Next to Nature: A Lifetime in the English Countryside

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For many years, Blythe was a lay reader for his local parish, often performing the de facto job of vicar without a stipend. Collins feels Blythe was slightly taken advantage of by the Church of England, despite the Church Times giving him the weekly column that arguably delivered his best work. Mabey, an atheist, admits he has never discussed with Blythe his “quite unselfconscious, unquestioning, sometimes irreverent, and just occasionally pagan-tinged Christian faith”.

Ronald Blythe releases a new book as he turns 100 Ronald Blythe releases a new book as he turns 100

Although I actually haven't worked this land but I have seen the land ploughed by horses, so I have a feeling and understanding in that respect.” Akenfield, the novel, is a study of what people regarded as a timeless way-of-life, but Ronald could recognise signs of change – although resolutely unsentimental, his book was eulogy for a rural idyll that had lasted for nearly two thousand years. I am unsure if he has travelled abroad, but if he has it cannot have been extensively, often or for long and you will be hard put to find a word he has written about it. He has never learned to drive, just travelled on foot, by bike, train, bus – and, it has to be said, in cars driven by other people. He does not own a computer.It's extraordinary that a book I wrote in 1967, which is a world away from us now, and a film made in 1973/74, can have such an amazing and very gratifying hold over people's affections. Through his association with Britten, Blythe then met such distinguished writers are EM Forster and Patricia Highsmith. In 1960, after he published his first book A Treasonable Growth, a novel set in the Suffolk countryside, he became friends with Cedric Morris and Arthur Lett-Haines, who founded the East Anglian School of Painting and Drawing at Benton End, near Hadleigh, and nurtured the talents of a young Maggi Hambling. Blythe lived briefly at Aldeburgh on the Suffolk coast (as recalled in his 2013 book The Time by the Sea) before moving to Debach. [5] For three years in the late 1950s he worked for Benjamin Britten at the Aldeburgh Festival, editing programmes and doing pieces of translation. [6] [7] He met E. M. Forster, [9] [10] was briefly involved with Patricia Highsmith, [5] [9] [10] spent time with the Nashes, and was part of the Bohemian world associated with the artists of the East Anglian School of Painting and Drawing at Benton End near Hadleigh, run by Cedric Morris and Arthur Lett-Haines. [7] "I was a poet but I longed to be a painter like the rest of them," Blythe told The Guardian. "What I basically am is a listener and a watcher. I absorb, without asking questions, but I don't forget things, and I was inspired by a lot of these people because they worked so hard and didn't make a fuss. They just lived their lives in a very independent and disciplined way." [9] Writing [ edit ] I cannot remember when I first discovered him, but I certainly know that it was his sparkling prose that caught and held me. His writing is rich but he never overeggs his puddings. His descriptions of the world around him, and records of its strange doings, written in ever-fresh prose, are as vivid as paintings – indeed, he originally wanted to be a painter, and the house in which he has lived for most of his adult life, Bottengoms Farm, was inherited from the painter John Nash. He has always lived among artists, poets, occasionally musicians, as well as working countrymen and faithful churchgoers.

Next to Nature: A Lifetime in the English Countryside - AbeBooks Next to Nature: A Lifetime in the English Countryside - AbeBooks

The National Portrait Gallery has two portraits of Blythe, [30] a 2005 C-type print by Mark Gerson and a 1990 bromide print by Lucinda Douglas-Menzies. A 2014 terracotta head by Jon Edgar is featured in his 2015 collection of poems Decadal. Speaking to me later over lunch, Blythe expanded on the theme: “Akenfield is about the Suffolk people, it's about growing up, about moving away, about staying at home, about the countryside - it's about the generations. It's about us as Suffolk people. Before ever opening the book, the reader is pulled into the summertime of a ‘Dorset Landscape’, (executed in 1930 using watercolour, chalk and graphite), standing on a high hill that casts a shadow in the foreground, looking down upon a stream around which a cluster of trees are leaning heavily in the wind, and beyond, another steep hill rises, partly prepared for cultivation, a lone tree standing near the crest. At first glance, it is dreamy; the colour palette pastoral and soothing, but it speaks deeper of the loneliness and harshness of making a living from, and dwelling, in the rural landscape, where tilling can be an upward struggle, and isolation from supportive community can take its toll. In an interview with this paper in the mid-1970s, he said: “When I wrote Akenfield, I had no idea that anything particular was happening, but it was the last days of the old traditional rural life in Britain. And it vanished just as the book came out. Most importantly, in 1951 he met the artist Christine Kühlenthal, wife of the painter John Nash. Kühlenthal encouraged his writing and championed him: Blythe edited Aldeburgh festival programmes for Benjamin Britten and even ran errands for EM Forster, who took a shine to the shy young man. Blythe helped Forster compile an index for Forster’s 1956 biography of his great-aunt, Marianne Thornton.This intriguing work continues by softly carrying the reader through the seasonal rhythms of a year in the Suffolk countryside, setting ‘Word From Wormingford’ columns for the corresponding months from different years alongside each other, bringing a freshness and new vibrance for those who may have read previous collections. From the scent of impending snow in January, through to the farmers browsing seed catalogues as the bells ring in the New Year at the close of the following December, it is a journey that I found myself taking three times over.

Next to Nature : Ronald Blythe (author), : 9781399804660 Next to Nature : Ronald Blythe (author), : 9781399804660

He was educated at St Peter's and St Gregory's school in Sudbury, Suffolk, [8] and grew up exploring churches, architecture, plants and books. [6] He left school at 14 [5] but was, he said, "a chronic reader", [7] immersing himself in French literature and writing poetry. [9] Literary career [ edit ] Early cultural connections [ edit ] A still from Peter Hall’s film of Akenfield. Blythe oversaw every day of filming and played a cameo as a vicar. Photograph: BFI In later years, Blythe drew praise for his short stories and essays, including a series of meditations on the 19th-century rural poet John Clare. Many writers who were later grouped together as “nature writers” became his friends, including Mabey, Robert Macfarlane and Roger Deakin.

Each Returning Day: The Pleasure of Diaries (Viking, 1989) - published in USA as The Pleasures of Diaries: Four Centuries of Private Writing (Pantheon, 1989) after newsletter promotion Blythe’s writing dances with self-deprecating wit, rebellious asides and unexpected notes of worldliness In his 50s, Blythe wrote The View in Winter, a moving account of growing old which Collins feels is due a revival. “It’s a wonderful book, a very positive view of old age. He lives an incredibly contented life.” Collins helped his mentor “retire” in 2017 and began to manage his affairs after asking him about a pile of unpaid bills and receiving Blythe’s answer: “I’ve decided I’ve given them enough money over the years. I’m not giving them any more!” After a stint living in Aldeburgh, recalled in an elegiac and characteristically discreet memoir, The Time by the Sea (2013), he moved to a cottage in Debach. In the mid-1960s, he was befriended by the American novelist Patricia Highsmith. “I admired her enormously. She was a very strange, mysterious woman. She was lesbian but at the same time she found men’s bodies beautiful,” he remembered. One evening, after a Paris literary do, they slept together; he told a friend they were both curious “to see how the other half did it”.