Into the Gloaming

Nightfall turned me into a ghost. It had been so hot, I’d dressed in white and hadn’t thought to change into more suitable clothing for a late evening walk. Now my husband was a little unnerved as I appeared to be floating across the field towards him.

With the twilight came the dusk chorus, dark’s answer to the dawn; in the woods, owls hooted and screeched. There was rustling close by, perhaps deer or a badger stirring, as the night woke up.

I’d hoped the day’s heat would be enough to light up the hedgerows, and I wasn’t disappointed. As we started down the track, we spotted the first tiny flicker: a glow worm suspended from a blade of grass. Further along, we found another and another deep within the hedge, fragile greenish-white dots of light.

It’s no wonder folktales abound about faeries. Midsummer Eve, a painting by the English artist Edward Robert Hughes (1851-1914), captures and transforms the charm of these dabs of hedgerow brightness, which cast their own faint shadows.

Of course, in traditional tales, fairy folk or, as they are also known, the Sidhe (‘The Good People’), are much more ambiguous beings than the merry crowd depicted in Hughes’s picture, and best not crossed…

Although neither fairy folk nor indeed worms, glow worms are similarly best left undisturbed in their natural habitats. Their bioluminescence is mainly generated by the female beetle (Lampyris noctiluca) with the aim of attracting a mate. In England, the best time to see them is between June and August – and  those up the lane certainly seem to be more active on balmy nights.

All the same, while they might be firmly of this world, glow worms nevertheless seem to suggest that, on warm summer nights at least, a little magic might just be possible…

Bees in the Eaves

With dawn, the wall begins to wake and I lie listening to the sounds of stirring. Bumble bees have made a nest under the cottage eaves. In the quiet, you can hear them as they start to go about their working day.

These bees are less intrusive than our previous summer guests – a colony of hornets. While  the hornets were placid creatures, we soon learnt to shut the windows when dark fell. The insects were attracted to artificial light, and would parade outside the glass near lit lamps. Similarly, whenever I mowed the lawn, I was aware they might be disturbed by the vibrations, so kept my distance from the site of their nest above our back door. Although the hornets would occasionally emerge to take a look while I was pottering around outdoors, we left each other respectfully alone. All the same, I admit I was relieved when they moved on.

The buildings we live in are home to many more lives than our own, from solitary masonry bees who crawl into cracks between bricks and beetles under the floorboards, to summer’s swifts swooping over the roofs of rural towns. While instinct can incite us to treat some of these cohabitants as ‘pests’, the rewards to be had from controlling our impulses towards them are manifold – from pollinating gardens to caring for the planet.

The buzz of the bumble bees in the wall and the way we react to insects generally inspired me to write the following short piece; I hope you enjoy it:

 

Inside The Wall

 

The woman and the man watch the wall

A-creep with beetles, bees and ants.

When, at last, the returning queen

Docks with the insect grace of an airship,

The woman points and the man nods.

In white suit and alien helmet

He cautiously climbs a ladder,

Puffs poison into cracks

And seals the entrance with dead white:

No hornets here this year.

 

Next summer, she lets a waking queen

Out of an upstairs window,

Then stops to listen.

The bedroom wall humming like a blocked tap.

Outside she spots them circling:

Small bumblebees, black blobs of velvet,

Nesting under the eaves.

Their song is strangely comforting –

As if the stones were alive and

Nothing quite destroyed.

 

(© Sue Belfrage, 2018)

 

In other news, Bull Mill Arts near Warminster,  Wiltshire are hosting an open studio event on 7 to 8 July, where copies of the new paperback edition of my book, Down to the River and Up to the Trees, will be available as part of the event’s celebration of trees and nature.

On Sadness

The leaves on the horse chestnut trees are turning crisp and brown, curling at the edges like pieces of paper held too close to the fire. Apples weigh down the orchard boughs, the remaining plums are beginning to speckle with rot; and there is an expectation in the air, a slight chill in the morning. We are entering autumn, perhaps the most melancholy season.

For these past two weeks, I have sensed it coming. I’ve not felt like doing anything much creative, writing or painting. That isn’t to say I haven’t been busy with work and life generally – only that I’ve been slow to make headway with projects of my own.

Ordinarily, I’d be tempted to give myself a hard time about my lack of get-go, but this year I’m inclined to be a little kinder than usual. So far, 2017 has been a bumpy ride for many people I know, and sometimes it’s important, I think, to acknowledge the fact that life can feel hard; and, actually, there is no need to march on regardless, with some sort of rictus grin stuck to your face… It’s fine to slow down a little. It’s ok to be sad.

By sadness, I’m not referring to the sort of incapacitating depression that requires professional help, but to an emotion that I suspect we all too often try to brush aside in pursuit of would-be action-packed, colourful,  seemingly perfect lives. Sadness means recognising loss and failure, grief and upset, distress and longing; and realising that things could perhaps be better – but they are, sadly, what they are.

Yet, like any season, with time sadness too will pass. As Julian of Norwich put it over six hundred years ago: “All shall be well, and all shall be well and all manner of thing shall be well.”

The leaves are turning, and soon the trees will be gold.

Colour Vision

A recent visit to Falmouth Art Gallery has set me thinking about colour.

The work of two artists was on display: that of Rose Hilton, a member of the St Ives group of post- war Modernist artists, and Winifred Nicholson (1893–1981). In the gallery showing Hilton’s paintings, the bright oranges and reds of her canvases zinged around the room like improvised jazz, whereas Winifred Nicholson’s work seemed altogether gentler, a melody of muted interiors and landscapes. Yet both artists explore the relationship between colour and form.

For Winifred Nicholson, a shade of magenta pink proved key, which when combined with yellows adds luminosity. She particularly enjoyed painting flowers as, to her, they were a consistent source of colour, ‘turning light into rainbows’ and offering ‘the secret of the cosmos’.

In an age of pickled sharks and unmade beds, Winifred Nicholson’s work might perhaps appear a bit twee at first sight. But when I looked closely at her paintings, I would see each petal was a whorl of energy.

I’m drawn to the idea that a subject doesn’t have to be deep and meaningful on the surface to be saying something quite profound beneath it. And that – to paraphrase something I’m sure I read in one of Winifred’s letters on display – there is a creative freedom that comes from focusing on those colours we wish to work with, while disregarding the rest. There’s no need to cram everything in, whatever we’re making; whether it’s a novel or a painting, simplicity brings with it a certain lightness.

 

(Freesias by Sue Belfrage)