Outpost Read online

  OUTPOST

  Also by Dan Richards

  Holloway (with Robert Macfarlane and Stanley Donwood)

  The Beechwood Airship Interviews

  Climbing Days

  OUTPOST

  a journey to the wild ends of the earth

  Dan Richards

  First published in Great Britain, the USA and Canada in 2019

  by Canongate Books Ltd,

  14 High Street, Edinburgh EH1 1TE

  Distributed in the USA by Publishers Group West and in Canada by Publishers Group Canada

  canongate.co.uk

  This digital edition first published in 2019 by Canongate Books

  Copyright © Dan Richards, 2019

  The moral right of the author has been asserted

  While every effort has been made to trace the owners of copyright material reproduced herein, the publishers would like to apologise for any omissions and will be pleased to incorporate missing acknowledgments in any further editions

  For permission credits please see p.305

  British Library Cataloguing-in-Publication Data

  A catalogue record for this book is available on request from the British Library

  ISBN 978 1 78689 155 6

  eISBN 978 1 78689 156 3

  Typeset in Garamond by Biblichor Ltd, Edinburgh

  For David

  CONTENTS

  I HOTEL CALIFORNIA, NY-ÅLESUND

  II SÆLUHÚS, ICELAND

  III SIMON STARLING – SHEDBOATSHED

  IV DESOLATION PEAK, WA, USA

  V MARS, UTAH

  VI BOTHIES, SCOTLAND

  VII PHARE DE CORDOUAN, FRANCE

  VIII FONDATION JAN MICHALSKI POUR L’ÉCRITURE ET LA LITTÉRATURE, SWITZERLAND – NOVEMBER/DECEMBER 2017

  IX NAGEIRE-DŌ, SANBUTSU-JI, MOUNT MITOKU, JAPAN

  X SVALBARD, NORWAY

  EPILOGUE

  ACKNOWLEDGEMENTS

  PERMISSION CREDITS

  NOTES

  SELECT BIBLIOGRAPHY

  The Peace of Wild Things

  When despair for the world grows in me

  and I wake in the night at the least sound

  in fear of what my life and my children’s lives may be,

  I go and lie down where the wood drake

  rests in his beauty on the water, and the great heron feeds.

  I come into the peace of wild things

  who do not tax their lives with forethought

  of grief. I come into the presence of still water.

  And I feel above me the day-blind stars

  waiting with their light. For a time

  I rest in the grace of the world, and am free.

  – Wendell Berry1

  I

  HOTEL CALIFORNIA, NY-ÅLESUND

  Hotel California, Ny-Ålesund, Svalbard, 1982. Photograph: Tim Richards

  Dear Dan Richards,

  your travels will not be easy, but I think you have a fascinating project in the making . . . I wish you all the best, in particular in the Svalbard archipelago.

  Best,

  Werner Herzog1

  I grew up fascinated by the polar bear pelvis in my father’s study.

  My mother, Annie, tells me that when my father, Tim, returned from his final Arctic expedition, a month before my birth, it was night and raining hard. From Svalbard he’d flown down to Tromsø, then Luton, caught several trains to reach Swansea and finally a bus to Penclawdd – a village on the Gower where my parents lived. Annie had sat by the window all evening, waiting, and now she could see him walking up the shining road, pack on his back. She was listening to Gladys Knight & the Pips, a cassette. Once home he was amazed to see how pregnant Annie was, how round her belly. He was also very taken with the carpet, Annie remembers – it felt so good on his tired feet.

  Tim had been away for several months on Svalbard – a Norwegian archipelago in the Arctic Ocean, situated north of mainland Europe, about halfway between continental Norway and the North Pole – exploring the Brøgger peninsula and the glaciers, fjords and mountains east of Ny-Ålesund, the northernmost civilian functional settlement at 78° 55' N.

  Next morning he unpacked his bag. Everything smelled of smoke. The smell permeated the whole house – Trangia smoke and unwashed man – and from deep in the stuffed mix of wool and down he drew out the pelvis, abstract, sculptural, bleached, and placed it on the table. Strange object from another world.

  Years later, he told me that he’d found the bony frame on the ice and glaciers of Kongsfjorden although, as time passed, the story changed and he’d swapped it for cake and kit with the expedition doctor. The pelvis lived in the study of our various houses throughout my childhood; less trophy, more alien artefact. It looked so pure, supernaturally white. When held it was heavier than one might expect. It enthralled me; an almost feathered line of peaks ran over the sacrum and coccyx, the broken ends of the flaring hips revealed a coral interior. The hollow eyes of the femur cups, the sinuous lines of the iliac crest, its conch shell-like fissures, cracks and apertures – all these tactile features thrilled and intrigued. The idea of my father having discovered it on a glacier – an impossibly far-flung landscape of mythical beasts – caught my imagination. And the names! Ny-Ålesund: I rolled the word round like a marble in my mouth; Svalbard: it sounded so cold; and Spitsbergen: somehow colder still.i

  Polar bear pelvis, Bath, 2016. Photograph: Dan Richards

  The pelvis was full of story. To hold it was to think of Tim as a young man in that great white silence, imagine polar bears, the life of that particular bear, and feel my horizons expand.

  There’s a photograph of Tim on his expedition. In it, he stands with four others outside the front door of a small wooden shed. A sixth, unseen behind the camera, takes the shot. Everyone smiles. Behind and around them stretch moonland cliffs and dunes. On the back of the photograph is written Hotel California, Ny-Ålesund. Tim, dressed in a wool hat and striped jumper, dark trousers and big boots, stands holding two pans. At his elbow, leant against the shed, is a long black rifle, for bears. Or rather, in case of bears . . . He was the expedition marksman and took a shooting course before the party left England but never fired a shot, he reassured me.

  They never met a bear.

  Which is lucky, because Hotel California doesn’t look like it would stand up to a bear.ii An unremarkable garden shed, the only thing that makes it a shed of note is the fact it’s there, stood on Svalbard. Once you notice the shed, the sheer blunt ordinary shed-ness of the shed, it’s hard to see anything else. It has the sheepish air of a shed out of place, a lost shed stumbled into a shot. The idea of six people sleeping inside it seems implausible and rather eccentric. Yet they gave it a name and called it home and there they are, Tim’s party, stood beaming outside their shed, an incongruous cabin at the top of the world.

  What has become of that shed? As time went on it became inseparable from the pelvis in my imagination, part of an Arctic triptych – my father, the pelvis, the shed. It stood clear of the mêlée of his recollections. The anecdotes about his team being buzzed by Ranulph Fiennes’s spotter plane,iii climbing mountains, an incident with a boat full of advocaat, sleeping out in the midnight sun, keeping watch for bears, receiving a care package from Annie – fruitcake and tea wrapped in newspapers posted up to the world’s northernmost post office – all these recollections subtly shifted and changed as the years went on but the fact(s) Tim went to Svalbard, stayed in a shed and brought home a polar bear pelvis remained solid.

  I’d read that in recent years, due to melting permafrost, wooden buildings in the far north have begun to thaw and rot for the first time. Has the shed gone the way of that bear on the ice – fallen down, picked apart, disappeared? At some point I decided to go and discover for myself.

&
nbsp; —

  During the course of climbing and researching my last book, Climbing Days, I stayed in a number of high mountain huts. Some were new and state of the art, some, like the Bertol Hut above Arolla in Switzerland, had been rebuilt on the site of earlier sheds, and some stood apparently unchanged since my great-great-aunt and uncle, Dorothea and Ivor, were mountaineering in the 1920s and 30s.

  I found such cabins, often perched on the edge of sharp landscapes, to be a set of secret worlds. These were slightly arcane altitudinous hostels full of enthusiasts and eccentrics – the deeply-tanned leathery fellow in his seventies who took me through his idiosyncratic lethal-looking gear one breakfast, explaining each gizmo and tool in turn with obvious pride and glee; the Swiss guardians who sat in crow’s-nest judgement – their duties of care and hospitality tempered by the immediate assessment of the shape and possible liability of everybody who crossed their threshold.

  This was a very different setup from the unmanned refuges I’d encountered in Snowdonia and the Lake District – bothy Marie Celestes which I always found empty of people but full of their traces – chairs pushed back in the act of leaving, scuff marks on the floor, faint cooking smells . . . The interior lives of these austere short-stay cells put me in mind of Philip Larkin’s poem ‘Home is so sad’:

  It stays as it was left,

  Shaped to the comfort of the last to go

  As if to win them back.2

  When Dorothea and Ivor stayed in the Bertol Hut it was little more than a wooden Wendy house set up on a crest of rock overlooking the Mont Miné Glacier. Dorothea captioned a photograph of it in her memoir as ‘The Bertol Hut (11,155 ft.) perched like a medieval castle’.3

  I’m not sure it ever looked like a medieval castle. Examining the picture again it looks another case of a bewildered shed dragooned into service. ‘Adjoining potting sheds on a silver rock mohawk’ might have been a better caption, although ‘perched’ is exactly right.

  Today, the sheds are gone, replaced with a multi-storey insulated concrete bunk-fort. Now Bertol looks like a castle or, rather, the sort of monstrous research station inhabited by scientists at the poles. Run as a business, it is staffed half the year, sleeping eighty on four levels in five dormitories of sixteen beds equipped with ‘duvets Nordic’ and has a panoramic dining room. Things have changed.

  Back in the early twentieth century Bertol had no guardian. Like Tim’s Svalbard hut, it stood empty and unmanned, without running water; an off-grid refuge containing emergency food supplies. Every September, once the staff have departed, locking their quarters and kitchen behind them, Bertol reverts back to its essential spartan state known in German as Biwakschachtel or Bivouac.

  Bivouac means different things in different countries. To the English it carries an elemental improvised quality: ‘ n. the resting at night of soldiers (or others) in the open air, instead of under cover in camp. – v.i. to pass a night in the open air.’ In Switzerland, Germany and many Nordic countries, however, bivouac refers to a more substantial built refuge. So, whilst my father and I might optimistically refer to the night we spent on the side of Dent Blanche as bivouacking, the Swiss would say that we just sat down. Indeed I discovered first hand that they have no special name or term for this beyond ‘stopped due to fatigue and incompetence’.iv

  It would be wrong, however, to see these structures as escape pods alone; panic rooms for the injured or unprepared. Very few buildings in wilderness are designed as places to stop, recover, then phone a helicopter out – although they can fulfil this role in an emergency. Rather, they are often places of respite enabling one to keep going under one’s own steam, part of a bigger picture instead of ends in themselves. I think the likes of Hotel California on Svalbard and the Bertol Hut in Switzerland are best understood as staging posts. Perhaps the gift such buildings really endow, their highest and ultimate function, is to allow mankind a foothold in otherwise inhospitable terrain.

  ‘No man should go through life without once experiencing healthy, even bored solitude in the wilderness,’ wrote Jack Kerouac of his time as a wildfire-spotter on Desolation Peak, ‘finding himself depending solely on himself and thereby learning his true and hidden strength.’4

  Human shelters in the wilderness are – perhaps ironically – necessary for this kind of immersion. Here is Antoine de Saint-Exupéry in Wind, Sand and Stars, describing Port-Étiennev on the edge of the then unconquered territories:

  [It] could not be called a town. There is a fort, a hangar, and a wooden hut for our crews. Surrounded by absolute desert, it is practically invincible in spite of its feeble military resources . . . There is no enemy to fight but silence, in the destitution that is our chief protection. And Lucas, the airfield manager, winds his gramophone night and day; so remote from life, it speaks to us in some half-forgotten language, awakening an undefined melancholy which is strangely like thirst.5

  So remote from life, yet there it is, winding a gramophone night and day . . . the hangar and runway, the lighthouse, the farmstead, the shed: such infrastructure animates the otherwise intractable scape around it with the possibility of discovery, onward travel, or stasis. Each building is a stone dropped from whence ripples spread.

  Saint-Exupéry is unequivocal later in the same book that the distance, silence and isolation afforded by time spent in wilderness are a chastening reminder of humanity’s place in the grandest scheme. Psychologists have studied this so-called ‘overview effect’, a cognitive shift following an experience of true awe, and measured its impact on human subjects. It turned out to be transformational. The subjects returned more patient, less materialistic, and more willing to help others.

  Anousheh Ansari, the first private female cosmonaut, has said she believes that world leaders should be taken on a spaceflight to experience what she saw and felt. Were this to happen, Ansari contends, they would see the world in a very different light and enact very different policies.

  For better or worse homo sapiens are a questing, consuming, destructive species. We have now entered the age of Anthropocene – humans are ruining the planet. It might be better for the Earth if we stopped exploring, lest the human litter which now blights the top of Everest and the depths of the sea spread to every part of the world. Or perhaps the wonders of the natural world can yet inspire us to change, and the ‘overview effect’ can make guardians of consumers. I believe the more we know about our world, the more we see, the more deeply we engage with it, understand its nature, the more likely we are to be good custodians and reverse our most selfish destructive behaviour.

  —

  ‘An amazing thunderstorm last night as I lay listening. Like being inside a kettledrum with a whole symphony going on out there and with thunder in wraparound quadraphonic!’ wrote Roger Deakin of a night spent out in the railway wagon where he sometimes wrote and often slept in the grounds of his home, Walnut Tree Farm.6

  Over the years, as well as the railway wagon, Deakin established a variety of outlying structures, including two shepherd’s huts, and an old wooden caravan with a cracked window. Robert Macfarlane has suggested that Deakin was a latter-day Thoreau and, indeed, there seems a strong correlation between writing and refuge dwelling. I don’t think it a coincidence that concerted focused work and musical practice is sometimes referred to as ‘woodshedding’.

  Perhaps a case can also be made for bothy-like sheds with feral animating energy emanating as much from within as without: ascetic creative crucibles.

  Ever since Henry David Thoreau described his two years, two months, and two days of cabin life at Walden Pond, Massachusetts, the idea seems to have percolated, stirred and seduced the modern psyche. To dwell within such a place, even for a short space of time, seems to confer a touch of aesthete mysticism, pioneer heroism or, at least, Boys’ Own derring-do – an uncommon intimacy with nature, embodied so brilliantly by Deakin.

  Roald Dahl had a writing cabin in the garden of his home in Great Missenden. Dylan Thomas had a shed above his hous
e in Laugharne – ‘my word-splashed hut’ – a replica of which toured the UK in 2014 to celebrate the 100th anniversary of the poet’s birth. George Bernard Shaw worked for the last twenty years of his life in a remarkably sophisticated writer’s hut in the grounds of his property at Ayot St Lawrence, Hertfordshire, built on a turntable so that it could be rotated to follow the sun.

  ‘To write well is to think clearly. That’s why it’s so hard,’7 wrote David McCullough, and this seems to me to be at the heart of the cabin’s appeal to writers and artists, independent of its practical origins and virtues; it is a cerebral clearing-house. I see a line and lineage running back through Deakin, Dahl, Thomas, Woolf, Shaw and Yeats to Thoreau. Yeats’s wish to rise and go to his Lake Isle and build a small cabin of clay and wattles, the better to work and think, epitomises the siren call such spaces seem to sound in creative minds.

  There’s something undeniably romantic and transcendental about the idea of living and writing in such proximity to the natural world – a thought exemplified by the intimacy of Thoreau’s description of his house at Walden Pond:

  This frame, so slightly clad, was a sort of crystallization around me, and reacted on the builder. It was suggestive somewhat as a picture in outlines. I did not need to go outdoors to take the air, for the atmosphere within had lost none of its freshness. It was not so much within doors as behind a door where I sat, even in the rainiest weather . . . I found myself suddenly neighbor to the birds; not by having imprisoned one, but having caged myself near them. I was not only nearer to some of those which commonly frequent the garden and the orchard, but to those smaller and more thrilling songsters of the forest which never, or rarely, serenade a villager – the wood thrush, the veery, the scarlet tanager, the field sparrow, the whip-poor-will, and many others.8