Britain BC with Francis Pryor

This two-part documentary, made for British television, is a great way to get up to speed on the current thinking about prehistoric Britain.


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I’m certain that the people who did this believed in another world, another dimension beneath the ground.


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In this new farming landscape, the cult of the ancestors is born. Their influence was necessary for the continued fertility of the land. For the ancient Britons, the discovery of crops, something that, when you cut it down, can be regrown from the seeds of the dead, must’ve been a kind of magic. And it’s possible that they believed that these ceremonial enclosures were fields for the dead, the place where the ancestors’ souls could, like the crops, grow to life again.

There’s also a book. And Francis Pryor’s blog For the Time Being is very worth following.

Encounters with the Neolithic (4)

(Read Part 3.)

Aviemore ring cairn and stone circle sign

Early one morning some two weeks after our Wiltshire trip, we stepped off the overnight sleeper train in Aviemore, in the heart of the Scottish highlands. We had reserved a campsite in the village of Nethy Bridge, a short bus ride away, but check-in wasn’t until late afternoon, so we had plenty of time to kill. A tourist map of Aviemore showed a Neolithic stone circle — one of many in the local area — a few blocks from downtown, so we decided to wander over and check it out.

Aviemore stone circle stone 3

The site was in a suburban neighborhood, across the street from a fire station. A team of carpet cleaners were at work in the house next door.

Aviemore ring cairn and stone circle rowan tree

The ambiance was very different from Avebury — and the monument was, of course, infinitely less significant. The only tree on the site was a small rowan that had been permitted to grow next to one of the smaller stones in the ring.

Phatigued fotographer
(photo by Rachel Rawlins)

There were, however, other visitors when we arrived, so we made our way to the back of the site and flopped down to rest, trying not to stare at the middle-aged woman sitting in Buddhist-style meditation at the center of the ring. A man of the same age waited near the street, while a teenaged girl we took to be their daughter sat with with her back against a stone, her facial expression and body language a comical mixture of boredom and acute embarrassment.

Aviemore stone circle stone 4

While the woman meditated, we each found things to photograph.

Grass and stone

Rachel became entranced by a head of grass,

Aviemore stone circle stone 1

while I stalked some of the outermost stones.

Aviemore stone circle stone 2

They were most cooperative models, and beautiful in their variegated coats of lichen.

black cat at Aviemore stone circle

Finally the woman got up, and they all left. But we weren’t alone for very long. A few minutes later, a friendly black cat appeared.

Aviemore stone circle

What most impressed us about this site was its setting, best captured in this panoramic photo of Rachel’s (click to see a larger version on Flickr). In the heart of a residential area, surrounded by close-cropped lawn, the stones retained as profound a sense of presence and individuality as anything I ever saw in a Zen garden in Kyoto. Especially to an American, it’s astonishing to realize that the landscape is dotted with 4000-year-old stone monuments, and few people make a big deal of them. A few hours later, when we mentioned the stone circle to the woman in the train station who was watching our luggage for us, she admitted that she’d never gone to see it, despite having lived her whole life in the town.

Aviemore ring cairn and stone circle

So it seems that at least the less impressive Neolithic monuments in the U.K. are of intense interest to a small subculture, and are otherwise taken for granted — given some level of care and protection as sites of historical interest, but that’s about it. And stones, let’s face it, are not especially demanding things to look after. As for their suitability as meditation partners, the Visit Avebury website claims that “During a period of 20 to 30 minutes, you may feel deep peace, bliss and gain some truly amazing insights,” and they link to a wild “Avebury vision” by intuition consultant and healer Suzanne Askham. The specific content of the visions she describes may provoke skepticism, but I kind of like her central insight: “It is not the stones themselves that matter. It’s the spaces in between.” After an experience of oneness and bliss, she writes,

Gradually, as if from above, I become aware of the pattern of the stones again. I understand now how they act as a locus. The circular structure is helpful for returning back to your body.

We can think [of] it, perhaps, as a Neolithic landing pad for the soul.

And then I am back again, sitting on baked bare earth, the sun on my face, cool stone behind my back.

“A Neolithic landing pad for the soul.” Sure, why not?

A cat may look at a Dave

I have a feeling the cat would agree.

(Continue to Part 5.)

Ancestral photography

Alastair Cook prepares wet plate to photograph Marc Neys
Alastair Cook prepares a wet plate to photograph Marc Neys

The photographer dons safety glasses and blue rubber gloves. His friend the other photographer takes his glasses off and sits for his tintype, the back of his head pressing a cup to the wall. In his lap, the tilted reflector like an absent-minded mirror that has forgotten how to hold an image. Meanwhile, the wet plate primed with chemicals slides into the camera and waits for the takeaway, its quick supper of shadows.

photographer as mummer
the photographer as mummer

Assistants hold a black cloth behind the sitter’s head. The photographer assumes his crouch, a red hood cloaking his moment of intimacy with the camera. Only the bellows and brass eye protrude, like the horse-skull head of a Mari Lwyd without the grin.

Rachel sitting for her tintype portrait
Rachel sitting for her tintype portrait

To a sitter who has practiced meditation, the enforced and urgent stillness feels familiar.

finished tintypes sit in water
finished tintypes of me and Marc sit in the water

Then follow the photographer down to the darkroom and watch your face emerge like Lazarus from the murk. Warm colors appear dark and cool colors light, due to the wet plate’s appetite for blues. No negative intercedes.

The details are so fine and the eyes so strange, you startle. You have seen this face before in a gilt frame. Except that your ancestors wore high, starched collars to try and hide the shame of sunburnt necks, and here you are in t-shirt and ball cap, wearing an expression you can’t begin to read.

Taking the Waters

limpet shell

A man on a beach near the mouth of the Firth of Forth is reading to the sea. He stands about ten feet out with his trousers rolled up to his knees reading aloud from a large book, turning first to the left, then to the right and then to face the horizon.

When Rachel tells this story later, our friend the musician says: maybe it’s the man’s wife. Maybe he scattered her ashes out there.

They reminisce about sound artists they’ve known who worked the shore. Recording underwater is apparently a simple matter of putting a condom on a microphone and dangling it off the end of a pier. But what must the other fishermen think?

Walking the beach at dusk, a low surf of sand flies rises in front of us with every step. Listen, says the musician, and holds his video camera down to capture it: a whisper, like dry rain. We’re near the ruins of an old spa where ailing Victorians came to float in saltwater pools. The red sandstone blocks in the ancient wall behind us have thinned almost to nothing, some of them, under the sea’s corrosive treatments. They are scooped and scalloped. The sunset light like a hermit crab creeps in.

Scottish beasts

Arranzilla

tapping & tugging
at the side of the tent
early morning wind

*

around the headland
from the seal sculpture
this one moves

*

at the Osprey Center
a crowd gathers to watch
squirrels on the feeder

*

no does to herd
the solitary stag haunts
a caravan park

*

blood-red sunset
I raise the midge net
to take a nip

*

with each wingbeat
another yelp
oystercatcher

*

Phil Bennison
Dry Stone Walling
Mole Control

*

out of the water
a black guillemot totters
on its big red feet

*

rock pipit on the beach
meadow pipit on the moor
that same restless tail

*

these hill-walkers
with their lurid greens & yellows!
lizard, tiger beetle

*

on the far hill
white boulders have infiltrated
a herd of sheep