GODS OF THE MORNING
‘I love this book. It quickens the heart with hope and wrests real beauty from keen observations of the natural world. If only we could all be as attentive to the life around us as John Lister-Kaye. No one writes more movingly, or with such transporting poetic skill, about encounters with wild creatures. Its pages course with sympathy, humility, and wisdom’
Helen Macdonald, author of H is for Hawk
‘Gods of the Morning is an exquisitely observed account of a year in the life of a Scottish glen, backed by a deep understanding gleaned through decades of study by a working naturalist, and homing in on the struggle the local wildlife is facing in coping with weather patterns that have become more and more unpredictable’
Neil Ansell, author of Deep Country
‘The spirit of nature holds many unknowns, mysteries and magic. John Lister-Kaye questions these unknowns with perfectly crafted words, delving so deep that you can almost feel nature’s pulse’
Colin Elford, author of A Year in the Woods
‘Gods of the Morning is an extraordinary, beautiful and honest book by a writer of profound personal and scientific knowledge. Few books urge me to read them again but this is one of them’
Virginia McKenna
‘John Lister-Kaye is a rare species – a respected naturalist and a consummate wordsmith. Whether in person or on the printed page, there is no one I would rather choose to guide me through the glens in search of Scotland’s wildlife’
Brian Jackman
‘John Lister-Kaye is one of the most joyful, inspirational naturalists I know’
Kate Humble
‘Gods of the Morning is a rich treasury of secrets stolen from the Highlands, seen through the eyes of a great naturalist’
Chris Packham
Also by John Lister-Kaye
The White Island (1972)
The Seeing Eye (1979)
Seal Cull (1979)
Ill Fares the Land (1994)
One for Sorrow (1994)
Song of the Rolling Earth (2003)
Nature’s Child (2004)
At the Water’s Edge (2010)
GODS
OF THE
MORNING
A Bird’s Eye View of a
Highland Year
JOHN LISTER-KAYE
CANONGATE
Edinburgh · London
Published in Great Britain in 2015 by Canongate Books Ltd, 14 High Street, Edinburgh EH1 1TE
www.canongate.tv
This digital edition first published in 2015 by Canongate Books
Copyright © John Lister-Kaye, 2015
The moral right of the author has been asserted
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available on
request from the British Library
ISBN 978 1 78211 415 4
eISBN 978 1 78211 416 1
Every effort has been made to trace copyright holders and obtain their permission for the use of copyright material. The publisher apologises for any errors or omissions and would be grateful if notified of any corrections that should be incorporated in future reprints or editions of this book.
Ted Hughes extracts on p.43 ‘Crow’s Theology’ & p.50 ‘Crow’s Nerve Fails’ from Crow, p.68 ‘The Thought-Fox’ from The Hawk in the Rain, p.176 ‘Deceptions’ & p.191 ‘March Morning Unlike Others’ from Season Songs. All reprinted by permission of Faber and Faber Ltd; p.120 & p.152 J. A. Baker, The Peregrine. Reprinted by permission of HarperCollins Publishers Ltd © 1967, J. A. Baker; p.158 From Nature Cure by Richard Mabey. Published by Vintage. Reprinted by permission of The Random House Group; p.203 Scott Weidensaul Living on the Wind, North Point Press, reproduced with permission of Palgrave Macmillan; Edwin Way Teale Circle of the Seasons. Works by Edwin Way Teale are copyrighted by the University of Connecticut Libraries. Used with permission; p.215 Extract from Richard Ryan’s ‘The Thrush’s Nest’ by permission of the author, from Ledges (published by Dolmen Press, Dublin, Oxford University Press, London, Humanities Press, New York, 1970); p.249 From ‘Natural History’ © 1930 E. B. White. Used by Permission. All Rights Reserved; p.261 From Crow Country by Mark Cocker. Published by Jonathan Cape. Reprinted by permission of The Random House Group Ltd; David Wheatley ‘The Pine Marten’, by kind permission of the author c/o The Gallery Press; p.279 From The Man Made of Words © 1998 by Scott Momaday. Reprinted by permission of St. Martin’s Press. All rights reserved.
For
Arthur Williamson
with love
‘Let us haste to the cool fields, as the gods of the morning begin to rise, while the day is young, while the grass is hoar, and the dew on the tender blade most sweet to the cattle.’
Georgics 3 324 ff – Virgil
Contents
Preface
1 Blackcap
2 That Time of Year
3 So Great a Cloud of Witnesses
4 And Then There Were Rooks
5 Prints in the Snow
6 A Swan for Christmas
7 The Day the Sun Stands Still
8 The Gods of High Places
9 A Dog’s Life
10 The Memory of Owls
11 The Long Wait
12 The Sun’s Rough Kiss
13 Buzzard
14 Comings and Goings
15 Nesting
16 Summer Night
17 A Day of Spiders
18 Gods of the Morning
19 Arthur and the Treecreeper
Acknowledgements
Preface
In all its incalculable ramifications and contradictions, nature is my love, and its study and interpretation – natural history – have been my life and my work for half a century. How many people, I often wonder, can indulge their private passion in their everyday job? I don’t have to be told how lucky I am. But it doesn’t end there. For more than forty years I have lived and worked surrounded by mountain scenery that can still stop me in my tracks, and by some of the most highly specialised wildlife to grace Britain’s wild places. How many people in Britain today ever get to see a golden eagle?
In 1976 I set up a field studies centre here at Aigas, an ancient site in a glen in the northern central Highlands – it was Scotland’s first. It is a place cradled by the hills above Strathglass, an eyrie looking out over the narrow floodplain of the Beauly River. Aigas is also my home. We are blessed with an exceptionally diverse landscape of rivers, marshes and wet meadows, hill grazings, forests and birch woods, high moors and lochs, all set against the often snow-capped four-thousand-foot Affric Mountains to the west. Golden eagles drift high overhead, the petulant shrieks of peregrines echo from the rock walls of the Aigas gorge, ospreys hover and crash into the loch, levering themselves out again with a trout squirming in their talons’ fearsome grip. Red squirrels peek round the scaly, rufous trunks of Scots pines, and, given a sliver of a chance, pine martens would cause mayhem in the hen run. At night roe deer tiptoe through the gardens, and in autumn red deer stags surround us, belling their guttural challenges to the hills. Yes, we count our blessings to be able to live and work in such an elating and inspiring corner of Britain’s crowded isle.
Yet, for me, the real joy and sometimes the pain of living in the same place for all these decades is that I have come to know it at a level of intimacy few can achieve, and as a result the Aigas place has infiltrated my soul. Of course, in that time I have witnessed disasters as well as triumphs. We have lived through insensitive developments and land-use practices that have been profoundly damaging to the essential wildness of the glen and its wildlife. But we have also witnessed the return of the osprey and the red kite, and the pine martens have recovered from being
one of Britain’s rarest mammals when I first moved here to being locally common and a regular feature of our lives.
Birds have been at the heart of my work and my life. So much more visible than most mammals, they are my gods of the morning, lifting our days with song and character. But they have also been important thermometers of environmental health and change – not always a happy story. Like so many other places, we have lost our moorland waders: curlew, lapwing, greenshank and redshank all nested on our moors and rough pasture thirty years ago – none now – and the quartering hen harriers and short-eared owls have vanished with them. Even the oystercatchers, whose exuberant pipings used to be the harbingers of spring, have gone from the river.
Whether these dramatic shifts in wildlife fortune have been brought about by climate change alone, or whether the various seismic shifts in agriculture and forestry policy we have lived through have changed the nature of the land, or whether some more insidious cause lies hidden is very hard to guess at, far less to know. It could be, of course, that, as is so often the case in ecology, the combined impact of several factors colliding at once has made survival so unpredictable for so many species.
I am wary of blaming climate change for everything. In my opinion it has become a touch too glib an explanation for too many aberrations in long-established wildlife patterns, such as the arrival and departure of migratory birds; a convenient get-out for those who are not prepared to admit that relentless human pressure on the globe and its natural resources has always brought about the extinction of species and the destruction of their habitats. That is what humankind has always done. But I cannot deny that in the last few years it would appear that the pace of climate change has accelerated and we have entered a period of total weather unpredictability.
We have no idea from one year to the next whether the summer will be hot and dry or dismally cold and wet; whether winters will be absurdly mild or gripped by snow and ice, or what extremes of heat or chill we can expect. We can no longer predict how successful our common breeding birds will be – the swallows didn’t bother to nest in 2012 – and we aren’t the only ones kept guessing and bewildered. Some wildlife can adapt quickly; others fail and disappear, with us at one minute and gone the next.
This is a book of encounters, observations and speculations based on what I have witnessed around me in my time. It attempts to explore how some of those changes have affected our common and not-so-common birds, their breeding successes and failures, their migratory arrivals and departures, their interactions with us and their populations around us. In the way that they respond quickly to shifts in climate and human behaviour, birds are also important and visible monitors of the success and failure of other wildlife, especially invertebrates. We dismiss or ignore these signals at our peril.
This book also focuses on some of our special Highland wildlife, mammals as well as birds, as perceived every day through the shifting seasons of a year by a working naturalist, perpetually looking, listening, watching, probing and taking notes, or, as my wife, Lucy, would say, with a shake of the head and a sigh of long-sufferance, ‘totally distracted’.
I have no answers. I am as bewildered by what appears to be happening as anyone else, although I am suspicious that man’s addiction to fossil fuels and our obsessive rush for wealth at any cost during and since the Industrial Revolution may have accelerated and possibly caused the systemic instability in our global weather systems, which may yet prove to be our nemesis. Yet living and working closely with wildlife, and birds in particular, has enabled me to witness some direct effects and thereby share some experiences and pose some questions of my own.
1
Blackcap
Sitting calmly, embowered in thick foliage, he pours forth, without effort, a delightful flow of soft and pleasing melody; then suddenly elevating his voice, he warbles aloud a cheering, liquid strain, which, at least in these islands, is unrivalled.
The British Cyclopaedia of Arts, Sciences, History, Geography,
Literature, Natural History and Biography,
Charles F. Partington (ed.), 1838
Autumn already! So why dismiss the everlasting sun, if we are sworn to search for divine brightness – far from those who die as seasons spin . . .
‘Farewell’, Arthur Rimbaud
Yesterday a small bird flew into my study window and died instantly. The soft thud, barely audible, lifted my head as I sat at my desk in the afternoon sunshine. It was loud enough for me to know that it was a bird and that it had meant almost certain death. I tried to return to my work, but couldn’t. My spirit plunged.
These deaths occur far too often. We have tried hanging CDs in front of the windows, sticking hawk silhouettes to the panes, moving bird tables and feeders away from windows, but to little avail. Every year a toll of winged victims falls to window strike: tits, sparrows, chaffinches, siskins, greenfinches – even, occasionally, the heavier dunt of a blackbird or a thrush shatters my concentration and brings me, sighing, to my feet.
A few years ago a collared dove powered into the glass. Its neck snapped instantly, and the force of the strike flattened the whole bird against the pane, head, breast, wings outstretched, so that a pale ghost was left imprinted on the window in the oily bloom from its feathers. I left it there for weeks, hoping it might deter others.
They see the sky reflected in the glass and fly joyously at its illusion of freedom. They’re heading out: that’s why they’re flying so fast, so purposefully and so fatally. Occasionally, after a spell of dazed concussion, a bird recovers and flies uncertainly away to a bush or a tree, but all too often I have held them in the palm of my hand and felt the tiny heart flutter to a halt; far too often, I’ve watched the eyes mist in a slow, final eclipse.
So, yesterday I rose from my desk and went outside. The tiny form lay directly below the window, like a small grey leaf. I bent to pick it up and found that it was a blackcap, a male blackcap, the little Sylviid warbler that graces our gardens every spring and summer with a cascade of song, haunting in its tender melancholy, as melodious as a flute and as rich as plum cake.
It shouldn’t have mattered what it was. Is not a sparrow’s life equal to that of a blackcap? (‘Are not two sparrows sold for a farthing . . .?’) A siskin equal to a blue tit, a greenfinch to a chaffinch? But it did. I have revered that song ever since blackcaps first arrived here in our northern Highland glen some twenty-five years ago. Back then they were exciting new arrivals, southern birds we didn’t expect to see or hear in the Highlands at all. But something was permitting them to colonise new ground; some shift in climate or food supply gave them a new niche they were quick to grab. We came to know them as summer visitors slowly edging their way north, year on year, until finally they were no longer unusual.
They became a seasonal norm, belonging here, warbling ecstatically from every clump of brambles or willow thicket, a virtuoso exhortation to the songscape that awards passion to our spring and splashes musical glamour on the dull face of our summer. And they changed me. I came to long for their arrival every May and mourned their sudden absence every autumn. Without my realising it, blackcaps had warbled their way through my auditory meatus like a drug, imprinting on my subconscious so that I dreamed of them at night and awoke to their song in the dawn.
Sometimes if I stood still in the garden I would catch sight of one flitting nervously from branch to branch, hawking invisible insects high in a sycamore canopy or deep in a thicket. Through binoculars I could tell the sexes apart: the male with his little black kippah and the female’s in rusty red. They became real companions, like trusted neighbours you would always cross the garden to chat to. And always that refrain brought a smile to my face; sun or rain they made me happy to be out there, sharing my life with such exuberant songsters.
To hold this one dead in my hand, limp and still hot, summarily silenced, its eyes shut and slender bill clenched, seemed to me yesterday to be a tragedy greater than normal – if one can detach sufficiently to acce
pt the death of garden birds as normal. I felt empty, hollowed out by an overpowering sense of injustice.
Then I realised it was September. I’d thought they had gone. The song had stopped a few weeks back. For several mornings I had stood at my open bedroom window staring out at the dawn, waiting for the blessed refrain to burst. All I’d got was a robin, ‘the first god of the morning’. I love robins too – and, for heaven’s sake, they do their best. They stay with us all year and keep going, always first at dawn and last at night, come frost or snow, driving sleet or bright blue sky. I do not mean to slight them. But for me they are outclassed by this little warbler – a morning deity if ever there was one – that some consider a rival for the nightingale.
I looked closer at the tiny corpse in my hand. Was it adult, or a youngster? A late fledgling that never made it to migration? I opened a fawn wing, blew gently up the breast feathers to see if there was the slightest hint of down. No clue. I knew only that it appeared to be a fully grown male, its cap as dark and glossy as liquorice. Yet in its death it had taught me something new. Blackcaps stop singing some weeks before they depart. And, as is the coda for all natural-history study, its death posed more questions than answers.
Was it young or old? Had it done its work? Had it mated and raised a brood, multiplied itself, fired the blackcap future with its warbling genes? If so, would its offspring return to our patch, snatch aphids from our aspens, bugs from our brambles, sip sugars from our wild fruits? Questions I couldn’t answer. I could only hope that this tiny, untimely death was not entirely in vain, that good would somehow come of it.
When we were children, with an irony wholly unimagined, we buried such corpses with ponderous funereal ceremony and erected little crosses to mark the passing of our pet mice or guinea pigs, birds like this one or fledgling orphans we had failed to raise. We were sublimely unaware that we were completing the cycle of all living things, of returning nutrients to the earth whence they came. I took the blackcap to a spiky and impenetrable Pyracantha thicket and tossed it gently in. Just the sort of place it might have chosen for itself.
Gods of the Morning Page 1
