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50th Anniversary of the Severn Bridge | An extract from Edging the Estuary

Severn Bridge

The original £8m Severn bridge was opened by the Queen on 8 September 1966, heralding a new economic era for South Wales. In celebration, here is an extract from Edging the Estuary by Peter Finch, in which Peter meets the men continuing the traditional method of Lave net fishing on the River Severn, at times directly below the bridge.

Edging the Estuary Peter FinchAbout Edging the Estuary:
In the Middle Ages the port of Cardiff stretched from Chepstow to Gower. Peter Finch, archetypal Cardiffian, sets out to explore his heritage, walking the Welsh side of the Severn Estuary and reclaiming his personal memories in addition to discovering the lives of others. And with a detour to Maismore, the highest tidal point of the estuary, he walks the English side too, taking in the differences with Wales, reviving past links and looking at his homeland from abroad. On his journey he sees the estuary as border, a highway for trade and ideas, an industrial zone, and a place where people spend their leisure. Rich in anecdote, evocative in description, Finch’s book takes in villages and cities, power stations and fishermen, castles and caravans, leg-aching walks and deckchairs on the beach.

The Lave Fishing Grounds

The novelist and poet Richard Brautigan went trout fishing in America. There the fish were made of a precious and intelligent metal. Trout steel in the snow-filled rivers. Among them he found the dharma or the Buddha, or love or something. I’d never done any of that. I’d never really thought much about fishing anyway other than logging that lots of people did it. Blokes in wool hats sitting on piers, pond sides, river edges waiting and on their faces that distant look. It seemed all about waiting. And I couldn’t be doing with that.
At the end of Black Rock Road, to the east of Sudbrook, is the small park the council has created facing Black Rock. In a corner is the Black Rock Lave Net Heritage Fishery’s hut. Hand built in local stone. A salmon in wrought iron adorns the front. For most of the year the hut is closed and locked but today it’s not. Martin Morgan, a fifty-year-old steelworker from Undy, is in action out front. Spread on the grass he has replicas of the fishtraps that have been used in these waters since medieval times. They’ve now been banned by the Environment Agency in an attempt to conserve fish stocks. “There used to be other methods of fish catching that are gone too,” Martin tells me. “Stock boats, drift nets, tuck nets. Those ways are over.”
The putt, a great ten-foot-long assemblage of bent willow in the shape of an open-mouthed giant cone, is the older method. The example Martin shows me is a replica made from an ancient original pulled from the river muds. These things go back to the eleventh century. The cone would be pegged to the river bed facing an ebb tide and once a salmon had swum in, it couldn’t then get back out.
Also on show are replicas of putchers – smaller five-foot cones made originally of woven hazel or willow but from the 50s onwards of aluminium mesh.These would be assembled in racks known as engines with sometimes a hundred or more in a single array. These would be strung out across the river like radar sets. Salmon was the target but they also caught whitefish and eels and anything else that drifted in.
These were the fixed engines, the fish henges. In the sixteenth century, Rawlins White, the Cardiff martyr, operated something similar at the Rhymney River mouth. The remains of ancient putcher racks have been discovered by estuarial archaeologists in waders, stepping through the glutinous mud between the river’s rapid tides. The largest, containing some fifteen hundred baskets swung out into the waters opposite Goldcliff.
The archaeologist J.R.L. Allen has used aerial photographs of the Estuary to uncover a complex pattern of fish traps dating from Mesolithic times to virtually the present day. His shots show putcher lines running just off the river shores like the claw prints of giant birds. Further out are the remains of rod and wattle fencing, formed into complexes of stone and woodposted weir. Fish dams, intertidal fish pools, fish gullies. Fish capture has gone on in these waters for thousands of years. But it’s all banned now. Regarded as being as bad as fishing with dynamite. All that’s left are the lave fishers. Eight of them. The Environment Agency refuses to issue any more licences.
Lave fishing uses large Y-shaped nets each individually made by the fisherman. The net has willow arms known as rimes hinged onto a stout handle called the rock staff, made of ash. Fishermen wade into an outgoing tide and wait. They can stand for hours with the Severn’s tides falling around them. They call this cowering. Much more exciting is stalking, where the fisherman spots a fish moving over the sandbanks and gives chase.
Caught fish are dispatched with a short wooden baton known as a knocker. Weights are anything from five to seventeen pounds. The record was held by Martin’s great grandfather. He landed a monster that weighed in at fifty-six pounds. There’s a silver-coloured replica back at the hut. The net they also knit themselves. It was once made of hemp. Smacker Williams, in Sudbrook in the 1960s, could knit a single net in a day. That was going some. When he went, the practice died out, but Martin’s fishermen have revived it. They use nylon cord today.
At the Heritage Fishery they are all lave fishermen, although as the season is so short they double up for the rest of the year with rod and line. They used to fish from February right through until October but the Environment Agency have now got them down to a mere three months. 1st June to the 31st August. They’re allowed to catch an absolute total of fifteen fish, five a month, and that’s it. Not much. Martin thinks the Agency would be happiest if it could close the lave fishermen down.
The Agency is at odds with the Heritage authorities who see the Black Rock fishermen as a relic of Wales’ traditional past and something to be encouraged. Martin tells me that last week they had a camera team along from Wedi Saith who brought a Teifi coracle fisherman with them to compare traditions. We’re out on the mud now, walking through the glutinous slime to get into the fishermen’s tiny boat. “You take care,” says Martin. “We’ve had camera crews slip here and go sprawling. They always somehow manage to save their equipment, though.” In my Homebase green wellingtons I take it slow.
The fishing grounds all have names that don’t appear on most maps. Grandstand, The Hole, The Monkey Tump, Lighthouse Vere, The Marl, The Looby and Gruggy. We row west of the Second Severn Crossing to anchor in waters that are moving at around five knots and are at least eight feet deep. “This new bridge was built right across our traditional fishing grounds,” Martin tells me.We watch his brother Richard in the distance striding along the shoreline, net over his shoulder. “It’s made the mudbanks shift and created new ones but we can still fish.”
He and Tim Bevan, a tinplate printer from Sudbrook, are in the water now, chest deep, nets below the surface, that look of concentrated desire mixed with endless patience on their faces. Catching fish is all a matter of getting the wind in the right place and the spring tide flowing. “Are things right today?” I ask. “Could be.” But in the end it turns out they’re not.
During the two-hour window between tide ebb and flow I watch the water drop more than four feet. Fields of rocks emerge around me. Hundreds of boulders running in all directions like this was the Russian Steppes. The brown water slows from a rush to a drifting crawl.You can hear the muted traffic roar on the bridge high above. But the water itself is silent. The boat shifts on its anchor mooring then bumps against rocks below. Martin has walked off hundreds of yards into the distance. His brother, once separated from us by a river depth too great to navigate, now strides across, net over his shoulders, nothing caught where he was either.
Looking west the river runs off into a silver distance that points right out into the Atlantic. You’d think there’d be ship traffic but there is none. Nothing floats by. Just the ripples. “It would have been better if we’d caught something,” says Martin. But half of fishing is the activity itself. Richard Fox and Rob Evans, two other Lave Fisherman in action today have been working the river east of the bridge. “They’ve not been with us that long,” says Martin. “And they’re the only two who haven’t caught their first fish.We’ve two more days left. They’ll be out tonight, 2.00 am, fishing in the dark, just to catch up.”
We’re back on shore now. The fishiest thing we’d seen all day was a tiny mullet about five inches long that Tim had in his net and then threw back. I missed that, too busy taking photos of English coast, power stations, or Sudbrook from the estuary distance, pumping station and the Seven Tunnel Great Spring outfall, still rushing fresh water into the river after all these years.
The EU control that limits catches is contained in Annex 11 of the EC Habitats Directive (council directive 92/43/EEC). It ripples off the tongue. But irrelevant today. Down the pub now, yes.

 

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Short Story of the Month | ‘The Dig’ by Graham Mort

short story of the month the dig graham mort

Our new Short Story of the Month is ‘The Dig’ by Graham Mort, from his newest collection, Terroir, in which past and present intertwine as amateur archeologists dig for answers in an area whose violent, territorial history they know nothing of.

the dig from terroir by graham mortAbout Terroir:
From England to Europe, Africa to South America, these stories from prize-winning short story writer Graham Mort explore relationships: father and child; man and wife; man and his environment.
All these stories are sensitively told and beautifully written, bringing fresh perspectives to our place in the world around us.
Graham Mort has won the Edgehill and Bridport and Short Fiction short story prizes.


The Dig

This is an extract. Read the full short story for free on our website.

A Thistlethwaite, red-haired like all her clan. Longshanked, full-breasted, tall. Freckled, grey-eyed, jug-eared, a crooked smile creasing into dimples. Climber of rockfaces for hawk’s eggs. Horse breeder, dog hater. Broadshouldered, a fighter who’ll take on her brothers and anyone else. Fey, man-shy, loyal. Fierce to the lie, quick to offence. Footsore now, limping from a bruised knee where the gelding took her into a dry stone boundary.
Homeward bound, the moor’s peat squelching underfoot, the heather springy, bog cotton in the hollows. Hungry and used to it.

The Land Rover lurches on the bridleway, loaded with wire ladders and lamps, yellow waterproofs, digging gear. The man’s helmet lies beside him on the front seat. His hair is spiky grey, his hands badly scarred from a fire. The flesh has grown back in purple patches. He’s got a blue thumbnail where a hammer missed. He wears a diver’s watch with a black plastic wristband. Sun shows up the scratches on the spattered windscreen, tyres jog over stones and ruts and into mud puddles. The exhaust stinks in low gear. He’s arranged to meet the others at the dig. This one’s been on the go for months and you never knew who’d turn up.

She’s a long hour from home after trading her grey horse in the next dale. There are coins in her purse but she’s packed it tight with grass to stop them chinking. She rode the gelding bareback to the Sykes place, now she has the walk home. It was a good sale. The bridle and harness are
tight under her jerkin. She’s taken a short cut over a flank of moorland, crossing a corner of Abel Rintner’s land, past his new peat cuttings where turves are piled. She’s black to the ankles and there’s a foul gas from the moss. She could have played it safe and detoured by the valley head,
then down past the inn where there were other folk. There’d be drunken, groping bastards too. Fenmen and Dutchlanders draining the land for the monks, gabbling, fetching up phlegm and laughter. She can’t bear that. No need if the light holds. Her feet catch in rushes. She can hear the calling of fat lambs. Soon they’d be cutting their throats for Eric’s wedding.

There’s a dirty Peugeot estate parked where the bridleways meet. Dark blue with a roof rack. Two other cavers are already climbing into their gear. A woman in her late thirties with pulled-back hair and acute blue eyes; a fifty-year-old man, bow-legged, short and bearded. He’s coiling a climbing rope clarted in dried clay and she’s fastening her overalls over rubber boots. Their greeting is a stubbing of cigarette butts, a faint smile, nods to the stile, the causeway they’ve laid across the marsh that leads to the dig. Another path goes up over the limestone edge, past the killing pit – a swallow-hole with almost sheer sides, twenty yards across and twelve deep. They’d help excavate that for an archaeological dig, uncovering broken animal bones and Mesolithic flints. Hand axes, arrow tips, flensing blades. The ancient people had hunted with dogs, driving red deer, elk, auroch, and wild boar over the edge then stoning them to death. They’d been proud of that dig, the way it made sense of things, of the past. The man with the
scarred hands slams the Land Rover door and takes two yellow plastic trugs from the back. They pick up their lamps, two folding spades, a short-handled pick. The bearded man carries the rolled-up ladder and the woman with blue eyes lifts a coil of rope.

Jogging across the moor to strike the track, Hannah’s breath is harsh now. She’s anxious to get to the commons below. Sun is dropping over the sea about thirty miles west. The air is cooling, smoke coiling from the farmstead she’s too close to. A flight of geese follows the river to the estuary in
a double vee. She stumbles, pauses, rights herself, touching a hand to her sore knee. There’s the sudden hiss and flicker of plumage. A streaking bird is attacking her. Then the arrow strikes into her forearm, almost parallel to the bone, the point driving right through. She sucks her breath, freckles starring her suddenly white face. She glares round quickly and keeps moving. She should have covered her hair. That was stupid. The mistake will cost her. She’s wearing an amber amulet that hangs from a leather thong. It tosses as she runs. The arrow stings, evilly. She needs to get out of view, jags to the left, drops into a gulley and lies listening for dogs. Nothing. She follows the gulley down, stumbling, nursing her arm, trying to let blood drip onto her and not bare rocks where they can track her. There’s a little water in the beck bottom, not much.

They walk up the lane in single file, trudging a little after their day of work. Each to their own: wrought iron making, timberwork, the work of the body. There’s a gate on the left leading to the wooden causeway laid over the moor. The timber smells of creosote. The man with the beard grimaces, but the woman half smiles, bends her head a little closer as she swings the gate back onto its catch, savouring a memory. They move across the peat bog, feeling the planks sink a little under their weight. There are black pools on either side. Petroleum from the peat has stained them with iridescent patterns. A stand of bog cotton stirs in a slight breeze coming off the Irish sea. The man in the lead flexes his fingers and switches hands on the trug. The woman’s eyes are paler here, bluer, as if cut from underwater stones. She’s thinking of a bright room, how she loves the touch and smell of babies though she’s had none of her own. Their pure skin, their tiny hands reaching to their awed mothers’ faces.

Voices, thick and faint, not far off. A hundred yards. Maybe more. Men’s bass tones. She pauses, hunched over. Dark blood is oozing where the arrow tip has gone through.

Continue reading ‘The Dig’ for free here.

 

Graham Mort’s short story collection Terroir is available to buy from the Seren website: £9.99.

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An extract from Boy Running | Wales Book of the Year shortlist

extract from Boy Running Wales Book of the Year

The winners of the Poetry, Non-Fiction and Fiction Categories, and the overall Wales Book of the Year Winner, will be announced in just two weeks. Seren have two titles in the running for the awards, and before we find out the results, we thought you might enjoy reading an extract from each of our nominated books. Look below and you’ll find an extract from Boy Running by Paul Henry (shortlisted for the Open University in Wales Creative Non-Fiction Award).

Studio Flat

Socks hang like bats from a skylight.
They may be dry in time for the moon.
The camp site owner’s water-feature
drains more blood from the sun.

Cars queue for the narrow bridge.
Birds catch their pulses and fly.
I am suddenly old. What’s an attic
but a bungalow in the sky.

And where are you, my sons?
I heard your voices in the bells
of snowdrops pulled by the wind.
These tulips have lost their smell.

Perhaps I could tell you, one day
where the snowdrops went, why old men
dry their socks on the moon, and what
darkened the skylight, just then.

 

Ring

I can’t get the ring out of my finger.
How long till it disappears
this ghost ring, twenty years deep?
I’m branded. Is it the same with you?
Your fingers were slenderer than mine.

 

We hope you enjoyed reading this free extract from Boy Running by Paul Henry. Keep an eye on the Seren blog, as we will be announcing the Wales Book of the Year Awards results in just over two weeks time.

About Boy Running:
Paul Henry has gained a reputation as one of of the best poets in the UK. Boy Running is his beautiful sixth collection and the first to follow  The Brittle Sea: New and Selected PoemsAlso a singer-songwriter, Henry is known for his precise lyricism, intimate tone and a cast of characters inspired (like Dylan Thomas) by his childhood by the sea in Aberystwyth, West Wales.

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An extract from Losing Israel | Wales Book of the Year shortlist

An extract from Losing Israel by Jasmine Donahaye Wales Book of the Year shortlist

The winners of the Poetry, Non-Fiction and Fiction Categories, and the overall Wales Book of the Year Winner, will be announced in just under a month. Seren have two titles in the running for the awards, and before we find out the results, we thought you might enjoy reading an extract from each of our nominated books. Look below and you’ll find an extract from Losing Israel by Jasmine Donahaye (shortlisted for the Open University in Wales Creative Non-Fiction Award).

1 – Motherland

It is the year of clogs and flared skirts, of shiny striped shirts with big collars, the year the PLO infiltrates by boat on the coast north of Tel Aviv and takes a bus-load of passengers hostage. It is spring, 1978 and I am ten years old. Security at El Al Airlines is high. I know the names Abu Nidal and Abu Jihad and Leila Khaled – Leila Khaled, that woman who is somehow not really a woman, but a terrorist.
Israel is an impression of barbed wire and rusting yellow warning signs on the beaches, the scent of orange blossom and the stink of sewage, hot nights and ruins – and a huge sprawling network of strangers who are relatives. It is my mother’s first return home after fifteen years of self-imposed exile, and it opens in me a wound I can never heal – a longing to come home to a place that can’t be home.
Now whenever I return, it is the long straight road through the valley to the kibbutz that catches at me – after Afula, that dusty way-station; after the last turnings, where it straightens out into the old Roman road that runs through the Jezreel Valley or the Plain of Esdraelon or Marj Ibn Amer, depending on your political orientation, or language, or biblical inclination. ‘The Ruler Road’ my mother called it, that first time we went back in 1978. The mass of Mount Gilboa rises on your right, and far off in the distance there’s a shimmering above the road where the border lies, some twenty kilometres away. Beyond it rise the Jordanian mountains, the mountains of Gilad or Gilead, after which my grand-father Yair named himself and my family – Hagiladi, a man of that place. On either side of the road stretch the fishponds, where you can see white-fronted blue and chestnut Smyrna kingfishers, and pied kingfishers and black-winged stilts; and then, looming up under Gilboa, the complex of the prison moves into sight, watchtowers and barbed wire topping the long external wall, which runs alongside the dusty road. A short distance beyond the prison a trilingual green metal sign points out the left turning to the kibbutz.
Through every return, the kibbutz lies like a magnet at the centre, exerting a force that pulls each journey into a curve inward to its core. Even now, after I have learned its other story, it exerts its pull. This is where my mother is from, and so I have always felt that this is in some way where I am from, too. No matter what I learn about its history, what I feel about its government’s acts, its citizens’ electoral choices, what I think about its political foundations and exclusions, Israel is inextricably caught up with my mother – my inaccessible, elusive mother, who left her community and her country, but inwardly never left, who carried her home all the years of my childhood not in a book, as some anti-Zionists will say the ‘true’ Jew does, but in the locked chamber of her heart.

 

We hope you enjoyed reading this free extract from Losing Israel by Jasmine Donahaye. Keep an eye on the Seren blog, because next week we will be publishing an extract from Paul Henry’s gorgeous poetry collection, Boy Running, which is shortlisted in the Wales Book of the Year, Roland Mathias Poetry Award category.

 

Losing IsraelAbout Losing Israel:
In Losing Israel the search for her family’s past and the part her forebears played in the newly created Israel reveals unsettling knowledge about kibbutzim and land clearances in northern Israel. Challenged by this new and unwonted information, Donahaye’s notion of history and her understanding of Israel, of her grandparents and of her identity is completely transformed.

Buy your copy now: £12.99 direct from the Seren website (sign up to be a Seren Book Club Member to claim 20% off)

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