I have just pinned Hogsmill Tiddlers to another map, showing the location of the poem, on the Places of Poetry web site. This is an AHRC and Arts Council funded project which “aims to use creative writing to prompt reflection on national and cultural identities in England and Wales, celebrating the diversity, heritage
and personalities of place.”
We still cross the bridge nearly every day on our walks ‘Over the Fields’. Five generations of Furlongs and counting…
Well, we thought it would be blazing hot but in the end it was raincoats and brollies weather. A welcome respite from the sultry shimmer of the weeks preceding, and not so wet that we couldn’t wander gently, and stop for a poem or two. Proper British Summer Time drizzle. So, where is this special place in the heart of suburban Tolworth?
It is part of an ancient drove road, in the middle of Tolworth Court Farm Fields, hidden behind hedgerow on the A240. A beautiful wild, nature reserve, which until the 1980s had been farmed for a 1000 years at least, and is mentioned in the Domesday book.
Drove roads were the network of roads used over the centuries to move live stock up and down and across the countryside, all over the UK. There are traces of them everywhere, and where the drove has disappeared in its original rural form, it may be identified by names, including ‘Lane’, ‘Drift’, ‘Ox’, ‘Way’ and many other lexical giveaways.
There are certainly lots of them in this area. On my Over the Fields poetry map is ‘Sheephouse Way’ – a road characterised for its large number of blocks of flats these days, but which is shown with the same name on maps which are 500 years old of the local area, and which I was lucky to see at the St John the Baptist Old Malden Heritage Day, when I was doing my research at the time.
Drove roads avoided toll roads, and were a direct and safe route through the countryside for the drovers who could be taking large flocks of sheep, herds of cattle, or even large numbers of geese or turkeys to market. The largest and most famous of these markets being Smithfields Market in London.
They were wide, as much as 20 metres, and usually hedged on both sides, containing the valuable stock, and also helping to keep the animals safe and stopping them from getting infected by other possibly diseased animals living in farms en route.
How sweet I roamed from field to field
And tasted all the summer’s pride.
Lots have been paved over, but there is a part of ancient drove in the fields in Tolworth which is grass underfoot, with its double hedge intact, and it is a magical place. And this is where we ended up reading poems, in the drizzle and the green, surrounded by hedges already heavy with blackberries and elderberries, interrupted only by an occasional enthusiastic dog plus owner, not used to seeing a large gathering of people reading and chatting in this in-between-space-between-places. Perfect.
I had hoped to sing John Barleycorn, as we were walking just after Lammas, but my voice was croaky, so I read the words to the old song instead. Alison read the John Clare poemInsects, and Elizabeth read a poem My Orcha’d in Lindèn Lea written by Dorset writer and poet William Barnes (1801-1886)
I also read some Keats and Blake and, not forgetting, some Richard Jefferies.
I had also brought with me a beautiful corn dolly, made by the Wheatweaver, but was worried about it getting damaged during the walk / weather, so I left it for our after-walk chat and write at Court Farm Cafe afterwards- it is exquisitely beautiful, and so good to know that someone is keeping these ancient skills alive.
With enclosure, modernisation, the rail network and then the roads, the droves fell into disuse, farming methods changed and the old songs, traditions and seasonal customs faded… it is good to remember we still rely on the land for food, and that the sun (especially this year!) and rain are still intrinsic to what we eventually put on our plates.
Although this land is no longer farmed, it is a nature reserve, with bats, rare butterflies, deer and beautiful wild flowers, including pepper saxifrage, as well as some of the oldest trees in the borough.
Alison, who has been walking this way for many years, as part of her job as an ecologist and bat expert, has a deep knowledge and passion for this place. I have learned a lot from her and am so glad we have been able to go on these walks together.
People who joined us for the walk, who didn’t already know and love Tolworth Court Farm Fields, were amazed at how easy it was to enter, and how beautiful and special it is.
“…The walk along the old drove road felt like being in the depths of the country and I’ll try and walk the meadows when they are in flower next year…”
I was shocked to hear Tolworth referred to as a ‘ghetto’ by staff and students at Kingston University while I was studying there. It is one of the oldest parts of the Borough- with ancient and deep historical roots. There are the remains of a medieval moated manor at Tolworth Court, where Kingston Biodiversity Network holds open days. Tolworth Court Farm Fieldsis a wonderful wild treasure, which should stay that way.
On the borders of Tolworth is the Hogsmill Valley, where Millais painted the backdrop to his painting Ophelia, something I have written about in my poetry map, Over the Fields, an exploration of four generations of my family’s relationship with the greenbelt, which is at the end of the Sunray Estate, towards Malden Manor.
Tolworth is remarkable for its open green spaces, and we have a choice now- do we value them, and protect them, recognising them as our lungs and our unique heritage, or do we lose them and become more urban, more polluted and a lot less interesting?
I am currently preparing for a talk I will be giving this Thursday, 22nd June at Quay Arts, the Isle of Wight’s leading art gallery and venue for live events. I was thrilled to be invited to speak about my poetry map, Over the Fields, as part of the events and activities taking place around Richard Long’s show, The Isle of Wight as Six Walks, 8th April – 1st July.
I will be talking about how and why I came to make the map. Regular readers of my (somewhat irregular) blog will know that this was a process of going for walks with my Dad and my son, over 18 months, beginning in January 2014, and ending in August 2015. The map was self-published after being beautifully designed by my best mate, and printed and folded into a pocket-sized A6 fold out full colour working map, with poems on one side and photos and map on the other.
Since then the map and I have been on quite a journey, and I have been able to achieve some of the aims I had for it, and other things have happened which were unexpected but equally wonderful.
I will talk about this tiny piece of greenbelt, and the impact it continues to have on my family. I hope you can join me for a walk through the poems and a chance to think about memory, family and place. And walking itself, and why it continues to inspire creativity.
This Thursday, 23rd February I am thrilled to be reading a new collaborative poem with Susie Campbell at the Futures Camarade, which is part of the launch of the Visual Poetry show at the Museum of Futures in Surbiton. It has been an absolute delight to work with Susie, and we are looking forward to performing the work together for the first time on Thursday evening.
The show is being curated by the inimitable S J Fowler , with assistance from creative writing students Kingston University, and will exhibit work from a diverse range of artists and poets working across the boundaries of visual / textual art. I am very excited to be part of this and can’t wait to see what promises to be a distinctive and unique mix of work in the lovely space of the Museum of Futures.
I am chuffed to have a piece of visual work in the show, and to go with that, a new chapbook, Villiers Path: Scalloped Time, the second publication on the Seethingography imprint from Sampson Low publishers.
More about Villiers Path coming soon….
On Tuesday 28th February I will be hosting a Seething Writers workshop at the Museum of Futures: Seething Writers Go Totally Ekphrastic, where we will be writing in response to the work on show in the exhibition. More information here.
Geography Workshop Presents….Her Outdoors. Geography Workshop Presents questions assumptions about the ways in which our world is imagined. In this first programme, artists and writers Karen Lloyd, Alison Lloyd, Lucy Furlong and Morag Rose reflect on walking as practise, informed by the pejorative phrase ‘Er Indoors’. How does their work and the embodied practise of walking inform the way they narrate, enrich and question the narratives that dominate nature-writing, landscape and psycho-geography? Presented by Dr Jo Norcup. [Repeated Friday 9am.]
Thanks to Jo Norcup for inviting me to be involved. I had a great time meeting and talking with everyone, and felt inspired and fired-up afterwards.
I will be talking about why I decided to make a map about this small strip of greenbelt on the boundaries between several places, on the edge of Greater London. I will also speak about the process for doing it and how the poems took shape.
Over the Fields walk, March 2016
Over the Fields walk, January 2016
We have continued to walk Over the Fields since the map was published, and I have carried on documenting our walks with writing and photos, with the aim of sustaining and extending my, and my family’s relationship with this place, and finding out what it means to other people too.
I am very excited to have the opportunity to engage with the themes of this conference and to take part in the important and timely conversation that the conference will engender.