Undrawn

It was a delight to have drawing paper. Sometimes Dad would bring home from work sheets that had been printed on one side, presumably packing notes for equipment received. The paper was cream, cartridge quality, very different from the flimsy 80 gsm paper now found in packages. Sometimes, drawing books would come as gifts at Christmas, they would have been particularly cherished.

More often Christmas gifts would be the sort of book that contained printed line drawings where all that was required was a paintbrush and water to reveal the colours with which the pages had been impregnated. Too much water applied at one time to a page would simply have resulted in the colours all running into each other. In memory the drawings whose colours would be revealed by the application of water were of jungle animals, or the sort of creatures we imagined inhabited jungles. One Christmas, there came a “jungle” scene printed on heavy card and felt tipped pens with which to colour the animal outlines. The colouring set came with a printed master drawing showing how the animals should appear. No-one seemed to have thought it misleading to show lions, elephants and giraffes in a jungle, or that a tiger would have been unlikely companion for the plains dwellers.

Street was the nearest town, but Saturday shopping trips were usually to Taunton, Yeovil or Bridgwater. Visits to Street offered the opportunity to go to the toy shop that was there. One Saturday, pocket money was spent on two small notepads. All that would be required would be a black pen and excellent sketches would follow.

Standing at the landing window at the back of our house, a memory remains clear. There were sheep in the field across the lane from the house and a picture of sheep in a field seemed a perfect opportunity to practice artistic skills. The figures that appeared on the page bore no resemblance to the Southdown ewes that grazed peacefully on the spring grass. The drawings looked like the efforts of a pupil just starting at primary school.

Tearing the page of the very badly drawn sheep from the book, I decided that my talents perhaps lay in drawing something else. Living deep within a rural community, there was an abundance of bird life in the garden. Unfortunately, the birds that appeared in the notebook looked nothing like those enjoying the spring day outside.

It was an instructive afternoon, teaching me that my best contribution to art would always to be to leave things undrawn.

 

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The beauty of field sports

Our village was not hunting country. An old farmer who rode to hounds in his younger days once said our area was one where the country of two hunts met. One of the two hunts was to the east of the county, toward the Wiltshire border, the other was to the south, bounding on Dorset. It seemed to me, that neither of them hunted in our vicinity. Only once in childhood can I remember seeing black jacketed riders on the village roads.

A brief look at a map would offer one reason for the absence of horse and hound hunting. The hill on which our village stands is surrounded by low lying moorland, marshy, peat land drained by a vast network of ditches and rhynes, a landscape without the trees and hedgerows that might have formed coverts for foxes. The countryside around the village might have been suitable for hunting, had it not been barred by the farmers. The fields were the winter grazing for livestock brought up from the moors. To have allowed forty or fifty riders to have galloped across the grass would have turned it into tracts of mud; the hounds would have been troublesome to sheep in lamb and to cows in calf. Farming is a hard-headed business – allowing traditions to continue doesn’t pay the bills.

If not hunting country, the area was one for shooting and fishing, both of which continue.

Shotguns were used for shooting. The word always seemed too prosaic for the weapon – a shotgun was a piece of craftsmanship, the smooth chestnut wood of the stock and deep blackness of the barrels. There was a gunmaker’s shop in Langport, the shotguns displayed in the window commanded large prices. Even cartridges had an attractiveness of their own, the bright orange cardboard and the shiny brass caps. In retrospect, the colour was probably functional, empty cartridges that had been dropped to the floor could quickly be retrieved.

Fishing was the most aesthetic of the field sports. Before the advent of plastic and carbon fibre and all the other materials now used, there was a handicraft in the making of fishing tackle. Rods were light, made with split cane, cork handles and metal ferrules. Floats and lures were often hand-made: fishing publications would often have instructions on how to make your own. Reels were simple devices without the sophistication of their present-day successors. It wasn’t just that tackle that provided the aesthetic content, it was the location; there seemed few places more attractive or tranquil than a pitch on a river bank on a fine evening.

Not once in my life have I ever hit anything with a shotgun, nor do I recall ever catching a fish in a river. It was never the prey that mattered, it was the experience, aural, visual, tactile.

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Shooting along

In the course of an afternoon, an entire war might have been fought, or at least a campaign. The British may have evacuated from Dunkirk, or landed in Normandy. (It was always the British, a veteran of the Normandy Landings lived on our road, we had no need of American versions of our history).

We would invent ranks for ourselves, I always chose that of lieutenant; my friend was always a captain (his father had been an officer in the Gloucestershire Regiment, his big Webley service revolver still sat in the top drawer of a chest on the landing). Being of an inferior rank never worried me, I would maintain that I was serving in a Royal Marines Commando and was therefore not subject to the command of an army officer, taking orders only from my own superior officer.

The battles we remembered were no more than a generation ago, no more distant than the 1990s are for children today. British armed forces were still a prominent feature of daily life; each Sunday there was even a radio request programme for families parted by military service. Convoys of green, canvas-roofed lorries were still a familiar sight, young soldiers staring out over the tail gate. Naval fighter jets still flew low over the countryside, sometimes at supersonic speed, the sonic boom being sufficient to cause saucepans hung on hooks on the kitchen wall to become displaced and to fall to the floor.

Perhaps the games we played were a reflection of our own reality, our own attempt at capturing the spirit of the storyteller.

Gun battles fought by small boys out for the afternoon seem infrequent now. Sons among the families who are out taking their permitted daily exercise seem mostly passive. Bicycles create a sense of animation, otherwise most boys walk along quietly. Gun battles fought while running from cover to cover, shouts of “charge,” falls to the ground to evade sniper fire, hand to hand combat with an imagined enemy, these are not regular features of boys’ behaviour.

Perhaps it would be ideal if the world inhabited by primary school boys in the 2020s was to be a place where imaginings of violence and war no longer have a part, however, anyone who has seen the computer games now played will know that such an ideal is a far remove from reality. The virtual reality, the online conflicts, the games that are killing, killing and killing, are far more bloody than sticks and shouts on a sunny afternoon.

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What would my aunt do?

My aunt has been “shielded.” Being a sprightly eighty year old is not a sufficient weight to counter the fact that she suffered cancer last year and is now deemed to be vulnerable.

Her daily drive to collect her newspaper is no longer permissible. Her bus journeys to Taunton are definitely excluded. Living on a farm, among brothers, nephews and grand nephews, there is no cause for concern about her shopping, or anything else that might be needed, but what would my aunt do with her time? As someone who has always been methodical, meticulous, and, above all, industrious, how would my aunt pass all the hours that would now need to be filled?

At a loose end, (there are many such moments at the present), I took a Google Street View drive down the road past her house, then I turned around and went up the road past her house. There was something I had never noticed.

Narrow, with a bend above the farm, and a speed limit of sixty miles per hour, the road that passes the farm has fast moving traffic which appears without warning. No-one parks on the road, visits to the farm always mean driving into the farmyard and going in though the back door of the farmhouse. A stone wall encloses the front garden, making the garden invisible to anyone driving through the entrance between the farmhouse and the cottage next door. The road and the walls meant I had never noticed my aunt’s garden.

The garden is a picture of park-like perfection, neatly manicured lawns, tidily trimmed shrubs, borders filled with colourful flowers. In childhood, one of my favourite memories was of my aunt using and old kitchen knife to clear weeds from between the stone flags that formed the front path, that level of care has obviously continued through the past fifty years.

Locked down by the virus, watching the days come and go, there was a moment of encouragement, a sense of life being enhanced, a sense of determination being affirmed in knowing where my aunt will be spending these warm April afternoons. A grand nephew mows the lawns, but she will be busy with her hoe and clippers, weeding and tidying, as she has done since her own childhood.

When the restrictions are lifted and freedom returns, there will be a moment to call with my aunt and to ask to step outside the front door, to stand on the path and to smile.

 

 

 

 

 

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Frightening times

My grandfather joined the Auxiliary Fire Service in London before the Second World War, becoming a section leader in the new National Fire Service when it was formed. His “tinlid” helmet is still a prized possession, a tangible, tactile connection to the times he saw.

At the outbreak of the war, tens of thousands of women and children were evacuated from London to protect them from anticipated raids on the capital. Like many who were evacuated, my grandmother returned to London, preferring the risks of staying in her own home to living with the family with whom she and her two children had been billeted.

Air raids on London brought constant dangers for my grandfather. For my grandmother and her young children, the raids meant night after night spent in the air raid shelter in the garden. Chiswick, the west London suburb in which they lived, did not sustain the level of destruction experienced by the East End and Docklands, but there were fatal attacks, including bombs falling on the local dairy, an attack that claimed the life of my great grandfather.

Oddly, my Dad’s recollections of the raids seemed full of the excitement a small boy might have felt at an age when a child feels invulnerable and believes that life will last forever. Listening for the engines of V1 flying bombs, knowing that as long as the engine noise continued, the bomb would pass over; recounting the first V2 rocket hitting Chiswick yacht basin, where the supersonic speed meant there was no warning of the rocket’s approach: these things were never spoken of with fear.

Dad would recount a feeling of fright on VE Day in 1945 when the sirens were sounded to celebrate the end of the war in Europe, the sound prompted him to hide under the kitchen table. But there was only one cause of persistent fear to which Dad would admit, it came from a poem he learned in childhood days. The poem Antigonish was written by William Hughes Mearns, an American writer, in 1899 and subsequently re-published with various revisions, and was recorded by the Glenn Miller Orchestra in 1939, with Tex Beneke singing the lyrics.

As I was going up the stair
I met a man who wasn’t there!
He wasn’t there again today,
Oh how I wish he’d go away!

What was it in the words of a popular song that could have been more frightening than the daily dangers of bombing and the daily stories of death and destruction? Is a sinister unknown always more frightening than a reality that is experienced?

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