Robert Macfarlane

The Old Ways

“I picked a trail and headed out, following those tracks to see where they might lead.”

Robert Macfarlane (b. 1976) writes (and studies and walks) at the intersection of landscape, humanity, and society.

With generous, meditative writing he explores our intersection with mountains, wild lands, and in The Old Ways, paths and trails.

These are the paths that make us wander, gather, root and find ourselves through a journey.

I have long been fascinated by how people understand themselves using landscape, by the topographies of self we carry within us and by the maps we make with which to navigate these interior terrains. We think in metaphors drawn from place and sometimes those metaphors do not only adorn our thought but actively produce it.

Paths, as they transect space and land, become a measure of place and a witness to what transpires in that place.

In my adoptive country, Britain, many trails date from Roman times. Paths are the traces of those who lived and forged their own ways. The freedom of the trail, the concept of “right of way” is something historically-owed to the British people, something we lack in America. Essentially, if a path is deemed to be of vital use to the public, it will go on being available as such despite private ownership of the land.

This public-spiritedness helped mitigate the abrupt carving up of land due to the 19th century Enclosure Acts, a loss of common areas lamented in the poetry of John Clare, and reimagined in the contemporary poetry of Thomas A. Clark.

"Edge of the Wood, Broadchalke" engraving by Howard Phipps used in "The Old Ways" book entry.
“Edge of the Wood, Broadchalke” engraving by British engraver and print maker, Howard Phipps.

I am certain only Britain could produce a writer of Macfarlane’s fortitude, curiosity, and almost pathological interest in language and tradition. (It is, after all, the same island that carved Stephen Fry, a wonderful logophile and historian.)

The Old Ways is part historical writing, part geological appreciation (Macfarlane goes deep into the land, so to speak, the chalk, granite and gneiss) and throughout, a journal of human movement. Macfarlane ventures on the Icknield Way, sea roads in Scotland, a western-Spanish pilgrimage trail and an old tea route between Nepal and India.

Throughout his writing, Macfarlane crafts convincing joinery between footfall and cognition, not simply by gathering a large collection of thinkers who have attested to such:

From my heel to my toe is a measured space of 29.7 centimetres of 11.7 inches. This is a unit of progress and it is also a unit of thought. ‘I can only meditate when I am walking,’ wrote Jean-Jacques Rousseau in the ninth book of his Confessions, ‘when I stop I cease to think; my mind only works with my legs.’ Soren Kierkegaard speculated.

One indeed develops the distinct impression that walking drives Robert Macfarlane both mentally and emotionally. As it has with many others like Vincent Van Gogh who found his artistic soul while walking about or New York artist Maira Kalman who walks the streets of her city as a way to see and notice others.