Sea wall was the name given to the South Dorset Ridgeway by those who lived in its shadow. It was seen as a natural barrier, keeping back the sea that raged against the Chesil Bank and the Jurassic Coast. This was the inspiration to my book which has just been published by Archaeopteryx Imprint Ltd.
I collected extracts from some of the posts published on my blog for the BBC Wildlife Magazine and mixed these with some of my poems, most of which were written last summer, but I have also included some from ten years ago when I lived at Kingston Russell on the landward side of the South Dorset Ridgeway. Several of these poems have already been published in different anthologies and poetry magazines such as Poetry Wales and South.
I then decided to create linocuts to illustrate my work. Originally I planned to make about six but, in the end, I was having so much fun, that there is a linocut on almost every page. Owls, hares, newts and skylarks are some of the wildlife touched on in my writing. Underpinning everything is the prehistoric landscape of the ridgeway itself. It is impossible to walk this ancient way without being aware of those who lived and worked there in times gone by. There are traces of worked flints, stone circles and sarsen stones. But there is also the indefinable sense of many footsteps ghosting the way. And, beyond the Ridgeway, is the sea in all its changing moods.
I enjoyed creating the book so much, I am already planning my next one on Chesil Beach and the Jurassic Coast so watch this space!
Sea Wall is available from www.archaeopteryx-imprint.co.uk for £10 plus postage & packing.
The idea was to have a moonlit walk on the South Dorset Ridgeway. This ancient trackway runs along a knife-edge high above the sea with views towards Portland and the Jurassic coast to the south and over the valley of the River Frome to the north. It was created millions of years ago when Africa crashed into Europe causing this part of Dorset to crumple up like a tablecloth. In prehistoric times when most of the land was forested, this narrow exposed chalky ridge – where little could grow apart from contorted thorn trees – provided a relatively clear and safe route.
We arrived just before dusk on the day after the full moon. The sun was low in the sky casting dramatic shadows from clusters of tumuli and the distant hill fort of Maiden Castle. We were stalked by our own shadows which crept over the wind-bent grass behind us as we walked west. Campions and Cow Parsley lined the verge beside the track. The sea to our left was a brilliant blue like paint squeezed straight from the tube. The air was peppered with pollen and my eyes felt gritty in the wind.
Skylarks were singing for a while then they dropped with the sun into the long grass. Small white moths flitted beside the path. The sun was so low it was skimming the ground, spot-lighting the wayside poppies, clover and buttercups. The clouds banked up while a single bird sang on the wires overhead. Then the sun glowed briefly like a giant poppy before vanishing. We turned to walk back and saw the silhouette of a deer above a grassy mound, ears sharply etched against the sky.
The wildflowers seemed to have kept a little of the last light, ox-eye daisies glowing in the dark grass. My mother used to call this dusking time ‘dimpse’ – a word which describes perfectly the dim soft light that lingers before darkness falls. We waited a while hoping to see the moon, but it wasn’t due to rise till much later.
As I drove home I saw a fox trotting across a field in a purposeful way – night creatures were beginning to claim the land. A few hours later a huge moon hung in the sky over our village and I imagined its light silvering the chalky track of the Ridgeway where we walk in the footprints of ancient people.
Early morning and the sun shooting low, straight in my eyes like an inquisition. I couldn’t see where I was going so studied the ground, seeing for the first time, reflective specs in the white lines on the road. The low light revealed snail trails like invisible ink – a log of night-time journeys, written in loops and flourishes. Bird droppings studded with yellow seeds blotted the pavement. Overgrown brambles and nettles plucked at me on the narrow path.
On the river half a dozen young mallards had turned sideways against the current as they swam under the bridge – perhaps to slow themselves down. Petals of Himalayan Balsam lay flat on the surface of the water like purple hearts.
Along the lane where it borders the site of an ancient track I got my usual goose bumps. The sun dappled the road through the trees and the only sound was birdsong. Suddenly I heard approaching footsteps – a jogger going by. I looked over towards the old high track almost expecting to see someone. As I emerged from the shade my shadow sprang ahead and startled me.
I could hear sheep tearing at the grass. Low down in the hedges, convolvulus flowers were furled in the shade, but open trumpets in the sun. Higher up, was a collage of colour and texture. Berries of all hues and sizes hung against a green backdrop – deep purple elderberries, dusky wild damsons, red and orange honeysuckle berries, wild cherry plums and peppermint-white snowberries. In an alder tree were compact green cones like hand grenades about to explode.
Some plants made up for lack of colour with intricate patterns and shapes – propellers of sycamore, knobbly hog weed seeds like jacks ready to scatter, wads of thistledown on the wind and delicate drifts of dandelion seeds counting down the days to autumn.
At home about twenty house martins were swooping up, one after another, to a nest under the eaves then dipping away as though saying goodbye to summer.