LARKS ASCENDING

LARKS ASCENDING

I was 13 and staying with family friends in a damp, dilapidated but beautiful manor house called The Old Hall just outside the village of Reedham in Norfolk. Family friends John and Joyce Jacobs were running it as a combination guest house and small livestock farm, motivated more, I realise now, by a romantic notion of rural idyll than the desire to make fat profits.

And in those days ‘romantic notion’ could get you quite far before the bank foreclosed or you flitted away in the night with your belongings in a couple of suitcases. And at that time ‘rural idyll’ still had a little currency. There remained the residue of a working countryside; independent farms with relatively little acreage could just about make a living and the pace of life was still largely dictated by the seasonal tides. So the raffish, slightly bohemian Jacobs family sat around the Raeburn cooker in the unreconstructed authenticity of a manor house kitchen of a morning planning the day’s events

For me the glory of it all was the freedom. I was left entirely up to my own devices and I roamed for entire days across the endless flat fields, following the lines of the dykes – the deep, carefully maintained drainage streams, that bisected them. For the first time in my life I was entirely on my own. I could clamber up onto the railway embankment & trudge along the shingle in between the sleepers for miles in a dead straight line. I could select a windmill, seen as tiny scribbled letter ‘X’ against the horizon, and make my way towards it across a multitude of five-bar gates and styles to stand beneath its clinker-built bulk, mighty sails locked into position, or, rarely, turning majestically in the breeze that always shifted across the constant plateau. Or I could simply lie on my back in the dust and chaff of a recently harvested field, staring up at the bubbling summer clouds, watching & listening to the skylarks that wheeled and climbed in such abundance at that time. And, of that genuinely idyllic six weeks, I remember with most clarity the prickle of the stubble, the throaty dryness of the dust and those soaring skylarks, alone amongst the clouds.

A few years ago, in mid-July, I revisited Reedham. I stood at the edge of the first field, the one that bordered the rambling gardens of the Old Hall and across which I used to stride at the beginning of my explorations. Initially it looked much the same, but a cursory inspection swiftly revealed the changes: the windbreak hedgerows had gone; the crop had been harvested already; not a single skylark spiralled high into the clear air.

I learned recently that since 1970 the skylark population has declined by 52%. Major changes in cultivation and harvesting procedures are thought to be responsible for this, notably the switch from spring to autumn-sown cereals, the disappearance of the hedgerows and the vulnerability of birds to the massively increased use of insecticides and weedkillers.

It would seem, then, that the skylark – a bird whose rural associations transcend entirely the phoney bucolic Merrie England clichés – is another casualty of the late-20th century. Apparently not. Although a 52% decline in a little over 30 years is dramatic and alarming, a government-funded study has demonstrated that merely the provision of two small patches left untouched within a hectare of cultivated land can reverse local decline. Experiments done over a two-year period resulted in an increase of nearly 50% in skylark breeding. So to encourage the process, farmers are being offered £30.00 per hectare to join a scheme involving small, undrilled patches across their field systems.

A small resistance to an advancing tide. ‘So shines a bright deed in a naughty world’. If the farmers of East Norfolk are an enlightened crew, maybe I’ll be able to lie on my back in the great fields by The Old Hall, Reedham again in a year or two, watching & hearing the larks ascending.

.o0o.

The Lark in the Clear Air

Dear thoughts are in my mind
And my soul soars enchanted,
As I hear the sweet lark sing
In the clear air of the day.

For a tender beaming smile
To my hope has been granted,
And tomorrow she shall hear
All my fond heart would say.

I shall tell her all my love,
All my soul’s adoration,
And I think she will hear
And will not say me nay.

It is this that gives my soul
All its joyous elation,
As I hear the sweet lark sing
In the clear air of the day.

(From ‘The Lark in the Clear Air by Samuel Ferguson)

.o0o.

The lark in the morning she arises from her nest
And she ascends all in the air with the dew upon her breast
And with the pretty ploughboy she’ll whistle and she’ll sing
And at night she’ll return to her own nest again

When his day’s work is over, oh what then will he do
Perhaps then into some country wake he’ll go
And with his pretty sweetheart, he’ll dance and he’ll sing
And at night he’ll return with his love back again

And as they returned from the wake unto the town
The meadows they are mowed and the grass it is cut down
The nightingale she whistles upon the hawthorn spray
And the moon it is a shining upon the new mown hay

Good luck unto the ploughboys wherever they may be
They will take a winsome lass for to sit upon their knee
And with a jug of beer boys, they’ll whistle and they’ll sing
And the ploughboy is as happy as a prince or a king

(‘The Lark in the Morning’ – traditional English song)

.o0o.

He rises and begins to round,
He drops the silver chain of sound,
Of many links without a break,
In chirrup, whistle, slur and shake.

For singing till his heaven fills,
‘Tis love of earth that he instils,
And ever winging up and up,
Our valley is his golden cup
And he the wine which overflows
to lift us with him as he goes.

Till lost on his aerial rings
In light, and then the fancy sings.

From ‘The Lark Ascending’ by George Meredith

.o0o.

The Lark in the Morning’ – a version by Maddy Prior.

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THE WALL IS DOWN!

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DIE MAUER IST RUNTER

The wall is down. Incredulous
we contemplate, through raw gateways,
dawn in the West. You, the baker,
me, the busdriver, there the student
carrying a flag, there the woman
who cannot forget or forgive;
we move through rubble,
through the searchlights,
through the watercannon’s crazy rain.

This is the real dance;
we stitch its paces
over the Kaiser’s cobbles,
in between the Weimar tramlines,
through Hitler’s broken archways, empty squares,
up and down the grim lattices
of Russian tanktracks.
Laughing, we invade the territory
inside each other’s arms.

Published in Amnesty International anthology SING FREEDOM, Faber & Faber (1991) and in ANCIENT LIGHTS, Phoenicia Publishing (2011)

 

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BC POEMS

In 2015 Natalie d’Arbeloff and I had our collaborative work on Blaise Cendrars’ ‘La Prose du Transsiberien et de la Petite Jehanne de France’ published by the Old Stile Press, I translated the epic poem and Natalie created the illustrations. The ‘Trans-Sib’ went through 10 drafts before I settled on the version that went, with Natalie’s illustrations, to Nicolas Mcdowell at Old Stile for hand-printing.

For panoramic sweep and sheer chutzpah, Blaise Cendrars never quite matched the ‘Trans-Sib’. But his stature as an observational, surreal and quirkily lyrical poet is substantiated by much of his other output. Here are some translations of shorter poems by Cendrars. Most of them are still going through drafts and so are likely to be further tweaked.

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CHINKS

Sea vistas
Waterfalls
Trees long-haired with moss
Heavy rubbery glossy leaves
Glazed sun
High burnished heat
Glistening
I’ve stopped listening to the urgent voices of my friends discussing
The news that I brought from Paris
On both sides of the train close by or along the banks of
The distant valley
The forest is there watching me unsettling me enticing me like
a mummy’s mask
I watch back
Never the flicker of an eye.

:::

CONTRASTS

The windows of my poetry are open wide to the
boulevards and their shop window displays
Radiate
The jewels of the light
Listen to the violins of the limousines and the xylophones of the
printing presses
The painter wipes his hands on the towel of the sky
Everywhere swatches of colour
And the hats of the passing women are comets
across the blazing evening.

:::

NEWSPAPER

Christ
There goes another year in which I haven’t thought about You
Since I wrote my penultimate poem Easter
My life has changed so much
But I’m the same as ever
I still want to become a painter

Here are the pictures that I’ve done displayed up on my walls this evening.
They reveal to me strange perspectives into myself that make me think of You.

Christ
Life
See what I’ve unearthed

My paintings make me uneasy
I’m too passionate
Everything is tinted orange.

I’ve passed a sad day thinking about my friends
And reading the newspaper
Christ
A life crucified in this newspaper stretched wide that I hold at arms’ length.
Wingspans
Rockets
Frenzy
Cries
Like a crashing aeroplane
That’s me.
Passion
Fire
Serial
Newspaper
No matter how much you try to stay silent
Sometimes you have to cry out
I’m the other way
Too sensitive

:::

STARRY NIGHT

I’ve spent most of the night on deck
The familiar stars from these latitudes stretch stretch across the sky
The Pole Star slips further and further towards the northern horizon Orion – my constellation – is at its zenith
The Milky Way like a luminous fissure expands each night

The Great Chariot is a smudge of fog

The south darkens increasingly before us

I can’t wait for the appearance of the Southern Cross in the east
To divert my impatience Venus has doubled in size and quintupled in brilliance

like the moon she trails her light across the water
Tonight I watched the falling of a shooting star

:::

KODAK

WEST

I. ROOF GARDEN

For weeks the elevators hoisted hoisted
crates crates of compost
Finally
By dint of cash and patience
The shrubbery is blooming
The lawns are a tender green
A vital spring gushes forth between the rhododendrons and the
camellias
At the summit of this edifice this edifice of bricks and steel
The evening
Waiters grave like diplomats clad in
white lean out across the chasm of the town
And the flowerbeds are alight like a million tiny multicoloured
lanterns
I believe Madame murmured the young man with a voice
tremulous with suppressed passion
I believe that we might do very well here
And with a sweeping gesture he displayed the vast sea
Its ebb and flow
The riding lights of its huge ships
The towering Statue of Liberty
And the mighty panorama of the city crisscrossed with shadowy
perpendiculars and glaring light

The old philosopher and the two billionaires are alone on
the terrace
Beautiful garden
Great banks of flowers
Starry sky
The three old men stand silently listening
to the laughter and the happy voices rising
from the bright windows
And to the murmurous song of the sea that mingles with
the gramophone

II. ON THE HUDSON

The electric dinghy glides noiselessly between the multitudes
of ships at anchor in the immense estuary flying
the flags of every nation of the world
The great clippers loaded high with Canadian timber
furl their huge sails
The iron steamers belch out torrents of black
smoke
A population of dockers from every race in the
world bustles within the turmoil of sirens and steam-whistles
from factory and train
The elegant launch is fashioned entirely from teak
Rising from its centre is a cabin resembling that
of a Venetian gondola

III. AMPHITRYON

After dinner served in the winter garden amongst
the groves of lemon trees jasmine orchids
There is a ball on the lawns of the illuminated park
But the principal attraction is the gifts sent
to Miss Isadora
Of particular note is a ‘pigeon’s blood’ ruby
of a size and brilliance beyond compare
None of the young girls present possesses a gem
to equal it
Elegantly dressed
And vigilant detectives mingle with the crowding guests
to watch over and protect this jewel

IV. OFFICE

Radiators and ventilators running on industrial gas
Twelve telephones and five wireless radio points
Marvellous electrical filing systems containing
countless industrial and scientific dossiers on
a multitude of subjects
The billionaire only feels truly at home within
this place of work
The huge windows look out over the park and the city
Each evening the mercury vapour lights shed
a soft blueish glow
It is within this place that demands to sell and to buy
sometimes topple stock markets across the wide world

V. YOUNG GIRL

A light dress in crepe de chine
The young girl
Elegance and wealth
Hair a tawny blonde within which shines a string of pearls
A face composed and calm reflecting both sincerity
and kindness
Her wide sea-blue eyes almost green are
clear and bold
She has about her the special downy-fresh and roseate tint that
suggests the privilege of the young American.

VI. YOUNG MAN

He’s the Beau Brummel of Fifth Avenue
Cloth-of-gold tie stippled with a froth of diamonds
A suit in metallic fabric pink and violet
Ankle-boots in genuine sharkskin each
button a tiny black pearl
He flaunts pyjamas of asbestos flannel another suit
fashioned out of glass a crocodile-skin waistcoat
His valet scrubs his gold coins with soap
He packs only brand new scented banknotes in
his wallet

VII. WORK

Criminals have just blown up the railway embankment bridge
The carriages have caught fire at the bottom of the valley
The injured swim in the boiling water seething from the
ruptured engine
Human torches run amongst the wreckage and the
jets of steam
Other coaches dangle suspended 60 meters up
Men carrying electric torches and acetylene cutters
clamber down the valley track
And in silence the rescue is swiftly organised
In the shelter of the bulrushes the reeds the willow the
waterbirds create a happy commotion
Dawn is long in breaking
But already a team of one hundred carpenters summoned by
telegraph arrive by special train to begin to reconstruct the bridge
Bang bang-bang
Pass me the nails

VIII. TRESTLE-WORK

If you come across a certain river or a deep valley
you’ll cross it by a wooden bridge until such time that
company revenue permits construction of one
in stone or iron
American carpenters are without peer in
the art of constructing these bridges
You begin by laying down a hard rock bed
Then you erect your first trestle
Which will support a second then a third the
a fourth
As many as it takes to reach the level of the bank
On the last trestle two beams
On the last two beams two rails
These audacious structures are neither reinforced by
a St Andrew’s cross nor by iron T-bars
The whole is held together just by a few supports and a few
bolts which determine the gauging of the trestles
And it’s what it is
It’s a bridge
A beautiful bridge

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BLAISE CENDRARS MEETS MODIGLIANI. A film short from 1953.

 

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MOTHER RUSSIA.

As stated a few weeks back, I visited Russia at the end of the ’90s and witnessed briefly the beginnings of the silent revolution that brought about the collapse of the Soviet Union, briefly presaged the advent of authentic democracy in a nation that had lurched bloodily from absolute monarchy to the dictatorship of the proletariat and then slid backwards into the bleak comfort of oligarchy.

My memories are of seemingly limitless space and breathtaking beauty. These two poems celebrate both. The first recollects a brief halt on the Trans-Siberian railway; the second a trip up the Chusovaya river and into the Urals.

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BALEZINO STATION

At Balezino Station we disembark in silence
under the great arch of night. First whispers
leave breath hanging, shining like bright smoke.
The old moon leans through cloud. A silver wind
blows the stars about like spray. A tide of trees
floods the half-dark, sucks at the line’s edge.

Motionless, we diminish, here at the junction
between two hemispheres. Behind us bloodless
territories of turned soil and domestic waters
and beyond the taiga, the first forest to come
tumbling out of the young dreaming of the world.

And now the thin edge of an eastern wind brings
tears of resin, a scent of green disorder, a cataract
of leaves and berries far ahead. Darkness crowds us
back onto the train. Rocked but sleepless, we sit
and stand by night-curtained windows, watching
the dim images of ourselves watching the flying trees.

::::

BIRDS ON THE CHUSOVAYA

High flat sun, sour light draining like whey
through muslin cloud. This bird’s hanging
under shredded sails, turning on the axis
of its hunger, reordering the sky. The berkut,
summer eagle, sideslips into the treeline.

Where the river croons over stones, where
we drink from clear channels, this bird scars
the water’s skin. The swallow, stippling
the ribbed water, turns on a wide wheel
centred in a flat blue orbit.

Night’s sheet is torn at the corner. This bird
has a knife in its voice. It slides on a wire,
the owl, from maple to beech, yellow light
around its black eye, acid on its tongue.

Night rain boils in the river. Young moon
hooks clouds into ribbons and rags. This bird,
the heron, rising from the reeds, climbs on its
long arms from dark towards light.

From ANCIENT LIGHTS

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NIGHT POACHERS

Full moon
bold as a cry,
clean as new ice.

Two men running
noiseless across
frozen fields.

Gin traps in
canvas bags
rattle like teeth.

They fall laughing
in clouds into
the lee of a wall.

A dog barks;
a man calls.
The sounds curl away.

The men sleep
wrapped around
their prey
like lovers.

From ANCIENT LIGHTS.

Linocut by Celia Page. 

NIGHT POACHERS read by Dick Jones.

DELAY (rough mix). Guitar / Doug MacGowan : Viola, vocals and audio mixing / Emma Semple

 

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blue

A Clear Blue Sky

My dad was a man of prose – a specialist: words used
like gardening tools to conjure shapes, to fashion patterns.
Language mattered: correspondence ran to pages –
letters to the council; ‘thank you’ cards to nurses
that read like testimonials. Even notes to the milkman
came across like billets doux to an old and valued friend.
And the writing: tiny box-shaped words in biro,
whispering in lines, or gathered quietly in the margins,
small-voiced but insistent, looking for truths.

When he knew that he was dying, he sat at the edge
of his life, scribbling a commentary. Twinges
from a cancer hotspot got a note immediately,
draped around the Guardian crossword clues
or squeezed between the calculations in his ledger:
where it hurt, for what duration, and, in imagistic detail,
the character of pain (like a voice, like broken glass, an ache
like winter rheumatism). And, towards the end, in his little diary,
potted phrases: “Slept well”, “Insomnia”, “Coughing still”.

For we who sat around his bed, it was the silence
that confounded. To the nurses plumping pillows, lifting cups
from which he didn’t want to drink; to waiting family
fiddling with the radio, sifting through his laundry,
he said nothing. All his words were spent just days ahead
of the breath that carried them. And then, the afternoon
of the day he died, the clouds drew back, late spring appeared.
Mum leaned back towards the window, smiled and said:
‘Look – a clear blue sky’, and we turned to see.

My father didn’t turn his head. Whatever sky he saw
was far behind in time, or maybe just ahead. Whatever sky it was,
no messianic veil, no chariots of fire obscured the view.
His great abundance, just like ours, was absolutely empty –
birdless, sunless, silent and ineffable, mocking the mad commotion
down below. He drew in breath, breathed out and said:
‘A clear blue sky’, floating the words on the sterile air
like leaves. He didn’t speak again; he died that night and,
one by one, the stars went out, a lexicon set free.

From ANCIENT LIGHTS

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THE TIES THAT BIND

The morning after you left I drew
the curtains on the seven-acre field.

Two hares were bowling through the stubble,
wind-blown, skidding like broken wheels.

They danced and sprung apart and danced again
and then were gone, beyond the tidemark

of the tree line. Then a mob of seagulls
swung downwind from the west, scattered,

gathered again in a brawl of wings and then
were gone, into a bleak neutrality

of towering clouds. Love or combat, the wind
blew them into the world and out again,

these dancers, bound only to the end
of their measures and not beyond.

From my first collection ANCIENT LIGHTS.

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HEART SUTRA 1.

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Heart Sutra 1.

IF I PRAYED
(for R, R and M)

Dream and fable,
the dark that lies
on your eyes,
or the busy stars
that celebrate
the open window,
this basket of love
that binds you –
may they prevail.

There’s nothing
so precious within
the here and now
where we,
the gruff
and lofty ones
belong, that you
should crave
before its time.

So for you
for a little
longer yet
may water run
uphill, may nights
square circles,
mornings
rattle the key
in the lock,
and may love
be unconsidered.

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JOY

rpt

DJ and Doug MacGowan, summer 2019.
Guitarist, banjoist, singer and songwriter Doug and I have been musical compadres for many years and now with my partner Emma Semple on violin and viola we’re putting together a trio, as yet unnamed.

The poem is in memory of Doug’s mum Joy, written as an accompaniment to Doug’s tune ‘Joy’ 

JOY

A long time gone.
New traffic on the stairs
tracing your even pace
over the risers;
other long fingers
turning, turning
the wine glass stem;
other laughter wrapped
in the leaves of your voice.

How easy to live
in this reconfigured world:
an exchange of horizons,
alternative sunsets, a hill,
or no hill at all.

But easy too the swift
self-gathering into
one’s own shadow
on street, in hallway,
or on that same staircase
when tears reflux
without warning
and there is only
what was.

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NEW SHERWOOD REMEMBERED…

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“Education, education, education!” Tony Blair cried 22 years ago as we were promised root and branch change within primary and secondary schools. And there was a massive financial investment in education resulting in a significant increase in the number of teachers, the creation of the teaching assistant role, a decrease in class sizes, particularly in  the primary sector and an increase in GCSE and A-level results. But as time went rapidly by we saw the entry into the process of reform and reconstruction of private educational initiatives within the state infrastructure, the creation of the notion of the ‘bog-standard comprehensive’ and the stigmatisation of struggling mainly inner city comprehensives as ‘failing schools’. And if anyone had drawn hope from Blair’s excelsior call back in 2007 that there might be a fundamental shift in emphasis away from the vigorous quantitative drive towards results to a qualitative emphasis on creativity, individual enterprise, authentically child-centred education out of which real personal choices might be made, then deep disappointment was swift and lasting.

And what lies before us as the most right-wing government since the Thatcher administration of the ’80s beds in and begins to look around? Surely only the substantiation of the arid, punishing, results-orientated curricula that dominate both educational sectors now.

How incredible is it, then, that to seek out radical alternatives we have to go back to the future? What follows are two autobiographical accounts of experience in the 1950s, each one providing an account of my life and times in a small, independent progressive school in the lee of Epsom Downs. Even today, when occasionally in company reminiscences of schooldays arise, my depiction of New Sherwood School can provoke shock and disbelief. ‘But how did you have any respect for your teachers, calling them by their first names?’ ‘Why didn’t you all run riot; I know I would have!’ ‘Voluntary attendance at lessons? I’d have hopped off all the time!’ ‘Kids making up rules? How come you didn’t have daily chaos?’

Well, we did respect our teachers, as they respected us. And there wasn’t chaos, there was order, consensual order. This is how I remember it…

REMEMBERING SHERWOOD

Latchmere Road Primary School was a small, red-bricked, white tiled, parquet- floored establishment, safe, comfortable and traditional. With one or two monstrous exceptions, the teachers were kind and supportive. The headmistress of the infants’ school was archetypically maternal; the headmaster of the junior school was avuncular. It was a stable, happy school. And I was utterly miserable there.

After so long a time it’s difficult to identify what frightened and oppressed me most. I have murky recollections of asphalt wastes patrolled by fierce, bulky boys smelling of penny chews and unwashed clothes. Their sticky hands pushed you hard in the chest; their scabbed forearms compressed your windpipe, locked your head to their panting chests in dispassionate and unmalicious aggression. Asexual voices bayed and shrieked, whistles blew and ragged queues formed. Boiled meals reeked and steamed; you had to eat the beetroot, the pink mince, the frogspawn semolina. Incomprehensible prayers and sermons were uttered from the stage; discordant hymns punctuated the ritual, and we filed out to Sheep May Safely Graze played on an upright piano by a fierce little woman with hair coiled in cartwheel plaits over her ears…

The safe, predictable, instantly identifiable atmosphere terrified me. Why, I don’t know; the passage of time and the depth of the imprint defy analysis. But my mother tugged me onto the 604 trolleybus every morning, both of us in tears, both of us anguished and baffled. At night I dreamed about corridors, classrooms, the banshee voices of wild children. By day I cowered in corners, hiding from the pounding, reeling jungle of it all. Without recourse to the post-‘60s label, ‘school phobia’, my parents had a problem on their hands: if I was rejecting school at the age of seven, in what educational condition would I be by the time that the implacable social and intellectual divider of the 11-plus exam stood between me and secondary education

A mildly radical past and a subscription to the left-wing weekly the New Statesman provided a possible answer. As a pipe-smoking, corduroy-wearing member of the Independent Labour party in the 1930’s, my father had read Neill’s prototype Summerhill book That Dreadful School. Recollections in the ’50’s of its cheerful, vernacular style and refreshing absence of cant were jogged by a small ad on the back of the New Statesman publicising a little independent progressive school in the nearby market-town of Epsom. It was called New Sherwood School and in the summer of 1953 we drove in Dad’s new Morris Minor to see the school and meet its headmaster John Wood.

The school was housed in a large, white, mid-19th century lodge in about an acre of grounds with a two-acre paddock attached. As we drove in through the front gates, the sense of a sprawling, bohemian family environment was immediately apparent. Thick climbing ropes hung from trees; there was a wooden climbing frame built against the bole of a huge beech tree; three gaily-painted cart-wheels mounted horizontally on three-foot high posts acted as roundabouts; doors in the house bore scuff-marks and windows were patched with corrugated cardboard. John Wood approached us along the gravel driveway that surrounded the house and he guided us over to the roundabouts. The interview was entirely informal: John – bearded, tieless and kilted, a dead ringer for Rob Roy – chatted gently about the philosophy and practice of the school, pushing himself to and fro on the wheel. Behind us, a tiny, dark-haired boy of about six ran tirelessly around the house, pausing only to yell, “Fuck off!”, as he approached our small group. Initially, John ignored the demonstration. After one particularly shrill utterance John smiled and remarked that Mikey had only just learned the phrase and that we mustn’t take the invocation too seriously.

So, in the autumn of 1953, I joined the sixty-odd pupils at New Sherwood School as a day-pupil. My initial reports home were ecstatic: no more beetroot, no more asphalt battleground, no more booming corridors, no more hymns. My perception of the school was determined at first by what it didn’t have. My experience was all of freedom FROM and, in my early days, I could make little sense of the implications of freedom TO. Day-to-day life was a process comprising fitful attendance at the voluntary lessons and long, absorbing periods in the sand-pit building castles and railway systems.

Time passed and the old horrors receded completely. I made friends and found that my fear of sport and competitive activity was offset by an ability to initiate and sustain imaginative games. When, after a year, I began to board, my relationship with, and understanding of the nature of, the school deepened. Slowly I began to recognize the teachers and other adults as congenial individuals, much as were one’s parents’ friends. Increasingly I came to see them as larger, wiser versions of us, providing security and support and yet immediately responsive at the intuitive, affective level at which we children operated. (John and his wife, Irma, would tend to refer to the adults in the community as ‘big people’, this somehow expressing the differentiation between staff and pupils in terms of physical size rather than status). It became apparent that I could argue with teachers and that they would respond in kind; that I could wrestle with them, or fall asleep with my head in a lap; that in calling them Ted or Mary or Gerry I was permitted an intimacy of contact that bridged the interstellar distances that I perceived to exist at Latchmere.

The functional life of the school fell into three main categories for me: lesson-time, the School Meeting, and boarders’ free time after the school day had finished. Lesson time followed a fairly conventional and thus familiar pattern during the school day. By School Meeting decree the lessons were voluntary, although, out of fairness to the teacher and the rest of the class, the absentee had to announce his/her intention to miss lessons and then had to remain out for the remainder of the week. The lessons provided some shape and focus for the day and they were well-attended. Missing lessons tended to occur collectively when something clearly more important than lessons came up. During one term, virtually the entire school population gave over two or three weeks to the building of a stockade in the paddock. At other times activities like school plays needed extra work and they replaced the scheduled timetable. I have a clear recollection of both those lessons that entranced me and those that brought back the sense of oppression that blighted my previous school experience. History and English fed my imaginations; Maths filled me with a claustrophobic sense of failure and hopelessness that even the congeniality of my environment could not dispel.

The aspect of community life that established most manifestly the functional equality of children and adults was the Friday School Meeting. Modelled on John and Irma’s experience of self-government at Kilquhanity (where both had taught previously), the meetings were chaired, and minutes were taken, by pupils. All those who attended had equal voting rights, regardless of age or status. In principle, and sometimes in practice, children could outvote adults. Initially, this reality appalled me: this disempowerment of those who legitimized our existence seemed a heresy of the first order. But within a short time it became a normal aspect of life at New Sherwood, its processes facilitating, rather than impeding, the social order. Indeed, it was John Wood who proposed the abolition of all the school rules in order to re-legislate from scratch and it was the pupils whose caution moderated the proposal.

After 4.00pm the school belonged to the boarders. Numbers fluctuated between eight and ten in my five years at the school, accommodation comprising three rooms and a pre-war caravan. With such small numbers, the family ethic that lay at the heart of the school flourished most effectively. We all dined together, bathed together, lay around John and Irmas’ bed-sitting room floor listening to Journey Into Space and The Goon Show, bickered, sulked, wooed each other back into the fold, and grew from childhood towards tentative adolescence together. My chief recollection – lent enchantment by the distance of years – is of the enormously elaborate fantasy games that we played around the building and grounds. Each context carefully chosen, each scenario carefully prepared, we would dress up in an approximation of the appropriate costume – American Civil War, Second World War, Arthurian myth – and launch ourselves into late summer sunshine or evening winter snow. The adults that we encountered in our unimpeded activities would be pressed into service. Gerry, the English teacher, caught relaxing in his caravan, would become Gandalf, from our favourite book of the moment, The Hobbit. Long-sufferingly, he would re-create the voice he used when reading to us before lights-out. Mary, the Bavarian cook (whose English husband had been a prisoner-of-war), would tolerate – even indulge – our insensitive representations of ‘typical’ German behaviour when rounding up our war-game captives. Obligingly she would goose-step into the kitchen, wearing one of our most cherished props, a genuine German infantryman’s helmet, to make us massive cheese-and-pickle sandwiches for supper. We would go uncomplainingly to bed, still in role, exhausted from our labours in the other lands and other times that were encompassed by the small New Sherwood estate.

I left when the Woods emigrated to New Zealand, and went to Wennington School in Yorkshire. The advent of my teen years, 16+ and 18+ exams, the more formalized structures of the school drew a curtain across my time at New Sherwood. I lost touch with my friends there (although my family maintained contact with the Woods) and the school closed not long after I left, unable to find alternative premises when the lease on the estate was not renewed.

A few years ago I revisited that little corner of Epsom and found the surrounding roads more or less unchanged. The estate itself had disappeared under high-intensity housing; neat gardens and mock-Georgian fascias reside where once beeches had accommodated tree-houses and uncut grass surrounded sand-pits. In mid-1993 a letter from Irma announced that John was dying of cancer. With customary courage she faced this event and after it she sent a videotape of John’s memorial service around the scattered New Sherwood community. The various tributes to John’s ingenuity, imagination and vision recreated vividly for me the qualities of that unique little community. As I parceled it up for the next recipient, this educational ‘samizdat’ document bearing revolutionary good news, I reflected on the acute need for hope and action on the part of those of us who look upon the educational wasteland and are tempted to despair. I thought of Joe Hill’s great cry, “Don’t mourn: organize”, and – in spite of the torpor of middle age – I felt the blood quicken…
Reprinted from the Friends of Summerhill Trust Journal, Summer 1994

JOHN WOOD BLOG

1956 copy copy

:::

HOW TO BUILD A SCHOOL

What do you do when,
from dream to mortar,
you build a school?

Is it like building a house
with the values locked
into the discipline of bricks

on bricks? Or is it like
the building of a church,
into which somehow

you must incorporate
the numinous, the hushed,
the obedient? (Here

the story’s easier to tell
behind rich windows, in
the organ’s smoky voice.)

Or is it like a glass
solarium, prima vera
all the year, an investment

of light, the incubator’s
catechism chanting hare’s foot
weeping fig and fern

towards glory; fruits exotic,
hand-reared and fat
and green, each one.

:::

Don’t build. Just find intact
(albeit cracked and leaky)
a house that’s there already,

one that’s rooted
firm and knows its skin;
that’s free of pain

and ghosts, with trees
and half-forgotten gardens,
mossy cold-frames, twisted

vines and sudden sundials
in the long, uncultivated
grass. Then let us blow

like puffball parachutes
in a random wind,
the achene fruit

that falls and germinates
when and where
it will.

:::

A DAY AT SHERWOOD.

Friday. It’s 6.30 in the morning. The racehorses wake me. They walk them from the Roseberry Stables, round Worple Road and up onto the Downs. My caravan’s parked against the high wall at the edge of the school grounds, and every morning they come along the lane high stepping and snorting, sometimes shuffling nervously, quietened by the grooms’ gentle voices.

I lie in the narrow bed. Another full night’s sleep. During the few weeks since the beginning of term when John and Irma moved me from the boys’ room to the old caravan, the insomnia has ebbed away, and with it the fear of the night’s long flood tide. Out here, once the light is off, the darkness is total. And within those first few nights while sleep still eluded me, I could hear the screech owls calling from the big beech tree in the Paddock. Once, in the small hours, one landed on the roof. The spread claws skidding as it landed woke me. It called twice – a haunting whistle on a falling note – and then took off. My fear then was real. But it was a gut sensation, visceral. Not the spectral terror of being alone in a night that will never end. I fell asleep oddly comforted.

7.00. I scramble out of bed and pull on jeans, a shirt and a jumper and my wellingtons. My breath clouds the air. I run across the dew-heavy grass to the side of the house, stopping by the kitchen door. An old ship’s bell hangs in the angle between two walls. It’s shaped like an inverted bowl and resting against its upper edge is a hinged clapper. I relish this moment of my appointed office, lifting the clapper slowly. A shiver passes through me and I slam the clapper against the bell, seven slow strokes. The sound, importunate, officious, thrills me even as its volume makes my eyes water. I take the stairs in twos and, bursting into the boys’ room, I jerk the curtains wide and tug the bottom half of the sash window upwards.
– Wakey, wakey, rise and shine! I yell.
Somebody throws a slipper at me; it hits the upper windowpane. Down the corridor I can hear John and Irma’s lavatory flush. Outside on the landing one of the girls – Miranda, probably; she’s an early riser – yawns extravagantly and slams the bathroom door.

7.45. In the kitchen Mary stirs thick Scottish porridge in a huge aluminium saucepan. She steps back to peer through the doorway into the Scullery.

– Who’s here now gets to eat, she announces in her dense Bavarian accent. Who’s late gets it all cold.

John comes in, scratching his beard. He wears a shapeless cable-knit jumper and his Hunting Stewart kilt.
– Hulloo, wee-‘uns, he greets the kids. As he walks past Hessie’s tilted chair next to yours, he grabs it and holding it firmly, tips it swiftly backwards to the floor. Jessie tumbles off it and seizes John’s legs.
– Are you on duty, John? he asks, pulling himself up.
– For my sins, yes, I am, John answers, entering the kitchen. Tea, please, Mary, black as tar and twice as thick!

9.35. Gerry watches his English class racing towards the shed for saws, hammers and nails. Under his arm is King Solomon’s Mines, which he would have read them had they not called the lesson off. In fact, there were to be no lessons at all this Friday. Strictly speaking, a day’s lessons could only be cancelled by a majority vote in the School Meeting the week before. But during the holidays several beech trees on the Ashley Road side of the Paddock had had to be cut down and now that the branches had been sawn off and stripped, the plan was to build the biggest camp yet. In company with all other teachers with scheduled lessons, Gerry accepts force majeur and lets them go to join the others, jostling and yelling. But he tells them in the few impatient seconds between announcement and release that he intends to bring them all up in the Meeting that afternoon because they are breaking a rule that has been declared by the entire community.

12.20. I can’t choose between labouring packhorse or Canadian logger as I seek out a role, hauling two long, ragged branches across the grass towards where the camp is to be sited. As I wrestle them into the loose heap and shake off the ropes I can smell the sweet, juicy fragrance of freshly sawn wood.

Already several shorn branches are seated upright in a long, deep trench and Jules is pounding them into the earth with a rubber-topped mallet while Robbie nails crosspieces in place to bind them together. Supporting the branches gingerly are Mikey and Miranda. Jules is teaching them a song in his almost impenetrable Ayrshire accent. With the precision of a chain gang chorus leader, he bawls the strange lyrics on the downward stroke of the mallet:
– Wha’ saw the tatty howkers? Wha’ saw the eenawar? Wha’ saw the tatty howkers, workin’ in the Broomilaw?
I lean against the trunk of the big beech around which the camp is being erected. Jules pauses, downing the mallet and leaning on the upturned handle.
– Now, he says, catching his breath. The next bit’s the best bit so listen, right? Some o’ them had bums like beetroots, some o’ them had een at aw, some o’ them had cocks like carrots, working in the Broomilaw.
Everyone laughs too loud, shedding tools and falling upon one another. I grin and make my way back to the woodpile for more branches.

4.10. Lunch is taken in shifts, the keenest builders carrying their plates out to the site. Eventually Mary brings the saucepans full of macaroni cheese to the Paddock and serves the workers in situ. By 4.00 a few day pupils drift away to collect their bags and go for the bus home. Reluctantly, the remaining work force moves away, wandering back towards the school building. School Meeting starts at 4.15 and John has asked that as many attend as possible because he has an important matter to raise.

As I reach the hedge that separates the Paddock from the old tennis court and the frontage of the house, I turn and look back at the day’s work. A ring of stout branches, part woven and part secured by nailed crosspieces and rope, contains the beech tree within a pygmy stockade. A frisson of excitement and pride trips my breathing for a moment. One more full day’s work to be done…

4.20. The Big Room is full. All the boarders are present and the majority of the day pupils and teachers. Most, like me, are perched on the tiny blue kindergarten chairs that line the walls. Only the Chairman & Secretary – Peter and Janine – are seated in comfort on a pair of winged library chairs behind a low table. John is seated, leaning against a closed door, cradling Cordi, who is only 4. Irma sits cross-legged beside them.
Peter raps the table with the side of a ruler.
– Order! he calls in his high unbroken voice. I’m opening the meeting at…4.20. Janine’s going to read the minutes of the previous meeting.
Mary had complained that a loaf of bread had gone missing from the larder. The Meeting directed the guilty parties to own up immediately. Jackie & Dilly admitted to having removed it and both were fined 1/- each and denied jam allowance for one week. John had said that boarders had been seen climbing on the downstairs toilet roof. The tiles were not secure and if anyone slipped and fell the school would be liable for any injuries resulting. He wouldn’t ask the Meeting to support a proposal for any kind of action in this instance; he just hoped that the boarders would be sensible in future. Robbie, Mikey and the Burch twins had proposed that there should be a rock-and-roll hop for pupils and friends for the weekend after Half Term. Gerry had asked if teachers and parents would be allowed to attend. 
– Any matters arising? asks Peter.
Sally Burch raises her hand.
– I’m not going to the hop if my parents are going to jive! she declares. And teachers too! And I won’t be the only one! It’s just embarrassing!
The Meeting defeats a motion to ban all dancing grown-ups by a narrow majority and moves on to new business.
John raises his hand and is acknowledged by the Chairman. Still cradling the sleeping Cordi, he stands.
– I should like to suggest that we abolish all school rules forthwith, effective as of this Meeting.
He pauses. A ripple of shock passes around the room. A few kids laugh. I am appalled: a thin line between the silent, invisible machinery of ordered freedom and downhill chaos is about to be crossed.
– Do you have a seconder? asks Peter.
John leans down and gently passes Cordi to Irma.
– Well, it’s not a proposal at this stage. I simply feel that we have too many rules now and that to try to pick our way through all of them piece by piece, weeding out the unnecessary ones, will be too time consuming. So why don’t we just scrap all of them and start again?
He sits down. For a moment the Meeting is still. Then, one by one, hands go up, some assertively, demanding attention, others more tentative. Peter inspects the display.
– Gerry?
– I’m not out of sympathy with John’s suggestion. But before this gets any closer to going to a vote, am I in order in bringing up my English class from this morning for breaking the cutting lessons rule? I think they should be fined and if we sweep away all the rules in one go right now, an important principle’s going to go with them.
Peter leans towards Janine and they consult for several seconds. Peter straightens up.
– No, Gerry, you can’t. We have to finish this business before we can go onto new stuff.
I realise with a sort of disembodied surprise that my hand is raised. Peter’s cool scrutiny passes around the room.
– Rich?
I swallow hard. When I speak my voice sounds alien, as if someone close by is mimicking me.
– But if we’ve got no rules at all then why would anyone…what would stop anyone from, like, breaking a window or, say, smashing down a camp..?
John smiles and begins to address me directly.
– Through the Chair, John, Peter interjects sharply.
– Sorry, Peter, through you. Now, that’s a fair question and I guess the immediate answer would be nothing at all. But here’s the crucial issue: no one person here at Sherwood has ever put together a list of rules and regulations and said, ‘Right, everyone, here’s what you’ve all got to do and you do it or I’ll tan your bum…’
The little kids all laugh. John takes a short step forward and leans an elbow on the fireplace mantelpiece.
– We make the rules. All of us. Together. From the wee kids right up to the grown-ups. And we do things that way because we all know that the rules we have make sense because they’ve come from what happens to us in our daily lives. So – safety, health, convenience, thinking about each other and not just ourselves. Each good rule grows from these sources. I think we’ve got a bit carried away recently and we’ve gone from saying no-one’s allowed to leave school by the main gate because it’s on a bend in the road and it’s dangerous, to things like if you spill sand more than a foot away from the edge of the sandpit you have to pay a 3d fine. And I think that’s a bit crazy. So I propose we dump the lot now and go back to the starting line. No rules, then good rules.
John turns and sits, lifting the still sleeping Cordi back onto his lap.
– Do we have a seconder? Peter asks the Meeting.
My actions still apparently governed by remote control, I raise my arm. Janine scribbles my name in her notebook as the debate breaks on a tideline of waving hands.

9.30.
– Wha’ saw the tatty howkers…? Jules howls as the boarders climb the stairs for bathtime and bed. Ruth, on bed duty, grimaces from her doorway. I carry my wash bag and towel, granted first ablution privileges so that I can make my way out to my caravan. As I clean my teeth in the basin I can hear five voices at various stages of pubescence following Jules’ lead:
– Some o’ them had bums like beetroots, some o’ them had een at aw, some of them had cocks like carrots, working in the Broomilaw…

It’s a fine autumn night under a full moon. Silvery light shines around the gaps in the rudimentary curtains. I lie staring up at the curved ceiling of the old caravan, wide awake but free from fear. In the great beech in the Paddock, the screech owl quavers and I smile into the darkness.

Glossary

The Downs = Epsom Downs, site of the Derby horserace.

Wellingtons = Rubber boots.

‘Wha’ saw the tatty howkers, workin’ in the Broomilaw?’ = ‘Who saw the potato pickers working along the Broomilaw Road?’

‘een at aw’ = None at all.

1/- = One shilling in pre-decimal coinage. Value, 5p.

3d = Three pence (pronounced ‘thruppence’.) Value, about one pence.

JOHN AND IRMA BLOG

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