There’s a great big mound of earth down in Downside Wood where the old bridge used to stand. The stream that once ran gaily beneath its mossy arches hiccups and lurches through two black plastic pipes, swallowed at one end of the slump and regurgitated out the other. The vegetation hangs back from the mire, keeping a cautious distance, thorns and nettles recoiling as though stung by the mud. Caesar’s legions made siege ramps that looked more sightly. At either end, where the track leads up and out of the forest, smoothed slabs of brickwork poke out of the mud like the bones of the bridge that was. The rest of the rubble lies buried deep beneath the mound, I suppose, making a barrow of the dell. Do bridges have ghosts? I suspect this one might.
I sat up in the branches of a tree during a break between lessons one summer, listening to M.M. Kaye’s Trade Wind and taking in the view of the bridge as for the last time. That was the year I saw the first signs of what was coming: a waterlogged sheet of A4 paper in a plastic wallet, fastened to the masonry by a tag, bearing the stamp of the local council. The word “SAFETY” written in bold black ink is all I can remember, smudged and blued at the corners by a couple of days of dew and rain. Safety… how satisfying it must sound to the inspector, and how terrifying to the stonework of the old buildings of the world. If stone could shake, it might do so at the word.
The world cried out in despair when Palmyra and the Buddhas of Bamiyan went up in smoke, reduced to dust by religious bigotry, but when I see the Great Slump in Downside Wood, I wonder how many other beautiful works of man and God disappeared under the councilor’s red pen without a word of protest.
As I looked down upon the devastation, a nightmare from my childhood came back to me: a scene from a film that haunted me so terribly that I remember every word, every brush-stroke, every note pulled from the strings of the violins. I’m talking, of course, about the nightmare fuel that is the 1978 Watership Down:
Holly: Our warren… destroyed… Men came… filled in the burrows… couldn’t get out… There was a strange sound… hissing… the air turned bad… runs blocked with dead bodies… Couldn’t get out…. Everything turned mad. Warren, earth, roots, grass… All pushed into the air. Hazel: Men have always hated us. Holly: No… they just destroyed the warren because we were in their way. Fiver: They’ll never rest until they’ve spoiled the earth.
Richard Adams, Watership Down
I know so little of the bridge that once stood in Downside Wood. Was it only a fanciful exercise by a local mason for the lord of the manor, or did it have stories to tell? Did lovers sit upon its parapets before the ramblers and the cross country team tramped across its back? Did a poet or writer pause for thought over the archway and listen to the buzzards crying over the meadow beyond, before cigarettes were hastily stamped out into the mud as somebody saw Sir coming?
The bridge is gone. Safety and development swept it aside like so much that was beautiful. The old meadow behind St Aidan’s College, where I once saw a barn owl drifting in the evening air looking for voles, lies deep beneath a building site as the students choke the city. Like Richard Adams before me, I can only look on in dismay and add my voice to the thousands. There is a mystical beauty in the ruins of man’s work that is surely greater than any single life, if we can but look beyond our own existence for just a moment. These things around us, these rocks and trees, will be here long after we are gone, and will tell their own stories from generation to generation.
I hope that, one day, a generation will come along with mercy in its heart. It’s too late for the Downside Bridge, but not for a thousand other unsung relics scattered across this island. Not every fern is sacred, but in the grand scale of things, the world around us is worth more than a human accident. BB x
Somewhere in my room there’s a programme from a school play I was in back in my prep school years. A few of the lead roles were interviewed about their respective parts, and the boy playing Cardinal Richelieu said he “liked playing the baddie because it is more of a challenge.” My reaction to that line has changed very little over the last twenty-odd years.
Bull. Shit.
If twenty years of writing stories have taught me anything, writing villainy is easy – sometimes, alarmingly easy. Ambition, greed, selfishness and ego are everywhere. Depending on the orientation of your moral compass, you might even be inclined to disregard some of these behaviours out of hand as simple human nature. If you want a challenge, try writing or playing a hero. Finding convincing dialogue and/or motivations for a hero is hard because heroes require hard work: they are what we can become if we can find the strength and the courage to rise above our own desires. Selfishness, the root of villainy, however, is in us all by default. It doesn’t take much to make a villain, just – what did Heath Ledger’s Joker say again? – “a little push”.
What’s the first image that comes into your head when you think of a villain? I imagine it’s rather different to the image in my head. If I were a betting man, I’d wager it’s probably not the moustache-twirling Dick Dastardly-type, which went out of fashion a long time ago. The movie-going public seems to have lost its taste for gleefully evil baddies (so much for Palpatine!) in favour of the tormented anti-hero with quasi-legitimate motivations (a la Thanos). Avatars of utter darkness are on the out, and they’re taking their more rational minions with them. In some cases, this has led to the near-total disappearance of the bad guy altogether (see Inside Out and Moana, or even Encanto).
As a writer, this saddens me, for much the same reasons as the destruction of statues bothered me a few years back. Doing away with the villains of our world is like smashing up a mirror; just because you can’t see them anymore, it doesn’t mean to say they’ve gone altogether. We need to be reminded of the depths of our depravity from time to time. Every villain is a warning in his or her own way of the capacity for darkness in all of our hearts, and from them we learn to avoid their mistakes.
Unlike the heroes of my tales, the primary baddie has hardly changed since his inception. His wardrobe may have been updated a couple of times over the years, but his appearance has never shifted. The bald, skull-like head, the high cheekbones, the small black goatee and those piercing, eye-blue eyes… The latter have always seemed to me the most treacherous, wicked eye colour around, though that may have something to do with Daniel Craig’s early-career role as the fantastically sadistic Afrikaner Sgt Botha in The Power of One. Until very late in the Spanish rewrite he bore the name Jasper Snyde, and it was primarily the strength of his surname that held me back from Hispanicising the rest of the names in the book. It took a long time before I found a Spanish equivalent I was happy with. In the end I opted for De Salma, for the simple reason that, if elided (or spoken at the speed at which your average Spaniard speaks), it winds up sounding a lot like desalmada, meaning “soulless” – or, more literally still, “deprived of a soul”.
That’s right, middle school me. Authors do put that much thought into the names of their characters. It’s not just a trick English teachers play on you to get you thinking when it’s coursework season.
I think the thing I like best about Desalma is that he is nothing more and nothing less than a product of my own jealousy. Perhaps that’s why jealousy is one of his defining traits. Some villains you create to serve a purpose within the wider story arc, others are heroes who just weren’t good enough. Desalma is neither of these. He appeared fully-formed in a moment of weakness in my teenage years, moulded about an imagined rival for the attentions of a girl I had a thing for at the time. The crush didn’t last long, and the jealous rage that birthed him was even shorter-lived, but Desalma stayed, growing cancer-like from that first appearance into an evil that transcended all of the villains I’d written into my stories.
Like the Batman’s Joker, he wasn’t supposed to survive the story in which he first appeared, but over time his hold on me grew too strong, and for the greater part of the last decade he’s been the primary antagonist and tormentor of my hero. An avatar of desperation and despair to counterbalance’s the hero’s unyielding clutch on hope.
The other villains in the saga are, predictably, drawn from the other dark desires of my heart. One of my hero’s primary flaws was almost certainly one of my own in my younger years: that is, a magnetic hero worship of the tall, dark charismatic types who hold all the cards. The ones who have the looks, get the girls, crack the jokes and seem to have it all together. It was only too easy to morph the idols of my youth into adversaries whose intentions were not what they seemed, if only to repeat that old saying that has never lost any currency: handsome is as handsome does – or rather, looks can be deceiving.
If I’m being honest, there’s been more than one occasion in my life when I’ve asked myself that question: wait – am I the bad guy here? It was especially poignant in my university years, where my tendency towards strong opinions and the sharing of said opinions got me into hot water with my fellow students. I found my views challenged so often, so vehemently, and seemingly by everybody else that, for a time, I genuinely started to doubt my own convictions. It’s so easy to start thinking you’re in the wrong when it seems like the rest of the world is against you. Israel. Free speech. Gospel music. No matter where I went, I always seemed to be on the wrong side.
Fortunately, most people aren’t walking around with a fictional universe that exists only inside their heads, and have long since learned to see the world through the mature eyes of a working professional adult. Perhaps it’s only those of us who cling to the world of good and evil, and light and dark, that insist on still making such a clear distinction between right and wrong. The grey in between is good enough for your average Joe.
I’ve been working on a new villain this week, between teaching the passé composé and marking Year 9 Spanish assessments. In recent years I’m much more inclined to letting my heroes suffer if it makes them into stronger characters at the end of it. I gave up on Ildefonso Falcones’ La mano de Fatima years ago because I lost all faith in the protagonist, but the more I read my Spanish histories, the more convinced I am that the world was a much darker place back then, just as Ildefonso Falcones painted it, and my stories need to adapt to reflect that. It takes a serious brush or two with the dark side of our hearts for us to see whether we have hero material in us or not.
I’m leafing through Leanda de Lisle’s White King to clue up on the politics of Charles I (the Civil War era being contemporaneous with my saga), but also to glean some inspiration for a better-dressed baddie in the mould of a Buckingham or Richelieu. Desperados I have aplenty, and their motivations are easy to script: hunger will make a villain out of anyone. It’s the folks at the top I’m working towards now. Time, I think, for an exploration of power and its malicious influence.
Four years in, I think I have a much clearer idea of power. Because if you want to get a real handle on power, work in a boarding school. And that’s all I’ll say on the matter. BB x
I have a confession to make. For a wannabe author, I’ve always been rather guarded about my stories. As a teacher I make no secret about the fact that of my various hobbies I love writing best of all, above drawing, above being out and about in nature – and, yes, even above music. Why? Because writing is one of the few things in the world that you can truly call your own. You can’t compare your voice to somebody else’s any more than you can compare your ability to think. But, for all the show of carrying a journal around and self-consciously dropping into conversation now and then that I write for pleasure, I don’t really talk overmuch about my books.
There’s a couple of reasons for that. The first one is simple self-defence, the fear that somebody could steal your ideas and tell your own stories as though they were their own. Laugh if you will at that idea – what story hasn’t been told and retold a thousand times over since the dawn of time? – but an incident involving my artwork, DeviantArt and an alarming case of identity theft back in my schooldays has left me cautious about putting my work out there. In that case, I was lucky that the thief had been indiscriminate in their robbery: though some of the drawings they claimed as their own were odds and sods from the novel, more than a few were portraits of friends from school, so it wasn’t just my intellectual property on the line. Together with some friends, we kicked up a fuss and had the thief’s account taken down. To their credit, DeviantArt were pretty quick. I don’t suppose I’ll ever know who the culprit was, though reason tells me it could only have been somebody I knew. I learned a valuable lesson, though: art is easy to steal.
The second reason is the simplest one: there’s just too much to say in one sitting. I can see that on those occasions when somebody leafs through one of my journals. There’s so much going on in there and none of it in any particular order, and without a map, you’d never know where to start. Entering into a writer’s world is probably a rather daunting experience, like arriving at a house party and finding you don’t know any of the guests. You could try. You could sum up the Lord of the Rings saga by saying it’s all about a quest to destroy a magical ring, but that leaves out the silent terror of the Mines of Moria, the treachery of Gollum and the mournful autumnal kingdom of the elves; the details that make the world come to life. Story-telling is a necessarily one-sided pastime, and since my day job places such an emphasis on listening, my favourite hobby is something I try to avoid at all costs, because it feels selfishly out of sync.
Today, I’m going to break a habit. I’m going to let you into my world.
We can start where it all began. Where it all began to take shape, I mean. According to my journal, that was at 15.30 on Friday 13th November, 2015, on a rocky outcrop beside the Santuario de Nuestra Señora de la Montaña just outside the city of Cáceres. I’d been writing “the book” for about twelve years by then – I can trace the first draft back to 2003 – but it was here in Extremadura that everything suddenly fell into place. As I looked out across the plains of Cáceres and upon the city thrown into shadow by the setting sun, something magical happened. It was as though I was staring at a giant jigsaw puzzle that was suddenly arranging itself into perfect order before my eyes. I wrote myself a note in my journal – “What might this place have looked like in the 1600s?”. Sometime later I pencilled in two words above that line: “it begins!”.
And so it began. The cast of characters I had carried in my head and in my heart for over a decade moved to Spain, and the kingdom of Meridia was born.
Picture a corner of the world where the fields go on forever. A land of immense blue skies and sparsely-populated hill-towns, clustered like barnacles about the few slopes that rise out of the motionless sea of earth, where the merciless sun comes down with unfettered fury in summer, and in winter, chill winds howl unimpeded across the plains. A kingdom that has seen people come and go: Moorish forts atop the limestone crags that the vultures have not claimed for their own; Roman arches and theatres rising out of the earth like the bones of some long-dead giant; and, deep in the mountains that ring this hidden kingdom, the faded artwork of a people so ancient that they have long since faded into oblivion. And such mountains! Look to the north on a clear day and you can see them towering mightily over the fields, vast and blue like the sky above, their peaks scarred with snow well into the spring. That’s where the old forests cling on, fugitives from the axes that carved the Roman Empire from Spanish lumber many centuries ago. And where the forests give way to the water, powerful rivers bubble up from the deep, thundering through the hills and carving sheer ravines through the finger-like ridges that splay across the plains from the Sistema Central.
The best of it is that I don’t have to invent this world at all, because it actually exists, and her name is Extremadura. All I had to do was to imagine her in somebody else’s hands. My hands.
When I first set out to create Meridia – named, of course, for the city of Mérida – I initially wanted to keep the real-world location a secret, until the close of the story, at least. It didn’t take me long to realise just how impossible that was going to be from a worldbuilding perspective, particularly over a saga spanning seven books, but since “big reveals” are and always have been a majorly appealing part of story-telling, I played along for a time. I was also still reluctant to fully transition to the use of Spanish people and place names, so I had a go at creating names of my own.
Casiers. Barosse. Meroon. Looking back now, I’m cringing already at how disgustingly English they sound. But then, few tales come into being in a matter of moments. Worldbuilding takes a long time, longer by far than it takes to tell the story itself. I can only guess at how many hours Tolkien must have poured into the creation of Arda. It’s taken me all of twenty years.
Here’s the same map, drawn about a year later. It’s the eighth of a total of ten maps of the peninsula in the same journal (when students ask me how I can draw a map of Spain from memory… this. This is how). It’s probably the most accurate, and the one I still use today when mapping out the events of the saga, the exception being the retroactive introduction of the “corredor cordobés” that cuts a swathe from Córdoba to the city of Cádiz, separating Meridia from Granada and providing a political flashpoint for the plot. Ringing the map, you can see the history I’ve had to build up around it. I tell you, writing a historical novel is one thing, but writing allohistory – that is, an alternative timeline – is a messy, time-consuming business. If I didn’t keep a journal, I doubt I’d remember all the details. Nevertheless, they’re absolutely essential to giving your world an identity of its own, just as the “Greatest Generation” and the “fight them on the beaches” speech are integral parts of our collective memory.
Creating five hundred years of history for a kingdom which never existed is quite the task. Beginning it is easy, as is the wrapping it all up at the end. It’s what you do in between that’s the trouble. How do you explain away, for example, the men who changed the world who hailed from that corner of the real world? How do you rewrite an essentially Spanish history in a timeline where Granada did not fall until the middle of the seventeenth century, where Seville was in foreign hands for the greater part of the Age of Discoveries, and – perhaps most importantly of all – where almost all of Spain’s conquistadors from Cortés and Pizarro to Francisco de Orellana and Núñez de Balboa hailed from a land that did not carry the flag of Castile?
To be honest, that’s half of the fun, trying to find radically new ways of retelling history. It’s why I wrote my dissertation on the Cronica sarracina, arguably one of the greatest works of fiction ever sold as fact in Spain (or was it fact sold as fiction?). I’m doing the same thing with Meridia: I’m telling the story of Spain through a glass darkly, holding up a devil’s mirror to the country I know best.
And once the world has taken shape in your head, it’s time to set your characters running across its empty plains, so your voice can follow them, painting their footprints with words.
I take my inspiration from the world around me. From books, mostly, but also from photographs, legends, paintings and even conversations with strangers. More than one character has slipped between the pages of the book over the years after a brief encounter with one of those larger-than-life types. In essence, the saga is my paean to my grandfather’s country, so I try to weave as many details in as I can. The madmen of the Hurdes. The seven chairs of Mérida. Goya’s fight with cudgels. The mystery of who really got to the New World first and the Lisbon Earthquake. The odd real person makes a cameo appearance from time to time: Diego Velázquez, Michiel de Ruyter and the lost children of the sack of Baltimore. I get the same satisfaction threading their tales into the narrative as I did from peppering each and every essay I wrote at university with “ursulas” (unnecessarily farfetched sidetracks that somehow relate back to the essay question, named for the sea witch in The Little Mermaid). When you’ve been writing the same story for twenty years, you’ve got to find new ways to keep the game fresh.
And sometimes, it’s not a book or a person that finds its way into the worldbuilding effort, but the real world itself, in real time. Like this little snippet from the journal. I’ll leave you with the date (24/6/2016) and let you guess what it’s referring to.
Worldbuilding is laborious. It takes a bloody long time if you plan to do it right. It took me a matter of seconds to decide to move the fictional kingdom of my childhood into Extremadura, but it’s taken my characters all of five years to finish unpacking. The central characters of the story have only borne their new Spanish names for a little over a year. But it’s easily one of the most entertaining parts of the story-telling business, and it doesn’t half smooth out the writing process when you finally find the time to sit down at the computer and have a solid crack at the next chapter.
So… what would you like to know? Asking for somebody else’s thoughts on what is nothing more or less than the single most precious creation of one’s life is more than a little unnerving – I’m not afraid to admit I got the shivers writing that question – but the purpose of story-telling is to share, and I could do with airing the world inside my head for a change.
Alternatively, if you’re a writer too, does my experience with the worldbuilding process sound familiar? I’d love to hear your thoughts. BB x
In the vocabulary of a child, it sounds harmless, like a friendly football match. It tears away the shock and the hysteria. It tells a story of immediate information, of children monitoring the dawn of war on the screens of their smartphones. It seems almost absurd, watching a war unfold in real time.
I couldn’t answer the student because I don’t know enough about what’s going on in Ukraine to give anything like an informed opinion of my own. My meddling with Russian affairs amounted to nothing more than a short-lived attempt at after-school Russian classes in my sixth form days. The two other chaps in the class went on to study Russian at Oxbridge. I had no such intentions. I happened to be studying the Russian Civil War in A Level History, I was intrigued by the art style of the Soviet propaganda machine and felt like learning a new language. Not for the first time in my life, I felt like a foolish hobbyist amongst eager professionals. I don’t think I ever made it to the second class.
I chose to focus on Arabic instead, for equally casual reasons. I didn’t want to be a spy, or a civil servant, or an ambassador. I don’t have the cunning or the sense of national pride. All I wanted to do was to read my history books, and to draw back the curtain on al-Andalus. I had the chance to explore an entirely different world, and I took the other road. God only knows where my life might have taken me had I made it to that second Russian class.
As the fighting intensifies in Kiev, I remember flashes of my brief stop in the city almost seven years ago. Bearded, sweat-scarred and looking forward to coming home, however briefly, after two trying months in Amman. The decision to take advantage of a twelve-hour layover and make a flying trip out to Kiev from Boryspil Airport was a fool’s fancy on my part, as it so often is, but it did mean that I got to see with my own eyes a city that is now in headlines around the world.
That was back in 2016, only a couple of years after the Revolution of Dignity and the subsequent annexation of the Crimea. The city was quiet, but the stress lines were there to see, if you looked closely. Beneath the People’s Friendship Arch, a monument to Russian and Ukrainian unity, a messaged daubed in Cyrillic: “Slava Ukraini” – Glory to Ukraine. The nationalist call-sign, forbidden during the years of the Soviet Union.
The blue and yellow of the national flag was everywhere, almost as fiercely ubiquitous as the rojigualda in the months following the 2017 Catalan rebellion. Even the street artist dressed as a minion in the Maidan Nezalezhnosti (Independence Square) seemed intentionally patriotic.
The blue and yellow from the city streets of Kiev has since fanned out across the web. Profile pictures bear its bicoloured hue. Thoughts, prayers and shares tell the story of the conflict to millions. And while part of me feels this is the way things should be, there’s something that keeps cropping up that I feel the need to talk about.
As is becoming customary in the Instagram Era, there’s just as much anger on my social media feed about the underrepresentation of conflicts happening elsewhere in the world as there is about the fighting taking place in Ukraine. For every “thoughts and prayers” post there’s a story bemoaning how much less of a fuss was made over Israel’s actions in Palestine, or the Indian occupation of Kashmir, or the assault on Yemen, as though one ought to be losing one’s head every time a gun is fired anywhere around the world. All of them immensely valid causes, no more or less than the chaos unfurling in the land of the Rus right now. Still, the phrase “pick your battles” comes to mind, and perhaps I’ve never used it more accurately. You can’t fight every war.
War. It’s not a word I’m used to using in the present tense, jaded as we are in the West by decades of relative peace. Thousands of us – maybe even millions – have never known what war means beyond what we studied at school. There’s a strong argument against the virtue-signalling “thoughts and prayers” response trending across social media, but maybe that’s just the knee-jerk reaction of a generation so far-removed from war that the word has all but lost its meaning.
Thoughts and prayers for the people of Paris after the Notre-Dame fire. Thoughts and prayers for the people of Afghanistan. Thoughts and prayers, but never enough of them, and never going to all the right places at the right time.
“There’s so much human suffering that the whole world should be wailing.”
Joy Chambers, My Zulu, Myself
Taking the colonialist argument off the table, just for a moment, I don’t know whether we’re even capable of feeling a genuine sense of outrage at every injustice there is in the world – even my generation, which does a very good line in being outraged and incensed at everything. Every injustice, though? How can you fight for every cause and still remain true to your own beliefs? That much pain would be enough to tear the soul apart. It’s bad enough being a bleeding heart about the natural world – which, when the chips are down, is the first thing people forget to care about.
Fight, by all means. Resist. Shout about the things you care about. But pick your battles, and don’t attack those who didn’t come when you called, just because the fire in their hearts was not burning so bright.
What’s my opinion, then? Bewilderment. Jaded bewilderment, like so many of my generation. Bewilderment at the aggression. Bewilderment at the inaction. Bewilderment at the comparison to the Sudetenland saga I’ve heard so many times this week.
I studied the Soviet Union for years, but I’m no nearer an answer than any other armchair expert – probably because of my innate aversion to 20th century history, having studied it to the exclusion of every other century at school. Before I speak out, though, I will do what I do best. I will read. I will research. I will inform myself, as we were so often commanded to do during the BLM movement. I will speak to those who know more than I do, when the time is right.
While the world watched the city of Kiev, five islanders returned from the Chagos Archipelago in the Indian Ocean. It was their first independent trip home since they were forcibly removed by the British authorities during the 1970s as part of a deal to secure Mauritian independence. Mauritius wants its territory back. The Chagossians just want to go home.
Just one more injustice to add to the pile. Perhaps the whole world should be wailing – but for whom? Our world is full of people who think differently, and long may that be so. I will defy my generation and risk the use of a colonial poet to conclude, because I do believe Kipling had the right of it in this verse… BB x
Oh, East is East, and West is West, and never the twain shall meet, Till Earth and Sky stand presently at God’s great judgement seat, But there is neither East nor West, Border, nor breed, nor birth, When two strong men stand face to face, though they come from the ends of the Earth!
The 1942 Disney classic Bambi really ought to have been a PG. It might well have been by its own standards if it were released today. It’s dark, there’s more than one traumatic death (one only just off-screen) and some of the music is even more anxiety-inducing than the Jaws theme, which it may well have inspired. Man, the ever-present danger and the film’s primary antagonist, was justifiably placed at number 20 on AFI’s list of the greatest movie villains of all time, ranking higher than all but one of all the animated villains ever created – and we never even see him.
But I’m not going to talk about Man. We know our own capacity for wickedness. I’d rather muse over the one aspect of that movie that used to genuinely terrify me as a child.
I’m talking, of course, about the dogs.
From the moment the music cuts out and the barking starts, it’s a solid couple of minutes of pure terror. The artists could hardly have drawn them to be more terrifying, with shining white teeth and cruel, heartless eyes of featureless white or soulless black. The constant baying of the hunting pack stays in your head years later, drawing near like drums whenever you hear the soundtrack – and it’s not a mile away from the reality either. I remember hearing a hunting horn sound in the countryside somewhere in the south of France when I was younger and the distant thunder of a pack of dogs on the scent. It’s a sound lost to England many years ago, but one you still might come across if you travel around the quieter corners of Europe.
That chase sequence in Bambi has stuck with me for years. It’s not an outright vilification of hunting, but it is an awesome depiction of unbound savagery from a darker time in our past, before hunting regulation and wildlife protection laws were brought into force. We never see the film’s primary villain, but his capacity for monstrous carnage is more than evident in the beasts he has created, the beasts of our own making.
It’s only recently that I’ve started to take an interest in dogs. It’s possible that Bambi put me off them early on. Or the ones from the horror-show that is the 1954 animated film Animal Farm. Or the dog from Manor Farm in 1978’s Watership Down (there were some horrific portrayals of man’s best friend in 20th century children’s movies). Or maybe it’s just because I’ve spent the last twenty-eight years of my life living with cats that I’ve naturally picked the opposing team. Regardless, the tide, if not turning exactly, is beginning to even out.
El mastin español – guardian of the Tierra de Barros
When I lived in Extremadura, I remember finding some of the largest dogs I’ve ever seen out in the countryside, lazing about in the shadows within fenced enclosures and barking at anything and anyone that came near. Not just any bark, either, but a terrible, three-throated bellow that you can hear from a great distance, the kind you might expect from Cerberus. I’m talking about the Spanish Mastiff, an impressive breed once used by the shepherds of La Mesta, Spain’s ancient “wool mafia”, as a guard dog for their valuable Merino sheep. A working dog bred for its size and strength, it’s not hard to imagine this beast in action against the wolves and bears that once roamed the forests of Iberia. They were popular combatants in bear-baiting, a sport which was just as popular in parts of Spain as it was in medieval England, to the detriment of the country’s bear population. Dog after dog would have been sent against the great beasts until they could fight no longer.
These days, of course, there are probably more mastiffs in Spain than there are wolves and bears put together, and the giant bear-killers look like old soldiers gone to seed in their enclosures under the Spanish sun. There was only one victor in their fight against the country’s predators, and it wasn’t the vanishing wolves, the ghost-like bears or even the mastiff, chained to its post in the quiet Spanish countryside. It’s quite sad, when you think about it.
It wasn’t only the wild beasts of Spain’s interior that the mastiff was trained to fight. There are plenty of stories of the use of perros de guerra in the Spanish conquest of Mexico. Given the diminutive size of the dogs native to the Americas upon the Spanish arrival (see the xolo dog for an example), it’s hardly surprising the Spanish saw fit to use their monstrous dogs as additional leverage in their fight for the American interior. Becerrillo, a war dog owned by the conquistador Juan Ponce de León, is the most famous example. Whether it was the mastiff, the alano or even the greyhound the Spanish employed, the results speak for themselves, and monstrous armoured dogs appear in a number of contemporary recollections of the conquest – there’s an especially telling (and graphic) depiction in the Coyoacan Codex. Whether you choose to believe all the details of the so-called “black legend” concerning Spain’s atrocities in the New World, there’s no denying the awesome power of these war dogs if you ever encounter one in the Spanish countryside.
A quick sketch of a Spanish alano, scribbled into the journal between Church and tutor today
Naturally, I’ve written one into my book, as a faithful companion to my leading lady. It’s not as simple as you’d think, writing a dog breed into a book, as by its very nature, dog-breeding is an ever-changing world. Many of the dogs we know today have only been around for a few hundred years or so. The Spanish mastiff we know today is already a very different animal to the kind used at the start of the twentieth century: the original mastiff was still a sturdy, powerfully-built working dog, but not at all like the lumbering giant you see around the Spanish countryside today.
Other dogs that were more familiar to our ancestors have long since disappeared: the stocky Old English bulldogs bred for the sport of bull-baiting, long-since replaced by the squat, hyperbrachycephalic creatures we know today; the alaunt, the rache and the Talbot hound, the mainstays of medieval nobles and huntsmen; and, of course, the mighty Molossus, the ancient war dog of the Greeks and Romans. In our endless desire to bend nature to our will – bigger, smaller, stronger, more obedient, less intelligent – we have warped our old enemy, the wolf, into an absurd array of shapes and sizes. It’s a testament to man’s ingenuity that, long ago, we were able to turn our most hated rival into our best friend, but my word, did we do some terrible things to him along the way. I wonder what a wolf thinks when it crosses paths with a pug or a dachshund. Is there a flicker of recognition, do you think, or have thousands of years of man’s meddling twisted their kin into shapes they cannot begin to understand as one of their own?
I’d really like to track wolves in the wild someday. I’ve heard that one of the better places to do that in Europe is in the wild Abruzzo region of central Italy. I don’t think I’ll manage it this time – as you might expect from one of Italy’s last refuges for the symbol of Rome, it’s not exactly a hop, skip and a jump on public transport. But if years of nature-watching has taught me anything, it’s patience, and I can wait for an experience like that. Spain’s Sierra de la Culebra is also supposed to be a good place to search for wolves, and when last I heard from the place, a pack had been seen in Extremadura, though memory fails me as to where.
The llebrer (R), symbol of one of Catalunya’s most notorious 17th century gangs, the Cadells
In the meantime, I will read up some more on Spain’s dogs, if only for the sake of my novel. If there’s a place for the loyal mastiff, I’m sure I can find a space for something like the nightmare fuel from Bambi, too. BB x
Today’s the last day of the February half term. Storm Eunice is on her way out, but she’s dragging her talons behind her. I’m cooped up with a blanket and a mug of Ovaltine in my study, looking out at the grey world beyond. Cars parked at angles. Wet tarmac mirroring the featureless sky. Winds of over fifty miles per hour howl across the grounds. One of the windows in my flat is permanently ajar due to some fault with its ancient locking mechanism, and the banshee wails moaning through the corridor sound like the Ice Cavern from Ocarina of Time (nostalgia trip here). Between the raging wind and the rattling tattoo of the flagpole two floors up, I might as well be at sea.
I came home from visiting my parents last night to find the whole site in darkness. From what I’ve seen and heard, Eunice had been busy while I was away, tearing her way along the coast like a hurricane and leaving great swathes of the south without power. It took me at least a minute or two scrolling through the UK Power Network website to find my postcode amidst the many hundreds reporting a power outage. After the fair number of power cuts we had last year, you would have thought I would have been prepared, but for the life of me I couldn’t find any of the candles I’d stockpiled over the years. I think my previous housemate used them all up for beer bottle decoration. Fortunately, some foresight – or hindsight – on my part led me to a hidden cache of hand-torches in a chest of drawers. The bulb had gone in the smaller one, but the other, though flickering as a match-flame, gave just about enough light to read by.
I half expected to come home to find the silhouette of the great Atlas cedar missing from the skyline, its mighty body bent and broken upon the drive like a fallen giant. Fortunately its roots go deep, like the mountains upon which its kin grow far away to the south, and there is strength in the old man still.
The same cannot be said of many of the free-standing trees that line the road into town. I promised myself I’d get a taxi home for the sake of my new trainers, but as usual, I went back on that promise, only this time it was not out of stinginess but a genuine curiosity to see the wreckage of the storm that I had only glimpsed from the train. Crawley wasn’t given a lashing quite like Brighton and Hove, but it had its fair share of casualties, scattered and trimmed across roads and gardens. The damage was less obvious deeper into the woods beyond. There is safety in numbers, it seems, even for trees: much of the forest was untouched by the storm. It was seriously muddy underfoot, though, and I spent a good ten minutes cleaning my trainers by torchlight once I’d made it home.
It seems unoriginal – not to mention extremely British – to go on so about the weather, but I feel as a writer there is nothing more important than taking the time to talk about the world around you every so often. It’s our duty to tell stories of the world as we see it, so that others who come after us can learn from us somehow. One of the books I actually read cover-to-cover last year, Nature’s Mutiny, pieces together the world of the Little Ice Age through diaries, sermons, letters, hymns and poems penned by those who saw it with their own eyes. Back then there was still a great fear of God tangled up in the awesome power of the weather, and a hundred years of savage winters had led a lot of Europeans to the natural conclusion that sin was to blame. Some resorted to witchcraft; some resorted to witch-burning. Others, of a more temperate nature, put their thoughts into verse:
In constant rancour we abide / and war is ruling far and wide
Envy and hatred everywhere / in all estates discord and fear
That too, is why the elements / reach out against us with their hands
Fear coming from the depth and sea / fear from the very air on high
In morning is the source of joy / the sun no longer sends bright rays
The clouds are raining like a fount / the tears too plentiful to count.
Paul Gerhard Translated by Philipp Blom (Nature’s Mutiny, 2019)
I wonder how many modern lyricists sing about the weather? Back in 2007, when the UK was plunged into its wettest summer since records began, Rihanna’s perfectly-timed Umbrella became a best-seller. There were even joking accusations on the internet that the singer was responsible for the unseasonal weather across the pond…
Now that it’s raining more than ever
Know that we’ll still have each other
You can stand under my umbrella
You can stand under my umbrella, ella, ella, eh, eh, eh
Rihanna (“Umbrella“)
Of course, Rihanna wasn’t thinking about the British summer yet to come when she wrote those lines, but four hundred years ago they might have burned her for a witch for such impeccably bad timing. Come to think of it, though, I do distinctly remember her name being on the list handed to me by the Prefect Witchfinder General at a school I worked at in Uganda, some five years later. Apparently the school’s witch-hunting guild had found a website listing known witches in the Western world? If they’d stumbled upon one of the various forums discussing the timing of Umbrella, perhaps it’s not an unprecedented conclusion. If I remember correctly, Wayne Rooney’s name was also on that list. The internet is a strange place.
Speaking of the internet, I decided to bite the bullet and give the online dating scene a whirl. Living and working in a boarding school doesn’t exactly facilitate an open line of communication with the outside world, so rather than sitting on the fence I thought I’d chase some stories for a change. After a brief browse it looks as though Bumble is the kindest of the Golden Triangle (with Hinge and Tinder), not least of all because it’s the most self-aware of the damage the online dating scene can do to the mental health of its users. It’s good to see that in an undeniably superficial meat market, some of the folks up top are aware of the dangers and offer support.
It’s almost certainly a silly idea, living as far from the city as I do, but, who’s to know? Shy bairns get nowt once again. If I had a penny for every variation of that phrase I’ve heard throughout my life, I might just have a pound. BB x
The Red Book (my first “Renaissance” journal) at the feet of Washington Irving, Granada (March 2016)
Let me tell you something for free: full-time employment is a writer’s bane. You knew that already, so neither of us lost anything in that transaction. Except me, and the ever-increasing gaps between the dates in my journal.
I spent so much of this weekend powering through marking after a week of KS3 assessments that it only occurred to me as I filed my Year 9 papers away that last weekend was the first time I’d given my novel some serious thought in a year and a half. Since you can chalk that “blip” up to the first lockdown, it’s probably safe to say the last time I made any real headway with my book was before I took up a post in a boarding school back here in the UK. That is to say, back when I was living in Extremadura, now almost four years ago. If it weren’t for the fact that I still carry a journal around with me, I’d have made no progress in that time whatsoever.
But since I’m more of a glass-half-full kind of guy, I’m going to focus less on the killing instinct of working life and more on the magic of keeping a journal. Because, as always, there’s a story behind it – and in my case, it’s a lot more personal than I ever knew.
I’ve written reasonably extensively about my journalling habit before, but in case you missed it, click here for an earlier piece on one of my favourite journals, the Red Book.
Sketching the windy peaks of Montserrat (April 2019)
I don’t think I’ve ever been without a sketchbook of sorts. Going back to my parents’ place for Christmas turned up quite a few of my oldest surviving books, dog-eared, half-filled and almost all of them featuring the same cast of characters that share a space in my head and my heart to this day. Studying Art for GCSE and A Level naturally fed the habit, though I seem to remember having separate sketchbooks for school and for myself right the way through. I suppose I should reach out to a couple of early inspirations here: to Mr Howe, for his no-holds-barred approach to sketchbook work (“unfinished pieces are often more interesting than finished pieces” has stuck with me); to my old friend Freddie, whose handwriting I secretly admired and have long since adapted into my own; and, of course, to my own mother, who must have kept several journals of her own when she was younger.
These first attempts were more art than word, though. It wasn’t until my eighteenth year that I took the craft of journalling more seriously, riding off the back of having successfully kept a diary for a little over a whole year – to date, the longest successful writing streak in my life. With many long months to go until the first day of my degree, I picked up a small flip-journal from Waterstones and penned some thoughts. At first, it was just lists: locations in my novel, possible pen names, key elements for fantasy fiction. On the second page I branched out and jotted down some facts that I found interesting, for a change of pace (my brother was quick to point out this was a considerably less interesting way to use a journal). I guess not everybody needs to know that the underside of a waterfall is called an undercutting; that Mullah Omar donned the mystical Cloak of the Prophet to drum up support in 1996; and that Dr William Bryden was the sole survivor of the Khyber Pass massacre of 1842.
Three pages in and the novel is the back in the limelight – and so it continues. Every so often, I find something in a book or on the news that I deem worthy of recording, but as a rule, the bulk of my pen-and-pencilwork concerns the fate of my cast of characters and the world in which they live, ever-growing, ever-crystallising. Sketches in pencil duck and weave through the gaps like weasels, giving over onto full page illustrations when I really found my mojo. It’s a formula I have deviated from very little for nine years now.
Gypsy Legends and Grenadine Gifts (2020)
When I was younger, and I still had these crazy notions (as the young and reckless always do) of embarking upon death-defying expeditions to Afghanistan and beyond, I remember thinking that, if something should happen to me, the world in my head that I had spent all but the first seven years of my life creating would disappear completely. That is, unless I left enough material behind for somebody to pick up the pieces. I suppose that morbid justification stuck, because there is now enough information spread across my various journals for somebody to put together the various stories I have always wanted to tell.
The rain in Spain on the plane (August 2019)
And perhaps there’s a logical explanation for that mindset.
My great-grandmother Mercedes was a woman ahead of her time. In a Spain teetering on the brink of Civil War, she found love with a poet and musician called Mateo. They corresponded in verse, quoting Oscar Wilde and Keats and Plato and Engels. Their handwritten letters to each other – safeguarded by my family for over fifty years – tell of a truly devoted husband and wife on an equal intellectual footing, flying in the face of the dictadura and the expectations of women outlined in the Guia de la buena esposa. Mercedes was well-known about town for her journal, which was as much a part of her character as her glass of brandy and cigars. Though her locally legendary journals themselves are lost to time, it is chiefly through her precious letters to her Mateo that I can see through a window in that past. It is a past which comes clearer into focus the more I get to know my family out there. The fatalist in me cannot help but wonder at the sequence of events that led to me arriving at my family’s door with little more than my journal in hand, unconsciously carrying the one item that would prove my connection to a great-grandmother I never had the chance to meet. Mercedes left this world the very same year I came into it.
I spent the greater part of my search for my family focused on the grandfather I never knew, but it is my bisabuela Mercedes who guides my hand these days. I’m a strong believer in upholding family traditions, and it doesn’t half lend a sense of purpose to the scribblings in my journals, even if they never lead anywhere. My ancestors left me a literal paper trail and I must follow.
Barcelona vignettes (March 2019)
Have you ever kept a journal? I’d highly recommend it. It’s less onerous than a diary and a beautiful thing to look back on. Through mine, I can read the world around me through the strokes of my pen: the euphoria of success in the a cappella semifinals; my bewilderment at Brexit; the shockwaves of the fire of Notre-Dame; and my bottomless love for the country of my ancestors. It’s all there, and since boarding school life makes it nigh-on impossible to knock out a couple of chapters a week like I used to, my journals do a thumping good job at telling the story.
And maybe, one day, that’s exactly what they’ll do, when they fall into the hands of my grandchildren. I’d like that. I think Mercedes would have liked that, too.
Little Moor. That’s one translation for one of Spain’s most beautiful natural treasures, a gaudy creature of swamps and marshes that we know as the glossy ibis. Dressed as it is in chocolate brown with feathers that flash green and purple in the sunlight, it’s easy to see how this characterful bird got its name: its very being evokes another world, one that lies across the Mediterranean sea, of men of small stature dressed in jewels and shimmering silks. The Moors and their Spanish kingdom are long gone, but there are hints of that world all around to this day – if you know where to look.
You can spot a flock of ibises from a long way off by their colour alone. The wetlands in which they live, such as the Doñana National Park, teem with white herons, egrets, spoonbills and flamingos, all of which stand out a mile against the Spanish skies. Down on the ground, however, the ibis is a good deal more conspicuous, rummaging around in the water in groups that can number as much as a hundred strong. Like their wading cousins, ibises fly in a loose V-formation. It’s quite a sight to watch them going to and from their roosts as the sun sets at the end of the day, with flocks departing in waves for the security of the trees. I’ve lost count of the number of times I used to stand on the rusty fences that border the village of El Rocío to watch hundreds of ibises, egrets, herons and ducks all making their way into the park interior.
You might think a bird as beautiful as the ibis would have a beautiful voice to match. You’d be wrong. As is so often the case in the world of birds, the best feathers do not necessarily mean the best voice. Ibises, like flamingoes, have a very inelegant call, low and grunting, not too dissimilar to a cow on helium. They make a whole host of other sounds at their roost sites, but I’ll leave you to discover that for yourself. It’s quite the experience. And, I might add, quite the smell, too.
These are the ibises that the Egyptians worshipped. Thoth, the Egyptian god of wisdom, was often portrayed with an ibis’ head. According to one legend, a plague of winged serpents descended upon Egypt every spring, only to be stopped at a mountain pass by scores of ‘ibis birds’ which devoured them all. Herodotus claimed that the birds of this particular legend were jet-black, which points towards the morito. This leaves their close cousins, the stately sacred ibises, in a bit of a fix; and if you have ever seen their kind rummaging around in refuse dumps as they are wont to do, their smaller, darker morito appears far more worthy of worship.
Morito surely is a fitting name for such a princely creature. Spain has a long love-hate relationship with its African past, which centuries of church doctrine and cultural genocide have failed to quell. Al-Andalus faded into the fabric of history centuries ago, but it left behind the ibis, and it soothes my heart a little to think that maybe, just maybe, I am watching the spirits of that most beautiful and industrious past when I see a flock of moritos flying by.
Hornachos. How you play with my heart! You, who the Moors adored in this land of endless fields, are indeed beautiful; the purple heights of the Sierra Grande soaring out of the earth like the broken spine of some great ship upon the shore… Home of the golden eagle and his imperial cousin, the fierce boar and the mighty griffons, the guardians of this beautiful kingdom… The twinkling lights of your houses, seen from afar to be floating in the night like the island of Laputa…
…why on earth do you only have one fucking bus per day?!
That’s right. One of the most beautiful towns of Extremadura is hamstrung by its virtual inaccessibility. Centuries after the departure of the Moriscos, the mountainside town remains as unapproachable as ever it was under the rule of the soon-to-be pirate kings, albeit for slightly more mundane reasons.
Hornachos is served by one bus line, which is perfectly suited to the Hornachego with a job in the outside world, but virtually useless for the interested day-tripper. Two buses make for the town at 15.15 and 18.45 on weekdays (with the notable exception of Fridays), and one leaves for the outside world at 7.15am. And that’s it. It wouldn’t be so bad if there were any cheap accommodation offers, but with a slew of casas rurales, 50€ per night is the standard. When nearby Villafranca – which has almost nothing to see, by comparison – has a hostel for 10€ a night, it seems a little ridiculous. Not least of all because I would happily spend as much as 50€ every month (or more) if it meant I could be in Hornachos every weekend. Because I would. As for BlaBlaCar, the distance between Villafranca is too long to walk (and then hike), but too short for a popular carshare. You can’t free camp either, because of local laws. Goddammit.
Simply put, day-tripping to Hornachos is simply not possible without a car.
Its inaccessibility, however, is my sole complaint. Because, besides a lousy bus service, Hornachos has it all: the ruins of a tenth-century Moorish castle, a Mudejar church, an enormous sierra with vast fields of rolling dehesa stretching out for miles behind, a history so bitter and intense it might have been written in lemon juice and a super-friendly Casa de Cultura. I fell in love with Hornachos from the moment I first laid eyes on it. The unmistakable silhouette of Olvera, my old hometown, still strikes a chord or two in my heartstrings whenever I see it, but the Sierra Grande has long since overshadowed its place at the centre of my heart.
I was lucky enough to hitch a ride with a couple of friends who wanted to go hiking in the Sierra, so I leaped at the chance. We didn’t have long to stay in the castle, because as we arrived atop the ruins, the shrieks and shouts of an approaching school trip sailed up the hill to meet us, like a colourful besieging army. Amber didn’t hesitate to let them know we were English. I replied to their questions in Arabic. Brownie points go to Amber for being a decent human being, where I just wanted to be difficult, I think.
It did drive home to me just how deceptive the mountains are, though. We had no idea there was a forty-strong school trip coming up the mountain to meet us until we’d reached the top, though one might have heard them for miles around. It’s a dangerous place up there, and little wonder the Moors made a beeline for the mountains when they reached these lonely parts.
I had a private lesson in the afternoon and a language exchange at the EOI, so I had to be back in Almendralejo for four o’clock, which didn’t give us mountains of time to explore (ho ho). We fitted in the usual circular route, albeit in reverse, as well as a cheeky yoga session at the end – needless to say I remain as flexible as a dinner plate – though this time I scaled the first leg of the Trasierra route which crosses the Sierra Grande and winds down into the fields below. Further exploration is definitely required.
The church, sadly, is closed to the public. Like the museum, if you’re interested, you have to ask for the key from the local tourist information office. I suppose this is the normal way of things; you take things for granted in the outside world, where Seville and Marrakesh whore their finery to the lowest bidder. Hornachos retains some of that ancient-world mystique. As much as it bothers me, perhaps that’s the secret to its survival.
You’ve got to hand it to the old town for its tenacity. Who’d have thought that this quiet gathering of houses on the side of the Sierra Grande was once home to the men who would go on to become the infamous Sallee Rovers of Robinson Crusoe fame? I wonder whether there were any Hornachegos amongst the corsairs who took part in the equally bloody Sack of Baltimore in 1631, only twenty-one years after their expulsion from the Iberian peninsula… Rabat sure does seem like a world away from this flat, flat world…
‘We’re not in Hornachos anymore…’
I will make you famous, Hornachos. When the world knows of El Gran Hornachego and his adventures across Iberia and beyond, you will get the fame you deserve. I will write you back into history. That’s a promise.
Also, after my sour-grapes episode about cold and snow, we did actually have some frost yesterday. Not much, and only in the shaded ditches at the side of the olive fields, but it was something. I hear Durham’s been looking beautiful in the snow lately, like Spain did last year. Why do I always manage to miss the snow wherever I go? BB x
I love history, but I’m no historian. It was always one of my favourite subjects at school, despite the fact that I wasn’t especially good at it (particularly when it became Historiography). Were it not for History, I might have achieved a string of straight As at A Level. I didn’t. The temptation to study a subject I loved but wasn’t brilliant at was too strong. It’s a lesson I didn’t learn when I went on to study Arabic at university. There, too, I paid for my interest. But I can’t help myself. I love a challenge, and I love history even more. Ever since getting my first Horrible Histories book as a kid I’ve been hooked.
Please don’t ask me about the Chalcolithic Age, though.
Yesterday I went to Almendralejo’s EOI (Escuela Oficial de Idiomas) to take part in an excursion to Huerta Montero, a Copper Age tholos or communal passage grave on the outskirts of town. The visit was primarily for the benefit of the B1 level students of the school, so that they could learn some of their history of their town at the same time as practising their English. We don’t get many tourists coming out here for the history (we don’t get many tourists out here at all, come to that), so rather than hiring the local guide, the EOI decided to use one of the auxiliares to give the tour. Tasha knew me for a history boffin and suggested me. Yours truly then had to clue up on this obscure Chalcolithic (please don’t make me pronounce that again) sepulchre, gleaning facts and titbits about Copper Age Spain to produce a reasonably interesting (and, crucially, intelligible) presentation for the students. I did say I like a challenge…
I learned a lot, I must say. I’ve never really looked into the Copper Age, or the Bronze Age, or even the Stone Age for that matter. Did you know, for example, that the average life expectancy in the third and fourth millennia BCE was around 23 years old? It was pretty humbling to be giving out that little factoid with twenty-three years to my own name. Also new to me, and perhaps more interesting still, was the knowledge that Almería, once home to El Argar, Spain’s dominant Bronze Age culture, is in part the product of Bronze Age environmental meddling. The El Argar civilisation, Spain’s most advanced in its day, developed at such a voracious speed that, together with a shift in climate, it resulted in the creation of Almeria’s vast semi-desert, such as the Sierra de Baza and the Tabernas wastes. A message for our time if ever there was one.
I’m not sure how much information the students gleaned from my presentation alone. I did my best. The ensuing hour or two over a pint in Almendralejo’s Hotel Acosta Centro was a great deal more informative, and it re-affirmed my faith in humanity in finding more than one avid naturalist amongst the Extremeño community. The fires of Catalonia are still smouldering, but on an environmental front, I do believe Spain is changing for the better. Whether it is too little too late remains to be seen, but a little awareness can do so much good.
The Book of Barnabas 