Printed Matters: Fare

Photo: POST

Photo: POST

By Sara Bellini

Sometime during the first lockdown, I found myself longingly holding a copy of a beautifully designed magazine called Fare that I had picked up because of the word ‘Glasgow’ in all caps on the cover. It was already clear to me at that time that my trips to the UK were cancelled for the immediate future and possibly indefinitely - so I started exploring momentarily inaccessible places through literature.

Reading Fare turned out to be an immersive experience where I would go back and forth from the page to my memory. The texture and complexity of the city were there: the sounds and smells as well as the visuals, and most importantly the taste. Glasgow is not an obvious place where to look for outstanding culinary experiences, and yet if you’re open to serendipity, you’ll find plenty of them.

Fare is a travel magazine focusing largely on food, one city at a time. It was founded three years ago by Ben Mervis - food writer and contributor to Netflix Chef’s Table - combining his degree in medieval history, his experience working at noma and his passion for writing. It would be more precise to state that the magazine is about the cultural scene of a specific place, as it doesn’t feature only tasty treats. But culture is an abstract and general term, while Fare looks at the particular with a meticulous and gentle eye.  

Beside Glasgow, Fare has been to Istanbul, Helsinki, Charleston (SC), Seoul and Tbilisi and the latest issue on Antwerp is just out now. The choice of location as well as the themes of the articles set the magazine apart from more mainstream publications, which tend to stick to big names and offer a polished and homogeneous image of a city. Rather than featuring well-known Michelin-star chefs, Fare looks for stories of ordinary people that have managed to create - inside or outside their kitchens - something valuable for the community around them. The way these stories are captured in full colour - through words, photography or illustrations - makes sure they can be enjoyed by readers that have never been to or will never visit the place they’re reading about.

Food is a vessel to pass on traditions and link generations across time and sometimes across space, like in the case of Punjabi immigrants in 2019 Scotland. It’s also the glue of community, especially in multi-ethnic and economically diverse cities. Food brings people together to share something that goes beyond your five-a-day and is rooted into collective memory. Food is about people and the relationships between them, as well as their relationship with the place(s) they call home. That’s why it’s important to tell these stories and we hope Fare will keep doing so for a long time.

Here is our chat with Ben Mervis:

Photo: POST

Photo: POST

What have you learnt from Fare in the past three years?

I've learned so much: about Fare itself (what it is and isn't), and about creating a magazine. Most indie publishers like myself have little or no prior experience with magazine publishing before getting started. As a magazine, we've really found confidence in our voice and design in the last couple of issues. In some ways, I regret Fare not being a quarterly magazine, because each issue is a chance to improve on the last, to tweak things that went wrong and try out new ideas! I'd love to have more opportunities for doing that.

Could you talk a bit about the connection between food, history, community and culture at the heart of the magazine?

Yeah! So my background is in history--medieval history--however, I fell into the food world when I moved to Copenhagen several years ago. Traveling around the world with my then-boss, René Redzepi, I began to understand new cultures through their food: meeting cooks and craftsmen and hearing local histories tied to food production or technique or ingredients. It was incredibly fascinating. When I started Fare it was a very natural convergence of all of those things.

Why did you choose the print magazine as a format? 

To be honest I chose print before I knew or had decided anything about the magazine itself! This came as a love of print.

How do you pick a city and which aspects of its culinary scene to highlight?

City selection is about creating a balance within the 'series' and choosing cities that are different enough to make each issue feel wholly unique and its own.

What are the literary inspirations behind Fare?

One was Italo Calvino's Invisible Cities. I love the idea that the same city could be described in a thousand different ways.

What are your plans for the next issue and how has Covid changed them? 

For the time being, Covid restricts our travel, so we're changing the structure of our magazine slightly to bring on a guest curator. They're an individual who intimately knows the featured city, and we collaborate with them on finding the right voices and themes for the issue. That's something you'll see for Issue 8 and Issue 9.

Is there anything I haven’t asked you that you’d like to share with our readers?

One thing we're really buoyed by is the fact that, in times like this, a desire to travel has not faded--even if the opportunities to do so have. We're really encouraged by the fact that so many people have written to us to say how Fare has helped them 'travel' in this time when armchair travel may be the closest they get to the real thing! 

Pick up a copy of Fare at Rosa Wolf in Berlin or at one of their many distributors across the UK and Europe. And if going into a shop is not a possibility, you can order it online.

The Beautiful Abandoned: An interview with Andrew Emond

Photo: Andrew Emond

Photo: Andrew Emond

A few weeks ago we presented the work of photographer Andrew Emond in an essay by William Carroll. We follow up with a conversation between William and Andrew as a companion to the earlier piece

William Carroll: I was first shown your instagram page by a friend, and was of course immediately struck by your style and subject matter. How important has this kind of word-of-mouth publicity been to the growth of your page and profile? 

Andrew Emond: I’d say it’s been pretty essential. I haven't really gone out of my way to promote the work in any significant way so the growth of my account has happened fairly organically. I'm a bit stubborn when it comes to just letting things evolve that way-- and hopefully having people respond favourably to the work. I’m sure there are faster ways to grow an instagram account, but taking the slow and steady approach is more my style and seems to be working fairly well so far.

WC: I remember when I first contacted you I asked about the tagline in your bio which reads 'Messages from the Interior'. Having studied the American photographer Walker Evans, I asked you if this was a direct homage to Evans to which you assented. How important has Evans been, and indeed other American photographers, to the development of your style? 

AE: I didn’t study photography in school so I wasn’t really aware of Evans’ work beyond his most iconic images. I started taking photographs of abandoned spaces in 2004 and for about four years I was just doing my own thing, working in a creative vacuum and staying pretty naive when it came to the history of photography in general. Coming across Evans, and in particular his treatment of vernacular interiors was enlightening and encouraging. It’s been this way with other photographers whose work I’ve discovered along the way, ilike John Divola or Lynne Cohen.

When I find similarities in other bodies of work, I don’t get discouraged because it’s been done before, but try to use it as something I can springboard off of or respond to. What I love about Evans’ book Message From the Interior is its sense of mystery. The whole thing, even its title (what’s the message?) is a riddle. It’s also a bit of a fuck-you to the the perception that he was a social documentary photographer or even a documentary photographer to begin with. 

WC: You're based in Toronto and so the majority of your photography is informed by the city. Do you look for the same kinds of abandoned/disused spaces when you're travelling? Do you have any intentions of long-term projects outside of Toronto? 

AE: I tend to treat travelling as a way to take a break from what I’m usually photographing in Toronto or sometimes photography in general. I’ll shoot in a different style and generally be less concerned about projects or themes. I haven’t considered working on anything outside of Toronto in a very long time. I can’t imagine it happening unless I had the opportunity to spend an extended period of time in one particular location. It’s pretty hard-wired in me to look for neglected places at this point, so if I do visit them outside of Toronto, it’s more for the experience than anything.

I also feel like slipping in interiors from other places is a bit like cheating. My photographs aren’t intended to be a record of Toronto. I’m not really interested in making any particular statement about this city or even the nature of the spaces themselves. These photos are often more about me than anything else. I want the places to be anonymous, but at the same time I want them to be located here. There’s a logistical reason in that I usually don’t have more than a few hours a week to shoot, but I also get a sense of satisfaction and accomplishment by producing this body of work using what I have around me. 

Photo: Andrew Emond

Photo: Andrew Emond

WC: What other media informs your work? I'd be really interested to hear what films, literature, and even music inspire you? I often find that creatives have myriad interests, and your work conjures up quite a few in my case. I find it hard not to hear Godspeed You! Black Emperor when studying your work...

AE: Painting, sculpture, and installation art are often my biggest influences. Sometimes I’ll walk into a space and the arrangement of objects reminds me of particular works in modern or contemporary art. There’s also sometimes a fair amount of staging and intervention that takes place in my photos so I often find myself taking cues from those mediums. 

Then there are other things, like the novel Invisible Cities by Italo Calvino, Stalker by Tarkovsky, certain songs like It’s All Over Now, Baby Blue by Dylan, R.E.M.’s Chronic Town EP, that wonderfully strange room at the end of 2001: A Space Odyssey. I’m drawn to things that have subtle elements of surrealism. Godspeed is a little too moody for me, but the way they sway between tranquility and chaos is certainly something I try to bring into my own work.

WC: Lastly, I guess I just want to focus a bit on the state of things in 2020. Your work has taken on an eerie prescience given the current climate, which I reference in the companion article. Do you feel an unsettling clairvoyance in your work? Did you envisage these spaces becoming semi-normalised, all those years ago, when you started photographing them? 

AE: I’m not sure anyone could have predicted vacancy becoming semi-normalized even a few months ago. Toronto is like a lot of other cities around the world right now, with shuttered businesses and empty workplaces as employees are now working from home. I’m sure there are many scenes inside buildings right now that resemble ones found in my photos, but I’m resistant to creating a commentary on this current situation. 

Years ago, I was keen on making a statement about deindustrialization and the loss of jobs happening during that particular era, but these days my hope is that this body of work is a bit more timeless  and open-ended. I’m still very much conscientious of the fact that some of the places I visit are the way they are due to economic or personal misfortune-- some of it may even be COVID-19 related, but those sorts of backstories add a layer of real-world context that I try to avoid. 

Andrew Emond’s Instagram page

Printed Matters: Flaneur

Photo: Diana Pfammatter

Photo: Diana Pfammatter

By Sara Bellini

To relaunch our series on physical magazines, we started from the city where, for very obvious reasons, we have spent almost the entirety of the past few months. At the same time we wanted to reach out to the world, to emphasise what has become particularly evident since the beginning of the pandemic: How local and global are connected. Flaneur is a Berlin-based publication that aims at exploring this connection by centering each issue on a single street in all its details, and on how the details that build the individuality of a place also fit in a universal framework. 

Flaneur has a multidisciplinary and collective approach to its subject. This translates into physically exploring a place while collaborating with local creatives and stretching the artistic possibilities across different fields and beyond a predefinite structure. The launch of the Taipei issue in summer 2019 was a twenty-hour festival at HKW in Berlin, merging performance, exhibition, readings and music, to transcend the medium of the magazine and highlight the social fabric at the base of the publication.

While Covid has delayed their production process, we caught up with Flaneur publisher Ricarda Messner and editors in chief Fabian Saul and Grashina Gabelmann.

What are the goals and motivations behind your publication and why did you choose the physical magazine as a form?

Ricarda: The idea for the concept to go with “one street per issue“ was a personal tool to reconnect with known territory. I was born in Berlin and spent most of my life here. There was an urge for me to find my own place within the city without being too overwhelmed, so I started with something that was familiar to me, not knowing what would come out of it. Grashina and Fabian came up with the brilliant editorial framework around this very concrete concept, translating it into an unpredictable but still conceptual approach. So I guess, looking back, it wasn’t so much about the idea of making a magazine but more about establishing this “inner journey“ in an artistic, collaborative way that people can associate themselves with.

You define your creative process as “collaborative, impulsive and unconventional” - what do you mean by that?

Grashina: Since we often arrive at a place without knowing the city, its inhabitants or the street we will choose, having no flat-plan, editorial plan, or financial structure, we consider our method to be quite impulsive and unconventional. I think any magazine is collaborative but we emphasise this point as the content isn't written by us about artists but is made by artists specifically for the magazine and its concept.

How do you pick a place and what makes a place?

Grashina: We arrive in the chosen city oftentimes without knowing it at all. We might have one or two contacts but we basically start from the position of knowing nothing and no one and just walk. We mostly walk alone, sometimes with locals who we meet somehow and listen to their stories. Mostly though we let our intuition guide us and the street choice is based on a certain feeling, a sense of curiosity we feel or something disturbing or something for us unusual. Once we decide on the street - and this can take two days or two weeks - we spend almost every day there [for a couple of months].

Fabian: In collaboration with our contributors, we immerse ourselves into the place beyond what meets the eye and beyond the narratives of positivity that travel magazines perpetuate. We allow multi-voiced pieces that not always form one solid perspective but rather create a fragmented image that does not confirm [standard] exciting narratives but allows for contradiction. It is a very psychogeographic approach. The flaneur is concerned with things that may soon vanish and thus he walks the line between being a melancholic nostalgic but also being able to project into the future and beyond the realm of the visible, an avantgarde figure. Flaneuring is about seeing the plurality of truths in the urban fabric that surrounds us. It is those dark sides flaneuring can lead us to and the plurality of truths that form the literary realm we see the magazine in.

Photo: Diana Pfammatter

Photo: Diana Pfammatter

What’s your relationship with the creative scene of the cities you feature?

Grashina: Our contributors are chosen once we get to know the place and meet people. We like to call it a domino-effect where meeting one person will lead us to meeting three more etc. In Brazil we met 120 people during our time there but of course not everyone became a contributor - that crystalizes sometimes immediately and sometimes after weeks, through an organic process based on spending time with people, trusting our intuition and having great dialogues/walks.

You are about to launch a podcast - what are your plans for it and what’s its relationship with the magazine?

Grashina: Each season will feature a street we have already worked with. Season 1 will revisit Kantstrasse [in Berlin]. The podcast - though it's almost more like an audio play - does not simply regurgitate the content that one can find in the magazine, but approaches those themes in new ways. The audio format allows us to experiment with storytelling in a different way than the magazine does. What stays the same is that the content of the podcast, like the magazine, is fragmented, literary, subjective and experimental. We performed a sneak preview of Episode 1 on the rooftop of HKW this summer. We wanted to experiment with what a live collective listening session could be. There were four performers and three musicians performing and two voices that had been pre-recorded. We intend to keep experimenting with bringing the podcast into different spaces for audiences. 

What are your plans for the next issue and how has Covid changed them?

Grashina: We were meant to start production in Paris for Issue 09 this Spring but Covid obviously delayed this. We are now back to speaking with the Goethe Institut in Paris, establishing new timelines and funding opportunities and plan to continue production this fall. Six months after lock-down began in Berlin, we feel a bit more able to assess the situation and will see this as an opportunity to challenge our own approach and come up with new methodologies.

Find out where you can purchase Flaneur in your city or order it online. Support independent bookshops and publishers!

Irreplaceable – an interview with Julian Hoffman

Irreplaceable Wainwright Twitter.jpg

We are extremely pleased to hear that Julian Hoffman – longstanding friend and contributor to Elsewhere: A Journal of Place – has been shortlisted for the 2020 Wainwright Prize for Writing on Global Conservation. Julian has been shortlisted for his book Irreplaceable, in which he visits habitats around the world that are under threat and which is described on the Wainwright Prize website as being ‘not only a love letter to the haunting beauty of these landscapes and the wild species that call them home, including nightingales, lynxes, hornbills, redwoods and elephant seals, it is also a timely reminder of the vital connections between humans and nature, and all that we stand to lose in terms of wonder and wellbeing.’

To mark the shortlisting of Irreplaceable for the Wainwright Prize for Writing on Global Conservation, we spoke to Julian about his book, the places he visited and the people he met, and the work that is being done and needs to be done to prevent the further loss of such special and important places.

Interview by Paul Scraton:

Elsewhere: One thing that strikes the reader even before you sit down to get stuck in to Irreplaceable is the diversity of places you visited in the course of your research? Was there one particular place that can be seen as a spark for the project, and how did you come to selecting the places to visit for the book?

Julian Hoffman: The spark for the entire book was the Hoo Peninsula in Kent. Slotted between the Thames and Medway rivers, this extraordinary span of glorious marshland, tidal creeks and ancient villages was threatened to be turned into Europe’s largest airport by a proposal championed by London’s then mayor, and now British prime minister, Boris Johnson. The development would have devastated the peninsula, eradicating a massive expanse of protected bird habitat, as well as levelling three entire villages and their 13th century churches. It would have stolen so much of what makes the place so special. But what inspired me to write specifically about the plight of that threatened place was the resilience, bravery, passion and persistence of three people who were doing everything they possibly could to save this home ground of theirs for the benefit of both human and wild communities. So that was the beginning, the Hoo Peninsula; and that day in the company of these three residents was the day when I suddenly understood what loss in the natural world meant. Because so often we measure loss numerically, through so many acres of destroyed woodland or meadow, or by how many millions of breeding birds have vanished from the skies of Europe. But through the stories of these people, and the complex, interwoven beauty of the place and its wildlife that they introduced me to, those numbers became real, visceral and relatable. They were suddenly transformed into the vibrant reality of lands, waters and lives that would be ravaged by the project.

After that, I realised that to approach the issue of loss in the natural world, and more importantly the potential for resistance to that loss, required a global perspective if I was to do it justice in any way. Because these issues affect human societies and nature across the planet. I also wanted to document as many varying habitats as possible, because biodiversity and the flourishing of communities are utterly dependent on a spectrum of functioning ecosystems. So I followed up stories of threatened islands, coral reefs, mangrove forests, tropical jungle and tallgrass prairie, while also consciously investigating what urban nature and green places mean too. And finally, the other important criteria for selecting the threatened places was my desire to trace their stories in real time, exploring them alongside the brave individuals and communities seeking to protect them. Which meant only writing about those places still actively threatened, where no final decision had been made regarding their future. Sadly, this also meant that some places I’d originally intended to include in the book had to be left out because they were destroyed before I could even get to them. These are places that exist solely in memory now for the human and wild communities that once knew them.

Elsewhere: Some of these places are very small… perhaps even unknown to people who live within a couple of miles of them. Can you give our readers a sense of why such places are so important and, as in the title of your book, why they are Irreplaceable?

JH: It didn’t take long to realise that the size of a place bears little relationship to its depth, or to the quality of connection fostered there by people. Our attachments to place can be founded on the small and intimate as easily as the expansive and remote. And for a world in which more than half its human population is urbanised, it’s critical that we pay more attention to small green spaces in cities and local suburban sites. In some respects, it’s taken us a pandemic to recognise just how essential these unsung places are. A recent survey by the Campaign to Preserve Rural England revealed that over half of respondents said that during lockdown they had a greater appreciation for how important local green spaces are for a community’s health and wellbeing. And yet these are precisely the kind of places that are at greatest risk of being destroyed, regularly threatened with being turned into car parks, luxury housing and commercial interests. And with the British government’s new slogan of ‘Build, build, build’, the situation will only get worse, when green spaces of enormous importance to local people will be regarded as expendable and sold off for development instead of being preserved for the benefit of the wider community. Between 2007 and 2014 alone, only four of 198 applications to close allotment sites were rejected by the Secretary of State. So even though allotments are absolutely protected in UK law, the other 194 were destroyed. And with their loss, as with any loss of green space in a city, nature suffers another shrinkage of real estate in which to dwell alongside us, and that world of potential connection close to home, where we often first come into contact with nature, is further eroded. And critically, for those people who lack access to green spaces further afield for socio-economic reasons, these small, unsung, nearby places are often vital for their wellbeing.

Elsewhere: One of the words we’ve heard a lot in recent years has been the idea of “wilding” or “re-wilding.” What role, if any, do such projects have in the struggle to save endangered places?

JH: I think rewilding is critical to the return of natural abundance. By leaving space for vital, elemental processes to regain their fluidity and wild expression, we enable a greater flourishing. And just as importantly, between rewilding and what in North America ecologists call ecological restoration is the opportunity to right some of the wrongs and heal some of the wounds we’ve inflicted on the world’s lands and waters. To rethink the direction that our neo-liberal economic and political systems have taken us, recalibrating our value of what matters in the process, so that the healthy functioning of ecosystems and the prospering of wild communities is part of our everyday deliberations when considering human wellbeing. 

It’s a complex and emotive issue, and there are purists and non-purists to further complicate matters of rewilding, but what is fundamentally exciting about the prospect is how it offers the chance for imaginative leaps to be made, reconnecting us to species, landscapes and places that have been thinned of so much of their meaning because of our intensive industrial, agricultural and extractive practices. Actions that have led us to a world of separation and estrangement. But enormous possibilities for restitution exist, like the Kent Wildlife Trust’s plan to bring bison to within walking distance of Canterbury to aid in the creation of woodland habitats and their multitude of ecological niches. Or like the fantastic community rewilding projects that are taking shape in Scotland and elsewhere, bringing together landowners and individuals with varied backgrounds and interests in the pursuit of a more inclusive and wilder landscape. It’s not the answer to all the issues, of course, and many of our richest seams of biodiversity, such as wildflower meadows, which have declined by a devastating 97% in the UK since the 1930s, are critically dependent on human influence, but rewilding should be seen as one of the many major tools we have to reanimate the planet’s green and blue spaces. And just as importantly, it’s imperative that we simultaneously rewild the heart in a way that makes kinship with other forms of life a natural part of being human.

Elsewhere: What struck me when reading Irreplaceable was how the stories of these places and their futures were deeply interlinked with the people committed to defending them. Can you share something of what it was like to meet such people and also whether what you saw and heard from them changed your own feelings about endangered places?

JH: From the very beginning of the book I wanted people to be at its heart. I think the separation between people and nature can sometimes be replicated in nature writing and film-making that either actively seeks to exclude humans from the scope of the work or creates an artificial island of fecundity, reinforcing not only a distance between species but also a false narrative about how well the natural world is doing. But with Irreplaceable I wanted to make the interconnection between people, wildlife and place a fundamental aspect of the story. Because in order to repair this world of wounds, in Aldo Leopold’s stark phrase, we need to deepen that weave. And what I discovered in my journeys to threatened places, where I sought out ordinary residents as much as ecologists and conservationists, was the profound capacity we have for attachment with the natural world. The people I met there – taxi-drivers, soldiers, teachers and nurses – were actively enlarging the idea of home while trying to defend a place of importance, so that it included the more-than-human in its embrace. It was a deeply moving experience for me, but also wonderfully joyous, welcoming and inspiring being in their company. They showed me that positive, transformative change is possible.

Elsewhere: And have you heard back from any of them as to how they feel about the book?

JH: Yes, I have. And each time it was a really emotional experience after all the anxiety of wondering whether they felt I got the stories they’d entrusted me with right, which often included their own personal worries and vulnerabilities too. But the response has been overwhelmingly positive. Last November I was involved in an event for the Sheffield and Rotherham Wildlife Trust on the theme of trees and irreplaceable ancient woodland and they’d invited the group of people I’d spent time with who were doggedly seeking to protect the ancient woodland of Smithy Wood, with 850 years of continuous wooded history, from being turned into a motorway services off the M1. I hadn’t seen any of these people since 2015 when they shared their stories of this woodland with me, and although we were now in a concrete venue in the middle of the city you could still sense that intricate world of trees and leaves and roots around them. And by sheer coincidence, that was the same day that we learned that Smithy Wood was most likely to be spared. And it reminded me that although four years had passed between our meetings, while I had been writing about other threatened places in the world, their fight to save that irreplaceable ancient woodland had carried on throughout that entire time. So it’s been an incredible honour getting to know such resolute people.

Elsewhere: So often it feels like positive environmental stories come down to the commitment and hard work of individuals or small groups. What do you think governments and other institutional bodies need be doing if we are to stop the loss of the places you write about?

JH: Firstly, and most importantly, to listen. I was amazed by just how many people in my journeys felt a connection to the natural world and green spaces in one way or another. And yet their concerns are largely ignored. The almost complete lack of attention given to environmental issues in its broadest sense during election campaigns and debates is a sign of how low down the list of priorities it is for most politicians. For many of them, particularly on the right, though by no means exclusively, the philosophy of perpetual economic growth is hardwired into their souls. They can’t see around it; neither what it costs in terms of other measures of wellbeing or how it’s a trap, a hamster wheel you can never escape from. All you can do is keep building, extracting, devouring. None of which is a destination in itself, just a way to keep the wheel spinning sufficiently that you can convince yourself you’re actually going somewhere. But listening to others’ concerns, especially when they don’t conform to your vision of the world, and absorbing exactly what scientists are saying about the devastation that climate change and biodiversity loss will cause, is absolutely imperative. And if they won’t listen, then it’s up to us as citizens to be far more pro-active when it comes to voting for parties and politicians who will.

Elsewhere: In a book like yours, where the situation can so often seem desperate, it can be hard to find hope. But I found Irreplaceable extremely hopeful even if not every struggle will be successful. Did you feel hopeful after writing this book and how do you feel now?

JH: I remember right back at the beginning, just after experiencing the Hoo Peninsula in 2013, wondering where the trajectory of the book would take me. Would it be a deep dive into grief, or an angry rant about the destructive power of capitalism? Would it be an elegy, or a tome of hopelessness? I really had no idea back then how the journey would unfold, but it didn’t take long to witness and recognise the enormous potential and capacity for positive action when people stand up for what’s right. When people work in cohesion on behalf of something bigger than themselves, uniting around an idea, a place, a wild species. This is what I came to call radical hopefulness. When the word hope is understood not in a passive context, which is what we all commonly do, but as an active verb. A verb that makes change possible solely by acting on it. So, yes, I remain hopeful, in the sense that I experienced what is not only possible on my journeys but actively happening in communities throughout the world right now. During the dark days, these are the stories I hang on to.

Elsewhere: As great fans of your work, from your writings for various outlets (including Elsewhere!), and your books The Small Heart of Things and Irreplaceable, the last thing we need to know is… what’s next?

JH: Thank you, that’s very kind of you to say! Like countless people around the globe, my plans were upturned by the pandemic. Which meant the book I was intending to write had to be shelved, at least for the foreseeable future, as the journeys, stories and interviews I’d pinned it on could obviously no longer happen. But in the wake of that disappointment, as I had a spring and summer at home instead of one on the road, a new vision for a book took shape. It’s called Shelter, and while not specifically about the pandemic it of course has everything to do with it. The idea emerged out of that need to stay in place, but also from an urgent sense of solidarity with other forms of life seeking to dwell in safety and security. For the past two winters, up to 14 wrens have roosted on especially cold nights in a long-abandoned swallow’s nest above our front door. To have them that near to us as we slept, and to watch them drop out of that shelter at dawn each day, often into a world of swirling snow, and then return at dusk from separate directions, has been one of the most extraordinary and enlarging experiences of my life. Just as they were departing their shelter for good in early spring we were entering our own due to the pandemic, so the book is really about living in a shared world – our mutual, fragile and astonishing shelter we call Earth – a personal exploration of wild lives nearby and how we might go about creating the psychological and emotional space for co-existence. 

***

Irreplaceable: The fight to save our wild places is published in paperback by Penguin

Five Questions for... Malte Brandenburg

Photo: Malte Brandenburg

Photo: Malte Brandenburg

By Sara Bellini

Malte Brandenburg is a photographer based in Copenhagen. In his creative practice he looks for simplicity and symmetry and in the past he has often found them in Berlin buildings. Housing spaces are explored both in their aesthetics as well as their urbanistic context and social value. After the pandemic changed his travelling plans, Malte is now finalising some projects while exploring the familiar streets of Copenhagen with his camera. 

What does home mean to you?

That is a tricky question for me as I left my home town Berlin almost thirteen years ago and moved to Copenhagen. I still feel attached to Berlin, but at the same time the city becomes more and more foreign to me. And vice versa Copenhagen was for a number of years just a city I lived in, without the feeling that this is my home. It was somewhat in between, which was strange. However, after a while I found the right corner here for me and finally clicked with Copenhagen. Strangely though, I also feel more independent from where I am, as long as I'm with my family, it's difficult to describe. I guess they are my own little biotope :-).

Which place do you have a special connection to?

I have a very special connection to a place in Berlin called Gropiusstadt, a settlement of various tower blocks designed by Walter Gropius in the south of Berlin. I grew up nearby and had a couple of friends there and also had to pass through to get to the local swimming pool, which is why I spent quite a bit of time between these tower blocks. It always felt like a very surreal place to me, because of the sheer amount of concrete reaching into the sky.

Photo: Malte Brandenburg

Photo: Malte Brandenburg

I could not fathom that almost 50 000 people lived there. Also from a sociological point of view it's a quite interesting place and how it has changed within a relatively short period of time. This place was one of the first topics I was drawn to when I started to focus my photography more and more on urban architecture. I still return to Gropiusstadt on a regular basis.

What is beyond your front door?

Beyond my front door there are friends, a nice park and the beach, which I appreciate a lot. About 40 meters away there is also one of the best bakeries in town with shelves of sourdough bread!

What place would you most like to visit?

I would like to travel through Eastern Europe, all the way to Russia. I am fascinated by the culture and especially the food.

What are you reading / watching / listening to right now?

I am currently reading Agent to the Stars, a novel by John Scalzi about an alien race on earth that hires a PR agent in order to manage the revelation of their presence to humanity - it's hilarious! I also just finished The Last Dance, the Michael Jordan documentary. One of the best documentaries I have seen. I might be biased though, as he was a bit of a childhood idol. In terms of music, I listen a lot to Moi Caprice these days, a Danish band I discovered by accident, because the lead singer's daughter goes into the same class as my son.  

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Find out more about Malte Brandenburg on his website and Instagram.

The Easternmost House... an interview with Juliet Blaxland

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As a companion piece to the third of our essays by Anna Iltnere about literary seaside houses – The Easternmost House – we present an interview with Juliet Blaxland...

Interview by Anna Iltnere:

Juliet Blaxland, writer, architect and illustrator, had lived in a coastal house by the North Sea with her family for more than a decade. The house doesn’t exist anymore but continues to live in a book she wrote about it. The Easternmost House: A Year of Life on the Edge of England was published last April, when the house was still standing on the edge of the cliff in Suffolk, England, overlooking the sea. The Easternmost House was demolished this February, so it wouldn’t fall into the sea. 

I contacted Juliet Blaxland to ask her about her relationship with the sea, her view on the seaside houses and what she misses the most from The Easternmost House.

The book is a love letter to a house that no longer exists. Was it easy or hard to write it?

I found it oddly easy to write The Easternmost House because by the time the idea of a book occurred to me we had lived there for ten years or so, and I grew up in the countryside nearby, so it was very much familiar territory. It seemed sad to me after so much had happened at the Easternmost House, and so many people had known and loved the house, its immediate surroundings of the beach and the farm over the centuries, that one day soon, there would be only empty sky where the house had been, and ‘the people on the beach below will not know’.

I don’t know why it bothered me that ‘the people [of the future] on the beach below’ would not know, but it did, and that became the incentive to write, so that they would know. And now, the people on the beach below, and the people of the future, will know. That is how the book ends, with that image of the empty sky over the beach, where the house and the cliff once was.

What is your understanding of ‘sense of place’? What creates place?

‘Genius Loci’, the Roman religious concept of ‘spirit of place’, is perhaps my starting point when thinking about sense of place. A sense of place can be found in all different environments: desert, farm, city, church, country house, town house, skyscraper, mountain, forest, and so on. What seems to define the ‘place’ to me is some sense of its essential character and ‘spirit’. There is a knack to finding the spirit of a place, but I believe that this can be found in any place, and I also believe that some people seem to be more attuned to feeling that 'spirit of place more instinctively, more easily, than other people. Some don't seem to feel a ‘sense of place’ at all, and nor do they seem to need it. I think most people do feel it and need it, even if they might not be able to pin down exactly what they mean or what they need. Most of us know the feeling of being in our own ‘right place’, literally or metaphorically, and it is a great gift if we can find that place of calm in our minds, as it goes with us wherever we are. 

I am an architect, so I have often thought about the idea of a ‘sense of place’, ‘genius loci’ or ‘spirit of place’, and its uncatchable but knowable feeling still intrigues me, as it has done since I was a student and unwittingly since I was a child. The old house and farmyard where I grew up had a 'sense of place' in spades, and my mother still lives there, so it is still an ongoing preoccupation to work out what it is. 

What do you miss most about the Easternmost House?

What I miss most is the visual emptiness of living right on the edge of the cliff, so that from our windows, from our bed, the view was of the sea, the horizon, and often some 'big' weather, far beyond what we normally experience in more sheltered places or inland.

We have been lucky in that we have moved only a mile or two up the coast, and can still walk to the Easternmost House site, and see it from afar, and we still live only about 500 metres from the sea and the cliff edge, but the sea is now a big field away not 10 metres!

Are seaside houses somehow different from other houses?

To me it is the isolation and the open view that is the difference, not necessarily the sea, although the sea certainly adds a vast and different dimension to everyday living. A ‘seaside house’ in a seaside town, perhaps a holiday place crowded in summer, would to me be less appealing than a isolated cottage on a farm or similar. I don’t mind the inconvenience of living in the countryside, as I grew up with it. The sea adds enormously to the different sounds you hear, and the very different birds and animals you see on the coast, seals, oystercatchers, bitterns etc.

Two of my favourite books are The Outermost House by Henry Beston and Ring of Bright Water by Gavin Maxwell, both of which describe an extraordinary life in an extraordinary house ‘on the edge’, of the land, on the edge of the norms of society and on the edge of the mass of humanity. Both of these houses were destroyed by natural forces, a storm and a fire, respectively. The Easternmost House having been destroyed by coastal erosion seems a natural companion to these two (the books and the houses themselves). 

We have visited the site where the Easternmost House used to be, and it is strange to see an empty space where so recently we lived. The trees and surrounding landscape is still there and completely recognisable. It is only us, and the house, that has gone. It some ways, it is probably a good thing, to leave a nice, clean, quiet cliff, so that the birds and other wild animals are no longer disturbed by our chatter, and our greyhound, and our just ‘being there’.

What the sea means for you?

I think we all have quite a complex and conflicted relationship with the sea. The sea is mesmerising to be near, or to swim in. It connects us to the rest of the world, and that is one of the things I like about being near the sea. I think islanders tend to be culturally less insular than land-locked peoples, as islanders are constantly look outwards not inwards, and have a history of accommodating those who have arrived or invaded by sea. I am fascinated by the sea and sea people in different parts of the world, different fishing methods and so on, and I love the more remote parts of Venice and the Venetian lagoon. On the other hand, I always feel the enormity and dangers of the sea, and at night when we listen to the BBC Shipping Forecast, your mind tends to wander, to think of ‘those in peril on the sea’ as that famous hymns puts it.

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Read Anna’s essay on the Easternmost House here

Anna is the founder of the Sea Library in Jūrmala, Latvia and the author of our ‘Unreal estate’ series of essays on literary houses by the sea. On the Sea Library website you can read reviews, interviews and, of course, borrow a book.

Quoyle's Point... an interview with Annie Proulx

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As a companion piece to the second of our essays by Anna Iltnere about literary seaside houses – Quoyle’s Point from The Shipping News – we present an interview with Annie Proulx, the Pulitzer Prize-winning author of the novel.

Interview by Anna Iltnere:

The Shipping News (1993) by Annie Proulx is a vigorous, darkly comic, and at times magical portrait of a family moving to Newfoundland and starting to live among local fishermen in an abandoned seaside house, moored to a rock. The house at Quoyle’s Point is a vivid character in the book, dusty, gaunt, despite the efforts, and moaning in the wind. 

I contacted Annie Proulx to ask her four questions about the role of Quoyle’s seaside house in her book and about her own relationship with water.

What is your relationship with water and with the sea? What does the sea mean for you?

Like most people I am attracted to shorelines, whether lake, river or ocean. All of these locales have been severely damaged by humankind over the millennia—wetlands drained, rivers dammed, ocean-shores faced with armored rock walls, estuaries polluted. My interest in today's warming oceans is based on concern as the waters move toward acidity, as coral reefs die, as kelp and eelgrass decline. I watch with trepidation as fish stocks dwindle and the shells of tiny pteropods dissolve. I walk regularly on the shore, picking up plastic as I go and feeling grief at the damages inflicted on these habitats. 

Quoyle is afraid of water and yet he has to overcome his aquaphobia to own a boat and live by the sea. What does his fear symbolize in the book?

I’m not big on symbols. His fear can mean whatever the reader thinks. Books are somewhat cooperative in this way, that a reader can use her or his own experience of life to interpret the actions and thoughts of a book’s protagonists.

What role does the house at Quoyle’s Point play in The Shipping News?

The house is his link with the past—it is the ancestral home of the Quoyles. It also carries bad memories for the Aunt so that what happened in that house a generation before drives the story. And it is a testament to the staying power of Newfoundlanders of the fishing-village period when people lashed their houses to the rocks against the pounding seas and hurricane-force winds. 

Would you agree to spend a summer at Quoyle’s house (if it would be still standing)?

Of course! Where do I sign up?

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Read Anna Iltnere’s essay about Quoyle’s Point here.

Anna is the founder of the Sea Library in Jūrmala, Latvia and the author of our ‘Unreal estate’ series of essays on literary houses by the sea. On the Sea Library website you can read reviews, interviews and, of course, borrow a book.

Shruff End… an interview with Miles Leeson

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As a companion piece to the first of our essays by Anna Iltnere about literary seaside houses – Shruff End from The Sea, The Sea by Iris Murdoch – we present an interview with Miles Leeson, lead editor of the Iris Murdoch Review:

“Having lived all my life near to the sea I’m in the same mind as Murdoch; the importance of the sea to mental health and wellbeing, and to freeing the creative part of the mind. Iris Murdoch always wishes in her letters to friends that she could have a cottage by the sea and one wonders why she didn’t as she could have afforded one.”
– Miles Leeson, director of the Iris Murdoch Research Centre at the University of Chichester

Interview by Anna Iltnere

What was Iris Murdoch’s relationship with water and with the sea? What the sea meant for her?

A very long relationship! I can’t think of any novels in which water isn’t mentioned or used as a symbol in some way. It’s always connected with boundaries, whether it’s the Thames that Blaise crosses to meet his mistress Emily, or the gap between reality and the unconscious in The Sea, The Sea which Charles constantly struggles with. Iris herself was, as we know, drawn to the sea throughout her life and regularly swam in the wild – near Oxford, in lakes, in the Sea, or indeed in the pond in the back garden at Steeple Aston! It’s her most enduring image I think, and one which the film Iris from 2001 makes much of as well.

 “To be able to swim, for Murdoch, is within her fiction almost to possess moral competence,” Peter Conradi writes in his essay “Iris Murdoch and the sea”. Is there more to swimming, near drowning and drowning in Murdoch’s books than just thrilling plot turns?

As I’ve hinted at above water is much more than just a useful fictional device for Murdoch. Peter is right of course, a sense of the moral life is tied up with images of confidence, or lack of confidence, in water. We remember that early scene in The Unicorn when Marion has her experience on the beach below the cliffs at Gaze, she meets the seal perfectly happy in his environment whereas Marion is very much a fish out of water in the space she now finds herself in. Effingham in the same novel and his revelation as he sinks slowly into the bog. Quite often our male protagonists, Blaise, Charles, Bruno in Bruno’s Dream, Tim Reed in Nuns and Soldiers, and others have a complex relationship with water and find themselves faced with set-pieces – who could forget Tim’s near-drowning in France? – that force them to face reality. 

What role does the seaside house Shruff End play in The Sea, The Sea?

Oh, Shruff End, and the immediate landscape, is the setting for all of the central action; it’s very much the ‘stage’ and everything else really happens ‘off stage’ in a sense. What is little known is that Murdoch wrote a stage version of The Sea, The Sea that was never put on in her lifetime. Much has been said about what Murdoch takes from Shakespeare and here, of course, it’s The Tempest. We have our Prospero who has, of course, recently retired from the Theatre and his ‘court’ who end up following him out to the seaside. One way of reading the house is the mind of Charles writ large; how the rooms relate to his conscious and unconscious thought and so on; especially once he captures Hartley. That’s only interesting in part I think, we lose much if we give a simplistic psychoanalytic reading to the text; it should be enjoyed as a comedy in form, with Charles as a quasi-tragic figure.

Would you agree to spend a summer at Shruff End? Why or why not?

Oh, I think so, so long as Charles was no longer resident! The setting is rather bleak in some ways but at least I could get down to some serious writing. Having lived all my life near to the sea I’m in the same mind as Murdoch; the importance of the sea to mental health and wellbeing, and to freeing the creative part of the mind. Iris Murdoch always wishes in her letters to friends that she could have a cottage by the sea and one wonders why she didn’t as she could have afforded one with John if she wanted to; especially after the success of the 1970s. Shruff End probably needs some major updating and renovation in any event; I certainly don’t remember it having central heating!

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About Miles Leeson: As well as being the lead editor of the Iris Murdoch Review, Miles also published Iris Murdoch: Philosophical Novelist in 2010, the edited collection Incest in Contemporary Literature in 2018, the festschrift Iris Murdoch: A Centenary Celebration this year and is currently writing Iris Murdoch: Feminist

About Anna Iltnere: Anna is the founder of the Sea Library in Jūrmala, Latvia and the author of our ‘Unreal estate’ series of essays on literary houses by the sea. On the Sea Library website you can read reviews, interviews and, of course, borrow a book.