Mossbawn

1. Omphalos

I would begin with the Greek word, omphalos, meaning the navel, and hence the stone that marked the centre of the world, and repeat it, omphalos, omphalos, omphalos, until its blunt and falling music becomes the music of somebody pumping water at the pump outside our back door. It is Co. Derry in the early 1940s. The American bombers groan towards the aerodrome at Toomebridge, the American troops manoeuvre in the fields along the road, but all of that great historical action does not disturb the rhythms of the yard. There the pump stands, a slender, iron idol, snouted, helmeted, dressed down with a sweeping handle, painted a dark green and set on a concrete plinth, marking the centre of another world. Five households drew water from it. Women came and went, came rattling between empty enamel buckets, went evenly away, weighed down by silent water. The horses came home to it in those first lengthening evenings of spring, and in a single draught emptied one bucket and then another as the man pumped and pumped, the plunger slugging up and down, omphalos, omphalos, omphalos.

I do not know what age I was when I got lost in the pea-drills in a field behind the house, but it is a half-dream to me, and I’ve heard about it so often that I may even be imagining it. Yet, by now, I have imagined it so long and so often that I know what it was like: a green web, a caul of veined light, a tangle of rods and pods, stalks and tendrils, full of assuaging earth and leaf smell, a sunlit lair. I’m sitting as if just wakened from a winter sleep and gradually become aware of voices, coming closer, calling my name, and for no reason at all I have begun to weep.

All children want to crouch in their secret nests. I loved the fork of a beech tree at the head of our lane, the close thicket of a boxwood hedge in the front of the house, the soft, collapsing pile of hay in a back corner of the byre; but especially I spent time in the throat of an old willow tree at the end of the farmyard. It was a hollow tree, with gnarled, spreading roots, a soft, perishing bark and a pithy inside. Its mouth was like the fat and solid opening in a horse’s collar, and, once you squeezed in through it, you were at the heart of a different life, looking out on the familiar yard as if it were suddenly behind a pane of strangeness. Above your head, the living tree flourished and breathed, you shouldered the slightly vibrant bole, and if you put your forehead to the rough pith you felt the whole lithe and whispering crown of willow moving in the sky above you. In that tight cleft, you sensed the embrace of light and branches, you were a little Atlas shouldering it all, a little Cerunnos pivoting a world of antlers.

The world grew. Mossbawn, the first place, widened. There was what we called the Sandy Loaning, a sanded pathway between old hedges leading in off the road, first among fields and then through a small bog, to a remote farmhouse. It was a silky, fragrant world there, and for the first few hundred yards you were safe enough. The sides of the lane were banks of earth topped with broom and ferns, quilted with moss and primroses. Behind the broom, in the rich grass, cattle munched reassuringly. Rabbits occasionally broke cover and ran ahead of you in a flurry of dry sand. There were wrens and goldfinches. But, gradually, those lush and definite fields gave way to scraggy marshland. Birch trees stood up to their pale shins in swamps. The ferns thickened above you. Scuffles in old leaves made you nervous and you dared yourself always to pass the badger’s set, a wound of fresh mould in an overgrown ditch where the old brock had gone to earth. Around that badger’s hole, there hung a field of dangerous force. This was the realm of bogeys. We’d heard about a mystery man who haunted the fringes of the bog here, we talked about mankeepers and mosscheepers, creatures uncatalogued by any naturalist, but none the less real for that. What was a mosscheeper, anyway, if not the soft, malicious sound the word itself made, a siren of collapsing sibilants coaxing you out towards bog pools lidded with innocent grass, quicksands and quagmires? They were all there and spreading out over a low, birch-screened apron of land towards the shores of Lough Beg.

That was the moss, forbidden ground. Two families lived at the heart of it, and a recluse, called Tom Tipping, whom we never saw, but in the morning on the road to school we watched his smoke rising from a clump of trees, and spoke his name between us until it was synonymous with mystery man, with unexpected scuttlings in the hedge, with footsteps slushing through long grass.

To this day, green, wet corners, flooded wastes, soft rushy bottoms, any place with the invitation of watery ground and tundra vegetation, even glimpsed from a car or a train, possess an immediate and deeply peaceful attraction. It is as if I am betrothed to them, and I believe my betrothal happened one summer evening, thirty years ago, when another boy and myself stripped to the white country skin and bathed in a moss-hole, treading the liver-thick mud, unsettling a smoky muck off the bottom and coming out smeared and weedy and darkened. We dressed again and went home in our wet clothes, smelling of the ground and the standing pool, somehow initiated.

Beyond the moss spread the narrow reaches of Lough Beg, and in the centre of Lough Beg lay Church Island, a spire rising out of its yew trees, a local mecca. St. Patrick, they said, had fasted and prayed there fifteen hundred years before. The old graveyard was shoulder-high with meadowsweet and cow parsley, overhung with thick, unmolested yew trees and, somehow, those yews fetched me away to Agincourt and Crécy, where the English archers’ bows, I knew, were made of yew also. All I could ever manage for my bows were tapering shoots of ash or willow from a hedge along the stackyard, but even so, to have cut a bough from that silent compound on Church Island would have been a violation too treacherous to contemplate.

If Lough Beg marked one limit of the imagination’s nesting ground, Slieve Gallon marked another. Slieve Gallon is a small mountain that lies in the opposite direction, taking the eye out over grazing and ploughed ground and the distant woods of Moyola Park, out over Grove Hill and Back Park and Castledawson. This side of the country was the peopled, communal side, the land of haycock and corn-stook, of fence and gate, milk-cans at the end of lanes and auction notices on gate pillars. Dogs barked from farm to farm. Sheds gaped at the roadside, bulging with fodder. Behind and across it went the railway, and the noise that hangs over it constantly is the heavy shunting of an engine at Castledawson station.

I have a sense of air, of lift and light, when this comes back to me. Light dancing off the shallows of the Moyola River, shifting in eddies on the glaucous whirlpool. Light changing on the mountain itself, that stood like a barometer of moods, now blue and hazy, now green and close up. Light above the spire, away at Magherafelt. Light frothing among the bluebells on Grove Hill. And the lift of the air is resonant, too, with vigorous musics. A summer evening carries the fervent and melancholy strain of hymn-singing from a gospel hall among the fields, and the hawthorn blooms and the soft, white patens of the elder-flower hang dolorous in the hedges. Or the rattle of Orange drums from Aughrim Hill sets the heart alert and watchful as a hare.

For if this was the country of community, it was also the realm of division. Like the rabbit pads that loop across grazing, and tunnel the soft growths under ripening corn, the lines of sectarian antagonism and affiliation followed the boundaries of the land. In the names of its fields and townlands, in their mixture of Scots and Irish and English etymologies, this side of the country was redolent of the histories of its owners. Broagh, The Long Rigs, Bell’s Hill; Brian’s Field, the Round Meadow, the Demesne; each name was a kind of love made to each acre. And saying the names like this distances the places, turns them into what Wordsworth once called a prospect of the mind. They lie deep, like some script indelibly written into the nervous system.

I always remember the pleasure I had in digging the black earth in our garden and finding, a foot below the surface, a pale seam of sand. I remember, too, men coming to sink the shaft of the pump and digging through that seam of sand down into the bronze riches of the gravel, that soon began to puddle with the spring water. That pump marked an original descent into earth, sand, gravel, water. It centred and staked the imagination, made its foundation the foundation of the omphalos itself. So I find it altogether appropriate that an old superstition ratifies this hankering for the underground side of things. It is a superstition associated with the Heaney name. In Gaelic times, the family were involved with ecclesiastical affairs in the diocese of Derry, and had some kind of rights to the stewardship of a monastic site at Banagher in the north of the county. There is a St. Muredach O’Heney associated with the old church at Banagher; and there is also a belief that sand lifted from the ground at Banagher has beneficent, even magical, properties, if it is lifted from the site by one of the Heaney family name. Throw sand that a Heaney has lifted after a man going into court, and he will win his case. Throw it after your team as they go out on the pitch, and they will win the game.

BBC Radio 4, 1978

2. Reading

When I was learning to read, towards the end of 1945, the most important books in the house were the ration books—the pink clothes coupons and the green ‘points’ for sweets and groceries. There wasn’t much reading done apart from the deaths column of the Irish Weekly and the auctions page of the Northern Constitution. ‘I am instructed by the representatives of the late John James Halferty, Drumanee…’ My father lay on the sofa and rehearsed the acres, roods and perches of arable and meadow land in a formal tone and with a certain enlargement of the spirit.

On a shelf, behind a screen and too high to be reached anyhow, there were four or five mouldering volumes that may have belonged to my Aunt Susan from her days in Orange’s Academy, but they remained closed books to me. The first glimpse I have of myself reading on my own is one of those orphaned memories, a moment without context that will always stay with me. It is a book from the school library—a padlocked box that was opened more or less as a favour—involving explorers in cork helmets and ‘savages’, with illustrations of war canoes on a jungle river. The oil lamp is lit and a neighbour called Hugh Bates is interrupting me. ‘Boys but this Seamus fellow is a great scholar. What book are you in now, son?’ And my father is likely wringing what he can from the moment with ‘He’s as bad as Pat McGuckin this minute.’ Pat McGuckin was a notorious bachelor farmer—a cousin of ours—who was said to burn his scone like King Alfred every time he lifted a book. Years later, when Death of a Naturalist was published, the greatest commendation at home was ‘Lord knows Pat would fairly have enjoyed this.’

Of course, there were always religious magazines like the Far East and the Messenger—Pudsy Ryan in the children’s corner of the former was the grown-ups’ idea of a side-splitting turn, but even then I found his mis-spellings a bit heavy-handed. Far better were the technicolour splendours of Korky the Cat and Big Eggo in the Dandy and Beano. The front pages of these comics opened like magic casements on Desperate Dan, Lord Snooty, Hungry Horace, Keyhole Kate, Julius Sneezer and Jimmy and his Magic Patch and probably constituted my first sense of the invitations of fiction. They were passed round at school, usually fairly tattered, but every now and again my mother brought a new one from Castledawson, without a fold in it, its primary colours blazing with excitements to come. Occasionally, also, an American comic—all colour from beginning to end—arrived from the American airbase nearby, with Li’l Abner, Ferdinand and Blondie speaking a language that even Pat McGuckin did not know.

There was a resistance to buying new comics in our house, not out of any educational nicety, but because of a combination of two attitudes: that they were a catch-penny and that somehow they were the thin end of the wedge, that if you let them into the house the next step was the Empire News, Thompson’s Weekly, Tit-Bits and the News of the World. Nevertheless, I ended up persuading my mother to place a regular order for the Champion, a higher-class comic altogether, featuring a Biggles-rides-again figure called Rockfist Rogan and Ginger Nutt (‘the boy who takes the bis-cake’, in South Derry parlance) and Colwyn Dane, the sleuth. With the Champion I entered the barter market for the Rover, the Hotspur, the Wizard and any other pulp the presses of old England could deliver. I skimmed through all those ‘ain’ts’ and ‘cors’ and ‘yoicks’ and ‘blimeys’, and skimmed away contented.

So what chance had Kitty the Hare against all that? Our Boys appeared regularly, a cultural antidote with official home backing, healthy as a Christian Brother on a winter morning, the first step towards Ireland’s Own. Cultural debilitations! I preferred the japes of Ginger Nutt, the wheezes of Smith of the Lower Fourth, the swish of gowns, the mortar-board and the head’s study to the homely toils of Murphy among the birettas. It would take Joyce’s Portrait of the Artist as a Young Man and Kavanagh’s The Great Hunger to get over that surrender.

My first literary frisson, however, came on home ground. There was an Irish history lesson at school which was in reality a reading of myths and legends. A textbook with large type and heavy Celticized illustrations dealt with the matter of Ireland from the Tuatha De Danaan to the Norman Invasion. I can still see Brian Boru with his sword held like a cross reviewing the troops at Clontarf. But the real imaginative mark was made with a story of the Dagda, a dream of harp music and light, confronting and defeating Balor of the Evil Eye on the dark fortress of Tory Island. Cuchullain and Ferdia also sank deep, those images of wounds bathed on the green rushes and armour clattering in the ford.

Yet all of that yielded to the melodrama of Blind Pew and Billy Bones, Long John and Ben Gunn. Treasure Island we read at school also and it was a prelude to the first book I remember owning and cherishing: there it was on the table one Christmas morning, Robert Louis Stevenson’s Kidnapped. I was a Jacobite for life after that day. Instinctively I knew that the world of the penal rock and the redcoats—that oleograph to the faith of our fathers—was implicit in the scenery of that story. To this day, my heart lifts to the first sentence of it: ‘I will begin the story of my adventures with a certain morning in the month of June, the year of grace 1751, when I took the key for the last time out of the door of my father’s house.…’

As a boarder at St. Columb’s College I did the Maurice Walsh circuit—Blackcock’s Feather remains with me as an atmosphere, a sense of bogs and woods—but again it was a course book that stuck its imagery deepest. When I read in Lorna Doone how John Ridd stripped the muscle off Carver Doone’s arm like a string of pith off an orange I was well on the road to epiphanies. Not that I didn’t stray into the imperial realms of Biggles or the baloney of the William stories. But it is only those books with a touch of poetry in them that I can remember—all coming to a head when, in my last summer holiday from school, I sat up all night to finish Thomas Hardy’s Return of the Native.

I missed Pooh Bear. I can’t remember owning a selection of Grimm or Andersen. I read Alice in Wonderland at the university. But what odds? Didn’t Vinny Hunter keep me in wonderland with his stories of Tarzan:

‘When he jumps down off a tree

Tarzan shakes the world.’

So Vinny Hunter would tell me

On the road to the school.

I had forgotten for years

Words so seismic and plain

That would come like rocked waters,

Possible again.

Education Times, 1973

3. Rhymes

A few months ago I remembered a rhyme that we used to chant on the way to school. I know now that it is about initiation but as I trailed along the Lagan’s Road on my way to Anahorish School it was something that was good for a laugh:

‘Are your praties dry

And are they fit for digging?’

‘Put in your spade and try,’

Says Dirty-Faced McGuigan.

I suppose I must have been about eight or nine years old when those lines stuck in my memory. They constitute a kind of poetry, not very respectable perhaps, but very much alive on the lips of that group of schoolboys, or ‘scholars’, as the older people were inclined to call us. McGuigan was probably related to a stern old character called Ned McGuigan who travelled the roads with a menacing blackthorn stick. He came from a district called Ballymacquigan—The Quigan, for short—and he turned up in another rhyme:

Neddy McGuigan,

He pissed in the Quigan;

The Quigan was hot

So he pissed in the pot;

The pot was too high

So he pissed in the sky;

Hell to your soul, Neddy McGuigan,

For pissing so high.

And there were other chants, scurrilous and sectarian, that we used to fling at one another:

Up the long ladder and down the short rope

To hell with King Billy and God bless the Pope.

To which the answer was:

Up with King William and down with the Pope

Splitter splatter holy water

Scatter the Paypishes every one

If that won’t do

We’ll cut them in two

And give them a touch of the

Red, white and blue.

To which the answer was:

Red, white and blue

Should be torn up in two

And sent to the devil

At half-past two.

Green, white and yellow

Is a decent fellow.

Another one which was completely nonsensical still pleases me:

One fine October’s morning September last July

The moon lay thick upon the ground, the mud shone in the sky.

I stepped into a tramcar to take me across the sea,

I asked the conductor to punch my ticket and he punched my eye for me.

I fell in love with an Irish girl, she sang me an Irish dance,

She lived in Tipperary, just a few miles out of France.

The house it was a round one, the front was at the back,

It stood alone between two more and it was whitewashed black.

We weren’t forced to get these lines by heart. They just seemed to spring in our mind and trip off the tongue spontaneously so that our parents would say ‘If it was your prayers, you wouldn’t learn them as fast.’

There were other poems, of course, that we were forced to learn by heart. I am amazed to realize that at the age of eleven I was spouting great passages of Byron and Keats by rote until the zinc roof of the Nissen hut that served for our schoolhouse (the previous school had been cleared during the war to make room for an aerodrome) rang to the half-understood magnificence of:

There was a sound of revelry by night

And Belgium’s capital had gathered then

Her beauty and her chivalry, and bright

The lamps shone o’er fair women and brave men.

A thousand hearts beat happily; and when

The music rose with its voluptuous swell …

I also knew the whole of Keats’s ode ‘To Autumn’ but the only line that was luminous then was ‘To bend with apples the mossed cottage trees’, because my uncle had a small orchard where the old apple trees were sleeved in a soft green moss. And I had a vague satisfaction from ‘the small gnats mourn/Among the river sallows’, which would have been complete if it had been ‘midges’ mourning among the ‘sallies’.

The literary language, the civilized utterance from the classic canon of English poetry, was a kind of force-feeding. It did not delight us by reflecting our experience; it did not re-echo our own speech in formal and surprising arrangements. Poetry lessons, in fact, were rather like catechism lessons: official inculcations of hallowed formulae that were somehow expected to stand us in good stead in the adult life that stretched out ahead. Both lessons did indeed introduce us to the gorgeousness of the polysyllable, and as far as we were concerned there was little to choose between the music with ‘its voluptuous swell’ and the ‘solemnization of marriage within forbidden degrees of consanguinity’. In each case we were overawed by the dimensions of the sound.

There was a third category of verse which I encountered at this time, halfway between the roadside rhymes and the school poetry (or ‘poertry’): a form known to us as ‘the recitation’. When relations visited or a children’s party was held at home, I would be called upon to recite. Sometimes it would be an Irish patriotic ballad:

At length, brave Michael Dwyer, you and your trusty men

Were hunted o’er the mountain and tracked into the glen.

Sleep not, but watch and listen, keep ready blade and ball,

For the soldiers know you hide this night in the Glen of Wild Imall.

Sometimes, a western narrative by Robert Service:

A bunch of the boys were whooping it up in the Malamute Saloon.

The kid that handles the music-box was hitting a ragtime tune.

Back of the bar at a solo game sat Dangerous Dan McGrew

And watching his luck was his light o’love, the lady that’s known as Lou.

While this kind of stuff did not possess the lure of forbidden words like ‘piss’ and ‘hell to your soul’, it was not encumbered by the solemn incomprehensibility of Byron and Keats. It gave verse, however humble, a place in the life of the home, made it one of the ordinary rituals of life.

Geoffrey Summerfield (ed.), Worlds, Penguin, 1974