Today, opening a new mini-series on People of Inspiration, I offer my first choice: Paul McCartney.
He was my childhood hero. I first fell for him when a schoolfriend put a souvenir programme into my hands and I saw a picture of him singing “Yesterday” at the Royal Variety Command Performance, a few years after that performance.
Keeper of Dreams. This is a phrase which sprung into my mind in 2010 while I sat in the audience at the Cardiff Millennium Stadium watching Paul in his Up and Coming Tour.
I watched and listened to him with my husband and teenage daughter and son, and all of us were captivated by his music and charisma.
Paul has reinvented himself a number of times – a gift possessed by all those who persist in a career in the public eye for forty or more years. But to me he is poet, minstrel, storyteller, observer and interpreter of life, all in one.
His fellow Beatles mocked him for the sentimentality of “Yesterday” – yet for millions this song came to define the point where the establishment’s narrow presumptions about the Beatles radically shifted.
The appeal of Paul McCartney isn’t solely in his skill as a showman, and his personal qualities, but in the effect his words and music have on those who hear them. Profound, moving, haunting, cryptic, puzzling, bizarre, touching, quirky, intriguing, beguiling, poignant, playful – every mood and emotion can be found among his songs.
Although he is an international rock star and pop icon he makes his audience feel as if they’re in the pub with him having a singalong. Synthesis of special and ordinary – no-one can doubt that who has visited his mid-terrace childhood home at Forthlin Road in Liverpool – yet international superstar, you’re sharing a seat with him on the bus at Penny Lane, you’re standing with him looking down at Eleanor Rigby’s grave, you’re beside him on the Mull of Kintyre gazing over to Ireland.
How do you feel about Sir Paul? Have you been to his concerts? Have you admired him for years, or are you a new fan? I’d love to have your comments!
In each one of my places of inspiration I have found spirit of place : in India, at Ayers Rock/Uluru in Australia, in London, in the White Garden at Sissinghurst in Kent, and in Sydney Opera House. But today, I return to a place very close to home – it’s the Saxon Mill on the River Avon, just outside Warwick – and five minutes walk from where I live.
The Saxon Mill is a romantic building, which feeds a writer’s imagination – especially for those who write historical fiction. And just down the river is the gaunt, atmospheric ruin of Guy’s Cliffe House. I cannot walk along the river bank here, and stand opposite and gaze at it without imagining all sorts of stories – tales of romance, tragedy, ill deeds, ghosts…
Nearby, on Blacklow Hill, in 1312 King Edward II’s favourite Piers Gaveston was dragged by the Earl of Warwick’s heavy-gang, to a spot now known as Gaveston’s Cross, where he was savagely murdered. He was Edward II’s lover, and exerting much too much power over the kingdom for the Earl of Warwick’s liking. Even a grim tale like this can add to the romance of a place – separated as those events are from us by 700 years.
But what completes the delight of the Saxon Mill for me is its location on the River Avon. Tables and benches are set out overlooking the mill-pond; the old water-wheel may be viewed here too. I love the smell of it; dank, moist timber, full of darkness and age and mystery…
Further along is the footbridge over the weir. White water gushes down, foaming the river. The terrace overlooking the mill-race is filled daily with people eating and drinking and chatting and laughing; it’s a popular gathering place for locals and those who come from a greater distance.
We went there in the heavy snow of December 2010 to photograph the river and trees, looking like Wonderland.
Beyond the footbridge you may find a track which traverses the fields to Old Milverton Church – another path much enjoyed by walkers and dogs alike.
I associate the Saxon Mill with happy social gatherings, with a writer’s inspiration, with romantic wonderings… Very close to home, it has that unmistakeable spirit of place.
Do you have a favourite place, near to home, that inspires your imagination? I’d love to hear your stories and comments!
So far in this mini-series, we’ve visited India, Uluru/Ayers Rock in Australia, London, and Sissinghurst in Kent. And today I’m taking you back again to Australia; to Sydney Opera House.
From the air Sydney Opera House looks like a waterlily at the harbour’s edge. Its location on Bennelong Point integrates it perfectly with the water. Close up, it reminds me of four things: seashells, the sails of a ship, the wings of a bird, or a waterlily. This building is the most beautiful I’ve ever seen.
I find the opera house stunning from every aspect, and even more so the closer you draw to it; and the interior of the building fulfills every expectation that may be raised by the breathtaking glory of the exterior.
The story surrounding the creation of the opera house is as engrossing as the design of the building itself. The idea was first suggested by English composer and conductor Leonard Goossens in 1946. The Australian government showed vision by committing to a project that would take generations to fulfill and would win no particular administration any electoral advantage. Then they decided to run an international competition for the design.
The competition was won by a 38 year old Danish architect, Jorn Utzon, with a simple, almost diagrammatic sketch.
Work began on the opera house in 1959 and it took 14 years to build, opening to the public on 20 October 1973. Utzon’s vision of wing-like structures nearly defeated the civil engineers Ove Arup until the architect himself suggested the solution: to construct a sphere, then cut shells from it, each of which was a triangular shape. Then there was a dispute over the design of the interior; in 1966 Utzon “left the job” and a new architect, Peter Hall, was put in charge of that. Utzon never returned to Australia again, though he later met Arup again on friendly terms. The opera house has progressively increased in stature ever since. And Utzon, although he never returned to Australia to see his beautiful building in reality, knew before he died that it had won UNESCO World Heritage status as “a masterpiece of human creative genius”.
The story is not without its tragedies, blunders, scandals, detractors and failures of communication; yet ultimately imagination, dedication and creative genius triumphed.
This building represents for me a synthesis of human ingenuity, artistry and skill. The poet John Keats said: A thing of beauty is a joy for ever: /Its loveliness increases; it will never/ pass into nothingness. I could never have believed these words might apply to a man-made structure – and I don’t expect the Sydney Opera House to last for ever; but it is a building which uplifts by the sheer power of its beauty.
Another admirer, Louis Kahn, said: The sun did not know how beautiful its light was until it was reflected off this building.
The last time I visited it I also went with my family to see a performance of Verdi’s Aida there in the opera theatre: an unforgettable and moving experience.
Have you ever visited Sydney Opera House? What are your experiences and feelings about this building? Or perhaps you prefer another of the world’s great buildings – there are many candidates. I’d love to know your own choices!
Near Sevenoaks in Kent we find the house formerly owned and occupied by writer Vita Sackville West and her husband Harold Nicolson. Now handed over to the safekeeping and care of the National Trust (something Vita once swore she would never do!) this house and its much beloved White Garden is a place which has inspired many. And I am among them.
I learned much of what I know about Vita from two books: “Portrait of a Marriage” written by her son Nigel Nicolson, and “Orlando” by Virginia Woolf, in which the central character is based upon Vita, and which has been called “the longest love letter in literary history”.
Though Vita was herself a prolific writer, she is not considered among the great novelists or poets. Instead she is known for the profound influence she had on many who encountered her and became entranced by her bold and flambuoyant personality. The idea behind Orlando serves as a metaphor for Vita’s character: “an English nobleman who lives for hundreds of years before falling asleep and waking up as a woman”.
Vita was a member of the early 20th century Bloomsbury Set, and courted controversy through her lesbian love affairs with Violet Trefusis and Virginia Woolf. When my parents were young, Vita would have been well-established as a scandalous figure in the media – though I never took the opportunity to ask them what their views had been of her behaviour.
In many ways Vita’s character shines out to me through all that I have read of her. Snippets I remember are that her mother was a Spanish dancer (immortalised, by the way, in a Tussauds wax figure at the Edwardian Weekend House Party at Warwick Castle – she occupies the lace-festooned lady’s boudoir).
Vita’s father was Lord Sackville West. Of her siblings, Vita was the one who most deeply loved and appreciated Knole House, her childhood home; yet she was prevented from inheriting it by the law of inheritance which demanded that it should go to the first son. This was the reason of course why she eventually bought the house at Sissinghurst.
Vita for me is an exhuberant, emotional, colourful character whose abundant imagination eventually found expression in the White Garden at Sissinghurst.
Harold and Vita were a perfect garden creation team. Harold was concerned with the overall design whereas Vita’s wild imagination led her to insist on planting in huge clusters. She hated regimented rows. She believed in great mass of each kind of plant, thus creating the life-enhancing White Garden.
Vita’s original idea was for pure white but she was eventually persuaded to include greys and light blues and light greens as well. This garden stands for her eccentric and individual character; one of the greatest memorials to her romantic spirit.
How do you think of Ayers Rock (aboriginal name Uluru)? Do you think of it as that rock in the middle of Australia, which presents a climbing challenge to all tourists? Or do you think of it as a place sacred to the aborigines, a jewel at the heart of this great continent?
Two and a half years ago, I visited Uluru for the second time. As we stepped out onto the tarmac at Ayers Rock Airport at midday local time, the first thing that struck me was intense colour and light. Glowing ochre earth, blue sky, pearl white ghost gums – and Uluru itself in the distance, dusky pink.
Uluru, an iron-rich sandstone monolith arising from the heart of Australia, is sacred to the indigenous traditional owners, the Anangu. It tells their stories, it shows the actions of the Spirit Ancestors in their violent conflicts during the Dreamtime, displaying evidence of their falls, their spear-thrusts, their lost shields. Uluru itself has a strong, brooding presence, which you begin to feel as soon as you see it, and which grows as you approach and gaze.
It speaks with its changing colours, amber, fiery red, deep brown, depending how the light falls upon it at different times of day, and its knife-edge shadows and fissures, flaking surfaces, indentations, pockmarks, wave-like effects, and most outstanding of all, the skull formation.
On another level, it almost seems like a giant plasticine model which a giant has pressed his fingers into or dragged a comb down, or stippled and stabbed with a palette knife.
For many visitors, this central icon of Australia is inextricably linked with the idea of climbing to the top. “Go to Australia: climb Ayers Rock”. But, warn the signs at the Aboriginal Cultural Centre, “The Anangu ask that you respect our traditions and customs, and choose not to climb it.”
We caught the shuttle from the Yulara resort, planning to do the base walk. On the 9.2 kilometre trail around the Rock, it was evident that the number of fenced-off sacred areas had been increased since my last visit, pushing the path further out. And yet despite this, a walk around Uluru is full of marvels. The trees and shrubs are all much greener than you might imagine – the wattles, the fig trees, the desert bottlebrush. The aboriginal cave-paintings fill you with wonder, every experience defeats your expectations – none more so than the Mutitjulu Waterhole. We came upon it unexpectedly, tranquil and mysterious, the Rock’s multi-dimensional character reflected in its quiet waters.
The feeling I brought away with me after walking round the Rock was almost that of walking round a great and beautiful cathedral, imprinted with the devotion of many centuries. I can well understand how the Anangu revere the Rock, which has taken on an awesome spiritual power from the thousands of years of sacred ceremonies and teaching and story-telling centred upon it.
For me it is another of my places of inspiration: a vist here allowed me a deeper insight into the meaning of the aboriginal culture, enriching my own understanding. Have you ever visited Uluru? How did you find the experience? And if it has only ever been a picture in a brochure, or a news report, what has been your impression of the famous “Ayers Rock”?
What is your view of the city? Is it a place you work in, and suffer all the stress of commuting? Or perhaps it’s a place you live in? In my novel Zoe emails her sister with these words: Hi, you in crowded, stressed old London from me in the peaceful, perfect Cotswolds… But those words reflect only one biased view of the city; and this isn’t my own view of London, living, as I now do, 98 miles away from it.
I was born and brought up in south London (Orpington in the borough of Bromley) and so London was a big part of my life as a child and a teenager. When I returned from university I moved to live in Bayswater, London W2, with my sister, & continued to live there for seven years. After that I moved away. But last year I decided to visit for an extended periods and visit many London attractions I hadn’t been to for a long time. And those two weeks fed my reflections upon why the image of a great city is so powerful for religious and spiritual writers.
Dr Johnson said, When a man is tired of London, he is tired of life. And certainly, London, with its rich history, cultural depth and vibrant life, is a source of inspiration to me.
In the Bible, we find the writer to the Hebrews saying this:For he looked for a city which hath foundations, whose builder and maker is God (Hebrews 11: 10)
The heavenly city is a city with everlasting foundations. And a great city feeds us body, mind and spirit. From the BODY – the Tower of London – through the MIND – The Violent Universe show and the discoveries of Einstein at the Royal Observatory, Greenwich, to the SPIRIT – the Whispering Gallery and Holman Hunt’s painting The Light of the World at St Paul’s Cathedral, I was inspired, informed, amused, shocked, amazed, touched, and filled with wonder.
Living as I do in Warwickshire, I’m fortunate to have all the treasures of this great city so accessible, via the rail network (not that it’s that difficult to get to London from any major railway station in the UK!) And in many ways, the life of London is encapsulated by the story of the Thames. As Edmund Spenser said in his poem ‘Prothalamion’, Sweet Thames! run softly, till I end my song.
While looking round the exhibition in the Thames Barrier Information Centre at Woolwich, I felt moved by the human imagination, ingenuity and skill which has worked together to tame the power of the river for the protection of a city and its people. One of my own forbears was a Thames Waterman (as evidenced from a 19th century marriage certificate.) See My Family Background page in my website. My early life was strongly associated with the Thames; the toolmerchant’s business A.D. Skillman & Sons which my grandfather started in 1901 opposite the Woolwich Ferry traded for over 100 years until my brother, who inherited it, finally had to close down in 2002. I remember being sent off to cross the Thames on the ferry to North Woolwich and back again on my own when I was about ten years old, and how much of an adventure it was for me.
But what of that other river – the river of life flowing through the holy city, Jerusalem – a powerful symbol in the Bible? We are told by the writer of Revelation that this river rises up from the throne of God and the Lamb and surges crystal-clear down the middle of the city street. On either side of the river grow the trees of life. This holy city is of pure gold transparent as glass, with a wall of diamond, and foundations faced with precious stones; and the 12 gates are 12 pearls. The city has no temple since God and the Lamb are themselves the temple; it does not need the sun or the moon for light as it is lit by the radiant glory of God.
Why is this biblical image of heaven as a great city so powerful? I suggest it is because, here on earth, all the ingenuity, folly, genius, wickedness, nobility, inspiration, despair, joy and creativity of which we human beings are capable is encapsulated in a great city. In heaven all will be made perfect. And here on earth, just as the city teems with life, so it will be in that holy city. And that is why the image of holy city is so appropriate for heaven.
I recently watched The Best Exotic Marigold Hotel, and found it a movie full of insight, humour and hope. I vividly recalled my own arrival at Delhi Airport several years ago for a visit to Northern India, and the noise, the brilliant jewel-like saris, the garlands of marigolds placed around our necks. The images flooded in on me: colour, chaos, begging children, families camping and cooking in the middle of the central reservation in major roads in Delhi. I relived the shock of seeing leprous beggars, the pity I felt on meeting girls who appeared to be only about 10 years old, carrying tiny babies on their backs, holding out their hands for free offerings of food or money; the disease and poverty, and also the spirituality, the beauty and the profound joy of India.
In ‘the Land of the Gods’ – the Garhwal Himalayas – I journeyed in a minibus up a perilous mountain road, our final destination being Badrinath, place of Hindu pilgrimage, just before the Tibetan border. The road was lined with signs saying things like “Yours Hurry is Another’s Worry”. We reached the mountain village of Joshimath late in the afternoon. As I inhaled the fragrance of a syringa bush there, I realised a local resident stood beside me. He remarked: “the might of God is all around” in a very casual way, reflecting what I was thinking and feeling at the time. And I thought: This wouldn’t happen in England. And if it did it would have a very different cultural context!
Our journey ultimately led to Badrinath. We arrived as dusk fell and there before us was the peak of Neel Kanth, luminous in the full moon. It was a sight I would never forget. Since then I’ve seen a number of images on Google of Neel Kanth, and yet none comes near capturing the impact this mystical mountain had on me that night as I arrived in Badrinath.
There too, on the mountain path above Badrinath, I met a Sadhu – India holy man who lived in a cave. See my recent post for a photo of this holy man, whose tranquil expression made a lasting impression on me.
So to sum up my reflections on India: there may be squalor, social injustice, and dysfunctional public services, but this is a country of extremes, and I felt a visit here should also have a profound spiritual impact, as it did for the characters in “The Best Exotic Marigold Hotel”, transforming the lives of each one of them, bringing all of them clarity and moments of radical decision.
This is a personal reflection on India, and I know there will be many visitors who feel differently about it. Have you visited India? And what are your thoughts on this country of extremes?
Cats both domestic and wild have been worshipped, adored, feared, coveted, persecuted, psychoanalysed, parodied, wondered over, painted, written about, sculpted, photographed… and there is no sign of this fascination ever abating.
Some of us find cats enchanting; others greatly prefer dogs. Personally, I love both; but admit that I’ve probably spent longer pondering the psyche of a cat, than that of a dog.
When considering the appeal of our own cat, Hattie, I believe that few come closer than Emily Bronte to explaining humankind’s long enthrallment by cats.
Emily Bronte wrote a French essay called “The Cat” in 1842 – often one of the examples cited in demonstrating her unsentimental attitude towards nature. The cat, she wrote, although it differs in some physical points, is extremely like us in disposition. Then she considers the three charges of hypocrisy, cruelty and ingratitude levelled against the cat by its detractors : detestable vices in our race and equally odious in that of cats… a cat in its own interest sometimes hides its misanthropy under the guise of amiable gentleness… the ingratitude of cats is another name for penetration. They know how to value our favours at their true price, because they guess the motives that prompt us to grant them.
Emily understood that we see something of ourselves in cats. We recognise their psyches. And of course we are free to interpret that as we like!
For instance, Hattie, among her many intriguing characteristics, never fails to miaow for her biscuits approximately one hour before they are due. And the miaows continue until we cannot possibly resist any longer. The danger of course is that the biscuits come slightly earlier each day… Her persistence is admirable, and I have often compared it to the way I handle frustration in life. I have even thought that if Hattie had written a novel, and wished to find a literary agent to represent her, she would achieve success much quicker than many thousands of despairing authors of slushpile manuscripts.
Emily Bronte wrote her cat essay under the tutelage of her French master in Brussels in 1842. Five years later she published Wuthering Heights. In this novel she created the kind of home, occupied as it is by a deeply dysfunctional family, where any cat would lead a high-risk existence – escaping from the boot of sadistic Hindley when he’s in one of his rages, or the heartbroken revenge of a demented Heathcliffe a generation later. Emily’s perception of human nature is fierce, penetrating and unsentimental; and therein lies her reliability in discerning the psyche of a cat.
What do you think? Is this a true picture of the cat? Or perhaps you disagree with Emily Bronte? I’d love to have your comments!
These are two images of the Syon Vista – one of the three great vistas in Kew Gardens which together form a triangle between Pagoda, Palm House and riverside viewpoint. And as I stood there a few days ago, I was reminded of why we love a long, straight vista. The vista, or avenue, draws the spectator forwards along it, to the central vanishing point. It represents our dearest wish: that life may be like that. And perhaps it may be – in our dreams. Instead, in reality, our lives twist and turn and diverge and backtrack. The path has many confusing cul-de-sacs. We fall down potholes. The path leads through marshy ground, and we nearly sink beneath the surface. The path may be a perilous mountain track, or it may be piled with jagged boulders.
But a grand vista is none of these things. Instead, it progresses smoothly into a secure, warm, welcoming future. We find it comforting, reassuring, uplifiting. Avenues represent human control over the landscape, imposing order on a chaotic world. And since imposing control on the landscape is a major, expensive task, the grand avenue is the province of the wealthy and the powerful. Capability Brown demonstrated his ability to create dreams from landscape – at a cost. His clients found the grand vista a perfect way to reassure themselves of their status.
Windsor Great Park boasts a vista – the Long Walk, first set out by Charles II. And as it was developed in time, it became an ideal route for ceremonial rides. George IV reaped the benefit of the vista, however, not merely by public display although he was indeed very fond of that. No – in addition he had between 20 and 30 miles of neatly planted avenues to ride along, from which the public was wholly excluded.
I suggest that a vista means many things to us – and foremost among them, hope, dreams, clarity, destiny, goals, the future, focus, direction, drive, ambition, vision. All those things we either long for, or are told we must have, or we aspire to.
On the straight vista through life there are no snakes, no ladders, no forks, no bogs, no potholes, no detours. The goal, our destiny, is always in sight; and we are always progressing smoothly towards it. Nevertheless, alongside our love of grand avenues and vistas, we also respond to great stories full of twists and turns. And the reason, I suspect, is that both play their part in our understanding of life. Dreams and reality intermingle; the ideal and the real guide each other.
What is your idea of heaven? If asked to draw an image of it, what would you come up with? I’ve found that people may often be unwilling to either say exactly what they think heaven is like, or to create their own image of it. And then they seem held back by ideas of “eternal rest” or heaven as static and changeless – something we cannot relate to in this world at all.
Back in December last year, during a Quiet Day at my local retreat house, Offa House in Offchurch, Leamington Spa, we were invited by our leader, Revd. Ruth Tuschling, to “draw a picture of heaven”. I went into the garden room – my favourite room in this retreat house, which has a tranquil, spiritual atmosphere – to find art materials laid out. I took up oil pastels and watercolour paper and began to draw sweeping lines, not quite sure what they might reveal.
To me, heaven is not heaven if it is not dynamic and creative and vibrant. I’ve heard it said that heaven is a place where God “holds our lost dreams safe for us”. My dreams involve communicating, entertaining, captivating… a rushing wind would more closely represent them. Notice these are all verbs. They are all about activity, about “doing”. Is there no “doing” in heaven?
In the past I’ve thought of heaven as if it was a celestial version of Switzerland – snow-capped peaks, waterfalls, and alpine meadows bright with flowers. I’ve imagined glorious fragrances – pine, lemon, lavender, and have seen waves of golden gorse and purple heather, and heard the tumbling water of a mountain stream, birdsong, the music of the spheres… Further back, when I was younger, I visualised heaven as a reunion with my dog who had just died, Kimmings (a miniature silver poodle). He would come running to meet me, barking gladly, his tail wagging. But now, what image would I depict? Certainly not angels with harps on clouds. And dare I even make a representation that somehow limited this most inexpressible of subjects?
So instead, I began a sketch that, to my delight, I later found echoed by an art installation at the “Lost in Lace” exhibition at the Birmingham Art Gallery: “a thin line between space and matter“. I created something that conveyed, however obscurely, how I felt about being in heaven, what kind of experience it might be, in terms of sensation and consciousness. And when my curving lines had caught me up and swept me into the space at the centre, I added a few words – any quotation at all that I could remembe, about heaven – because, as a writer, I believe there must be words in heaven too, as words have given me as much joy as images.