The Woman On the Bus

          What do you do when you become aware that another passenger on the bus, or train, is trying to catch your eye? You have a choice between engaging or not, of course, but how do you decide which way to go – and why?

          After some days spent travelling and being in the company of family and friends, my Other Half (OH) and I had a ‘day off’ and decided to spend part of it together, visiting one of the art galleries in London, where we were staying. Having decided on the Tate Britain, we were chuffed to discover that the number 88 bus would take us, slowly but conveniently, door-to-door. Better still, when we boarded, we found that two of the front seats on the upper deck were unoccupied, so we bagged them for the best and cheapest sightseeing tour of the capital (the route winds through Regent Street, Piccadilly Circus, Trafalgar Square, Whitehall, Downing Street, the Houses of Parliament and Westminster Abbey).

          Before long, I became aware that the woman in the adjacent seats, who had clocked us as we settled in, was still taking a sort of sideways interest. Unlike a regular passenger or commuter, she was not occupied intently with a phone or book, nor was she staring wearily through the window. She appeared, like us, to have a child-like relish of just being on the bus. Yet, since she had the same view as us but no partner with whom to trade comments, she seemed intent on joining in ours. (All this, I thought, had been apparent only to me, but my OH later said she had also noticed it, “obviously”.)

           After one or two failed attempts to catch the eye of either one of us, our wannabe friend finally found an opportunity to make bold when a young woman, against the odds of a long, tight-fitting skirt and high heels, hurried comically across the road in front of our bus.

          There was no disguising the fact that all three of us were amused by the spectacle and thus was the ice broken. In the time it took for her to get off three stops later to get a bowl of porridge at Gail’s, we learned that our new friend was a visual artist and that she usually cycled this route but was going to the West End to meet her gallerist and didn’t want to arrive as a sweaty mess. “So, you’re taking a day off from painting?”, I said. “I suppose so,” she said, “but I hadn’t thought of it that way”. To her questions about us we responded courteously but with a degree of prudent reserve. She seemed pleased, however, to have ‘met’ us and especially so as we were going to see art*.

          The next morning, I went to get coffee and a few moments of reflection at a local café and saw someone familiar in the queue: the woman on the 88 bus! The question arose as to whether I should greet her. Seeing as we were just visiting the neighbourhood, was this a relationship worth pursuing?

          I let it lie until I had emptied my cup, before something drove me to approach her. Whether it was curiosity, compassion or courtesy I don’t know, but I made the right call. She was warm and welcoming, asking how we had found the show and telling me the details of her morning so far.

          Then it was time for another decision: should I extend the conversation or leave it there? I opted for the latter but, as we shook hands and said goodbye, I had the feeling that I knew her face, not just from the day before, but from somewhere in my deep and distant past.

*Hurvin Anderson at Tate Britain, until 23^rd August.

  

All's Well with the World?

          For us, the inhabitants of the British Isles, a heatwave used to be considered a bit of a treat. Knowing it would disappear within a few days, we would soak up the sun with neither restraint nor modesty, so that it was common to see people proudly displaying the damage – skin peeling off their noses and shoulders, revealing tender red patches beneath – as if it were a trophy. Then the Australians discovered a connection between sunburn and skin cancer, invented greasy sunblock and exported it to Britain.

          Well, that’s the way it seemed to me at the time: the beginning of a sensible approach to ‘catching some rays’. Mind you, it didn’t appeal to everybody, as is apparent from our balcony. Presently, we are living next to a small, scruffy, inner-city beach and, whenever there’s a heatwave – as there is right now – it turns into a pop-up holiday destination for the locals, some of whom appear to be doing their utmost to toast themselves.

          Do they not know about the connection with cancer? Do they know but don’t care? Do they think they are immune? Have they not heard the news about heatwaves lasting longer and becoming more intense because of climate change? Do they not know that the urgency to binge has diminished?

          Maybe it’s about joining the dots. Chris Packham has made a short film, National Emergency Briefing, that does just that. In it, scientists explain how climate change is affecting every aspect of life as we are used to living it: food security, healthcare, national defence and economic systems are all threatened. The effects are already measurable – though some of us may not recognise the connections – and tipping points are inevitable unless there is immediate remedial action. I don’t want to sound alarmist, but how else is the danger to be expressed other than bluntly?

          But a world in which rational decisions are made about important issues exists only on the fictional planet Vulcan. On Earth, a rational person is necessarily one who factors emotional behaviour in to their thought processes: that’s entirely logical, given human nature.

          We are reminded, by Chris Packham, that Britain is one of the most nature-depleted countries in the world – though you may be forgiven for thinking otherwise. Our countryside has a reputation for being beautiful, magnificent, lush (in places) and fertile, all of which qualities are still to be found but to a diminishing extent.

          We spent a couple of days last week in a rural corner of Suffolk, where the towns are quaint and weighted with history, the higgledy-piggledy villages populated with cute, well-kept cottages whose gardens spill over with iconic hollyhocks in every pastel colour imaginable. In between, the farmland appeared fecund and prosperity was in the air, not least around the attractions that draw in visitors. Walking through the wooded heath, where deer roam free and butterflies flutter, to the beach at Dunwich, the depletion of nature was not the first thing that came to mind.

          Discovering the ‘best bits’ of Britain is like going to a theme park: all your expectations are met or surpassed (vagaries of weather duly factored in). But coming to generalised conclusions, i.e. ‘Suffolk is nice’, is a trap into which we humans too readily fall. There must be parts of Suffolk that are grotty and, if so, they should be taken into account when measuring up.

          What with all this sunny weather causing folk to flock to the beaches, countryside havens, beer gardens and barbecues, the question of what lies behind it can be easy to overlook. It may feel like an endless summer, but there’s an ominous ending in sight. Join the dots.

Government action so far... 

Village Mysteries

          As our two-week residence in the South Devon village of Slapton comes to an end, I’m inclined to remark that there’s more to the place than meets the eye. The obvious attractions – vernacular architecture (e.g. thatched roofs) and a pretty setting in a narrow, wooded valley running down to the coast – are augmented by an adjacent nature reserve and its associated Field Study Centre. So, holiday makers and students alike boost the village’s economy, helping support its two pubs and its volunteer-run community shop.

          Slapton has a slow feel to it – the narrow, steep and winding streets discourage through-traffic and can accommodate no vehicle larger than an Amazon delivery van. There are no yellow lines because there is nowhere to park anyway. There are no streetlights because this is a designated ‘dark skies’ area – great for stargazing on a clear night, but tricky without a torch when it’s overcast and you fancy a pint. Just like other bog-standard, rural English villages, there is a church at its heart and a pub hard by. Yet Slapton has an intriguing extra dimension.

          A village this small surely doesn’t need two pubs, so why is there a second one the other side of the church? And why is it attached to the base of a seemingly random medieval tower?

           Then there’s the ‘big house’. One might expect to find such a residence inhabited by the local lord of the manor, but this one is hidden behind a high stone wall inset with a couple of disused Gothic-style doorways, next to one of which is propped a hand-painted slate sign, “The Chantry”. Above the wall, an ornate balcony protrudes from the house, its old iron brackets flaking with rust. To one side of it, there is a similarly styled and dilapidated footbridge, covered in clinging vines, that passes over the road and connects the house to the churchyard via a small, mature wood, surrounded by yet another stone wall.

          From what little can be seen of the house, in its 18^th century iteration, it is elegant and imposing, yet shabby and in need of maintenance. Who lives there? The distressed descendants of the medieval lords? A modern-day Miss Havisham?

          Most of the answers are readily found in historical accounts. In 1372, Sir Guy de Brian founded a religious college in Slapton. It was a Chantry, a nice little earner for the church, whereby wealthy individuals were scammed into a pay-to-pray scheme. They were persuaded to endow a chapel, thereby providing a living for monks and priests whose job was then to pray for their benefactor’s soul. The resulting credits could then be cashed in at the Pearly Gates to reduce their time in purgatory.

          Henry VIII abolished all that – possibly for Trump-like motives – confiscating the assets and dividing them up between himself and his supporters. Perhaps he presaged the view of Frank Zappa who, when asked during a TV interview how he would define the difference between an established religion and a cult, replied “The amount of real estate they own”.

          Typically, the new secular owners abandoned the ecclesiastic buildings and used the stones for their new house. In this case they left the tower intact because it was a bit difficult to demolish or, more likely, because they found it useful as a lookout for the Barbary pirates who were active hereabouts at the time. As for the pub at its base, speculation has it that it was built for and by the construction workers hired by Sir Guy de Brian. Another reason not to demolish the tower?

          As to who lives in The Chantry today, I have no information to offer. I should have asked down at the Community Shop, where I might have got the lowdown. Still, I leave the place feeling pleased that it has a little touch of mystery about it, adding a little piquancy to future visits.