Looking for the Holy Grail

When VHS used to be a thing we had a tape of Indiana Jones and the Last Crusade. We’d recorded it from a television showing and I think the iconically cool Motorola Razr was being advertised in the breaks.

I must have watched it a few times because a scene is burnt on to my mind. Indy has arrived at the entrance to the chamber where the Grail is kept. He knows there are booby traps, bodies are strewn next to him, and he’s just seen someone lose their head. In his hands are the diary notes of his father.

‘The penitent man will pass.’ He reads, muttering under his breath. He take tentative steps forward. ‘The penitent man will pass. The penitent man. Penitent. Penitent.’ He is shaking. The tension is huge. Then, suddenly, ‘KNEEL!’ He leaps forward and does an acrobatic roll. Circular saws slice through the air he was just in. Harrison Ford lives to fight another day.

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The Mountain as Altar: Shelleys and Mont Blanc

“I think,” I suggested hesitantly, “that that,” I gestured, “is Mont Blanc.” Me and my friend Ed had arrived in Chamonix on a train, having taken a break from The Pilgrimage in the Alps to visit the most iconic Alp of them all. We were sipping beers a few steps from the train station. The mountains loomed above us.

I was wrong. Depending on where you are in Chamonix, Mont Blanc does not always appear as the highest peak. I was seduced by a closer, smaller, rockier crop that due to an perspective error looked higher to me. In fact, Mont Blanc hunches on the horizon. It has a rounded, snow-capped peak that looks less threatening than those that surround it.

We looked at an information board which told us the names of the different peaks. There was Mont Blanc. Once I knew it, it did look more imposing. I could adjust for the perspective and it seemed very high indeed. I prepared myself for the moment of sublime ecstasy that Shelley’s famous poem describes. It did not arrive.

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To the Forest

I started writing this a pine forest near the small village on Ouhans in the Comté region of France. There was a storm in the afternoon with hail that burst into raindrops the second they hit you. Not for the first time, I had sought shelter in trees.

There is something about the forest that has always captured the imagination. It is both habitable and in-habitable. It is where the earliest humans, the hunter-gatherers, dwelt but ever since our turn towards cultivation we have felled the trees and required a different landscape.

Something about the forest, then, seems to reach into us and tap this primal instinct but simultaneously it is the location of the things which are frightening. Civilization is the opposite of the forest but art finds so much of its source in its density. The forest is wild.

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Is It The Land Which Will Remember?: Graves of the First World War

I have just finished reading Robert Macfarlane’s ‘The Old Ways’. It is a captivating book that weaves brilliant insight about our environment into fantastic stories. It is about many things but a lot about how paths and the landscape form individual and collective imaginations. It is about how they evidence historic and pre-historic patterns of existence. ‘Paths are the habits of the landscape’, Macfarlane writes. Humans, just as rivers or glaciers, incrementally construct these pathways through repetition. It is a charming and beguiling way to read humanity’s interaction with its environment.

But there are countless instances of less gentle and gradual interactions with the land. For two days I have walked along a Roman road that cut into the horizon without a hint of natural meander. It paid no mind to gradient or terrain. It shot, martially, towards the vanishing point. It felt like treading along a two millennia old scar. The difference, I think, is in the contravention of natural pattern.

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Borders and their metaphors: traversing coastal boundaries

For the first few days I have been walking through the edges of countries. Towards the end of my walk to Dover, exhausted, I noticed the land begin to drop away. The horizon became craggy and then sea.

White Cliffs

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Spring Departure Boards

Chaucer’s General Prologue to the Canterbury Tales has a famous beginning; it states the season:

Whan that Aprille with his shoures soote,
The droghte of March hath perced to the roote,
And bathed every veyne in swich licour,
Of which vertu engendred is the flour

[When April with its sweet-smelling showers
Has pierced the drought of March to the root,
And bathed every vein (of the plants) in such liquid
By which power the flower is created]

It hits all the tropes of spring: growth, fecundity, moisture. It explains that this is the season of pilgrimage:

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Good Friday and Boethian Time

From the ages of eight to twelve I was a chorister at Durham Cathedral. One of the most memorable annual services we participated in as choristers was the Three Hours on Good Friday. As the name suggests, it was a three hour long service from 12 noon to 2pm. For a nine year old three hours feels like an incredibly long time. Long enough to get bored. Long enough to ponder the nature of the crucifixion.

It was strange. The solemnity. The performed sadness. I knew that in two days time there would be the celebration of Easter Sunday. So why bother being sad? The linearity of time is important. In the words of the original Roman Missal: “Christ has died. Christ is risen. Christ will come again.” The tenses  matter there: the church situates itself between the resurrection and the second coming. There is future and there was past. And death, we were told, had been overcome by life. Why mourn the risen?

Pieta by Fenwick Lawson, Durham Cathedral

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Three Maps

It’s March and everything seems distant. Canterbury seems distant. Rome certainly seems distant.

The latitudinal and longitudinal coordinates of St Peter’s Basilica are: 41.9022° N, 12.4539° E. That doesn’t help at all.

Perspective must be the answer.

I decided to buy a map. It’s a big fold out road map. I decided to draw the route on the map.

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