us off altogether, write us off as a bad job, and start afresh.

To realise the Daemon’s plan is to live the life we were intended. The challenge though is divining what it is the Daemon wants for us, and knowing if we’re on the path or not. Personal happiness is not the key, for many who have lived Daemon haunted lives do not end their lives well. Their achievements may stand out, make history, save lives, bring comfort to millions, while their own lives end in apparent ruin and ignominy.

What I find confusing about The Soul’s Code is Hillman’s use of remarkable lives as illustrations of the Daemon at work. He does this, he says, to magnify the phenomenon, to render it visible to analysis but, though he tells us the Daemon is at work in all our lives, the temptation at a first reading is to conclude only those names lit up by fame have listened well enough, and the rest of us are losers.

I’m sure this isn’t what Hillman is saying, or maybe it is. I find much in him that’s contradictory, elusive, beguilingly and beautifully poetic, rather like the psyche itself: alluring, intangible, ambiguous, shape-shifting. There are no firm handles, no answers, nothing to gain purchase, nothing one can test by putting into practice, no ten step plan for contacting your Daemon and realising your full potential. He is the dream to be interpreted, and like the all dreams perhaps not taken too literally.

I’m not unsympathetic to the idea of a personal Daemon. Indeed I think I met mine once, during a brief, spontaneous moment of transcendence, when I recognised myself as being interconnected with everything. Everywhere I looked, there I was. And the Daemon was there, felt, rather than seen, a formless presence reminding me, wordlessly, that as remarkable and unlikely as this vision of seemed, I had always known it to be the truth, but had forgotten it. I had drunk, as Hillman might have quoted, from Greek Myth, from the waters of the Lethe.

But the puzzle for all of us is what I feel Hillman did not address in any depth, and I’d hoped he would – this being the sense of our own importance, our own mission, which is at complete odds with the reality of a small speck of life played out in an infinite, cold and unfeeling universe. In company with our Daemon we feel how interconnected we are with world, that man and world cannot not be said to exist at all in isolation from the other. But in my case, my awareness underlined how much this was, my universe, my journey, that the Daemon and I are alone in working towards our purpose, no matter how insignificant a thing that might appear to be on paper. The Daemon is the captain of my vessel, while my ego-self, the thing I think of as me, is more the sole deckhand, as we sail the tempestuous seas of fate and mischance.

But where does this leave you?

In the working out of my journey are you merely the personification of my own fate and mischance, to be used by my captain as an object lesson – friends, lovers, family,… ill or well met, the whole damned lot of you? And how about the man who talks to himself on the bus, and whom I’d rather avoid? Is he a God in disguise, come to test my own godliness, my own compassion? Are you all merely the humours and the godlings come to test and steer, as in those old Greek stories.

Are you not really there at all?

Perhaps I should have listened more to those Greek myths as a child, for as Hillman teaches, there’s probably many a metaphorical clue in there I’ve missed that would be of help to me now. But the Greeks, like Hillman are not exactly an easy read, and diligence seems rewarded with only more questions, while the answers, far from clear, seem lacking altogether.

Or I could just leave it to the Daemon, and hope I’m on the right path anyway. Then none of it matters and the acorn of my life will, out in spite of all my protestations to the contrary.

I leave you with a taste of the late great, Dr James Hillman (1926-2011):

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And a cute little dog called Snowy

It’s been a curiously unsettling week. Twice my commute home was disrupted by serious accidents and motorway closures, turning a thirty five minute journey into an hour and a half marathon, where the normal free flow of things was choked off at every turn, blocked, impeded, restricted, stymied. On the last of these occasions, having finally made it home, exhausted, I left the car on the driveway and set off across the village on foot to get my hair cut, but the ginnel I normally use was blocked, the path being dug up, the way impeded, restricted,… the alternative, a long detour.

I returned home and did not move from the house again until I had slept long and deep.

And in my sleep I dreamed of road closures, of blockage, of the wreckage of trains and vehicles piled high into monuments of destruction. Thus in its own way the universe reflects my inner feelings, feelings of being stymied at every turn, at my lack of progress in terms of psychological and emotional development, my confusion – one path after another blocked, the wreckage of false hope and dreams piled high

The ego will make way at all costs, even if it ends up going only in circles.

And yes I’ve begun dreaming again, unbidden, and  vividly. I used to remember my dreams most nights and write them down in the mornings. It was a Jungian thing, interesting in the early days of my initiation into the way of the soul, but I was too much in earnest in my search for meaning, and those dreams, so lovingly recorded, remain to this day enigmatically opaque. Then for a long time I have not recalled any dreams at all – except suddenly this week I am dreaming vast landscapes, and vivid encounters with archetypal characters. Nor am I making any effort to recall them, yet they remain burned into memory, their feeling tones equally vivid and not a little disturbing.

Then there are the coincidences, trivial things yet astonishing in their persistence and their infuriating meaninglessness: I saw a dog on Instagram, a cute little fox terrier, and though I have never desired to keep a dog in my life, I was suddenly taken by the desire to keep one like that, and I would call him Snowy. Then within the hour I was watching a snippet from a banal TV game show, and the question was: what was the name of Tin Tin’s dog? Answer of course: Snowy.

Such things are only a coincidence if they happen once, but when they cluster they speak to me of other things, of something shifting, a curtain opening, the normal laws of time and space blurring at the edges. I am turning in of a night now expecting to dream next a mystical revelation. Except, I know from past experience this is not how it works. Stability will return, the old ways will open up again, the old grooves. I am left thinking I miss my turn each time, that I fail to grasp the symbolic significance of a motorway closure or even of a cute little dog called Snowy.

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Old ways

Thursday evening, came home from work early. Long weekend in the offing, glad to have nailed it after a pig of a week. Walked in, looking forward to savouring every moment, only to find my Broadband router showing a stack of red lights instead of the usual blue. Everyone is glum. No internet. Looks like a call to BT, except I need to go on-line to get the number.

Ah,… right.

So I burn a few precious minutes of 3G data on my phone. Number in hand I call the help-line. I’m connected to India in a matter of seconds. I’m half an hour on the line, and across five thousand miles they’re testing my line, testing the router. What a marvellous thing it is we have invented, this global computer. Or is it?

What devices do I hook up to, sir? Couple of laptops, several tablet devices, iPods, phones, a couple of  Playstations,… I realise the list is endless, and this surprises me. My entire life has moved on-line.

Test results inconclusive! They need to send an engineer to poke about with a screwdriver, to tug at the wires, to test the physicality  of my connection. How about next Tuesday? What? That’s nearly a week! How am I supposed to manage a week without internet? I don’t say this to the guy in India of course – he’s doing his best. My heart quaking, I just say okay.

There’s a pall of silence when I end the call. Tuesday? We’ll have to manage until Tuesday! We are a family of four, and I am not alone in my total dependence on the world wide web for passing the time, for entertainment, for education, for news, for pseudo-nourishment, for information,…

When did this happen? At what point did so much of my life begin pointing in at this window? When did so much of my life become aimed at shaping an imaginary world online, of adding to to the info-glut of words and pictures and video, writing a blog, writing fiction, playing MYST? Dammit, I’d been looking forward to chilling out for a couple of days doing nothing but playing MYST!

So,… nothing for it then. No Internet. For days and days and days.

What now?

Well, what did I used to do? Sits down to think? Write! There was always the writing, sure and most of that ending up double spaced on A4, either in the post or in my bottom drawer when I’d given up on it. I used to draw too, and paint,… I used to read – and I mean PAPER books.

So I pick up a PAPER book I’ve had since it came out in 2012 – Macfarlane’s “The Old Ways”. I’d begun the book enthusiastically, but left off a few chapters in, not because I found the book dull, but because my head is always being lured back inside the online world. And the lure is strong. But in the space of a few minutes I reconnected with the book as Macfarlane took me a walk along the Broomway, off the coast of Essex. Then he took me up to the Western Isles, to Harris, then a sail into the Atlantic in an ancient open sailboat, to a tiny speck of the British Isles that doesn’t always make it onto the maps – North Rona. This is a voyage with a salty crew who know their way around the old sea roads. I spend a night on an uninhabited island in the Minch, belly warmed by good company and fiery malt, and I meet characters who still speak the stories of place, of physical places, places I touched once, a quarter century ago when I passed this way myself and which lit up my life in ways unexpected.

A few summers and a lifetime of memory.

And I remembered my old novel, the pre internet “Singing Loch”, which was about how I felt the land die whenever the old stories were lost, ripped up, forgotten, concreted over, and how the world descended then into a kind of grey. I remember how I’d once burned with the lust of the old ways, and believed with all my heart it was important we kept a spiritual tryst with the land. Then I remembered the books of Patrick Harpur, and again the tales from the mysterious north, the lore of the Norse and the Celt, of the spirits of place and of the mysterious Shee, whom only the Irish, full blood or part descended have the eye to see. And all of this is important because, although the stories are in our minds, we meet them in the land, because the land is where we are supposed to be, and when we honour it on bended knee, the spirit of it comes to guide our way.

And then I’m looking at my father’s old maps – crumbly and curly now – Ordnance Surveys of the West Pennine Moors, six inches to the mile, mapped in the 1840’s. There are marks on the map, old ways we once walked together, and the broad arrow benchmarks we came upon upon chiselled in stone by the sapper men upon the peaty moor – days of mist when the whole world was a figment of imagination, and summer days when the larks were aloft and time stood still.

And then, as I slept the shee were whispering in my ear what I knew already, that the Broadband Router is fried, and that’s all a week’s wait for the BT guy will tell me. Inscrutable race, the Shee – wise, curious, sometimes mischievous, sometimes helpful even in their misdirection. So then I’m off to Tesco at dawn break for a new router. £50 and I’m plugging it in. Blue light is on, and we’re back online,…

But I’m not sure this is a good thing any more. Maps, books,… memories of walks, of the old ways, set aside, forgotten again. For a moment last night, the spirit of the old days, the old ways crept back in at the door, and Shee had begun to look over my shoulder, guide my hand, my heart, my mind,…

But there are no spirits of place in here, no old ways to be explored. It is a place where the Shee do not venture for old things are like as not simply deleted. There is no archaeology on the Internet, no myth, no folklore. It is a dead place! What do they mean opening this portal again and pushing me back in? I write this piece after playing MYST till my eyes bleed. I tag, I click, I post,…

What is the internet for?

And is it friend of foe?

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