I have mixed feelings about celebrating the achievements of my small and destructive feline friend (as my Dad is fond of pointing out, it cannot logically be reconciled with my opposition to fox-hunting—especially when, as on this occasion, she hasn’t even attempted to get a meal out of it), but I couldn’t resist making a record of this morning’s specimen. That’s a 12-inch ruler.
Lots of site-specific work (it’s a meme! —first saw it with that American guy a few shows ago—v powerful piece about slavery etc with the weird black Murano glass chandeliers). Examples this year: Giardini; the Venetian blinds in the Korean pavilion; giveaway postcards of Marghera in the Corderia.
Stuffed cats so far: German, Russian.
Stuffed dogs: Nordic; USA (several, but not, I think, real ones).
Several works obviously feminine in style (use of textiles, domestic interiors). Amused to find that we were nearly always guessing the gender of the artist correctly (yes, discovered later that the Korean one was a woman, too).
Scandinavian gay dead writer most impressive so far, but it was a pity they had to include an explanation. Other half of that show (the Danish/Nordic pavilion) is v good too (and feminine, by way of contrast, and also bleak).
Russian pavilion is a ghost train! The automatic artist drawing circles is genuinely creepy. French one is a black prison with black flags inside. Lots of bleak stuff about—recession?
Spanish paintings a bit like our own Gail de Cordova. Nice chairs in there too (with bark on!).
Jef Geys (Belgium)—nice counterpoint to the Simon Baron-Cohen autism/Aspergers book (which I was reading at the time). Collection/classification is a pervasive theme (influence of Damien Hirst).
Yoko Ono quote found in the bookshop: the glass is not half empty. It is 100% full, half with water and half with air. Yes!
In between the good stuff there is a lot of sixth-form (puerile) art. Too much text. Using text in visual art is hard (see Keith Tyson or Tracey Emin for successful use). A beginners’ book on drawing and painting that I read years ago recommended always rendering text illegible if it occurs in the scene, otherwise it draws the eye and distorts the viewer’s response to the composition. Like all rules, this is to be broken, but only by those who know what they’re doing.
More to follow, and photos of the art, when I get round to it. See Biennale website meanwhile.
I knew it in theory before; but there’s knowing and then there’s knowing.
I started walking, alone, from my own front door, at about 2pm on the last Saturday of September. I didn’t have time really but it was the last good chance of the year, with the weather set fair and dry and no work deadlines that couldn’t be made to wait. I’d spent the morning on my most pressing errands and chores, and then I sent out a brief announcement to some people who might want to come with me, but really not giving them enough notice, which was sort of intentional. Best to set off alone.
The first day’s route was familiar. I’d walked this way before, and boated along it many times. No surprises, just best-foot-forward. I was excited by the plan, and racing the sun, and I made good progress. From home to Clayhithe along the west bank; across the bridge and following the east bank via Upware to the next bridge; across again to Dimmock’s Cote.
Sunset overtook me at Pope’s Corner, and I paused on the bridge to watch it and to wonder what was going to happen next. But luck was with me, and there was half a moon, and the path was straight and level along the top of the floodbank. I strode into Ely railway station at about 8pm. Andrew met me at Cambridge and took me out to dinner. Nice.
Day 2 suffered a bit from a slow start. I was stiffer than I’d expected to be, and took a bath to remedy it. And then the usual faffing-around with email and what-have-you. Train, eventually, back to Ely, where William joined me. He, an efficient blogger, has already documented the weirdly convoluted goose-chase we were sent on by the Fen Rivers Way Association’s booklet. We would have done better following the OS map, which tells you to keep close to the river, even though this means walking along a road for part of the way.
We rejoined the river at Queen Adelaide bridge, and here I finally managed to pick up the rhythm of the previous day, and get into some kind of a stride again. River straight as a ruler; strong sun (glad of my hat). But the lack of pace in the early part of the morning meant that we reached Littleport after Andrew had, and then I needed a rest and some sustenance at the Black Horse, so it was 3pm before he and I bid farewell to William.
Then I set off with Andrew—and immediately made a strategic navigational error. I’d left the OS map for this section on the boat, and failed to buy another copy that morning, and so I was relying on the Fen Rivers Way Association’s 1998 booklet, which told us to cross the river to the east bank. This didn’t work out well. The floodbank is mostly unwalkable, and the A10 is ferocious. Never doing that again. (Subsequent research shows that this section of the official path has been moved to the west bank.)
Once we reached the county boundary, though, things got better. Norfolk looks after its walkers, even if they aren’t on an official long-distance path. And just before the boundary there is the Ship Inn, where the Brandon Creek meets the Ouse, and it is Cambridgeshire CAMRA’s Pub of the Year, and very nice too. Though we only troubled it for a cup of tea on this occasion.
Onwards, fortified by tea. Floodbank now well maintained and walking good. Dusk approaching, though. Eventually the bridge: Ten Mile Bank. Or was it? We were utterly flummoxed. Nothing was as described in the booklet—bridge different, and no trace of the pub—not even its foundations! No shop, no nothing. Well, we crossed anyway to the west bank, where we knew we wanted to be, and shortly afterwards passed St Mark’s Church, the one thing in Ten Mile Bank that seemed to answer to its description in the book. So this probably was Ten Mile Bank, or at least some weird parallel-universe approximation to it.
There was nothing in the village to detain us, so we set off north again. From here to Denver the path follows a minor road, so it didn’t much matter that it was getting dark again. But when we reached the Jenyns Arms I’d had enough. Spurned their food (we’ve tried it before); sat over a drink or two while a taxi came out from Downham Market for us. To the station; to Cambridge; to our usual Sunday-evening takeaway with the usual friends—rather later than usual, though. Web search: discovered the truth about Ten Mile Bank!
Monday morning started with the now-familiar flurry of chores, email, getting ready and just-getting-a-few-things-done-first. And a mad dash into Cambridge to buy a new OS map—not making the same mistake twice. Which resulted in my just missing, at Waterbeach, the train that Shona had caught in Cambridge. So I drove to Downham Market. The train is a lot quicker! It was well after midday when she and I eventually set forth from Downham Market station car-park. Never mind; short day, today.
The first job was to get back to the previous day’s endpoint, the Jenyns Arms. We accomplished this by walking along the Relief Channel, a route I knew already from an earlier boat-related adventure. There were cows, but they were not hostile. After a brief survey of the Denver Complex and its tourist information boards, and a pause, seated on the floodbank across the road from the Jenyns Arms, to consume our M&S sandwiches, we doubled back along the eastern bank of the Great Ouse itself, walking along what is, effectively, a very long narrow island between the river and the Relief Channel. The turf under our feet was close-cropped by sheep, and springy—if it hadn’t been for the thistles, I’d have tried walking barefoot. There were cormorants. We saw a narrowboat waiting outside Salter’s Lode, presumably for the tide (had they been there all night on the mudbank?—the tide was approaching the top as we passed them). In the distance, a long way ahead of us, a huge, white and mysterious building loomed [to be explained in a footnote later]. We admired the flour mill at Downham Market from all angles, and the trim little houses behind the floodbank—the countryside is all very well, but human things have a special fascination.
I don’t think I’ve ever done a significant walk with another woman before. Alone, yes. In big mixed groups, yes. With a man, yes. The odd thing was to be walking with a companion who had a shorter stride than my own. I’m accustomed to lengthening my stride to keep in step.
We reached Stowbridge by about 4. Pub present and correct, but, sadly, closed on Monday afternoons. Never mind. Wiggenhall St Mary Magdalen wasn’t a great deal further on, and its pub was open. From there, after a rest, to Watlington station (less than a mile by road), and thus to Downham Market again (which felt like a buzzing metropolis after the emptiness of the fens), where we collected the car and drove home. A pleasant, companionable day.
I took the Tuesday off from walking, to catch up on things that couldn’t be made to wait any longer.
Wednesday morning: preparations accompanied by a flutter of excitement. Today might finish it! Taped up my poor toes with Elastoplast Extreme, William’s parting gift from Sunday. Packed sandwiches for a long haul. Resumed walking (alone) at Watlington station, by first backtracking to Wiggenhall St Mary Magdalen and there ascending the floodbank once again. Glad to be on my own today, so that I could without embarrassment let my battered feet dictate the pace. At Wiggenhall St Peter I found to my astonishment that the ruined church nestles just behind the floodbank. I’d visited it before from the road and never understood this. You can’t now, of course, climb the tower, but the view from it must have been splendid. At Wiggenhall St Germans there was a pub, and I had soup and a pickled egg, and carried on. Crossing the Tail Sluice felt like a significant step, so I sent a triumphant tweet from the top, and my husband phoned to congratulate me. Solitude is not what it used to be.
I entered King’s Lynn just as school was turning out for the day, and it felt weird to be among people again—kids, mums, bikes. Now what? Fantasies of afternoon tea gave way to the reality of the ferry schedule—last boat back at 6pm, and an extra three miles round by the bridge if you miss it. Tea could wait; the unknown beckoned, though my feet weren’t entirely happy about it.
So I followed the channel downstream out of West Lynn. First past the docks, the river busy now with proper, serious shipping, putting to sea on the turning tide. I decided to go on for an hour and then think about what to do next, while there was still time to get back for the ferry. But an hour brought me to a smelly and unattractive stretch next to the sewage works, and I thought, no, this can’t be the end of it. Something will turn up. So I went on. And so it was that, as the sun was slowly sinking, I found myself in a perfectly, wonderfully desolate spot, and finally I could (more or less) look out at what just about qualified to be described as the sea. And I was happy, and it was done. And now all I had to do was to get back to civilization.
Which turned out to be incredibly easy. I didn’t deserve to be so lucky, but that’s the story of my life in a lot of ways, and at least I don’t take it for granted. Well, not all the time, anyway. I turned inland, and there was a farm, and the farmer said “Are you lost?”, so I explained, and he drove me to the village (Clenchwarton) in his Land Rover. Very kind. He clearly thought I was mad when I told him what I’d done, but we parted friends. And then I found a bus stop, and I was just typing the magic code into my phone to get bus information when a taxi drove past! Here, in the middle of nowhere. And I waved, and it stopped, and yes, it could take me to King’s Lynn railway station.
So that was that. I haven’t yet decided whether I’ll do sixty miles in ten years’ time, but it might be a nice goal to keep in mind.
This is just a “me too”, but it’s a heartfelt one.
Charlie Brooker in Monday’s Guardian: “Every day we humans gleefully churn out yet more books and films and TV shows and videogames and websites and magazine articles and blog posts and emails and text messages, all of it hanging around, competing for attention. Without leaving my seat I can access virtually any piece of music ever recorded, download any film ever made, order any book ever written. And the end result is that I hardly experience any of it.”
Mariella Frostrup in last weekend’s Observer: “I’m the sort of lunatic who considers the phone ringing an invasion of personal privacy, who can’t muster the energy to respond to emails that run at more than a paragraph. At night I lie awake wracked with guilt about unanswered texts and messages but during daylight hours can’t drum up the willpower to clear either my conscience or my in-tray.”
Enough (more than enough) said.
This is pointless really, but I enjoyed doing it, so I suppose somebody might enjoy looking at it:
- Venice, Italy
- Paris, France
- Antwerp, Belgium
- Vienna, Austria
- Bolzano, Italy
- Dubrovnik, Croatia
- Prague, Czech Republic
- Menton, France
- Berlin, Germany
- Munich, Germany
- Cambridge, UK
- Amsterdam, The Netherlands
- Cologne, Germany
- London, UK
- Boston, MA, USA
- Brussels, Belgium
- New Orleans, LA, USA
- Ely, UK
- Wells-next-the-Sea, UK
- Edinburgh, UK
- Hemingford Grey, UK
- Rye, UK
- Talgarth, UK
- Chadds Ford, PA, USA
- St Neots, UK
- Capitola, CA, USA
- Rockport, MA, USA
- Cambridge, MA, USA
- San Francisco, CA, USA
- Sonoma, CA, USA
I’ve discovered something that might be important.
If you write a few words on a Post-it note and stick it to the windowsill next to your desk, the ink will eventually fade and it will become totally illegible. At this point the only sensible course of action will be to throw it away. But you will be unable to bring yourself to do so. Just in case its mute presence might still assist you in reconstructing the memory of whatever was once significant enough to have been written on it.
This is what happens when you don’t get round to things. I guess everybody else knew that already.
Two things in Saturday’s Guardian caught my eye. A “boo” article about compulsive hoarding (“Why didn’t someone stop him? The council? The neighbours? Someone should have intervened…”) and a “hurrah” article about personal informatics—which (it seems to me) is just electronic compulsive hoarding!
Both articles interested me a lot because I have hoarding tendencies myself, but what struck me most was the extent to which both articles were shaped by the journalists’ desire to tell a story.
Refreshing contrast is provided by the new Science Behind the News Stories site.
Contemplating, as one must at my age, the menopause (I shall be fifty this year, so it is something of a hot topic—pun intended), I happened upon a new angle from which to consider this transition: as the end of a temporary state, during which one’s true personality has been submerged. An article on the Guardian women’s page (where else?) quotes one Jane Polden, a psychotherapist: “She’s felt overwhelmed, controlled almost, by this hormonal surge … and now it’s draining away, and she can work out who she is, and who she wants to be.” The fertile years have been a distraction. It’s an attractive idea.
Now I have set things up so that posting to this blog generates a tweet automatically. And, whenever I twitter, my Facebook status updates. Is this a good idea? Or will it just result in a lot of things getting mixed up that ought to have been kept separate?
I’m not sure what I think about all this web 2.0 stuff. It makes life harder in some ways. It is certainly harder to say “Sorry, I was too busy” when the fact that you have just spent several hours having unproductive fun is a matter of public record.
And how do prolific twitterers manage when travelling? How can I say “I’m in Venice” without saying “My house is unoccupied and ripe for burglary”—especially when my professional site, which is linked from my personal one, tells the world that I have access to an impressive array of computing and photographic equipment?
Perhaps my tweets need to be a bit more elliptical.
More photos on flickr.