Meadowlands

Other people’s words on … wandering

Musing takes place in a kind of meadowlands of the imagination, a part of the imagination that has not yet been plowed, developed, or put to any immediately practical use. Environmentalists are always arguing that those butterflies, those grasslands, those watershed woodlands, have an utterly necessary function in the grand scheme of things, even if they don’t produce a market crop. The same is true of the meadowlands of imagination; time spent there is not work time, yet without that time the mind becomes sterile, dull, domesticated. The fight for free space — for wilderness and public space — must be accompanied by a fight for free time to spend wandering in that space. Otherwise the individual imagination will be bulldozed over for the chain-store outlets of consumer appetite, true-crime titillations, and celebrity crises.

from ‘Wanderlust
by Rebecca Solnit

Most of you would know by now that one of the greatest pleasures in my life is wandering: along the beach, through the bush. We read a great deal these days about the value of high-intensity exercise (the dreaded HIIT), and though I understand the principle — short bursts of intense exercise, in order to get your heart going — I find the practice intimidating and somewhat soulless. I’m not interested in exercising purely to become ‘fit’, or to ‘get healthy’, or to try to do something epic.

What I’m interested in is wellbeing — a concept that includes mental, emotional and spiritual aspects as well as the more obvious physical ones.

That’s why I like to wander. Wandering, for me, can be a slow stroll through the bush, or it can be a steady march along the shore. Hopping on my bike and riding places — that’s a form of wandering, too. It’s about breathing in fresh air, moving through beautiful surroundings, looking around, and — yes — musing. As Solnit points out, it’s about being unfettered in time as well as space. Musing takes place in a kind of meadowlands of the imagination, she says.

Oh, yes.

So today’s round-up of photos comes from another one of my recent wanders in the bush, back at the end of April. It was a dull, still day, and not many of the plants along the trail were in flower. The bush seemed stripped of bright colour: it was all earthy greens and sandy browns. The birdsong was muted, too — the whistlers don’t call much at this time of year in South Australia; the shrike thrush songs are shorter and softer than in the warmer months. A crow croaked and muttered in the distance, and I heard snatches of broken magpie song.

But then I noticed the banksia trees, which were all in flower. I hadn’t seen them at first because I’d stepped in from a louder, brighter world beyond the trail, a world of fences and bitumen streets and painted houses. Banksia leaves are a dark, khaki green, and the flowers blend in with the surrounding vegetation, varying in colour from pale yellow, through light green, to drab brown. Their beauty is as muted as the birdsong I described above, and in order not to miss it — in order to appreciate it — you have to be willing to slow down. To stop. To muse.

And that is what I did.

A prayer

Other people’s words about … the view

At the back of the hotel was a garden. Along its edge ran an earthen pathway pillared by palms. it ended in a low iron gate. They had not noticed the gate before, but now they saw it opened directly onto the beach. Stepping through the gate, they were confronted by the white and blue of ocean and beach in limpid morning light. Bare-chested fishermen were pushing wooden boats into the surf, chanting prayers together for luck. Women in fluorescent knee-high saris walked past in pairs and threes, with fish-baskets on their heads.

From ‘Sleeping on Jupiter
by Anurahda Roy

First, an update: I didn’t go to Yorke Peninsula during my fortnight of annual leave as I’d planned, after all. For a variety of reasons, it was impossible to get there. Instead, I spent some time holidaying along the coast down south. So the view from the steps down to the beach was different from the one I’d anticipated, though it was still a view to revel in.

A view to revel in

I complained recently about my dread of autumn and winter, those months of the year I always think of as the grey months. But my complaints this year were premature. Sometimes in South Australia, in the early weeks of autumn, the wind dies off, giving way to still, sunny days; endless blue skies; cold, clear nights. That’s how it’s been here for the last four weeks. I could not have picked better weather for a holiday by the sea, despite my last-minute change in location.

One afternoon I took a walk heading south along Aldinga Beach, beyond the spot where cars are permitted to drive onto the beach to launch fishing boats. It was one of those days where the horizon — that mysterious line between the sky and the sea — seems almost invisible. A boat glided over the surface, somehow suspended between the two, and the headland in the distance was shrouded in a mist of sea spray. The sea changed colour as I walked, from opaque blue, to glassy blue, and then to silver.

Tyre tracks in the sand
Invisible horizon
Gliding boat
Sea spray shrouding the headland
Opaque blue
Glassy blue
Silver and shining

As I walked, I thought about the words I’ve quoted right at the top of this post. I write about the beach here on my blog as a place, always, of beauty and wonder: a place where I swim and stroll, wander and wonder. But that’s a very Western, privileged, twenty-first-century way of viewing it, isn’t it? The beach in the world Anurahda Roy describes — modern-day India — is another place entirely; and her sea is a different entity. In her world, the sea provides the means for people to strive to make a living, and the making of that living obscures the beautiful view.

I am lucky enough, mostly, not to feel the need to chant a morning prayer for luck, as the fishermen in Roy’s passage do. But if I were the praying type, I would utter a prayer of thanks for the view of the beach I had that day, and for every moment I got to spend by it.

The big ‘I’

Other people’s words about … the view

Sit. Quietly. Turn your awareness to your heart space.

Now imagine you’re sitting on a small wooden bench with yourself. Imagine you’re doing so in that space in the centre of your chest. There you are, sitting to your right, the little nattering humanoid that you are, berating yourself for eating too much at lunch and debating whether to hang the washing out or not. This little nattering self is your little ‘i’. You (the big ‘I’) can watch it all. Yep, there you are, sitting quietly, looking out at a view, over treetops down to an ocean. On your little bench. Together. You’re just hanging, nowhere to go, nothing to do. The two of you …

From ‘First, We Make the Beast Beautiful
by Sarah wilson

It was my friend and fellow blogger, Anne, who first alerted me to the appeal of benches — I mean, real benches, in real life. In her ‘Bench Series‘, she posts photos of benches that she’s snapped from all over the world. I’d never really looked at benches before, except as convenient things to sit on while I rested and took a moment to enjoy the view before me. Now I find myself noticing them (and photographing them) all the time.

The kind of bench Sarah Wilson describes in the passage I’ve quoted above, though, is a metaphorical bench, one that you can only find within yourself. It’s a place where you can sit while you encounter, and learn to accommodate, your two selves: the busy, superficial, language-oriented self that churns out thoughts night and day, and the deeper, quieter, wordless self that lies beneath all the nagging chatter.

The idea of the two selves isn’t unique to Wilson. It’s an idea common to many systems of thought, one we’ve all become more familiar with since the recent popularisation of mindfulness-based practices and therapies. But I particularly like the way she uses the image of sitting on a bench to explain it. It’s a simple, vivid, accessible reminder of how easy it is to get caught up in (and believe) your own thoughts.

A thought, after all, is only that: a thought. It may be true; it may not. Thoughts and the truth exist independently of each other. When I first came across this idea (here), it seemed both counterintuitive and revolutionary to me. I’m still grappling with it.

Wilson again:

And then it might occur to you that your little mate ‘i’ is just that — a little mate sitting next to you. And that this Big ‘I’ is who you really are. It feels deep and close and yet so vast.

Okay, I’ll admit I winced, at first, when I read these words. First, I’m not sure that the quieter self (the one Wilson calls the Big ‘I’) is deep or close or vast — or, indeed, in any way somehow ‘better’ than any other part of our self. I think that it just is.

Second, I was troubled by her use of the phrase little mate both to describe the thinking self, and to distinguish that self from the non-thinking self. I found the phrase overly colloquial, like some kind of condescending attempt to make a difficult concept more user-friendly to her less educated readers. But I have slowly come to feel the opposite way about her wording. The word mate implies friendship: it implies love, acceptance, forgiveness. Also fun. That’s helpful, I think. Why vilify a part of yourself, when you can instead smile and make friends with it?

Wilson uses meditation to find her bench. As you know, I don’t. But I don’t think that matters. What matters is that you know the bench exists — and that you know how to find it, however you get there.

And whether or not your prefer your benches real or whether you prefer them metaphorical, I wish you many sun-dappled, peaceful benches of your own in your life, wherever you happen to be.

Of love and tomatoes

Other people’s words about … tomato sandwiches

I’d asked [my disabled friend] Jessie when a doctor had last looked at her. She couldn’t remember, so [while Jessie was staying with me] I went to my doctor, still Jock Ledingham’s wife, Una, at her practice, which was in their home in Ladbroke Square.

Una listened to me kindly, and then asked if anyone was nursing her. ‘Only me.’ There was an awkward pause, and then I added, hardly audible, ‘And I’m afraid I’m very bad at it.’ Lack of food and sleep made me start crying again.

‘I’m going to make you a tomato sandwich,’ she said. ‘All my family can manage a tomato sandwich whatever they are feeling like.’ She did, and I ate it, and felt much better.

from ‘Slipstream: A Memoir
by Elizabeth Jane Howard (p. 147)

When I was a child, my mother would sometimes make my sister and me tomato rolls for dinner instead of our usual cooked meal. This was a summertime-only ritual — she saved it for those evenings when the air was thick and heavy with heat. My sister and I would have spent the day dipping in and out of the swimming pool, so that our skin and hair reeked of chlorine. We’d come inside and stretch out on the carpet in the living-room at the front of our house, next to an electric fan. We’d read, or watch the cricket on television, or play Lego, or colour in, while the fan blew warm air over us and our hair dripped down our backs, forming great wet circles on our t-shirts. And then, at last, it was dinnertime.

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My mother made her tomato rolls with white bread — the kind that is crusty on the outside and fluffy on the inside. She cut the rolls lengthwise in thirds rather than in halves, and then spread each layer thickly with butter. Over the butter she laid slices of tomato. Then, as a last touch, she seasoned the tomato with salt. (Never pepper. Children hate pepper.)

These were the days before Australians of Anglosaxon heritage knew about things like basil or coriander, ricotta or feta. We had never eaten avocado or garlic or extra virgin olive oil. We didn’t know of the existence of focaccia bread or ciabatta or sourdough. Most people ate margarine in preference to butter, thinking it was a healthier option. And we ate salt with everything — we lived in a hot climate, after all; we needed to replace the salt we’d sweated out during the day. So a tomato roll was just what it sounded like: a tomato roll. Nothing more, nothing less.

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It’s almost forty years since I ate one of my mother’s tomato rolls, and yet when I read Elizabeth Jane Howard’s words above about the curative powers of a tomato sandwich, I was instantly transported back to those simple summer meals my mother made us.

Bread. Butter. Tomatoes. Salt. I still think of this particular combination of food as the ultimate luxury, the greatest treat.

And as a symbol of my mother’s love.

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Snatched phrases (on the sea)

‘[I] stare at the water.
It’s shot with moon, silver leaking all over the surface.’

from ‘Words in Deep Blue
by Cath Crowley

Okay, so I don’t have any photos of the sea in moonlight, because I have as yet to figure out night-time photography.

But the words above reminded me of one of the things I love about the sea, and one of the reasons I so frequently post other people’s words about it, accompanied by my own photos: I love how the sea changes colour, depending on the season, the temperature, the weather, the time of day, the tide. The colours you see below — blue, green, pewter, turquoise, gold, silver — are just some of the many colours of the sea.

You may recognise some of these photos from earlier posts on this blog. Forgive the repetitiveness. That is one of the things about the ocean, I think: the wonder it instils in you, each time you see it, each time you visit it. It repeats itself, over and over.

Snatched phrases (on hope)

‘It’s maybe why her mother took to walking, Tess thinks  as she clambers through thickets of ash, brown kurrajong, weeping fig.
When you’re walking the view shifts and changes.
Walking’s a form of hope.’

from ‘The World Without Us
by Mireille Juchau

When you're walking ...
When you’re walking …
... the view shifts and changes.
… the view shifts and changes.
Walking's a form of hope.
Walking’s a form of hope.