Plot 29

by Allan Jenkins

  1960. Christopher is morphing from an undersized child into a fast-growing boy. The nervous reserve is fading too. He is talking more often, more excitedly. Always out with his fishing rod or digging for bait. I don’t have the stomach for threading anxious ragworm on to a hook. We never eat fish he has caught. He never brings it home. He doesn’t like fish for tea anyway. He is a meat and potato boy. His favourite: Heinz spaghetti on toast. He gradually drifts towards the village. He can more clearly hear its call: the dog whistle of other kids. I see them on the hills, on the horizon, like spotting a fox. Within a few years he is a natural athlete, gifted at sport. He is better at being a boy than me. He is more natural. Cars and bikes, cricket and football; later, beer with bigger lads. Soon after we arrive, Dudley builds us a push cart. He paints it bright yellow and blue. Chris’s freckled face brightens as we tear down the hill behind the house, laughing as we hurtle towards the river, skewing across the tidal road, the wooden handbrake screaming as we mostly avoid the mud. He is gradually healing from his fear. He is gaining height and weight. After a few years of living in Aveton Gifford he is an annoying inch taller than me.

  I am back at the plot and the snails are still rampant on Mary’s patch. I am not sure why. I have cleared a lot of weed and there are few secret places left to hide. Maybe it is just their year. I have sown and re-sown peas and beans but they cull the baby shoots almost every time. Skeletal seedlings lie at the base of the poles. It’s a bean battlefield. I succumb, finally, to buying organic pellets. The biodynamic thought-police would frown but I cannot have thriving crops while Mary’s wigwam is bare. I restock French beans (in three colours: yellow, green and blue) and go up one evening after work. The site is empty, smelling of hay and English summer. Clumps of calendula almost shine through the early gloom. I sow more beans at the base of Mary’s poles and uncover the first stirrings of last week’s seed, sprouts curled like dormice. I replenish the pea sticks and scatter protective pellets. Time is starting to run out. We are a week from the solstice and I won’t be here to help. I am heading to the other magical piece of land in my life, a summerhouse plot on the East Jutland coast, where I plant mostly trees.

  It is always odd leaving the allotment for any length of time. I feel as if I am abandoning it and it won’t understand. It is a recurring irrational feeling (a theme through my life like a name through seaside rock). But it is stronger now, reinforced by my enforced absence over the winter with broken bones.

  The Danish plot is different. It is an echo of Devon. Coastal, even the wide stretch of shallow water and white sand is the same. Here the garden is larger, wilder, more isolated than in London – about 1,500 square metres of sandy loam 300 metres from the sea and a few kilometres from where my 90-year-old Danish mother-in-law lives. Close enough for her to cycle.

  We have had this house and land for 10 years now. It is maybe my safest place.

  Of course, there are many echoes of Dudley, of our house, Herons Reach, of home. They are here in the climate, in the light, in the anxious dragonflies, the blue butterflies, in the flowers: pink campions in summer, pale primroses in spring – the same shy, unassuming flower I used to pick for Lilian on Mothering Sunday. Here in the finches and tits we feed, in the sudden arrival of migrating flocks that stop off to feast on the wild cherry trees, the red-berried rowan. Here in the orange-backed hares that lope through the meadow, the foxes and badgers that leave tracks in the snow. In the brambles that line the beach, conjuring comforting images of late-summer days, picking through hedges with Lilian, packing small churns with berries, my hands and face stained with juice. Perhaps most of all the memories are in making the blackberry and apple pies that Dudley adored with buttery Devon cream (Lilian was not a gifted cook but she could make a good pie). Yet the deepest Devon echoes are in the trees. Dudley loved to plant trees: poplar and laburnum to line the new drive to the house, Japanese cherry for the autumn-colouring leaf I liked to press between pages of my exercise book; apple (Cox’s Orange Pippin for eating, Bramley for cooking), Conference pears and Victoria plums. When I was about seven he planted 200 six-inch Christmas trees it was my job to look after, to trim the choking grass. This was my least favourite chore, worse even than raking the acres of endless lawn. The tiny trees were fiddly, with no hiding place if the shears skipped and a stem was severed. Christopher escaped this because he chopped too many trees. Smart like a fox, my brother.

  Perhaps in honour of Dudley, though it is never as explicit as this implies, I grow mostly trees here on Ahl – a few old Danish varieties of apple and plum, three espalier pears, red and blackcurrant bushes, with pine, fir, larch, birch and beech. They are chosen to fit in with the area, a peninsula of old plantations with wooden summerhouses dotted through. When we first found the house, we had to cut down senile trees that surrounded the plot. We chopped them with the help of our neighbours, the same neighbours who gave up weekends to build a shed for the wood they helped saw and split for the stove; the same neighbours who light our morning fire in winter before we arrive. Solitude plus community, the constant I search for, the same as the allotment, an echo of a Devon village life that no longer exists and to which I never belonged.

  As with the allotment, I lie wondering about the plot when I am not there, suffering the same wrench when I leave. I sow tulip bulbs in the border in winter with only a slight chance I will see them bloom. The appeal lies in knowing they are part of a dialogue with their surroundings. I am happy if my visits coincide with flowering but I don’t have to be here at the time. Finding the spent flowers, petals fallen, their colours faded, is enough. Like the allotment, it is the growing that is the thing. Although I take childish delight in seeing the larch shoot up, reach for the sky, I know I most likely won’t see it at its majestic best as a mature tree. But someone will, maybe a small boy as he swings on it or plays in the summer grass. In the meantime I mow, and occasionally remember Dudley carving lawn and meadow and orchard out of field and Devon hill, his beret on (like him, perhaps, a relic from wartime), his neatly trimmed military moustache (ditto), his tightly belted corduroy trousers, grass-green stains on his shoes, and I watch and wait.

  I see the larch outstrip the three new birch while its sister tree picks up sunlight and shadow in the other corner. I watch the new, soft green shoots from the saplings bought from an ad in the local paper. I sometimes move the small trees around in the plot until they find their spot and settle. I watch the wild rugosa rose take and spread. The local authority has a love-hate relationship with the sprawling, fragrant flower banks that line the length of the beach, razing them to the ground every year. They are Russian, they say, though the beach has had the roses as long as anyone remembers. The Danes have a conflicted relationship with invasive outsiders, though I, of course, root for the rugosa.

  I watch the shy redshanks flutter and feed on ants in the evening. The male calls his morning warning as I pass the bird box they return to every year (I turn left, walking the long way around the house so as not to upset them). I observe the spotted woodpecker train its fledgling in feeding while a tit craftily creeps up behind them in case they miss anything. I listen to the blackbirds as the male sings from the highest branch of the tallest birch and as pairs patrol the lawn, puffed up and important. With these too, I avoid the woodshed when they nest there, a nuisance on cooler Nordic mornings if I want to light a fire.

  I admire the starburst of wildflowers on the south side of the house: one year a swooning bank of scarlet poppies, the next year ox-eye daisy, then nothing. I obsessively buy and scatter wild meadow seed to little or no effect. I plant new banks of beech to replace some of the seclusion lost when the tree surgeon ran rampant through the plot. I move the Reine Claude plum to see if it is happier in a slightly shadier spot. Mostly though I train my eye to see the small changes since my last visit: the jewel-coloured beetles, the frogs, the trefoil, the shy hepatica flower, as I lie in the dew for a closer look on my ritual morning walkabout. Everything here is geared towards sp
ring and summer, to the new leaf that shuts out the neighbouring plots, pushes them away, electric green walls if you will, infested with teeming new life, the all-day dawn chorus.

  SUNDAY MORNING, LATE JUNE. I am on the first bus, my travelling companions the domestic workers heading to Hampstead, to the larger London homes they clean and care for. I haven’t been here for a fortnight and am keen to see the allotment and if the emergency bean sowing has worked. I have missed this place. My heart lifts when I arrive. Mary’s bean poles have eager vines on every stick. Her summer plot is saved. OK, tap-rooted thistles are thriving, there is an explosion of weed, many of the peas and broad beans are blown and fallen over, some seed has failed to germinate, but nothing that can’t be fixed by a day or two of hand-hoeing. Suddenly, a flash of rust, a glimpse of white on a scurrying tail as a fox darts across my path. My first sighting this summer. A good omen. Maybe omens are a country-kid thing but maybe also the plot will forgive me for my broken leg and absence. I sow saved red tagetes seed and get to work. A break for breakfast at home, a couple of hours for Sunday papers and back to tidy the potatoes. They are close to cropping now. The chard is heavy-leafed and luxuriant. I hoe every row and re-stake the peas in a downpour. I like giving in to gardening in rain. It closes off the outside, focuses your attention. Just you and the job: a meditation of hand and hoe. A moment of connection. I tie the peas and think of a friend who mails me seed. I send him an eclectic collection, saved and shared from around the world, he sends me Basque peas and intense, small tomatoes because they speak of him and his region. The peas are to be picked young, and sometimes when I eat them I remember Ferran Adrià’s El Bulli, and I remember Lilian.

  2011. It is one of the last nights before the closing of the best restaurant in the world. Dom Perignon has flown in 50 guests by private jet: serious wine investors, Silicon Valley billionaires, film stars, their boyfriends, another food writer and me. We are helicoptered into the beach like a scene from Apocalypse Now. We eat 50 small dishes – eggs fashioned from gorgonzola cheese, small, gamy squares of hare, sea cucumber filaments, rose petal wontons and peas. Excited conversation and Dom Perignon ’73 flow. I am sitting at a table of high-powered dignitaries when, deep into the meal, a wave hits me. The room and noise fade a little, a shard of emotion breaks free and I notice my face is wet. I am quietly crying. Ferran Adrià’s peas have burst in my mouth like memories. I’m no longer sitting opposite Roller Girl from Boogie Nights, I am aged maybe six, in shorts and stripy top, on the pink porch of our Devon house. Lilian is there with me, in her yellow patterned summer dress with blue butterfly-wing brooch, sitting, smiling, patiently podding peas into her dented aluminium colander. And as I pick up a pod and help her, I know this is what safety will forever taste like: garden peas freshly picked from the lap of your new mum.

  July

  The broad beans are almost gone now, just a half dozen or so spring-sown Crimson-Flowering from Mads McKeever at Brown Envelope Seed in Cork. I came across this old variety – and Brown Envelope – early in 2007 with the arrival of the Seed Ambassadors. Andrew Still and his wife Sarah are seed hunters from Oregon, where many obsessive plant breeders are based. Andrew’s passion is for kale, and the pair were on a European tour starting deep in Siberia and ending with Mads on the west coast of Ireland. With Andrew and Sarah came stories. They arrived at the plot on a cold winter morning with packages: from Tim Peters of Peace Seeds, breeder of Gulag Star, a winter salad cross between Russo-Siberian kales and mustards; our first Flashback Calendula. I learned that day of Trail of Tears beans, named from the winter of 1838 when Cherokee were forced from their farms in the Carolinas and marched to Oklahoma in the Indian Territory. First offered through the American Seed Savers Exchange in 1977 by a ‘Cherokee descendent, gardener, seed preservationist, circus owner, and dentist’, Dr John Wyche, the beans can now be shared and bought from heirloom growers. I save the seed and still grow the crops Andrew and Sarah gave us. This year, Trail of Tears have made their way on to a couple of Mary’s poles to supplement the beans that had been struggling to survive.

  The pellets and sun have done their work, the wigwam will thrive this time. I weed around the base, careful not to disturb the geraniums Mary has planted there. Elsewhere, there are ominous signs of smothering bindweed breaking through, but Mary has been clearing another small winter bed. I thin out calendula now rampant on both parts of the plot, the flowers sitting brightly by this screen as I write in the early morning. It is glorious high summer, time to garden with a hat and with the sun on your back, time to harvest lettuces, peas and radishes for home, almost time to sow spinach. But the solstice passed a few weeks ago now, the days are warmer but the nights are a little longer. It’s time to begin to plan and plant for winter.

  Summer for me is saturated in early memories of Herons Reach, the house on the riverbank that Lilian and Dudley bought to bring up the boys. When I talk of those days, my early life, it is often of ‘the boy’ (or boys) and what happened to him (or them). I rarely use me or we. It might be to do with confusion or creating a protective distance. I notice other people with a similar background do the same. It might be to do with shedding identity, like the ethereal adder skins I used to find in the Aveton Gifford churchyard. It might be about naming. Mum and Dad didn’t like the name Alan, so quickly chose to call me Peter, my middle name, instead. And after a probationary period – I must have passed a test – I was given Drabble (Christopher resisted and stubbornly stuck with Jenkins, a schism between us). Now that we were safe, they thought we could be safely separated.

  Scared city child Alan Jenkins was fading, at least for now. Bright-eyed, blond-haired village boy Peter Drabble was cocooning, being born.

  As we played, the house too was being expanded, refashioned and renamed. North Efford (north of the ford), a farm labourer’s cottage was metamorphosing into Herons Reach. An extension was added, light was let in, the exterior given a new coat of pink render; rust-red Virginia creeper was trained up its side. That long, happy summer, the first deeply etched into my memory, Dudley waved his phoenix wand, knocking through for French windows, buying the large field behind the house, laying in a drive, the foundations for a lawn, a croft. He planted more trees. Like me, the house was shrugging off its darker past. There was sweet strawberry jam being made in the kitchen, the sound of boys, a cricket bat on ball in the garden, plums and apples were coming in the orchard. Dudley was carving out a home fit for his new family.

  While the work was done, we lived in a caravan. It was light, had a breakfast bar and drop-down beds, though we were never inside except to sleep. Christopher would play cricket or football, while I would climb trees and explore the river, catching eels and sticklebacks and putting them in jars until they died.

  We had different hair, different eyes, a different smile. He had hazel eyes I almost envied, reddish hair I liked, freckles I wanted, though not the burning in the sun. He was slight while I was heavy, his grin was wider, though mine came more easily.

  My favourite photo of Christopher is from that idyllic summer of ’59. He is sitting in the doorway of the caravan with a proud-looking Dudley holding him. Christopher is happy – his tic is slowly disappearing. He is being hugged. He is being loved.

  The open smile would slowly disappear. His bright, tumbling chatter would go quiet. He would withdraw back into himself, if not quite yet.

  JULY 4. We have fruit on all the tomato plants, about a dozen or so, growing in pots on the roof terrace. Ironic they are there, because it is through tomato seed I found Plot 29. It is July 2006, I am editor of a national newspaper Sunday magazine, juggling million-plus budgets, million-plus readership, 20-plus staff. My day is spent dealing with photographers, writers, agents, celebrities and fashion designers with delicate egos. But all I can think of is how my tomato seedlings are faring when the weather changes. How will they cope with the cold or heat? My next Observer Magazine cover can wait. I am haunted by helpless plants. For the first time in 20 years, my w
ork has a rival. I feel as if I’m needed elsewhere.

  I am not alone. There are a few of us on the magazine currently obsessed. We swap small plants and compare their size. We talk of little else.

  I have had a roof terrace at home in Kentish Town for years now where I grow flowers and plants in pots. I am married to a modernist architect who likes clean lines, neat rows of seeding grasses and palms. Every year we compromise on a few geraniums – a hangover from my first teenage job in London at a Kensington garden centre. But the haphazard trays of tomatoes are becoming an issue. Where are they all going to go?

  It may be only at work that my obsession is understood. The Observer Magazine tomato growers have become competitive. Someone brings their tall seedlings in to show off. We share tomato photographs. And then it hits me: we need a space to grow. Maybe we could sow together, write together, design together, work outside the office. There would be a different dynamic. No one would be the editor, we would create a utopian ideal. We would, I think, grow tomato plants in harmony, like the Diggers or a Sixties collective. I was getting ahead of myself.

  We consider guerrilla gardening, transforming urban space. We contact councils to see if they have unused land on a housing estate that would benefit from a few flower and vegetable beds. We ask if there is an empty allotment we could take for a while. Then we find Mary’s sister, Hilary, Camden Council’s allotment officer, and Branch Hill comes into my life.