It’s a child’s world, full of separate places. Give me a paper and pencil now and ask me to draw a map of the fields I roamed about when I was small, and I cannot do it. But change the question, and ask me to list what was there and I can fill pages. The wood ants’ nest. The newt pond. The oak covered in marble galls. The birches by the motorway fence with fly agarics at their feet. These things were the waypoints of my world. And other places became magic through happenstance. When I found a huge red underwing moth behind the electricity junction box at the end of my road, that box became a magic place. I needed to check behind it every time I walked past, though nothing was ever there. I’d run to check the place where once I’d caught a grass snake, look up at the tree that one afternoon had held a roosting owl. These places had a magical importance, a pull on me that other places did not, however devoid of life they were in all the visits since.
And now I’m giving Mabel her head, and letting her fly where she wants, I’ve discovered something rather wonderful. She is building a landscape of magical places too. She makes detours to check particular spots in case the rabbit or the pheasant that was there last week might be there again. It is wild superstition, it is an instinctive heuristic of the hunting mind, and it works. She is learning a particular way of navigating the world, and her map is coincident with mine. Memory and love and magic. What happened over the years of my expeditions as a child was a slow transformation of my landscape over time into what naturalists call a local patch, glowing with memory and meaning. Mabel is doing the same. She is making the hill her own. Mine. Ours.
26
The flight of time
IT’S TURNED COLD: cold so that saucers of ice lie in the mud, blank and crazed as antique porcelain. Cold so the hedges are alive with Baltic blackbirds; so cold that each breath hangs like parcelled seafog in the air. The blue sky rings with it, and the bell on Mabel’s tail leg is dimmed with condensation. Cold, cold, cold. My feet crack the ice in the mud as I trudge uphill. And because the squeaks and grinding harmonics of fracturing ice sound to Mabel like a wounded animal, every step I take is met with a convulsive clench of her toes. Where the world isn’t white with frost, it’s striped green and brown in strong sunlight, so the land is particoloured and snapping backwards to dawn and forwards to dusk. The days, now, are a bare six hours long.
It’s my first day out with Mabel for a week. I’ve been interviewing students for my old college. For four days I’ve sat in front of frightened faces, asking them searching questions while trying to put them at ease. It was hard work. It felt like those first days with Mabel all over again. Now the interviews are over, and today I’ve been seduced by the weather. It is such a beautiful, fiery day, burning with ice and fine prospects, that I cannot imagine not being on the hill. I know my hawk is too high. I also know that after four days of enforced rest, she will be wanting to hunt very much indeed. What’s more, I’ve run out of chicks; Mabel has been eating nothing but quail for a week, and it’s made her a hot-tempered, choleric, Hotspur-on-coke, revenge-tragedy-protagonist goshawk. She is full of giddy nowhere-to-go desire. She foots her perch. She gets cross. She jumps in the bath and out again, and then in again. She glares. ‘Feed bloody food but three times a week,’ say the old books. Too much rich food and this is what happens.
Already I can see the mood she’s in, and I suspect if I let her go here, she’ll fly straight to the nearest tree and ignore me. So I take her to the top field. There are no trees up there. If she leaves the fist there’ll be no close perch to fly to – she’ll swing about in mid-air and come back to me. And she does, for a while, but then she starts eyeing the far hedge. I can’t see beyond it. Mabel knows there are pheasants in there; woodpigeons, too, and rabbit-holes along the ditch. She starts that curious autocue parallax-bobbing of her head and makes as if to go. And I let her go. It is stupid of me, but I do.
She flips her wings, glides away and disappears behind the hedge. I am strangely calm. I don’t even run. I amble in a leisurely manner towards it then realise, heart thumping, that I have no idea where she is. The hedge before me is an eight-foot wall of blackthorn needles. It’s impassable. I run up and down looking for passage. There. A gap the size of a porthole between two sturdy branches. I squirm through it, pretending I’m an eel. I’m not. There’s blood on my hands from the thorns on the ground, and the shoulder-strap of my hawking waistcoat hooks around a stubby branch. I’m caught. I try with all my might to keep going. There’s no time to turn and see where it’s snagged. Just brute force to try to release me. The branch snaps, and I ping forwards through the gap to land on my knees and the heels of my hands deep in a wet field of sprouting wheat. Mabel is nowhere to be seen.
I run into the middle of the field and look about. The wheat is pale and rich in the spectacular glare of the winter sun. Downhill is another hedge, and behind that another, and beyond that half an acre of pasture and a pale horse. No Mabel. I stand and listen, hard. No bells. Nothing. I whistle and call. Nothing. I get out the telemetry receiver for the first time. Blip, blip, blip. The signal is strong in all directions. Radiowaves propagate and bounce and confuse. I run around for ages with the aerial trying to get a fix, and eventually conclude that she’s sort of in that direction. I run. Down by the horse field, the ground is still frosted. White dust on hard black earth. Mabel is lost. I feel giddily, terribly alone. It’s not that I am worried about her. She’ll be fine. She’ll rocket around this landscape in high spirits, could live here for years. And just as I think this, a shotgun retort echoes from not far away. Oh Christ, I think. She wouldn’t live long at all. Please don’t let her be shot. Don’t let that noise be someone shooting her. I stand, stricken, and it is then, in the silence that follows the shot, that I hear crows. Angry crows. Thank God. And I follow the noise, and of course, there is Mabel. She’s sitting sun-washed on top of a hedge at the crest of the next hill. She’s blazing with intent. She’s chased something into cover; had seen a pheasant on the next rise and followed it here. I run across the field towards her and peer through the hedge to see where she’s looking. My heart sinks. It’s a jungle of saplings as tall as my shoulders woven together with briars and brambles. Thorns, thorns, thorns. There is no way I can flush the pheasant out of that. She makes little prospecting flights out over the brush, sallies that are slow to the point of stalling, before she returns to her branch, craning her neck behind her. It’s in there, she’s thinking. I can find it. I stand, panting, watching her for a while. We have to leave. This field, and the one beyond it, are not on our land. Even if I could flush that pheasant for her it would be poaching. And we’ve done enough inadvertent poaching to last a lifetime.
I call her. She ignores me. So I wait. And slowly, as the minutes pass, her predatory fire cools. Now she has returned to the world I am in. She can see me again. There, she thinks. And she has a whole quail in her fist. From her sunlit perch she descends to the hand I hold out in the shade of a hedge and I feel a surge of indescribable relief. I start shivering, cold and hot all at once.
The day-book that records White’s long, lost battle with Gos is not simply about his hawk. Underneath it all is history, and sexuality, and childhood, and landscape, and mastery, and medievalism, and war, and teaching and learning and love. All those things were going to be in the book he was writing about the hawk. When the hawk was lost he abandoned the attempt. But not entirely, because the book, in a different form, was still being finished, and the hawk would not be lost for ever.
At the beginning of The Sword in the Stone Sir Ector’s son Kay takes the Wart out hawking. He picks up Cully the goshawk from the castle mews – an unwise thing to do, for the hawk is deep in the moult and wildly out of condition. After a half-hearted sally at a rabbit the hawk takes stand on a high branch and ignores their calls. They follow it from tree to tree, whistling and luring, but the hawk is in no mood to return. Kay flies into a temper and storms home, but the Wart stays with the hawk, because he cannot bear it to be lost. He follows it i
nto the deep wildwood, and there he is afraid.
Reading The Sword in the Stone after reading The Goshawk is a deeply curious thing. You start to confuse which forest is which. One is the tangled wildwood of Arthur’s Britain, a refuge for outlaws, hawks and wicked men. The other is the tangled forest around Stowe. It too is a refuge for outlaws, hawks and wicked men, the place White hoped would give him the freedom to be who he was. Like the forest in Sir Orfeo, the forests of White’s imagination exist in two worlds at once, and it is into these strange, doubled woods that the lost hawk leads the Wart. In following it, the boy is drawn to his destiny, just as White had been drawn to his own by looking for Gos.
Night falls. The Wart sleeps under a tree, and the next morning he comes across a high-gabled stone cottage in a clearing in the wood. Outside it, drawing water from a well, is a tall elderly man with spectacles and a long white beard, wearing a gown splashed with mutes and embroidered with stars and leaves and mystical signs. It is his teacher, Merlyn the magician, and when the Wart walks into his cottage he finds it is a treasury of wonderful things: thousands of books, stuffed birds, live grass snakes in an aquarium, baby badgers, an owl called Archimedes. There is Venetian glass, a set of the Encyclopaedia Britannica, paint-boxes, fossils, a bottle of Mastic varnish, purse-nets and rabbit-wires, a rod-box, salmon flies, and a fox’s mask mounted on the wall. Nearly all of these things were in White’s cottage as he wrote. The book was White’s ‘Kingdom of Grammerie’,1 wrote Sylvia Townsend Warner, ‘where there was room and redress for anything he liked to put in it’. But there is another way of reading this scene, one far less mundane than a writer’s amusement at putting in his book the things around him as he writes: it is that Merlyn’s cottage in the woods is his own.
On White’s shelves were a whole clutch of books on human psychology. He’d read them, underlined passages, made notes in the margins on the pathology of sexual deviance. In Alfred Adler’s Individual Psychology he’d found a whole chapter on homosexuality. It held that the attitude of homosexuals was ‘that of people desirous of interfering with the flight of time’.2 Adler thought homosexuals were irresponsible because they refused to develop into heterosexual adulthood. But interfering with the flight of time? Words once read run deep.
For White was certainly interfering with time. He was turning it backwards. In that green mound of a grave he had achieved invisibility, and after he emerged he felt he ‘had turned St Lucie’s day’, the shortest, darkest day of the year from which the earth rolls back toward spring. He spoke of that time as a rebirth: wrote that life ‘seemed to be creating itself, seemed in the blank walls of chaos to be discovering an opening, or speck of light’.3 In his imagination, the grave was his dissolution. He had lost the war with Gos, and it had killed the man he was. But now, with his apocalyptic, child’s vision of redemption, he saw himself reborn into the world with wisdom. And reborn, too, as a man living backwards in time. I used to think Merlyn was a magnificent literary creation, but now I think of him as a much stranger invention – White’s imagined future self. Merlyn was ‘born at the wrong end of Time’.4 He must ‘live backwards from in front, while surrounded by a lot of people living forwards from behind’. This backwards life is what gives Merlyn his ability to predict the future – for him, it is always his past. In White’s 1941 conclusion to The Once and Future King, published much later as The Book of Merlyn, Arthur awaits his final battle. He is elderly now, tired and despairing, and when Merlyn appears he wonders if the wizard is a dream. Merlyn rebukes him. ‘When I was a third-rate schoolmaster in the twentieth century,’5 he snaps, ‘every single boy I ever met wrote essays for me which ended: Then he woke up.’
Being Merlyn was White’s dream, and it makes The Sword in the Stone not just a work of fiction, but a prophecy. All White must do is stay put, wait four hundred years and the Wart will appear at his door. Merlyn’s cottage, and all the things inside it, are souvenirs of the distant future. ‘I have always been afraid of things,’ White had written. ‘Of being hurt and death.’ But now he was recreating himself as someone who would become – who was already – immortalised in legend.
In the imagination, everything can be restored, everything mended, wounds healed, stories ended. White could not trap his lost hawk, but as Merlyn he does, with a ring of upturned feathers and a fishing line, and brings it in triumph back to the castle with the Wart. And thus White gives himself a new pupil to train: not a hawk, but the boy who will be king. He will educate him in the morality of power, inspire him to found the Round Table, to fight, always, for Right over Might. ‘A good man’s example always does instruct the ignorant and lessens their rage, little by little through the ages, until the spirit of the waters is content,’6 says the grass snake to the king at the end of The Book of Merlyn. For a little boy who stood in front of a toy castle convinced he would be killed, being Merlyn is the best dream of all. He will wait, he will endure, and one day he will be able to stop the awful violence before it ever started.
27
The new world
IT IS CHRISTMAS Eve. Outside my window is an icy tidal river. Everything not fringed with silver and limned lamp-black is white or Prussian blue. Those moving dots are wintering ducks and a loon slides past them on a low, submarine-profile cruise to the sea. Everything is heavy with snow. I’m stuffed to the gills with pancakes and maple bacon and I’m feeling quiet inside, quieter now than at any time since my father died. It is a deep and simple hush. My mother is asleep in the room next door, my brother is home with his in-laws, and Mabel is at Stuart and Mandy’s, three thousand miles away.
Mum and I are spending Christmas in America through the kindness of my friend Erin and his parents Harriet and Jim, who run a bed-and-breakfast inn on the coast of southern Maine. I met Erin years ago when I worked breeding falcons in Wales; a young surfer and falconer, he’d turned up at Carmarthen station looking wildly out of place, like a clean-shaven Cary Elwes in The Princess Bride. He’d been drawn to Britain by dreams of flying falcons, only to be put to work jetwashing aviaries in driving rain. But he survived the gloom, and we became friends. Proper friends. The kind people say you only make once, twice in a life. I’ve visited him many times over the years, and through him I’ve met a crowd of wonderful Mainers. They’re not much like my Cambridge friends. They’re fishermen, hunters, artisans, teachers, innkeepers, guides. They make furniture, decoys, exquisite ceramic pots. They cook, they teach, they fish for lobster, take tourists out to catch striped bass. And most of them hunt.
Hunting in Maine is not obviously riven with centuries of class and privilege. There are no vast pheasant shoots here where bankers vie for the largest bags, no elite grouse moors or exclusive salmon rivers. All the land can be hunted over by virtue of common law, and locals are very proud of this egalitarian tradition. Years ago I read an article in a 1942 edition of Outdoor Life that stirred wartime sentiment by appealing to it. ‘One of my grandfathers came from northern Europe for the single reason that he wanted to live in a country where he could try to catch a fish without sneaking onto some nobleman’s property where the common people were excluded,’ one hunter explained. In fascist Italy and Germany, the article went on, hunting is limited to ‘the owners of estates, their guests, and the high and mighty’. It had to back-pedal slightly, of course, for the same was true in Britain. ‘This is no slap at our courageous ally,’ it explained. ‘But we do not need her system of land management.’1 What’s more, hunting is far more acceptable here than it is in Britain. One of my friends in Maine is Scott McNeff, a wiry and energetic firebrand who runs an ice-cream emporium in summer and spends the winter flying his hawks. He told me that few households in the whole state aren’t touched by the November deer hunt. Even if people don’t hunt deer themselves, everyone knows someone who does, and freezers across Maine are full of home-shot venison packaged and parcelled out for friends and families. People swap hunting stories here the way people swap drinking stories at home.
Scott took u
s hawking yesterday with his male redtailed hawk, a first-year bird called Yoder. He’s a handsome beast: his crown and back are chestnut brown, his underparts milk-glass white, sparsely marked with a gorget of spots and dashes. He’s not as well-armed as a gos; his toes are shorter, thicker, more like fists than Mabel’s armoured pianist’s fingers. He has nothing of a goshawk’s rangy, leopard-like hunch or contagious apprehension. His eyes are dark, his face mild and open. A thick-set, amiable hawk. An unflappable kind of hawk. And he has been borrowed from the wild. Yoder is a passage hawk, one who already knows how to hunt, who has in the weeks since leaving his nest had to learn a hundred different ways of encountering air and rain and wind and quarry, and learn them fast to survive. American falconers are permitted to trap and fly a bird like this over its first winter, and then release it in the spring to return to the wild and breed. Falconers here can do this because they are tested and licensed by the state. It’s a good system. I wish we had it at home.
Scott has the kind of fluid physicality that makes everything he does beautiful to watch. He changes the hawk’s jesses, checks there’s food in the pocket of his battered jacket, and we set out. The ground has a deep crust of snow. Everything is poised as if it might shake itself. There are woods here: thousands upon thousands of acres of white pine, of hemlock, spruce and oak. But that is not where we are going. We walk across what looks like a school playground. Yoder leaves Scott’s fist, flies up onto a children’s playframe. We clamber down a slope behind timber-lapped houses. The hawk follows. The air swallows sound, so that speaking into it your voice stops a foot in front of your face in a cloud of white breath. What are we doing here? I think dully. This is a town.
H Is for Hawk Page 24
