The highest ground pulsates with life

High Alpine meadows, like their near relatives prairie and wetland, teach us to consider the world from a fresh perspective.

Take any path that leads upwards from a Swiss mountain village and you will find two distinct forms of meadow. The first, in clearings and open spaces below the treeline, has distinct flora, a lush mix of grasses and wildflowers that was once found all over Britain but is now mostly a fond memory (some estimates suggest that 80 to 90 per cent of our hay meadows was lost, in the space of about 70 years, in the shift from traditional farming to industrial agribusiness).

We have to concede that, in one sense, these hay meadows are artificial – they arose where native woodland was cleared to grow hay for livestock – but they are extraordinarily rich spaces, nevertheless, with a diversity and abundance of plant and insect life that most of us can only dream about. Here, the open ground is a brightly coloured tapestry of geraniums, hawkbits, bellflowers and daisies, while the dappled shade at the meadow’s edge offers sanctuary to diadems of Astrantia and that “queen of poisons”, Aconitum vulparia. Wherever you look, butterflies of every hue and pattern drift from flower to flower in seemingly impossible numbers.

These “artificial” meadows are a testament to what can be achieved when human culture dovetails with the natural world; they may result from our interventions, but they are havens for birds, bees and other wildlife and a perennial source of inspiration for painters, poets and musicians. That we have almost lost them demonstrates not only appalling carelessness, but also an astonishing stupidity on our part.

Continue that walk a few hundred metres further up the mountain, however, and you come to natural, or perennial, meadow, a terrain that is as old as the mountains themselves. Here, in spring and early summer, the ground is covered with clusters and carpets of gentian and saxifrage, Androsace and primulas, mountain asters and those fleshy clumps of sempervivum that, in flower, look like miniature krakens from some 1950s science-fiction movie.

The more you look, the more this natural variety and beauty become present to the eye. High Alpine meadows, like their near relatives prairie, desert and certain varieties of wetland, teach us to consider the world from a fresh perspective, to open our eyes and take account of what we have missed, reminding us that, in spite of our emphasis on the visual in everyday speech, we see so very little of the world. To appreciate these high meadows requires exquisite attention, but the exercise is salutary, considering how flabby our everyday awareness has become.

So, it is gratifying to know that, over the past few months, meadows have been in the news: Prince Charles, whose own garden at Highgrove contains a traditional hay meadow, recently set up a scheme to fund 60 “coronation meadows” across Britain. A few local councils have come to recognise the importance of permanent meadowland, with such projects as the Sanders Park initiative in Bromsgrove garnering huge support. And individual gardeners are beginning to forgo the joyless backyard monoculture of mossfree, manicured lawns for wild gardens that, however small they may be, offer way stations and refuges for insects and birds in cities and suburbs.

Any and all such projects, no matter how modest, are to be applauded, but we must always remember that, with regard to meadows, as with so much else, the elephant in the room is our continued tolerance of an agribusiness system that is both toxic and socially unjust.

Unless we change the very nature of our rural economy – first by breaking the hegemony of corporate subsidy-milkers, and then by supporting only those for whom farming is both a vocation and the expression of a living tradition – the diversity and abundance that makes for quality of life, in the fullest sense of the phrase, may never be regained.

World anew: the wild but subtle beauty of highland meadows commands attention and excited delight. Photograph: Misha de Ridder.

This article first appeared in the 09 September 2013 issue of the New Statesman, Britain alone

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“Trembling, shaking / Oh, my heart is aching”: the EU out campaign song will give you chills

But not in a good way.

You know the story. Some old guys with vague dreams of empire want Britain to leave the European Union. They’ve been kicking up such a big fuss over the past few years that the government is letting the public decide.

And what is it that sways a largely politically indifferent electorate? Strikes hope in their hearts for a mildly less bureaucratic yet dangerously human rights-free future? An anthem, of course!

Originally by Carly You’re so Vain Simon, this is the song the Leave.EU campaign (Nigel Farage’s chosen group) has chosen. It is performed by the singer Antonia Suñer, for whom freedom from the technofederalists couldn’t come any suñer.

Here are the lyrics, of which your mole has done a close reading. But essentially it’s just nature imagery with fascist undertones and some heartburn.

"Let the river run

"Let all the dreamers

"Wake the nation.

"Come, the new Jerusalem."

Don’t use a river metaphor in anything political, unless you actively want to evoke Enoch Powell. Also, Jerusalem? That’s a bit... strong, isn’t it? Heavy connotations of being a little bit too Englandy.

"Silver cities rise,

"The morning lights,

"The streets that meet them,

"And sirens call them on

"With a song."

Sirens and streets. Doesn’t sound like a wholly un-authoritarian view of the UK’s EU-free future to me.

"It’s asking for the taking,

"Trembling, shaking,

"Oh, my heart is aching."

A reference to the elderly nature of many of the UK’s eurosceptics, perhaps?

"We’re coming to the edge,

"Running on the water,

"Coming through the fog,

"Your sons and daughters."

I feel like this is something to do with the hosepipe ban.

"We the great and small,

"Stand on a star,

"And blaze a trail of desire,

"Through the dark’ning dawn."

Everyone will have to speak this kind of English in the new Jerusalem, m'lady, oft with shorten’d words which will leave you feeling cringéd.

"It’s asking for the taking.

"Come run with me now,

"The sky is the colour of blue,

"You’ve never even seen,

"In the eyes of your lover."

I think this means: no one has ever loved anyone with the same colour eyes as the EU flag.

I'm a mole, innit.