Benjamin Myers’s Under the Rock was my nonfiction book of 2018, so I’m delighted to be kicking off the blog tour for its paperback release on the 25th (with a new subtitle, “Stories Carved from the Land”). I’m reprinting my Shiny New Books review below, with permission, and on behalf of Elliott & Thompson I am also hosting a giveaway of a copy of the paperback. Leave a comment saying that you’d like to win and I will choose one entry at random at the end of the day on Tuesday the 30th. (Sorry, UK only.)
Benjamin Myers has been having a bit of a moment. In 2017 Bluemoose Books published his fifth novel, The Gallows Pole, which went on to win the Roger Deakin Award and the Walter Scott Prize for Historical Fiction and is now on its fourth printing. This taste of fame has brought renewed attention to his earlier work, including Beastings (2014), recipient of the Northern Writers’ Award. I’ve been interested in Myers’s work ever since I read an extract from the then-unpublished The Gallows Pole in Autumn, the Wildlife Trusts anthology edited by Melissa Harrison, but this is the first of his books that I’ve managed to read.
“Unremarkable places are made remarkable by the minds that map them,” Myers writes, and that is certainly true of Scout Rock, a landmark overlooking Mytholmroyd, near where the author lives in the Calder Valley of West Yorkshire. When he moved up there from London over a decade ago, he and his wife lived in a rental cottage built in 1640. He approached his new patch with admirable curiosity, and supplemented the observations he made from his study window with frequent long walks with his dog, Heathcliff (“Walking is writing with your feet”), and research into the history of the area. The result is a divagating, lyrical book that ranges from geology to true crime but has an underlying autobiographical vein.
Ted Hughes was born nearby, the Brontës not that much further away, and Hebden Bridge, in particular, has become a bastion of avant-garde artists and musicians. Myers also gets plenty of mileage out of his eccentric neighbours and postman. It’s a town that seems to attract oddballs and renegades, from the vigilantes who poisoned the fishing hole to an overdose victim who turns up beneath a stand of Himalayan balsam. A strange preponderance of criminals has come from the region, too, including sexual offenders like Jimmy Savile and serial killers such as the Yorkshire Ripper and Harold Shipman (‘Doctor Death’).
On his walks Myers discovers the old town tip, still full of junk that won’t biodegrade for hundreds more years, and finds traces of the asbestos that was dumped by Acre Mill, creating a national scandal. This isn’t old-style nature writing in search of a few remaining unspoiled places. Instead, it’s part of a growing literary interest in the ‘edgelands’ between settlement and the wild – places where the human impact is undeniable but nature is creeping back in. (Other recent examples would be Common Ground by Rob Cowen, Landfill by Tim Dee, Edgelands by Paul Farley and Michael Symmons Roberts, and Outskirts by John Grindrod.)
Under the Rock gives a keen sense of the seasons’ change and the seemingly inevitable melancholy that accompanies bad weather. A winter of non-stop rain left Myers nigh on delirious with flu; Storm Eva caused the Calder River to flood. He was a part of the effort to rescue trapped pensioners. Heartening as it is to see how the disaster brought people together – Sikh and Muslim charities and Syrian refugees were among the first to help – looting also resulted. One of the most remarkable things about this book is how Myers takes in such extremes of behaviour, along with mundanities, and makes them all part of a tapestry of life.
The book’s recurring themes tangle through all of the sections, even though it has been given a somewhat arbitrary four-part structure (Wood – Earth – Water – Rock). Interludes between these major parts transcribe Myers’s field notes, which are more like impromptu poems that he wrote in a notebook kept in his coat pocket. The artistry of these snippets of poetry is incredible given that they were written in situ, and their alliteration bleeds into his prose as well. My favourite of the poems was “On Lighting the First Fire”:
death is everywhere
the golden cloak
the seeds of
dreaming still sing.
The Field Notes sections are illustrated with Myers’s own photographs, which, again, are of enviable quality. I came away from this feeling like Myers could write anything – a thank-you note, a shopping list – and make it read as profound literature. Every sentence is well-crafted and memorable. There is also a wonderful sense of rhythm to his pages, with a pithy sentence appearing every couple of paragraphs to jolt you to attention.
“Writing is a form of alchemy,” Myers declares. “It’s a spell, and the writer is the magician.” I certainly fell under the author’s spell here. While his eyes are open to the many distressing political and environmental changes of the last few years, the ancient perspective of the Rock reminds him that, though humans are ultimately insignificant and individual lives are short, we can still rejoice in our experiences of the world’s beauty while we’re here.
From the publisher:
“Benjamin Myers was born in Durham in 1976. He is a prize-winning author, journalist and poet. His recent novels are each set in a different county of northern England, and are heavily inspired by rural landscapes, mythology, marginalised characters, morality, class, nature, dialect and post-industrialisation. They include The Gallows Pole, winner of the Walter Scott Prize for Historical Fiction, and recipient of the Roger Deakin Award; Turning Blue, 2016; Beastings, 2014 (Portico Prize for Literature & Northern Writers’ Award winner), Pig Iron, 2012 (Gordon Burn Prize winner & Guardian Not the Booker Prize runner-up); and Richard, a Sunday Times Book of the Year 2010. Bloomsbury will publish his new novel, The Offing, in August 2019.
As a journalist, he has written widely about music, arts and nature. He lives in the Upper Calder Valley, West Yorkshire, the inspiration for Under the Rock.”