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Robert Macfarlane

Robert Macfarlane Books

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The Wild Places

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Wild Places

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“Unmistakably, the wild land of the Lake District acted for good upon Coleridge. As he moved between the crags and cataracts, over the fells and the moors, and through the pathless wilds, a sense of joy - joy, the 'beautiful and beauty-making power' as he had longingly called it during the dark spring of 1802 - began to seep back into him. Walking over soft mossy ground on the slopes of Red Pike - 'a dolphin-shaped Peak of a deep red' that rises to the south-west of Buttermere - he gave 'many a hop, skip, & jump'. Up on the mountains that year, he found not the 'Darkness & Dimness & a bewildering Shame, and Pain that is utterly Lord over us' which had characterised his depression, but instead, a 'fantastic Pleasure, that draws the Soul along swimming through the air in many shapes, even as a Flight of Starlings in a Wind!”

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Book:The Wild Places
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“The relationship between thinking and walking is also grained deep into language history, illuminated by perhaps the most wonderful etymology I know. The trail begins with our verb to learn, meaning 'to acquire knowledge'. Moving backwards in language time, we reach the Old English leornian, 'to get knowledge, to be cultivated.' From leornian the path leads further back, into the fricative thickets of Proto-Germanic, and to the word liznojan, which has a base sense of 'to follow or to find a track' (from the Proto-Indo-European prefix leis-, meaning 'track'). 'To learn' therefore means at root - at route - 'to follow a track.' Who knew?”

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Book:The Old Ways: A Journey on Foot
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“On almost every front, we have begun a turning away from a felt relationship with the natural world. The blinding of the stars is only one aspect of this retreat from the real. In so many ways, there has been a prising away of life from place, an abstraction of experience into different kinds of touchlessness. We experience, as no historical period has before, disembodiment and dematerialisation. The almost infinite connectivity of the technological world, for all the benefits that it has brought, has exacted a toll in the coin of contact. We have in many ways forgotten what the world feels like. And so new maladies of the soul have emerged, unhappinesses which are complicated products of the distance we have set between ourselves and the world.”

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Book:The Wild Places
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“I could not now say when I first grew to love the wild, only that I did, and that a need for it will always remain strong in me. As a child, whenever I read the word, it conjured images of wide spaces, remote and figureless. Isolated islands off Atlantic coasts. Unbounded forests, and blue snow-light falling on to drifts marked with the paw-prints of wolves. Frost-shattered summits and corries holding lochs of great depth. And this was the vision of a wild place that had stayed with me: somewhere boreal, wintry, vast, isolated, elemental, demanding of the traveller in its asperities. To reach a wild place was, for me, to step outside human history.”

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“From my heel to my toe is a measured space of 29.7 centimetres or 11.7 inches. This is a unit of progress and it is also a unit of thought. 'I can only meditate when I am walking,' wrote Jean-Jacques Rousseau in the fourth book of his 'Confessions', 'when I stop I cease to think; my mind only works with my legs.' Søren Kierkegaard speculated that the mind might function optimally at the pedestrian pace of three miles per hour, and in a journal entry describes going out for a wander and finding himself 'so overwhelmed with ideas' that he 'could scarcely walk'. Christopher Morley wrote of Wordsworth as 'employ[ing] his legs as an instrument of philosophy' and Wordsworth of his own 'feeling intellect'. Nietzsche was typically absolute on the subject - 'Only those thoughts which come from 'walking' have a value' - and Wallace Stevens typically tentative: 'Perhaps / The truth depends on a walk around the lake.' In all of these accounts, walking is not the action by which one arrives at knowledge; it is itself the means of knowing.”

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Book:The Old Ways: A Journey on Foot
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“I had set out to come to know Thomas by walking where he had walked, but he had mostly eluded me, remaining a Lob-like figure glimpsed now and then at a bend on the path or through a hole in the hedge, still enigmatic. And yet I had learnt so much from the people I'd met along my journeys: people for whom, as for Thomas, landscape was intricately involved with self-perception, and for whom certain places or weathers brought yields of grace.”

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Book:The Old Ways: A Journey on Foot
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“In his book Footsteps (1985), Richard Holmes compared the biographer's act to 'a kind of pursuit, a tracking of the physical trail of someone's path through the past'. What Holmes realized in the course of his own pursuits was that the footstepping biographer never actually reached his subject; only encountered at best the second-order suggestions of their earlier presence: glimpses of afterglow, retinal ghosts, psychic gossamer. 'You would never catch them,' cautioned Holmes, 'no, you would never quite catch them...”

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Book:The Old Ways: A Journey on Foot
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“I had woken into a metal world. The smooth unflawed slopes of snow on the mountain across the valley were iron. The deeper moonshadows had a tinge of steel blue to them. Otherwise, there was no true colour. Everything was greys, black, sharp silver-white. Inclined sheets of ice gleamed like tin. The hailstones lay about like shot, millions of them, grouped up against each rock and clustered in snow hollows. The air smelt of minerals and frost.”

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“Paths are the habits of a landscape. They are acts of consensual making. It's hard to create a footpath on your own...Paths connect. This is their first duty and their chief reason for being. They relate places in a literal sense, and by extension they relate people. Paths are consensual, too, because without common care and common practice they disappear: overgrown by vegetation, ploughed up or built over (through they may persist in the memorious substance of land law). Like sea channels that require regular dredging to stay open, paths NEED walking.”

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Book:The Old Ways: A Journey on Foot
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“The brightest of all nightscapes is to be found when a full moon shines on winter mountains. Such a landscape offers the maximum reflection, being white, planar, tilted and polished. The only difficulty for the night-walker comes when you move into the moon-shadow of a big outcrop, or through a valley, where moon-shadow falls from all sides and the valley floor receives almost no light at all. The steep-sidedness of the valley is exaggerated: you have the sensation of being at the bottom of a deep gorge, and you long to reach the silver tideline of the moonlight again.”

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“On the north-western coasts of Britain and Ireland, the air has a remarkable transparency, for it is almost free of particulate matter. Little loose dust rises from the wet land, and the winds blow prevailingly off the sea. Through such air, photons can proceed without obstacle. The light moves, unscattered, and falls upon the forms and objects of those regions with candour. Standing within such a light, you feel thankful for its openness. There is a sense of something having been freely given, without its store having been diminished.”

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“Woods and forests have been essentialt to the imagination of these islands, and of countries throughout the world, for centuries. It is for this reason that when woods are felled, when they are suppressed by tarmac and concrete and asphalt, it is not only unique species and habitats that disappear, but also unique memories, unique forms of thought.”

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“As the pen rises from the page between words, so the walker's feet rise and fall between paces, and as the deer continues to run as it bounds from the earth and the dolphin continues to swim even as it leaps again and again from the sea, so writing and wayfaring are continuous activities, a running stitch, a persistence of the same seam or stream.”

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Book:The Old Ways: A Journey on Foot
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“Anyone who lives in a city will know the feeling of having been there too long. The gorge-vision that the streets imprint on us, the sense of blockage, the longing for surfaces other than glass, brick, concrete and tarmac....I have lived in Cambridge on and off for a decade, and I imagine I will continue to do so for years to come. And for as long as I stay here, I know I will have to also get to the wild places.”

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Author:Robert Macfarlane
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“Touch is a reciprocal action, a gesture of exchange with the world. To make an impression is also to receive one, and the soles of our feet, shaped by the surfaces they press upon, are landscapes themselves with their own worn channels and roving lines. They perhaps most closely resemble the patterns of ridge and swirl revealed when a tide has ebbed over flat sand”

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Author:Robert Macfarlane
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“By speaking of greater forces than we can possibly invoke, and by confronting us with greater spans of time than we can possibly envisage, mountains refute our excessive trust in the man-made. They pose profound questions about our durability and the importance of our schemes. They induce, I suppose, a modesty in us.”

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Book:Mountains Of The Mind
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