Edge of the Orison (3 page)

I liked the idea and it stayed with me. Clare's walk, out of Matthew Allen's Epping Forest refuge, High Beach, was one of my obsessions. I'd seen drawings of Clare on the road by the Leicester artist Rigby Graham in the collection of a dealer in Peterborough. Another dealer, Mike Goldmark, had shown me the tape of a television film made by Charles Mapleston, in which Graham (driven, not walking) recreates Clare's drudge up the Great North Road. Graham rather specialises in drudge, Neo-Romanticism with tractors and pylons. And the occasional disgruntled owl. Nothing suits him better than dabbing at a dissolving watercolour in a torrential rainstorm, while he confronts a Little Chef on the busiest section of the A1.

There was one other troubling detail: John Clare, through his rogue of a grandfather, John Donald Parker, the itinerant schoolteacher/fiddler who abandoned his pregnant sweetheart, shared my provisional Scottishness. Highland blood, lost to both of us, affected him most as he slid into a confused plurality of identities in the dreary Northampton years. John Clare was the Anglicised version of the name on my birth certificate. My wife, like Clare's first love, Mary Joyce, attended a village school in Glinton. Anna was descended from tenant farmers who, like the Joyces, acquired land in the aftermath of the enclosures.

I was nervous enough of genealogy to re-read
Tess of the D'Urbervilles
. This business of manor houses on hills, perhaps connected to my wife's family, struck the wrong note. Beware, I reminded myself, of Hardy's Angel Clare; that character's priggish self-absorption, the furtive relish of his spurned wife's ancient blood.

Angel Clare rises out of the past not altogether as a distinct figure, but as an appreciative voice, a long regard of fixed, abstracted eyes, and a mobility of mouth somewhat too small and delicately lined for a man's.

Was Hardy reading the Northamptonshire poet? Did he adopt the Clare surname by accident, a half-memory of the peasant versifier grafted on to the evangelical parson's son?

Tess speaks:

‘Because what's the use of learning that I am one of a long row only – finding out that there is set down in some old book somebody just like me, and to know that I shall only act her part; making me sad, that's all. The best is not to remember that your nature and your past doings have been just like thousands' and thousands', and that your coming life and doings'll be like thousands' and thousands'.’

Not to remember, that's the key. (Especially when your version of the past never happened.) Let family disappear, as our path through this wide field, parting waves of cereal crops, vanishes without warning. It was too good to be true, a track scythed for the benefit of hikers: hardtrodden, red-brown earth. There are attractions that we don't have time to investigate, earthworks, ponds, the remains of a motte and bailey castle – and then, a couple of miles to the south, Little Gidding. We'd planned, coming to Stilton from St Neots, before we found ourselves on that ghost road, Ermine Street, to detour in the direction of Little Gidding. But it didn't happen.

T. S. Eliot arrived there, the chapel, the site of Nicholas Ferrar's seventeenth-century Anglican community, in May 1937. The community gives its name to the last of his
Four Quartets
. Eliot sees this visit, unwalked, as a pilgrimage, resolution forced on an unshaped life. Either there is ‘no purpose’ or that purpose is shaped by a journey. ‘Beyond the end you figured… altered in fulfilment.’

In August 1937, Eliot travelled to Somerset, to East Coker: another church, more graves. The desire, as the gravity of life pulls harder towards the earth, to locate and pay homage to his ancestors. To shrug off solitude. To belong. ‘The future is before us.’ He speaks in quotation marks. Concealed memory was always his method, his mask. Now, fearing war and the end of a cycle of civilisation,
the mask bit into bone. His ashes would be buried in the parish church of St Michael, East Coker, where the first recorded ‘Elliot’, Katherine, was baptised in July 1563.

We are, this bright morning, pleased with ourselves, having come so far, and pleased with this land – in which nobody moves or stirs, no woodsmoke, no barking dogs. Our beacon is a mast on the horizon, the hill crest, a booster or photovoltaic scanner. Middle England, as we have discovered in the last few days, is stitched together from active or abandoned airfields, unpeopled farms, drowned villages and uncertain tracks that are visible only if you insist on them. You see the empty quarter, hedges cropped, absence of rubbish, middens, burnt-out shells of cars, and you sense: money. The lush chlorophyll of liquidity.

After the Enclosure Acts, Clare felt uncomfortable in newly ordered fields; he was watched, spied on, he had much better find himself a road.

I dread walking where there was no path

And prest with cautious tread the meadow swath

And always turned to look with wary eye

And always feared the farmer coming by

We don't crack along. Because Petit and his camera have a different eye on landscape. Renchi, by this time, had abandoned the detailed logging of the M25 project, snapshots, sketches. He had equipped himself with a cheap plastic prism and a Sherlock Holmes magnifying glass; he was shooting from the hip. The format of his prints was larger, rectangles busy with plant life, surreal close-ups or tilted expressionist skies. There were many versions of his red-faced companion with his Bunyan burden. Wattled neck-folds. Tight eyes. The eternal track. This happened. This is what I saw. I don't need to tell you everything. Spidery curtains, in a hotel bedroom, bunched in lazy folds. Sun splintering the breakfast window. Two walkers, monkishly tonsured, captured mid-stride,
as they escape from Stilton, lurching towards furled cypress trees. Vision is also a form of narrative.

John Barrell, in the sharpest book on the subject,
The Idea of Landscape and the Sense of Place (1730–1840): An Approach to the Poetry of John Clare
, explains how the system works, this reading of view. There is, as eighteenth-century poets who learnt from the painter Claude understood, a ‘circling landscape’ – which, in obedience to accepted rules, can be projected on to canvas or given structure in verse. First, you require a proper elevation, a hill overlooking the
campagna
(the model is Roman). Then a soft blue horizon: how gratefully the eye leaps towards it, this hint of the celestial, before tracking back across an arrangement of parallel bands, towers, ruins, trees, peasants at work, groups standing around the entrance to a cave. There is a nice tension, Barrell suggests, between the ‘prospect’ and the properly schooled viewer. Otherwise, landscape is chaos: the busy particulars that overwhelmed John Clare. Everything happening at once and all of it with an equal claim on the observer's attention.

The horizon, according to Barrell, is ‘at once the climax and the starting-point of the composition’. Dutifully, beyond Stilton, we search for it, this ambiguity; we tramp through fields marked off with bushes, thorn clumps, stands of trees. We're not excursionists, pastoral aesthetes; we're stalkers of the middle ground, reading contours, observed and observing. We must reach that radio mast, those pylons, to understand where we are; to appreciate everything we fail to notice when we pass through here, foot down, in our cars.

It's Barrell's fugue of ‘roaming reassessment’ that Petit is struggling to accomplish: where to point the camera, how to subvert the mechanics of exposure and focus. When to switch off. Naturally, this takes time. But Renchi doesn't do pauses. There is a rhythm to these walks that has to be maintained. My photographs show Chris, lagging way behind, gazing without conviction at a splash of Monet flora, poppies among the white, struggling to force nature to conform to the miniaturist proportions of his camera's touchscreen.
Duration is truth. The prospect, the ‘circling landscape’, is permanently out of the reach of duty-free technology. A panning shot would be an intolerable vulgarity. Petit pretends that he isn't here; he is an anonymous spy, hell-bent on erasing authorial signature. Tomorrow he'll be back in town, at his desk. That's what it says on the contract. Another thriller overdue, global conspiracies to unravel. ‘The problem with my books,’ he confesses, ‘is that all the characters are dead.’

Two dogs appear. One is black and glossy, a labrador/retriever compromise with a savagely docked tail (which it attempts to wag). The other is, loosely, of the collie, German shepherd, wolf breed: amiable, to excess. They were hanging around, waiting for us, by a sign which said: ‘Trespassers & Exercising of Dogs STRICTLY PROHIBITED’. These animals couldn't function without human company, a role to perform. Failing that, we will serve. At worst, they seemed to know which direction to take. I had the feeling they'd done this before. Walked out in company, returned alone.

Lurid sunshine on a red-grey road. No cars, no delivery vans, no people. Welcome to Middle England. Xanaxshire, in the wake of the Lloyds fiasco, the debt mountain, the Blairite establishment of urban fixers and spinners (no fox-hunting, acres of GM crops), is the home of dolour. State-sponsored clinical depression. Valium villages under the ever-present threat of imported sex criminals and Balkan bandits; human landfill dumped in an off-highway nowhere, an uneconomic airship hangar, a reclaimed bunker. Enclosure, suddenly, is a personal matter: you have been shrink-wrapped in your own skin and you can't get out. That's when the blameless horizon, that wood, those hills, begins to hurt. Immaculate properties from catalogue. New furniture under plastic sheeting. Television sets murmuring softly in empty rooms.

Faux-rustics in monster vehicles are servicing the USAAF base at Alconbury, or starting early for their circumnavigation of Peterborough (it would be quicker and less bothersome to commute to London). Those who are left are invisible, facing up to the consequences of the good life, the glutinous subsoil of somebody-else's
labour; rituals of service and of release, drink, madness, suicide. Don't watch property programmes and buy into the conversion lottery for a barn you don't need and can't afford. Because at the end of it, you are misplaced. The heat of you, the immortal soul, is left behind. It looks comfortable, drifting through on a July morning, but living, off-road, in this summer country, is as hard as it gets.

The dogs, more by accident than intent, have put us on the right track, a drovers' path between rough hedges. Old-man's beard (also known as traveller's joy) hangs in a shaggy fringe, masking the pollen varnish of the fields. Bright colour in the abundant verges. Juicy air with a hit of toxic crop sprays. Our canine chums are panting, heavy-tongued, ahead of us, waiting by a gate; moving when we move. The novelty of their guidance has become a nuisance, a responsibility. They don't know anything more about the route than we do. They're faking it, in the hope that we won't turn them off, send them back to the misery of hanging about a farm gate, barking at delivery vans and the shadows of low-flying crows.

In truth, we're too lazy to dig the OS maps out of the rucksack. Petit, with his military background, barrack life, combined cadet force, does the business. We're going wrong, he says, slanting through unnecessary landscape, rippled hills. Country stuff. We must realign ourselves by the one constant, the song of the motorway, the whippy, many-laned A1 (very different from the sullen whine of the M25). Clare navigated, until he strayed out of his knowledge, by bird song. Petit does roads, Eddie Stobart lorries, dirty-white Transits, repmobiles, refrigerated carcasses swinging like a syncopated chorus line.

The fording of the A1 is a big moment. Out of the sleeping country around Stilton and into the Nene Valley, the beginnings of the true John Clare mapping. His circle of memory. Eight-mile walks (from his Helpston cottage) that defined his heart-place and sense of identity. The birds, animals, stones, clods, knew him. They confirmed, on a daily basis, the quick of his existence.

Our dogs crossed the A605, beyond Haddon, but the A1 was a
barrier they were forced to acknowledge. They stood together on the verge, surfing diesel fumes, as we dodged traffic, made our suicide runs. Getting over the road was easier than finding a way across the Nene; motorways are democratic, they'll splatter any life form, deranged pedestrian, badger or pecking crow. Water Newton, the village that guards the river crossing, is fastidious and unwelcoming. Museum-quality slate and stone, East German security. We skulk past ‘Private Ground’, skirt properties that back on to this desirable stretch of water.

On a bridge over the Back Dike of the Nene, the morning closes. Meadows threaded by a permitted footpath, the Nene Way. We locate the village of Castor, the unconvinced expectation of a pub lunch. A break before the walk up the road to Helpston and Clare's heritage-plaque, whitewash-and-thatch cottage.

The river pulls us to the east, but it remains our duty, fixed on Clare, to head north. We must respect that diagonal, the lie of the Jurassic, as exposed by another serial pedestrian, William Smith. Renchi, pockets heavy with chalk, limestone chippings, pebbles, brick, is big on geology. The colours of Smith's pioneering 1815 map are fixed in his head. Everything leads out of his West Country base, beyond Bath, to the Wash. Layer upon layer, fold upon fold. (Like my unorthodox vision of London as a conglomerate of pains and memories.) We chase the grain of limestone, slabs quarried and ferried down the Nene to Peterborough, a cathedral teased out of the ground.

We are on the outer rim of an eccentric saucer, the petri dish on which Clare fed, and out of which he was formed. Language predated poet, I have no doubt of that. It comes rough and fast, articulation is painful. Punctuation is superfluous when you transcribe the dictation of a multitude of dumb things. You suffer an atemporal otherness. The half-soul of a twin who got it wrong and survived, the weaker vessel. Bessy Clare was gone. Her womb-partner, poor John, lived. And lived with loss. Shame. Doubled consciousness, doubled guilt.