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Authors: Philip Hoare
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the battlefield.
W.G. S EBALD
, ‘
Time Signal at Twelve
’
F rom the far side of the Solent, I look down on the slow-moving sea, four hundred feet below. At this altitude the water is abstract, no longer audible. The sheer chalk cliffs on which I stand are a dazzling end to England. They’re almost too bright to look at, bouncing the light up and down. Their reflected whiteness illuminates the sea from beneath, in the way Pre-Raphaelite canvases were underlit with white lead paint. And like one of those hyper-real scenes, this is a heady view. Every detail is heightened, as if it all weren’t quite believable. The grass is sown with wild flowers, pink, blue and yellow. Everything seems bleached and saturated at the same time. Pale-bodied gulls ride level with my eyes, studiously ignoring me.
I wasn’t meant to be here today. Playing truant on a weekday, I put my bike on the train, next to the others in the cycle compartment, a confraternity of machines grungy with oily chains and mud-spattered frames. Unfolding my much-creased map, I planned my ride to the sea – only to be informed of engineering works. Wondering what to do, I overheard a group of young German students discussing their trip to the Isle of Wight. So I bought the same ticket as them. At Brockenhurst I switched trains for the short ride through the forest, the bracken billowing by the side of the tracks. Ahead lay Lymington pier, and the ferry ready to cross the strait.
On a fine spring morning, it was busy with two-way traffic: expensive leisure craft setting out for the Solent; the first swallows of the season, returning from Africa. As the boat nudged out into the channel, I looked down on the salt marshes on either side. The birds were caught up in spring fever, feeding and courting. There was a sense of expectation, as if the day had opened up after a long, closed-down winter. I remembered childhood visits to the island, when my dad would joke about having our passports ready for the ferry ride. We’d stay in a railway carriage converted into a kind of chalet, set in a farmer’s field outside Cowes. It was like living in a tin can for two weeks, with narrow compartments for bedrooms, and a low curved ceiling. At night, moths gathered round the fragile gas mantles, and bats fluttered outside in the sort of darkness we never saw in suburbia.
There are many speculations about the island’s name. The Old English
w ī ht
may relate to the Germanic root, ‘little spirit’ or ‘little daughter’; it may also refer to ‘that which is raised over the sea’ – an echo of the island’s Roman incarnation as Vectis, or lever. Although none of these is certain, such names seem to express the physical separation of this fragment which rises out of the sea, the geological end – or beginning – of the soft spine of calcium carbonate which twists through England. The island was formed when the river Solent rose after the Ice Age; from its sea bed the bones of aurochs and woolly mammoths have been recovered, along with the stumps of petrified forests. Now the island stands between the mainland and the Continent as a last vestige of Englishness; in his eccentric essays on
Desert Islands
, Walter de la Mare saw it as a doormat ‘very dear to the eyes of an Englishman on his way home’. Although its megafauna have been replaced by cows and its megaliths by bungalows, its gentility is a mere veneer. Like all islands, this is a place defined by feral forces.
At Lymington, on the mainland, the island is at its closest, only three miles distant, although that narrowness causes the water to surge in a race enough to intimidate the most experienced sailor. From my blustery vantage point on the top deck of the ferry, where the wind whips my hood and forces me into fingerless gloves, I watch the western end of the island approach. Here it rises highest as it enters its final act of disintegration, sending bits of itself out to sea, rocky icebergs calved
W.G. S EBALD
, ‘
Time Signal at Twelve
’
F rom the far side of the Solent, I look down on the slow-moving sea, four hundred feet below. At this altitude the water is abstract, no longer audible. The sheer chalk cliffs on which I stand are a dazzling end to England. They’re almost too bright to look at, bouncing the light up and down. Their reflected whiteness illuminates the sea from beneath, in the way Pre-Raphaelite canvases were underlit with white lead paint. And like one of those hyper-real scenes, this is a heady view. Every detail is heightened, as if it all weren’t quite believable. The grass is sown with wild flowers, pink, blue and yellow. Everything seems bleached and saturated at the same time. Pale-bodied gulls ride level with my eyes, studiously ignoring me.
I wasn’t meant to be here today. Playing truant on a weekday, I put my bike on the train, next to the others in the cycle compartment, a confraternity of machines grungy with oily chains and mud-spattered frames. Unfolding my much-creased map, I planned my ride to the sea – only to be informed of engineering works. Wondering what to do, I overheard a group of young German students discussing their trip to the Isle of Wight. So I bought the same ticket as them. At Brockenhurst I switched trains for the short ride through the forest, the bracken billowing by the side of the tracks. Ahead lay Lymington pier, and the ferry ready to cross the strait.
On a fine spring morning, it was busy with two-way traffic: expensive leisure craft setting out for the Solent; the first swallows of the season, returning from Africa. As the boat nudged out into the channel, I looked down on the salt marshes on either side. The birds were caught up in spring fever, feeding and courting. There was a sense of expectation, as if the day had opened up after a long, closed-down winter. I remembered childhood visits to the island, when my dad would joke about having our passports ready for the ferry ride. We’d stay in a railway carriage converted into a kind of chalet, set in a farmer’s field outside Cowes. It was like living in a tin can for two weeks, with narrow compartments for bedrooms, and a low curved ceiling. At night, moths gathered round the fragile gas mantles, and bats fluttered outside in the sort of darkness we never saw in suburbia.
There are many speculations about the island’s name. The Old English
w ī ht
may relate to the Germanic root, ‘little spirit’ or ‘little daughter’; it may also refer to ‘that which is raised over the sea’ – an echo of the island’s Roman incarnation as Vectis, or lever. Although none of these is certain, such names seem to express the physical separation of this fragment which rises out of the sea, the geological end – or beginning – of the soft spine of calcium carbonate which twists through England. The island was formed when the river Solent rose after the Ice Age; from its sea bed the bones of aurochs and woolly mammoths have been recovered, along with the stumps of petrified forests. Now the island stands between the mainland and the Continent as a last vestige of Englishness; in his eccentric essays on
Desert Islands
, Walter de la Mare saw it as a doormat ‘very dear to the eyes of an Englishman on his way home’. Although its megafauna have been replaced by cows and its megaliths by bungalows, its gentility is a mere veneer. Like all islands, this is a place defined by feral forces.
At Lymington, on the mainland, the island is at its closest, only three miles distant, although that narrowness causes the water to surge in a race enough to intimidate the most experienced sailor. From my blustery vantage point on the top deck of the ferry, where the wind whips my hood and forces me into fingerless gloves, I watch the western end of the island approach. Here it rises highest as it enters its final act of disintegration, sending bits of itself out to sea, rocky icebergs calved
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