My own financial state was catastrophic. I was scarcely in a condition to work, or to look for work. A kind of vertigo gripped me whenever I tried to write anything. I was producing occasional pieces for the Sunday Times but they were ground out like dust from a mortar. All fluency had gone. I wrote a book of captions to photographs of beauty spots. I ghosted another on how to take landscape photographs. I researched the illustrations for a book on evolution. Apart from the islands in Scotland, which I would sell only if death were the other choice, I owned nothing. I had given my house and its contents to my first wife. I was paying her virtually everything I earned. At times I didn’t earn enough in the month to pay her what I had promised and Sarah, from her earnings as a doctor, made up the difference. Sarah, who had inherited a little money, at least owned her house in London, all save a small mortgage, and that was the lifeboat. That house in west London, with its three bedrooms and a sliver of a garden, would take us where we needed to go.
In that search for a place, nothing much was working. House after house was wrong, wrong in feeling, wrong in its situation, wrong in its price. The more the vision glowed, the less the places we saw came up to it. There were houses drowning in carpets and improvement, their souls erased. There were others in which the road was too near. Others too dour, many too far from Cambridge where my sons were living with their mother. Both Sarah and I felt an instinctive aversion to arable parts of England. We needed grass and wood, the Arcadian savannah, the lit bush, the field illuminated for a while. I knew that when we found the place it would say ‘I am here and I am yours. I am the place.’ It was a dark time.
Only at the edges, like jottings and little coloured drawings in the margins of a text, were there any points of light: the finding of wild daffodils one day in a Dorset wood; swimming one warm and languorous evening off Chesil Beach where the swell rolled in like a lion’s stretch and yawn, over and over, a long slow growling from the shingle; a weekend on the Lizard in a sea of thrift; dawn on the Helford River, anchored in a boat between the woods, where the night rain dropped off the outstretched leaves into water as still as oil. These were bright fields too, illuminations in their way.
Why should it be that beauty can for an instant make sense of a world in which nothing else does? I am not sure. It is something I believe in without knowing why. Maybe it is simply a recognition of pattern, a concordance between you and the world. Here in a chance beautiful thing is something given, neither engineered nor sought, neither curiously made nor elaborately framed, but dropping as a bead of meaning out of a meaningless sky. Its value, its weight, is in your own recognition of its beauty. There is something naturally there which you naturally recognize as good. The ability to see that beauty is a sign that the world is not an anarchy of violence and destruction. You belong to it and it belongs to you.
That was as near as I could come to understanding why I wanted to live and be in a place that seemed beautiful. The world around you in such a place would constantly touch you and speak to you. It would become an existence thick with understanding and that sense of crowding intelligibility might be almost social in its effect, as though you were actually joining the community of the natural. This, in my loneliness and guilt, became a kind of consolation too and I held on to it as a kind of flag of hope, a thought with which I could identify and salvage what remained of my self. There’s a sentence in one of Coleridge’s notebooks for 1807, when, also with a broken marriage and a career in ruins, he was staying on a farm in Somerset. A ragged peacock walked the yard: ‘The molting Peacock with only two of his long tail feathers remaining, & those sadly in tatters, yet proudly as ever spreading out his ruined fan in the Sun & Breeze.’ That was me with my faith in redemption by beauty, like the battle-shot colours of a regiment held up to the last.
I was at work in London – I say at work; I was sitting at my desk, looking at the screen, drinking a cup of coffee, considering from a dead mind the identity of the next possible word – and the phone rang. Sarah, in a coinbox, in a pub, breathless: ‘You must come. This is the place. I’m not sure. It might be. It’s a valley. An incredible valley. It’s like the Auvergne. It’s like an English Auvergne. Come on, sweetheart. You’ve got to have a look. It might be all right. It might be. I’m not sure. You’ve got to come though. Please come.’
She was in Sussex, having gone to look at a house that we both knew was too small – it was a converted observatory – and in the wrong place, on the top of a hill where nothing would ever grow, even if its views were to the Downs and the sea and a vast dome of observable sky. It was her second visit. She asked the man living there where he usually went for a walk. He mentioned a lane that dropped from this observatory down through the woods to the valley of a little river.
She had gone down the lane, curling between the hedgerows, under the branches of the overhanging trees. It was springtime and the anemones were starry in the wood. Primroses were tucked into the shade of the hedge banks. Catkins hung off the hazels over the lane. And then, at a corner, where to one side the trees opened out to a view down the valley, and from where the pleats of the valley sides folded in one after another into the blue distance of other woods and other farms, 4 or 5 miles away, there was a sign hanging out into the lane: ‘for sale’.
She took me back there the next day. Slowly the car went down the lane. The flowers in the verges, the sunlight in blobs and patches on the surface of the road. The knitted detail of this wood-and-field place. If anywhere were ever to look like nurture, privacy, withdrawal, sustenance, love, permanence and embeddedness, this was it. Sarah had found it.
Even then, at the first instinct-driven look, this felt as if it might be the place. Why was that? And how can the mind, in a series of fugitive impressions, never analysed and perhaps not consciously registered, make its mind up so fast?
First, maybe, it was because Perch Hill was hidden. It was neither exposed to the world nor making a display to it. It was clearly living in its own nest of field and wood, a refuge which could find and supply richness from inside its own boundaries.
Second, I think, it reminded me a little of all the ingredients of the landscape I had known as a boy at Sissinghurst, 15 miles away in Kent: the coppice woods and the slightly rough pastures, the streams cutting down into the clay underbase, the woodland flora along their banks, that deep sensuous structure of light and shadow in a wooded country, where as you drop down a lane you are blinded first by the dazzle of the light and then by the depth of the shade, a flickering mobility in the world around you. Even at that subliminal level, here was somewhere that promised complexity and richness, secrets to be searched for and found.
And third, it was just the time of year, the first part of May, when England looks as if it has been newly made and the stitch-wort and campion are sparkling in the lane banks and not a single leaf on a single tree has yet gone leathery or dark or lost that bright, edible, salad greenness with which leaves first emerge into the world; and when even though the sun is shining the air is still cold and you can feel the fingers of the wind making its way between your shirt and your skin, a sensation somewhere on the boundary of uncomfortable and perfect, as if nearly perfect, as if courting perfection.
I can make this analysis only now. Twenty years ago, we were driving blind.
We turned the corner, saw the agent’s board, the sign on a little brick building saying ‘Perch Hill Farm’, and drove in. Almost everything about the place was as bad, in our eyes, as you could imagine it to be. The buildings were a horrible mixture of the improved and the wrecked: yards and yards of concrete; a plastic corrugated roof to the disintegrating barn; an oast-house whose upper storey had been removed during the war; a 1980s extension to the farmhouse, in the style of a garage attempting to look like a granary, paid for, I later learned,