Holloway by Robert Macfarlane, Stanley Donwood and Dan Richards: Where does all this rhapsodising over badgers and briar get us?

Since Roger Deakin and Robert Macfarlane's success, it is now even possible to take an MA in “wild writing” at the University of Essex. Along with Mumford & Sons, The Great British Bake Off and real-ale microbreweries in Shoreditch, it feels like a sympto

Holloway
Robert Macfarlane, Stanley Donwood and Dan Richards
Faber & Faber, £14.99, 48pp

Sometimes, as I trail around Ikea in Edmonton, I think it would be rather nice to run away from modern life. I could build myself a little bothy on top of a mountain. I would spend my days foraging and, at night, instead of sitting in my flat listening to joyriders screeching down the road on stolen pizzadelivery mopeds, I could watch the stars.

Then I think . . . come on. It would be ever so damp. For idle dreamers like me, nature writing is the answer. Without having to leave my sofa, I have experienced the windy peak of Binn Chuanna and the Black Wood of Rannoch and revelled in words such as “moschatel” and “foot-querned” without needing to know what they mean.

The granddaddy of contemporary nature writing was the late Roger Deakin, a founder member of Friends of the Earth and author of Waterlog (1999), a witty and wonderful account of a year spent wild-swimming in Britain’s rivers, tarns and lochs. Robert Macfarlane was his friend and protégé and he has picked up where Deakin left off with a trilogy of books – Mountains of the Mind, The Wild Places and The Old Ways – that have been garlanded with prizes and critical praise.

In the wake of these two big fish swim many minnows; it is now even possible to take an MA in “wild writing” at the University of Essex. So popular has the genre become that, having been a fan, I am beginning to feel weary. Where does all this rhapsodising over badgers and briar get us? Along with Mumford & Sons, The Great British Bake Off and real-ale microbreweries in Shoreditch, it feels like a symptom of our collective nostalgia for a more wholesome age.

This general sense of disillusionment may have affected my response to Holloway, the latest book by Macfarlane, with the writer Dan Richards and the artist Stanley Donwood. In September 2011, the three men spent the night in a “holloway” or sunken path in Dorset. Macfarlane had discovered the place with Deakin in 2005 (this journey is documented in The Wild Places). They took with them “a hip flask, two penknives, matches & candles”, “a bottle of damson gin” and a book called Rogue Male by Geoffrey Household, in which the fugitive hero hides out in a holloway.

The book was first published by Quive-Smith, an imprint founded by the three authors, with a print run of 277. It is now being reissued by Faber. Donwood’s black and white drawings are lovingly reproduced in the Faber version but while Holloway might have worked as an art object (the original was painstakingly printed using an old-fashioned letter press), it now feels insubstantial. A cover price of £14.99 buys you less than 25 pages of text, several of which are simply abbreviated chunks of The Wild Places. It reads like a notebook of poetic and rather pretentious jottings: “No moon above the whispering fields, low service in the crosshatched apse and every outside sound an ambush. Amphidromic points of faith.”

Its greatest failing is its lack of humour. Deakin, in contrast, was a funny writer; he had a keen sense of the absurd and, as well as telling us about the wildlife he encountered, he was interested and amused by the other people he met. There is nothing wrong with escapism: it is lovely to read about beautiful places and wild adventures, especially when you are stuck in a slightly too small flat trying to assemble flat-pack furniture. But there is a danger in it, too, because no matter how long we hide in a hedge, the rubbishstrewn world will be waiting for us when we dare to peer out.

Woodland near Cheddar Gorge in Somerset. Photo: Matt Cardy/Getty Images.

Alice O'Keeffe is an award-winning journalist and former arts editor of the New Statesman. She now works as a freelance writer and looks after two young children. You can find her on Twitter as @AliceOKeeffe.

This article first appeared in the 27 May 2013 issue of the New Statesman, You were the future once

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Tracey Thorn and A L Kennedy to judge the 2017 Goldsmiths Prize

The prize for “fiction at its most novel” announces its 2017 judging panel.

Tracey Thorn has been announced as a judge for the 2017 Goldsmiths Prize for fiction. Thorn – a singer-songwriter, New Statesman columnist and bestselling author – joins the award-winning novelists Kevin Barry, A L Kennedy and Naomi Wood, on the judging panel.

The £10,000 prize, co-founded with the New Statesman, is for fiction that “breaks the mould or extends the possibilities of the novel form”: The 2016 prize was won by Mike McCormack for Solar Bones, a novel narrated by a dead man, written in a single sentence. The judges praised it as “beautiful and transcendent” and “an extraordinary work”. McCormack is the third Irish writer to win the award, after Kevin Barry –  whose novel about John Lennon, Beatlebone, won in 2015 – and Eimear McBride, whose debut A Girl is a Half-formed Thing won the inaugural prize in 2013, having taken nine years to find a publisher. The 2014 prize was won by Ali Smith for her “reversible” novel How to be Both, which consisted of two narratives that could be read in either order.

Tracey Thorn found fame with Ben Watt in the duo Everything But The Girl, and went on to record as a solo artist and collaborate with Massive Attack, John Grant and others. She has published two books, including the Sunday Times-best-selling memoir, Bedsit Disco Queen, and writes a fortnightly column in the New Statesman, “Off the record”. Kevin Barry is the author of two short story collections and two novels, the first of which, City of Bohane, set in a wild west Cork in 2053, won the International IMPAC Dublin Literary Award. A L Kennedy has twice been included in the Granta list of Best of Young British Novelists and she has written in many forms, as well as performing as a stand-up comedian. Her 19 books include the non-fiction work On Bullfighting and the novel Day, which won the Costa Book of the Year Award in 2007. Naomi Wood, who is chair of judges, is lecturer in creative writing at Goldsmiths; her most recent novel is the award-winning Mrs Hemingway.

Speaking at the prizegiving held at Foyles Charing Cross Road last November, Mike McCormack said: “It’s about time the prize-giving community honoured experimental works and time that mainstream publishers started honouring their readership . . . Readers are smart. They’re up for it.” Talking to Stephanie Boland of the New Statesman, he criticised the staid nature of British publishing: “Irish writers are selling their books into what is one of the most conservative literary cultures in the world, into Britain. British novels, British fiction, is dominated by an intellectual conservatism.”

The Goldsmiths Prize is open for submissions (novels written by authors from the UK and the Republic of Ireland) from 20 January to 24 March, 2017. The shortlist will be announced on 27 September and the winner on 8 November.

Tom Gatti is Culture Editor of the New Statesman. He previously edited the Saturday Review section of the Times, and can be found on Twitter as @tom_gatti.