Wednesday, September 17, 2025
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Sophy Roberts

‘Before I was born, my father worked as a journalist. He wrote a story about fish farming in the former Rhodesia, which gave him an idea to set up his own trout farm in the UK. He wanted to farm and write, not run around the world questioning people for stories destined to become tomorrow’s fish-and-chip paper. My parents lived in the Welsh Marches for a while, then Scotland. My mother wanted to paint, having just come out of art college at the Byam Shaw in London. Not that she had much time for her own work in those early years. She was bringing up my two sisters and I, while also helping my father run the fish business, and gardening. She has always been a wonderful gardener. My father took care of the vegetable patch, helped by a dog-eared version of John Seymour’s The Complete Book of Self-Sufficiency. We had chickens, sheep, and a pet fox which my sister found with a broken leg on the side of the road.

We ended up on a farm in Dumfries and Galloway. We had cousins who lived nearby. We ran as a pack with ponies and lots of space. I was a bit of a tomboy. It was magical—feral, but magical.  When my mother’s friend came to stay and said he had seen an angel in our bluebell woods, I spent years looking for that angel. I can remember my mother throwing us outdoors to play, whatever the weather. “Oh stop complaining,” she’d say; “it’s warm rain.” It made me smile when in our geography textbook at school, our local town of Ecclefechan was cited as having the highest recorded rainfall in the British Isles for something like 20 years. All I ever knew was rain. Then when I was about 18, my parents moved south and bought a farm in Stoke Abbott. Suddenly, for the first time in my life, there was sunshine.

It was around that time that I took my savings and some money my grandfather had left me, and got on a plane to India. I have always been curious—I like people. Everyone has a story; it’s how you open it up which matters. As a journalist, you have carte blanche to be an immediate questioner, and also a confidante. It’s why I love what I do, the excuse to unlock someone else’s life quickly, which you don’t have when you sit next to someone at dinner or in a pub.

I stayed on the road for about eight months. It was before tourism took over, and the industry wasn’t as big as it is now. It was in India that I became addicted to the sensation of travel.

After I returned, I was determined to do anything I could to work overseas. My dream was to work as a foreign correspondent in a war zone. I did a year’s photojournalism at the London College for Printing. While there, I worked on a project about the funeral industry. I wrote to Jessica Mitford, one of the famous Mitford sisters, who had run away with her cousin to fight in the Spanish Civil War. She was revising a 1963 book called The American Way of Death, about the huge monopoly that big business has in the funeral industry. She asked me to work as her researcher. Jessica was brilliant; she taught me to be brave, that risk is the core of a creative life. It’s one of the most important things I’ve ever learned. I went on to Columbia University in New York to study journalism, still determined to move into war reporting.

But I had to earn money. I had been studying, I was in debt, and a magazine—the complete opposite of war reporting—launched in London, called Condé Nast Traveller. I was offered a job as a junior researcher. There was much to like about it. The office was energetic and glamorous, and I had a couple of brilliant editors who have remained important mentors. But I also found it really hard. I was catapulted into a very cosmopolitan world—not a comfortable place for a kid who had grown up never caring what she looked like or taking posh holidays. I was writing about a world I didn’t quite relate to, trying to fit into a building called Vogue House where the women all looked like supermodels (some were). Afterwards, I started freelancing, writing and selling stories. Conflict journalism became an ambition of the past. It’s hard to be a woman in that environment and my husband, John, and I wanted a family. I put aside one dream for another.

At the same time as I began freelancing, my father told me about a cottage for sale at the head of the Marshwood Vale. We bought it, and somehow we worked out a different way of living. That was when I left London behind. I was starting to break into the Financial Times, and was doing lots of work for various US magazines and newspapers. It was bread and butter ‘holiday’ journalism. I was trying hard to push into the less obvious parts of the world outside the tourist hotspots. It is one of the reasons I wrote my book, The Lost Pianos of Siberia. I was desperate to commit to something in travel that was totally under my creative control, and outside my usual comfort zones. I had gone to Mongolia to write a newspaper story about an eccentric German man producing sustainable cashmere products. He had a grand piano, a Yamaha, in his tent in the middle of nowhere. But the sound was nothing special. One day, the German said, “We must find one of the lost pianos of Siberia”. That phrase started an adventure that went on for five years.

I now mostly work in post-conflict areas. While I have to understand the wider context of the countries I work in, I don’t focus on politics. I look at the untold stories about people, human-wildlife conflict and cultures that otherwise wouldn’t have a voice. My last story was in Chad, which is a Foreign Office-mandated red zone. I was in the Ennedi Desert, in the country’s far north, along the border with Libya, where conflicts and tensions are rife. But that part of the world is fundamentally important to the Saharan ecosystem. It is also one of the most beautiful places I have ever seen. Before the Chad trip, I was on the Tajikistan-Afghanistan border, researching a story about a farmer who had lived through the Soviet-Afghan War in the 1980s. The people had lost so much. The farmer is working to restore the wildlife in the region, which now has one of the highest concentrations of snow leopard in the world. My next assignment, if the permissions come through in time, will be Socotra.

I am away a lot of the time. I have two kids, who come along with me often, and a wonderful husband, who is also a passionate traveller. I also have a huge network which facilitates the absences, and some very grounded friends who call me out on the carbon burn that comes with my job. My parents live ten minutes away, as does my older sister. My younger sister, a painter, is often in Dorset too; she shares my mother’s studio. In another place, another time, I could never have lived the life I lead. My children’s line of security includes their remarkable grandparents, aunts, and cousins. My father-in-law has recently moved back from America to be in the neighbourhood too. That’s what happens with this part of the world. It’s got a kind of magnetic draw.’

So Annoying!…

Thank goodness February has gone. Good riddance. It’s been dark and rainy and windy and wet and generally damp and dismally poo. No wonder I’ve caught an acute case of GOM disease… G.O.M. standing for “Grumpy Old Man”. The only way to cure it is to have a jolly good rant about the many things I’m currently finding particularly annoying. Little irritating things like people talking in cinemas during the film, noisy children with parents who refuse to control them, people wearing loud headphones or me typing the word ‘garbage’ on my computer and my spellchecker automatically changing it to ‘rubbish’. Every time… It’s so annoying! Once I’ve complained about these things, I shall hopefully be cured. So, many apologies to you, dear reader, because you’re about to be on the receiving end of a March Humphrey Rant. How many of these annoy you too?

Let’s start with the car… top of my road-rage list are people who take up two parking spaces and people who tail-gate way too close behind you. Both offences should be criminalised. So too should seagull poo on my car windscreen (very difficult to remove), but it’s hard to enforce laws on birds because they fly away before you can stick a yellow offence sticker to their backs. I’d also like to ban all drivers who have pimped-up cars with deafening cut-down silencer roars, go faster wings on the back and loud bass bins on the car audio. They’re often coloured bright red (their cars I mean, but sometimes their drivers as well). As punishment, they should be forced to listen to the worst pop song in the entire world for 12 hours solid at enormously high volume. There are lots of candidates for the worst song. My favourite (if that’s the right word) is “Dance with Me” by the former TV newscaster Reginald Bosanquet from 1980, but you could substitute “The Birdie Song” by The Tweets or Noel Edmonds’ “Mr Blobby” song if you like – both of which should carry health warnings.

Next is day-to-day living… How many times has this happened to you? You’ve done a huge shop at the supermarket only to exit the store and realise you’ve forgotten the ONE thing you went in to the store to buy in the first place? This is normally something boring but indispensable like a pack of Hoover bags or a particular type of battery. So maddening—and it happens to me so often!

A further thing… I normally quite like people, but not when they’re wearing aggressive ‘in your face’ trousers. This should be a capital offence. Loud flashy shirts are alright, but orange and green polka dot trousers make me fill ill. That’s why I no longer watch golf on the telly.

Here’s another: Trying to remove the “reduced bargain” sticker from the bunch of flowers you bought to give away as a present. I think stores do this deliberately to discourage us from being mean. They stick the reduced tags on with super-sticky glue that won’t come off unless you completely ruin the packaging. While on the subject of stickiness, why can’t I ever find the end of the Sellotape roll? Perhaps it’s a commercial trick by opticians to remind me I need a new pair of glasses.

Other irritating things that occur more and more include walking into a room and forgetting why I walked in 30 seconds before and reading my favourite book and feeling good and the mind wanders and I suddenly realise I’ve no idea what I’ve been reading about over the last ten pages. Another of my pet peeves: I’m in a restaurant, and the waitress comes and fills up my glass of wine every two minutes! I have to tell her to please stop—I’ll fill my own glass when I want it! And how about when someone leaves the door slightly open. I want it closed or open—not vaguely ajar. Beyond irritating!

Computers and mobile phones are naturally responsible for much frustration. Like when I’m in a great hurry to finish something and the laptop screen goes dark blue and tells me that Windows is now updating and I must not turn anything off. After three hours I’m on Update Number 21 of 36 and have lost my hair and my mind. And how about when my printer wastes even more ink when it tells me it’s about to run out of ink? That isn’t Technology—it’s Torture! Aaaagh!

Also, mobile phones should be banned from the breakfast table (actually all meals), and I hate those ‘Free Wifi’ set ups in hotels because you still have to log in and it never works and I feel like throwing my tablet out of the window. Lastly… have you ever charged up your mobile all night only to find in the morning that you forgot to plug it in? Yes, me too! And don’t even mention the words ‘Email Spam’. I remember when Spam used to be served with egg and chips and not dribbled onto my screen.

Enough!  OK—I’m feeling better now.

Robin Mills at 100

Dorset based photographer, Robin Mills, has been contributing to this magazine for many years.  This month, celebrating his 100th contribution, Robin takes time to reflect on a life of farming and photography.

 

Unrelated events drew me into taking photography seriously alongside my day job running the family farm. In no particular order, firstly a dodgy back kept me off work for a few weeks and forced me to contemplate alternatives to the physicality of farming, which might also be creative, fun and completely unrelated to the day job. Fortunately the backache got better, but I found myself helping a friend, Colin O’ Brien, hang an exhibition of his black and white London street photographs at what was the London School of Printing at the Elephant and Castle, sometime in the late 1990s. I was stunned at the power of expression within them, the visual story each one told. Later I saw Henri Cartier Bresson’s work at the Hayward in I think 1998. Here was genius at work, and I understood immediately why he described photography as the simultaneous connection of the head, the eye and the heart.

Then another exhibition in 1999, in Honiton, of work by students of the late lamented Ron Frampton, put the idea in my head that I might try, on some level, to learn how these, and many other photographers who inspired me, had created their magical images.

In 2001 I began bunking off work every Monday to drive to Dillington House and study what some of my classmates called “The Way Of Ron”, on his ‘Distinctions’ photography course. I had already done some evening classes so it wasn’t too far in the deep end, but it required a big level of commitment to reach the exemplary standards of presentation both of photographs and written work that set Ron’s course apart from all others.

It was definitely slow photography. Every frame, from church architecture to portraiture to life study, was tripod-mounted, meter-read against a grey card, and bracketed exposure, in an effort to find negative perfection. That belt and braces approach extended to darkroom practice in the winter months, when a single print was occasionally known to need 20 or 30 sheets of expensive photographic paper to satisfy Ron’s masterful, perfectionist eye. 4 years later I had my Associateship from the Royal Photographic Society. All of which was great fun, and has stood me in very good stead, whether in the darkroom, where I was still printing until a year ago when we moved house, or currently, in Lightroom. The digital revolution in photography was beginning to take off while I was on Ron Frampton’s course which was unequivocally film and darkroom based, and was viewed with some scepticism, but the principles we learned then apply to the digital technology we nearly all use now.

During that time at Dillington, we began supplying the Marshwood Vale Magazine with photos, and to cut a long story short Julia Mear and I took over the cover story role in 2009. As someone with an insatiable curiosity about people and their lives it is a bit of a dream job. I can’t imagine any other role where nosiness is so rewarded in meeting such a rich variety of real, lovely characters. I am unashamedly excited to have met people whose lives crossed some music heroes of my younger days; a person who met Bob Dylan backstage at one of his gigs, a guitarist who played with Paul McCartney, and the Pretenders, and I have shaken the hand of someone who once shook Muddy Waters’ hand. Another subject cooked Sir Lawrence Olivier’s last meal for him before he died, which took a bit of explaining, but despite being second-hand these anecdotes are memorable. Equally inspiring even without the name-dropping are the artists, actors, writers, farmers, craftspeople, musicians, restaurateurs, scientists, journalists, naturalists, and Dorset’s (probably) last hurdle-maker I’ve had the honour to meet. Some stories are very personal, some are heroic, but all are fascinating. I can’t call myself a journalist by any stretch, but despite working for a magazine I never get sent to war zones, or have to negotiate PR militia with stopwatches for access to self-obsessed celebs. There’s never an angle to anything I write. Nor do my photographs have text splashed all over them. What, as they say, is not to like.

I nearly always photograph people in their homes, or outside in the garden, by a shed or under a nice tree, so that during the prior “interview”, which is admittedly only a recording of a minimally directed conversation, I have one eye checking out somewhere for the only two really crucial requirements, light and background. Shifting furniture is part of the job. Natural light, especially from a north facing window, is invariably best, because it’s soft and I am of course trying to make people look their best. But there’s nearly always a compromise so I have to think on my feet, and occasionally it doesn’t work so I’ll go back, when somehow it always does. I also have to work quite fast because the period when I sense what I’m looking for is happening can be brief. “Ah, there you are”, Jane Bown would say when taking her wonderful portraits for the Observer.

The other occasionally tricky compromise is trying to ensure that three people are happy with the chosen images—me, the subject, and the editor, but I’ve never fallen out with any of them. Writing up, or transcribing the recording is the time-consuming bit, mainly because of my rubbish typing. Written in the first person, I try to make it conversational, and by including a few words and phrases verbatim, read as much as possible as if the subject was speaking. An hour of recording an interview and I’m worrying how I’ll distil it radically into 1400-odd words without omitting something the subject thought was crucial, but far better than one which fizzles out after 15 minutes.

People often ask how we select our subjects, and there is no simple answer. But recommendations are sent in, and people we meet or brush past in our lives often directly or indirectly kick off an idea. The stories are personal biographies, they are not about celebrity, and avoid promotional content. We are always looking for more. Collectively, the 100-plus stories and photographs Julia and I, and those before us, have published in the Marshwood Vale Magazine, do seem to amount to a significant reflection of a wonderfully diverse community over a number of years.

 

People in Food Carole Brown

As a little girl, Carole Brown used to go with her father to tend to his bees, which he kept in Honiton. Many years later, in 1986, Carole took on her father’s four hives and moved them to Bridport. She then attended the local beekeeping course to ensure she knew how to care for them correctly. Today, she is Secretary of the West Dorset Bee Keeping Association and also helps out with teaching the in-depth yearly beginner’s course.

Now with 15 hives of her own, Carole is a knowledgeable apiarist. The honey from each of the hives, kept in three different locations, tastes unique as it is influenced by the local habitation, where the bees collect nectar and pollen. Still, a thrill to watch the bees, Carole also finds it therapeutic. She explains that as a busy person when she is checking on her bees, it is the only time she tends to stop. She clarifies, “You have to concentrate on the bees, watch their movements and do things slowly, you cannot rush, otherwise they will react to you. You also need to know why you’re going into a hive so that they are never disturbed unnecessarily”.

Each year the West Dorset Beekeeper’s Association has a large marquee at the Melplash Show, the main showcase for the Association, where they sell their honey and related produce from their teaching apiary at Netherbury. Carole sells some of her honey and beeswax from her door, also to people who make products from it, such as Filberts. The majority of the honey though Carole sells through Fruits of the Earth in Bridport and from the shop on the Symondsbury Estate, where she keeps some of her bees. She also uses her honey if she has a cough, or in cooking and advocates its use for those who suffer from hay fever, the more local the honey, the better. However, Carole finds the very best way to eat honey is as she did as a girl, simply, on hot toast!

 

Gearing up for the new season

West Bay has undergone massive changes in recent years, as Margery Hookings discovers.

 

Almost eight years ago, I was asked to be a part of the Windrose Media Trust’s Forever Archive, a series of films capturing life in West Dorset through the eyes of those connected to the area.

I was tasked to find suitable subjects for the short videos which would illustrate the link between people and places. They ranged from singers to stately homeowners, artists and photographers to dentists and designers.

There was one problem, though, they needed someone at very short notice to wax lyrical about Bridport and West Bay, and would I do it? As a former editor of the local newspaper, the Bridport and Lyme Regis News, I would be the ideal person, according to Windrose director Trevor Bailey and cameraman James Harrison.

To be honest, I’m much happier behind the camera or armed with a notebook. And, in any case, I was about to exchange the lovely West Dorset landscape for a year in Greece. How could I talk about a place with conviction when I was just about to leave it?

Still, they needed someone in a hurry so I said yes. Their particular preference, they said, was to film someone down at West Bay to talk about the area. And that’s what I did, stopping off for an ice cream and chat with Margaret Grundell who had been running the kiosk for so many years she was serving up 99s for the great-grandchildren of her first customers and was on first name terms with all of them.

When I first moved to Bridport in the spring of 1982, I didn’t know it very well, even though I was born and brought up about 25 miles away in south Somerset. My abiding memory of Bridport was that it was the place where my flatmate’s treasured cigarette lighter was stolen as we hitch-hiked from Exeter to Salisbury two years earlier. And West Bay, well, my late father always used to describe it as ‘that place with the hole in it’. He meant the harbour.

Still, it wasn’t far from my roots, which was where I wanted to be.

After an interview in Taunton, I visited Bridport and West Bay with my mother. It was the day before I was due to start work as a reporter on the Bridport News. War had just broken out in the Falklands. I remember the two of us gazing at the newspaper office at 67 East Street. It was rundown, even in those days. I think there was a deep intake of breath before we headed down to ‘that place with the hole in it’—West Bay.

We trudged up East Cliff and then turned around at the top to gaze down on West Bay and the hinterland beyond. It was absolutely gorgeous. Yes, I thought, I love this place. I feel at home here. I’ve been attached to it ever since.

The landscape of the part of Dorset covered by the Bridport News was like nothing I have seen before or since. It’s a special place, full of hidden lanes, rounded hills and stunning vistas, a place where you can escape from the crowds in the summer by going inland and enjoy the coast in the winter when everyone else has gone home.

West Bay was a favourite haunt back in the day when my new flatmate and I made The Bridport Arms our local, in the days before it became twice its original size.

And I still love West Bay.

Parts of it are gorgeous and others aren’t. But it’s the sum of its parts that appeals to me. It’s a place where a caravan park is allowed to rub shoulders with chi-chi eateries and fish and chip kiosks. It’s a place where people mess about on boats in the harbour before put-put-putting up through the piers and into the open sea beyond. Where fishing boats bob alongside pleasure crafts and a band strikes up on the green.

It’s a place where you can wander around the hole in its middle and then take a wonderful bracing walk along the pier and along the esplanade—which is not genteel like Sidmouth’s or Lyme Regis’s but is wonderful just the same because it is familiar, so close to the roar of the sea and you inevitably bump into someone you haven’t seen for years.

Over the years, West Bay has seen massive investment and change, but still its core remains the same.

I well remember the furore when planning consent was granted for the apartments overlooking the harbour and the beach. But at the time when Pier Terrace was built in 1884-85 by Arts and Craft architect Edward Schroeder Prior, the non-plussed locals dubbed it ‘Noah’s Ark’, according to a contemporary report in Bridport News.

Every year something seems to be happening down at the Bay, whether it is sea defence work or the opening up of a new restaurant or café. It’s a living, working canvas and something which appealed to television writer Chris Chibnall, who described Broadchurch as a love letter to the scenery of the Jurassic Coast, with the landscape a main character of the drama.

Before that, my late friend David Martin, a writer who lived in the pink house overlooking East Beach, had come up with a similar idea for a series set in West Bay where the lead character, played by Nick Berry, was the harbourmaster. Harbour Lights was a hit, although not the sensation that Broadchurch was to become.

As West Bay prepares for the new season, its beaches shored up in a massive, multi-million pound flood defence scheme which involved 40,000 tonnes of rock and 10,000 tonnes of shingle from Scotland, four smaller coastal projects, funded by government money and with community support, are taking place or are nearing completion. Although a planned boardwalk along East Beach has not been feasible because of ‘funding constraints’.

At the West Bay ‘hub’ opposite the kiosks, there is now a circle of curved benches made out of concrete and designed by artist Michael Pinksy to reflect the curves and shapes of the local land and seascape. Love it or hate it, this motorcycle mandala is now well and truly installed, with bikers gathering around the outside of the ring and pedestrians sitting inside as they enjoy their food from the kiosks and shops.

The bridleway along the old railway line between West Bay and Bothenhampton has been resurfaced and widened for walkers and cyclists, with new cycle parking stands between Station Yard and West Bay Road car parks. And access to the disabled toilet next to the beach near the West Bay Discovery Centre is being improved.

To top it all, there’s free public Wifi at West_Bay-Free.

As West Bay businesses prepare for the Easter invasion, here’s to the new improvements making a welcome difference to its many visitors. Me, I’ll be hibernating over the summer, ready to emerge and soak up its splendours next autumn and winter.

 

  • Windrose Media Trust’s Forever Archive films can be found on You Tube – https://www.youtube.com/user/windroseRMT/videos – along with fascinating video and audio from the area, including a silent melodrama featuring West Bay called Dope Under Thorncombe, made at the end of the 1930s by hairdresser Frank Trevett and a group of friends. It now accompanied by a new musical score by Rachel Leach.

 

 

 

UpFront 03/20

Since a growing number of readers now regularly read our online magazine Marshwood+, I’m obviously not the only one enjoying a look back at some of the people and places we have featured over the years. As well as the extended magazine, each month we republish highlights from that month, ten and fifteen years ago. It feels a little like travelling through time, which seems to be a bit of a theme to this issue. Robin Mills’ account of his journey through one hundred contributions to this magazine is a fascinating insight into how his life in photography became a voyage through the culture and history of our local community. It’s a voyage I undertook many years ago without really realizing where it would take me. This month we also travel back in time with a look at a new book by local author James Crowden. The Frozen River: Seeking Silence in the Himalaya recounts the story of a journey he made to Ladakh in the Northern Himalaya in the mid-seventies.  And I also managed to track down Sophy Roberts to hear about her life, and of course her extraordinary book The Lost Pianos of Siberia. Reading her book, it’s hard not to feel the powerful pull of history drawing the reader into the soul of the land through which she travelled. An unimaginable vastness, Siberia covers an eleventh of the world’s landmass. Sophy describes it as ‘a melancholy, a cinematic romance dipped in limpid moonshine’. She hears Siberia ‘in the big, soft chords in Russian music that evoke the hush of forest and the billowing winter snows.’ Although searching for a piano for a friend was the initial focus of her journey, the task becomes somehow secondary as Sophy’s encounters open up page after page of untold history—fascinating stories set against a backdrop of breathtaking beauty. It is a history littered with tales of horror but also of fortitude, resilience and survival. The book is a journey through time and place in a land that, as she quickly discovered and to the benefit of all readers, has a habit of distracting one from the task at hand. This month I also spoke at length with Sir Oliver Letwin about his new book Apocalypse How. This is another trip through time, although in this case, to the future. It is a shocking wake-up call to all of us about what is not being done to safeguard our future. We will publish the full interview and more about this online and in our April issue.

 

Vegetables in March

What a wet winter! We have struggled to get much done outside in the market garden this winter, our polytunnels are looking very weed free and productive though, as we have been finding shelter as much as we can!

We are in the bottom of a valley on heavy clay soil that doesn’t drain very quickly. Through the winter we need at least two weeks of dry weather even to dry the grass out enough so that we can drive a tractor about to move compost to where it is needed. It turns out that two weeks of dry weather is pretty rare in the winter in Devon. The heavy rain takes its toll on the soil if it is not covered with growing plants or mulched in some way. The soil becomes compacted and leaches nutrients—a sight often seen in fields that have grown maize and left bare overwinter. Ideally we sow green manures—either undersowing squash and courgettes with low growing clovers and trefoil in the summer, or sowing rye and other cereals, along with phacelia in the autumn to cover the soil overwinter. However, sometimes it is even too wet to prepare the ground to sow these green manures in the autumn. We usually mulch heavily in autumn with compost on beds that we intend to plant early in the year and then cover them with black plastic to give more protection from the rain.

One thing that we have always had trouble with is our paths. We raise our beds up a little to give the plants a slightly deeper soil to root into, but often the paths are waterlogged and compacted going through the autumn and into the winter. Something that we have started doing on paths next to our no dig beds is laying down cardboard and then a couple of inches of semi composted woodchip. This initially provides a good surface to walk on, meaning that we can access beds to harvest from or mulch a lot more easily. Long term the woodchip will be broken down further and encourage more biological activity in the soil not only in the pathways but also in the beds. We are starting to think of the pathways not just as a means to access beds, but also a source of fertility for the vegetables growing in the beds. The woodchip will encourage fungal activity in the soil, and the mycchorizal associations between the plants and the fungi will give the plants greater access to nutrients and water throughout the year. The cardboard and woodchip will act as a weed suppressant and so weed control in the paths should also be easier, and hopefully the paths will become less of a burden and more part of the whole growing system.

Simple techniques like this make a huge difference in the garden—not only to the productivity of the space, but also making it a more appealing place to be. It is not great wallowing in the waterlogged paths, and always feels like we are doing more damage when we walk on them when they are wet. Walking on woodchipped paths on the other hand is great—it creates a sort of spongey effect and means that half the field isn’t stuck to your boots by the time you get to the other end of the path.

Now that March is upon us, it is time for seed sowing to begin in earnest, and everything will start to get a bit busier in the garden. As soon as the soil begins to dry out we will be preparing beds for planting the spring crops, as well as finishing off that over ambitious winter job list…

 

WHAT TO SOW THIS MONTH: turnips, chard, spinach, salad leaves—chervil, buckshorn plantain, lettuce, burnet, peashoots, anise hyssop, kales, mustards, agretti, sorell, summer purslane & goosefoot (end of month). Radish, fennel, courgettes (end of month), spring onions, cucumbers, dill coriander, peas and mangetout. We sow all of these into trays in the propagating tunnel to be planted out in April mostly.

 

WHAT TO PLANT THIS MONTH:

 

OUTSIDE: salads—mustards, rockets etc., lettuce, peas, broad beans, potatoes, early kale.

 

INSIDE: If you sowed any early salad crops for a polytunnel or glasshouse they can go in at the beginning of March. Also successions of peas and spring onions will continue to be planted.

 

OTHER IMPORTANT TASKS THIS MONTH: If the weather dries, continue preparing beds for the spring by mulching with compost. Keep on top of the seed sowing, but don’t sow too much of anything—think about sowing successionally rather than doing one big sowing in early Spring. Things that are perfectly suited to successions include all salad leaves, spring onions, peas, beans, beetroot, chard, kale, carrots, fennel, radish and annual herbs.

March in the garden

If you are reading this article then I am assuming it is because you have an interest in gardening and not because you are seeking amusement by critiquing my somewhat ungainly prose!

Years and years ago, I first veered away from hands-on horticulture by becoming a ‘researcher / writer’ for the gardening magazine Gardening Which?, part of ‘The Consumers’ Association’. Everything I wrote went through a process of rewriting, in house style, so I guess I never learnt ‘elegant’ writing because that simply wasn’t required. I now know, much too late to do anything about it, that this ‘truth is God’ approach suits my, mildly, Asperger’s brain.

Having said that, gardening as a pastime is largely an aesthetic exercise so, although an understanding of Science aids success, I am not entirely immune to the beauty of ‘taming nature’. To this end, March is perhaps the first month of the year, the logical start to the growing season, when the drabness of winter really feels like it is being extinguished by the joys of spring.

The spring flowering bulbs, especially the new ones that were planted last autumn, will be adding a burst of colour and, in the guise of hyacinths and many narcissi, a powerful perfumed haze. Early blooming trees and shrubs, magnolias are the star performers here, are especially welcome for bearing their flowers at a time when the garden is still largely leafless.

The imminent emergence of new growth makes this time of year the last chance to complete the traditional winter tasks. These include planting bare-rooted hedging, rose pruning, mulching of beds and borders, winter digging, wholesale clearance work and anything which might disturb bird nesting sites.

I find that dividing congested clumps of herbaceous perennials can continue into April, at least, because they recover best when the soil temperatures are decidedly on the up. March can still be very cold; remember the heavy snow we had here a couple of years ago.

With sap rising it is important to complete major shrub pruning / tree shaping operations; with buds bursting it may already be too late for some species. If major wounds are created, once winter dormancy has broken, then there is a risk that the cut surface will ‘bleed’ with sap, forced up under pressure, from the awakening root system, weakening the plant. At the very least bleeding is unsightly and something that is best avoided when possible. Open wound sites can also allow fungal diseases to attack the plant and damage it further.

Shrubs grown for their winter stems, Cornus (dogwoods) and Salix (willows) predominate here, should be cut right down to the gound, ‘stooled’. This promotes a fresh burst of new, young, shoots which will provide the strongest stem colour for the desired winter display. This drastic cut back must only be attempted once the plant is well established, not on newly planted specimens, as it relies on the plant having developed a decent root system to support the new growth. A handful of general purpose fertiliser (regular readers will know that I tend to rely on ‘fish, blood and bone’!), forked in around the stooled plants, is beneficial to regrowth.

Cutting to the ground will result in an almost herbaceous type effect, albeit on a more robust scale and without the flowers, but, more especially in the case of willows, these are trees, i.e. they are woody by nature, so another option is to treat them as ‘lollipops’.

This means that they are allowed to grow up, with a single trunk, for a few years just like a ‘normal’ tree. Once the trunk is a few feet above the height required for the ‘head’ of the lollipop, it can be lopped off, lower than the height gained, and kept to this height annually; correctly known as pollarding. Over the years the trunk continues to thicken, becoming more substantial, while the ‘knob’ at the top, where it is pollarded to annually, becomes more pronounced and club-like—you’ll know what I mean if you’ve ever seen one.

These pollarded specimens, of bright winter stems, look really effective when grown as an avenue or in a formal line. Salix alba var. vitellina ‘Britzensis’, the Scarlet Willow, is often treated this way but any similar willow, with attractive bark colour, could be used. A trunk height of no more than your own head height, or head height plus step ladder, is sensible to allow for easy maintenance.

As an antidote to chopping back; seed sowing is a great activity to attend to whenever the weather prevents comfortable gardening outdoors. I’ve always had a soft-spot for alstroemerias and a quick dip into Christopher Lloyd’s Garden Flowers (an indispensable reference book that is now two decades old) reveals that “It is best to sow several seeds to a pot in March, and to germinate them in a cold frame where the temperatures will range from warm in the day to freezing at night. Germination will then be assured… If seed is given uniformly high temperatures, it will not germinate”. Sage advice, as ever, from the consummate gardener and writer.

It’s too early to plant out tender plants, severe overnight temperature drops are damaging with or without a ‘proper’ frost, so keep these gently ticking over in their winter quarters. The longer days, especially when accompanied by a bit of sunshine, will raise the heat in greenhouses / frames so it’s a good idea to start potting up tuberous plants, dahlias spring to mind, which were lifted from the garden in the autumn. They’ll need to be kept frost-free, obviously, but starting them off now will give them a headstart before planting out into their summer flowering positions.

As ever, prevailing conditions will be your greatest steer when it comes to getting on with things in the garden. As I write, we’ve had a very mild and extremely wet winter—I can hardly remember a wetter February. This means that your lawn may well be longer than usual for this time of year. If at all possible it should be mown, on a high setting, but only if this can be achieved without turning creating a quagmire. I always seem to miss the one opportunity when a break in the downpours makes this possible and, in its current saturated state, I cannot see that I’ll be able to manage a decent cut any time soon. I’m praying for a much drier, less depressing, launch into spring.

 

Bob Speer

‘I arrived in April 1939 in Cox Green, then a small village outside Maidenhead. My parents ran a small garage there with just one pump, but from the photographs that survive they radiate an innocent joy and seem untouched by the looming war, just a young couple very much in love.

But, I was never to know my father as tragedy struck when I was two, my father killed in a tragic accident, and my mother hospitalised with grief. There are no memories prior to 1944, and just a few fragmentary photographs survive.

My Mother never recovered and I did not see her again till I was nine, and even then only intermittently. One can indeed die of a broken heart. Looking back I can see I was shielded from the tragedy out of kindness. They had simply gone away…and that was the end of it. Fortunately my grandfather, a wise and kindly man, stepped in and took over my upbringing. He had fought in Africa in the first world war and seemed to me to be the fount of all wisdom. As an only child, I see now that I must have represented some kind of surrogate for his own tragedy, that of losing his only two sons, each in their prime. I worshipped him and must have subliminally absorbed his every word. The weeks and months revolved around the school vacations when I could be with him.

My abiding childhood memories are of extracting honey from his beehives amid swarms of angry bees, learning Kipling’s poem “If”, fishing along the Thames at Boulters Lock, sleeping underground in an Anderson shelter by candlelight, and best of all, manually pumping the ancient organ in the tiny Cox Green village church Sunday morning and evenings for pocket money. There is something wildly comical in accidentally disturbing a wasp nest in the organ loft space, hearing the organ fade in the middle of Hymn 442 Onward Christian Soldiers and the vicar urging you to keep pumping in a fierce whisper. But the pay was good. A silver sixpence!

Amid the turmoil of war and its aftermath, evacuation, the austerity, the food shortages, the memories linger on of being one of two boys only in an all girls primary school for one term (knitting and weaving raffia place mats!), a latin master who would only talk to us in latin, and then, after school foraging for winkles and shrimps and the occasional lobster. This was no game. Food was short. This came about because in 1946 we had relocated to Westgate-on-Sea in Thanet, a place that was to become my home until I was nineteen.

It was here, on my first day of my first term at my first secondary school in Birchington on Sea, that I first became aware of books. I must have been about ten, so we are in September 1949. The new headmaster, a tyrant and perverted bully addicted to caning, in a chearout of the then deceased former headmaster’s office, arranged for his library to be burned and his fossil collection to be thrown out. There was a bonfire at the rear of the school. I crept back after hours and rescued some of the books and fossils. Beautiful Victorian volumes on microscopy, astronomy, exploration… etc. I still have them seventy years on. At ten one is unable to contextualise such behaviour, or even talk of ethics and morals, but I do recall a feeling that something was seriously out of kilter. The turning point came when I was fourteen. Having failed all exams and been assessed as four years behind, my Grandfather stepped in again and I was enrolled for one year at an all girl’s Secretarial College, but this time with one to one tuition at the rear of the class, in Maths, English & Latin. All this guided by an old-school Victorian tutor in winged collar. My tutor must have seen some spark in me as the maths was a revelation, and this, together with a love of books fostered by a kindly Hungarian bookseller (any book 6p), was to be the pivotal year that set the course of my subsequent life.

Four years at St Lawrence College, a public school near Ramsgate, followed by a year A level cramming at Chatham Technical College got me a very modest Kent County Bursary to London University. It was only many years later that I learned this schooling was all financed by my father’s Life Insurance Policy, carefully put aside and invested by my Grandfather.

But it was now September 1959 and there was a buzz in the air, as if the country was awakening from a long hibernation. I recall walking round my room at the Queen Mary College Student Hall of Residence touching the walls in a sort of trance at the freedoms that London offered. Ronnie Scots, 100 Oxford St, Chris Barber, Bruce Turner and his Jump Band, Soho dives. The three years of a B Sc Physics degree raced by and we all worked every waking hour, because at some subliminal level we knew that post war austerity was easing and a rising tide raised all boats.

However it was not all plain sailing. The cost of living in London had reduced me by the end of my second year to having to work evenings six days a week, very seriously compromising my studies for my third and final year. In desperation I took off and walked into the Kent Higher Education offices in Canterbury unannounced, explaining why I would have to abandon my degree. To my utter astonishment a week later I received a cheque for a full Kent County award backdated for two years. This was a huge sum, as I was in effect now able to finance my final year of studies at twice the rate of any of my classmates. All worries dropped way. It was a lifesaver and taught me important lessons about bureaucracy and boldness.

Now aged 22 and just prior to graduation in 1962, I applied to the Space Research Group at University College, and was taken on for a PhD in Astronomy from Space, at that time a brand new field led by Professor Sir Harry Massey. It is almost inconceivable now, but in those heady days of Jodrell Bank, Sputniks, the first UK satellites Aerial 1 & 2, one could have one’s own satellite experiment launched by NASA, see it through to launch, and be rewarded with the data.

Nowadays there are lead times of up to twenty years and the research is of such sophistication that hundreds of collaborators are involved across many institutes and countries. But chance success brought extraordinary rewards; the most prized being a Senior Lectureship at Imperial College that lasted 32 years and the chance to help shape the lives of a future generation. Retirement came in 1997, and the safe harbour in my own rare book business. Looking back one sees that the catalyst at ten had led to a lifelong passion for books…but channelled to the age of forty only in collecting. Around 1982 a lucky friendship brought me a shareholding in The Gloucester Road Bookshop in Kensington, where I eventually became the Buyer and so learned the book trade from the inside, well before the advent of the Internet. In retrospect this was a blessing, as knowledge was everything and the knowledge had to be carried in one’s head.

Only in 1998, after a year in Lyme Regis, could one give expression to the feeling that everything prior had just been a rehearsal. The longed for stable family life, the history, the embrace of the book world, the people, the vibe, these have all yielded the happiest twenty years of my life. Lyme is such a wonderful town. The tea at the bottom of the cup can indeed be the sweetest and is maybe best sipped in the springtime of one’s senescence.

I have been fortunate to have met some extraordinary people through our bookshop in Broad Street, now in its 22nd year. Maybe this is the real gift? To know and have known the kindness and help of John Fowles, Derek Steinberg, Bob Benson, Louis Leteux, Jean Vaupres, Tony Keegan, Harold Towers, the U3A. To all of these, and especially my grandfather, my tutor, the editor of Marshwood Vale, my much loved wife Mariko and our three boys Sean, Patrick & Elliot, and to the many many others, I can only say: Thank you all and everyone, it’s been a privilege.’

UpFront – 02/20

Reading Humphrey Walwyn’s column this month I can’t help thinking that there is a lot to be said for a bit of pampering and spoiling. The New Year always brings so many suggestions for life changes that it’s often hard to know what to do. In the week after Christmas, I saw press alerts about best diets, best exercise routines, how to de-clutter my life (and my phone!), how to promote work/life balance and even how to have better relationships with animals. I was invited to learn the secrets to a longer, healthier and happier life and given tips on how to age gracefully. I was even given the opportunity to ‘immerse’ myself in success. What I didn’t see anywhere was suggestions on how to cut out some of the emotional turbulence that’s accompanied recent times. It seems to me that the noise level created by political discussion over the last year went through the roof. The volume of heated debate in and outside of parliament was such that it was often hard to hear people’s opinions—let alone digest and understand what they were trying to say. The relative quiet since the election has made the previous cacophony seem even more hectic, and at the time of writing there seems to be a relative lull while the next storm brews. But I wonder if that lull is more to do with not listening rather than a change in the volume. Before Christmas, I met someone who explained that for the last year or so she had been so battered by the clamor of the debate around her that she had stopped reading the front pages of her newspapers. In fact, she had avoided the first few pages altogether, instead concentrating on other news. She didn’t use social media, so was able to avoid the echo chambers of her own opinions, as well as the vitriol that accompanied some of the more ‘high spirited’ online discussions. She even stopped listening to talk radio stations and regulated her television viewing to films and documentaries that had nothing to do with current affairs. She explained that by weaning herself off constant political deliberation, the emotional decibels in her head had reduced to practically zero. Perhaps that sort of detox is worth a try. But will it mean completely distancing myself from things like Trump v Thunberg, Coronavirus, the Labour leadership challenge or that other unmentionable? I doubt it somehow—but it is a nice thought.